The acronym “T.I.N.A.” (“There is no alternative”) was coined in the 1980s during the Thatcher era. Since then, it has stood for the lack of alternatives to neoliberalism as a sociopolitical model, following the failure of other ideologies over the course of the twentieth century. In the fight against a global pandemic, the expression has taken on new nuances of meaning.

The artist Ryts Monet searches for clues to developments in society using found everyday objects such as banknotes or postcards, which he ironically alters in order to add new layers of meaning. In two very different spaces—a church and a gallery—he presents and links works he has produced in recent years in countries as diverse as Azerbaijan, Georgia, Hungary, Italy, Bulgaria, and Austria.

Based on his artistic-archaeological unearthing of symbols and monuments created by the culture of sociopolitical staging and representation, Ryts Monet has designed a laboratory of social transformation processes in a globalized world.