Surrealist practice as a cure: Gluklya and Kati Horna at GALLLERIAPIÙ
Surrealist practice as a cure: Gluklya and Kati Horna at GALLLERIAPIÙ
Garden of trust exhibition
Visual correspondence between Gluklya and Kati Horna
GALLLERIAPIÙ Via del Porto 48 a/b, 40122 Bologna (Italy) | +390516449537|info@gallleriapiu.com|www.gallleriapiu.com
opening 26/02/2022
27/02 > 30/04/2022
Garden of Trust, 2022
Visual correspondence between Gluklya and Kati Horna
GALLLERIAPIÙ
opening 26/02/2022
27/02 > 30/04/2022
« On the ground floor there was a rectangular garden, full of flowering plants and tall trees whose branches reached up to the second floor. Kati was in charge of watering it, and in the meantime she photographed every flower, every leaf, every insect. Suddenly we heard her screaming, she was calling us. We thought she got hurt. Leonora, Chiki, Gaby, Pablo, José, the dog and I,we all rushed down the stairs together, we were frightened. Kati, perfectly fine, was photographing a chrysalis. “Look, this is the divine moment! The caterpillar is dying and the butterfly has yet to be born. What for one is a coffin for the other is a crib. But if the caterpillar has ceased to exist, the butterfly does not exist yet. In short, no one exists at the moment. I’m photographing nothing .. ”
NO WAR / Peaceful Dress joined the Protest against the War in Ukraine, 2022
Peaceful Dress joined the Protest against the War in Ukraine
28 February 2022
Amsterdam , Dam square
On-curating
Issue No 52, Instituting Feminism
“Gluklya (Natalia Pershina-Yakimanskaya) started an ongoing project, Debates on Division (curated by Anna Bitkina), as part of the public program of Manifesta 10 that took place in her native city of St. Petersburg.”
Instituting Feminism
Issue 52 / November 2021
Arterritory
They Are Among Us, 2022
AAC Galerie Weimar
Denunziation
12.12.2021 – 02.04,2022
“They are among us” is an installation conceived especially for the ACC using objects of clothing, light, and sound of the metronome, which was inspired by current and historical cases of denunciation, including those surrounding the ‘witch hunts’ and the Gulag under Stalin. The work seeks to reproduce in the exhibition space a sphere of uncertainty and anxiety in which the denounced do not know who the denunciator is and whether he is not even directly present himself.
The atmosphere of the installation reproduces the atmosphere of suspicion when at vernissage people for sure knows that denunciator came, but they did not know who is he or she. It can be any person. It is the everyday reality in Russia, Belorussia, Ukraine, and many other countries.
Een ongebreidelde fascinatie voor planten – De botanische revolutie in het Centraal Museum Utrecht en Nest Den Haag
Metropolis M
Issue no6
dec- -jan 2021
Vijf interviews – Depot