The screensaver, as a feature or separate programme for blanking the screen, was initially used to save energy and prevent wearout of the lamp monitors during the computer’s sleep mode. While today screensavers are useless from the point of view of their functionality, they remain used as a decorative feature during sleep mode. The screensaver aesthetic, as part of the Windows95 aesthetics and the first mass market computer technologies, had its revival thanks to vaporwave. The genre of vaporwave made use of quickly outdated or abandoned visual products, which became the so-called digital trash, to criticise and problematize capitalist optimism at the end of the 20th century. Deriving from the aesthetic and stylistic methods of popular screensavers from the late 90s, this work presents a series of screensavers dedicated to the day-to-day realities of Belarus in the spheres of economy, culture, the right to the city and political protest. The artist chose themes, provocations and narratives which exist in the perpetual movement but at the same time repeat themselves and remain unresolved; they are frozen and paused – in the same way that f screensavers themselves are.