Produced as a triptych to be exhibited on the 12-meter long video wall of Rotterdam City Theatre commissioned for the Informal Ecologies program of its Club Imagine series, the video focuses on the informal export and reuse of car parts taken from junkyards as the one in Kralingen by individual entrepreneurs from inside and outside of Europe. A Ukrainian man I met at a junkyard around Amsterdam in 2014, who helped me tear the car chairs out using solely his hands, served as an inspiration for the video. In that time he drove to the Netherlands every month, buying as many chairs from the junkyard as could fit in his car for €20,- to sell them on a market in Ukraine. The precarity of these traders and their dependency on the fault-lines in agreements between governments and corporations become visible through processes of formalisation, as the laws established following the referendum on the official trade union between Ukraine and the Netherlands, from late 2016 on resulted in Alexander’s own trade construction becoming unprofitable. Instead of him, I found many other traders at the Kralingen junkyard in Rotterdam, driving from Turkey, Russia and Egypt. Their routes are exemplary to the multiplicity of ‘trade unions’ emerging informally which, when mapped out together sketch the real-time map of Europe, its borders continuously shifting. The combination of the manual labour performed by the users of this mechanical wasteland and their rhythmic movements resembling machines is highlighted by the music’s repetitive counterpunctual polyphonic canon.