Never Forever

Never Forever
2015, installation, ICA Sofia Gallery

“The one-artist show of Iskra Blagoeva in ICA-Sofia Gallery is woven out of contradictions. The artist is relaying on visual impact while at the same time composing her objects as obvious or hidden references, hints and quotations waiting to be deciphered.
The used light and color are symptomatic. They are reorganizing the very space of the gallery. The allover glamour of the environment is invaded by text. The fishing pole is marked as a S&M accessory; the musical “merry-go-round” is small and suspended from the ceiling like those toys over a baby’s cradle. It shines and glistens in a fury of pseudo-Swarovski utensils from the beauty markets. The rose neon sign “Never Forever” insistently introduces a hint of whining for the unfulfilled eternal love, happiness, beauty, youth…
The overly beautified atmosphere which the artist has created is triggering the sensation of pretense, and the feeling of unrest and insecurity. Passion and frustration, emptiness and satiation, the feminine and the “lady’s” characteristics are contesting each other as a commentary on the gender identity. The woman envisioned in the show is a product – of gossip and the laic opinion, of media generalizations and statistical manipulation, of misunderstanding and lack of respect, of her own insecurity.”

Iara Boubnova, curator

The work has four components:

01: “Dizziness is not Fear” is a children’s music toy, like the once put above the baby’s cot. It plays the popular song “Love me tender”, attracting the viewers with the shining, artificial, obviously cheep and kitschy jewelry.

 

02: “Emma, Don’t Jump in Neva!”
A fishing rod, turned into a strange whip. The work is dedicated to Emma Goldman, who is known as a rebel, an anarchist, an ardent proponent of birth control and free speech, a feminist, a lecturer and a writer. When Emma was a young girl she witnessed a peasant being whipped with a knout  in the street. This event traumatized her and contributed to her lifelong distaste for violent authority. In 1885 Goldman wanted to join her sister, who made plans to move to New York, but their father refused to allow it. Desperate, Goldman threatened to throw herself into the Neva River if she could not go.

Collaboration with Neva Balnikova

 

03: A red curtain framing the whole space. The title “Problema YYY” refers to the PMS (premenstrual syndrome) which in 90’s has been declared as a disease mostly due to the policy of the drug companies developing a new market. The piece is based on the research of Julia T. Wood in her book Gendered Media: The Influence of Media on Views of Gender. She describes the problem as follows – “Facts aside, the myth has cough on, carrying in its wake women and men who now perceive normal monthly changes as abnormal and as making women unfit for positions of leadership and authority. Another consequence of defining PMS as a serious problem most women suffer is that it leads to labeling women in general as deviant and unreliable, an image that fortifies long-held biases against women.”

04: “Never Forever”, pink neon

photo: Kalin Serapionov

What is Love Without Magic?

What is Love Without Magic?
2013, text and audio files

I invited three psychologists, to analyze the human relations which lie beyond the spell and which would be revealed by “removing” it:
Darin Tenev (Literary critic interested in psychology, Professor at Sofia University, Bulgaria)
Cesare Pietroiusti (Professor of Fine Arts, Psychologist)
Radoslav Ivanov (Clinical psychologist, member of the Bulgarian Society of analytical psychology “K.G.Jung”)
Their analyses of the spell are collected in a folder, which accompanies the text on the wall.

“A Love Spell”
This is done in the following way: On a full moon night, when everybody is asleep, a woman well-versed in charms strips stark naked and in complete silence kneads and bakes a round loaf, without anyone noticing her. Then, still naked, she goes to a stackyard or a meadow, puts the loaf in the middle and has a bowel movement in three spots on its rim. Then she starts making all sorts of gestures and bodily movements, keeping her gaze on the full moon and beckoning it. The moon begins to darken in the sky and like a strange light starts descending to the ground, towards the loaf. The closer it gets to the ground, the more it looks like a nice roan cow, which finally puts its hooves on the round loaf. The woman milks red milk from the cow into a pot. Then she starts making gestures and bodily movements again, as if to take the cow back. The latter starts going back, its cow appearance gradually fading away and eventually appearing in the sky in its real form. Then the woman goes back home, kneads a new loaf with the red milk she had milked from the moon and only then she puts her clothes on. All should be done on a single night, all alone and in complete silence, and the woman should be golopara (stark naked). A piece of the moon milk loaf should be somehow given to a lad who does not love a particular girl, so that he loves her and makes her his wife, or to a maid who does not love a lad.”

The text was found in the book Collection of Folk Mindings and Folklore by brothers Dimitar and Kostadin Molerov, edited by Acad. Romanski and published in Sofia / Bulgaria in 1954.

text: Radoslav Ivanov
voice: Leonid Jovchev

text: Darin Tenev
voice: Gerassim Slavov

text: Cesare Pietroiusti

Can you feel this, princess?

Can you feel this, princess?
2013, 180x70cm, foam matress, 28 epilators

The work refers to the popular fairy tale The Princess and the Pea by Hans Christian Anderson. The object is shaped like a Fakir’s bed of nails, insinuating discomfort, pain and at the same time infantile naivité. It is a comment on the demands on the contemporary beauty industry and the phantasmal world of Barbie culture.

Common Goods for Public Wealth

Common Goods for Public Wealth
2013, take away sculpture in public space
Sofia Contemporary Festival, Bulgaria

Not so long ago the notion of Common was embodied in the official stat policy. In the post communist society the atempts for establishment of privat spaces and ownership prevalied ,wich reflected the relations between people- they ended alienated, daily compeating each other. Even concidering myself pessimist and nihilist in general,I believe the idea of commonwealth is based on a simple common sence.

photo: Dimitar Solakov

Untitled

Untitled
2013, sound installation, at Vaska Emanuilova Gallery’s Toilet
collaboration with Mihail Novakov & Kamen Dimitrov

Every Revolution Was Put In A Frame

Every Revolution Was Put In A Frame
2013, A Collaborative Non-Act of Iskra Blagoeva and Övül Durmuşoğlu

Male authors and authorities white
With their rule books open wide
Klink! They have dollar eyes
Only think of profit when you mention rights

Just remain leaping into that void baby
Heyyeah heyyeah
Free is your main question
Sometimes non-act is the best supermario act

Male authors and authorities white
They love parceling open access
Those were the days babe when they said
How transparent are our democracies

Male authors and authorities white
Wizzz! Then and now reboots capital worship
Occupy your moment and expand baby
That’s what all the wise queerness demands

Just remain leaping into that void baby
Heyyeah heyyeah
Common is your main question
Sometimes non-act is the best supermario act

Refrain
If we are born to die, we are free to share and free to write
If we are born to die, we are free to share and free to write
If we are born to die, we are free to share and free to write
If we are born to die, we are free to share and free to write

text: Övül Durmuşoğlu

photo: Mihail Novakov

Mini Manifest

MINI MANIFEST
2012, collaboration with Stela Vassileva, text

 

The collaborative practice of Iskra Blagoeva and Stella Vassileva emerged in 2012 as a reaction to the profound frustration with the constant state of crisis in the cultural sphere — a crisis that had become normalized. This is a crisis of institutions, of funding, of the art market, but also of the very understanding of what art is and what its value might be. In the same year, the two artists distributed a manifesto in the form of flyers, calling on colleagues and like-minded peers to embrace complete inaction — a radical gesture of resistance against the destructive forces that push art and culture into the shadowy, mediocre margins of social life.

Stefka Tzaneva, curator