A conversation between Gluklya and Knut Birkholz
Living Archive
Two Diaries Yurt (2nd Edition) 2025
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
Criminal Fruit 2021
Field Wives 2023
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.
To Those Who Have No Time to Play 2022-23
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”
No Future But Poems
31.10—30.11.24
Apparatus 22
Gluklya
Ivana Spinelli
made in collaboration by: GALLLERIAPIU and SKALA
Gulmira Fairytales
Video screening at the 25 universally of Citadellartepistoletto,Biella,Italy, 21-25 September 2024
Sanatorium for Seamstresses
commissioned by the Trash-5 festival
Bishkek, Kyrgyzstan
2024
My proposition for the Trash-6 was to connect the problem of Waste with the problem of Class. I think that research on pollution and toxic governmental politicks toward waste can not be progressed without looking at the life and work conditions of people who are working to organize this waste. Within this frame, I focused on the sewing workers, who are producing the clothes for export to Russia and partly China and Kazakhstan. The sewing waste often used to be burned in the city of Bishkek, sadly contributing to the ossified order of things.
The idea of a Sanatorium for Seamstressesis derived from the project Utopian Unemployment Union, started back in 2012. It is the ongoing research on alternative collaborations, aimed to subvert the status quo. Besides the fact of the wrong use of sewing waste by burning it, there a toxic work policies that play an important role in the story.
The proposition is to construct the situation for the encounter of seamstresses and artists aiming to reflect upon the idea of toxic work relationships metaphorically seeing as a waste and the literal unsolved problem with waste as a result of the disproportional spread of the capital, as a implication of the corruption and nepotism, allowing people at power to waste the money which supposed to be for the solving the problem of suffering lower class people from pollution.
Society of the Spontaneous Confessions
Part 1 Presentation of the artistic research Chachacha op het Marinetrein en verder
in collaboration with Robert Stijn
Bau ,Amsterdam