As much arsonist as archivist, Augustas Serapinas takes an irreverent approach to remnants of the past. In 2012 he transformed student artworks discarded at the Estonian Academy in Tallinn into strange-looking gym equipment. For the inaugural exhibition of his London gallery Emalin in 2016, he repurposed materials left by the locksmith who previously occupied the building to create a functioning sauna. And in 2018 he invited children of workers from a decommissioned nuclear power station in his native Lithuania to create a sculpture using rubble from the Soviet-era site. In each fraught context, he intervenes with light-hearted acts of creative destruction, fostering new forms of sociability and use value rather than worshipping at the altar of cultural heritage. An ongoing strand of Serapinas’s practice involves acquiring and pulling apart dilapidated log-and-shingle buildings, reconfiguring and sometimes charring the scavenged materials, then presenting them in exhibition spaces. Examples of this architectural vernacular survive from as long ago as the nineteenth century in Lithuania as well as over the border in Poland and Belarus. They are prevalent in and around the Polish city of Białystok and feature throughout his current show, filling the Galeria Arsenał elektrownia with the musky smells of damp wood …