понеделник, 18 април 2016 г.

вторник, 5 март 2013 г.

CENSORED - Art project Georgi Yamaliev

Art Project
autor: Georgi Yamaliev 
Credo Bonum Gallery, Sofia, Bulgaria

The project explores the interconnection between the hierarchical dependence in the world of art and the acts of censorship imposed by particular institutions or persons. The interest in this topic is provoked by my personal experience with censorship in the Ifitri resident program in Morocco and my participation in the International Biennial of Contemporary Art in Casablanca in 2011. With one argument or another all Bulgarian participants in the international event were censored. Their works were either removed from the exposition or altered in accordance with the wishes of the organizers, so as not to cause unnecessary trouble. Some of the censored authors are pictured in the portraits included in my current project. The black rectangle, which is probably the oldest symbol of censorship and control over artwork and other forms of human expression, is used as key element in the project. By definition, censorship means suppression of free expression or another type of public communication which may be considered objectionable, harmful, sensitive, or embarrassing as determined by some institutions, the media or other controlling body. Hence the relationship between censorship and subordination. The subordination of the levels within an organisation represents a hierarchical relationship between them. The basic meaning of subordination is dependency, hierarchy. In this sense every artist strives for a certain type of sovereignty, for the opportunity to have the freedom to do whatever they want, but this sovereignty is probably mythical, because it is constantly attacked, restrained, contested, circumvented or misappropriated by the art market, the state and the art industry. Artists are forced to comply with rules generated by the increasing dumbing down of art, by the economic forces of the market, the imposed principles and concepts and the complex interrelations between the various units in the system. All this also gives rise to the questions about who and why has the right to control and censor, how far-reaching are the limits of intervention and to what extent is the modern artist independent and free to express their ideas without adapting to and complying with the dominant market rules and tastes?

неделя, 5 август 2012 г.

Caught on hook - Video-Installation

This Installation is part of WATER TOWER ART FEST 2012

in VIVACOM ART HALL 23-30.07.2012
Autor: Georgi YAMALIEV

Хванати на въдицата
Във все по-комерсиализиращия се свят, непрекъснато сме атакувани и примамвани от реклами за кредити, чиято цел е да бъдем хванати като риби, безпомощни, зависими и обезличени. В новия световен ред истинската власт е в ръцете на шепа хора, които определят хода на пазарите. Финансовите мегакорпорации и техните инвестиционни банки успяха да променят правилата в своя полза. Абсолютната свобода на капиталите поставя началото на нов вид подчиняване на гражданите. Фетишизацията на паричните отношения е особено застъпено в съвременната ценностна парадигма, която абстрахира хората като егоистични социопати, мотивирани от ненаситен стремеж за натрупване и консумиране за сметка на другите и природната среда. Проблемът е в самата система, която създава корупцията, монополизма и лобизма за корпоративни и финансови интереси, насърчава лъжата, манипулацията, неравенството, страха, отчуждението, йерархичността, насилието, непрестанните антагонизми, омразата и страха, и в крайна сметка вкостенява участниците във влудяваща социална система с прогресивно намаляващи степени на свобода.Тази инсталация е вид протест срещу социалното неравенство и прекомерната алчност.

Caught on hook
In an increasingly commercialized world, we are constantly attacked and lured by advertisements for loans intending to catch us like fish, helpless, dependent and characterless. In the new world order the real power is in the hands of a handful of people who set the pace of the markets. Financial big corporations and their investment banks managed to change the rules in their favor. Absolute freedom of capital marked the beginning of a new kind of subordination of citizens. The monetary relations as a fetish figure prominently in the modern paradigm of values that influence people as selfish sociopaths motivated by an insatiable desire for the accumulation and consumption at the expense of others and the environment. The problem is the system that creates corruption, monopoly and lobbying for corporate and financial interests; encourages lying, manipulation, inequality, fear, alienation, hierarchy, violence, continued antagonism, hatred and fear, and ultimately entrap participants in a maddening social system with progressively decreasing levels of freedom. This installation is a kind of protest against social inequality and excessive greed.

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