Mariela Gemisheva is a fashion designer and an artist working in the area of performance. She was born in Kazanlak. She graduated as MA in Design at the Academy of Architecture, Design and Arts, Prague in 1992. She specialized in interior design (1990) in the studio of the architect Borek Shipek in Amsterdam. In 2007 she became a Doctor in Fine Art and Art Sciences at the National Art Academy, Sofia. Mariela Gemisheva is renowned for her original and memorable experimentation in the area of fashion as well as for her provocative performances. She plays the role of a model for Alexander Nishkov's professional lens - Self-portrait (2008), Multi-Me (2012).
Mariela Gemisheva has won the Golden needle award twice (1996 and 1998), the contest is organized by the Fashion Academy of Bulgaria. She has been nominated for a Designer of the Year (2006) by the Fashion Academy of Bulgaria, for Woman of the Year (2008) by Gracia magazine in Fashion category and also for the Ruf Award for New Bulgarian Art (2008).
Ph.D. Mariela Gemisheva is a member of the Contemporary Art Institute, Sofia since 2000. She was a lecturer in the Fashion department of the National Art Academy, Sofia.
Fish party 2015
In 1997 during the exhibition called Erato's Version showing the female point of view of erotica, Mariela Gemisheva put a baldachin veil in the center of the exhibition space with a sexy fashion model under it frying sprat fish. The contrast between the white veil symbolizing virginity, the erotically dressed beauty and the cooking smell of fish turned the performance into one ofthe most significant works of Bulgarian contemporary art dealing with the problems of females in society.
Mariela Gemisheva develops this project into the sequence Fish Party, presented for the first time in ATA Centre for Contemporary Art in Sofia in 2004. In it three "sterile white" professional top models, styled as for a high fashion show, perform the same action and seduce the audience, passing around the fried fish, signifying how culture meets the literality of everyday life. The author turns on all our senses as she undertakes an invasion on taste, smell, sound and sight. Their total interference breaks the spectator's confidence concerning their own place in the situation and their own understanding of it. Gemisheva successfully invokes a reaction of all possible visualizations, social and cultural deposits, by involving familiar, even banal, actions and gestures.
In this new version the work will be performed by the author herself and by two assistants in outfits, custom designed for the occasion. A main priority will be the provocation of the ritual, original artist's action in the situation of "conflict" between the social and the intimately personal, the opposition of the festive against the mundane, the exquisitely feminine against the casual dullness of the regular housewife.