The works of Yana Milev combine pictures and ideas from the realms of art history, the media, film and contemporary popular culture and stage them in imaginative new fictions. Her intercultural and interdisciplinary approach derives from highly conceptual considerations and theoretical superstructures, but also incorporates such physical and practical inspirations as Japanese martial arts.

Central motives in her performances, installations and photographs are the human body on the one hand, and rooms or spaces on the other. They are analysed in terms of their concrete architectural or bodily physicalness, their socio-cultural inscriptions, as well as their estrangement, but then also their potential to transcend the histories they bear and engange in productive interaction.

Milev deliberately confronts elements of the traditional canon and contemporary trash and consumer items to question notions and definitions of Art and genre. But she also investigates continuities and interrelations, e.g. by critically restageing Romanticism.

One underlying force is the interest in story-telling and the investigation of fundamental inter-/human relations, feelings and conditions. Furthermore, her works focus on the body with regard to questions of identity and authenticity, of external and internal constructions and projections of the self and the possibilities inherent in the active and affirmative appropriation of roles or role modes, in a playful manner.