The point of Cibic’s investigation in this photographic series is the art collection of the Slovenian National Assembly, paintings which are hung across the building and function as a kind of a backdrop to the spaces serving the politicians currently in office. Cibic concentrates on only one motif within this collection: the motif that is best at surviving all ideological permutations of any geo-political territory - the most “politically benign” one and the one least likely to be erased and substituted by the next government in office: a floral still. It almost seems that this motif became a survival strategy for artworks within territories where a constant political shift was taking place – where undesired thematic (of specific socio-political motifs and/or portraiture) was being removed from the walls on a continuing basis. And not least of all, in the case of the selected paintings, we are dealing with a kind of souvenir par excellence, for the artwork occupies a position equal to the floral arrangements on the conference tables in the National Assembly – the position of decoration in the stage scenery of the “political show”. The selection of paintings from the art collection of the Slovenian National Assembly, which Cibic addresses, reveals to the viewer the relationships between the economic, political, cultural, and personal values of a certain time and space. The art collection she addresses in addition occupies a position of ambivalence: although it is public property, public access to it is in fact not possible, or rather, is possible only under certain conditions, since the paintings are scattered throughout the work spaces of the National Assembly building, where the state security service has strict controls in force. This is not one of the national art collections housed in storage rooms, but rather a collection of artworks that, by virtue of their location in the work spaces of parliamentary politics and administration, serve as a kind of background or stage scenery for the media whenever they want to create the spectacle that answers to the name “the state”. Still Life as Strategy questions the image construction and its survival strategies and tactics within protocolary spaces of power by dissecting the symbolic imagery collected within them - the symbolic imagery that is utilized by the nation state’s soft power strategies.