Export/Import 2003

EXPORT IMPORTÑúâðåìåííî èçêóñòâî îò Áúëãàðèÿ

Contemporary Art from Bulgaria

Ñîôèéñêà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ/ Sofia Art Gallery

EXPORT-IMPORTÑúâðåìåííî èçêóñòâî îò Áúëãàðèÿ/ Contemporary Art from Bulgaria

Ñîôèéñêà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ/ Sofia Art Gallery

© Ìàðèÿ Âàñèëåâà/ Maria Vassileva - ñúñòàâèòåëñòâî, ðåäàêöèÿ è òåêñò/ coordination, editing and text

© Âåñåëà Õðèñòîâà - Ðàäîåâà/ Vessela Christova - Radoeva - òåêñò/ text

© Íàäåæäà Îëåã Ëÿõîâà/ Nadezhda Oleg Lyahova - ãðàôè÷åí äèçàéí/ graphic design

© Ìàðòà Âàìïîðîâà/ Marta Vamporova - ïðåâîä/ translation

ïå÷àò/ print - ÂÍÁ/ VNB

Ñîôèÿ/ Sofia, 2002

ISBN 954-91223-1-õ

Ñúñòàâèòåëÿò áëàãîäàðè íà âñè÷êè õóäîæíèöè, êîèòî ïðåäîñòàâèõà ñâîè ìàòåðèàëè çà êàòàëîãà/ The editor expresses deepest gratitude

to all artists for their generous contribution that made this publication possible

Èçäàíèåòî å ïî ïîâîä åäíîèìåííà èçëîæáà â Ñîôèéñêàòà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ, êóðèðàíà îò Ìàðèÿ Âàñèëåâà, ôåâðóàðè-

àïðèë 2003/ This publication accompanies an exhibition of the same name, curated by Maria Vassileva at Sofia Art Gallery, February-April

2003 BG

ÅÊÑÏÎÐÒ-ÈÌÏÎÐÒ/ EXPORT-IMPORT/ ÅÊÑÏÎÐÒ-ÈÌÏÎÐÒ/ EXPORT-IMPORT/ ÅÊÑÏÎÐÒ-ÈÌÏÎÐÒ/ EXPORT-IMPORT/ ÅÊÑÏÎÐÒ-ÈÌÏÎÐÒ/ EXPORT-IMPORT/ ÅÊÑÏÎÐÒ-ÈÌÏÎÐÒ/ EXPORT-IMPORT/ ÅÊÑÏ

ÇÀ ÈÇÊÓÑÒÂÎÒÎ È ÍÅÃÎÂÈÒÅ ÏÚÒÅØÅÑÒÂÈßÂÚÂ ÂÐÅÌÅÒÎ È ÏÐÎÑÒÐÀÍÑÒÂÎÒÎ

Åäâà ëè êîíêðåòíèòå äàòè ñà íàé-âàæíîòî â èñòîðèÿòà. Ïî-ñêîðî ïåðèîäèòå ñ õàðàêòåðíèòå èì îñîáåíîñòè â ìèñëåíåòîè ïîâåäåíèåòî íà ãîëåìè ãðóïè ëè÷íîñòè „ïðàâÿò“ èñòîðèÿòà.Òàêà å è â èçêóñòâîòî. È êîãàòî íåãîâèòå ñúçäàòåëè èèçñëåäîâàòåëè êîìåíòèðàò îïðåäåëåíè ïðîÿâè â ìîìåíòà íàñîöèàëèçàöèÿòà èì, è êîãàòî ñëåä âðåìå òå áèâàòïðåîñìèñëåíè îò ãëåäíà òî÷êà íà çíà÷èìîñòòà èì ñïðÿìîèñòîðè÷åñêèòå ïðîöåñè â òÿõíàòà öÿëîñòíîñò.

Ðåäèöà ñúáèòèÿ â Áúëãàðèÿ è ïî ñâåòà â êðàÿ íà 80-òå èíà÷àëîòî íà 90-òå ãîäèíè íà XX âåê íè äàâàò îñíîâàíèÿ äàãîâîðèì çà ïîñëåäíîòî äåñåòèëåòèå íà ìèíàëîòî ñòîëåòèåêàòî çà åäèí îáîñîáåí ïåðèîä, ïðåç êîéòî òåíäåíöèèòå âìèñëåíåòî è áèòèåòî íà õóäîæíèöèòå ïðèäîáèõà ïî-çàâúðøåíîáëèê. Íàðåä ñ òîâà õóäîæåñòâåíàòà ñèòóàöèÿ ìíîãî ïî-êàòåãîðè÷íî â ñðàâíåíèå ñ ïðåäøåñòâàùîòî âðåìå íè äàâàáîãàò ìàòåðèàë çà ðàçãðàíè÷àâàíå íà òåðìèíè è ïîíÿòèÿ,ñðåä êîèòî âîäåùî è îñîáåíî àêòóàëíî å òîâà çàñúâðåìåííîòî èçêóñòâî. Ìàòåðèÿ áúðçî ðàçâèâàùà ñå èïðîìåíÿùà ñå, ãëàâíî ïîðàäè ôàêòà, ÷å â ñúâðåìííèÿ ñâÿòãëîáàëèçàöèÿòà å íåîòìåííà äâèæåùà ñèëà.

Ñúâðåìåííîòî èçêóñòâî è ìóçåÿò å òåìà, êîÿòî ïîíå âíàøàòà ñòðàíà òåïúðâà ïðåäñòîè äà ñå ðàçèñêâà ñ öÿëàòàîáùåñòâåíà è ïðîôåñèîíàëíà îòãîâîðíîñò, êîÿòî çàñëóæàâà.Òîçè òèï òâîð÷åñòâî è ðåçóëòàòè îò íåãî ïðåäïîëàãàòñúùåñòâóâàíåòî è ðàçâèòèåòî íå ïðîñòî íà ìóçåè âêëàñè÷åñêèÿ ñìèñúë, à íà ñïåöèôè÷íè ìóçåéíè èíñòèòóöèè çàñúâðåìåííî èçêóñòâî. Ñúñ ñïåöèôè÷íè ïðîñòðàíñòâà -îòêðèòè è çàêðèòè, ñúñ ñïåöèôè÷íè ôîðìè íà ïîêàç è íàðàáîòà ñ ïóáëèêàòà. Ñúâðåìåííîòî èçêóñòâî â òîçè ñìèñúëå ïðåäèçâèêàòåëñòâî çà ìóçåèòå, ÷èèòî ñúòðóäíèöè âå÷å íåìîãàò äà áúäàò „êàáèíåòåí“ òèï, à èñòîðèöè è êðèòèöè, çàêîèòî ñîöèî-êóëòóðíèòå ïðîöåñè íå ñå ïîäðåæäàòåäèíñòâåíî õðîíîëîãè÷åñêè.

Òåçè ðàçñúæäåíèÿ íè íàñî÷èõà êúì èçëîæáàòà „Export - Import“.Ñúçíàâàìå êîëêî ïàðàäîêñàëíî å åäèí áúëãàðñêè ìóçåé äàïîäãîòâÿ òàêàâà èçëîæáà, íî âñúùíîñò äà íå ìîæå äà èçïúëíèñîáñòâåíèòå ñè ôóíêöèè, êîèòî çàïî÷âàò ñ èçäèðâàíåòî èçàêóïóâàíåòî íà ïðîèçâåäåíèÿ. Ïðîçàè÷íî è íàé-ëåñíî å äà ñåêàæå, ÷å åäèíñòâåíàòà ïðè÷èíà å ëèïñàòà íà ñðåäñòâà. Íîàêî òå íå ìîãàò äà áúäàò îòïóñíàòè îò äúðæàâàòà ïîðàäèîáùà èíîêîìè÷åñêà ñòàãíàöèÿ, ìóçåÿò òðÿáâà ñàì äà òúðñèïúòèùà äà ðàáîòè ïúëíîöåííî, à íå ñàìî äà ñúùåñòâóâà íàòðàäèöèîííèÿ ñè àäðåñ.

Íàäÿâàìå ñå èçëîæáàòà äà ïðîâîêèðà âúçìîæíîñòè çàñúçäàâàíåòî íà íîâà êîëåêöèÿ êúì ôîíäà íà Ñîôèéñêàòàãðàäñêà õóäîæåñòâåíà ãàëåðèÿ - êîëåêöèÿ îò ÑÚÂÐÅÌÅÍÍÎÁÚËÃÀÐÑÊÎ ÈÇÊÓÑÒÂÎ.

Âåñåëà Õðèñòîâà-Ðàäîåâàäèðåêòîð íà ÑÃÕÃ


ON ART AND ITS JOURNEYS IN TIME AND SPACE

Specific dates are far from being the most important thing in histo-ry. It is rather the periods with their characteristic peculiarities in thethinking and behavior of large groups of individuals that „make“ his-tory. The same applies for art as well. Both, when its creators andresearchers comment certain events in the moment of their social-ization, and when after some time they are reevaluated in terms oftheir significance for the historical processes in their entirety.

A number of events in Bulgaria and around the world that occurredat the end of the 80’s and the beginning of the 90’s of the 20th cen-tury give us reasons to talk about the last decade of the past cen-tury as an individualized period in which the trends in the thinkingand everyday life of the artists have acquired a more completedimage. At the same time the artistic situation gives us, more explic-itly as compared to the past, an extensive material for differentiatingterms and concepts among which the leading and especially actu-al issue is that of contemporary art. It is a matter that develops andchanges rapidly mostly due to the fact that in the contemporaryworld globalization is the inevitable driving force.

Contemporary art and the museum is a subject that in our countryat least is still to be discussed with the entire public and professionalresponsibility it deserves. This kind of art and its results presupposethe existence and development not only of museums in the classi-cal sense, but of specific museum institutions for contemporary art.With specific spaces - open and closed, with specific forms ofexpression and working with the audience. Contemporary art in thissense is a challenge for the museums whose associates can nolonger be of the „office“ type, but rather historians and critics forwhom the socio-cultural processes are not arranged only chrono-logically.

These arguments directed us towards the Export - Import Exhibition.We realize how paradoxical it is for a Bulgarian museum to preparesuch an exhibition, but in reality to be incapable of performing itsown functions that start with the search for and purchase of works.It is most prosaic and simple to say that the only reason for this isthe lack of funds. But if they cannot be allotted by the State due tothe overall economic stagnation, the museum on its own must findways to operate efficiently, and not only exist at its traditionaladdress.

We hope the exhibition will provoke the possibilities for creating anew collection at the fund of the Sofia Art Gallery - a collection ofCONTEMPORARY BULGARIAN ART.

Vessela Hristova-RadoevaDirector, Sofia Art Gallery


Ìàðèÿ Âàñèëåâà

ÑÚÂÐÅÌÅÍÍÎÒÎ ÁÚËÃÀÐÑÊÎ ÈÇÊÓÑÒÂÎ - ÎÁÐÀÒÍÎ Â ÁÚËÃÀÐÈß

Ñïîðåä òúðãîâñêàòà òåðìèíîëîãèÿ Export-Import îçíà÷àâà èçíîñ íà åäíà ñòîêà è âíîñ íà äðóãà. Â êîíòåêñòà íà òîâà èçäàíèåòåðìèíúò ïðîìåíÿ ñìèñúëà ñè è îïðåäåëÿ æåëàíèåòî íè äà „âúðíåì“ âèðòóàëíî è ðåàëíî èçíåñåíîòî íàâúí ñúâðåìåííîáúëãàðñêî èçêóñòâî îáðàòíî â ðîäèíàòà ìó. Âèðòóàëíî - ÷ðåç êàòàëîãà, êîéòî ñúõðàíÿâà íàïóñíàëè ïðåäåëèòå íà ñòðàíàòàðàáîòè. Ðåàëíî - ÷ðåç èçëîæáàòà, êîÿòî ñå îïèòâà äà âúçñòàíîâè êàðòàòà íà áúëãàðñêîòî ïðèñúñòâèå â ÷óæáèíà.

Â ïîñëåäíèòå äåñåòèíà ãîäèíè îáðàçúò íà äúðæàâàòà ïðèëè÷à íà êàíà ñ âîäà, ïðîáèòà íà ìíîãî ìåñòà. Êîëêîòî è äà ÿ äúðæèøïîä ÷åøìàòà - íÿìà äà ñå íàïúëíè. Ïî òîçè íà÷èí (è ïðè òîâà íå òîëêîâà ïîåòè÷íî) èçòè÷àò ðàçëè÷íè íåùà: ìîçúöè, ïàðè,àíòèêè. Èçòè÷à è èçêóñòâî, ìàêàð ÷å çà òîâà ñå ñåùàò ìàëöèíà. Îáùåñòâîòî å àêòèâíî îòäàäåíî íà èçãðàæäàíå íà „ìèòàçà çàâðúùàíåòî“. Òîçè ìèò íè èçïúëâà ñ íàäåæäè. Íàäÿâàìå ñå åäèí äåí ìëàäèòå õîðà (âå÷å íå òîëêîâà ìëàäè), íàïóñíàëèäúðæàâàòà, äà ñå çàâúðíàò. Íàäÿâàìå ñå ïàðèòå, çàãðàáåíè îò ïðàâèòåëñòâà, êðåäèòíè ìèëèîíåðè è ìàôèîçè, è èçíåñåíè â÷óæáèíà, ñúùî äà ñå çàâúðíàò. Íàäÿâàìå ñå è õóäîæíèöèòå äà áúäàò òîëêîâà äîáðå ïðèåòè ó íàñ êîëêîòî è â ÷óæáèíà, ò.å.íå ïðîñòî äà áúäàò òóê ôèçè÷åñêè, íî è ðåàëíî äà ñå „âìåñòÿò“ â ñîöèàëíàòà ïèðàìèäà.

Â ãîëÿìà ñòåïåí ñúâðåìåííîòî áúëãàðñêî èçêóñòâî ñå ñúçäàâà çà è â ÷óæáèíà. Ìàêàð ÷å â èçäàíèåòî ñà âêëþ÷åíè äîñòàðàáîòè, ïîêàçâàíè è â áúëãàðñêè ãàëåðèè, äåéñòâèòåëíàòà ñè îöåíêà è ðåàëèçàöèÿ òîâà èçêóñòâî ïîëó÷àâà íàâúí. Òàì òî åêàíåíî, ïîêàçâàíî, êóïóâàíî(!), â íåãî ñå èíâåñòèðà, çà íåãî ñå ïèøå. Çàòîâà è ìîòèâàöèÿòà äà áúäå ñúçäàâàíî ñúùî èäâàîòâúí. Íàé-óñïåëèÿò áúëãàðñêè õóäîæíèê Íåäêî Ñîëàêîâ íÿìà ó íàñ íèòî åäíà ãîëÿìà èçëîæáà. Íèòî åäíà îò ãîëåìèòå ìóèíñòàëàöèè íå å ïîêàçâàíà òóê è íèòî åäèí ìóçåé íå ïðèòåæàâà íåãîâà ðàáîòà îò ïîñëåäíèòå 10 è ïîâå÷å ãîäèíè. Êàòîèçêëþ÷èì íÿêîëêî êàìåðíè èçëîæáè, Íåäêî Ñîëàêîâ èçöÿëî ìèñëè, ñúçäàâà è îñúðàçìåðÿâà ðàáîòèòå ñè ñúñ ñâåòà èçâúí Áúëãàðèÿ.

Ðàçáèðà ñå, ìíîãî îò òâîðáèòå â êàòàëîãà ñà ïðîâîêèðàíè îò õóäîæåñòâåíèòå äâèæåíèÿ ó íàñ. Äåéíîñòòà íà íÿêîëêî ÷àñòíèãàëåðèè, íåïðàâèòåëñòâåíè èíñòèòóöèè è îáùåñòâåíè ñäðóæåíèÿ, íà îòäåëíè êóðàòîðè è êðèòèöè, ñúçäàäîõà ïîäõîäÿùà ñðåäà,êîÿòî ïðåäèçâèêâà „ñëó÷âàíåòî“ íà àðò-ñúáèòèÿ è òóê. Ôàêò å, ÷å áëàãîäàðåíèå íà ðàáîòàòà íà øåïà õîðà Òóê ñà âúçìîæíèäåéñòâèÿòà íà íàøèòå õóäîæíèöè Òàì.

Çàùî îáà÷å âñå îùå èìà „òóê“ è „òàì“? Êúäå ñå ïîëó÷àâà îíçè ïðîöåï, êîéòî ðàçäåëÿ ñâåòà íà äâå ÷àñòè - íèå è âñè÷êèîñòàíàëè? Çàùî íóæäàòà äà ñå íàïðàâè ïîäîáíî èçäàíèå è èçëîæáà å äðàìàòè÷íà, à íå ïðîñòî ïðèÿòíî çàäúëæåíèå íàèñòîðèöèòå íà èçêóñòâîòî è ñóõà ñòàòèñòèêà?

Ñòðàííî å, íî òî÷íî òåçè õóäîæíèöè, êîèòî ïîñòîÿííî ïúòóâàò íàâúí, ïîêàçâàò ðàáîòèòå è ñåáå ñè ïî öåëèÿ ñâÿò, ðàçêàçâàòîòêúäå èäâàò è êàêâî ãè âäúõíîâÿâà, ñå ÷óâñòâàò ÷óæäåíöè â ñîáñòâåíàòà ñè ðîäèíà. Èíòåðåñúò êúì òÿõ îò ñòðàíà íàäúðæàâíèòå èíñòèòóöèè å ìèíèìàëåí. Ìóçåèòå íÿìàò ñðåäñòâà çà îòêóïóâàíå íà òåõíè ðàáîòè, à â ãîëÿìàòà ñè ÷àñò íÿìàòè æåëàíèå çà òîâà. Ñúâðåìåííèòå áúëãàðñêè õóäîæíèöè èçïîëçâàò äúðæàâàòà ãëàâíî, çà äà ïðåñïèâàò â íåÿ ìåæäó äâå èçëîæáèâ ÷óæáèíà. Òÿ íèòî ìîæå äà ãè íàõðàíè, íèòî äîðè ñå ñåùà äà ãè ïîîùðè çàðàäè óñèëèÿòà, êîèòî ïîëàãàò.

Çà ïúðâè ïúò åäíà ìóçåéíà èíñòèòóöèÿ, êàêâàòî å Ñîôèéñêàòà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ, ñå îïèòâà äà ïîñòàâè âúïðîñàçà ìÿñòîòî íà õóäîæíèöèòå. È äà âúçñòàíîâè íàðóøåíàòà âðúçêà â ñõåìàòà íà õóäîæåñòâåíèÿ æèâîò - ìåæäó ìàëêèòå ÷àñòíèîðãàíèçàöèè (ãàëåðèè, èíñòèòóòè, ñäðóæåíèÿ è äð.) è äúðæàâíèòå ñòðóêòóðè (ìóçåè, èíñòèòóöèè è äð.).

Èçäàíèåòî íÿìà âúçìîæíîñò äà âêëþ÷è âñè÷êè õóäîæíèöè è âñè÷êè ïðîèçâåäåíèÿ. Òî å îïèò äà ñå ïîêàæå åäèí ïðîöåñ ÷ðåçêîíêðåòíà ñåëåêöèÿ. Îñíîâíàòà èäåÿ å äà ñå äåìîíñòðèðà îãðîìíîòî ðàçíîîáðàçèå îò ïðîÿâè â ÷óæáèíà, â êîèòî ñà ó÷àñòâàëèè áúëãàðñêè õóäîæíèöè. Îò áèåíàëåòàòà âúâ Âåíåöèÿ, Èñòàíáóë, Ñàî Ïàîëî, Êâàíäæó, Òèðàíà è Öåòèíå äî ðàçëè÷íèìåæäóíàðîäíè ôåñòèâàëè, ôîðóìè è àêöèè, ïðåç âñè÷êè äîñåãàøíè èçäàíèÿ íà Ìàíèôåñòà äî Èíòåðíåò, êàòàëîãúò ïîêàçâàðàçíîîáðàçèåòî íà õóäîæåñòâåíàòà ïðîäóêöèÿ è óñïåøíàòà é ðåàëèçàöèÿ ïî ñâåòà.

Ïðèíöèïúò íà ïîäáîð å ðàçëè÷åí. Ïîêàçàíè ñà òâîðáè, ìíîãîêðàòíî èçëàãàíè â ÷óæáèíà, êîèòî ïðîäúëæàâàò äà ñå òúðñÿò íàñâåòîâíèÿ àðò-ïàçàð. Òàêèâà íàïðèìåð ñà: „Íåî-Ãîëãîòà“ íà Ëú÷åçàð Áîÿäæèåâ (êîéòî å è êðúñòíèê íà íàñòîÿùèÿ ïðîåêò),„Æèâîò (÷åðíî è áÿëî)“ íà Íåäêî Ñîëàêîâ, „Êîðåêöèè“ íà Ðàñèì, „Òðàíñôîðìàöèÿòà âèíàãè îòíåìà âðåìå è åíåðãèÿ“ íàÏðàâäîëþá Èâàíîâ. Äðóãè àâòîðè ñà ïðåäñòàâåíè ñ íàé-íîâèòå ñè ðàáîòè, êîèòî çà ïúðâè ïúò ùå âèäÿò áÿë ñâÿò â ÷óæáèíà:Íàäåæäà Îëåã Ëÿõîâà, Êèðèë Ïðàøêîâ, Áîðèñ Ìèñèðêîâ è Ãåîðãè Áîãäàíîâ. „Òåðèòîðèè“ íà Ïðàâäîëþá Èâàíîâ âå÷å íå ñúùåñòâóâà,íî å â êàòàëîãà ïîðàäè ñâîÿòà ñèìïòîìàòè÷íîñò çà âðåìåòî, êîãàòî å ñúçäàäåíà. Êàêòî òîé, òàêà è Êàëèí Ñåðàïèîíîâ,Ëú÷åçàð Áîÿäæèåâ è Ëþáåí Êîñòîâ ñà âêëþ÷åíè ñ ïðîåêòè, ïîêðèâàùè ïî-äúëúã ïåðèîä îò âðåìå, çà äà ñå ïîä÷åðòàå ëîãèêàòàíà ïðîöåñà. Íåò-àðò ïðîåêòèòå íà Ïåòêî Äóðìàíà èìàò ïðèâèëåãèÿòà äà ñå âèäÿò ïî âñÿêî âðåìå è íàâñÿêúäå. Ïî-áëàãîñêëîííà å ñúäáàòà è êúì âèäåî òâîðáèòå - ëåñíè çà ïðåíàñÿíå è ïðåäñòàâÿíå. Ñðåä òÿõ îñîáåíî èñêàì äà îáúðíàâíèìàíèå íà òðèìà ìëàäè àâòîðè: Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà è Èâàí Ìóäîâ. Õóäîæíèöèòå Òàíÿ Àáàäæèåâà, ÍèíàÊîâà÷åâà, Âàëåíòèí Ñòåôàíîâ, Ãåîðãè Òóøåâ è Õóáåí ×åðêåëîâ âå÷å æèâåÿò â ÷óæáèíà, íî è ïðåäè è ñåãà àêòèâíî ó÷àñòâàòâ ìåæäóíàðîäíè ïðîÿâè è ïðîäúëæàâàò äà ïðåäñòàâÿò Áúëãàðèÿ.

Ïðîåêòúò Export-Import å îïèò äà ñå çàïúëíè åäíà ïðàçíèíà â çíàíèåòî íè çà ñëó÷âàùîòî ñå èçâúí ïðåäåëèòå íà ñòðàíàòà (àè âúòðå â òÿõ). È äà ñå ïðîâîêèðà îáùåñòâåíîòî ìíåíèå êúì ïðåîñìèñëÿíå íà ïîçèöèÿòà ñïðÿìî òåçè õóäîæíèöè, êîèòî ïîâå÷åîò 10 ãîäèíè ñà ïîñòîÿííîòî ëèöå íà Áúëãàðèÿ ïðåä ñâåòà. Âñè÷êè ïðåäñòàâåíè àâòîðè ñà æèâè è çäðàâè. È âñå îùå íå ñàñå îòêàçàëè äà ïðàâÿò èçêóñòâî. Íå å ëè ïî-äîáðå âìåñòî äà ó÷àñòâàìå â èçãðàæäàíåòî íà „ìèòà çà çàâðúùàíåòî“, ïðîñòîäà ãî èçïðåâàðèì? È äà äàäåì íà òåçè õóäîæíèöè çàñëóæåíîòî òóê è ñåãà. Çà äà íå ñå ÷óâñòâàò êàòî íà õîòåë â ñîáñòâåíàòàñè ðîäèíà.


Maria Vassileva

CONTEMPORARY BULGARIAN ART - BACk TO BULGARIA

According to the commercial terminology, Export-Import means the export of one commodity and the import of another. Inthe context of the present edition this term changes its meaning and denotes our desire to „bring“, virtually and actually, theexported contemporary Bulgarian art back to its native country. Virtually - through the catalogue that preserves the works thathave left the borders of the country. Actually - through the exhibition that tries to restore the map of Bulgarian presenceabroad.

In the past ten years or so the country’s image has acquired the form of a water jug punctured in a number of places. Nomatter how long you keep it under running water it will never fill. In the same manner (and even not so poetically) variousthings flow out: brains, money, antiques. Art flows out as well but few people come to think about it. The society is stronglydevoted to extending the „myth of the return“. This myth fills us with hopes. We hope that some day the young people (whoare not so young anymore), who have left the country, will return. We hope the money stolen and exported by governments,credit millionaires and gangsters will also return. We hope painters are as highly esteemed here as they are abroad, i.e. theyshould „fit“ actually in the social pyramid and not just be present physically in the country.

To a large extent contemporary Bulgarian art is created for and in foreign countries. Although the edition includes a numberof works presented in Bulgarian galleries, the actual evaluation and realization that this art receives comes from abroad whereit is invited, shown, bought(!), where funds are invested in it and where articles are published about it. That is why the moti-vation to create art also comes from abroad. The most successful Bulgarian painter Nedko Solakov has not put up a singlelarge exhibition in Bulgaria. None of his big installations has been shown in Bulgaria and no museum owns any of his workscreated in the past 10 years or more. With the exception of a few chamber exhibitions Nedko Solakov entirely thinks, cre-ates and fits his works to the world outside Bulgaria.

It is true that the artistic movements in our country have provoked many of the works in the catalogue. The activity of someprivate galleries, non-governmental institutions and public associations, of separate curators and critics has created a favor-able environment that provokes the ‘happening’ of art-events here as well. It is a fact that due to the efforts made by a bunchof people Here the activities of our painters were made possible There.

And yet, why does ‘here’ and ‘there’ still exist? Where does that crack dividing the world into two - we and all the rest - orig-inate from? Why is the need of creating such an edition and exhibition so dramatic and not just a pleasant obligation of theart historians?

It may look strange but it is the painters, who constantly travel and exhibit their works and themselves throughout the world,who explain where they come from and what inspires them, that feel like foreigners in their own country. The interest shownin them by the State institutions is a minimum. Museums have no funds to buy their works and the majority of them evenlack the desire to do so. Contemporary Bulgarian artists use the country mainly to sleep over in between two exhibitionsabroad. It neither can feed them nor even thinks of encouraging them for the efforts they make.

It is for the first time that a museum institution, such as the Sofia Art Gallery, is trying to raise the issue about the place ofcontemporary artists. And to restore the disrupted bond in the scheme of artistic life - between the small private organiza-tions (galleries, unions and others) and the State structures (museums, institutions and others).

The edition is not capable of including all painters and all works. It is an attempt at showing a process through a particularselection. The main idea is to demonstrate the enormous variety of events abroad in which Bulgarian painters have partici-pated. From the biennales in Venice, Istanbul, Sao Paolo, kwandju, Tirana and Cetinje to the various international festivals,forums and activities, through all editions of the Manifesta so far to the Internet, the catalogue shows the diversity of theartistic production and its successful realization throughout the world.

The principle of selection is different. Works that are still sought on the international art market and that have been exhibit-ed numerously abroad are shown. Such for example are: „Neo-Golgotha“ by Luchezar Boyadjiev (who is also the god-fatherof the present project), „A Life (Black & White)“ by Nedko Solakov, „Corrections“ by Rassim, „Transformation Always TakesTime and Energy“ by Pravdoliub Ivanov. Other authors are presented with their latest works that will be shown for the firsttime abroad: Nadezhda Oleg Lyahova, kiril Prashkov, Boris Misirkov and Georgi Bogdanov. „Territories“ by Pravdoliub Ivanovno longer exists but it has been included in the catalogue because of its symptomatic nature subordinated to the time whenit was created. He and kalin Serapionov, Luchezar Boyadjiev and Lyuben kostov are included with projects covering a longerperiod of time with the aim of underlying the logics of the process. The net-art projects by Petko Durmana have the privi-lege of being seen everywhere and at all times. Fate is more benevolent to video-projects also - they are easier to carry andpresent. Among them, I would like to draw special attention to three young authors: Boriana Dragoeva, Daniela kostova andIvan Moudov. The painters Tanya Abadjieva, Nina kovacheva, Valentin Stefanoff, Georgi Toushev and Huben Cherkelov alreadylive abroad but have participated and still participate actively in international events and continue to represent Bulgaria.

The Export-Import project is an attempt at filling a „blank“ spot in our knowledge about the things happening outside Bulgaria(and inside it also). And at provoking the public opinion towards reconsidering its position about these painters who for morethan 10 years have been Bulgaria’s invariable face before the world. All presented authors are alive and in sound health. Andthey have not yet given up their desire to create art. Isn’t it better to leave behind the „myth of the return“ instead of partic-ipating in its formation? And to give these painters what they deserve here and now. So that they would not feel as hotelguests in their own country.

Àâòîïîðòðåò ñ GSM/ Self portrait with GSM, 1998

ïå÷àò âúðõó âèíèë/ ink-jet print on vinyl, 180õ120 ñì/ cm

It could be Obsession, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/ Graz, 2000 Èçìèñëÿíå íà íàðîä. Ñúâðåìåííî èçêóñòâî

îò Áàëêàíèòå/ Inventing a People. Contemporary Art in the Balkans, Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî/ National Gallery for Foreign Arts, Ñîôèÿ/ Sofia

Artexpo Foundation, Áóêóðåù/ Bucharest Macedonian Museum of Contemporary Art, Ñîëóí/ Thessalonica Art Box, Êàâàëà/ Kavala, 1999 After the Wall: Art and

Culture in post-communist Europe, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 Ludwig Museum, Áóäàïåùà/ Budapest, 2000 Hamburger Banhof, Áåðëèí/ Berlin,

2002 Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. Kraftemessen II, Kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1988

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Êîðåêöèè/ Corrections, 1996-1998

èíñòàëàöèÿ/ installation, 5 åäíîâðåìåííè âèäåî ïðîæåêöèè/ 5 parallel video projections, 2 ïîñòåðà/ 2 posters; õóäîæíèêúò “êîðèãèðà” ñîáñòâåíîòî ñè òÿëî; ñòðîéíîòî

ìîì÷å ñå ïðåâðúùà â “êàíäèäàò çà òèòëàòà Ìèñòúð Óíèâúðñ”/ the artist is making corrections to his own body; a tall and thin guy turned into a "brawny claimant for a Mr .

Universe title"

Öåíòúð çà ñúâðåìåííî èçêóñòâî/ Center for Contemporary Art, Belgrade/ Áåëãðàä, 2001 Body and the East, EXIT Art, Íþ Éîðê/ New York, 2001 Capital and

Gender, Ãðàäñêè òúðãîâñêè öåíòúð/ City Shopping Mall, Ñêîïèå/ Skopje, 2001 Looming Up. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ/ Contemporary art from Bulgaria,

èçëîæáåí ñàëîí Åêñíåðãàñå/ kunsthalle Exnergasse, Âèåíà/ Vienna Aspekte Galerie Gasteig, Ìþíõåí/ Munich, 2001 After the Wall: Art and Culture in post-com-

munist Europe, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 Ludwig Museum, Áóäàïåùà/ Budapest, 2000 Hamburger Banhof, Áåðëèí/ Berlin, 2002

Translocation_New Media Art, Generali Foundation, Âèåíà/ Vienna, 1999 Body and the East, Ìóçåé çà ñúâðåìåííî èçêóñòâî/ Museum of Modern Art, Ëþáëÿíà/

Ljubljana, 1998

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ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþ

Òåðèòîðèè/ Territories, 1995

èíñòàëàöèÿ/ installation, äúðâî, ìåòàë, ïëàò, ïðúñò/ wood, metal, fabric, soil, 350x200x12000 ñì/ cm

Orient/ation, ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/ 4th International Biennial, Èñòàíáóë/ Istanbul, 1995 TR

ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎËþÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ÏÐÀÂäÎË

Òðàíñôîðìàöèÿòà âèíàãè îòíåìà âðåìå è åíåðãèÿ/ Transformation Always Takes Time and Energy, 1998

èíñòàëàöèÿ/ installation, 27 êîòëîíà, 27 òåíäæåðè è ÷àéíèöè, 8 ðàçêëîíèòåëÿ, 5 óäúëæèòåëÿ/ 27 electric hot-plates, 27 casseroles and tea-pots, 8 connection blocks, 5

extensions; âàðèðàùè ðàçìåðè/ dimensions variable

Borderline Syndrome. Energies of Defence. Manifesta 3, Ëþáëÿíà/ Ljubljana, 2000 Èçìèñëÿíå íà íàðîä. Ñúâðåìåííî èçêóñòâî îò Áàëêàíèòå/ Inventing a People.

Contemporary Art in the Balkans, Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî/ National Gallery for Foreign Arts, Ñîôèÿ/ Sofia Artexpo Foundation, Áóêóðåù/

Bucharest Macedonian Museum of Contemporary Art, Ñîëóí/ Thessaloniki, Art Box, Êàâàëà/ Kavala, 1999 Permanent Instability, Íàöèîíàëíà ãàëåðèÿ/

National Gallery, Òèðàíà/ Tirana, 1998 Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. Kraftemessen II, Kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1988AL D

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Pessimism no More!, 2002

èíñòàëàöèÿ/ installation, ñèðåíå, ìàñè, ÷èíèè, ëåïåíêè, áèíò/ cheese, tables, plates, plasters, bandage

Musee des Beaux Arts, La Chaux-de-Fonds, 2002 CH

äÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIELA KOSTOVA/ äÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIELA KOSTOVA/ äÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIELA KOSTOVA/ äÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIELA KOSTOVA/ äÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIEL

Ðàìêà/ Frame, 2000

âèäåî èíñòàëàöèÿ/ video installation, 8’; çðèòåëÿò å ïðèêàíåí äà ñëåäè îòðÿçúöèòå îò ðåàëíîñòòà, ïîÿâÿâàùè ñå â ÷åòèðèòå êðàÿ íà åêðàíà è äà ðàçïîçíàâà äåéñòâèÿòà

ïî çâóêîâèÿ ôîí/ the viewer is invited to follow the cuts of reality and appearing at the screen edges and analyze the sound background of the events

ñúñ ñúãëàñèåòî íà Ëèíî Áàëäèíè/ courtesy Lino Baldini

Last Minute, Placentia Arte Gallery, Ïèà÷åíöà/Piacenza, 2002 Trendification, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/ Graz,

2001 Small Power Strategies, Ìóçåé çà ñúâðåìåííî èçêóñòâî/ Museum of Contemporary Art, Âèåíà/ Vienna, 2001 Viafarini Gallery, Ìèëàíî/ Milan, 2001

Placentia Arte Gallery, Ïèà÷åíöà/Piacenza, 2001 Âèäåîàðõåîëîãèÿ/ Videoarchaeology, Ìåæäóíàðîäåí âèäåî ôåñòèâàë/ International Video Festival, Ñîôèÿ/ Sofia,

2000 Onufri’2000, Ìåæäóíàðîäåí êîíêóðñ çà âèçóàëíè èçêóñòâà/ International Competition on Visual Arts, Íàöèîíàëíà ãàëåðèÿ/ National Gallery, Òèðàíà/ Tirana,

2000 Ñóáåêòè è ñåíêè/ Subjects and Shadows, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA Center for Contemporary art, Ñîôèÿ/ Sofia, 2000AL

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Artist(s) in Residence Program, 2000

â ñúòðóäíè÷åñòâî ñ/ in collaboration with: Ñëàâèöà ßíåøëèåâà/ Slavica Janeshlieva, Ñêîïèå/ Skopje, Ñîêîë Áå÷èðè/ Sokol Beqiri, Ïðèùèíà/ Pristina, Óðîø äæóðè÷/ Uros

Djuric, Áåëãðàä/ Belgrade, Àëáàí Õàéäèíàé/ Alban Hajdinaj, Òèðàíà/ Tirana; ÷åòèðèìà õóäîæíèöè ïðåáèâàâàò 1 ìåñåö â ìóçåÿ/ 4 artists in residence at the museum for

1 month; ïîñåòèòåëèòå îáùóâàò ñ õóäîæíèöèòå/ visitors interacting with artists; ãîñòóâàùè ïðåäñòàâÿíèÿ íà ïîâå÷å îò 25 õóäîæíèöè è êóðàòîðè/ guest presentations of

more then 25 other guest-artists and curators

Karstadt Technikhaus, Âèñáàäåí/ Wiesbaden, Ãåðìàíèÿ/ Germany, 2002 (äîêóìåíòàöèÿ/ documentation) International Networks. 40 ãîäèíè ôåñòèâàë Ôëóêñóñ/ 40

Years of Fluxus Festival. Kunstsommer Wiesbaden, 2002 ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 (ãðàôè÷íà äîêóìåíòàöèÿ/ print documen-

tation) cooperativ - Kunstdialoge Ost-West, Stadthaus Ulm, Óëì/ Ulm, 2000 (ãðàôè÷íà äîêóìåíòàöèÿ/ print documentation) L’Autre moitie de l’Europe (÷àñò 2/ part

2: Social Reality/Existence/Politics), Íàöèîíàëíà ãàëåðèÿ/ Galerie nationale du Jeu de Paume, Ïàðèæ/ Paris, 2000 F

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Ãàçåáî/ Gazebo, 1996

ïîñòîÿííà èíñòàëàöèÿ çà îïðåäåëåíî ìÿñòî/ permanent site-specific installation; 4 ðåñòàâðèðàíè äúðâåíè ñòîëà îò êèíîñàëîí, ïëàòôîðìà îò êàìúíè, èçãëåä/ 4 repaired

wooden cinema chairs, stone platform, view; õúëìîâåòå êðàé ãðàä Ãàðñ àì Êàìï/ on the hills above the city of Gars am Kamp, Àâñòðèÿ/ Austria

Vision - Image and Perception. Åñåíåí ôåñòèâàë Áóäàïåùà/ Budapest Autumn Festival, Áóäàïåùà/ Budapest (âúðõó áèëáîðäîâå èç ãðàäà/ on billboards around the city),

2002 La Folie Archive(s). La Ville, le Jardin, la Memoire 1998-2000, Âèëà Ìåäè÷è/ Villa Medici, Ðèì/ Rome (ïðîåêò â êàòàëîãà/ project in catalogue contribution),

2000 Gallery by Night, Ñòóäèî ãàëåðèÿ/ Studio Gallery, Áóäàïåùà/ Budapest, 1997 (èíñòàëàöèÿ äèàïîçèòèâè/ slide installation) Art in Landscape, Òðåòè

ìåæäóíàðîäåí ñèìïîçèóì/ 3rd International Symposium, Wachtberg/ Gars-am-Kamp, 1996 A

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Íåî-Ãîëãîòà/ Neo-Golgotha, 1994

èíñòàëàöèÿ/ installation, ïëàò/ fabric, 450õ850õ60 ñì/ cm

Â òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania, Neue Galerie. Museum Joanneum, Ãðàö/ Graz, 2002 After the Wall: Art and Culture in Post-communist Europe, Moderna

Museet, Ñòîêõîëì/ Stockholm, 1999 Ludwig Museum, Áóäàïåùà/ Budapest, 2000 Hamburger Banhof, Áåðëèí/ Berlin, 2002 Aller-Retour, Òðåòî ìåæäóíàðîäíî

áèåíàëå/ 3rd International Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 Luchezar Boyadjiev - Cover Version 2, ãàëåðèÿ Õîõåíòàë óíä Áåðãåí/ Hohenthal

und Bergen Galerie, Êüîëí/ Cologne, 1997 22ðî áèåíàëå â Ñàî Ïàîëî/ 22nd Sao Paulo Biennial, Ñàî Ïàîëî/ Sao Paulo, 1994 Íåñòàáèëíîñò - ïðîãðåñ/

Instability - Progress, Ôðåíñêè èíñòèòóò/ French Institute, Ñîôèÿ/ Sofia, 1994 BG

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Ñòîëîâå è ñèìâîëè. Ïðîåêò çà ìèðíà ñúâìåñòíà èäåíòèôèêàöèÿ/ Chairs and Symbols. Project for Peaceful Co-Identification, 1995-2001

11 öâåòíè ôîòîãðàôèè/ 11 color photographs, 50õ70 ñì/ cm âñÿêà/ each (òèðàæ 1/ edition of 1); 11 äèãèòàëíè ðàçïå÷àòêè/ 11 digital prints, 50õ70 ñì/ cm âñÿêà/ each

(òèðàæ 5/ edition of 5)

ãàëåðèÿ Êíîë/ Knoll Gallery, Âèåíà/ Vienna, 2001 ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 Communication, Aschersleber Kunst- und

Kulturverein, Aschersleben, 2000 E-Face 2000. Èíòåðíåò âåðñèÿ/ web version/ http://www.halle-fuer-kunst.de/luchezar/; http://www.halle-fuer-kunst.de/web/.

Halle_fuer_Kunst, Luneburg, îò åñåíòà íà 2001/ since fall of 2001 TEMP-Balkania, Ìóçåé çà ñúâðåìåííî èçêóñòâî Êèàçìà/ Kiasma Museum of Contemporary Art,

Õåëçèíêè/ Helsinki, 1998 Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. Kraftemessen II, Kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1988 I love Jesus - Souvenir

Shop, áèâøå áúëãàðñêî ïîñîëñòâî/ former Bulgarian Embassy, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 Up and Down. Back and Forth, 68 Hope Street Gallery -

Escaping Gravity - Video Positive ‘97, FACT, Ëèâúðïóë/ Liverpool, 1997 Ïðîåêòè îò.../ Projects by..., Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî/ National Gallery

for Foreign Art, Ñîôèÿ/ Sofia, 1995

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ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓ

Òðàôèê êîíòðîë/ Traffic Control, 2001

ïúðôîðìàíñ/ performance; âèäåî äîêóìåíòàöèÿ íà ïúðôîðìàíñà/ video documentary of the performance, 6’; õóäîæíèêúò íîñè óíèôîðìà íà áúëãàðñêè ïîëèöàé, êîÿòî

àâñòðèéñêèòå ãðàæäàíè íå ìîãàò äà ðàçïîçíàÿò/ the artist is wearing a uniform of a Bulgarian policeman, which Austrians can not recognize

Ðåêîíñòðóêöèè/ Reconstructions, ×åòâúðòî áèåíàëå â Öåòèíå/ 4th Cetinje Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 2002 (ïúðôîðìàíñ/ performance)

Manifesta 4. Åâðîïåéñêî áèåíàëå íà ñúâðåìåííîòî èçêóñòâî/ European Biennial of Contemporary art, Ôðàíêôóðò/ Frankfurt, 2002 (âèäåî /video) Åâðîïåéñêî âèäåî,

ïðåäñòàâåíî îò Trieste Contemporanea/ Trieste Contemporanea European Video Art Presentation, Òðèåñò/ Trieste, 2001 (âèäåî /video) Never Stop the Action, Òðè äíè

íà àóêöèîíèñòêîòî èçêóñòâî/ Three Days of Actionist Art, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/ Graz, 2001 (ïúðôîðìàíñ/

performance) A

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ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓäÎÂ/ IVAN MOUDOV/ ÈÂÀÍ ÌÓ

Still Life, 2000

çàåäíî ñ äåñèñëàâà äèìîâà/ together with Dessislava Dimova

ôîòî è âèäåî èíñòàëàöèÿ/ photo and video installation, 193õ130 ñì/ cm, äåòàéë/ detail

Trendification, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/ Graz, 2001 ASPEKTE, Galerie der Munchner Volkshochsechule,

Ìþíõåí/ Munich, 2001-2002 Looming Up. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ/ Contemporary art from Bulgaria, èçëîæáåí ñàëîí Åêñíåðãàñå/ kunsthalle Exnergasse,

Âèåíà/ Vienna, 2001 ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000 ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA Center for Contemporary Art, Ñîôèÿ/

Sofia, 2000 BG

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ÍÀäÅæäÀ ÎËÅÃ ËßÕÎÂÀ/ NADEzHDA OLEG LYAHOVA/ ÍÀäÅæäÀ ÎËÅÃ ËßÕÎÂÀ/ NADEzHDA OLEG LYAHOVA/ ÍÀäÅæäÀ ÎËÅÃ ËßÕÎÂÀ/ NADEzHDA OLEG LYAHOVA/ ÍÀäÅæäÀ ÎËÅÃ ËßÕÎÂÀ /NAD

Ìàðãàðèòè/ Daisies, 2002

äèãèòàëåí íàòþðìîðò/ digital still life, ïå÷àò/ print, 135x300 ñì/ cm

çåìåí/ Terrestrials, FABS, The former Norblin factory - Department of Museum of Technology, Âàðøàâà/ Warsaw, 2002 PL

ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊ

æèâîò (×åðíî è áÿëî )/ A Life (Black & White), 1998

÷åðíà è áÿëà áîÿ, äâàìà ðàáîòíèöè/áîÿäæèè, êîèòî ïîñòîÿííî ïðåáîÿäèñâàò ñòåíèòå íà èçëîæáåíîòî ïîìåùåíèå â ÷åðíî è áÿëî ïî âðåìå íà öÿëàòà èçëîæáà, äåí

ñëåä äåí (ñëåäâàéêè ñå åäèí äðóã)/ black and white paint, two workers/painters constantly repainting the walls of the exhibition space in black and white for the entire dura-

tion of the exhibition, day after day (following each other); âàðèðàùè ðàçìåðè/ dimensions variable; êîëåêöèÿ/ collection Susan and Lewis Manilow, Chicago; Smmlung

Hauser und Wirth, St. Gallen; ñúñ ñúãëàñèåòî íà õóäîæíèêà/ courtesy the artist; ñíèìêè Íåäêî Ñîëàêîâ/ photos Nedko Solakov

Ìóçåÿò, êîëåêöèÿòà, äèðåêòîðúò è íåãîâèòå ëþáîâè/ The Museum, the Collection, the Director and his Loves, Ìóçåé çà ìîäåðíî èçêóñòâî/ Museum fuer Moderne Kunst,

Ôðàíêôóðò íà Ìàéí/ Frankfurt am Main (45 äíè/ days), 2002 Loop - From the Beginning, Öåíòúð çà ñúâðåìåííî èçêóñòâî/ Contemporary Art Center, Ñèíñèíàòè/

Cincinnati, Îõàéî/ Ohio, (80 äíè/ days), 2002 Pause, 4th Gwangju Biennale, Êâàíäæó/ Gwangju (95 äíè/ days, ñ ïðåêúñâàíèÿ/ ocasionally), 2002 Loop - From

the Beginning, Öåíòúð çà ñúâðåìåííî èçêóñòâî P.S. 1/ P.S. 1 Contemporary Art Center, Íþ Éîðê/ New York (35 äíè/ days), 2001/2002 Marking the Territory,

Èðëàíäñêè ìóçåé çà ñúâðåìåííî èçêóñòâî/ Irish Museum of Modern Art, äúáëèí/ Dublin (3 äíè/ days), 2001 Loop - Alles auf Anfang, Kunsthalle der Hypo-Kulturstiftung,

Ìþíõåí/ Munich (52 äíè/ days), 2001 Total Object Complete with Missing Parts, Tramway, Ãëàçãîó/ Glasgow (53 äíè/ days), 2001 Plateau of Humankind, 49

Esposizione Internazionale d’Arte, La Biennale di Venezia, Âåíåöèÿ/ Venice (5 ìåñåöà/ months), 2001 (íà ñíèìêèòå/ on the pictures) L’Autre moitie de l’Europe, Jeu de

Paume, Ïàðèæ/ Paris (31 äíè/ days), 2000 F

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Ðîìàíòè÷íè ïåéçàæè ñ ëèïñâàùè ÷àñòè (âèîëåòîâàòà ÷àñò îò äúãàòà)/ Romantic Landscapes with Missing Parts

(the rainbow’s violet band), 2002

ñåðèÿ îò 12 êàðòèíè/ a series of 12 paintings, ìàñëî âúðõó ïëàòíî/ oil on linen, 108x140 ñì/ cm âñÿêà/ each,

çëàòíè ðàìêè/ golden frames; ðú÷íî èçïèñàí òåêñò íà ñòåíèòå íà Neuer Berliner Kunstverein/ handwritten texts

on the walls of Neuer Berliner Kunstverein; äåòàéë/ detail

ñúñ ñúãëàñèåòî íà õóäîæíèêà/ courtesy the artist; ñíèìêè/ photo Bernd Borchardt, Nedko Solakov

Espacio Uno, Museo Nacional Centro de Arte Reina Sofia, Ìàäðèä/ Madrid, 2003 (ñàìîñòîÿòåëíà èçëîæáà/

solo exhibition) Ulmer Museum, Óëì/ Ulm, 2002 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) Neuer Berliner

Kunstverein, Áåðëèí/ Berlin, 2002 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) D

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Òîâà ñúùî ñúì àç.../ This is me, too..., 1996

ñìåñåíà (ïðåêàëåíî ìíîãî) òåõíèêà/ mixed (too much) media; äèçàéí è èçðàáîòêà íà êîñòþìèòå Ñëàâà Íàêîâñêà/ all costumes designed and executed by Slava

Nakovska; âàðèðàùè ðàçìåðè/ dimensions variable; äåòàéë/ detail: Ñêðîìíàòà ñíåæèíêà/ The Humble Snowflake, öèáàõðîì/ cibachrome, âàðèðàùè ðàçìåðè/ dimen-

sions variable; êîëåêöèÿ/ collection De Vleeshal, Middelburg, Õîëàíäèÿ/ The Netherlands; ñíèìêà Àíãåë Öâåòàíîâ/ photo Angel Tzvetanov

Empathy - Beyond the Horizon, Pori Art Museum, Ïîðè/ Pori, 2001 (the Humble Snowflake branch only) Manifesta I, Ìóçåé çà åñòåñòâåíà èñòîðèÿ/ Natuur Museum,

Ðîòåðäàì/ Rotterdam, 1996 NL

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Íà êðèëîòî/ On the Wing, 1999-2000

14 òåêñòà âúðõó êðèëàòà íà øåñò Áîèíãà 737 íà Ëóêñåúð/ 14 texts on the wings of six Boeings 737 Luxair, äåòàéë/ detail

ñúñ ñúãëàñèåòî íà õóäîæíèêà, êàçèíî Ëþêñåìáóðã è Ëóêñåúð/ courtesy the artist and Casino Luxemburg and Luxair; ñíèìêà Íåäêî Ñîëàêîâ/ photo Nedko Solakov

â ðàìêèòå íà/ in the frame of Faiseurs d’histoires, Êàçèíî Ëþêñåìáóðã - Ôîðóì çà ñúâðåìåííî èçêóñòâî/ Casino Luxembourg - Forum d’art Contemporain, Ëþêñåìáóðã/

Luxembourg, 1999 L

Íÿêúäå (ïîä äúðâîòî)/ Somewhere (under the tree), 1997

òåêñòèë, PVC, òåðìîïëàñò, òåðàêîòà è òåë âúðõó ìåñòíè êîðåíèùà/ textile, PVC, thermoplastic, terracotta, and wire on local tree trunks (ïîâå÷åòî îò îáåêòèòå ñà ñúçäàäåíè

îò áàùàòà, æåíàòà è äåöàòà íà õóäîæíèêà/ most of the objects made by artist’s father, wife and children)

ñúñ ñúãëàñèåòî íà õóäîæíèêà è Deitch Projects/ courtesy the artist and Deitch Projects; ñíèìêà/ photo Tom Powel Imaging, Inc.

Somewhere (under the tree), Deitch Projects, Íþ Éîðê/ New York, 1997 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) Unmapping the Earth, Kwangju Biennale’97, Êâàíäæó/

Kwangju, 1997 ROK

USA

ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍ

Unrendered, 2001

âèäåî èíñòàëàöèÿ/ video installation, 18’16’’; „...òðóäíî êîíòðîëèðóåìàòà ñèòóàöèÿ íà ïúëíîòî ñ õîðà ïóáëè÷íî ïðîñòðàíñòâî å óëîâåíà è ïðåâúðíàòà â ëàáîðàòîðíà

ñèñòåìà îò åëåìåíòè, ïðè êîÿòî íåîáðàáîòåíèÿò, äîêóìåíòàëåí ìàòåðèàë ñå ïðåâðúùà â îáåêò íà êîíòðîëèðàíî íàáëþäåíèå“/ “...the transitory and uncontrolled sit-

uation of overcrowded public spaces is captured and translocated into the closed system of a laboratory-like setting, where the unrendered, documentary material becomes

an object of controlled observation“; ñíèìêà/ photo Bernd Bodtländer

I Love Art Video III, Forum Itinerant at the Le-Maillon Theatre de Strasbourg, Ñòðàñáóðã/ Strasbourg, 2002 Manifesta 4. Åâðîïåéñêî áèåíàëå íà ñúâðåìåííîòî èçêóñòâî/

European Biennial of Contemporary art, Ôðàíêôóðò/ Frankfurt, 2002 Collegium Helveticum, Öþðèõ/ zurich, 2001 CHD

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ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ KALIN SERAPIONOV/ ÊÀËÈÍ ÑÅÐÀÏÈÎÍ

Òúðñåíàòà êàòåãîðèÿ/ Wanted Category, 1996

ôîòî èíñòàëàöèÿ/ photo installation, 14 ÷åðíî-áeëè ôîòîãðàôè/ 14 black and white photographs, âàðèðàùè ðàçìåðè/ dimensions variable

Â òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania, Neue Galerie. Museum Joanneum, Ãðàö/ Graz, 2002 Î÷è â î÷è/ Eye-to-Eye, ãàëåðèÿ ÒÅä/ TED Gallery, Âàðíà/ Varna,

1998 Eastern Europe: Spatia Nova. ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/ 4th International St. Petersburg Biennial, Ïåòåðáóðã/ St. Petersburg, 1996 Ôîòîèíñòàëàöèè/

Photoinstallations, ãàëåðèÿ Àòà-Ðàé/ Ata-Ray Gallery, Ñîôèÿ/ Sofia, 1996 BG

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ÒÀÍß ÀÁÀäæÈÅÂÀ/ TANYA ABADJIEVA/ ÒÀÍß ÀÁÀäæÈÅÂÀ/ TANYA ABADJIEVA/ ÒÀÍß ÀÁÀäæÈÅÂÀ/ TANYA ABADJIEVA/ ÒÀÍß ÀÁÀäæÈÅÂÀ/ TANYA ABADJIEVA/ ÒÀÍß ÀÁÀäæÈÅÂÀ/ TANYA ABADJIEVA/

Drawing Wood, 2001

èíñòàëàöèÿ/ installation; òèïè÷íà àíãëèéñêà èãðà, ïðåíåñåíà â ïðîñòðàíñòâîòî íà ãàëåðèÿòà/ the typical English game of lawn bowls, transported into the gallery space

Spike Island, Áðèñòîë/ Bristol, 2001 GB

ÀäÅËÈÍÀ ÏÎÏÍÅäÅËÅÂÀ/ ADELINA POPNEDELEVA/ ÀäÅËÈÍÀ ÏÎÏÍÅäÅËÅÂÀ/ ADELINA POPNEDELEVA/ ÀäÅËÈÍÀ ÏÎÏÍÅäÅËÅÂÀ/ ADELINA POPNEDELEVA/ ÀäÅËÈÍÀ ÏÎÏÍÅäÅËÅÂÀ/ ADELINA POP

Ìàçîõèñòè÷åí ïúðôîðìàíñ ïî Õàíñ Êðèñòèÿí Àíäåðñåí/ Masochistic Performance After Hans Christian Andersen, 2000

ïúðôîðìàíñ/ performance; òúêà÷åí ñòàí, êîïðèâà/ loom, nettles; âèäåî èíñòàëàöèÿ â äâå ÷àñòè/ video installation in two parts, 18'12'', 17'26''

Belluard Bollwerk International (BBI) Festival, Ôðèáóðã/ Fribourg, (ïúðôîðìàíñ/ performance; íà ñíèìêàòà/ on the picture), 2002 Solitary Pursuit, Elizabeth Foundation

for the Arts, Íþ Éîðê/ New York, (âèäåî èíñòàëàöèÿ/ video installation), 2001 äåñåòî ìåæäóíàðîäíî òðèåíàëå íà èçêóñòâîòî íà ãîáëåíà/ 10th International Triennial

of Tapestry, Öåíòðàëåí ìóçåé íà òåêñòèëà/ Central Museum of Textiles, Ëîäç/ Lodz, (âèäåî èíñòàëàöèÿ/ video installation), 2001 ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/

ATA center for contemporary art, Ñîôèÿ/ Sofia, (ïúðôîðìàíñ/ performance), 2000 BG

PL

USA

CH

ÍÈÍÀ ÊÎÂÀ×ÅÂÀ, ÂÀËÅÍÒÈÍ ÑÒÅÔÀÍÎÂ/ NINA KOVACHEVA, VALENTIN STEFANOFF/ ÍÈÍÀ ÊÎÂÀ×ÅÂÀ, ÂÀËÅÍÒÈÍ ÑÒÅÔÀÍÎÂ/ NINA KOVACHEVA, VALENTIN STEFANOFF/ ÍÈÍÀ ÊÎÂÀ×ÅÂÀ, ÑÒÅÔA

Ìîêúð êîíòàêò/ Wet Contact, 2001

âèäåî ïðîæåêöèÿ/ video projection, 30 ìèí/ min, ëîîï/ loop

Experimental Intermedia Galerie, Ãåíò/ Gent, 2002 B

ÊÈÐÈË ÏÐÀØÊÎÂ/ KIRIL PRASHKOV/ ÊÈÐÈË ÏÐÀØÊÎÂ/ KIRIL PRASHKOV/ ÊÈÐÈË ÏÐÀØÊÎÂ/ KIRIL PRASHKOV/ ÊÈÐÈË ÏÐÀØÊÎÂ/ KIRIL PRASHKOV/ ÊÈÐÈË ÏÐÀØÊÎÂ/ KIRIL PRASHKOV/ ÊÈÐÈË ÏÐÀ

National Style, 2002

èíñòàëàöèÿ/ installation, áîá, áîÿ/ beans, paint; âàðèðàùè ðàçìåðè/ dimensions variable

Â òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania, Neue Galerie. Museum Joanneum, Ãðàö/ Graz, 2002 A

ÁÎÐÈÑ ÌÈÑÈÐÊÎÂ, ÃÅÎÐÃÈ ÁÎÃäÀÍÎÂ/ BORIS MISSIRKOV, GEORGI BOGDANOV/ ÁÎÐÈÑ ÌÈÑÈÐÊÎÂ, ÃÅÎÐÃÈ ÁÎÃäÀÍÎÂ/ BORIS MISSIRKOV, GEORGI BOGDANOV/ ÁÎÐÈÑ ÌÈÑÈÐÊÎÂ, ÃÅÎÐÃÈ

Ðîçîâúé êðóã, íåáî âîêðóã, ßëòà/ Yalta, 2002

èíê-äæåò îòïå÷àòúöè/ ink-jet prints, 40x50 ñì/ cm âñåêè/ each, äåòàéë/ detail

ãàëåðèÿ Ðåäæèíà/ Rejina Gallery, Ìàíåæ/ Manej, Ìîñêâà/ Moscow, 2002 RUS

ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ÀËËÀ Ã

Alla's Secret, 2000

áèëáîðä/ billboard, 400x300 ñì/ cm; ïîñòåð/ poster, 100õ70 ñì/ cm

Bound/less Borders, Ïúðâè ïúòóâàù Áàëêàíñêè ïðîåêò íà îòêðèòî/ First Outdoors Touring Balkan Project 2002/2003, Ìóçåé çà èñòîðèÿ íà þãîñëàâèÿ/ The Museum of

the Yugoslav History (The Museum 25. May), Áåëãðàä/ Belgrade, 2002 (áèëáîðä/ billboard) Ñóáåêòè è ñåíêè/ Subjects and Shadows, ÀÒÀ öåíòúð çà ñúâðåìåííî

èçêóñòâî/ ATA Center for Contemporary art, Ñîôèÿ/ Sofia, 2000 (ïîñòåð/ poster) BG

YU

ÁÎÐßÍÀ äÐÀÃÎÅÂÀ/ BORIANA DRAGOEVA/ ÁÎÐßÍÀ äÐÀÃÎÅÂÀ/ BORIANA DRAGOEVA/ ÁÎÐßÍÀ äÐÀÃÎÅÂÀ/ BORIANA DRAGOEVA/ ÁÎÐßÍÀ äÐÀÃÎÅÂÀ/ BORIANA DRAGOEVA/ ÁÎÐßÍÀ äÐÀÃÎÅÂÀ/ B

Ëóíàòà è ñëúí÷åâàòà ñâåòëèíà/ The Moon and the Sunshine, 2000

âèäåî/ video, 7'15’’; ðàíèòå è ñèíèíèòå íå âèíàãè ñà ðåçóëòàò îò íàñèëèå - ïîíÿêîãà ñà ñèìâîëè íà ëþáîâòà/ the wounds and bruises are not always the result of vio-

lence - sometimes they are marks of love...

Ïúðâè ìåæäóíàðîäåí ôåñòèâàë íà âèäåîòî è êúñîìåòðàæíèÿ ôèëì/ First Kansk International video and short movie festival, Êàíñê/ Kansk, 2002 Dreamcatcher,

Ìåæäóíàðîäåí âèäåî-ôèëì ôåñòèâàë/ International video-film festival, Êèåâ/ Kiev, 2002 Ìåæäóíàðîäåí âèäåî ôåñòèâàë/ International Video Festival COOP2,

Íàöèîíàëåí ìóçåé çà ñúâðåìåííî èçêóñòâî è ìåäèéíà ëàáîðàòîðèÿ Êàëèíäåðó/ National Museum of Contemporary Art and Kalinderu MediaLab, Áóêóðåù/ Bucharest,

2002 Kultbrosok na Vostok, Ìîñêâà/ Moscow, Åêàòåðèíèíáóðã/ Ekaterinburg, Íîâîñèáèðñê/ Novosibirsk, Êðàñíîÿðñê/ Krasnoiarsk, Èðêóòñê/ Irkutsk, Áàéêàëñê/

Baikalsk, 2002 Ecology of Art, Íèæíè Òàæèë/ Nizni Tagil, 2001 Video screenings 03, zero, Ïèà÷åíöà/ Piechenza, 2001 Looming Up. Ñúâðåìåííî èçêóñòâî îò

Áúëãàðèÿ/ Contemporary art from Bulgaria, èçëîæáåí ñàëîí Åêñíåðãàñå/ kunsthalle Exnergasse, Âèåíà/ Vienna Aspekte Galerie Gasteig, Ìþíõåí/ Munich, 2001

Âèäåîàðõåîëîãèÿ/ Videoarchaeology, Ìåæäóíàðîäåí âèäåî ôåñòèâàë/ International Video Festival, Ñîôèÿ/ Sofia, 2001 Trieste Contemporanea Central Europian Video

art Presentation, Òðèåñò/ Trieste, Èòàëèÿ/ Italy, 2001 Àíòè-ôåìèíèçúì, àíòè-ìà÷èçúì/ Anti-Feminism, Anti-Machismo, ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 2000

RUS

UKR

RUS

I

A

I

D

BG

BG

RUS

RO

ÂÅÍÖÈÑËÀÂ çÀÍÊÎÂ/ VENTSISLAV zANKOV/ ÂÅÍÖÈÑËÀÂ çÀÍÊÎÂ/ VENTSISLAV zANKOV/ ÂÅÍÖÈÑËÀÂ çÀÍÊÎÂ/ VENTSISLAV zANKOV/ ÂÅÍÖÈÑËÀÂ çÀÍÊÎÂ/ VENTSISLAV zANKOV/ ÂÅÍÖÈÑËÀÂ ç

Ïðàâè âîéíà, íå ëþáîâ/ Make War Not Love, 1997

ïúðôîðìàíñ/ performance

Ôåñòèâàë Explosions/ Festival Explosions, ãàëåðèÿ Êàïåëèöà/ Kapelica Gallery, Ëþáëÿíà/ Ljubliana, 1997 SLO

ÊÐÀÑÈÌÈÐ ÒÅÐçÈÅÂ/ KRASSIMIR TERzIEV/ ÊÐÀÑÈÌÈÐ ÒÅÐçÈÅÂ/ KRASSIMIR TERzIEV/ ÊÐÀÑÈÌÈÐ ÒÅÐçÈÅÂ/ KRASSIMIR TERzIEV/ ÊÐÀÑÈÌÈÐ ÒÅÐçÈÅÂ/ KRASSIMIR TERzIEV/ ÊÐÀÑÈÌÈÐ ÒÅÐçÈÅÂ/ K

On the BG Track, 2001

èíñòàëàöèÿ/ installation, öâåòåí äèãèòàëåí îòïå÷àòúê/ color digital print, âàðèðàùè ðàçìåðè/ dimensions variable; êàäðè îò çàïàäíè èãðàëíè ôèëìè, â êîèòî ñå ãîâîðè çà

Áúëãàðèÿ, çà áúëãàðñêà èäåíòè÷íîñò, áúëãàðñêà êóëòóðà è äð.; èçñëåäâàíå çà òîâà êàê ôèëìîâàòà èíäóñòðèÿ áîðàâè ñ ïîíÿòèÿ êàòî „äðóãîñò“, „åêçîòè÷íîñò“, ñ

„íåïîçíàòè“ êóëòóðè/ stills from feature movies where there are references to Bulgaria, Bulgarian identity, Bulgarian culture, etc.; investigation on how moving image indus-

try, as a mass media is dealing with the "other", the "exotic", the "unknown" cultures, as appears to be The BG keys.

Kontext: Europe - Impuls von Balkans - Public Art Festival, Âèåíà/ Vienna, 2002 Ëèîí/ Lion, 2003 On the BG Track, Êóëòóðåí öåíòúð/ Cultural Center, Áåëãðàä/

Belgrade, 2002 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) äåñòèíàöèÿ Áúëãàðèÿ - íàìåñè â ïóáëè÷íè ïðîñòðàíñòâà/ Destination Bulgaria - interventions in public

spaces, Ìàäðèä/ Madrid äúáëèí/ Dublin, 2001

YU

IRLE

FA

ÏEÒÊÎ äÓÐÌÀÍÀ/ PETKO DURMANA/ ÏEÒÊÎ äÓÐÌÀÍÀ/ PETKO DURMANA/ ÏEÒÊÎ äÓÐÌÀÍÀ/ PETKO DURMANA/ ÏEÒÊÎ äÓÐÌÀÍÀ/ PETKO DURMANA/ ÏEÒÊÎ äÓÐÌÀÍÀ/ PETKO DURMANA/ ÏEÒÊÎ ä

Ìåòàáîëàéçåð/ Metabolizer, 1997

íåò-àðò ïðîåêò/ net-art project; ñîôòóåðíà ïðîãðàìà â Èíòåðíåò, ÷ðåç êîÿòî ÷îâåøêîòî òÿëî ìîæå äà ñå ìîäåëèðà íà áàçàòà íà ìåòàáîëèçìà/ software product installed

in Internet through which an image of a human body may be modeled based on the working of metabolism

http://www.dourmana.com/metabolizer

Ïðåäñòàâÿíå íà Öåíòúð çà ìóëòèìåäèéíè èçêóñòâà Interspace/ Interspace presentation, Media Art Centre, Èíñòèòóò çà ñúâðåìåííî èçêóñòâî/ ICA, Ëîíäîí/ London, 2002

Ïðåäñòàâÿíå íà Öåíòúð çà ìóëòèìåäèéíè èçêóñòâà Interspace/ Interspace presentation, New Media Center, Õúäúðñôèéëä/ Huddersfield, 2002 VIPER 98, Ëþöåðí/

Lucerne, 1998 OSTRANENIE’97, Ìåæäóíàðîäåí ôîðóì íà åëåêòðîííèòå ìåäèè/ The International Electronic Media Forum, äåñàó/ Dessau, 1997 HI-TECH UMENI

1997, Áúðíî/ Brno, 1997 Steirischer Herbst Festival, Ãðàö/ Graz, 1997 Èçêóñòâî íà ìðåæàòà/ The Art on the Net, Machida City Museum Of Graphic Arts, Òîêèî/

Tokyo, 1997 Ôåñòèâàë íà åëåêòðîííèòå èçêóñòâà/ Electronic Art Fair'97, Ñêîïèå/ Skopje, 1997 ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 1997 BGMAKJ

ACz

DCH

GBGB

Òå íå ñà ãàíãñòåðè, òå ñà æèâîïèñöè!/ They are not Gangsters, They are Painters!, 1994

ìàñëåíè áîè íà ïëàòíî/ oil on canvas, 100x130 ñì/ cm

Ñúâðåìåííà áúëãàðñêà æèâîïèñ/ Contemporary Bulgarian Painting, Ñåóë/ Seoul, 2001 ROK

ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ÃÅÎÐÃÈ ÒÓØÅÂ

Auction Paint, 1996

èíñòàëàöèÿ/ installation; ëàáîðàòîðíè ìèøêè, îöâåòèòåëè, õðàíà, âèâàðèóìè, ïëàòíà/ laboratory mice, color, food, vivaria, canvas; åêñêðåìåíòè âúðõó ïëàòíî/ excrement on canvas; âàðèðàùè

ðàçìåðè/ dimensions variable

×åðêåëîâ, Ìèí÷åâ, Òóøåâ/ Tcherkelov, Minchev, Toushev, M6 Gallery, Ðèãà/ Riga, 1996 ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 1996LV BG

ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN CHERKELOV/ ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN CHERKELOV/ ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN CHERKELOV/ ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN CHERKELOV/ ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN C

ËþÁÅÍ ÊÎÑÒÎÂ/ LYUBEN KOSTOV/ ËþÁÅÍ ÊÎÑÒÎÂ/ LYUBEN KOSTOV/ ËþÁÅÍ ÊÎÑÒÎÂ/ LYUBEN KOSTOV/ ËþÁÅÍ ÊÎÑÒÎÂ/ LYUBEN KOSTOV/ ËþÁÅÍ ÊÎÑÒÎÂ/ LYUBEN KOSTOV/ ËþÁÅÍ ÊÎÑÒÎ

äâèæåùà ñå äúðâåíà ìàøèíà çà ñåìåéíî çàäîâîëÿâàíå/ Mobile Wooden Machine for Family Satisfaction, 1992

äúðâî/ wood, 190õ200õ160 ñì/ cm

22ðî áèåíàëå â Ñàî Ïàîëî/ 22nd Sao Paulo Biennial, Ñàî Ïàîëî/ Sao Paulo, 1994 Ôðåíñêè êóëòóðåí èíñòèòóò/ French Institute, Ñîôèÿ/ Sofia, 1994

Ìåæäóíàðîäíî áèåíàëå íà õóìîðà è ñàòèðàòà/ International Biennial of Humor and Satire, Ãàáðîâî/ Gabrovo, 1993 ãàëåðèÿ Àðîñèòà/ Arosita Gallery, Ñîôèÿ/ Sofia,

1992 BG

BG

BGBR

Öèãóëêàòà/ The Violin, 1997

ïðîñòðàíñòâåíà êîìïîçèöèÿ/ space composition , êîïðèíà, êàïðîíîâî âúæå/ silk, capron robe, 1000õ350õ200 ñì/ cm

óëèöàòà ïðåä Ôðåíñêèÿ êóëòóðåí èíñòèòóò/ the street in front of the French Institute, Ñîôèÿ/ Sofia, 1997 Âòîðî ìåæäóíàðîäíî áèåíàëå/ 2th International Biennial, Öåòèíå/

Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU

BG

ÊÎÑÜÎ ÌÈÍ×ÅÂ/ KOSIO MINCHEV/ ÊÎÑÜÎ ÌÈÍ×ÅÂ/ KOSIO MINCHEV/ ÊÎÑÜÎ ÌÈÍ×ÅÂ/ KOSIO MINCHEV/ ÊÎÑÜÎ ÌÈÍ×ÅÂ/ KOSIO MINCHEV/ ÊÎÑÜÎ ÌÈÍ×ÅÂ/ KOSIO MINCHEV/ ÊÎÑÜÎ ÌÈÍ×ÅÂ/

Îáúðêâàíå/ Embarrassment, 1999

èíñòàëàöèÿ çà îïðåäåëåíî ìÿñòî/ sight specific installation; äúðâî, ãóìà, âåíåöèàíñêè ùîðè/ wood, resin, Venetian blinds; ñàìî ìåñòàòà, êúäåòî ðúöåòå ðàçòâàðÿò ùîðèòå

ñà òúìíè; îñòàíàëàòà ÷àñò îò âúòðåøíîòî ïðîñòðàíñòâî å îñâåòåíà ñ íåîí/ only the spaces where the hands are opening the blinds are dark; the rest of the inside part

of the space is lighted with neon lights

×åðíî ìîðå Cåâåðíî ìîðå/ Black Sea North Sea. Bulgaarse kunst langs de Drechtoevers, 1999 NL

ÐÀÑÈÌ/ RASSIM/ ðîäåí/ born 1978/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ/National Art Academy, Sofia,1998/ æèâåå â Ñîôèÿ/ lives in Sofia

Áîêñüîð/ Boxer, 1996îòïå÷àòúê/ print, 21x28,5 ñì/ cmÀâòîïîðòðåòúò/ The Self Portrait, ãàëåðèÿ ÐàéêîÀëåêñèåâ/ Rayko Alexiev Gallery, Ñîôèÿ/ Sofia, 2002What, How & For Whom, Moderna Galerija, Çàãðåá/ Zagreb,2000 It could be Obsession, Àñîöèàöèÿ çà ñúâðåìåííîèçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/Graz, 2000 Èçìèñëÿíå íà íàðîä. Ñúâðåìåííîèçêóñòâî îò Áàëêàíèòå/ Inventing a People.Contemporary Art in the Balkans, Íàöèîíàëíà ãàëåðèÿ çà÷óæäåñòðàííî èçêóñòâî/ National Gallery for Foreign Arts,

Ñîôèÿ/ Sofia Artexpo Foundation, Áóêóðåù/ Bucharest Macedonian Museumof Contemporary Art, Ñîëóí/ Thessaloniki Art Box, Êàâàëà/ kavala, 1999

Êîðåêöèè 2/ Correction 2, 20022 âèäåî ïðîæåêöèè/ 2 video projections, 17' âñÿêà/ eachBelluard Bollwerk International (BBI), Ôðàéáóðã/Fribourg, 2002

Äðîãà/ The Drug, 1995âèäåî ïðîæåêöèÿ/ video projection, 90'Art of Tortures and Executions - Art againstTortures and Executions, Íàöèîíàëåí öåíòúð çà ñúâðåìåííî èçêóñòâî/ National Center forContemporary Art, Êàëèíèíãðàä/ kaliningrad, 2001 Ãàëåðèÿ Àòà-ðàé/ Ata-ray Gallery,Ñîôèÿ/ Sofia, 1995

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ÏÐÀÂÄÎËÞÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ðîäåí/ born 1964/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1988/ National Art Academy, Sofia, 1998/ æèâåå âÑîôèÿ/ lives in Sofia

Ìåæäó ìèñëèòå è ðå÷òà/ Between Thoughts and Talks,1996ôîòî èíñòàëàöèÿ/ photo installation, 30 ÷åðíî-áåëèñíèìêè, 40õ50 ñì âñÿêà/ 30 black and white photos,40x50 cm eachãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 1997 EasternEurope: Spatia Nova, ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/4th International Biennial, Ïåòåðáóðã/ St. Petersburg,1996

Âîäíè ìîíóìåíòè/ Water Monuments, 1999èíñòàëàöèÿ çà îïðåäåëåíî ìÿñòî/ site specific installation,ïëàñòìàñîâè ëåãåíè è êîôè, âêîïàíè â çåìÿòà/ plasticwash basins and buckets dug into the groundÌóçåé íà îòêðèòî - ñêóëïòóðåí ïàðê/ Open Air MuseumDrecht Banks Sculpture Park

Vehicles Dream, 1998èíñòàëàöèÿ/ installation, 100 öâåòíè ñíèìêè íàñïÿùè õîðà â Íþ Éîðêñêîòî ìåòðî, ìîíòèðàíèâúðõó ãóìåíè êîëåëà/ 100 color photos of sleep-ing people in New York subway, mounted on rub-ber wheelsLongwood Arts Project, Íþ Éîðê/ New York,1998

Ïóáëè÷íè êîëåêöèè/ public collections: Open Air Museum Drecht Banks SculpturePark, The Netherlands; Musee des Beaux Arts, La Chaux-de-Fonds, Switzerlad

ÄÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIELA kOSTOVA/ ðîäåíà/ born 1974/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1998/ National Art Academy, Sofia, 1998/ æèâåå â Ñîôèÿ/ lives in Sofia/

Fair Play, 2000âèäåî/ video, 2’Åâðîïåéñêî âèäåî, ïðåäñòàâåíî îò TriesteContemporanea/ Trieste Contemporanea EuropeanVideo Art Presentation, Òðèåñò/ Trieste, 2001Video Medeja, Íîâè ñàä/ Novi Sad, 2000 Balkan Videofest, Áåëãðàä/ Belgrade, 2000VA(MEDIA.DOC)VA, Ñîôèÿ/ Sofia, 2000

Àíòè-ôåìèíèçúì, àíòè-ìà÷èçúì/ Anti-Feminism, Anti-Machism, ãàëåðèÿ XXL/ XXLGallery, Ñîôèÿ/ Sofia, 2000

Deja Vu, 1999aêöèÿ/ action, âàðèðàùè ðàçìåðè/ dimensionvariableOstensiv, Ëàéïöèã/ Leipzig, 2001 Ìîñêâà/Moscow, 2002 Áåðëèí/ Berlin, 2002 SofiaUnderground Festival, ÍÄÊ/ National Palace ofCulture, Ñîôèÿ/ Sofia, 1999 Êóëòóðà/Ñóáêóëòóðà, ãîäèøíà èçëîæáà íà Öåíòúð çàèçêóñòâà Ñîðîñ, Âàðíà,1999

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ËÚ×ÅÇÀÐ ÁÎßÄÆÈÅÂ/ LUCHEZAR BOYADJIEV/ ðîäåí/ born 1957/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1980/ National Art Academy, Sofia, 1980/ æèâåå â Ñîôèÿ/ lives in Sofia

Êîëêî ïèðîíà â óñòàòà? Àâòîïîðòðåò ñ 2 êã ïèðîíè ñäúëæèíà 12,5 ñì/ How many Nails in a Mouth? Self-portrait with2 kg of 12.5 cm long nails, 1995öâåòíà ôîòîãðàôèÿ/ color photograph, 13õ9 ñì/ cmËú÷åçàð Áîÿäæèåâ/ Luchezar Boyadjiev, ãàëåðèÿ Ðåìîíò/Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 I love Jesus -Souvenir Shop, áèâøå áúëãàðñêî ïîñîëñòâî/ former BulgarianEmbassy, Aller-Retour, Òðåòî ìåæäóíàðîäíî áèåíàëå/ 3rdInternational Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro,

1997 Bulgarian Glimpse Show, Association of Moscow Art Galleries and BCIC,Ìîñêâà/ Moscow, 1996 Orient/ation, ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/ 4thInternational Biennial, Èñòàíáóë/ Istanbul, 1995

GastARTbeiter, 2000 âåðñèÿ 1/ version 1 - èíê-äæåòîòïå÷àòúê âúðõó õàðòèÿ/ ink-jet print on paper, 210 (190) x510 (480) ñì/ cm, òèðàæ 5/ edition of 5; âåðñèÿ 2/ version 2- èíòåðàêòèâíà/ interactive, ÷àñò îò/ part of E-Face 2000Budapest Box, Ludwig Museum, Áóäàïåùà/ Budapest, 2002(îòïå÷àòúê/ print) Luchezar Boyadjiev, ãàëåðèÿ Êíîë/knoll Galerie, Âèåíà/ Vienna, 2001-2002 (îòïå÷àòúê/print) E-Face 2000, Halle_fur_kunst, Ëþíåáóðã/ Luneburg,îò åñåíòà íà 2001/ since fall 2001, (èíòåðàêòèâåí/ inter-active, òåêñò/ text) Õóäîæíèê, êîéòî íå ãîâîðèàíãëèéñêè, íå å õóäîæíèê/ An Artist who does not speakEnglish is not an artist, ãàëåðèÿ Êíîë/ knoll Gallery,

Áóäàïåùà/ Budapest, 2001 (îòïå÷àòúê/ print) ; Tallinna kunstihoone (èçëîæáåíàçàëà Òàëèí/ Tallinn Art Hall), Òàëèí/ Tallinn (îòïå÷àòúê/ print è/ and èíòåðàêòèâåí/interactive) Small Talk, Ìóçåé çà ñúâðåìåííî èçêóñòâî/ Museum of ContemporaryArt, Ñêîïèå/ Skopje, 2001 (îòïå÷àòúê/ print è/ and èíòåðàêòèâåí/ interactive)Íå ìå ãëåäàé ñ òàêúâ òîí!/ Don’t Look at Me with this Tone!, ñåêöèÿ 13/ Section 13,ÑÁÕ/ UBA, ãàëåðèÿ Øèïêà 6/ 6 Shipka Str. Gallery, Ñîôèÿ/ Sofia, 2001(îòïå÷àòúê/print) Luchezar Boyadjiev, ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade,2000-2001 (îòïå÷àòúê/ print) Leseraum, Secession, Âèåíà/ Vienna, 2000-2001(îòïå÷àòúê/ print) Communication, Aschersleber kunst- und kulturverein,Àøåðñëåáåí/ Aschersleben, 2000 (èíòåðàêòèâåí/ interactive) cooperativ -kunstdialoge Ost-West, Stadthaus Ulm, Óëì/ Ulm, 2000 (îòïå÷àòúê/ print) Ôðîíòçà êîìóíèêàöèè 2/ Communication Front 2, Áàíÿ Ñòàðèííà/ Old Turkish Bathhouse,Êúùà Ìåêñèêàíñêà ãðàôèêà/ House of Mexican Graphic, Ïëîâäèâ/ Plovdiv, 2000ArtMoscow ‘2000, Öåíòðàëåí äîì íà õóäîæíèêà/ Central House of the Artist,Ìîñêâà/ Moscow, 2000 (èíòåðàêòèâåí/ interactive) E-FACE 2000/Pro@Contra - MachineMachy, ArtMediaCenter TV Gallery, Ìîñêâà/ MoscowWorthless (Invaluable), Moderna Galerja, Ëþáëÿíà/ Ljubljana, 2000 (îòïå÷àòúê/print) SLO

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Ðàçïÿòèå çà ðèáàðÿ/ Crucifixion for theFisherman, 1991-92150 ðèñóíêè/ 150 drawings, 14õ14 ñì/ cm âñÿêà/each, àêâàðåë, ìàñòèëî, ìîëèâ, êîëàæ è äð.âúðõó õàðòèÿ/ watercolor, pen and ink, pencil,collage, etc. on paper; äåòàéë/ detailkUNSTRAI '93, Àìñòåðäàì/ Amsterdam,1993 Art Frankfurt'93, ñ ãàëåðèÿ Õîõåíòàëóíä Áåðãåí/ with Hohenthal und Bergen Gallery,Ôðàíêôóðò/ Frankfurt, 1993 Óêðåïâàíå íàâÿðàòà/ Fortification of Faith, ãàëåðèÿ Õîõåíòàë

óíä Áåðãåí/ Hohenthal und Bergen Galerie, Ìþíõåí/ Munich Festigung desGlaubens. Installations, ãàëåðèÿ èôà/ ifa Galerie, Áåðëèí/ Berlin, 1992 Ðàçïÿòèåçà ðèáàðÿ - 150 ðèñóíêè/ Crucifixion for the Fisherman - 150 drawings, ãàëåðèÿËåñåäðà/ Lessedra Gallery, Ñîôèÿ/ Sofia, 1992

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ÈÂÀÍ ÌÓÄÎÂ/ IVAN MOUDOV/ ðîäåí/ born 1975/ Íàöèîíàëíà õóäîæåñòâåíààêàäåìèÿ, Ñîôèÿ, 2002/ National Art Academy, Sofia, 2002/ æèâåå â Ñîôèÿ/ lives in Sofia

Åäèí ÷àñ ïðåäèìñòâî/ One Hour Priority, 2000âèäåî/ video, 60’Trendification, Àñîöèàöèÿ çà ñúâðåìåííîèçêóñòâî/ Association for contemporary art<rotor>, Ãðàö/ Graz, 2001 What, How and forWhom, Çàãðåá/ Zagreb, 2000 Âèåíà/ Vienna,2001 Ñòóäåíòñêî òðèåíàëå/ The StudentTriennial, Èñòàíáóë/ Istanbul, 2000 Paranoia

Style, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA center for contemporary art,Ñîôèÿ/ Sofia, 2000

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ÍÀÄÅÆÄÀ ÎËÅÃ ËßÕÎÂÀ/ NADEZHDA OLEG LYAHOVA/ ðîäåía/ born 1960/Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1984/ National Art Academy, Sofia,1984/ æèâåå â Ñîôèÿ/ lives in Sofia

Vanitas, 1999 àêöèÿ/ action, îòëèâêè îò ëèöåòîíà àâòîðà â äåéñòâèòåëíè ðàçìåðè, ñëàäîëåä,ïëîäîâå/ casts of the author’s face, life size, icecream, fruitInner Space Gallery, Ïîçíàí/ Poznan, 2000Ôåñòèâàë íà èçêóñòâàòà Àïîëîíèÿ/ ApolloniaFestival of Arts, Ñîçîïîë/ Sozopol, 1999

Ïðèêàçêà áåç êðàé/ Tale with no end, 2000èíñòàëàöèÿ/ installation, îòëèâêè îò ëèöåòî íààâòîðà â äåéñòâèòåëíè ðàçìåðè, âîäà, ïÿñúê/casts of the author’s face, life size, water, sandÌóçåé íà àðòèñòè÷íàòà êíèãà/ Art BookMuseum, Ëîäç/ Lodz, Ïîëøà/ Poland, 2000

Óðåä, ÷ðåç êîéòî ñòàâàø Áîã/ God ProducingDevice, 1997; îáåêò/ object, äúðâî, îãëåäàëî,áîÿ/ wood, miracle, paintÂòîðî ìåæäóíàðîäíî áèåíàëå/ 2th InternationalBiennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/Montenegro, 1997

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ÍÅÄÊÎ ÑÎËÀÊÎÂ/ NEDkO SOLAkOV/ ðîäåí/ born 1957/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1981/ National Art Academy, Sofia, 1981/ æèâåå â Ñîôèÿ/ lives in Sofia

Çàïîâÿäàé (Ðóñêà ðóëåòêà)/ Help Yourself(Russian Roulette), 1998çàõàð, îöâåòèòåëè, áðàøíî, øîêîëàä, õàðòèÿ, 7 áðîÿ (èçðÿçàíèòå íîêòè íà õóäîæíèêà âåäíà îò òÿõ), 5õ5õ5 ñì âñÿêà/ sugar, coloringagents, flour, chocolate, paper, 7 pieces (theartist’s slipped nails inside one of them), 5x5x5 cm

each; ñúñ ñúãëàñèåòî íà õóäîæíèêà/ courtesy the artist; ñíèìêà Àíãåë Öâåòàíîâ/photo Angel TzvetanovÑåäìî òðèåíàëå íà ìàëêàòà ïëàñòèêà/ 7. Triennale der kleinplastik, Zudwest LB,Ùóòãàðò/ Stuttgart, 1998

Êîëåêöèîíåðúò íà èçêóñòâî (íÿêúäå â Àôðèêàèìà åäèí âåëèê ÷åðåí ÷îâåê, êîéòî êîëåêöèîíèðàèçêóñòâî îò Åâðîïà è Àìåðèêà, êóïóâàéêè ñâîÿïúðâè Ïèêàñî çà 23 êîêîñîâè îðåõà è ñâîÿ ðàíåíÐàóøåíáúðã çà 7 àíòèëîïîâè êîñòè...)/ TheCollector of Art (somewhere in Africa there is a greatblack man collecting art from Europe and America,buying his Picasso for 23 coconuts, and his early

Rauschenberg for 7 antelope bones...), 1992-1994èíñòàëàöèÿ/ installation, èäåÿ çà àôðèêàíñêà êîëèáà, ïÿñúê, ñóõè õðàñòè, êîæè îòîòðîâíè çìèè, êîêîñîâè îðåõè, àíàíàñè, îðèãèíàëè îò Ðàóøåíáúðã, Àïåë,Ëèøòåíùàéí, Èìåíäîðô, Áîéñ, Áàçåëèòö, Ïèêàñî, Åñòå, Ðàéíåð è äð./ an idea ofAfrican hut, sand, dried up bushes, poisonous snakes’ skins, coconuts, pineapples,original works by Rauschenberg, Appel, Lichtenstein, Immendorff, Beuys, Baselitz,Picasso, Estes, Rainer, etc.; âàðèðàùè ðàçìåðè/ dimensions variable; äåòàéë/ detail ñúñ ñúãëàñèåòî íà õóäîæíèêà è Ìóçåÿ Ëóäâèã/ courtesy the artist and LudwigMuseum; ñíèìêà/ photo Arpad Farkas, Lazslo JaksityPartage d’exotismes, 5th Lyon Biennale, Ëèîí/ Lyon, 2000 Ludwig Museum,Áóäàïåùà/ Budapest, 1994 (íà ñíèìêàòà/ on the picture)

(Íå òîëêîâà) áÿë êóá/ A (not so) White Cube, 2001 ñìåñåíà, ïî÷òè íåâèäèìà, òåõíèêà/ mixed, almostinvisible, media; âàðèðàùè ðàçìåðè/ dimensions vari-able; ñúñ ñúãëàñèåòî íà õóäîæíèêà è De Appel/courtesy the artist and De Appel; ñíèìêà ÍåäêîÑîëàêîâ/ photo Nedko SolakovP.S.1 Special Projects Program, Öåíòúð çàñúâðåìåííî èçêóñòâî P.S.1/ P.S.1 ContemporaryArt Center, Íþ Éîðê/ New York, 2001,

ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition Basics, kunsthalle Bern, Áåðí/ Bern,2002 Mess, Stichting De Appel, Àìñòåðäàì/ Amsterdam, 2002, ñàìîñòîÿòåëíàèçëîæáà/ solo exhibition (íà ñíèìêàòà/ on the picture)

Èçáðàíè ïóáëè÷íè êîëåêöèè/ Selected Public Collections: Center for ContemporaryArt, Ujazdowski Castle, Warsaw; De Vleeshal, Middelburg, NL; Fonds National d’ArtContemporain, Paris; FRAC Bourgogne, Dijon; FRAC Languedoc-Roussillon,Montpellier; Joslyn Art Museum, Omaha, USA; Herning kunstmuseum, Herning,Denmark; Ludwig Museum, Aachen; Ludwig Museum, Budapest; Moderna Galerija,Ljubljana; Musee d’Art contemporain de Lyon; Museum fur Moderne kunst, Frankfurtam Main; Museum moderner kunst Stiftung Ludwig Wien; Natuur Museum, Rotterdam;Sammlung Hauser und Wirth, St. Gallen; Teyler Museum, Haarlem, NL; The Museumof Contemporary Art, Skopje; The Museum of Fine Arts, Budapest; The Museum ofModern Art, Department of Prints and Illustrated Books, New York; The NationalLibrary, Luxembourg; The New Museum of Contemporary Art, New York; UlmerMuseum, Ulm; Villa Merkel, Esslingen am Neckar, Germany

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ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ kALIN SERAPIONOV/ ðîäåí/ born 1967/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia

Òîïëàòà ñóïà è ìîÿòà äîìàøíà îáùíîñò/The Hot Soup and My Home Community,1998âèäåî ïðîæåêöèÿ/ videoprojection, 9’30’’Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå.kraftemessen II“, kunstlerwerkstattLothringerstrasse 13, Ìþíõåí/ Munich,1998 Translocation_New Media Art,Generali Foundation, Âèåíà/ Vienna,1999 ; WRO 99, Ñåäìè ìåæäóíàðîäåíôåñòèâàë íà íîâèòå ìåäèè/ 7thInternational Media Art Biennial, Âðîöëàâ/

Wroclaw, Ïîëøà/ Poland, 1999 ; After the Wall: Art and Culture in post-communistEurope, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 ; Ludwig Museum,Áóäàïåùà/ Budapest, 2000 ; Hamburger Banhof, Áåðëèí/ Berlin, 2002 ;Ìåæäóíàðîäåí ôåñòèâàë íà êúñîìåòðàæíèÿ ôèëì/ International Short FilmFestival, Îáåðõàóçåí/ Oberhausen, 2000 D

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Ìîåòî èìå å Ñàìñîíàéò/ My Name is Samsonite, 1998âèäåî ïðîæåêöèÿ/ video projection, 3’40’’, ëîîï/ loopThe GMI - Global Multimedia Interface Project, Home/LeicesterSquire, Ëîíäîí/ London, 1999-2000 Èçìèñëÿíå íà íàðîä.Ñúâðåìåííî èçêóñòâî îò Áàëêàíèòå/ Inventing a People.Contemporary Art in the Balkans, Íàöèîíàëíà ãàëåðèÿ çà÷óæäåñòðàííî èçêóñòâî/ National Gallery for Foreign Arts,Ñîôèÿ/ Sofia Artexpo Foundation, Áóêóðåù/ BucharestMacedonian Museum of Contemporary Art, Ñîëóí/ Thessaloniki,

Art Box, Êàâàëà/ kavala, 1999 Crossing Over 3, ÍîâèÑàä/ Novi Sad, 1998 Âèäåî/ Video Works, ÀÒÀ öåíòúð çà

ñúâðåìåííî èçêóñòâî/ ATA center for contemporary art, Ñîôèÿ/ Sofia, 1997

×óâñòâàòå ëè ñå ðàçëè÷åí?/ Do You Feel YouAre Different?, 1996-98èíñòàëàöèÿ ñ òåêñòîâå/ text installation,âàðèðàùè ðàçìåðè/ dimensions variable, äåòàéë/ detailBulgariaavantgarde. kraftemessen II,kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/Munich, 1998 Work in Between, Foundation

BINZ 39, Öþðèõ/ Zurich, 1997 Ñâèäåòåëñòâà. Ðåàëíàòà ðàçëè÷íîñò/Evidences. The Real Diversity. Òðåòà ãîäèøíà èçëîæáà íà Öåíòúðà çà èçêóñòâà„Ñîðîñ“/ 3rd Annual Exhibition of the Soros Center for the Arts-Sofia, Ñîôèéñêàãðàäñêà õóäîæåñòâåíà ãàëåðèÿ/ Sofia Art Gallery, Ñîôèÿ/ Sofia, 1996

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ÒÀÍß ÀÁÀÄÆÈÅÂÀ/ TANYA ABADJIEVA/ ðîäåíà/ born 1969/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ 1996/ National Art Academy, Sofia, 1996/ æèâåå âÁðèñòîë/ lives in Bristol, GB

Ëúæèöè è ÿéöà/ Spoons and Eggs, 2000çàåäíî ñ ðàáîòàòà íà Àêèêî Èøèêàâà/ togetherwith the work of Akiko Ishikawaèíñòàëàöèÿ/ installation164 ñóïåíè ëúæèöè, 164 ÿéöà/ 164 spoons, 164eggsBULGARIA, NY, The Elizabeth Foundation for theArts, Íþ Éîðê/ New York, 2000

Airing Inside, 1997èíñòàëàöèÿ/ installationöåëîôàí/ cellophaneBack and Forth, Òðåòî ìåæäóíàðîäíî áèåíàëå/ 3rdInternational Biennial, Öåòèíå/ Cetinje, Ìîíòåíåãðî/Montenegro, 1997

Áÿëî è ÷åðâåíî/ White & Red, 2001èíñòàëàöèÿ/ installation, äâå âèäåà, ìàñà, ñòîë,ïèñìî äî Äæîðäæèÿ Î’Êèèô, êàðòè÷êà îòÄæîðäæèÿ Î’Êèèô/ two videos, table, chair, letterto Georgia O’keeffe, two postcards from GeorgiaO’keeffe, äåòàéë/ detailOpen Studios, Spike Island, Áðèñòîë/ Bristol,2001

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ÀÄÅËÈÍÀ ÏÎÏÍÅÄÅËÅÂÀ/ ADELINA POPNEDELEVA/ ðîäåíà/ born 1956/Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ/ National Art Academy, Sofia, 1988/æèâåå â Ñîôèÿ/ lives in Sofia

Äðåáíè êîìïðîìèñè/ Petty compromis-es, 2000âèäåî èíñòàëàöèÿ ñ äâà ìîíèòîðà/video installation with two monitorsDare to Be Different, Ôèåð/ Fier,Àëáàíèÿ/ Albania, 2001 Onufri,Ìåæäóíàðîäåí êîíêóðñ çà âèçóàëíè

èçêóñòâà/ International Competition on Visual Arts, Íàöèîíàëíà ãàëåðèÿ/ National Gallery,Òèðàíà/ Tirana, 2000 Ñóáåêòè è ñåíêè/ Subjects and Shadows, ÀÒÀ öåíòúð çàñúâðåìåííî èçêóñòâî/ ATA center for contemporary art, Ñîôèÿ/ Sofia, 2000

The Real Thing, 2000çàåäíî ñ Ìèøåë Áåê/ together with Michele Beckïúðôîðìàíñ/ performance, èíñòàëàöèÿ/ installationTimes Squire; Ìåæäóíàðîäíî ëåòèùå JFk/ JFkInternational Airport; Elisabeth Foundation for the Arts, ÍþÉîðê/ New York, 2000

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ÍÈÍÀ ÊÎÂÀ×ÅÂÀ/ NINA kOVACHEVA/ ðîäåíà/ born 1960/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1985/ National Art Academy, Sofia, 1985/ æèâååâ Ïàðèæ/ lives in Paris

My Beauty and My Beast, 2001ñåðèÿ îò äèãèòàëíè ôîòîãðàôèè/ series of dig-ital photos, 75õ110 ñì/ cm âñÿêà/ eachÌóçåé íà åðîòèêàòà/ The Museum of Erotic,Õàìáóðã/ Hamburg, 2002 9-òè ìóëòèìåäèåíôåñòèâàë/ IX Festival Multimedia, Inner Space,Ïîçíàí/ Poznan, 2001 Galerie Nadege Dana-Vizzacchero, Êàí/ Cannes, 2002 Íàöèîíàëíèåñåííè èçëîæáè/ National Autumn Exhibition,Áàëàáàíîâàòà êúùà/ The Balabanov House,Ïëîâäèâ/ Plovdiv, 2001

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ÂÀËÅÍÒÈÍ ÑÒÅÔÀÍÎÂ/ VALENTIN STEFANOFF/ ðîäåí/ born 1959/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1985/ National Art Academy, Sofia, 1985/ æèâåå â Ïàðèæ/ lives in Paris

Open-Closedìóëòèìåäèéíà èíñòàëàöèÿ/ multimedia installation Ìóçåé çà ñúâðåìåííî èçêóñòâî/ The Museum ofContemporary Art, Áåëãðàä/ Belgrade,(ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition), 2000

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ÍÈÍÀ ÊÎÂÀ×ÅÂÀ/ ÂÀËÅÍÒÈÍ ÑÒÅÔÀÍÎÂ/ NINA kOVACHEVA/ VALENTIN STEFANOFF

In The Out, 2002âèäåî èíñòàëàöèÿ/ video installation, 60’, 24-÷àñîâàïðîæåêöèÿ/ 24 hours projection×åòâúðòî áèåíàëå/ IVth Cetinjie Biennial, Öåòèíå/Cetinjie, ×åðíà ãîðà/ Montenegro, 2002

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ÊÈÐÈË ÏÐÀØÊÎÂ/ kIRIL PRASHkOV/ ðîäåí/ born 1956/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1983/ National Art Academy, Sofia, 1983/ æèâåå â Ñîôèÿ/ lives in Sofia

Óëè÷íà êíèãà/ Street Book, 1995ïàâåòà, òåë, òåêñò âúðõó õàðòèÿ/ cobble stones, wire,text on paper, 80õ15õ20 ñì/ cm âñÿêî/ eachkulturkontakt Studio Program, Vienna, 1995 A

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Ïðèðîäåí òåêñò (ïî Ëóèñ Êàðîë)/ Natural Text(after Lewis Carroll), 1999äúðâî, ñòîìàíà/ wood, stillÑêóëïòóðåí ïàðê Äðåõòîâåðñ/ Bulgaarse kunstlangs de Drechtoevers, 1999

Åâðîïåéñêà êóõíåíñêà æèâîïèñ II/ Europeankitchen Painting II, 1995îòïå÷àòúê/ print, 200x700 ñì/ cmÈçêóñòâî íà êîëåëà/ Art on Wheels, àêöèÿ íàFood Carrier - Papp Ltd./ Action of Food Carrier -Papp Ltd., Ìþíõåí/ Munich, 1996

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ÁÎÐÈÑ ÌÈÑÈÐÊÎÂ/ BORIS MISSIRkOV/ ÃÅÎÐÃÈ ÁÎÃÄÀÍÎÂ/ GEORGI BOG-DANOV/ ðîäåíè/ born 1971(both of them)/ Íàöèîíàëíà ôèëìîâà àêàäåìèÿ, 1997/National Film Academy, 1997 (both)/ æèâåÿò â Ñîôèÿ/ live in Sofia

Íîâà ìèòîëîãèÿ/ New Mythology, 1999-2001Åìè Ñòàìáîëîâà/ Emi Stambolova (ïîñâåùàâà ñå íàÏèåð è Æèë/ dedicated to Pierre et Gilles), 1999öâåòíà ôîòîãðàôèÿ/ color photograph, 90õ60 ñì/ cmÂ òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania, NeueGalerie. Museum Joanneum, Ãðàö/ Graz, 2002

Íîâà ìèòîëîãèÿ/ New Mythology, 1999-2001îðêåñòúð “Òðè çâåçäè”/ the Three Stars Band(ïîñâåùàâà ñå íà áúëãàðñêèÿ ïðèêàçåí ôîëêëîð/dedicated to Bulgarian fairy-tale folklore), 2000öâåòíà ôîòîãðàôèÿ/ color photograph, 60õ90 ñì/ cmÂ òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania,Neue Galerie. Museum Joanneum, Ãðàö/ Graz,2002

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ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ðîäåíà/ born 1957/ Èíñòèòóò çà èçêóñòâîè äèçàéí, Õàðêîâ, Óêðàéíà, 1981/ Art and Design Institute, kharkov, Ukraine, 1981/æèâåå â Ñîôèÿ/ lives in Sofia/

El Criminal Tango, 2001âèäåî/ video, 3’57‘’ONUFRI’2001, Ìåæäóíàðîäíà èçëîæáà íàâèçóàëíèòå èçêóñòâà/ International Exhibition ofVisual Arts, Íàöèîíàëíà ãàëåðèÿ/ NationalGallery, Òèðàíà/ Tirana, 2001

ÍÀØÅ / OUR, 2000èíñòàëàöèÿ/ installation, âèäåî, òðè îáåêòà, 3ïîñòåðà, èíê-äæåò îòïå÷àòúê, 20 äðåõè/ video, 3objects, 3 posters , ink-jet print, 20 clothes(çàåäíî ñ Èðèíà Äàíèëîâà/ together with IrinaDanilova)Bulgaria, NY, Ñúâìåñòåí áúëãàðî-àìåðèêàíñêèæåíñêè ïðîåêò/ Bulgarian and American WomenArtists Collaborate, Elizabeth Foundation Gallery, ÍþÉîðê/ New York, 2000

×åñòèòà íîâà ãîäèíà / Happy New Year, 2000äâà ïîñòåðà, èíê-äæåò îòïå÷àòúê/ 2 posters,ink-jet print, 50x70 ñì/ cm âñåêè/ each"e-europe", Bronx River Art Center and Gallery, ÍþÉîðê/ New York, 2000

ÁÎÐßÍÀ ÄÐÀÃÎÅÂÀ/ BORIANA DRAGOEVA/ ðîäåíà/ born 1972/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia

Ïðàçíóâàíå íà ñëåäâàùèÿ ìèã/ Celebrating theNext Twinkling, 1999âèäåî/ video, 2’45’’Darklight 4, Ôåñòèâàë íà äèãèòàëíîòî êèíî/Digital Film Festival, Dublin, 2002 Ïúðâè âèäåîôåñòèâàë â ãðàä Êàíñê/ The First kansk VideoFestival, 2002 kulturdrag Nach Osten, Videorun inNovosibirsk, Ekaterinburg, krasnoyarsk, kansk andIrkutsk, 2002 Äèãèòàëåí óèêåíä/ Digital week-

end, Ñîôèÿ/ Sofia, 2002 Ecology of Art in Industrial Settings, Nizhny Tagil StateMuseum of Fine Arts, Íèæíè Òàæèë/ Nizni Tagil, 2001 INTERSTANDING 4: end repeat ,Rotermann Salt Storage, Òàëèí/ Tallinn, 2001 get that balance, kampagnel, k3,Õàìáóðã/ Hamburg, 2001 Îñìî ìåæäóíàðîäíî áèåíàëå/ The 8-th InternationalBiennial, Êàéðî/ kairo, 2001 Video as a Female Terrain, Barbara Gross Gallery,Ìþíõåí/ Munich, 2001 VA (MEDIA.DOC) VA, Àìåðèêàíñêè êóëòóðåí öåíòúð/American Cultural Center, Ñîôèÿ/ Sofia, 2000 <hers>. Video as a Female Terrain,Ãðàö/ Graz, 2000 Dreamcatcher, International Video Art and Short Film Festival, Êèåâ/kiev, 2000 Video Positive 2000, Unity Theatre, Ëèâúðïóë/ Liverpool, 2000 CrossingOver 4, Ëþáëÿíà/ Ljubliana, 1999

Back & Forth, 1999 âèäåî/ video, 7’Looming Up. Ñúâðåìåííî ôîòî è âèäåîèçêóñòâî îò Áúëãàðèÿ/ Actuelle Foto undVideokunst aus Bulgarien, Aspekte Galerie,Ìþíõåí/ Munich, 2001 Âèåíà/ Wien,2001 Ecology of Art in Industrial Settings.International workshop-seminar, National Center forContemporary Art - Moscow & Nizhny Tagil State

Museum of Fine Arts, Íèæíè Òàæèë/ Nizni Tagil, 2001 Video as a Female Terrain,Barbara Gross Gallery, Ìþíõåí/ Munich, 2001 <hers>. Video as a FemaleTerrain, Ãðàö/ Graz, 2000 VideoMedeja, The Forth International Video Summit,Íîâè Ñàä/ Novi Sad, 1999 Ôðîíò çà êîìóíèêàöèè/ Communication Front,Ôîðóì çà åëåêòðîííè èçêóñòâà/ Forum for Electronic Arts, Áàíÿ Ñòàðèííà/Ancient Bath, Ïëîâäèâ/ Plovdiv, 1999

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ÂÅÍÖÈÑËÀÂ ÇÀÍÊÎÂ/ VENTSISLAV ZANkOV ðîäåí/ born 1962/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1988/ National Art Academy, Sofia, 1988/ æèâåå â Ñîôèÿ/ lives in Sofia

Ostensive. Ñúâðåìåííî èçêóñòâî îò èçòî÷íàÅâðîïà/ Contemporary art from Eastern Europe,Ëàéïöèã/ Leipzig, 2001-2002 Ok Berlin.Êàáåëíà òåëåâèçèÿ/ kabelen TV kanal, Áåðëèí/Berlin, 2001

Body &The East, ãàëåðèÿ Exit Art/ Exit ArtGallery, Íþ Éîðê/ New York, 2001Net.Congestion, International Festival of StreamingMedia, Àìñòåðäàì/ Amsterdam, http://net.con-gestion.org, 2000 Body &The East. From the1960s to the Present, Ìóçåé çà ìîäåðíîèçêóñòâî/ Museum of Modern Art, Ëþáëÿíà/Ljubliana, 1998

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ÊÐÀÑÈÌÈÐ ÒÅÐÇÈÅÂ/ kRASSIMIR TERZIEV/ ðîäåí/ born 1969/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia

Ãàëåðèÿ èçîëèðàíè ïåðñîíàæè/ IsolatedPersonages Gallery, 1998Âèäåî ïðîæåêöèÿ âúðõó 10 áåëè ðèçè/ Videoprojection onto 10 white shirtsDe Fabrik Art Center, Eindoven, Holland/Àéíäõîâåí Ïàíàèð íà êíèãàòà/ LeipzigBook Fair, Ëàéïöèã/ Leipzig, 1999 Version 01,D

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Áúëãàðî-ôðåíñêè ïðîåêò/ French-Bulgarian Project, ÍÕÃ/ National Art Gallery,Ñîôèÿ/ Sofia, 1998

Everything Seems to Be Alright, 1999âèäåî èíñòàëàöèÿ/ video installatiomThe kitchen, Íþ Éîðê/ New York, 1999(ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition)Ïðîåêò Êðàé/ Project End, Ìåäèåí ôîðóì/Media Art Forum, Ñîôèÿ/ Sofia, 1999 Holdyour Breath, Artequil Gallery, Ìîíðåàë/ Montreal,1999

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ÏÅÒÊÎ ÄÓÐÌÀÍÀ/ PETkO DURMANA/ ðîäåí/ born 1970/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia

Ïîòàïÿíå/ Dip, 2002âèäåî ïðîæåêöèÿ/ video projectionUrban Cycles_Uk, Ìàí÷åñòúð/ Manchester,2002

Faceloading, 1998 íåò-àðò ïðîåêò/ net-art projectCrossing Over - FACT, Ëèâúðïóë/ Liverpool, 1999

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ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ðîäåí/ born 1969/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997 / National Art Academy, Sofia, 1997/ æèâååâ Íþ Éîðê/ lives in New York

Ëàðà å ìîÿòà ìóçà/ Lara is My Muse, 2000, ìàñëåíèáîè íà ïëàòíî/ oil on canvas, 120õ100 ñì/ cmÑúâðåìåííà áúëãàðñêà æèâîïèñ/ ContemporaryBulgarian Painting, Ñåóë/ Seoul, 2001

Äóøåâåí áîäèáèëäèíã/ Spirit Building, 1996ïîëèåñòåðíà ãóìà, ñòîìàíà/ polyester resin,steel, âàðèðàùè ðàçìåðè/ dimensions variable×åðêåëîâ, Ìèí÷åâ, Òóøåâ/ Tcherkelov, Minchev,Toushev, M6 Gallery, Ðèãà/ Riga, 1996ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia,1996

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ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN CHERkELOV/ ðîäåí/ born 1970/ Íàöèîíàëíàõóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1998 / National Art Academy, Sofia, 1998/ æèâååâ Íþ Éîðê/ lives in New York

Ïîðòðåò íà Ðîäíè Êèíã/ Portrait of Rodney kingìàñëåíè áîè íà ïëàòíî/ oil on canvas, 54õ65 ñì/ cmÑúâðåìåííà áúëãàðñêà æèâîïèñ ContemporaryBulgarian Painting, Ñåóë/ Seoul, 2001

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ËÞÁÅÍ ÊÎÑÒÎÂ/ LYUBEN kOSTOV/ ðîäåí/ born 1952/ Óíèâåðñèòåò Ñâ. Ñâ.Êèðèë è Ìåòîäèé, Âåëèêî Òúðíîâî, 1979/ University of Veliko Tarnovo, 1979/ æèâååâ Ñîôèÿ/ lives in Sofia

Êàïàí íà âðåìåòî/ The Trap of Time, 1993äâèæåùà ñå äúðâåíà ìàøèíà/ mobile woodenmachine, 160x150x150 ñì/ cm22ðî áèåíàëå â Ñàî Ïàîëî/ The 22nd Biennial,Ñàî Ïàîëî/ Sao Paulo, 1994 Ôðåíñêèêóëòóðåí èíñòèòóò/ French Institute, Ñîôèÿ/Sofia, 1994 ãàëåðèÿ Ëåñåäðà/ LessedraGallery, Sofia/ Ñîôèÿ, 1993

Âúçäóøåí êîðàá/ Spaceship, 1997äâèæåùà ñå äúðâåíà ìàøèíà/ mobile wooden machine,650x800x500 ñì/ cmÂòîðî ìåæäóíàðîäíî áèåíàëå/ 2th International Biennial,Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997

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ÊÎÑÜÎ ÌÈÍ×ÅÂ/ kOSIO MINCHEV/ ðîäåí/ born 1969/ Íàöèîíàëíà õóäîæåñòâåíààêàäåìèÿ, Ñîôèÿ, 1996/ National Art Academy, Sofia, 1996/ æèâåå â Íþ Éîðê/ lives in New York

Âúòðåøíî/ Inwardly, 1996èíñòàëàöèÿ/ installation; âðàòè, ïðîæåêöèÿ,ïîëèåñòåðíà ñìîëà, âàðèðàùè ðàçìåðè/doors, projection, polyester resin, dimension variable×åðêåëîâ, Ìèí÷åâ, Òóøåâ/ Tcherkelov, Minchev,Toushev, ãàëåðèÿ Ì 6/ M 6 Gallery, Ðèãà/ Riga,1996 ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/Sofia, 1996

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Â êàòàëîãà ñà âêëþ÷åíè èçëîæáè, êóðèðàíè îò/ in the catalogue are included exhibitions, curated by:

Alexei Isaev, Ana Devic, Anda Rottenberg, Andre Rouille, Andrei Erofeev, Andrew Chatty, Andrew Renton, Barbara Barsch, Barnabas Bencsik, Bernard Marcade, Biljana Tomic,Bojana Pejic, Boris kostadinov, Carolyn Christov-Bakargiev, Carlos Basualdo, Charles Esche, Chris Byrne, David Elliott, Diana Popova, Dimitar G. Dimitrov, Dora Heguy, Eda Cufer,Eddie Berg, Edi Muka, Edy de Wilde, Eleni Laperi , Francesco Bonami, Friederike kitschen, Galina Dimitrova, Georg Schollhammer, Hans Ulrich Obrist, Harald Szeemann, HeikeMunder, Henk Visch, Iara Boubnova, Iliana Nedkova, Ilina koralova, Irina Danilova, Iskra Fidancheva, Jan De Lange, kamen Balkanski, katalin Neray, katalin Timar, kathrinRhomberg, kathy Rae Huffman, klaus Biesenbach, Laurence Bosse, Lorand Hegui, Luchezar Boyadjiev, Lucien den Arend, Maria Hlavajova, Maria Vassileva, Milentie Pandilovsky,Natasha Hich, Nina Chegledy, Nuria Enguita Mayo, Ole Bouman, Olga Shishko, Olivier Suter, Paula Boettcher, Peter Weibel, Phillip Zidarov, Plamena Dimitrova-Racheva, Reginakidhekel, Rene Block, Rirkrit Tiravanija, Roger Conover, Roza El-Hassan, Roza Martinez, Saskia Bos, Stella Rolling, Stephan Bode, Stephanie Moisdon Trembley, Susana kuka,Tatiana Gorucheva, Tom Holly, Udo kittelmann, Ute Vorkoeper, Vessela Christova-Radoeva, Victor Misiano, Walter Seidl, Zdenka Badovinac, etc.

ISBN 954-91223-1-õ

Documents

Export/Import 2003