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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.


Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Moving Images / Moving Bodies

 ‘Moving Images Bulgaria-Germany’ is a project by Goethe-Institut Bulgaria, that includes various online and offline initiatives, starting in November 2020. The online program, realised in partnership with blinkvideo, will consist of two curated programmes: “Moving Images / Moving Bodies”, curated by Ludwig Seyfarth, and “Shooting Ghosts”, curated by Krassimir Terziev and Kalin Serapionov.

First the programme “Shooting Ghosts” will give a selected overview of video art in Bulgaria in general. The programme will be accompanied by an in-depth essay by Krassimir Terziev as well as texts by different authors or the artists themselves on individual films.

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

The group show “Antarctica. An Exhibition on Alienation” was presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni referring to a potential glacier melting in the Antarctica and a hint to a film, the two curators from the Kunsthalle Wien, Vanessa Joan Müller and Nicolaus Schafhausen, conceived an exhibition on the topic of alienation and contemporary art. The focus was on the latest contemporary photography and video art by the younger generation of artists.
Image: © Isabella Fürnkäs

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Something Between Us
KAI 10 | ARTHENA FOUNDATION, Düsseldorf

The exhibition „Something Between Us“ focuses on both our contemporary lives and the anthropological constants of interpersonal dealings: love, empathy, security, care and safety on the one hand, and hate, role fixation, dependency, reprimand and exclusion on the other. Something Between Us asks how these structures of togetherness are changing in our digital era.
Thomas Taube OCCIDENT, 2020

REFRACTED REALITIES at VIDEONALE.17

In optics, “refraction” refers to the bending of a beam of light, a change in direction which occurs at the moment when it passes from one medium to another. Through refraction, the light wave alters course, changing the way we perceive the objects it illuminates in the process. This optical deviation requires us to repeatedly correct our gaze, comparing the beginning and end points of our perception with reality, and bringing the object we see clearly into focus. In its figurative sense, refraction refers to a critical reflection on the means and channels of visualization, and by extension the possibility of a rearticulation of our view of things – how they are, were, or apparently always have been.
Image: © Sohrab Hura

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Stefano Miraglia: Hey Blinkvideo members! Here are my eight "must watch" films and videos. Happy to find in this catalogue some of the works that got me interested in artists' moving image when I was a student! (Guillaume Leblon! Daniel Steegmann Mangrané! Marylène Negro!).

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Johan Grimonprez

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities.
image: © Johan Griminprez

Christoph Faulhaber: Revolution & Architecture

With "Revolution & Architecture" Christoph Faulhaber (* 1972 in Osnabrück, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrück. In order to discover the revolutionary aspect of these "architectures", one has to look at the social implications of interior design in general. In the forum the visitor then enters Faulhaber's cinematic autobiography "Every Picture is an Empty Picture" as in the eye of the cyclone: The work is split into 15 individual films and surrounds the visitor in a circle.
Image: © Christoph Faulhaber

Stiftung imai – inter media art institute

The Düsseldorf based foundation imai – inter media art institute was founded in 2006 in order to establish an institution in Germany dedicated to the distribution and preservation of media art and associated activities.
Image: © Marcel Odenbach

Featured videos

Markus Vater
Im Wald (perfect day), 2011

This Animation has developed from a colloboration with the dutch poet Tjitske Jansen. Initially it reacted on a text of hers dealing with memories in her life. All memories were about events in which she didn’t understand the concepts and actions that had happened, but which she understands now.

Pratchaya Phinthong
A proposal to set (work in progress), 2016

A proposal to set CH4*5.75H20 on fire (work in progress) is an ongoing project that explores methane hydrate, an ice compound that has been identified by scientists as an alternative fuel of future energy. Found in large quantities beneath Arctic permafrost, Antarctic ice and sedimentary deposits, methane hydrate releases natural gas when exposed to increases in temperature or decreases in pressure.Gas released by methane hydrates can be lit, which produces a semi-transparent orange and blue flame.This 16 mm film shows samples of methane hydrates.Through the mobilisation and connection of individuals working across geology, science and art, the project generates awareness of methane hydrate, its chemically volatile nature and implications for energy industries.The film itself performs a kind of material transfer, capturing light emitted by the burning samples and projecting it into the gallery space. For Phinthong, each iteration of the project is a form of extraction that makes its subject more widely visible. Filmed by Phuttipong Aroonpheng. Made with the support of Oleg Blouson,Andrey Khabuev and Oleg Khlystov at the Limnological Institute, Irkutsk, Russia.

Ryan Gander
And You Will be Changed , 2014

'And You Will be Changed (Centre Pompidou, Paris)', 2014, follows curator Emma Lavigne around the empty Centre Pompidou in Paris as she presents the viewer with a tour of an empty space that had housed a now uninstalled Pierre Huyghe exhibition. The show is imagined and told by Lavigne as if the artworks were still there. Exhibited: - Pierre Huyghe +/–,The Artist’s Institute, New York, 2014
- Nouveau Festival (5th Edition), Musée d’Art Moderne, Centre Pompidou, Paris, 2014

Deimantas Narkevicius
Ausgeträumt, 2010

The German word ‘Ausgeträumt’ means a state between dream and reality at the point of waking up.The very first creative attempts by any artist are usually very positive, unaffected by criticism, even naive activities. Refering to myself, I had to be absolutely naive to choose to be a visual artist, in the late 80's when in the Soviet Union, everything was falling apart. There was no precedent of success, or an example to follow in the country which was still isolated. With this film I am re-approaching the state of naivety.

Katja Aufleger
LOVE AFFAIR, 2017

Several lights get shot successively. Some crush at once, quiet or with a blast, others seem like trying not to die.

Janet Biggs
Vanishing point, 2009

Luzia Hürzeler
Being in the Picture, 2007/08

Im Bilde sein [Being in the Picture] is a video installation. The monitor stands on a two-meter-high plinth. The video shows a white wall in front of which my head becomes visible, fully or partially, at short or long intervals. I keep jumping up into the picture, making myself visible through physical activity. These efforts become apparent through the sounds. The jumping height, and thus my visibility, decreases over time, until I finally give up through exhaustion.On the occasion of the exhibition “Spazi aperti” this work was displayed in the entrance hall of the Romanian Academy in Rome, where a number of monumental busts are mounted on plinths.

Johanna Reich
Horizon, 2012

The artist is drawing a line onto a white surface. The line reveals the horizon: it separates the sea from the sky. "To draw a line": this phrase already linguistically contains many different meanings. Beginning with the famous line – the one that cannot be crossed politically – via the (guide)line that is also the conceptual standard, to the simple strike placed beneath an addition, these are key points on the spectrum.“When Johanna Reich draws a line with a broad brush onto a wall, additional content comes into play. There is the track which children draw onto the wall with chalk, the traditional artist myth of the line as a vivid track of creative process, and last but not least the powerfully picturesque action of splattering the wall.”(Johannes Stahl)Johanna Reich (*1977 Minden) studied at the Kunstakademie Münster, the HfbK Hamburg and the Kunsthochschule für Medien Köln. She lives and works in Cologne.

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Gluklya (Natalia Pershina Yakimanskaya)

Works


Galleries

Barbara Gross Galerie
Anna Geuder
Theresienstraße 56 Hof 1
80333 München
Germany

Phone: +49 89 296272
E-Mail: contact@barbaragross.de




Statement

Gluklya’s aim is to overcome this chill through the means of art. She founded the collective Factory of Found Clothes with Ogla Egorova (Tsaplya) in 1995 and has been operating it in changing collaborations ever since. With her performative works, she creates encounters between people from different social groups. In her video project Wings of Migrants (2012) young Russian dancers and illegal guest workers from central Asia gather and approach each other carefully through the medium of dance. As they mirror each other’s movements, a dialogue is created that bridges the social and linguistic gaps between the ballerinas, who move in the spheres of high culture, and the migrants, who are pushed to the periphery of society. In The Triumph of Fragility (2002) young marines march through Saint Petersburg. The artists from Factory of Found Clothes have the soldiers carry delicate white dresses in front of them, as if they were something fragile, something “that constitutes the essence of life itself.” A task that the young men fulfill with great earnestness, creating a powerful, alternative image of the military as a place where masculinity is practiced and put to the test.


Biography

Born 1969 in Leningrad
lives and works in St. Petersburg.

In 1995 she and Olga Egorova (Tsaplya) founded the collective Factory of Found Clothes; in 2003 both artists were founding members of the group Chto Delat?. Since 2011 Gluklya has been operating Factory of Found Clothes by herself or in various collaborations. She will be represented this year at the Venice Biennale.

2014
Fellow of The Joseph Brodsky Memorial Fund, awarded a three-month residency in Venice and Rome
2008
Grand prix, “Artist-Citizens,” October Salon, Belgrade (projects realised in cooperation with “Chto delat?” www.chtodelat.org).
Prize, Film festival “Kinoshock,” Anapa, Russia.
2007
Art Prize “Black Square,” Workshops of Art Moscow.
2006
Nifca, residency program.
2004
Residency at Of"ce for Contemporary Art, Oslo.
2003
Jaspis residency, Sweden
2002
Rave Stipendium at Neue Berlinische Kunstverein.
2000
Grants from ProArte Institute, Ford Fondation, St. Petersburg and MamaCash Foundation, Amsterdam.
1995, 1996, 1997 Grants from Soros Contemporary Art Center, St. Petersburg.

Selected solo and group exhibitions and projects:

2015
Art research in GeoAir institution , Tbilisi ,Georgia

2014
Performance “Debates of Division: When The Private Becomes Public” as a part of the public program of the European Biennale of Contemporary Art Manifest 10, St. Peterburg, Russia
Russian performance: a cartography of its history , Garag center of contemporary Art, Moscow
Conference “No Radical Art Actions are going to help here…”
Political Violence and Militant Aesthetics after Socialism. 18-21 September 2014, screning, Saint-Petersburg
Artist talks at Chto delat? school , supported by Roza Luxembourg foundation

2013
Solo show “Utopian Unions,” MMOMA, Moscow
«Final Cut» , performance , MMOMA , Moscow
“Politic of the social in Contemporary art” conference, Tate Modern/screening of “Wings of Migrants” /London/UK
“Living as Form” / Nomadic version /Rendez-vous in boutique/video/ FABRIKA / Moscow
*“Where has communism gone?”/learning play/ Former West / Haus der Kulturen der Welt/Berlin
*“The Translation”/Cabaret Voltaire/Zurich
*“Without Reality There is No Utopia,” Yerba Buena Center for the Arts, San Franciso,CA

2012
Solo show “Wings of migrants,” Akinci gallery, Amsterdam
Group show “Revolution in The Net,” Cable Factory, Helsinki

2011
/Gluklya/ “PENSIONE’S SUPORT,” ART AMSTERDAM.
/in cooperation with Chto delat? group/ “What is to be done? between tragedy and farce,” Smart project space, Amsterdam/Gluklya/ DUMP TIME. For ? practice of Horizontality, Shedhalle, Zurich.
Museo Reina So"a, Madrid, Screening, artist talk.
/Gluklya+Thomas Kasebacher/ “Music here – music there,” Kunsthalle, Brut, Vienna.

2010
“Etats de l-arti"ce at Musée d’Art Moderne de la Ville de Paris.
Second International Queer Culture Festival, St-Petersburg
* THE FIRST URAL INDUSTRIAL BIENNALE OF CONTEMPORARY ART.
*“Chto delat?”/ Vectors of the Possible, BAK, Utrecht.
*“Chto delat?”/ “The Urgent Need to Struggle,” ICA, London.

2009
55 Internationale Kurz"lmtage Oberhausen, Germany.
* “Plug in Nr.51 – Activist Club,” Van Abbe Museum, Eindhoven, Holland.
*Scénes Centrales, TriPostal, Lille, France.
“The Greatest Idiot in New Zealand,” MIC gallery, Snow white gallery, Auckland, New Zealand.
*Invisible borders. Lille, France.
*Contour 2009, 4th Biennial of moving image, Mechelen, Belgium.
*Biennale: 2, Thessaloniki Biennale of contemporary art, Thessaloniki, Greece.
* 11th International Istanbul Biennial.

2008
54 Internationale Kurz"lmtage Oberhausen, Germany.
* Food for thought, art festival, Denmark.
*U-TURN, Quadriennalle of Contemporary Art, Copenhagen, Danmark.
* Artist-Citizens,” October Salon, Belgrade.
*“Frictions and conflicts,” Museum off Contemporary Art, Kalmar, Sweden.
“Inertia, ” W139, Amsterdam, Holland.
Film festival “Kinoshock, ” Anapa, Russia.
“Zoo,” Contemporary City Foundation, Moscow.

2007
* “Progressive Nostalgia,” KUMU Museum Tallin and Centro per l’arte contemporanea Luigi Pecci, Prato, Italy.
Art Mocow Workshops, Moscow.
“Becoming a mother,” Botkyrka Konsthall, Stockholm, Sweden.
53 Internationale Kurz"lmtage Oberhausen, Germany.

2006
*“Self Education, ” National Center for Contemporary Art, Moscow.
* “Contested Spaces in Post-Soviet Art,” Sidney Mishkin Gallery, New York.
“Electric Visions” "lm program screenings at different countries.
“Scarlet sails,” XL Gallery Moscow.

2005
“Human project” (special project in a frame of the 1 Moscow biennale), Central House of Artists, Moscow.
*«Drift. Narvskaja zastava», NCCA, Moscow.
“1960-2000 Collective and interactive works in russian art, ” Tretyakov State Gallery, Krimsky val (special project in a frame of the 1 Moscow biennale)
“Art-Robe:Women artists at the nexus of art and fashion,” UNESCO, PARIS/ (cat.)
* “Russia Redux #1,” Shroeder Romero Gallery, NEW YOURK /USA.
“Kronstadt FOREVER, ” site-speci"c project, Kronstadt.
International Bienale of contemporary art National Gallery in Prague /Installation “The Strange people never Surreneder.”
HABITAT – VI International Art Exhibition Museum of Contemporary Art (Department of the National Museum in Szczecin).

2004
“Boys and Girls,” Zachenta Gallery, Warsaw (cat.)
“Watch out! Contemporary art from St.Petersburg and Moscow,” Contemporary art Museum, Oslo.
“Garden for the businessmen,” performance, Stokholm.
Dusseldorf residence /Kulturamp, pfoto-performance in KAUFOV.
Bath Art Gallery/ England, Shop of the Utopian Clothes /Installation.

2003
“Life! Aktuelle Kunst aus Petersburg” Forum Stadpark, Graz (cat.)
“Horizons of reality,” MuHKA, Antverpen (cat.)
49 Kurz"lm festival in Oberhausen, Germany (cat.)
“New Start. Contemporary Art from Moscow,” Kunsthalle, Dusseldorf (cat.)
“Projection,” Center for Contemporary Art, Nigny Novgorod.
“The Whites’ Psychoanalytical Room,” XL Gallery, Moscow.
“A New Begining” Kunsthalle Dusseldorf /catalog.
“PLUNDER” culture as material, Dundee Contemporary Arts. Scotland UK.

2002
“Baltic Babel,” Rooseum Center for Contemporary Art, Malmo.
“Davay,” Russian Art Now. Berlin -Vienna /catalogue.
“Snegurochka,” Zachenta Gallery, Warsaw /catalogue, curator Magda Kardash.
“Female Art,” Female artists in Russia of XV -XX centuries, catalogue.Tretyakov Gallery.
Moscow.

Gluklya (Natalia Pershina Yakimanskaya)
Born 1969 in Leningrad lives and works in St. Petersburg. In 1995 she and Olga Egorova (Tsaplya) founded the collective Factory of Found Clothes; in 2003 both artists were founding members of the group Chto Delat?. Since 2011 Gluklya has been operating Factory of Found Clothes by herself or in various collaborations. She will be represented this year at the Venice Biennale. 2014 Fellow of The Joseph Brodsky Memorial Fund, awarded a three-month residency in Venice and Rome 2008 Grand prix, “Artist-Citizens,” October Salon, Belgrade (projects realised in cooperation with “Chto delat?” www.chtodelat.org). Prize, Film festival “Kinoshock,” Anapa, Russia. 2007 Art Prize “Black Square,” Workshops of Art Moscow. 2006 Nifca, residency program. 2004 Residency at Ofce for Contemporary Art, Oslo. 2003 Jaspis residency, Sweden 2002 Rave Stipendium at Neue Berlinische Kunstverein. 2000 Grants from ProArte Institute, Ford Fondation, St. Petersburg and MamaCash Foundation, Amsterdam. 1995, 1996, 1997 Grants from Soros Contemporary Art Center, St. Petersburg. Selected solo and group exhibitions and projects: 2015 Art research in GeoAir institution , Tbilisi ,Georgia 2014 Performance “Debates of Division: When The Private Becomes Public” as a part of the public program of the European Biennale of Contemporary Art Manifest 10, St. Peterburg, Russia Russian performance: a cartography of its history , Garag center of contemporary Art, Moscow Conference “No Radical Art Actions are going to help here…” Political Violence and Militant Aesthetics after Socialism. 18-21 September 2014, screning, Saint-Petersburg Artist talks at Chto delat? school , supported by Roza Luxembourg foundation 2013 Solo show “Utopian Unions,” MMOMA, Moscow «Final Cut» , performance , MMOMA , Moscow “Politic of the social in Contemporary art” conference, Tate Modern/screening of “Wings of Migrants” /London/UK “Living as Form” / Nomadic version /Rendez-vous in boutique/video/ FABRIKA / Moscow *“Where has communism gone?”/learning play/ Former West / Haus der Kulturen der Welt/Berlin *“The Translation”/Cabaret Voltaire/Zurich *“Without Reality There is No Utopia,” Yerba Buena Center for the Arts, San Franciso,CA 2012 Solo show “Wings of migrants,” Akinci gallery, Amsterdam Group show “Revolution in The Net,” Cable Factory, Helsinki 2011 /Gluklya/ “PENSIONE’S SUPORT,” ART AMSTERDAM. /in cooperation with Chto delat? group/ “What is to be done? between tragedy and farce,” Smart project space, Amsterdam/Gluklya/ DUMP TIME. For ? practice of Horizontality, Shedhalle, Zurich. Museo Reina Soa, Madrid, Screening, artist talk. /Gluklya+Thomas Kasebacher/ “Music here – music there,” Kunsthalle, Brut, Vienna. 2010 “Etats de l-artice at Musée d’Art Moderne de la Ville de Paris. Second International Queer Culture Festival, St-Petersburg * THE FIRST URAL INDUSTRIAL BIENNALE OF CONTEMPORARY ART. *“Chto delat?”/ Vectors of the Possible, BAK, Utrecht. *“Chto delat?”/ “The Urgent Need to Struggle,” ICA, London. 2009 55 Internationale Kurzlmtage Oberhausen, Germany. * “Plug in Nr.51 – Activist Club,” Van Abbe Museum, Eindhoven, Holland. *Scénes Centrales, TriPostal, Lille, France. “The Greatest Idiot in New Zealand,” MIC gallery, Snow white gallery, Auckland, New Zealand. *Invisible borders. Lille, France. *Contour 2009, 4th Biennial of moving image, Mechelen, Belgium. *Biennale: 2, Thessaloniki Biennale of contemporary art, Thessaloniki, Greece. * 11th International Istanbul Biennial. 2008 54 Internationale Kurzlmtage Oberhausen, Germany. * Food for thought, art festival, Denmark. *U-TURN, Quadriennalle of Contemporary Art, Copenhagen, Danmark. * Artist-Citizens,” October Salon, Belgrade. *“Frictions and conflicts,” Museum off Contemporary Art, Kalmar, Sweden. “Inertia, ” W139, Amsterdam, Holland. Film festival “Kinoshock, ” Anapa, Russia. “Zoo,” Contemporary City Foundation, Moscow. 2007 * “Progressive Nostalgia,” KUMU Museum Tallin and Centro per l’arte contemporanea Luigi Pecci, Prato, Italy. Art Mocow Workshops, Moscow. “Becoming a mother,” Botkyrka Konsthall, Stockholm, Sweden. 53 Internationale Kurzlmtage Oberhausen, Germany. 2006 *“Self Education, ” National Center for Contemporary Art, Moscow. * “Contested Spaces in Post-Soviet Art,” Sidney Mishkin Gallery, New York. “Electric Visions” lm program screenings at different countries. “Scarlet sails,” XL Gallery Moscow. 2005 “Human project” (special project in a frame of the 1 Moscow biennale), Central House of Artists, Moscow. *«Drift. Narvskaja zastava», NCCA, Moscow. “1960-2000 Collective and interactive works in russian art, ” Tretyakov State Gallery, Krimsky val (special project in a frame of the 1 Moscow biennale) “Art-Robe:Women artists at the nexus of art and fashion,” UNESCO, PARIS/ (cat.) * “Russia Redux #1,” Shroeder Romero Gallery, NEW YOURK /USA. “Kronstadt FOREVER, ” site-specic project, Kronstadt. International Bienale of contemporary art National Gallery in Prague /Installation “The Strange people never Surreneder.” HABITAT – VI International Art Exhibition Museum of Contemporary Art (Department of the National Museum in Szczecin). 2004 “Boys and Girls,” Zachenta Gallery, Warsaw (cat.) “Watch out! Contemporary art from St.Petersburg and Moscow,” Contemporary art Museum, Oslo. “Garden for the businessmen,” performance, Stokholm. Dusseldorf residence /Kulturamp, pfoto-performance in KAUFOV. Bath Art Gallery/ England, Shop of the Utopian Clothes /Installation. 2003 “Life! Aktuelle Kunst aus Petersburg” Forum Stadpark, Graz (cat.) “Horizons of reality,” MuHKA, Antverpen (cat.) 49 Kurzlm festival in Oberhausen, Germany (cat.) “New Start. Contemporary Art from Moscow,” Kunsthalle, Dusseldorf (cat.) “Projection,” Center for Contemporary Art, Nigny Novgorod. “The Whites’ Psychoanalytical Room,” XL Gallery, Moscow. “A New Begining” Kunsthalle Dusseldorf /catalog. “PLUNDER” culture as material, Dundee Contemporary Arts. Scotland UK. 2002 “Baltic Babel,” Rooseum Center for Contemporary Art, Malmo. “Davay,” Russian Art Now. Berlin -Vienna /catalogue. “Snegurochka,” Zachenta Gallery, Warsaw /catalogue, curator Magda Kardash. “Female Art,” Female artists in Russia of XV -XX centuries, catalogue.Tretyakov Gallery. Moscow.

Gluklya (Natalia Pershina Yakimanskaya)
Wings of Migrants

Artist Gluklya (Natalia Pershina Yakimanskaya)
Year 2012
Duration 21:53 min
Technical info HD video film, color, sound
Contact
Barbara Gross Galerie
Anna Geuder
Theresienstraße 56 Hof 1
80333 München
Germany

Phone: +49 89 296272
E-Mail: contact@barbaragross.de

About the video

The Wings of Migrants, a social and critical video project, is concerned with searching and exploring additional tools for intercultural exchange amid the total and dramatic Russian conflict of ethnocultural positions. For that purpose the authors (director Natalya Pershina and procuder Olga Sezneva) turn to the most archaic layer of human culture: dance. Migrant workers from Uzbekistan and Tajikistan who have become in recent years the main slave force on the markets of the wild Russian capitalism, enter a dancing exchange with young and progressive majority language speakers. By all appearances, the ones understand fairly well the others.

The dance is represented as the opposite to the fear of the other. This is what dance has in common with laughter that overcomes fear in ludic and poetical contexts. So it is no coincidence that the figure of fear in the Wings of Migrants project is represented by an out-of-job Russian worker, speaker of the dominant language and of the discourse of power. He accuses the Uzbeks of his problems and this inevitably pushes the migrants into the sphere of the language that has a ‛low-class’ status in today’s Russian culture. And the dance grows from below there, expands and then breaks off, reminding of a medieval carnaval with its inversion of the low and the high and its tendency to eliminate the strict opposition between the two.

Courtesy the artist and Galerie AKINCI, Amsterdam

Gluklya (Natalia Pershina Yakimanskaya) - Wings of Migrants
The Wings of Migrants, a social and critical video project, is concerned with searching and exploring additional tools for intercultural exchange amid the total and dramatic Russian conflict of ethnocultural positions. For that purpose the authors (director Natalya Pershina and procuder Olga Sezneva) turn to the most archaic layer of human culture: dance. Migrant workers from Uzbekistan and Tajikistan who have become in recent years the main slave force on the markets of the wild Russian capitalism, enter a dancing exchange with young and progressive majority language speakers. By all appearances, the ones understand fairly well the others.The dance is represented as the opposite to the fear of the other. This is what dance has in common with laughter that overcomes fear in ludic and poetical contexts. So it is no coincidence that the figure of fear in the Wings of Migrants project is represented by an out-of-job Russian worker, speaker of the dominant language and of the discourse of power. He accuses the Uzbeks of his problems and this inevitably pushes the migrants into the sphere of the language that has a ‛low-class’ status in today’s Russian culture. And the dance grows from below there, expands and then breaks off, reminding of a medieval carnaval with its inversion of the low and the high and its tendency to eliminate the strict opposition between the two.Courtesy the artist and Galerie AKINCI, Amsterdam

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