Language of Fragility drawing session/Bijlmer Bajes Amsterdam 2017

About the ​Language​ ​of​ ​Fragility​, the concept of Gluklya is described by Sari Akminas (a syrian refugee, a journalist, who works at Lola Lik)​: 

Learning​ ​the​ ​Dutch​ ​language​ ​is​ ​a​ ​serious​ ​challenge​ ​for​ ​newcomers​ ​to​ ​the​ ​Netherlands.​ ​There are​ ​many​ ​methods​ ​and​ ​ways​ ​to​ ​learn​ ​a​ ​new​ ​language,​ ​other​ ​than​ ​traditional​ ​learning,​ ​which​ ​can give​ ​added​ ​value​ ​to​ ​the​ ​language​ ​learning​ ​process.​ ​One​ ​alternative​ ​method​ ​is​ ​by​ ​playing​ ​the Language​ ​of​ ​Fragility​ ​game. No​ ​matter​ ​what​ ​language​ ​is​ ​spoken,​ ​the​ ​number​ ​of​ ​words​ ​that​ ​have​ ​similar​ ​pronunciation​ ​in​ ​a native​ ​language​ ​and​ ​Dutch​ ​is​ ​surprising.​ ​Words​ ​sound​ ​the​ ​same,​ ​but​ ​have​ ​completely​ ​different meanings. 

This​ ​game​ ​can​ ​be​ ​an​ ​important​ ​tool​ ​for​ ​newcomers.​ ​It​ ​allows​ ​them​ ​to​ ​acquire​ ​new​ ​knowledge, motivates​ ​them​ ​to​ ​search​ ​and​ ​find​ ​similar​ ​words​ ​between​ ​different​ ​languages,​ ​opens​ ​a​ ​window for​ ​them​ ​to​ ​see​ ​the​ ​country’s​ ​culture,​ ​and​ ​finds​ ​opportunities​ ​to​ ​learn​ ​new​ ​skills. 

The​ ​combination​ ​of​ ​language​ ​+​ ​arts,​ ​gives​ ​newcomers​ ​a​ ​way​ ​to​ ​express​ ​feelings​ ​in​ ​a​ ​new country​ ​without​ ​restriction,​ ​and​ ​to​ ​produce​ ​something​ ​of​ ​beneficial​ ​artistic​ ​and​ ​cultural​ ​value. By​ ​engaging​ ​in​ ​a​ ​workshop​ ​of​ ​making​ ​Utopian​ ​Clothes,​ ​the​ ​Language​ ​of​ ​Fragility​ ​teaches performative​ ​skills​ ​that​ ​enable​ ​participants​ ​to​ ​express​ ​emotional​ ​feelings;​ ​be​ ​it​ ​frustration,​ ​fear ​by​ ​targeting​ ​these​ ​emotions​ ​and​ ​in​ ​turn,​ ​finding​ ​balance​ ​and​ ​self-confidence. 

Language​ ​of​ ​Fragility​ ​​​is​ ​not​ ​limited​ ​to​ ​the​ ​individual​ ​level.​ ​Participants​ ​learn​ ​words​ ​that​ ​have similar​ ​pronunciation,​ ​but​ ​disparate​ ​meanings​ ​in​ ​different​ ​languages.​ ​The​ ​game​ ​encourages players​ ​to​ ​create​ ​an​ ​atmosphere​ ​of​ ​partnership​ ​and​ ​unity​ ​among​ ​themselves,​ ​motivating​ ​them to​ ​participate​ ​in​ ​teamwork​ ​and​ ​to​ ​unleash​ ​imagination​ ​in​ ​creativity​ ​and​ ​self-discovery. 

Naar(fire)

Dutch people use the word (Naar) to refer to a place they are going to, but in Arabic, the word (Naar) means fire. 

The woman is going Naar the fire, to the house, where woman leave it to their husband house, because of the suppression and dianilation that the women are facing in the Arab world. A lot of women don’t know the life outside the house, only on TV.

From her father’s house to her husband’s house to the grave. This is the circle of a large number of the women in the Arab world, they are not allowed to know or to think outside this triangle, and for those who does, they shall be called in the ugliest titles, and yet to be considered as an outsider of the society.

____________

Boot\ Boot (military shoe)

Boot is the bone that the dog catches, and they keep it in their mouses, they like the taste of it.

(Boot) in Arabic means shose, and it is commonly refer to the military shoes, which are in Syria are being bitted at like the dogs bits the bone by the pro Assad people in Syria.

People using non intellectual ways to express their loyalty to the rulers, in Syria, the pro Assad took the military shoes as a symbol. They made statues in the public squares for it, live show on tv with the shoes on the table, pro Assad people, famous artists, sculpture, actors, they were all shown with this slogan (one of them was kissing it) on TV and in public events.

It is another way to worship the leader; since the war in Syria, a  lot of talk took place about the ownership of Syria to Assad, as the country is his farm. Now by changing from worshiping the leader, into worshiping the military (where the ruler is the higher commander of the army) nothing will change, and the people, voluntarily subject themselves to the slavery of the ruler again.

——————————

Nmer (tiger)

Nmer in Arabic is tiger, but in Dutch, Nummer is a number.

Numbers are exactly how the government see the people when they are looking for support.

The soldiers who die to keep the ruler in chair are only numbers to the leadership.  

When they tell people how good the economy is, where actually it is very bad, fake numbers are being used.

So stop being a “dutch Nummer”, and became an “Arabic NAcht \ اخت

Acht (sister)

Two words similar in pronunciations, Acht in Arabic means sister, while in Dutch means eight, which is the average number of the sisters and brothers in the Arab region families.

“The kid come, and God send his money with it” This is the slogan adopted by the peoples of the Arab region, and they do not give up this slogan even in the most severe crises. You see a family of a government employee who doesn’t earn enough salary, or a worker who earns the minimum wage. They have six children and their poor wives are Pregnant! “Her belly reaches her chin” this is how Arab people describe pregnant women.

Ask the men why? And from where will you secure the budget? they responds with a smile to “The kid come, and God send his money with it” and wishe God to send more bless…

Sister behind brother, behind sister… Arab women are being used as a breathing machine, year after year, born after the other, especially in the poor tribal and rural areas, and then leaves the children in the streets, to learn begging, so we ended up with a whole generation in the streets.

The government is unable to control the issue, or issue a birth control law, a poor economic situation and men who do not use condoms, women can not object. Eggs hatch to the streets… Acht after Acht after Acht…

Boot\ Boot (military shoe)

Boot is the bone that the dog catches, and they keep it in their mouses, they like the taste of it.

(Boot) in Arabic means shose, and it is commonly refer to the military shoes, which are in Syria are being bitted at like the dogs bits the bone by the pro Assad people in Syria.

People using non intellectual ways to express their loyalty to the rulers, in Syria, the pro Assad took the military shoes as a symbol. They made statues in the public squares for it, live show on tv with the shoes on the table, pro Assad people, famous artists, sculpture, actors, they were all shown with this slogan (one of them was kissing it) on TV and in public events.

It is another way to worship the leader; since the war in Syria, a  lot of talks took place about the ownership of Syria to Assad, as the country is his farm. Now by changing from worshiping the leader, into worshiping the military (where the ruler is the higher commander of the army), nothing will change. The people voluntarily subject themselves to the slavery of the ruler again.

Workshops with We Are Here

Gluklya Studio

2021

All questions Matras Platform

  • What is your name?
  • Are you afraid of emptiness?
  • Are you afraid of nothingness?
  • What can you do when you are confused?
  • How did she manage to survive here?
  • Is it still art when you are using Hashtags? 
  • Is it still communication when you are not?
  • Is it better to youre a hashtag/name or is it better if i don’t?
  • We all, what do we think about life?
  • Why are there still people sleeping on the steet?
  • Where begins the night? What is the night for human (beings)?
  • Do we always have a freedom of choice?
  • Do we agree to disagree?
  • Are we afraid of mistakes?
  • Do you know which way to go?
  • Shall we think better before promising?
  • What is colder -weather or distance ? (from Murad from prevous project)Actully it was a shame moment when he came and we did not react proper on his appearence and he dissapeared very soon )

Phrases

  • Finding the right words at the right moment is the action

The Monument of Modern Slavery, 2021

The Monument of Modern Slavery

I am contributing to the exhibition disturbance: witch, curated by Alba D’Urbano and Olga Vostretsova at the Center of Contemporary Art (ZAK) / the Citadel Spandau – see a short description attached. The opening reception is scheduled for the 10th of September and I would be happy to welcome you there.

For this exhibition, I am preparing a work entitled „Monument for Modern Slavery“, which is going be an installation that reflects upon phenomena of slavery, which I am developing in dialogue with the international cultural community and the Fashion Revolution movement. Having spent time in Indonesia and witnessed the horrific living conditions of garment workers there and listened to the stories of their exploitation, I had the impulse to create this installation, which displays clothes collected from the art community and hopefully from other communities, on a series of burnt wooden stakes.

I cordially invite you to contribute to this project with the clothes from your own garderobe – those that you might be bored of, or about to throw in the garbage – from one of the big exploitative brands such as H&M, C&A, Adidas, Reebok, Esprit, Marks & Spencer, Patagonia, TimberlandVANS, The North Face, Wrangler, Puma, ASOS, ConverseJordanNike, Primark, COS, Zara, Promod, GAP, TopShop, etc. These clothes will be modified according to my artistic method and placed on burnt wooden pillars reminiscent of medieval stakes for burning “witches”, expressing a common feeling of guilt in face of the oppressed workers You can send or bring the items of clothing directly to the below address, the Citadel in Spandau.

If you want your name or the name of your organization to be mentioned please let me know. You are welcome also to write a bit your thoughts about the subject along the sending the clothes.

Thank you so very much!  

Gluklya

 
 
 
 
Zitadelle
Am Juliusturm 64 
13599 Berlin

 

with mark: Clothes for Gluklya 

 

Links:

 
 
 

The exhibition disturbance: witch

disturbance: witch
Exhibition curated by Alba D’Urbano and Olga Vostretsova
ZAK – Center of Contemporary Art
Spandau Citadel Berlin
Opening reception: Sept 10, 2020, 7 pm
Duration: Sept 11 – Dec 20, 2020

The feminist movement of the 1970s had already made the connection between witches and emancipated women, and the witch became a feminist archetype. Often quoted are the slogans by the Italian feminists, “Tremate, tremate, le streghe sono tornate!” (Tremble, tremble, the Witches have returned!) or “La gioia, la gioia, la si inventa, donna si nasce, le streghe si diventa!” (The joy, the joy, she will be discovered: was born as a woman, became a witch). Sylvia Federici, in her analysis of witch-hunting in connection with the transition from feudalism to capitalism, also describes the solidarity of feminists with witches: “Across ideological differences, the feminists have realized that a hierarchical ranking of human faculties and the identification of women with a degraded conception of corporeal reality has been instrumental, historically, to the consolidation of patriarchal power andthe male exploration of female labor.” (Silvia Federici, Caliban and the Witch: Women, the Body and Primitive Accumulation).

The exhibition disturbance: witch, located at the ZAK (Center for Contemporary Art) of the Spandau Citadel in Berlin, puts into focus disturbing factors that shake deadlocked power relations that are inherent in the character of the witch. The witch, the “abnormal,” the “irrational,” the “magical” and the “inverse” resists rigid role models and structures.
Unfolded within the framework of this international contemporary art exhibition are the aspects of the witch’s character. disturbance: witch does not address the practices of the historical witch nor the practice of magic, rather it analyzes the accompanying attributions to women and queer persons that are used as instruments of exclusion and strategies of a new witch hunt.

Artist list: Jamika Ajalon (US/FR), Emilio Bianchic (AR), Anna und Bernhard Blume (DE), Johanna Braun (AT), Barbara Breitenfellner (AT/DE), Lysann Buschbeck (DE), Alba D’Urbano und Tina Bara (DE), Sarah Decrostoforo (AT), Veronika Eberhardt (AT), Margret Eicher (DE), Parastou Forouhar (IR/DE), Gluklya (Natalia Pershina-Yakimanskaya) (RU/NL), Valerio Fuguccio (IT/DE), Nilbar Güres (TR), Horst Haack (DE), Emily Hunt (AU/DE), Orsi Horváth (HU), Isabel Kerkermeier (DE), Sharon Kivland (GB), Franziska Meinert (DE), Lisl Ponger (AT), Lambert Mousseka (CD/DE), Johannes Paul Raether (DE), Suzanne Treister (GB).

Invitation to new way of sensitivity, 2021

Dear friend!

We, (Hybrid Studio of the Anonymous Doctors ( HSAD)) hope you are well and let us warmly welcome you to our ClinicN2 event!

Meeting ID: 752 7192 3977

Passcode: 4TZ5hE

Hybrid Lecture-Crystal /15 October 2020, 3 pm – 6 pm European time

We are happy to invite you to our oscillatingzoom on 15 October 2020 which is to continue the program of the project “Clinic” dedicated to the research and colonization of the subject of Health.

This time our invited doctor will be Boris Klushnikov, philosopher and art historian based in Moscow.

He will discuss the capacity of crystals as a model of thinking and a natural metaphor for a new way of sensitivity.

Each edge of the Crystal will represent a certain thesis based on the history of the Russian avant-garde, the identity of the crystals in contemporary science fiction, and the ecological ideas of Bruno Latour.

During the process of Lecture-Crystal, we will try to construct the chorovod(round dance in Russian) of the suspense body s, trying to build the choreography with a help of the hand-jewelry. (An art-object), which might help us to create a collective dance of the overcoming contradictions.

The concept of this event appeared from the intention to create the perfopera (performative opera ) Care of the Sun as a response to the legendary opera Victory over the Sun, created by the giants of Russian Vanguard in 2013.

Logistics :

The new Corona rules are requiring not more than 6 people in the room. We are proposing not to take it too much dogmatically, but please let us know if you want to join the session alive or by zoom as soon as you can.

Thank you very much /Hartleijke bedankt /( HSAD)

Here you can find our previous letter of ( HSAD)

Dear friend!

We wholeheartedly invite you to our Hybrid Studio of the Anonymous Doctors ( HSAD) meeting, which will be held on Monday, 17th of August. This will be the very first meeting of art personas, where we are going to discuss the project Clinic.

The idea of this project grows from our current situation with a pandemic, where the topic of health brings the most attention to the system.

The governments are concerned and thus prepare new special methods to control us, our minds, and our hearts. Their plan of controlling our blood flow and the condition of our organs births the response of any creatively-complete persona.

What we can do is to answer to those actions with an equally challenging game!

We are cordially inviting you to become doctors yourself, or to consciously choose the role of a patient and to self-diagnose.

We are sure that the world hasn’t learned about new illnesses yet. They have yet to be documented, and maybe we, the egalitarian group of self-proclaimed doctors and experimentation, are destined to find ways to overcome them.

I believe that many of you might share our belief that every artist is a doctor. In every art-related activity, there is some amount of art therapy. Although we cannot bring the idea of art in general only to the matter of healing, these times dictate what we focus on.

We invite you to participate in the first meeting of the Doctor’s congress, which will be held in a studio at Marnixstraat 150A, 17th of August, starting from 18:00.

Let’s heal each other until our complete Re-Invention of ours every fragilities!

Love ( HSAD)

Carnival of the Oppressed Feelings 2017

Carnival of Opressed Feelings

Michail Bachtin [From Problems of Dostoevsky’s Poetics]

Carnival is a pageant without footlights and without a division into performers and spectators. In carnival everyone is an active participant, everyone communes in the carnival act… The laws, prohibitions, and restrictions that determine the structure and order of ordinary, that is noncarnival, life are suspended during carnival: what is suspended first is hierarchical structure and all the forms of terror, reverence, piety, and etiquette connected with it… or any other form of inequality among people

Carnival of Opressed Feelings happened in Amsterdam in October 2017 .The hybrid of the performance and political demonstration -it is the event summarizing the seria of the workshops and encounters with refuges living at formal prison Baijlmer Bajes. It connected different people together : students ,artists ,activists, academics, people of different ages ,believes and statuses.

COF started  from Bijlmer Bajes and finished at Dam square with several stops on the way.The stops where selected conceptually ,with the idea to tell refugees some alternative story about society or make a small performance. The storys was told by : Sari Akminas( (Journalist from Alepo),Khalid Jone (Activist,We are here),Ehsan Fardjadniya (artist ),Dilyara Valeeva, (Sociologist ,Uva) Erick Hagoort(curator, writer) and others and in the end Gluklya with Theo Tagelaers read the UUU Manifesto.

 

The structure of the performative body of Carnival is referring to the political demonstration  and consists of different parties.

1) Potato Eaters party 

2) Monsters party 

3) Language of Fragility party

4) Recycling prison party 

5) Spirits of history party

 

Carnival last 4 hours and brought together around 150 people.

 

 

Carnival and Dialogue Erik Hagoort, 2017

Carnival and Dialogue

Erik Hagoort, 2018

“Carnival is a pageant without a stage and without a division into performers and spectators. (…). The carnivalistic life is life drawn out if its usual rut, it is to a degree “life turned inside out.”

(Bakhtin 1973, p. 101)

 

These lucid thoughts about carnival by the Russian literary theorist Mikhail Bakhtin (1895-1975) artist Gluklya founded to “defend ”her desire to realize the performance of the Carnival of Oppressed Feelings, which took place on October 28, 2017 in Amsterdam, supported by curating collective TAAK and , Mondrian and AFK Fund .

Bakthin’s interest in carnival is widely known. He especially paid attention to the medieval festival of fools. During this festival the world appeared to be upside down. The king could dress up as a joker, the priest as a buffoon, the servant as a nobleman, the thief as a judge, and they would all mock each other. The festival of fools was not organized as a parade of performers marching while spectators were looking on from the side. The whole of society participated, more or less. It was a parody of reality, a temporary reversal of social hierarchies and roles. For a couple of days. After that the usual relations were restored. Some even say that the festival of fools could only happen or was allowed to happen, because everybody already knew that it would not have a lasting effect: just a play, society holding a mirror to itself, but without consequences.

In Bakhtin’s opinion carnival is not a playful exception; it has continuity, it sustains for real. The feast installs a consciousness of the possibility that society could be upside down, that existing structures are more or less relative or that established roles can be mocked. This awareness is put into practice. After carnival, the costumes are cared for, they are stored and repaired. People soon start to work on making other costumes for next year. New songs are composed, new tricks and jokes. These practices serve to maintain and renew carnival. Carnival is present throughout the whole year.

Bakhtins ideas about carnival makes me think of a connection between carnival and dialogue. Next to carnival dialogue is one of the main topics of Bakhtin’s writings. He invites us to jump from thinking about carnival to thinking about dialogue, and back again. At first sight, this seems rather puzzling. A dialogue does not have much in common with carnival. To have a dialogue, to have a good talk on a matter of importance, to have a meaningful conversation, to learn to understand each other: that seems to be far off an event in which the world appears to be upside down.

In a dialogue you respond to somebody else. In a dialogue you try to articulate in words what you want to express. You are urged to choose your words carefully and to say what you want to say in a way that the other one can get it. In a dialogue you want to understand each other. The conversation partners need to know each other’s use of language and to speak properly, at least to be able to grasp what the other is saying. There is a clear division in roles: when you speak, the other one listens. You don’t speak both at the same time. There is also a clear distance between the conversation partners. There is clarity about who is who: you speak with another person while you see this person face to face and while you concentrate on what the other one says.

Attention, concentration, articulation: this is all very different from carnival. In carnival you don’t need to have a good talk. Carnival is not about understanding each other, it is not about being articulate about what you mean. The more you are involved in the carnival, the less articulate you may become. You drink and dance, you watch and move. You don’t always know who is who. You meet others in disguise. Everybody can speak at the same time, so no one can really hear what the other is saying. In carnival there is no focus, there is no direction. Distraction rules. Roles and positions are allowed to become blurred. And, in carnival expressions are for a big part non-verbal: you communicate with gestures, touch, music, sound, color, costumes, images. The intention of carnival is: carnival.

By reading Bakhtin it becomes apparent that carnival and dialogue might have something in common. A dialogue is not a performance of a dialogue. A dialogue happens as it evolves. It is lived experience. It is a lived experience that you produce together. You yourself and the other with whom you are talking both produce the conversation in which both of you are participating. Just like in carnival. Carnival is also not a performance but a lived experience: “Carnival is not contemplated, it is, strictly speaking, not even played out; its participants live in it”, (Bakhtin 1973, p. 100). People produce the carnival by participating in it. It can only happen because the participants make it happen together.

Carnival and dialogue also share indeterminacy. Even when you have an articulate conversation, this conversation emerges and evolves. It is a provisional, temporary event on which no one of the participants is in full control.

By listening to what somebody else says,

or by responding to what somebody else says,

you both create what otherwise would not be there.

When you speak you can not fix the meaning of your own words.

When you speak you can not define what the other one will do with your words.

This does not mean that you are out of control. No one else than you yourself has the relation to your own words at the moment that you produce them.

The same counts for the other one. Each of you is responsible for one’s own contribution to the conversation. But no one of you owns this conversation, no one of you can have the talk just for him- or herself. A conversation somehow exists not only in your own experience, not only in the other person’s experience either, but outside both of you, it evolves as an extra-experience, an extra-ordinary experience, in which both of you share.

Dialogue is a joint provisional creation. Like carnival. It is provisional, because it is only there at the moment of its realization. Not before and not after. But it may have a lasting impact, not only because a dialogue can make a change in what you think, but also because you can take care of it later, when the dialogue is not there anymore. You can memorize the conversation, you can write it down, you can think it over again, you can develop your thoughts further and then continue the conversation later, when you meet up again with your conversation partner. So although the conversation has ended, it may continue to play a role in your daily life.

So, in carnival and in dialogue we produce the extra-ordinary by participating in it. We care for these extra-ordinary events

when they are not there anymore

when they are not there yet.

Dialogue can be considered a carnivalesque event

Carnival can be considered a dialogical event.

Dialogue as a carnival in words.

Carnival as a dialogue in disguise.

This is the text of a speech by Erik Hagoort by invitation of TAAK

Post-Carnival of the Oppressed Feelings

14 December 2017

Tolhuistuin, Amsterdam

With Maral Noshad Sharifi, Charles Esche, Ehsan Fardjadniya, Erik Hagoort, Gluklya and others.

 

 

Source: Mikhail Bakhtin, Problems of Dostoevsky’s Poetics, translated by R.W. Rotsel, Ardis, USA 1973.

Column of Fragility 2017

Already several years our cultural community of St-Petersburg are celebrating 1 May ,the labor day.It is only the celebraty day which we might imagine to coinside with people outside our community,for example  9 May is the day totally occupied with of nationalists and some other conctellations that we can not imagine we are walking shoulder to shoulder.But 1 May demonstation is growing year to year ,becoming the festival of the progressive forces,new type of performance,which signified about the raising up the critical voice of our community.  

Inspired by Natalie Pershina | Copyright © 2018