In the video version of her performance "Death is Certain", the Berlin artist cuts up, fragments and burns cherries in a minutely finicky operation, subjecting them to numerous forms of torment. The fruits are stylised into subjects, and everyday objects become instruments for killing, which the viewer is inclined to associate with a torture scenario. Meyer-Keller alienates thumbtacks, plastic cups and pins, putting them to work on the cherries and so setting up the discursive framework for this game of vicarious roles. No one, it seems, can feel safe, for we all have concrete images in our memory - images from films, experiences, news items, matters that in the end lend their significance to these actions, bringing the cherries to life and making chocolates figure as a graveyard. The consistency and colour of the cherries seem particularly well chosen, making them an ideal symbolic vehicle for the experiments to which they are subjected. Meyer-Keller engages in a savagely ironic game with the collective and individual images of killing that populate the imagination of every individual. Here, she uses the cherry as a paradoxical stylised figure for the black humour that is involved.