from 5th July to 5th October 2014
Lu.C.C.A. Lounge & Underground
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[…] Siberia, “the sleeping Land” or the land of complexity and burden and also of a charm and of history and traditions, is where Natasha Yalyisheva comes from. Her hometown is Omsk, the same place that kept the talented Dostoevsky four never-ending years away from expressing himself. The sharp eyes, and the intense look of Natasha, have definitely faced the spirit of her compatriot and wandered around the places where Dostoevsky had been kept against his will. Natasha’s artistic reflection is not superficial but is of the  one who observes or proceeds over the boundaries, peers deeeply and breaks the barriers of the imposed limits.
The Russian artist comes from here, her land, with the strength that is inevitably necessary to express oneself, also with the delicate tendency to read the intimate human nature. Going
through Dostoevsky’s pages, rediscovering herself in the same way, Natasha leads us go deep into analysis of the society and the social context to arrive unavoidably to individuals, to her story, to a memory that leads us directly to a status with no boundaries of “pain” that afflicts the present and on the other hand strives for the future.
The subjects relating to the People’s Republic of China and its leader are constantly and predominantly present in the works of Yalyisheva. This is quite abnormal and it raises the question of what has led the artist to focus uniquely on this historical/ social moment.
The situation between China and Russia from the historical and political point of view is known to the vast majority of human minds. Certainly this is not the context to be reexamined and
deepended. In my opinion, it is more interesting to capture the essence and the iconography that these images hold with respect to the world and to contemporary thought. These
images symbolize an exact historical moment, in an exact place on the planet where under the “wild and tempting” Sirens of the Cultural Revolution, the apparent proposal of suppression of the “old world” has established itself by force, tragedy and death. Unfortunately, the new progresses are not always the cure for all sicknesses, even worse when they are dictatorial and unidirectional, leaving no space for opposite ideas. In fact, there are the words of the artist to stress that her attention is directed to investigate the meaning and the dynamics of power and how it is often imposed by force, by fraud. At the same time, it is the manifestation of weakness, and the synonym of uncertainty and inconsistency. […]
Alberto Mattia Martini