"So in the Ashes, So That Nothing Is Lost" is based on the fate of Robert Landsburg, who perished in 1980 while photographing a volcanic eruption from Mount Saint Helens in Washington State. The images later developed capture the violent moment, the last seconds of a human life, and are both unsettling and beautiful to behold.

Swedish author Magnus Dahlström writes his version of Landsburg's final moments on the mountain and does something that survivors of disasters often attempt: he immerses himself in, imagines, and continues where there is a gaping void.

"So in the Ashes, So That Nothing Is Lost" is a title taken from the poetry collection "Vi er tiggere" (England Forlag) by Jørn H. Sværen. His short and distinctive poems are distilled to a poetic expression that can be associated with grave inscriptions or to a pre-modern writing situation where the burden of the act of writing itself limits the scope of what can be written.

The book documents the art projects of Johan Øvergård and Ann Iren Buan and the traveling exhibition shown at Galleri 69 in Oslo, Harpefoss Hotell, and LevArt Levanger. The book thus constitutes the project's fourth space, partly by documenting the actual movement of the exhibition and the transformation of the artworks along the way, as reflected in the conversation between Eivind Hofstad Evjemo and Ann Iren Buan in the book.