Hairless Tongue, Concrete, nirost metal, books, ca.250x120x90cm, 2015

The work Hairless Tongue further investigates the sculpture as a display or a stage for encouraging other activity by its viewers or users.
It was produced specifically for the exhibition "Mature and Angry" in Plovdiv Contemporary Art Centre, the Ancient Bath, September-October 2015, curated by Boris Kostadinov. The title, Hairless Tongue comes from the Croatian saying Biti bez dlake na jeziku that one can translate as "to be with no hair on one’s tongue", meaning that one is outspoken, speaks her mind, speaks directly.
The Tongue is a muscle that connects the body and the language, enabling the creation of voice.

This spatial object in a stylised shape of a tongue uses architecural materials like concrete and metal, relating to the architecture of the space, and the bodies that inhabit it. On one hand it refferes to the body and ist ability to shape voice, on the other it serves as a platform, an architectural stage for multiplicity of possible actions that one can perform, and by this, gain voice. The tongues´s piercing, simbolising the rebelious body-changing-act by the teenagers as well as a ritualistic body marking in some cultures, becomes a powerfull tool that captures and reflects the surrounding space, serving as a tool of empowerment.
The books that are part of the sculpture: The Philosophy of Rebellion, Communities, Culture and Imperialism, Wonderful New World, The Art of War, Texts for Nothing.

Within the exhibition, the photo work Camouflage is shown.
Camouflage, inkjet print, 1/3 +2AP, size 70x50cm, 2015

The photograph speaks of the youth act of micro rebellion against the dictate of the communist regime in Bulgaria, by using an object that belongs to the artist mother as a starting point.
The photo shows that object, a wig made of the real hair of the artist's mother, that she cut off into a fashionable, free hairstyle in 1974, rebeling against the rules of the rigid uniformity and prescribed hair styles for students ( only very long, braided hair or completely short hair for girls), that were required for students by the communist eduactaion system in Bulgaria, where she lived. It was a personal statemnet of taking control over the coices for one’s own body an das an rebelious act against the iniformity and forced system of control. In ordert o keep her new, hippy hair-cut, she made a wig from the cuty-off hair, using it as a personal camouflage while in school.

See related works:
Tongue, 2010

Mr. Ruf and the Barefeet Glass