The first issue was created as an attempt to proceed with a new reality that cannot be expressed in words. It features artist's photos from February 2022 protests in Moscow and St. Petersburg, depicting blurred black masses of riot police spread across the zine pages as an abstract equivalent of an absolute evil.

For the following issues Ilina uses photos taken during her nomadic wanderings through art residences and friend's couches in Europe. Old gents pastorally playing giant chess under the Bosnian sun, hundreds of handsome graduates wearing traditional student caps in the streets of Helsinki. For Ilina these pictures capture moments of personal disturbance: Bosnian chess players turned out to be pro-war while the graduation gave an immediate flashback of navy parades. Ilina seals the moments of sudden awareness that changes she observes are irreversible into a carefree flow of images.

Ilina has always been gravitating towards an abstract statement, turning her impressions into an impenetrable form of abstraction. Whilst her early series of textile designs resemble memories of the childhood spent by the sea, Ilina later switched to creating abstract video essays that capture lapses in the landscapes of reality and overthink it to the bitter end.

Each zine exists in one copy which travels in the artist's suitcase along with a few things she packed when hastily leaving home at the end of February. Ilina chooses to print her zines using random printers that come across her way. Each of them contributes to the zine's appearance, occasionally running out of ink in the middle of the page or misinterpreting the colours. On the last page of every issue she counts up the number of days since the beginning of the War with the hope that it's the last time she makes this count.