The work is created by two glass globes united by the neck, used in scientific laboratories, which are reused as aquariums. 18 aquariums and 36 fish will be used; in each aquarium, there will be one male and one female of the species. The aquariums will be distributed side by side
In the installation “Le carnaval des animaux”, Pocztaruk takes over two glass globes, commonly used in chemical laboratories, which are reused as aquariums and interconnected, each one containing a male and a female domestic fish of the betta type, species known for its aggressiveness, giving it the nickname "fighting fish". In many cases, during the mating of bettas, the female cannot survive, and therefore, for the successful breeding, fish must be placed in near aquariums to be introduced in pairs. In this approach proposed by the artist, a prenuptial pressure is created, what constructs a drawing in space by the intermittent fish ballet. In the ephemerality of time, the design mediated by an animal and an object dislocated from its original place, under the field of art, creates an artistic proposition. Lygia Clark brings up the idea of the artist as a proposer. We are mold, says the artist; the blowing within that mold is up to you. We are proponents: our proposition is the dialogue. We are proponents: we bury the "work of art" as such and we request you that the thought live by action. We are proponents: we do not propose you neither the past nor the future, but the present. If the place of art is potentially everywhere today, moving something means removing it from one place to the same place. Pocztaruk, by proposing “Le carnaval des animaux”, an installation made up of 18 aquariums and 36 betta fish drawing in the expanded field of art, looks for what may become important for the conditions defined by a group and a specific context, putting in question the artistic practice, its ownership and its legitimacy.