For their exhibition at the Kunstverein Harburger Bahnhof, Elif Saydam (b. 1985 in Calgary, lives in Berlin) draws upon the architecture and previous use of the rooms there: from 1st and 2nd class waiting rooms at the time the station was built at the end of the 19th century, to an interim use as a gambling hall. They reveal the ups and downs of aesthetic categorization and social groupings, the contrasts and incongruities of which Saydam continuously thematizes in their work, which is as profound as it is humorous. While the architecture of the room may seem rather unsuitable for exhibiting painting, it is precisely this challenge and the necessity of a spatial determination and autonomy beyond the white wall and the closed canvas that are laid out in Saydam's painterly interventions. How does the relationship between taste and class manifest itself in public ornamentation? What aspirations and desires are satisfied in it?