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ILJA SIMIN

@simin.ilja

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PART 1 OF THE TRIPTYCH PERFORMANCES OF "BECOMING A SUPERSTAR" WAS ACTUALLY MY PROPOSAL TO ALL MUSIC PRODUCTION COMPANIES THAT I WILL GIVE MY WHOLE BODY TO WORK WITH.

I AM NOW WAITING FOR THEIR RESPONSE AND WILL PURSUE MY JOURNEY SOON.

XOXO,
SUPERSTAR

“Dear [Music Production Company],
My name is SUPERSTAR, and I am a star. But I would like to be a famous superstar. I possess talent, charisma, and an irresistible energy that cannot be denied. All I need is your support and resources to shine at my fullest potential on the global stage.
I offer myself to you as a blank canvas, ready to be shaped by your standards and vision. With your expert guidance, I want to show the world the superstar that I am.
I have no gender or identity; you can define these for me. I have no fixed persona; I will speak what you tell me to speak and do what you tell me to do, if you help me reveal the superstar that I am.
If you sign me, you will gain an artist whose career will reach unprecedented heights. I need to record an entire album or just a song I don't know how to sing, but I bought myself a microphone because I'm a star. Your production company will be renowned for creating the next major musical icon. I believe that together we can achieve something spectacular and revolutionize the music world.
IM WAITING FOR YOU CONTRACT PROPOSAL
Sincerely,
SUPERSTAR” by @simin.ilja

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2 years ago

ON THURSDAY, 20.06 FROM 18:00 TILL 20:00 - I'LL BE REPERFORMING “I'VE BEEN GETTING IT WRONG” ON THE CLOSING DAY OF THE EXHIBITION @akademija.razlike

COME AND PLAY WITH ME

PHOTO @pavle.zapad by @simin.ilja

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2 years ago

by @simin.ilja

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2 days ago

03.10. 19H / SURRENDERING PROTOCOL: PART II-READ ME UNTIL I BELONG / AT @suluj_galerija

site-specific performance

Read Me Until I Belong, a performance by Ilja Simin, is the second part of Surrendering Protocol, a project exploring how artistic practice can directly shape the progression of an artist’s career and, consequently, their life. The work examines the institutional economy of art and the mechanisms through which artists position themselves within the art system. taken in Galeroja SULUJ by @simin.ilja

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8 days ago

by @simin.ilja

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14 days ago

THE NULL POINT / DELEGATED PERFORMANCE

The Null Point was a 20-minute delegated performance in which the wall of U10 was broken in the form of a five-pointed star, referencing Gordon Matta-Clark’s architectural cuts and the idea of anarchitecture.

The star becomes a point through which different relationships to history meet. Some memories are lived; others are inherited. A generation can carry the weight of a historical moment it never experienced directly, through the structures, symbols and consequences that remain in the present. The distorted star holds that distance between memory and inheritance, between what was lived and what continues to be lived through. The work was never interested in restoring the symbol correctly or reconstructing an authentic past. Instead, the rupture produces a new image through an incomplete memory of an old one, placing different generational relationships to the same history inside one unstable form. The question is not whether that history should be preserved or rejected, but what happens when a generation attempts to write something new while still working with images inherited from a history it never experienced in the same way.

PERFORMANCE BY: @simin.ilja
PERFORMERS: @ruki_x_ru @_umetnikuljubavi_
WITH: @rgzaprogram
AT: @u10_artspace
PHOTOS: @samo.miljan by @simin.ilja

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22 days ago

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25 days ago

EXIBITION: “Docile Bodies” developed from a question that remained after “A Second Introduction” what makes connection necessary in the first place?
The previous exhibition brought together artists from the former Yugoslav region through experiences shaped by related social and political conditions. With Docile Bodies, the focus moves toward the rules that shaped those conditions and taught us how to understand ourselves within them.
The end of Yugoslavia did not erase the systems through which identity and belonging had been formed. Their rules remained present, repeated until they became familiar enough to appear natural. What interests me is the moment when a rule stops feeling imposed and becomes part of the way we understand ourselves.
Jack Halberstam’s Anarchitecture After Everything opened the possibility of thinking about separation as a method. Taking a structure apart can reveal the rules that keep it in place. From there, Michel Foucault’s Discipline and Punish offered another way of understanding how those rules enter the body: not only through direct control, but through repetition, until discipline begins to reproduce itself from within.
Docile Bodies looks at this relationship between the body and the rules that have shaped it. These rules can oppress, but they can also be broken, changed and appropriated. Resistance does not happen outside the structures that formed us. It begins from within them, from the point at which we recognise the rule, understand what it has produced, and decide what to do with it.
The exhibition continues the question opened by A Second Introduction, but approaches it from another direction. Before asking what connects us, Docile Bodies asks which rules taught us to understand ourselves as separate, and what happens when we begin to break them. by @simin.ilja

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@chosen__yu @rgzaprogram @u10_artspace by @simin.ilja

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@chosen__yu by @simin.ilja

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2 months ago

CHOSEN YU presents the exhibition Docile Bodies at U10 Art Space in Belgrade from 21st to 26th of July, as part of the Podium project. The exhibition builds on The Working Group for the Program, an initiative that serves as a space for gathering, self-organization, independent production, and collaborative practice among emerging artists.

Taking Michel Foucault’s concept of ‘docile bodies’ from Discipline and Punish as its point of departure, the exhibition situates it within a contemporary queer context. The exhibition examines the rules and mechanisms that shape the body, behaviour, identity, and an individual’s position within social systems. Rather than viewing discipline as a neutral form of progress, the exhibition approaches it as a system of control that produces bodies and identities adapted to dominant social norms-legible, useful, and obedient. Within this framework, the queer position emerges as a way of understanding, questioning, and dismantling these normative structures, opening space for alternative modes of existence and representation.

The exhibition opens on 21st of July at 7 PM as part of the programme section The Body as Political Terrain, accompanied by a public programme of performances, talks, and panel discussions. by @simin.ilja

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