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Me Myself & I - Release your true Image
Frida meets Dr. Tina Alexander
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title: Frida meets Dr. Tina Alexander vol.1 (1-4) block: Me Myself & I - Release your true Image |
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2006 lambda on aludibond behind 2mm acrylic-glass 170x120 cm each
title: Frida meets Dr. Tina Alexander vol.2 block: Me Myself & I - Release your true Image 2006 lambda on aludibond behind 2mm acrylic-glass 120x170 cm
title: Frida meets Dr. Tina Alexander vol.3 block: Me Myself & I - Release your true Image 2006 lambda on aludibond behind 2mm acrylic-glass 170x120 cm
References: 
Painting by Frida Kahlo Salma Hayek as Frida Kahlo, “Frida”, Film by Julie Taymor, 2003 The whole body of works entitled “Me Myself and I” is dedicated to the subject of constructions of the “I”. Yana Milev is interested in the experience of facets of the “I”, which are activated by meetings with other figures (from film and media). In this, the question always remains open who or what the “I” really is and according to which patterns it actually operates. This topic touches several debates about “identity” and the “free will”. In the series figures meet who would usually never encounter each other. - In the pictures of Yana Milev, the idea of the historical Frida meets Dr. Tina Alexander, a doctor of plastic surgery. At Frida's feet there is a gallery of breast implants and medical instruments. The Diego-puppet stands as a symbol of Frida's symbiosis with Diego Rivera, as well as for her accident trauma, which becomes clear in many of her paintings and drawings. The result in the sequences of pictures is actually a grotesque. For neither the breast implants of plastic surgery, nor the options of reproductive medicine can really help Frida Kahlo, whom this serious accident left paralyzed. Both figures are involved in a slightly helpless conversation, marked by minimal gestures, in search of a wonder.
Realization: idea, production, director, accouterment: Yana Milev performance: Yana Milev, Tina Alexander Make up & Hair Styling: Christa Raqué photos by Philipp Beckert |
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Trinity meets The Bride | |||||||||||
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title: Trinity meets The Bride vol.1 (1-5) block: Me Myself & I - Release your true Image | |||||||||||
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2006 lamda on Aludibond behind 2 mm acryl-glass 170x120 cm each
title: Trinity meets The Bride vol.2 block: Me Myself & I - Release your true Image 2006 lamda on aludibond behind 2 mm acryl-glass 170x120 cm
title: Trinity meets The Bride vol.3 block: Me Myself & I - Release your true Image 2006 lamda on aludibond behind 2 mm acryl-glass 170x120 cm
References: 
Anne-Carie Moss as Trinity in “The Matrix” Uma Thurman as The Bride in “Kill Bill” The whole body of works “Me, Myself and I” is dedicated to the topic of constructions of the “I”. Yana Milev is interested in the experience of facets of the “I”, which are activated by meetings with other figures (from film and media). In this, the question always remains open, who or what the “I” really is and according to which patterns it actually operates. This topic touches several debates about “identity” and the “free will”. In the series, figures meet, who would usually never encounter each other. - In the picture, the imitated film figure “Trinity” from The Matrix encounters the imitated film figure “The Bride” from Kill Bill. Both fight against imaginary enemies and finally, in the central picture, against themselves. Therewith, two figures from the storybooks of two different films are set on each other. On the other hand, those figures also present something, which every woman would like to possess. A role play for adults and not without humour. Never tease a woman!
Realization: idea, production, director, accouterment: Yana Milev performance: Yana Milev, Tina Alexander Make up & Hair Styling: Christa Raqué photos by Philipp Beckert |
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The Storytellers Return |
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title: romantica vol.1 (1-4) block: the storytellers return |
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2005 lamda on aludibond behind 2 mm acrylic-glass 170x120 cm each
title: romantica vol.2 (1-2) block: the storytellers return 2005 lamda on aludibond behind 2 mm acryl-glass 170x120 cm each
title: romantica vol.4 block: the storytellers return 2005 lamda on aludibond behind 2 mm acryl-glass 170x120 cm
References: 
Caspar David Friedrich, Winterreise, 1831 “BURST” (dance movie). Director: Reynir Lyngdal. Choreography: Katrin Hall. ©2003 In the series “romantica”, historic and contemporary quotations of the Romantic period are used in a new story. The historic quotations here are based on a place stylized by Caspar David Friedrich into Romanticism. Through his paintings “Winterreise” and “Ruinen in der Abenddämmerung”, the cloister Altzella became an icon of Romantic picture conception. The contemporary quotations of the Romantic here are depiced in the form of alpinism as icon of the modern preparedness to take high risks and the yearning for new levels of experience on the one hand, as well as the escapism towards glamour on the other. The latter is visualized by the golden party dress from California, a symbol of Hollywood and star-cult, money and fame. With its risky acrobatics at the wall of the cloister, the performance symbolises the attempt of two people driven by diverse projections to come together. Likewise in the sense of the Romantic conception of love, love here results in a dramatic fall from the peaks of illusions and hangs itself, so to speak, in an ecstasy of the beautiful death.
Realization: idea, production, director, accouterment: Yana Milev performance: Yana Milev, Sebastian Isinig dress: Golden 70th West-Coast Barbecue-Sampler shoes: NAVYBOOT equipment: Mammut (belt), Petzl (nylon rope) location: cloisterremains Altzella photos by Philipp Beckert |
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cella | ||
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title: cella vol.1 (1-4) block: the storytellers return |
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2005 lamda on aludibond behind 2 mm acryl-glass 80x100 cm each
title: cella vol.3 block: the storytellers return 2005 lamda on aludibond behind 2 mm acryl-glass 120x170 cm
title: cella vol.4 block: the storytellers return 2005 lamda on aludibond behind 2 mm acryl-glass 120x170 cm
title: cella vol.5 block: the storytellers return 2005 lamda on aludibond behind 2 mm acryl-glass 170x120 cm
References: 
Kazuo Ohno, Butoh Drawing by Caspar David Friedrich The series “cella” presents new conjunctions of historic and modern quotations of the Romantic period. At the basement vaults of the cloister Altzella, also a place of the Romanctic gaze thanks to the hand of C.D. Friedrich, existential orientations of isolation and emotional torpor meet in the hospitalistic style of Butoh (Japanese free dance of the 1950s). The low vaults of the humid and dark basement force the bodies into a crooked position. The armaments remind of the preceding performances of Yana Milev, of the “body dwellings”. In this case, however, the armaments and straps do not stabilise, but they encumber. In suspended minimal movements the bodies do not get on. Maltreated by protheses, the bodies remain captured in themselves and the room.
Realization: idea, production, director, accouterment: Yana Milev performance: Yana Milev, Sebastian Isinig location: basement vault, cloister Altzella photos by Philipp Beckert |
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body dwellings |
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Hüft Rüsten | ||
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title: Hüft Rüsten vol.1 block: body dwellings |
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2003 lambda on aludibond behind 2mm acrylic-glass 120x170 cm
title: Hüft Rüsten vol.2 (1-2) block: body dwellings 2003 lamda on aludibond behind 2 mm acryl-glass 80x100 cm each
title: Hüft Rüsten vol.3 block: body dwellings 2003 lamda on aludibond behind 2 mm acryl-glass 120x170 cm
References: 
Oskar Schlemmer, “Stäbetanz”, Manda v. Kreibig. Bauhausbühne 1928. Yana Milev, “body dwelling - prototype”, 1987 In the performance block “body dwellings”, communicative acts are extended and expanded with the help of architectural interventions. An elongation of the body axes or the axial extremeties around their points of rotation and joints with strips of wood, bands and straps generates new temporary buildings. The armaments of the body on the one hand limit its flexibility and force it to execute so-called suspended movements. On the other hand, the scope of the actions and the space-consuming process taken up by bodies for their activities become clear. Yana Milev calls the resulting symbioses from solid room-elements and the amorphous plasticity of moving biomass “body dwellings”. The movements of the body in the performances “Hüft Rüsten” are a conglomerate of martial arts, artistry and hospitalism.
Realization: idea, production, director, accouterment: Yana Milev performance: Yana Milev, Edi Schoeffmann, Bernhard Readle location: Rosenthaler Platz Berlin-Mitte photos by Philipp Beckert |
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ResonanzArchitektur | ||
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title: ResonanzArchitektur vol.14 block: body dwellings |
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2000 lambda on aludibond behind 2mm acrylic-glass 120x170 cm
References: 
Oskar Schlemmer, “Figur und Raumlineatur”, 1924 “Already in the first weeks of Kyudo, I discovered a relationship between archery, playing the violin and architecture. Linguistically, they are interconnected in the Latin word ARCUS. Archer - Architect - Strumentalista d’Arco all stem from one and the same root of meaning.” During a 2-year Kyudo training in Kyoto, Yana Milev developed the concept of ResonanzArchitektur©. Here, performance in the sense of methods of training and the ritual appropriation of rooms directly relate to each other. A ResonanzArchitektur (“resonance architecture”) exists exclusively in the moment of synchronisation between body, instrument and surroundings, as a living room. Precondition for that are “Katas”, a grammar of exercise rules, which ultimately generate a “Tonus” inside the body. At this point, the perception can glide into the sound track of the room and ResonanzArchitektur begins. - The photograph shows the second position (Dozokuri) of the eight phases of shooting while standing (Shahohassetsu).
Realization: photos: Yana Milev performance: Hankyusha-Kai location: Kyudôjo Budôkan, Kyoto, Japan part of a serie of 100 pieces, each 40x60 selected works will be manufactured on aludibond (120x170 cm) as a unique copy. |
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VESUV TM |
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David | |||||||||||||||||||
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title: david vol.1 block: VESUV TM |
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2005 lambda on aludibond behind 2mm acrylic-glass 120x170 cm
title: david vol.2 block: VESUV TM 2005 lambda on aludibond behind 2mm acrylic-glass 90x100 cm
title: david vol.3 (1-9) block: VESUV TM 2005 lambda on aludibond behind 2mm acrylic-glass 40x50 cm each
References: 
David by Michelangelo Penny-brand In the performance “David”, several levels of presenting art and perceiving culture are being discussed. In the storytelling, the idea of the figure of David by Michelangelo, as well as several copies of the figure of David meet the Penny-Brand in the public space of the museum. The original sculpture of Michelangelo was 500 years ago knwon as the symbol of the emancipation of the citizens of Florence, since it represented the victorious David fighting with the giant Goliath. It represents the hero in idealized masculinity. - Equipped with a shopping bag of Penny supermarket, the protagonist ties a David-kitchen apron around her waist in front of a David copy, and joins the audience of the museum like this. With only few means, themes of High and Low Culture, of Gender and Transgender, of original value and copy value are staged here. And: which kind of art is the real art? The David of Florence? The copy on the plinth in the museum? The market heroes of Penny? Or the David-trash-performance of a woman, who searches the foyer for the men of the past?
Realization: idea, production, director, accouterment, performance: Yana Milev location: Museum der Bildenden Künste, Leipzig photos by Gabi Francik |
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