Interpolated throughout ‘Teilzeit in Senile Ties’ and the wider spectrum of Gleb Amankulov’s practice, objects are infused with a precariousness that explores power structures and hierarchies of object veneration, whilst observing the processes and conditions of late-stage capitalism. Within these overarching themes the composition of Amankulov’s sculptures are imbued with an ephemerality that is both physical and conceptual in disposition. For each piece the works are composed of found objects that are left unaltered in their individual physicality but instead balanced, combined and contorted into material and metaphorical dialogue with each other and the space. This practice ultimately questions the permanence and veneration of the art-object and the fluidity of the practice thus exists in opposition to economic and cultural power structures within artistic production. The temporality of the work and its apathy towards reverence in the context of the art-object is combined in an underlying allusion to a force of domination or suppression that amalgamates with a broader political contextual analysis within the work.