Ode for Lovers

The nuclear family – where a mother, father, and their children live together – is an age-old phenomenon. In Estonia, however, the idea of it as the fundamental unit of society took root only during the Soviet period, when for the first time it became possible to have a home of one’s own. The status of the nuclear family remains strong through its representation in culture and the media. Today, families themselves reinforce this status by sharing professionally staged, cheerful photographs on social media for thousands to see.

Linda Mai Kari noticed that viewing these photos evokes a particular feeling. To explore this, she conducted a multi-part experiment mapping the aesthetics of love. She began by examining dozens of photo series, identifying the common poses and locations used in such images. Together with drag artist Labia Koidula, she then embodied a happy young couple and had themselves photographed in the same style. In the next stage, she turned her camera from Musumägi toward Viru Street, capturing people buying flowers at the stalls there, which remain open around the clock.

At this point, it is worth pausing to reflect once more on the deceptive nature of the photograph. That two people who do not love each other romantically can nonetheless conjure the illusion of such love underscores the gap between the so-called aesthetics of love and love itself. Appearance tells us nothing about how love is expressed and lived in everyday life. This does not mean that people should not celebrate love in whatever way they choose – but for whom are these images made? As mementos for oneself, or as proof for others? And what is the connection between midnight flowers and picture-perfect love? Are they gestures of surprise, or of reconciliation?