De tintes autobiográficos, Anhedonia intenta reflejar las emociones que vive la autora durante una historia de amor/desamor en la que se siente captora de la voluntad de otro, y el desarrollo de este viaje a través de la culpa y el despojo de su propia identidad en el intento de llegar hasta un hombre que se presenta como “emocionalmente no disponible”. El ojo de la exposición, sin embargo, al igual que el suyo, está puesto en el compañero, no en sí misma, al que simboliza a través de pequeños momentos y detalles que quedaron grabados en su recuerdo al modo de una danza que, el psicólogo Antonio Abad, llamaba: “El tango sadomasoquista”. La historia, que tiene lugar entre la autora y un viejo amigo de juventud reencontrado tras décadas de silencio, comienza con una aproximación a través del cuidado y del afecto, para luego ir tornándose más oscura a medida que él se va haciendo consciente de la intensidad de los sentimientos de su amiga, y comienza a distanciarse ante el pavor que le producen. De este modo, y bajo la condición anhédónica de su estado de ánimo, debido a su frágil salud y sus síntomas depresivos, él empieza a manifestar deseos de huída, siempre sugeridos, nunca abiertamente expuestos y ella a sentirse responsable de un secuestro emocional que va minando su autoestima y la capacidad de permanecer a su lado. Ambos estados se retroalimentan de un modo enfermizo: él es una persona que ha tenido escasos compromisos emocionales, y ella todo lo contrario, lo que hace que el co-protagonista se sienta excesivamente requerido pese a la distancia que media entre ambos y que desarrolle maniobras de evitación cada vez más sofisticadas.
With autobiographical dyes, Anhedonia tries to reflect the emotions experienced by the author during a love / heartbreak story in which she feels like a captor of the will of another, and the development of this journey through guilt and the dispossession of her own identity. in an attempt to reach a man who presents himself as “emotionally unavailable.” The eye of the exhibition, however, like hers, is on the partner, not on herself, whom she symbolizes through small moments and details that were etched in her memory in the manner of a dance that, the psychologist Antonio Abad, called: “The sadomasochistic tango.” The story, which takes place between the author and an old friend from his youth who has been rediscovered after decades of silence, begins with an approach through care and affection, and then becomes darker as he becomes aware of the intensity of her friend’s feelings, and begins to distance herself from the dread they produce. In this way, and under the anhedonic condition of his state of mind, due to his fragile health and his depressive symptoms, he begins to express wishes to escape, always suggested, never openly exposed, and she feels responsible for an emotional kidnapping that is going on. undermining his self-esteem and the ability to stay by his side. Both states feed off each other in an unhealthy way: he is a person who has had few emotional commitments, and she is quite the opposite, which makes the co-protagonist feel excessively required despite the distance between them and that he develops maneuvers increasingly sophisticated avoidance methods.The exhibition tells the story of both through a few symbolic elements, some of which are not without a rather implausible anecdotal origin, such as the fact that the model, which the author chose due to a certain physical resemblance, had a peculiarity on the chest called “Pectum Excavatum” that she had not looked for, but that is common to the true protagonist of the story, and that in several of the writings that accompany this exhibition, represent anhedonia itself: an emotional hole, a sentimental apathy, which could be understood as typical of a man whose heart has been torn out and in whose place a hole has been left. Another incredibly significant coincidence was the discovery that the red woolen thread, used in the session, is in Japanese mythology, the way the gods tie together two people destined to be together forever. And this coincidence takes on even more disconcerting overtones if we consider that in a letter from thirty years ago, after breaking his friendship with her, our protagonist closed the letter with the sentence: “I say goodbye to you, although not definitively. I know that we will meet again because fate has a fixation on us. ” Fate would take thirty years to act when, looking at a photograph of her own, the author discovers in her smile, an ‘I don’t know what’, which immediately reminds her of his smile in a photograph of her youth, and is encouraged to look for it in order to to get back in touch.