Yana Milev

Beginning in 1992, she was visible on the international art market as an artist affiliated with the Galerie EIGEN+ART (Leipzig and Berlin). In 1995, she became the first GDR artist to receive the Max-Pechstein-Prize.<ref>”[https://www.kunstsammlungen-zwickau.de/de/max-pechstein/foerderpreis/preistraeger.php Preisträger, Kunstsammlungen Zwickau].” Abgerufen am 23. Juni 2021.</ref> Likewise as the first GDR woman artist to do so, Milev exhibited work at [[documenta X]] in 1997.<ref>[https://www.documenta.de/de/retrospective/documenta_x documenta X, Teilnehmende Künstler.] Abgerufen am 23. Juni 2021.</ref><ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/b-klemm-1.pdf Henning Ritter, Der Sozialarbeiter als Dandy, Frankfurter Allgemeine Zeitung, 14.8.1997, Nr. 187, S. 29].” Abgerufen am 23. Juni</ref><ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/yana10-1.pdf Johannes Kirschenmann, Konstruktionen auf der Baustelle des Subjekts. Überlegungen zur documenta-Arbeit von Yana Milev, in: Bernhard Balkenhol, Heiner Georgsdorf (Hrsg.), x mal documenta x, Kunsthochschule der Universität Kassel, 1997].” Abgerufen am 23. Juni 2021.</ref> With the support of a fellowship from the [[German Academic Exchange Service]] (DAAD), Milev traveled to Japan, where she became conducted ethnographic studies and trained in the traditional [[Japanese martial arts]] [[Kyūdō|Kyudō]] und [[Aikido|Aikidō]] in [[Kyoto|Kyōto]]. In 1999, she earned the Sho-Dan of the Zen Nippon Kyudō Renmei (全日本弓道連) Tokyo.

Beginning in 1992, she was visible on the international art market as an artist affiliated with the Galerie EIGEN+ART (Leipzig and Berlin). In 1995, she became the first GDR artist to receive the Max-Pechstein-Prize.<ref>”[https://www.kunstsammlungen-zwickau.de/de/max-pechstein/foerderpreis/preistraeger.php Preisträger, Kunstsammlungen Zwickau].” Abgerufen am 23. Juni 2021.</ref> Likewise as the first GDR woman artist to do so, Milev exhibited work at [[documenta X]] in 1997.<ref>[https://www.documenta.de/de/retrospective/documenta_x documenta X, Teilnehmende Künstler.] Abgerufen am 23. Juni 2021.</ref><ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/b-klemm-1.pdf Henning Ritter, Der Sozialarbeiter als Dandy, Frankfurter Allgemeine Zeitung, 14.8.1997, Nr. 187, S. 29].” Abgerufen am 23. Juni</ref><ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/yana10-1.pdf Johannes Kirschenmann, Konstruktionen auf der Baustelle des Subjekts. Überlegungen zur documenta-Arbeit von Yana Milev, in: Bernhard Balkenhol, Heiner Georgsdorf (Hrsg.), x mal documenta x, Kunsthochschule der Universität Kassel, 1997].” Abgerufen am 23. Juni 2021.</ref> With the support of a fellowship from the [[German Academic Exchange Service]] (DAAD), Milev traveled to Japan, where she became conducted ethnographic studies and trained in the traditional [[Japanese martial arts]] [[Kyūdō|Kyudō]] und [[Aikido|Aikidō]] in [[Kyoto|Kyōto]]. In 1999, she earned the Sho-Dan of the Zen Nippon Kyudō Renmei (全日本弓道連) Tokyo.

Upon her return from Japan, in 2003 Milev was released by her gallerist Gerd Harry Lybke. Her top career as an artist was ending promptly and she was forced to embark on a new life course. In 2003, Milev met [[Peter Sloterdijk]], under whose advisorship she completed doctoral studies in philosophy at the [[Academy of Fine Arts Vienna]] and the [[Karlsruhe University of Arts and Design|Karlsruhe University of Design]] (HfG). To finance her PhD studies study, in 2004 she became an instructor and project leader at the [[Zurich University of the Arts]] (ZHdK), initially at the Institute for Design Research and, in 2013, at the Institute of Cultural Studies in the Arts (ICS).<ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/Anthropodesign-ZHdK.pdf Anthropodesign. Zur Konzeptualisierung eines komplementären Designbegriffs, ICS, ZHdK, 2013].”Abgerufen am 23. Juni 2021.</ref> Simultaneously, she was active in undertaking curatorial projects at the Zurich University of the Arts and the Karlsruhe [[ZKM Center for Art and Media Karlsruhe|Center for Art and Media]] (ZKM).<ref>[https://link.springer.com/chapter/10.1007%2F978-3-211-69289-9_1 Hans-Peter Schwarz, Emergency Design – Ein Entwurf mit Perspektive, in: In: Blechinger G., Milev Y. (eds) Emergency Design. Springer, Vienna, 2008], Stand vom 24. Juni 2021</ref><ref>”[https://zkm.de/de/event/2009/03/talks-in-between-emergencies Talks in-between Emergencies. Ausnahmezustand Kunstmarkt – Ausnahmeraum Kunst, ZKM Medientheater, 07.03.2009.]” Abgerufen am 23. Juni 202</ref> In 2008, Milev earned a doctorate with a dissertation in the field of political philosophy, evaluated by Peter Sloterdijk and Elisabeth von Samsonow (2^nd reader) and awarded the ”[[summa cum laude]]” honor. In 2010, Milev became [[Visiting scholar|Visiting Research Fellow]] at the Research Institute of the HfG Karlsruhe,<ref>”[https://www.hfg-karlsruhe.de/hochschule/publikationen/jahresberichte/jahresbericht-20122013/hfg-karlsruhe_jahresbericht_2012-13.pdf Marc Jongen, HfG Forschungskolleg: Yana Milev, in: Jahresbericht, Annual Reprt, HfG Karlsruhe, 2012/13, S. 182-183].” Abgerufen am 23. Juni 2021.</ref> and in 2012 was approved to undertake ”Habilitation” with the Seminar for Sociology at the [[University of St. Gallen]] (SfS-HSG). In 2014, she received ”Habilitation” with a thesis on the topic of political design sociology, mentored by Franz Schultheis and refereed by Sigrid Schade, Oliver Marchart, and Ulf Wuggenig.<ref>”[https://sfs.unisg.ch/de/forschung/dissertationen Habilitationen/Dissertationen, SfS, Universität St. Gallen].” Abgerufen am 23. Juni 2021.</ref> In 2016, she held here inaugural lecture (”Antrittsvorlesung”) as a outside lecturer (”Privatdozent”) in cultural sociology at the University of St. Gallen, with an entitled “On Being Precarious in the Society of Symptoms.”.<ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/Antritts-VL-mit-Unterschrift.pdf Einladung zur Antrittsvorlesung PD Dr. Yana Milev, Kultursoziologie, 10. Mai 2016, HSG].” Abgerufen am 23. Juni 2021.</ref> At this time, Milev observed that women academics socialized in the GDR and born between 1945 and 1975 were excluded from pursuing careers. In 2017 she initiated the research project ”De-Coupled Society: Liberalization and Resistance in East Germany since 1989/90”, which has appeared in multiple volumes with Peter Lang since 2018. In order to undertake this project, Milev founded the independent platform AGIO | Social Analysis and Political Education.<ref>”[https://www.peterlang.com/search?f_0=author&q_0=Yana+Milev Entkoppelte Gesellschaft – Ostdeutschland seit 1989/90, Edition in mehreren Bänden, Verlags HP]”. Abgerufen am 23. Juni 2021.</ref>

Upon her return from Japan, in 2003 Milev was released by her gallerist Gerd Harry Lybke. Her top career as an artist was ending promptly and she was forced to embark on a new life course. In 2003, Milev met [[Peter Sloterdijk]], under whose advisorship she completed doctoral studies in philosophy at the [[Academy of Fine Arts Vienna]] and the [[Karlsruhe University of Arts and Design|Karlsruhe University of Design]] (HfG). To finance her PhD studies study, in 2004 she became an instructor and project leader at the [[Zurich University of the Arts]] (ZHdK), initially at the Institute for Design Research and, in 2013, at the Institute of Cultural Studies in the Arts (ICS).<ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/Anthropodesign-ZHdK.pdf Anthropodesign. Zur Konzeptualisierung eines komplementären Designbegriffs, ICS, ZHdK, 2013].”Abgerufen am 23. Juni 2021.</ref> Simultaneously, she was active in undertaking curatorial projects at the Zurich University of the Arts and the Karlsruhe [[ZKM Center for Art and Media Karlsruhe|Center for Art and Media]] (ZKM).<ref>[https://link.springer.com/chapter/10.1007%2F978-3-211-69289-9_1 Hans-Peter Schwarz, Emergency Design – Ein Entwurf mit Perspektive, in: In: Blechinger G., Milev Y. (eds) Emergency Design. Springer, Vienna, 2008], Stand vom 24. Juni 2021</ref><ref>”[https://zkm.de/de/event/2009/03/talks-in-between-emergencies Talks in-between Emergencies. Ausnahmezustand Kunstmarkt – Ausnahmeraum Kunst, ZKM Medientheater, 07.03.2009.]” Abgerufen am 23. Juni 202</ref> In 2008, Milev earned a doctorate with a dissertation in the field of political philosophy, evaluated by Peter Sloterdijk and Elisabeth von Samsonow (2^nd reader) and awarded the ”[[summa cum laude]]” honor. In 2010, Milev became [[Visiting scholar|Visiting Research Fellow]] at the Research Institute of the HfG Karlsruhe,<ref>”[https://www.hfg-karlsruhe.de/hochschule/publikationen/jahresberichte/jahresbericht-20122013/hfg-karlsruhe_jahresbericht_2012-13.pdf Marc Jongen, HfG Forschungskolleg: Yana Milev, in: Jahresbericht, Annual Reprt, HfG Karlsruhe, 2012/13, S. 182-183].” Abgerufen am 23. Juni 2021.</ref> and in 2012 was approved to undertake ”Habilitation” with the Seminar for Sociology at the [[University of St. Gallen]] (SfS-HSG). In 2014, she received ”Habilitation” with a thesis on the topic of political design sociology, mentored by Franz Schultheis and refereed by Sigrid Schade, Oliver Marchart, and Ulf Wuggenig.<ref>”[https://sfs.unisg.ch/de/forschung/dissertationen Habilitationen/Dissertationen, SfS, Universität St. Gallen].” Abgerufen am 23. Juni 2021.</ref> In 2016, she held here inaugural lecture (”Antrittsvorlesung”) as a outside lecturer (”Privatdozent”) in cultural sociology at the University of St. Gallen, with an entitled “On Being Precarious in the Society of Symptoms.”.<ref>”[http://www.aobbme.com/wordpress/wp-content/uploads/Antritts-VL-mit-Unterschrift.pdf Einladung zur Antrittsvorlesung PD Dr. Yana Milev, Kultursoziologie, 10. Mai 2016, HSG].” Abgerufen am 23. Juni 2021.</ref> At this time, Milev observed that academics socialized in the GDR and born between 1945 and 1975 were excluded from pursuing careers. In 2017 she initiated the research project ”De-Coupled Society: Liberalization and Resistance in East Germany since 1989/90”, which has appeared in multiple volumes with Peter Lang since 2018. In order to undertake this project, Milev founded the independent platform AGIO | Social Analysis and Political Education.<ref>”[https://www.peterlang.com/search?f_0=author&q_0=Yana+Milev Entkoppelte Gesellschaft – Ostdeutschland seit 1989/90, Edition in mehreren Bänden, Verlags HP]”. Abgerufen am 23. Juni 2021.</ref>

In 1989 Milev met the violinist and photographer Philipp Beckert, her partner in collaborative projects to the present day.<ref>”[https://www.positionen.berlin/post/das-sound-gelande-berlin Philipp Beckert, Yana Milev, Das Sound-Gelände Berlin, in: Positionen. Texte zur aktuellen Musik].” Abgerufen am 23. Juni 2021.</ref><ref>”[https://www.zhdk.ch/forschungsprojekt/entkoppelte-gesellschaft-552379 Entkoppelte Gesellschaft. Zeugnisse des sozialen und kulturellen Verschwindens in Ostdeutschland seit 1989/90, Institute for Cultural Studies in the Arts (ICS)], ZHdK.”Abgerufen am 23. Juni 2021.</ref> In 2020, Milev got her Settlement permit for Switzerland. She lives in St. Gallen and Berlin.

In 1989 Milev met the violinist and photographer Philipp Beckert, her partner in collaborative projects to the present day.<ref>”[https://www.positionen.berlin/post/das-sound-gelande-berlin Philipp Beckert, Yana Milev, Das Sound-Gelände Berlin, in: Positionen. Texte zur aktuellen Musik].” Abgerufen am 23. Juni 2021.</ref><ref>”[https://www.zhdk.ch/forschungsprojekt/entkoppelte-gesellschaft-552379 Entkoppelte Gesellschaft. Zeugnisse des sozialen und kulturellen Verschwindens in Ostdeutschland seit 1989/90, Institute for Cultural Studies in the Arts (ICS)], ZHdK.”Abgerufen am 23. Juni 2021.</ref> In 2020, Milev got her Settlement permit for Switzerland. She lives in St. Gallen and Berlin.

Other exhibitions by Milev took place in the Grande Halle de la Villette (Paris, 1990), the Museum of Installations (London, 1994), the [[Venice Biennale]] (1995), the Ottoneum during documenta X (Kassel, 1997), the [[Johann Wolfgang von Goethe|Goethe]] Institute [[Osaka]](1997), the Gallery Fons Welters (Amsterdam, 1997), the [[MoMA PS1]] (New York, 1999), the SCA Gallery [[Sydney]] (1999), dem [[Haus der Kunst|Haus der Kunst München]] (1998), dem [[Von der Heydt Museum|Von der Heydt Museum Wuppertal]] (1998), dem [[Fridericianum|Fridericianum Kassel]] (1999), the [[Museum Folkwang]] (Essen, 2000), the [[Kunstmuseum Bonn]] (2000), the Berlin Academy of Arts (2002), the New National Gallery (Berlin, 2003), the Max Gandoloh Library of Salzburg (2003), the [[Museum der bildenden Künste|Museum der bildenden Künste Leipzig]] (2006), the [[Kunsthalle Mannheim]] (2011), the [[Martin-Gropius-Bau]], Berlin (2016), the Leopold Hoesch Museum Düren (2016), as well as other venues.

Other exhibitions by Milev took place in the Grande Halle de la Villette (Paris, 1990), the Museum of Installations (London, 1994), the [[Venice Biennale]] (1995), the Ottoneum during documenta X (Kassel, 1997), the [[Johann Wolfgang von Goethe|Goethe]] Institute [[Osaka]](1997), the Gallery Fons Welters (Amsterdam, 1997), the [[MoMA PS1]] (New York, 1999), the SCA Gallery [[Sydney]] (1999), dem [[Haus der Kunst|Haus der Kunst München]] (1998), dem [[Von der Heydt Museum|Von der Heydt Museum Wuppertal]] (1998), dem [[Fridericianum|Fridericianum Kassel]] (1999), the [[Museum Folkwang]] (Essen, 2000), the [[Kunstmuseum Bonn]] (2000), the Berlin Academy of Arts (2002), the New National Gallery (Berlin, 2003), the Max Gandoloh Library of Salzburg (2003), the [[Museum der bildenden Künste|Museum der bildenden Künste Leipzig]] (2006), the [[Kunsthalle Mannheim]] (2011), the [[Martin-Gropius-Bau]], Berlin (2016), the Leopold Hoesch Museum Düren (2016), as well as other venues.

Currently, Milev is listed among the Global Top 100,000 in the ranking at ArtFacts.net.<ref>ArtFacts: ”[https://artfacts.net/artist/yana-milev/68242 Yana Milev | Artist.]” Abgerufen am 17. Februar 2021.</ref> Her highest placement in the art-market ranking was in the Global Top 2,000 in 2010.<ref>ArtFacts: Yana Milev | Artist, https://artfacts.net/artist/yana-milev/68242, Stand vom 3. September 2021</ref>

Currently, Milev is listed among the Global Top 100,000 in the ranking at ArtFacts.net.<ref>ArtFacts: ”[https://artfacts.net/artist/yana-milev/68242 Yana Milev | Artist.]” Abgerufen am 17. Februar 2021.</ref> Her highest placement in the art-market ranking was in the Global Top 1,000 in 2000.<ref>ArtFacts: Yana Milev | Artist, https://artfacts.net/artist/yana-milev/68242, Stand vom 3. September 2021</ref>

=== Artistic Research ===

=== Artistic Research ===

* Seth Howes, Moving Images on the Margins – Experimental Film in Late Socialist East Germany, Boydell & Brewer Ltd, NY USA, 2019, ISBN 978-1-64014-068-4.

* Seth Howes, Moving Images on the Margins – Experimental Film in Late Socialist East Germany, Boydell & Brewer Ltd, NY USA, 2019, ISBN 978-1-64014-068-4.

* Ronald Galenza, Die Hosen haben Röcke an. Female Voices der DDR Subkultur, in: Alexander Pehlemann, Ronald Galenza, Robert Mießner (Hg.), MAGNETIZDAT DDR. Magnetbanduntergrund Ost 1979-1990, Verbrecher Verlag, Berlin, 2021, ISBN 9783957324764.

* Ronald Galenza, Die Hosen haben Röcke an. Female Voices der DDR Subkultur, in: Alexander Pehlemann, Ronald Galenza, Robert Mießner (Hg.), MAGNETIZDAT DDR. Magnetbanduntergrund Ost 1979-1990, Verbrecher Verlag, Berlin, 2021, ISBN 9783957324764.

*Stephanie Jaeckel: ”Milev, Yana: Allgemeines Künstlerlexikon Online / Artists of the World Online”, edited by Wolf Tegethoff, Bénédicte Savoy and Andreas Beyer, De Gruyter, Berlin, New York: K. G. Saur, 2009, https://www.degruyter.com/database/AKL/entry/_42000319/html. Accessed 2021-10-21.

== Awards ==

== Awards ==