Category: Installations

4 m in diameter x 1.65 m height
Wooden sticks, textiles, plastic tubes, conceptual pillows, the body of Shahmaran (soft sculpture), chair for two people with the book: Two Dairies: Gluklya and Murad

Exhibition “Images of Power”, Textile Biennale, Museum Rijswijk, Netherlands. Curated by Diana Wind.

The war in Ukraine has again brought a centuries-old crime against women and also men to our attention. In the past century, stories about rape, abuse and terror only made the news afterwards, sometimes even years later, because the suffering that a war brings had to be dealt with in its entirety, perpetrators and victims had to find their place again. An example is the 70,000 ‘comfort women’ who were forced to work as sex slaves in army and navy brothels during the Japanese occupation of the former Dutch East Indies between 1942 and 1945.

Continue reading “Field Wives 2023”

To those who have no time to play is structured around four stories drawn from the artist’s own experiences. Each narrative is represented by its own form of architecture and mode of reception. As someone looking at the exhibition, you are asked to perform different roles during your time there. You become a reader, a viewer, a listener, an emotional participant, an outsider caught in the midst of a protest, a collective presence in a chorus of sewing machines or any number of other roles you can define for yourself. There is a beauty in how the exhibition unfolds and how your attention is called to other people’s struggles that ask to become part of your own, if only for a little while.

from the curatorial text by Charles Esche “Who has no time to play?” (page 35)

Continue reading “To Those Who Have No Time to Play 2022-23”

Exhibition “The New Subject. Mutating Rights and Emerging Challenges of Living Bodies”, Kunsthal NORD, Aalborg, Denmark 2023. Curated by TOK (Anna Bitkina and Maria Veits) and Cathrine Gamst. Photo: Simon Bendix.

EMPOWERING VULNERABILITY,2024
Textile objects and a series of drawings

The installation presents Gluklya’s body of work, spanning from the post-Soviet context in 2006 to the present day in 2023, all bound together by the theme of politicized vulnerability. It comprises watercolors and conceptual clothing, both of which delve into the darker aspects of femininity. This thought-provoking exhibit invites viewers to contemplate the societal expectations and stereotypical roles imposed upon us.

Continue reading “Empowering Vulnerability 2024”

Visual correspondence between Gluklya and Kati Horna

GALLLERIAPIÙ

opening 26/02/2022
27/02 > 30/04/2022

http://www.gallleriapiu.com/

« 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 .. ”

Continue reading “Garden of Trust, 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.

group show NEST / Den Haag ,10 September 2021

Propaganda Flowers is a series of drawings that are accompanied by stories from interviews with people from different countries on the connection between politics and flowers. For example, the Kimilsungia violet orchid was named after Kim Il-Sung, former leader of North Korea, and tells a narrative about the remembrances of socialism. The Vampire Tulip asks questions about human hypocrisy, distracted from the water crisis in Africa, whereas the Welwitschia flower is accompanied by the text about the flower as a symbol for democracy. Each drawing touches upon the ethics of politics, combining the sweet symbolism of flowers with deep geopolitical concerns.

For the exhibition at Nest in The Hague, Can you be a revolutionary and still like flowers?, a new chapter of the Propaganda Flowers series was created. The works was done in the context of Russia , with supportive conversations with the eco -activist Maria Tinika who created a Saving Trees society in St -Petersburg. 

photo documentation of the Installation : Charlott Markus

Reviews:

Volkskrant: https://www.volkskrant.nl/cultuur-media/twee-exposities-laten-zien-dat-kunst-en-tuinieren-heel-goed-samengaan-en~b2eb2630/?utm_campaign=shared_earned&utm_medium=social&utm_source=copylink

Den Haag Centraal: https://www.nestruimte.nl/bloemen-als-symbolen-van-verzet/

Groene Amsterdammer: https://www.groene.nl/artikel/de-laatste-sanseveria and https://www.groene.nl/artikel/dansende-bloemen 

Van Abbe Museum ,POSITIONS # 4

Positions #4 introduces the work of four international artists – two individuals and one group: Gluklya(Natalia Pershina -Jakimanskaya), Sandi Hilal & Alessandro Petti and Naeem Mohaiemen. These artists all share an activist practice that draws on the history of colonialism, occupation and political conflict to make work about living in the world today. 

The exhibition includes film, drawing, architecture, models, archives, texts and clothing to build up elaborate images of particular parts of the world and conditions in places both near and far away from Eindhoven. Often the artistic practices sit at the crossroads of cultural anthropology, forensic science, documentary filmmaking, self-organization and collaboration. All four artists teach us – each in a different way – about the capacity of different minorities and marginal communities to cope with difficult life situations and survive, if not thrive, despite the powers exercised over them.

Gluklya’s practice simulates current socio-political urgencies and it contests power structures that function in the public urban space. Gluklya’s work process is distinguished by playfulness, as her studio turns into a meeting point where diverse collaborators work together on translating mutual socio-political inquiries into conceptualized clothes and other useable artistic items, which are later applied within further performance activities characterised by protest gestures in the public space.

In 2017, Gluklya’s studio was located in the former prison Bijlmerbajes, where different artists, refugees, and other cultural NGO’s activities were accommodated. Motivated by the unique location of her studio and its surrounding, she initiated the Utopian Unemployment Union(UUU), a platform where various collaborations have been created, including long-term relations with refugees, asylum seekers, students, different art-practitioners, scholars and other people. Under the umbrella of the ‘UUU’ and in collaboration with TAAK and her collaborators, Gluklya developed the ‘Carnival of the Oppressed Feelings’ – a protest performance in the public space of the city, that took place in the route between Bijlmerbajes and Dam square in Amsterdam.

Afterall Journal 2019

http://gluklya.com/publications/building-social-interdependency-gluklyas-feminist-practice/