The project directly refers to "Love Parade" (1917), a painting by Francis Picabia, a French dadaist, and attempts to reprocess its main motive. The title hints at eroticism whereas the painting itself depicts a mechanism, which invites a great deal of interpretations. Ewa Doroszenko transposes the intercourse of the machines as painted by the dadaist onto cardboard, to present it in a larger, spatial scale. The complex love structure has been analysed and rebuilt from scratch to form an expanding installation including antagonist male and female elements. The abstract representation of a mechanical love act is enriched with sound, which constitutes an ironic commentary on Picabia's painting.