While the other work of Annika Larsson still displays a logical connection between activity and environment, this link is completely missing in “40-15”: four men in a living room seem to be acting out a tennis match. Two of them are dressed in white, and are playing against themselves in front of a mirror. The others function as ball boys and referees. Yet there’s no real competition to be seen in the meaningless gestures and not even any real tennis. It seems to be about one thing only: mime, which explains who the heroes are, and who the servile are.