The Video and Performance work conceived by Norwegian artist Ane Lan is based on living portraits, short performances that interpret the domestic and personal contition of History; the interior life of common men that, being out of proportion with the universal dimension, rests in painful resignation. The setting, alternately pop, naïf, ordinary, or looking like a doll-house, is only apparently ironic. The harsh contrast of colours signifies the extraneousness which Ane Lan stages by means of transvestitism. Her docile characters create portraits of silence, of extraneousness, of incongruity, but also of an icy political verdict. Innocence veined in melancholy is intended as a conscious return to a childish perception of the world.