Sarah Dubná’s diploma revolves around beekeeping. She has strong ties to it via the profession of her mother, a top-rank researcher in this field. However, she simultaneously tries to view it from the outside and a distance – as a form of interspecies cooperation between two autonomous systems, or as a parasitic coexistence of bees and humans. She, on the one hand, presents a literary text that seems to be raw testimonies of the beekeeping nerds and, on the other hand, a “functional sculpture” in the form of a wall, which will permanently divide the room of a study department. Its surface combines ecru earthen cast and ceramic tiles, which Dubná coated with new glazing and united the two materials by a figural drawing. She perceives the wall with the drawing, “parasitizing” on the host surface, as a metaphor of a beehive, where the facing and glazing refer to honeycombs.