Albena Mihaylova - Bendji
Performance Art
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Breathing exercises, 1989
Performance at the roof of the headquarters of the Union of Bulgarian Artists at 6 Shipka Str., Sofia
The Exhibition was running on the roof of the 6 Shipka Street Building.
Bendji / Albena Mihaylova was dressed in a rubberized hazmat suit and her head was covered with a mask made of silver foil, which lets barely enough air in for her to breathe. Albena spread a parachute (D-42) to the roof railing and did performance with different breathing techniques. She could see through the mask, but remained hidden from the eyes of the audience. Her act was politically provocative and symbolized the suffocation of the individual by society, not being allowed to have an independent opinion or free expression under the communist regime. Up to that point the roof of the SBH building had never been used for exhibitions. The young Artists conquer access to the roof and make it an alternative space of political independence. During the exhibition the roof becomes a meeting place for dissident, who read their poetry.
Video -
Breathing exercises, 1989
Performance at the roof of the headquarters of the Union of Bulgarian Artists at 6 Shipka Str., Sofia
The Exhibition was running on the roof of the 6 Shipka Street Building.
Bendji / Albena Mihaylova was dressed in a rubberized hazmat suit and her head was covered with a mask made of silver foil, which lets barely enough air in for her to breathe. Albena spread a parachute (D-42) to the roof railing and did performance with different breathing techniques. She could see through the mask, but remained hidden from the eyes of the audience. Her act was politically provocative and symbolized the suffocation of the individual by society, not being allowed to have an independent opinion or free expression under the communist regime. Up to that point the roof of the SBH building had never been used for exhibitions. The young Artists conquer access to the roof and make it an alternative space of political independence. During the exhibition the roof becomes a meeting place for dissident, who read their poetry.
Video -
Breathing exercises, 1989
Performance at the roof of the headquarters of the Union of Bulgarian Artists at 6 Shipka Str., Sofia
The Exhibition was running on the roof of the 6 Shipka Street Building.
Bendji / Albena Mihaylova was dressed in a rubberized hazmat suit and her head was covered with a mask made of silver foil, which lets barely enough air in for her to breathe. Albena spread a parachute (D-42) to the roof railing and did performance with different breathing techniques. She could see through the mask, but remained hidden from the eyes of the audience. Her act was politically provocative and symbolized the suffocation of the individual by society, not being allowed to have an independent opinion or free expression under the communist regime. Up to that point the roof of the SBH building had never been used for exhibitions. The young Artists conquer access to the roof and make it an alternative space of political independence. During the exhibition the roof becomes a meeting place for dissident, who read their poetry.
Video -
Breathing exercises, 1989
Performance at the roof of the headquarters of the Union of Bulgarian Artists at 6 Shipka Str., Sofia
The Exhibition was running on the roof of the 6 Shipka Street Building.
Bendji / Albena Mihaylova was dressed in a rubberized hazmat suit and her head was covered with a mask made of silver foil, which lets barely enough air in for her to breathe. Albena spread a parachute (D-42) to the roof railing and did performance with different breathing techniques. She could see through the mask, but remained hidden from the eyes of the audience. Her act was politically provocative and symbolized the suffocation of the individual by society, not being allowed to have an independent opinion or free expression under the communist regime. Up to that point the roof of the SBH building had never been used for exhibitions. The young Artists conquer access to the roof and make it an alternative space of political independence. During the exhibition the roof becomes a meeting place for dissident, who read their poetry.
Video -
The Dress, 1989
Land art action
Performance: Albena Mihaylova / Bendji, Dimitar Grozdanov, Todor Balev, Hristo Gospodinov, SulzinaBaleva, Galya Yotova, Tatyana, Yordanka Simeonova, TsestsoManev, Gosho, Vera, Plamen, Svetlio, e.t.c.
"I sat on the observation tower in the garden and read a book by Mircea Eliade, looking at the sea with binoculars and writing in my large 'diary-nightary' handmade book. I got the idea of making a giant female robe to connect the high cliffs and the sea. The terrain was a rockslide, hard and dangerous, but our group was determined. We needed about 150 meters of sturdy white cotton fabric, paint, brushes, lumber, and ropes.
During the creating the 'Dress', everyone was in an makeshift suit, made from the cut-outs, enters the role and creates own individual performance. The process was incredibly intense. We worked on the seaside promenade and were subject to interest by many passing by.
Our action was well documented by the two photographers in the group - Galya Yotova and Yordanka Simeonova. It was recorded with a non-professional video camera too."
Video -
The Dress, 1989
Land art action
Performance: Albena Mihaylova / Bendji, Dimitar Grozdanov, Todor Balev, Hristo Gospodinov, SulzinaBaleva, Galya Yotova, Tatyana, Yordanka Simeonova, TsestsoManev, Gosho, Vera, Plamen, Svetlio, e.t.c.
"I sat on the observation tower in the garden and read a book by Mircea Eliade, looking at the sea with binoculars and writing in my large 'diary-nightary' handmade book. I got the idea of making a giant female robe to connect the high cliffs and the sea. The terrain was a rockslide, hard and dangerous, but our group was determined. We needed about 150 meters of sturdy white cotton fabric, paint, brushes, lumber, and ropes.
During the creating the 'Dress', everyone was in an makeshift suit, made from the cut-outs, enters the role and creates own individual performance. The process was incredibly intense. We worked on the seaside promenade and were subject to interest by many passing by.
Our action was well documented by the two photographers in the group - Galya Yotova and Yordanka Simeonova. It was recorded with a non-professional video camera too."
Video -
The Dress, 1989
Land art action
Performance: Albena Mihaylova / Bendji, Dimitar Grozdanov, Todor Balev, Hristo Gospodinov, SulzinaBaleva, Galya Yotova, Tatyana, Yordanka Simeonova, TsestsoManev, Gosho, Vera, Plamen, Svetlio, e.t.c.
"I sat on the observation tower in the garden and read a book by Mircea Eliade, looking at the sea with binoculars and writing in my large 'diary-nightary' handmade book. I got the idea of making a giant female robe to connect the high cliffs and the sea. The terrain was a rockslide, hard and dangerous, but our group was determined. We needed about 150 meters of sturdy white cotton fabric, paint, brushes, lumber, and ropes.
During the creating the 'Dress', everyone was in an makeshift suit, made from the cut-outs, enters the role and creates own individual performance. The process was incredibly intense. We worked on the seaside promenade and were subject to interest by many passing by.
Our action was well documented by the two photographers in the group - Galya Yotova and Yordanka Simeonova. It was recorded with a non-professional video camera too."
Video -
The Dress, 1989
Land art action
Performance: Albena Mihaylova / Bendji, Dimitar Grozdanov, Todor Balev, Hristo Gospodinov, SulzinaBaleva, Galya Yotova, Tatyana, Yordanka Simeonova, TsestsoManev, Gosho, Vera, Plamen, Svetlio, e.t.c.
"I sat on the observation tower in the garden and read a book by Mircea Eliade, looking at the sea with binoculars and writing in my large 'diary-nightary' handmade book. I got the idea of making a giant female robe to connect the high cliffs and the sea. The terrain was a rockslide, hard and dangerous, but our group was determined. We needed about 150 meters of sturdy white cotton fabric, paint, brushes, lumber, and ropes.
During the creating the 'Dress', everyone was in an makeshift suit, made from the cut-outs, enters the role and creates own individual performance. The process was incredibly intense. We worked on the seaside promenade and were subject to interest by many passing by.
Our action was well documented by the two photographers in the group - Galya Yotova and Yordanka Simeonova. It was recorded with a non-professional video camera too."
Video -
Burning Documents, 1989
Performance in front of the building of the Union of Plovdiv Artists at the opening of the Annual Youth Exhibition
Bendji / Albena Mihaylova is a participant in the annual Youth Artists Exhibition. Her monumental installation - a huge handprint and a corroded metal plate - has captured an unusual presentation space - it hangs in the middle of the hall. Its name is «Open List for B.». «Open List» is a necessary document issued by the Ministry of Internal Affairs to sail with a boat along the Black Sea.
The exhibition visitors are startled and her colleagues are surprised when, without prior announcement, Bendji undresses the strange robe she has been walking with so far, puts it on the sidewalk in front of the hall and lights it. The robe is a collage of the artist‘s personal documents - police letters to her, bans on sailing or leaving the country, fines for contacting foreign nationals, etc. Like a papier-mâché sculpture or a human hulk, the slave burns like a living man. The visitors lay the flowers, they carry for the exhibition beside the burnt remains.
The author responded to the communist government‘s crackdowns on the „revival process“ in Bulgaria since the mid-1980s. Albena has become an unwanted target of security services because of its relationship with a boy of Turkish ethnic origin.
The act of the artist is reminiscent of Jan Palah‘s self-ignition act from January 1969. Only 20 years have passed since the Prague Spring political collisions. But who remembers? -
Burning Documents, 1989
Performance in front of the building of the Union of Plovdiv Artists at the opening of the Annual Youth Exhibition Bendji / Albena Mihaylova is a participant in the annual Youth Artists Exhibition. Her monumental installation - a huge handprint and a corroded metal plate - has captured an unusual presentation space - it hangs in the middle of the hall. Its name is «Open List for B.». «Open List» is a necessary document issued by the Ministry of Internal Affairs to sail with a boat along the Black Sea.
The exhibition visitors are startled and her colleagues are surprised when, without prior announcement, Bendji undresses the strange robe she has been walking with so far, puts it on the sidewalk in front of the hall and lights it. The robe is a collage of the artist‘s personal documents - police letters to her, bans on sailing or leaving the country, fines for contacting foreign nationals, etc. Like a papier-mâché sculpture or a human hulk, the slave burns like a living man. The visitors lay the flowers, they carry for the exhibition beside the burnt remains.
The author responded to the communist government‘s crackdowns on the „revival process“ in Bulgaria since the mid-1980s. Albena has become an unwanted target of security services because of its relationship with a boy of Turkish ethnic origin.
The act of the artist is reminiscent of Jan Palah‘s self-ignition act from January 1969. Only 20 years have passed since the Prague Spring political collisions. But who remembers? -
Burning Documents, 1989
Performance in front of the building of the Union of Plovdiv Artists at the opening of the Annual Youth Exhibition Bendji / Albena Mihaylova is a participant in the annual Youth Artists Exhibition. Her monumental installation - a huge handprint and a corroded metal plate - has captured an unusual presentation space - it hangs in the middle of the hall. Its name is «Open List for B.». «Open List» is a necessary document issued by the Ministry of Internal Affairs to sail with a boat along the Black Sea.
The exhibition visitors are startled and her colleagues are surprised when, without prior announcement, Bendji undresses the strange robe she has been walking with so far, puts it on the sidewalk in front of the hall and lights it. The robe is a collage of the artist‘s personal documents - police letters to her, bans on sailing or leaving the country, fines for contacting foreign nationals, etc. Like a papier-mâché sculpture or a human hulk, the slave burns like a living man. The visitors lay the flowers, they carry for the exhibition beside the burnt remains.
The author responded to the communist government‘s crackdowns on the „revival process“ in Bulgaria since the mid-1980s. Albena has become an unwanted target of security services because of its relationship with a boy of Turkish ethnic origin.
The act of the artist is reminiscent of Jan Palah‘s self-ignition act from January 1969. Only 20 years have passed since the Prague Spring political collisions. But who remembers? -
Disclosure, 1999
Performance on the Rhine River outside of Bazel
Performance: Bendji / Albena Mihaylova
Camera: Reinhard Manz
"This performance echoes the basic idea of the «Burial» performance from 1988. On the banks of the Rhine near Basel, I found myself stuck with river stones. My body was unprotected in my nakedness, and exposed. But the key moment was the accumulation, the disclosure, the shaking, as a counterpoint to the state of the performance «Burial». The performance contains the idea of liberation, rejection of borders and hereditary burdens are all obstacles to the creative personality taking on a new path. I was already living in Basel, had completed a master class in video art, and a new period was beginning for me. The Rhine River flowed ..." Rhine river, near Basel, 1999 Video -
Disclosure, 1999
Performance on the Rhine River outside of Bazel
Performance: Bendji / Albena Mihaylova
Camera: Reinhard Manz
"This performance echoes the basic idea of the «Burial» performance from 1988. On the banks of the Rhine near Basel, I found myself stuck with river stones. My body was unprotected in my nakedness, and exposed. But the key moment was the accumulation, the disclosure, the shaking, as a counterpoint to the state of the performance «Burial». The performance contains the idea of liberation, rejection of borders and hereditary burdens are all obstacles to the creative personality taking on a new path. I was already living in Basel, had completed a master class in video art, and a new period was beginning for me. The Rhine River flowed ..." Rhine river, near Basel, 1999 Video -
Disclosure, 1999
Performance on the Rhine River outside of Bazel
Performance: Bendji / Albena Mihaylova
Camera: Reinhard Manz
"This performance echoes the basic idea of the «Burial» performance from 1988. On the banks of the Rhine near Basel, I found myself stuck with river stones. My body was unprotected in my nakedness, and exposed. But the key moment was the accumulation, the disclosure, the shaking, as a counterpoint to the state of the performance «Burial». The performance contains the idea of liberation, rejection of borders and hereditary burdens are all obstacles to the creative personality taking on a new path. I was already living in Basel, had completed a master class in video art, and a new period was beginning for me. The Rhine River flowed ..." Rhine river, near Basel, 1999 Video -
Burial, 1989
Group performance at Dzhufara near Sopot
Participants: Bendji / Albena Mihaylova, Kolio Karamfilov, Dimitar Grozdanov, Vesko Velev, Svetlozar Georgiev
Albena, Dimitar, Kolio and Svetlozar are visiting their colleagues Ivan Tomanov and Vesko Velev in their studios near Sopot. They celebrate Ivan’s burthday, but the mood is depressing. The idea of a joint project emerges spontaneously. The group goes for a walk in the forest and reaches a rock-slide in the area of Dzhufara, near Sopot. Kolio, Bendji, and Dimitar bury each other beneath a layer of jagged slates. This group act is a clear refusal to be a part of reality. The political situation at that point has reached extreme, inhuman levels, the hope riched is negative, the life seems stripped of any value, we exist on a day-to-day basis. The salvation of the spirit requires physical self-destruction. This unique performance remains under analyzed and poorly documented. It has not been promoted at all, as many other performances that have taken place during this period. -
Burial, 1989
Group performance at Dzhufara near Sopot
Participants: Bendji / Albena Mihaylova, Kolio Karamfilov, Dimitar Grozdanov, Vesko Velev, Svetlozar Georgiev
Albena, Dimitar, Kolio and Svetlozar are visiting their colleagues Ivan Tomanov and Vesko Velev in their studios near Sopot. They celebrate Ivan’s burthday, but the mood is depressing. The idea of a joint project emerges spontaneously. The group goes for a walk in the forest and reaches a rock-slide in the area of Dzhufara, near Sopot. Kolio, Bendji, and Dimitar bury each other beneath a layer of jagged slates. This group act is a clear refusal to be a part of reality. The political situation at that point has reached extreme, inhuman levels, the hope riched is negative, the life seems stripped of any value, we exist on a day-to-day basis. The salvation of the spirit requires physical self-destruction. This unique performance remains under analyzed and poorly documented. It has not been promoted at all, as many other performances that have taken place during this period. -
Burial, 1989
Group performance at Dzhufara near Sopot
Participants: Bendji / Albena Mihaylova, Kolio Karamfilov, Dimitar Grozdanov, Vesko Velev, Svetlozar Georgiev
Albena, Dimitar, Kolio and Svetlozar are visiting their colleagues Ivan Tomanov and Vesko Velev in their studios near Sopot. They celebrate Ivan’s burthday, but the mood is depressing. The idea of a joint project emerges spontaneously. The group goes for a walk in the forest and reaches a rock-slide in the area of Dzhufara, near Sopot. Kolio, Bendji, and Dimitar bury each other beneath a layer of jagged slates. This group act is a clear refusal to be a part of reality. The political situation at that point has reached extreme, inhuman levels, the hope riched is negative, the life seems stripped of any value, we exist on a day-to-day basis. The salvation of the spirit requires physical self-destruction. This unique performance remains under analyzed and poorly documented. It has not been promoted at all, as many other performances that have taken place during this period. -
Burial, 1989
Group performance at Dzhufara near Sopot
Participants: Bendji / Albena Mihaylova, Kolio Karamfilov, Dimitar Grozdanov, Vesko Velev, Svetlozar Georgiev
Albena, Dimitar, Kolio and Svetlozar are visiting their colleagues Ivan Tomanov and Vesko Velev in their studios near Sopot. They celebrate Ivan’s burthday, but the mood is depressing. The idea of a joint project emerges spontaneously. The group goes for a walk in the forest and reaches a rock-slide in the area of Dzhufara, near Sopot. Kolio, Bendji, and Dimitar bury each other beneath a layer of jagged slates. This group act is a clear refusal to be a part of reality. The political situation at that point has reached extreme, inhuman levels, the hope riched is negative, the life seems stripped of any value, we exist on a day-to-day basis. The salvation of the spirit requires physical self-destruction. This unique performance remains under analyzed and poorly documented. It has not been promoted at all, as many other performances that have taken place during this period. -
Waiting for UFO, 1987
Action performance in the Municipal Park of the town of Levski
Concept: Bendji / Albena Mihaylova, Organizer: Dimitar Grozdanov and Municipality of Levski
Co-Participants: Veneta Marinova, Petya and many others.
With the participation of orphans children, passers-by and friends
Bendji appears in an airman's suit. She descends a tall tree ladder and announces the approaching UFO landing. Everyone is waiting. Under the trees there are long plastic sleeves in the park. We collect the dry leaves from the terrain together and stuff them in nylon tubes. The formed light bulk bodies hang high on the trees. They mark the place where the "Expected" should land. The action spontaneously involves dozens of passers-by, a huge revival reigns. The joy of the coming is obviously great.
Passive civic behavior is proverbial for society in Bulgaria, especially during socialism. Changes are accepted to come from above, or people believe in unnatural powers. The action subtly plays with the idea of a harbinger of change and feeds the hope of participants and spectators. In doing so, they become active and are free to offer ideas and approaches. Levski, Bulgaria, 1987 -
Waiting for UFO, 1987
Action performance in the Municipal Park of the town of Levski,
Concept: Bendji / Albena Mihaylova, Organizer: Dimitar Grozdanov and Municipality of Levski,
Co-Participants: Veneta Marinova, Petya and many others. With the participation of orphans children, passers-by and friends
Bendji appears in an airman's suit. She descends a tall tree ladder and announces the approaching UFO landing. Everyone is waiting. Under the trees there are long plastic sleeves in the park. We collect the dry leaves from the terrain together and stuff them in nylon tubes. The formed light bulk bodies hang high on the trees. They mark the place where the "Expected" should land. The action spontaneously involves dozens of passers-by, a huge revival reigns. The joy of the coming is obviously great.
Passive civic behavior is proverbial for society in Bulgaria, especially during socialism. Changes are accepted to come from above, or people believe in unnatural powers. The action subtly plays with the idea of a harbinger of change and feeds the hope of participants and spectators. In doing so, they become active and are free to offer ideas and approaches. Levski, Bulgaria, 1987 -
Waiting for UFO, 1987
Action performance in the Municipal Park of the town of Levski,
Concept: Bendji / Albena Mihaylova, Organizer: Dimitar Grozdanov and Municipality of Levski,
Co-Participants: Veneta Marinova, Petya and many others. With the participation of orphans children, passers-by and friends
Bendji appears in an airman's suit. She descends a tall tree ladder and announces the approaching UFO landing. Everyone is waiting. Under the trees there are long plastic sleeves in the park. We collect the dry leaves from the terrain together and stuff them in nylon tubes. The formed light bulk bodies hang high on the trees. They mark the place where the "Expected" should land. The action spontaneously involves dozens of passers-by, a huge revival reigns. The joy of the coming is obviously great.
Passive civic behavior is proverbial for society in Bulgaria, especially during socialism. Changes are accepted to come from above, or people believe in unnatural powers. The action subtly plays with the idea of a harbinger of change and feeds the hope of participants and spectators. In doing so, they become active and are free to offer ideas and approaches. Levski, Bulgaria, 1987 -
Waiting for UFO, 1987
Action performance in the Municipal Park of the town of Levski,
Concept: Bendji / Albena Mihaylova, Organizer: Dimitar Grozdanov and Municipality of Levski,
Co-Participants: Veneta Marinova, Petya and many others. With the participation of orphans children, passers-by and friends
Bendji appears in an airman's suit. She descends a tall tree ladder and announces the approaching UFO landing. Everyone is waiting. Under the trees there are long plastic sleeves in the park. We collect the dry leaves from the terrain together and stuff them in nylon tubes. The formed light bulk bodies hang high on the trees. They mark the place where the "Expected" should land. The action spontaneously involves dozens of passers-by, a huge revival reigns. The joy of the coming is obviously great.
Passive civic behavior is proverbial for society in Bulgaria, especially during socialism. Changes are accepted to come from above, or people believe in unnatural powers. The action subtly plays with the idea of a harbinger of change and feeds the hope of participants and spectators. In doing so, they become active and are free to offer ideas and approaches. Levski, Bulgaria, 1987 -
Golden Girl, 1996
Performance on river Pizdica near Bratsigovo,
Performance : Bendji / Albena Mihaylova, Co-participants: Anya Gaydova and Dimitar Grozdanov
The Golden Girl performance is an interpretation of the Bulgarian folk tale with the same name – The Golden girl. The stepmother sends her stepdaughter to the river, which is dangerous and constantly changes its colors to red, blue and black. On the river the girl meets an old woman, which is actually a sorceress. She asks the girl to give her water. The girl happily helps her, without fear. The old woman thanks the girl by advising him: When the red water comes, do not enter it. When the blue water comes, do not enter again. And don’t go into the black water. When the golden water comes, grasp what you can. The girl pulls out a box full of treasures from the bottom of the river. Instead of dying, the girl returns home richly donated. The performance reflects the perceived political changes of the late 1980s. It reflects internal fears of the impending „unknown“. The Water, which changes colors, is a metaphor for the coming changes of the late 80's and early 90's. The generation contemporaries of changes is a loser. And the «good» is a devaluing value: In the case of the performance «Golden Girl» the girl pulls out a box, but it is always empty. Video -
Golden Girl, 1996
Performance on river Pizdica near Bratsigovo,
Performance : Bendji / Albena Mihaylova, Co-participants: Anya Gaydova and Dimitar Grozdanov
The Golden Girl performance is an interpretation of the Bulgarian folk tale with the same name – The Golden girl. The stepmother sends her stepdaughter to the river, which is dangerous and constantly changes its colors to red, blue and black. On the river the girl meets an old woman, which is actually a sorceress. She asks the girl to give her water. The girl happily helps her, without fear. The old woman thanks the girl by advising him: When the red water comes, do not enter it. When the blue water comes, do not enter again. And don’t go into the black water. When the golden water comes, grasp what you can. The girl pulls out a box full of treasures from the bottom of the river. Instead of dying, the girl returns home richly donated. The performance reflects the perceived political changes of the late 1980s. It reflects internal fears of the impending „unknown“. The Water, which changes colors, is a metaphor for the coming changes of the late 80's and early 90's. The generation contemporaries of changes is a loser. And the «good» is a devaluing value: In the case of the performance «Golden Girl» the girl pulls out a box, but it is always empty. Video -
Golden Girl, 1996
Performance on river Pizdica near Bratsigovo,
Performance : Bendji / Albena Mihaylova, Co-participants: Anya Gaydova and Dimitar Grozdanov The Golden Girl performance is an interpretation of the Bulgarian folk tale with the same name – The Golden girl. The stepmother sends her stepdaughter to the river, which is dangerous and constantly changes its colors to red, blue and black. On the river the girl meets an old woman, which is actually a sorceress. She asks the girl to give her water. The girl happily helps her, without fear. The old woman thanks the girl by advising him: When the red water comes, do not enter it. When the blue water comes, do not enter again. And don’t go into the black water. When the golden water comes, grasp what you can. The girl pulls out a box full of treasures from the bottom of the river. Instead of dying, the girl returns home richly donated. The performance reflects the perceived political changes of the late 1980s. It reflects internal fears of the impending „unknown“. The Water, which changes colors, is a metaphor for the coming changes of the late 80's and early 90's. The generation contemporaries of changes is a loser. And the «good» is a devaluing value: In the case of the performance «Golden Girl» the girl pulls out a box, but it is always empty. Video -
Golden Girl, 1996
Performance on river Pizdica near Bratsigovo,
Performance : Bendji / Albena Mihaylova, Co-participants: Anya Gaydova and Dimitar Grozdanov
The Golden Girl performance is an interpretation of the Bulgarian folk tale with the same name – The Golden girl. The stepmother sends her stepdaughter to the river, which is dangerous and constantly changes its colors to red, blue and black. On the river the girl meets an old woman, which is actually a sorceress. She asks the girl to give her water. The girl happily helps her, without fear. The old woman thanks the girl by advising him: When the red water comes, do not enter it. When the blue water comes, do not enter again. And don’t go into the black water. When the golden water comes, grasp what you can. The girl pulls out a box full of treasures from the bottom of the river. Instead of dying, the girl returns home richly donated. The performance reflects the perceived political changes of the late 1980s. It reflects internal fears of the impending „unknown“. The Water, which changes colors, is a metaphor for the coming changes of the late 80's and early 90's. The generation contemporaries of changes is a loser. And the «good» is a devaluing value: In the case of the performance «Golden Girl» the girl pulls out a box, but it is always empty. Video -
Lake and Tape, 1985
Land art-performance at Murla lake between Sopot and Karlovo
idea and performance: Albena Mihaylova - Bendji
аssistant: Vesko Velev
April. Dam between Sopot and Karlovo. With a rowboat, I cross the lake from coast to coast, spreading paper tape over the water’s surface. Landscape is appreciated and intervention is sought, opportunities for contact with the land are recognised. In places along the coast, the tape wraps around a tree’s crown, covers the terrain in the shape of a spiral, encircles shrubs or stones. The more the lake “wraps”, i.e., it is taken over by human consciousness and intervention, the more the body develops and releases itself. While rowing the boat, I undress. I’m sitting naked in the boat, in the center of the lake. Albena Mihaylova - Bendji
See details and documentation of the performance here -
Lake and Tape, 1985
Land art-performance at Murla lake between Sopot and Karlovo
idea and performance: Albena Mihaylova - Bendji
аssistant: Vesko Velev
April. Dam between Sopot and Karlovo. With a rowboat, I cross the lake from coast to coast, spreading paper tape over the water’s surface. Landscape is appreciated and intervention is sought, opportunities for contact with the land are recognised. In places along the coast, the tape wraps around a tree’s crown, covers the terrain in the shape of a spiral, encircles shrubs or stones. The more the lake “wraps”, i.e., it is taken over by human consciousness and intervention, the more the body develops and releases itself. While rowing the boat, I undress. I’m sitting naked in the boat, in the center of the lake. Albena Mihaylova - Bendji
See details and documentation of the performance here -
Lake and Tape, 1985
Land art-performance at Murla lake between Sopot and Karlovo
idea and performance: Albena Mihaylova - Bendji
аssistant: Vesko Velev
April. Dam between Sopot and Karlovo. With a rowboat, I cross the lake from coast to coast, spreading paper tape over the water’s surface. Landscape is appreciated and intervention is sought, opportunities for contact with the land are recognised. In places along the coast, the tape wraps around a tree’s crown, covers the terrain in the shape of a spiral, encircles shrubs or stones. The more the lake “wraps”, i.e., it is taken over by human consciousness and intervention, the more the body develops and releases itself. While rowing the boat, I undress. I’m sitting naked in the boat, in the center of the lake. Albena Mihaylova - Bendji
See details and documentation of the performance here -
Lake and Tape, 1985
Land art-performance at Murla lake between Sopot and Karlovo
idea and performance: Albena Mihaylova - Bendji
аssistant: Vesko Velev
April. Dam between Sopot and Karlovo. With a rowboat, I cross the lake from coast to coast, spreading paper tape over the water’s surface. Landscape is appreciated and intervention is sought, opportunities for contact with the land are recognised. In places along the coast, the tape wraps around a tree’s crown, covers the terrain in the shape of a spiral, encircles shrubs or stones. The more the lake “wraps”, i.e., it is taken over by human consciousness and intervention, the more the body develops and releases itself. While rowing the boat, I undress. I’m sitting naked in the boat, in the center of the lake. Albena Mihaylova - Bendji
See details and documentation of the performance here