Klingers’s series by Maria e Natalja Petschatnikov forms an emblematic case of "handmade-readymade". The term fits well in the artistic world of the Russian twins, interested in testing the threshold between reality and fiction, where perceptive instability takes on manifold meanings. If early works leaned to painting, even though with experimentation of materials, painting becomes now the field and the tool for the re-making of a particular object, symbol of our urban transit: the door buzzer, with flats’ doorbells. These “paintings-objects” are carefully reproduced with oil on cardboard relief, on the basis of photographs taken in the streets of Prenzlauer Berg in Berlin. It seems like they contain private life’s traces and human stories: the overlap of handwritings and little plates with residents’ names stands for the chaotic but deeply human alternation of Berliners’ private lives; a sort of interface that holds unknown passers-by’s vandalic marks too. Between public urban space and private domestic area there is a possibility of instant connection, a real one because of its constant and potential availability to everyone, thanks to the basic technology of the doorbell’s push-button connected to a loudspeaker. As a primal device of interaction between interior and exterior, the doorbell activates a linear circuit of informations between subjects invisible to each other. It is a reticular structure with nodal points, impressed upon the pictorial surface, which tell stories about crossroads of existences, passages, personal identities.