Our project has its origin in a real story. Our friend has told us about her husband who had been fired and was so terrified that run away to his mother’s place. He was ashamed to look in his wife’s and children’s eyes as it is said: ‘A man without a job is like a horse without a saddle’. The wife and children kept telling him: ‘We love you the way you are, we don’t care if you’ve got a job or not’. But he was devastated. He started drinking and nearly became a drunkard, but suddenly a miracle happened. He found a new job, his wife started working too and the story had a happy ending.. (more…)
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
In 2004 in Stockholm, Gluklya and Tsaplya mounted The Garden for Businessmen, a performance involving 12 businessmen, which posed the questions, as Gluklya puts it: “What is this person except his profession? Is there any life except their business? Who are they as a human? That’s why we proposed to make a kind of dance, with them holding little girls’ dresses representing the more vulnerable, more fragile, part in them.”
The interplay between performance and sculptural object is played out in Garden for Businessman’ where immaculately suited professionals extemporize and perform with children’s clothing in a quintessentially modern corporate environment. In both cases the protagonists play a central role in determining the nature of the work, which again explores the complex interplay between a sensitive, internal humanity and its public face. Like the naval cadets, the businessmen, contemporary symbols of power and authority, express potential layers of tenderness and even powerlessness in a personal theatre of dress play’. They are helplessly drawn into a paradigm perhaps to some degree beyond their grasp; becoming signifiers of an agenda sadly alien to the world of business.
Father Transition and the Chorus
Father-transformer and children chorus. Performance 30 min 2009
Performance and opening of 55th Oberhausen, Festival.
We did our research for this performance by interviewing unemployment fathers. The father in the first part is a working father repeating, ” “I have to work, I have to work”, then he becomes unemployment. The children react differently. It’s about relations between fathers faced by society and children.