Zhana Ivanova (1977, Bulgaria/UK) minutely studies daily patterns. The artist is interested in the ways people interact with one another and how they became social rules [1]. Her work also evaluates the limits of freedom. By giving strict instructions to the performers, she highlights situations proving that humans can never be completely dictated to. Through a specific and structured use of words, the artist pinpoints where to find people’s freedom even in the most controlled situations. Indeed, words are impersonal and their meaning can be differently perceived by people. Moreover, her instructions sometimes try to control the emotions and the spirit of her performers which is, as she wants to show, impossible. Thus, Zhana Ivanova’s work also suggests that the origins of freedom can be found in the human psychology [2].  

 

Zhana Ivanova studied at Das Arts and explored there the possibilities of imposing strict and systematic rules on stage actions. She is also influenced by the French Oulipo group (George Perec / Raymond Queneau / Halo Calvino / Marcel Duchamp), collective which used instructional systems in various works [3].  

 

The script plays an important part in Zhana Ivanova’s performances. It is sometimes available to the audience and the performers discover it during the show. However, the audience always participates by reacting to the apparent script and to the way the performers themselves react to it. By involving the reaction of the audience everyone is scripted. Giving such involvement to the audience is one of the aspects Ivanova's performances share with theatre [4].    

 

Influenced by her academic training in literature and linguistics [5], Zhana Ivanova uses  methodological and precise examples to explain more general rules. Focusing on concrete episodes of daily life, her performances are examples of larger systems.

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[1] Ellen de Bruijne Project. (2016) 'Solo show. Zhana Ivanova. Carnivalesque.'
Available at: http://edbprojects.com/archives/exhibitions-archive/zhana-ivanova/

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[2] Vesters, C. (2007) 'Zhana Ivanova', MetropolisM, n. 4, p. 35-36.

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[3] T'Jonck, P., (2009) 'Parallax', June 2009.
Personal documentation of Zhana Ivanova.

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[4] Groot, P., (2009) 'Parallax', een geheugenspel in de geest van Spinoza.
Available at: https://www.mediamatic.net/nl/page/38776/parallax-een-geheugenspel-in-de-geest-van-spinoza

[5] Kunsthalle Basel. (2016) Zhana Ivanova. Ongoing Retrospective (Chapter 2).
Available at: http://www.kunsthallebasel.ch/wp-content/uploads/Saalblatt_Ivanova-Chapter2-EN-DEF.pdf

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