The publication Eisenring by the Swiss artist Cédric Eisenring interlocks the prints he created using used industrial plates with Photoshop drawings that appropriate the crumbs of the entertainment industry's image worlds. This digital waste for all — figurative motifs — the artist scratches and etches directly into the industrial plates. In Eisenring these works are restaged, the book serving as a psychedelic stage. Décor and atmosphere are formed by the patinated industrial plates, in whose punch-outs ashtrays, ticket machines or railway carriages echo. In Eisenring's works they become voids and yet remain vessels in the form of mechanical-organic patterns leading into alternative narrative spaces. In the book, the punch-outs lay themselves as relief prints over digital drawings and reproductions. The forms, now emerging as if under a magnifying glass, develop a spatial-haptic language. If culture is objectified labour, then all its unfulfilled promises and dreams haunt it too — these ghosts of lost futures haunt Eisenring, between the media fossils and the increasingly obsolete industrial surfaces.