Installation ММОМА/Moscow/2013
Wings of Migrants. A transparent reseach
Wings of Migrants
| September 8 – October 13, 2012 Opening September 8, 5 – 7 pm |
 |
| Gluklya – Wings of Migrants | |
 |
|
| Gluklya, ‘Wings of Migrants’, 2012, still from video | |
| AKINCI proudly announces the first exhibition of Factory of Found Clothes (FFC) presented by the Russian artist Gluklya (Natalia Pershina-Yakimanskaya) with the project ‘Wings of Migrants’.
This project by Gluklya is presented at AKINCI as a ‘transparent research’ and focuses on migrants who come to Russia from the former Soviet Union. Migrants are often used as unskilled and low-paid workers, as a rule displaced to the periphery of society. This closure is determined by the deprived and often illegal status of migrants, as well as by the culture and language differences. The film ‘Wings of Migrants’ which forms part of the show, is a collective collaboration with the “No dance company” in St-Petersburg. It started from the idea to create a long term project: ‘Theatre for migrants’. There is a historical link to the ‘Proletkult theatre’ (1920) of Ezenshtain and Tretyakov, who went to the GAZ factory (Gazovii Zavod) to play theatre. The idea of FFC was to create an encounter with dancers and migrant workers in order to invite them to become part of an utopian situation where they all can exist together in an equal position. The film was realized in one of the oldest factories in St-Petersburg. The film ‘Wings of Migrants’ was supported by the Institute for Migration and Ethnic Studies, UvA and co-produced with Dr. Olga Sezneva. Financial support also came from Hugh Scott (Adventures of seeing), free lance curator from the UK and Leyla Akinci, Amsterdam. Special thanks go to the great artist and feminist, Susan Morlan from the UK, as well as all who participated in the research : No Dance Company, Olga Denisova, Andrei Yakimov from Memorial, Aya Yakimova, Urii Shtopakov , Tsaplya Egorova, Angelika Artuh, and others. On September 27th at 7 pm AKINCI will host a round table discussion focusing on issues connected to the use of aesthetics in exploring and intervening in socio-political realities with: Gluklya (Natalia Pershina-Yakimanskaya), artist, founding member of FFC and member of Chto Delat? Olga Sezneva, Assistant Professor of Sociology and Co-director of IMES, UvA Gluklya (Natalia Pershina Yakimanskaya) works within two collectives (since 1995 she collaborates with Olga Eorova (Tsaplya) in ‘The Factory of Found Clothes’ and since 2003 Gluklya is part of the artist group ‘Chto delat?’) as well as doing her own research, combining performance, environmental works, situationist actions, video, and direct contact. Glukly’s work has been exhibited in Russia and abroad, including the MUMOK, Vienna (2012). the Staatliche Kunsthalle Baden Baden (2011), Shedhalle, Zurich (2011), SMART Project Space, Amsterdam (2011), Museo Reina Sofia, Madrid (2011), Kunsthalle, Vienna (2011), ICA, London (2010), Van Abbemuseum, Eindhoven (2011 & 2009), Thessaloniki Biennale (2009), Museum of Contemporary Art, Kalmar (2008), Botkyrka Konsthall,Stokholm (2007), National Center for Contemporary Art, Moscow (2006), National contemporary art museum Oslo (2005) |
|
| AKINCI • LIJNBAANSGRACHT 317 • NL–1017 WZ AMSTERDAM • T +31(0)20 638 04 80 • INFO@AKINCI.NL • WWW.AKINCI.NL |
Wings of Migrants in Amsterdam – Preparing
Installation Amsterdam, Pensioner’s Resist
SHELTERS FOR MIGRANTS
“Fragility And Power” Installation in ICA /Chto Delat Project
THE GREATEST IDIOT OF NEW ZEALAND
Strange people Never Surender, 2005
1th Prague Bienniale – curator Aleksandra Arhipova, Moscow
The Strange Never Give Up
Installation, 2005
The installation consists of a) a table with photographs of the “Strange”. Notes and commentaries, written by hand, b) a clothes-hanger with clothes of a special design, projected to reflect the inner world of the “Strange”. Strolling around Narvskaya Zastava, you can find them everywhere. They are everpresent, coursing through the world’s capillaries like blood cells. Usually, the beauty of the “Strange” goes unnoticed, even if there are far more of them than people who live on the borderline, who have nothing left in common with society at large, such as the homeless, lying around on the asphalt, the “Full-Blues”*, who are hardly strange at all; instead, they provoke feelings of horror, pinching sorrow, pity, or anger. The “Strange”, however, provoke a feelings of surprise and exaltation, maybe because these people continue to exist, despite the inescapable poverty of their fate. Just look at how they dress! Their clothing is armored plating, designed to defend us from the heaviness of reality! There can be little doubt that the life of the Strange is reflected in their costumes. I swear: these people are far freer than the “Full-Blues” or that the “Well-Dressed”. The slight madness of the Strange eloquently tells us that they live in their own world; often, they march forward at a determined pace, busily carrying their burden in an elegant plastic bag…
Utopian Clothes Shop 2004
107 Fears
107 FEARS
INSTALLATION AND PERFORMANCE IN THE ATTIC OF THE STATE HERMITAGE DEDICATED TO LOUISE BOURGEOIS
ST. PETERSBURG 2001
The installation consisted of oversize white dresses with images of internal organs taken from an anatomy atlas printed on them.
The performance was conducted in the style of a fashion show, with young, old and pregnant women, handicapped people, the stars of the St. Petersburg art scene, poets, transvestites and sailors as participants. They carried internal organs made from real food, which where placed in the tables and have eaten up with the great relish by spectators. The soundtrack for the show was composed as the list of human fears made by a psychoanalyst and read by an electronic voice.
Hermitage, Russia, 2001