In his essay Unpacking My Library Walter Benjamin writes about the life of a collector as consisting of “a dialectical tension between the poles of disorder and order”. The project titled Nothing between Us features works by two artists/researchers/collectors, whose obsessions (Vladimir Perić’s with childhood memorabilia and Miloš Tomić’s with contingent sounds and sound production devices) have driven their practices towards acquiring specific forms of presenting their collections. The installations by Vladimir Perić, are made to incorporate items from the collections of his Museum of Childhood, extremely precise arrangement that create a seductively melancholic atmosphere. The works of Miloš Tomić video diaries of his research delve into deskilled music practices and social relations built around them. He celebrates this anarchic and ecstatic format - there to intervene in a disjointing manner - and celebrates their ludic potential. By demonstrating two polemic types of collecting they exteriorize the dialectical tension Benjamin wrote about, from individual projects to the relation between the projects in the space of the Pavilion. The concept of order in the work of Vladimir Perić is not taxonomical: he does not present the collections of his Museum as such. Rather, he transfigures their content into sets of allegorical assemblages, telling stories about the places from which these items have been gathered and of the long - lost times when they had their original functions. Perić presents us with sets of minimalist installations, in which these objects get integrated into repetitive optical patterns. The disorder in the work of Miloš Tomić also has its formal aspects. It plays with the notions of what counts as experimental sound work within a specific space-time sensorium, to use words of Jacques Rancière.