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Polina Liakhovitskii☀️

@_polymer_

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i’m walking study in demonology

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smile ever after, 2026
brass, brass wire

exploring techniques of looksksmaxxing as a forms of liberal fascism💀🎀 taken in Looksmaxxing by @_polymer_

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18 days ago

MY CUNT CAN’T COUNT

150*200 cm

sequin fabric, pink marker, retainer by @_polymer_

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a year ago

4.33 inches, 2026

The distance between the metal spikes of the fence unexpectedly matches the distance between human eyes. The architecture of alienation reveals an anatomical correspondence with the very body it is designed to repel. by @_polymer_

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8 days ago

public property 2, 2026 by @_polymer_

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10 days ago

public property, 2026 taken in Prague, Czech Republic by @_polymer_

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12 days ago

smile ever after taken in Looksmaxxing by @_polymer_

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18 days ago

Trauma Porn

Transparent sickness bag by @_polymer_

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1

24 days ago

a piece of upcoming BETON

@admweer @_polymer_ by @_polymer_

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a month ago

wrong topography by @_polymer_

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a month ago

ZHATVA

Materials: metal barbecue grill, steel grate, fresh soil, church candles, raw meat, fire.

Installation, variable dimensions, 2026

ZHATVA (from Russian «жатва» — harvest) is the moment when the living ceases to belong to itself and becomes a resource.

In the installation, church candles are planted in fresh soil inside a barbecue grill and, in place of charcoal, slowly heat the meat above them. The human becomes a function of the state, religion an instrument for legitimizing sacrifice, and sacrifice itself part of a national ritual.

The title refers to the image of harvest and to autumn mobilization, where individual life is translated into the categories of duty, necessity, and a common cause. The soil can be read simultaneously as ground, territory, and burial site: it is where the harvest is gathered from and where the dead are returned.

The barbecue grill brings the sacred into contact with the radically ordinary. Shashlik associated with leisure, gatherings, and everyday life turns sacrifice into a mundane act. At the same time, the grill itself bears a visual resemblance to a church candle stand.

The candle simultaneously sanctifies, burns, and commemorates. The soil receives, the fire consumes, and the flesh becomes expendable material. The system produces the sacrifice and then provides the ritual through which it can be mourned. by @_polymer_

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0

a month ago

ZHATVA

Materials: metal barbecue grill, steel grate, fresh soil, church candles, raw meat, fire.

Installation, variable dimensions, 2026

ZHATVA (from Russian «жатва» — harvest) is the moment when the living ceases to belong to itself and becomes a resource.

In the installation, church candles are planted in fresh soil inside a barbecue grill and, in place of charcoal, slowly heat the meat above them. The human becomes a function of the state, religion an instrument for legitimizing sacrifice, and sacrifice itself part of a national ritual.

The title refers to the image of harvest and to autumn mobilization, where individual life is translated into the categories of duty, necessity, and a common cause. The soil can be read simultaneously as ground, territory, and burial site: it is where the harvest is gathered from and where the dead are returned.

The barbecue grill brings the sacred into contact with the radically ordinary. Shashlik associated with leisure, gatherings, and everyday life turns sacrifice into a mundane act. At the same time, the grill itself bears a visual resemblance to a church candle stand.

The candle simultaneously sanctifies, burns, and commemorates. The soil receives, the fire consumes, and the flesh becomes expendable material. The system produces the sacrifice and then provides the ritual through which it can be mourned. taken in Russia by @_polymer_

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7

a month ago

Window to Europe, 2026

Installation / public intervention
Painted wood, stainless steel anti-perching spikes, metal fasteners
145 × 60 × 95 cm
Alexandrovsky Garden, Nizhny Novgorod, Russia

Window to Europe is a public bench entirely covered with anti-perching spikes.

The work explores how the function of everyday objects mutates within a totalitarian system. Power enters the most ordinary aspects of daily life: infrastructure designed for comfort and protection becomes a means of regulation, while the system begins to protect itself from the people it was built to serve.

Referring to hostile architecture, the work reflects on the paradox of reproducing external standards of progress and comfort while reversing their human purpose. taken in Nizhny Novgorod by @_polymer_

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a month ago