People of Lervik’s generation who grew up in Stockholm with culturally interested parents tend t ohave one memory in common: that of Robert Rauschenberg’s Monogram, the taxidermygoat with a car tire around its belly, prominently displayed at Moderna Museet since the early years. In Pignus, the tire has a more bizarre, almost Dadaist effect. What came first, the glass or the tire? The car part is not promoting some neo-Dadaist designagenda, however — for Lervik, it symbolizes the inability of politicians to make uncomfortable decisions.
