This work by Polina Kanis reflects the feast as the moment when the repression of the gender role that is implanted into everyday life, is being crystallized during the ritual of celebration.
It shows us men in uniform dancing with each other indifferently. But this indifference is misleading – it is recognized as the emotional blankness of patients in mental facilities.
We see what we know, and the envisioned landscape of the world is structured and fulfilled by the habit to search for familiar things in everything that we see. It takes time to realize that the absurdity of the scene is a challenge to the vision itself. It is not just a demand for empathy that, nevertheless, allows keeping the distance, but a diagnosis to the audience. A crowd of silent men is dancing in a small room, with no music or constraint, and the usual garbage of the feast is scattered on the floor. The acute absurdity of the scene is revealed as an encouragement for rituals of attraction and enticement, but this meaning is intentionally withdrawn from the scene. In this conventional celebration by Polina Kanis, the sparkling trash is not jolly, and the signs of attraction do not entice. So, absurdity is the inherent meaning of these ritual exchanges; it is a worm-eaten fruit of tradition.
However, it is even more surprising to see how much time it takes to comprehend the scene and break through the deception preserved in the ritual. But what if this deception is not just the discipline of external administration and tradition? What if it is just the rule of absurdity inside of our desire and us?
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