P e r f o r m a n c e I n s t a l l a t i o n & C o m m u n i t y
Among the Garbage and the Flowers
Flute & Bowl Exhibition at the Centre d'Art Contemporain 6B, Paris, France
"Now, Suzanne takes your hand and she leads you to the river
She's wearing rags and feathers from Salvation Army counters
And the sun pours down like honey on our lady of the harbor
And she shows you where to look among the garbage and the flowers
There are heroes in the seaweed, there are children in the morning
They are leaning out for love and they will lean that way forever
While Suzanne holds the mirror" - Leonard Cohen
A performance in collaboration with Lynn Hyeong and Bea Arana at the Centre d'Art Contemporain 6B
"In the beginning, there was only Chaos, the gaping void. Then, sprang forth three primordial deities: Gaea (Earth), Tartarus (the Underworld), and Eros (Love). As Love was there, Gaea and Chaos – two female deities – were able to procreate and shape everything known and unknown in the universe." Hes. Th. 104
A performance accompanying Chaos-mos, Lynn Hyeong's triptych painting and dedicated to Anya's soon-to-arrive daughter, Lyra.
Across indigenous Siberia, in a search for memory, bones and reconciliation.
On permanent display at Mansfield College, Oxford
"Anya Gleizer’s piece, Granny’s Bones, combines monumental sculpture, virtual reality and doctored photography, referencing a trip to Siberia, and her costumed performances at the Ruskin School of Art and Pitt Rivers Museum in Oxford. The jury felt the many elements to Gleizer’s work – performance, sculpture, VR, photography, and costume – were tied together by a strong narrative, exploring cultural identity, both personal and historical." – ArtDaily
"It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what ties tie ties. It matters what stories make worlds, what worlds make stories."
The performance Anthropometamorphosis, speaks to the transformation, loss and reconciliation that has taken place within the landscape of native Evenkia, Siberia within the last century. Exploring the performative nature of anthropology as well as the changing choreography of this discipline from 1915 to today, this work follows the inconsistent methodologies and winding tracks of the famed 1915 Oxford scholar’s, Maria Czaplicka’s, expedition to Siberia and the metamorphic aftereffects of an established connection between British institution and native Evenki herdsmen.
The Flute & the Bowl aims to serve two key purposes:
1. To facilitate collaborative projects between the arts and sciences that would "act as a flute for the natural world," i.e. act as an instrument through which the natural world can communicate itself.
2. To facilitate collaborative projects between the arts and sciences that would "act as a bowl for the natural world," i.e. to hold, protect and conserve the natural world, sharing of it sustainably within our More-than-human communities.