Export-Import. Contemporary Art from Bulgaria by Maria Vassileva

EXPORT IMPORT Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ Contemporary Art from Bulgaria

Ñîôèéñêà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ/ Sofia Art Gallery

EXPORT-IMPORT Ñúâðåìåííî 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, ôåâðóàðèàïðèë 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 ÏÚÒÅØÅÑÒÂÈß ÂÚÂ ÂÐÅÌÅÒÎ È ÏÐÎÑÒÐÀÍÑÒÂÎÒÎ

Åäâà ëè êîíêðåòíèòå äàòè ñà íàé-âàæíîòî â èñòîðèÿòà. Ïîñêîðî ïåðèîäèòå ñ õàðàêòåðíèòå èì îñîáåíîñòè â ìèñëåíåòî è ïîâåäåíèåòî íà ãîëåìè ãðóïè ëè÷íîñòè „ïðàâÿò“ èñòîðèÿòà. Òàêà å è â èçêóñòâîòî. È êîãàòî íåãîâèòå ñúçäàòåëè è èçñëåäîâàòåëè êîìåíòèðàò îïðåäåëåíè ïðîÿâè â ìîìåíòà íà ñîöèàëèçàöèÿòà èì, è êîãàòî ñëåä âðåìå òå áèâàò ïðåîñìèñëåíè îò ãëåäíà òî÷êà íà çíà÷èìîñòòà èì ñïðÿìî èñòîðè÷åñêèòå ïðîöåñè â òÿõíàòà öÿëîñòíîñò. Ðåäèöà ñúáèòèÿ â Áúëãàðèÿ è ïî ñâåòà â êðàÿ íà 80-òå è íà÷àëîòî íà 90-òå ãîäèíè íà XX âåê íè äàâàò îñíîâàíèÿ äà ãîâîðèì çà ïîñëåäíîòî äåñåòèëåòèå íà ìèíàëîòî ñòîëåòèå êàòî çà åäèí îáîñîáåí ïåðèîä, ïðåç êîéòî òåíäåíöèèòå â ìèñëåíåòî è áèòèåòî íà õóäîæíèöèòå ïðèäîáèõà ïî-çàâúðøåí îáëèê. Íàðåä ñ òîâà õóäîæåñòâåíàòà ñèòóàöèÿ ìíîãî ïîêàòåãîðè÷íî â ñðàâíåíèå ñ ïðåäøåñòâàùîòî âðåìå íè äàâà áîãàò ìàòåðèàë çà ðàçãðàíè÷àâàíå íà òåðìèíè è ïîíÿòèÿ, ñðåä êîèòî âîäåùî è îñîáåíî àêòóàëíî å òîâà çà ñúâðåìåííîòî èçêóñòâî. Ìàòåðèÿ áúðçî ðàçâèâàùà ñå è ïðîìåíÿùà ñå, ãëàâíî ïîðàäè ôàêòà, ÷å â ñúâðåìííèÿ ñâÿò ãëîáàëèçàöèÿòà å íåîòìåííà äâèæåùà ñèëà. Ñúâðåìåííîòî èçêóñòâî è ìóçåÿò å òåìà, êîÿòî ïîíå â íàøàòà ñòðàíà òåïúðâà ïðåäñòîè äà ñå ðàçèñêâà ñ öÿëàòà îáùåñòâåíà è ïðîôåñèîíàëíà îòãîâîðíîñò, êîÿòî çàñëóæàâà. Òîçè òèï òâîð÷åñòâî è ðåçóëòàòè îò íåãî ïðåäïîëàãàò ñúùåñòâóâàíåòî è ðàçâèòèåòî íå ïðîñòî íà ìóçåè â êëàñè÷åñêèÿ ñìèñúë, à íà ñïåöèôè÷íè ìóçåéíè èíñòèòóöèè çà ñúâðåìåííî èçêóñòâî. Ñúñ ñïåöèôè÷íè ïðîñòðàíñòâà îòêðèòè è çàêðèòè, ñúñ ñïåöèôè÷íè ôîðìè íà ïîêàç è íà ðàáîòà ñ ïóáëèêàòà. Ñúâðåìåííîòî èçêóñòâî â òîçè ñìèñúë å ïðåäèçâèêàòåëñòâî çà ìóçåèòå, ÷èèòî ñúòðóäíèöè âå÷å íå ìîãàò äà áúäàò „êàáèíåòåí“ òèï, à èñòîðèöè è êðèòèöè, çà êîèòî ñîöèî-êóëòóðíèòå ïðîöåñè íå ñå ïîäðåæäàò åäèíñòâåíî õðîíîëîãè÷åñêè. Òåçè ðàçñúæäåíèÿ íè íàñî÷èõà êúì èçëîæáàòà „Export - Import“. Ñúçíàâàìå êîëêî ïàðàäîêñàëíî å åäèí áúëãàðñêè ìóçåé äà ïîäãîòâÿ òàêàâà èçëîæáà, íî âñúùíîñò äà íå ìîæå äà èçïúëíè ñîáñòâåíèòå ñè ôóíêöèè, êîèòî çàïî÷âàò ñ èçäèðâàíåòî è çàêóïóâàíåòî íà ïðîèçâåäåíèÿ. Ïðîçàè÷íî è íàé-ëåñíî å äà ñå êàæå, ÷å åäèíñòâåíàòà ïðè÷èíà å ëèïñàòà íà ñðåäñòâà. Íî àêî òå íå ìîãàò äà áúäàò îòïóñíàòè îò äúðæàâàòà ïîðàäè îáùà èíîêîìè÷åñêà ñòàãíàöèÿ, ìóçåÿò òðÿáâà ñàì äà òúðñè ïúòèùà äà ðàáîòè ïúëíîöåííî, à íå ñàìî äà ñúùåñòâóâà íà òðàäèöèîííèÿ ñè àäðåñ. Íàäÿâàìå ñå èçëîæáàòà äà ïðîâîêèðà âúçìîæíîñòè çà ñúçäàâàíåòî íà íîâà êîëåêöèÿ êúì ôîíäà íà Ñîôèéñêàòà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ - êîëåêöèÿ îò ÑÚÂÐÅÌÅÍÍÎ ÁÚËÃÀÐÑÊÎ ÈÇÊÓÑÒÂÎ.

Âåñåëà Õðèñòîâà-Ðàäîåâà äèðåêòîð íà ÑÃÕÃ

ON ART AND ITS JOURNEYS IN TIME AND SPACE

Specific dates are far from being the most important thing in history. It is rather the periods with their characteristic peculiarities in the thinking and behavior of large groups of individuals that „make“ history. The same applies for art as well. Both, when its creators and researchers comment certain events in the moment of their socialization, and when after some time they are reevaluated in terms of their significance for the historical processes in their entirety. A number of events in Bulgaria and around the world that occurred at the end of the 80’s and the beginning of the 90’s of the 20th century give us reasons to talk about the last decade of the past century as an individualized period in which the trends in the thinking and everyday life of the artists have acquired a more completed image. At the same time the artistic situation gives us, more explicitly as compared to the past, an extensive material for differentiating terms and concepts among which the leading and especially actual issue is that of contemporary art. It is a matter that develops and changes rapidly mostly due to the fact that in the contemporary world globalization is the inevitable driving force. Contemporary art and the museum is a subject that in our country at least is still to be discussed with the entire public and professional responsibility it deserves. This kind of art and its results presuppose the existence and development not only of museums in the classical sense, but of specific museum institutions for contemporary art. With specific spaces - open and closed, with specific forms of expression and working with the audience. Contemporary art in this sense is a challenge for the museums whose associates can no longer be of the „office“ type, but rather historians and critics for whom the socio-cultural processes are not arranged only chronologically. These arguments directed us towards the Export - Import Exhibition. We realize how paradoxical it is for a Bulgarian museum to prepare such an exhibition, but in reality to be incapable of performing its own 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 is the lack of funds. But if they cannot be allotted by the State due to the overall economic stagnation, the museum on its own must find ways to operate efficiently, and not only exist at its traditional address. We hope the exhibition will provoke the possibilities for creating a new collection at the fund of the Sofia Art Gallery - a collection of CONTEMPORARY BULGARIAN ART.

Vessela Hristova-Radoeva Director, 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 èçäàíèå òåðìèíúò ïðîìåíÿ ñìèñúëà ñè è îïðåäåëÿ æåëàíèåòî íè äà „âúðíåì“ âèðòóàëíî è ðåàëíî èçíåñåíîòî íàâúí ñúâðåìåííî áúëãàðñêî èçêóñòâî îáðàòíî â ðîäèíàòà ìó. Âèðòóàëíî - ÷ðåç êàòàëîãà, êîéòî ñúõðàíÿâà íàïóñíàëè ïðåäåëèòå íà ñòðàíàòà ðàáîòè. 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 äúðæèø ïîä ÷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 „ìèòà çà çàâðúùàíåòî“. Òîçè ìèò íè èçïúëâà ñ íàäåæäè. Íàäÿâàìå ñå åäèí äåí ìëàäèòå õîðà (âå÷å íå òîëêîâà ìëàäè), íàïóñíàëè äúðæàâàòà, 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 äîñòà ðàáîòè, ïîêàçâàíè è â áúëãàðñêè ãàëåðèè, äåéñòâèòåëíàòà ñè îöåíêà è ðåàëèçàöèÿ òîâà èçêóñòâî ïîëó÷àâà íàâúí. Òàì òî å êàíåíî, ïîêàçâàíî, êóïóâàíî(!), â íåãî ñå èíâåñòèðà, çà íåãî ñå ïèøå. Çàòîâà è ìîòèâàöèÿòà äà áúäå ñúçäàâàíî ñúùî èäâà îòâúí. Íàé-óñïåëèÿò áúëãàðñêè õóäîæíèê Íåäêî Ñîëàêîâ íÿìà ó íàñ íèòî åäíà ãîëÿìà èçëîæáà. Íèòî åäíà îò ãîëåìèòå ìó èíñòàëàöèè íå å ïîêàçâàíà òóê è íèòî åäèí ìóçåé íå ïðèòåæàâà íåãîâà ðàáîòà îò ïîñëåäíèòå 10 è ïîâå÷å ãîäèíè. Êàòî èçêëþ÷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 ÷àñòíè ãàëåðèè, 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 âúçìîæíè äåéñòâèÿòà 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÷êè îñòàíàëè? Çàùî íóæäàòà äà ñå íàïðàâè ïîäîáíî èçäàíèå è èçëîæáà å äðàìàòè÷íà, à íå ïðîñòî ïðèÿòíî çàäúëæåíèå íà èñòîðèöèòå íà èçêóñòâîòî è ñóõà ñòàòèñòèêà? Ñòðàííî å, íî òî÷íî òåçè õóäîæíèöè, êîèòî ïîñòîÿííî ïúòóâàò íàâúí, ïîêàçâàò ðàáîòèòå è ñåáå ñè ïî öåëèÿ ñâÿò, ðàçêàçâàò îòêúäå èäâàò è êàêâî ãè âäúõíîâÿâà, ñå ÷óâñòâàò ÷óæäåíöè â ñîáñòâåíàòà ñè ðîäèíà. Èíòåðåñúò êúì òÿõ îò ñòðàíà íà äúðæàâíèòå èíñòèòóöèè å ìèíèìàëåí. Ìóçåèòå íÿìàò ñðåäñòâà çà îòêóïóâàíå íà òåõíè ðàáîòè, à â ãîëÿìàòà ñè ÷àñò íÿìàò è æåëàíèå çà òîâà. Ñúâðåìåííèòå áúëãàðñêè õóäîæíèöè èçïîëçâàò äúðæàâàòà ãëàâíî, çà äà ïðåñïèâàò â íåÿ ìåæäó äâå èçëîæáè â ÷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 âúïðîñà çà ìÿñòîòî íà õóäîæíèöèòå. È äà âúçñòàíîâè íàðóøåíàòà âðúçêà â ñõåìàòà íà õóäîæåñòâåíèÿ æèâîò - ìåæäó ìàëêèòå ÷àñòíè îðãàíèçàöèè (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 ÷ðåç êîíêðåòíà ñåëåêöèÿ. Îñíîâíàòà èäåÿ å äà ñå äåìîíñòðèðà îãðîìíîòî ðàçíîîáðàçèå îò ïðîÿâè â ÷óæáèíà, â êîèòî ñà ó÷àñòâàëè è áúëãàðñêè õóäîæíèöè. Îò áèåíàëåòàòà âúâ Âåíåöèÿ, Èñòàíáóë, Ñàî Ïàîëî, Êâàíäæó, Òèðàíà è Öåòèíå äî ðàçëè÷íè ìåæäóíàðîäíè ôåñòèâàëè, ôîðóìè è àêöèè, ïðåç âñè÷êè äîñåãàøíè èçäàíèÿ íà Ìàíèôåñòà äî Èíòåðíåò, êàòàëîãúò ïîêàçâà ðàçíîîáðàçèåòî 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 íà ñâåòîâíèÿ 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“ íà Ïðàâäîëþá 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 ëîãèêàòà íà ïðîöåñà. Íåò-àðò ïðîåêòèòå íà Ïåòêî Äóðìàíà èìàò ïðèâèëåãèÿòà äà ñå âèäÿò ïî âñÿêî âðåìå è íàâñÿêúäå. Ïîáëàãîñêëîííà å ñúäáàòà è êúì âèäåî òâîðáèòå - ëåñíè çà ïðåíàñÿíå è ïðåäñòàâÿíå. Ñðåä òÿõ îñîáåíî èñêàì äà îáúðíà âíèìàíèå íà òðèìà ìëàäè àâòîðè: Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà è Èâàí Ìóäîâ. Õóäîæíèöèòå Òàíÿ Àáàäæèåâà, Íèíà Êîâà÷åâà, Âàëåíòèí Ñòåôàíîâ, Ãåîðãè Òóøåâ è Õóáåí ×åðêåëîâ âå÷å æèâåÿò â ÷óæáèíà, íî è ïðåäè è ñåãà àêòèâíî ó÷àñòâàò â 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 (à è âúòðå â òÿõ). È äà ñå ïðîâîêèðà îáùåñòâåíîòî ìíåíèå êúì ïðåîñìèñëÿíå íà ïîçèöèÿòà ñïðÿìî òåçè õóäîæíèöè, êîèòî ïîâå÷å îò 10 ãîäèíè ñà ïîñòîÿííîòî ëèöå íà Áúëãàðèÿ ïðåä ñâåòà. Âñè÷êè ïðåäñòàâåíè àâòîðè ñà æèâè è çäðàâè. È âñå îùå íå ñà ñå îòêàçàëè äà ïðàâÿò èçêóñòâî. Íå å ëè ïî-äîáðå âìåñòî äà ó÷àñòâàìå â èçãðàæäàíåòî íà „ìèòà çà çàâðúùàíåòî“, ïðîñòî äà ãî èçïðåâàðèì? È äà äàäåì íà òåçè õóäîæíèöè çàñëóæåíîòî òóê è ñåãà. Çà äà íå ñå ÷óâñòâàò êàòî íà õîòåë â ñîáñòâåíàòà ñè 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. In the context of the present edition this term changes its meaning and denotes our desire to „bring“, virtually and actually, the exported contemporary Bulgarian art back to its native country. Virtually - through the catalogue that preserves the works that have left the borders of the country. Actually - through the exhibition that tries to restore the map of Bulgarian presence abroad. 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. No matter how long you keep it under running water it will never fill. In the same manner (and even not so poetically) various things flow out: brains, money, antiques. Art flows out as well but few people come to think about it. The society is strongly devoted to extending the „myth of the return“. This myth fills us with hopes. We hope that some day the young people (who are 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. they should „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 number of works presented in Bulgarian galleries, the actual evaluation and realization that this art receives comes from abroad where it is invited, shown, bought(!), where funds are invested in it and where articles are published about it. That is why the motivation to create art also comes from abroad. The most successful Bulgarian painter Nedko Solakov has not put up a single large exhibition in Bulgaria. None of his big installations has been shown in Bulgaria and no museum owns any of his works created in the past 10 years or more. With the exception of a few chamber exhibitions Nedko Solakov entirely thinks, creates 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 some private galleries, non-governmental institutions and public associations, of separate curators and critics has created a favorable environment that provokes the ‘happening’ of art-events here as well. It is a fact that due to the efforts made by a bunch of 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 - originate from? Why is the need of creating such an edition and exhibition so dramatic and not just a pleasant obligation of the art 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 shown in them by the State institutions is a minimum. Museums have no funds to buy their works and the majority of them even lack the desire to do so. Contemporary Bulgarian artists use the country mainly to sleep over in between two exhibitions abroad. 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 of contemporary artists. And to restore the disrupted bond in the scheme of artistic life - between the small private organizations (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 particular selection. The main idea is to demonstrate the enormous variety of events abroad in which Bulgarian painters have participated. 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 the artistic 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 exhibited numerously abroad are shown. Such for example are: „Neo-Golgotha“ by Luchezar Boyadjiev (who is also the god-father of the present project), „A Life (Black & White)“ by Nedko Solakov, „Corrections“ by Rassim, „Transformation Always Takes Time and Energy“ by Pravdoliub Ivanov. Other authors are presented with their latest works that will be shown for the first time abroad: Nadezhda Oleg Lyahova, kiril Prashkov, Boris Misirkov and Georgi Bogdanov. „Territories“ by Pravdoliub Ivanov no longer exists but it has been included in the catalogue because of its symptomatic nature subordinated to the time when it was created. He and kalin Serapionov, Luchezar Boyadjiev and Lyuben kostov are included with projects covering a longer period of time with the aim of underlying the logics of the process. The net-art projects by Petko Durmana have the privilege of being seen everywhere and at all times. Fate is more benevolent to video-projects also - they are easier to carry and present. Among them, I would like to draw special attention to three young authors: Boriana Dragoeva, Daniela kostova and Ivan Moudov. The painters Tanya Abadjieva, Nina kovacheva, Valentin Stefanoff, Georgi Toushev and Huben Cherkelov already live 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 more than 10 years have been Bulgaria’s invariable face before the world. All presented authors are alive and in sound health. And they have not yet given up their desire to create art. Isn’t it better to leave behind the „myth of the return“ instead of participating in its formation? And to give these painters what they deserve here and now. So that they would not feel as hotel guests in their own country.

ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RASSIM/ ÐÀÑÈÌ/ RA

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 A 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 BG Artexpo Foundation, Áóêóðåù/ Bucharest RO Macedonian Museum of Contemporary Art, Ñîëóí/ Thessalonica GR Art Box, Êàâàëà/ Kavala, 1999 GR After the Wall: Art and Culture in post-communist Europe, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 S Ludwig Museum, Áóäàïåùà/ Budapest, 2000 H Hamburger Banhof, Áåðëèí/ Berlin, 2002 D Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. Kraftemessen II, Kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1988 D

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 YU Body and the East, EXIT Art, Íþ Éîðê/ New York, 2001 USA Capital and Gender, Ãðàäñêè òúðãîâñêè öåíòúð/ City Shopping Mall, Ñêîïèå/ Skopje, 2001 MAK Looming Up. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ/ Contemporary art from Bulgaria, èçëîæáåí ñàëîí Åêñíåðãàñå/ kunsthalle Exnergasse, Âèåíà/ Vienna A Aspekte Galerie Gasteig, Ìþíõåí/ Munich, 2001 D After the Wall: Art and Culture in post-communist Europe, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 S Ludwig Museum, Áóäàïåùà/ Budapest, 2000 H Hamburger Banhof, Áåðëèí/ Berlin, 2002 D Translocation_New Media Art, Generali Foundation, Âèåíà/ Vienna, 1999 A Body and the East, Ìóçåé çà ñúâðåìåííî èçêóñòâî/ Museum of Modern Art, Ëþáëÿíà/ Ljubljana, 1998 SLO

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

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 SLO 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 BG Artexpo Foundation, Áóêóðåù/ Bucharest RO Macedonian Museum of Contemporary Art, Ñîëóí/ Thessaloniki, GR Art Box, Êàâàëà/ Kavala, 1999 GR Permanent Instability, Íàöèîíàëíà ãàëåðèÿ/ National Gallery, Òèðàíà/ Tirana, 1998 AL Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. Kraftemessen II, Kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1988 D

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

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 I Trendification, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/ Graz, 2001 A Small Power Strategies, Ìóçåé çà ñúâðåìåííî èçêóñòâî/ Museum of Contemporary Art, Âèåíà/ Vienna, 2001 A Viafarini Gallery, Ìèëàíî/ Milan, 2001 I Placentia Arte Gallery, Ïèà÷åíöà/Piacenza, 2001 I Âèäåîàðõåîëîãèÿ/ Videoarchaeology, Ìåæäóíàðîäåí âèäåî ôåñòèâàë/ International Video Festival, Ñîôèÿ/ Sofia, 2000 BG Onufri’2000, Ìåæäóíàðîäåí êîíêóðñ çà âèçóàëíè èçêóñòâà/ International Competition on Visual Arts, Íàöèîíàëíà ãàëåðèÿ/ National Gallery, Òèðàíà/ Tirana, 2000 AL Ñóáåêòè è ñåíêè/ Subjects and Shadows, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA Center for Contemporary art, Ñîôèÿ/ Sofia, 2000 BG

Ëú×ÅçÀÐ ÁÎßäæÈÅÂ/ LUCHEzAR BOYADJIEV/ Ëú×ÅçÀÐ ÁÎßäæÈÅÂ/ LUCHEzAR BOYADJIEV/ Ëú×ÅçÀÐ ÁÎßäæÈÅÂ/ LUCHEzAR BOYADJIEV/ Ëú×ÅçÀÐ ÁÎßäæÈÅÂ/ LUCHEzAR BOYADJIEV/ Ëú×ÅçÀÐ Á

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 H 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 I Gallery by Night, Ñòóäèî ãàëåðèÿ/ Studio Gallery, Áóäàïåùà/ Budapest, 1997 (èíñòàëàöèÿ äèàïîçèòèâè/ slide installation) H Art in Landscape, Òðåòè ìåæäóíàðîäåí ñèìïîçèóì/ 3rd International Symposium, Wachtberg/ Gars-am-Kamp, 1996 A

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) D International Networks. 40 ãîäèíè ôåñòèâàë Ôëóêñóñ/ 40 Years of Fluxus Festival. Kunstsommer Wiesbaden, 2002 D ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 (ãðàôè÷íà äîêóìåíòàöèÿ/ print documentation) YU cooperativ - Kunstdialoge Ost-West, Stadthaus Ulm, Óëì/ Ulm, 2000 (ãðàôè÷íà äîêóìåíòàöèÿ/ print documentation) D 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

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 A After the Wall: Art and Culture in Post-communist Europe, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 S Ludwig Museum, Áóäàïåùà/ Budapest, 2000 H Hamburger Banhof, Áåðëèí/ Berlin, 2002 D Aller-Retour, Òðåòî ìåæäóíàðîäíî áèåíàëå/ 3rd International Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU Luchezar Boyadjiev - Cover Version 2, ãàëåðèÿ Õîõåíòàë óíä Áåðãåí/ Hohenthal und Bergen Galerie, Êüîëí/ Cologne, 1997 D 22ðî áèåíàëå â Ñàî Ïàîëî/ 22nd Sao Paulo Biennial, Ñàî Ïàîëî/ Sao Paulo, 1994 BR Íåñòàáèëíîñò - ïðîãðåñ/ Instability - Progress, Ôðåíñêè èíñòèòóò/ French Institute, Ñîôèÿ/ Sofia, 1994 BG

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 A ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 YU Communication, Aschersleber Kunst- und Kulturverein, Aschersleben, 2000 D 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 D TEMP-Balkania, Ìóçåé çà ñúâðåìåííî èçêóñòâî Êèàçìà/ Kiasma Museum of Contemporary Art, Õåëçèíêè/ Helsinki, 1998 FIN Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. Kraftemessen II, Kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1988 D I love Jesus - Souvenir Shop, áèâøå áúëãàðñêî ïîñîëñòâî/ former Bulgarian Embassy, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU Up and Down. Back and Forth, 68 Hope Street Gallery Escaping Gravity - Video Positive ‘97, FACT, Ëèâúðïóë/ Liverpool, 1997 GB Ïðîåêòè îò.../ Projects by..., Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî/ National Gallery for Foreign Art, Ñîôèÿ/ Sofia, 1995 BG

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) YU Manifesta 4. Åâðîïåéñêî áèåíàëå íà ñúâðåìåííîòî èçêóñòâî/ European Biennial of Contemporary art, Ôðàíêôóðò/ Frankfurt, 2002 (âèäåî /video) D Åâðîïåéñêî âèäåî, ïðåäñòàâåíî îò Trieste Contemporanea/ Trieste Contemporanea European Video Art Presentation, Òðèåñò/ Trieste, 2001 (âèäåî /video) I 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

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 A ASPEKTE, Galerie der Munchner Volkshochsechule, Ìþíõåí/ Munich, 2001-2002 D Looming Up. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ/ Contemporary art from Bulgaria, èçëîæáåí ñàëîí Åêñíåðãàñå/ kunsthalle Exnergasse, Âèåíà/ Vienna, 2001 A ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000 YU ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA Center for Contemporary Art, Ñîôèÿ/ Sofia, 2000 BG

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

ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊÎ ÑÎËÀÊÎÂ/ NEDKO SOLAKOV/ ÍÅäÊ 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) E Ulmer Museum, Óëì/ Ulm, 2002 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) D Neuer Berliner Kunstverein, Áåðëèí/ Berlin, 2002 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) D

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 duration 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 D Loop - From the Beginning, Öåíòúð çà ñúâðåìåííî èçêóñòâî/ Contemporary Art Center, Ñèíñèíàòè/ Cincinnati, Îõàéî/ Ohio, (80 äíè/ days), 2002 USA Pause, 4th Gwangju Biennale, Êâàíäæó/ Gwangju (95 äíè/ days, ñ ïðåêúñâàíèÿ/ ocasionally), 2002 ROK 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 USA Marking the Territory, Èðëàíäñêè ìóçåé çà ñúâðåìåííî èçêóñòâî/ Irish Museum of Modern Art, äúáëèí/ Dublin (3 äíè/ days), 2001 IRL Loop - Alles auf Anfang, Kunsthalle der Hypo-Kulturstiftung, Ìþíõåí/ Munich (52 äíè/ days), 2001 D Total Object Complete with Missing Parts, Tramway, Ãëàçãîó/ Glasgow (53 äíè/ days), 2001 GB Plateau of Humankind, 49 Esposizione Internazionale d’Arte, La Biennale di Venezia, Âåíåöèÿ/ Venice (5 ìåñåöà/ months), 2001 (íà ñíèìêèòå/ on the pictures) I L’Autre moitie de l’Europe, Jeu de Paume, Ïàðèæ/ Paris (31 äíè/ days), 2000 F

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

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/ dimensions 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) Ðîòåðäàì/ Rotterdam, 1996 NL

FIN

Manifesta I, Ìóçåé çà åñòåñòâåíà èñòîðèÿ/ Natuur Museum,

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) USA Unmapping the Earth, Kwangju Biennale’97, Êâàíäæó/ Kwangju, 1997 ROK

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

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 situation 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 F Manifesta 4. Åâðîïåéñêî áèåíàëå íà ñúâðåìåííîòî èçêóñòâî/ European Biennial of Contemporary art, Ôðàíêôóðò/ Frankfurt, 2002 D Collegium Helveticum, Öþðèõ/ zurich, 2001 CH

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 A Î÷è â î÷è/ Eye-to-Eye, ãàëåðèÿ ÒÅä/ TED Gallery, Âàðíà/ Varna, 1998 BG Eastern Europe: Spatia Nova. ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/ 4th International St. Petersburg Biennial, Ïåòåðáóðã/ St. Petersburg, 1996 RUS Ôîòîèíñòàëàöèè/ Photoinstallations, ãàëåðèÿ Àòà-Ðàé/ Ata-Ray Gallery, Ñîôèÿ/ Sofia, 1996 BG

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

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 CH Solitary Pursuit, Elizabeth Foundation for the Arts, Íþ Éîðê/ New York, (âèäåî èíñòàëàöèÿ/ video installation), 2001 USA 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 PL ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA center for contemporary art, Ñîôèÿ/ Sofia, (ïúðôîðìàíñ/ performance), 2000 BG

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

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

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) YU Ñóáåêòè è ñåíêè/ Subjects and Shadows, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA Center for Contemporary art, Ñîôèÿ/ Sofia, 2000 (ïîñòåð/ poster) BG

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 violence - 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 RUS Dreamcatcher, Ìåæäóíàðîäåí âèäåî-ôèëì ôåñòèâàë/ International video-film festival, Êèåâ/ Kiev, 2002 UKR 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 RO Kultbrosok na Vostok, Ìîñêâà/ Moscow, Åêàòåðèíèíáóðã/ Ekaterinburg, Íîâîñèáèðñê/ Novosibirsk, Êðàñíîÿðñê/ Krasnoiarsk, Èðêóòñê/ Irkutsk, Áàéêàëñê/ Baikalsk, 2002 RUS Ecology of Art, Íèæíè Òàæèë/ Nizni Tagil, 2001 RUS Video screenings 03, zero, Ïèà÷åíöà/ Piechenza, 2001 I Looming Up. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ/ Contemporary art from Bulgaria, èçëîæáåí ñàëîí Åêñíåðãàñå/ kunsthalle Exnergasse, Âèåíà/ Vienna A Aspekte Galerie Gasteig, Ìþíõåí/ Munich, 2001 D Âèäåîàðõåîëîãèÿ/ Videoarchaeology, Ìåæäóíàðîäåí âèäåî ôåñòèâàë/ International Video Festival, Ñîôèÿ/ Sofia, 2001 BG Trieste Contemporanea Central Europian Video art Presentation, Òðèåñò/ Trieste, Èòàëèÿ/ Italy, 2001 I Àíòè-ôåìèíèçúì, àíòè-ìà÷èçúì/ Anti-Feminism, Anti-Machismo, ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 2000 BG

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 industry, 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 A Ëèîí/ Lion, 2003 F On the BG Track, Êóëòóðåí öåíòúð/ Cultural Center, Áåëãðàä/ Belgrade, 2002 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) YU äåñòèíàöèÿ Áúëãàðèÿ - íàìåñè â ïóáëè÷íè ïðîñòðàíñòâà/ Destination Bulgaria - interventions in public spaces, Ìàäðèä/ Madrid E äúáëèí/ Dublin, 2001 IRL

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 GB Ïðåäñòàâÿíå íà Öåíòúð çà ìóëòèìåäèéíè èçêóñòâà Interspace/ Interspace presentation, New Media Center, Õúäúðñôèéëä/ Huddersfield, 2002 GB VIPER 98, Ëþöåðí/ Lucerne, 1998 CH OSTRANENIE’97, Ìåæäóíàðîäåí ôîðóì íà åëåêòðîííèòå ìåäèè/ The International Electronic Media Forum, äåñàó/ Dessau, 1997 D HI-TECH UMENI 1997, Áúðíî/ Brno, 1997 Cz Steirischer Herbst Festival, Ãðàö/ Graz, 1997 A Èçêóñòâî íà ìðåæàòà/ The Art on the Net, Machida City Museum Of Graphic Arts, Òîêèî/ Tokyo, 1997 J Ôåñòèâàë íà åëåêòðîííèòå èçêóñòâà/ Electronic Art Fair'97, Ñêîïèå/ Skopje, 1997 MAK ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 1997 BG

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

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

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

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, 1996

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

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 Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU

Âòîðî ìåæäóíàðîäíî áèåíàëå/ 2th International Biennial, Öåòèíå/

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 BR Ôðåíñêè êóëòóðåí èíñòèòóò/ French Institute, Ñîôèÿ/ Sofia, 1994 BG Ìåæäóíàðîäíî áèåíàëå íà õóìîðà è ñàòèðàòà/ International Biennial of Humor and Satire, Ãàáðîâî/ Gabrovo, 1993 BG ãàëåðèÿ Àðîñèòà/ Arosita Gallery, Ñîôèÿ/ Sofia, 1992 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

ÐÀÑÈÌ/ RASSIM/ ðîäåí/ born 1978/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ/ National Art Academy, Sofia,1998/ æèâåå â Ñîôèÿ/ lives in Sofia Áîêñüîð/ Boxer, 1996 îòïå÷àòúê/ print, 21x28,5 ñì/ cm Àâòîïîðòðåòúò/ The Self Portrait, ãàëåðèÿ Ðàéêî Àëåêñèåâ/ Rayko Alexiev Gallery, Ñîôèÿ/ Sofia, 2002 BG What, How & For Whom, Moderna Galerija, Çàãðåá/ Zagreb, 2000 HR It could be Obsession, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for Contemporary art <rotor>, Ãðàö/ Graz, 2000 A 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 BG Artexpo Foundation, Áóêóðåù/ Bucharest RO Macedonian Museum of Contemporary Art, Ñîëóí/ Thessaloniki GR Art Box, Êàâàëà/ kavala, 1999 GR Êîðåêöèè 2/ Correction 2, 2002 2 âèäåî ïðîæåêöèè/ 2 video projections, 17' âñÿêà/ each Belluard Bollwerk International (BBI), Ôðàéáóðã/ Fribourg, 2002 CH

Äðîãà/ The Drug, 1995 âèäåî ïðîæåêöèÿ/ video projection, 90' Art of Tortures and Executions - Art against Tortures and Executions, Íàöèîíàëåí öåíòúð çà ñúâðåìåííî èçêóñòâî/ National Center for Contemporary Art, Êàëèíèíãðàä/ kaliningrad, 2001 RUS Ãàëåðèÿ Àòà-ðàé/ Ata-ray Gallery, Ñîôèÿ/ Sofia, 1995 BG / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÏÐÀÂÄÎËÞÁ ÈÂÀÍÎÂ/ PRAVDOLIUB IVANOV/ ðîäåí/ born 1964/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1988/ National Art Academy, Sofia, 1998/ æèâåå â Ñîôèÿ/ lives in Sofia Ìåæäó ìèñëèòå è ðå÷òà/ Between Thoughts and Talks, 1996 ôîòî èíñòàëàöèÿ/ photo installation, 30 ÷åðíî-áåëè ñíèìêè, 40õ50 ñì âñÿêà/ 30 black and white photos, 40x50 cm each ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 1997 BG Eastern Europe: Spatia Nova, ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/ 4th International Biennial, Ïåòåðáóðã/ St. Petersburg, 1996 RUS

Âîäíè ìîíóìåíòè/ Water Monuments, 1999 èíñòàëàöèÿ çà îïðåäåëåíî ìÿñòî/ site specific installation, ïëàñòìàñîâè ëåãåíè è êîôè, âêîïàíè â çåìÿòà/ plastic wash basins and buckets dug into the ground Ìóçåé íà îòêðèòî - ñêóëïòóðåí ïàðê/ Open Air Museum Drecht Banks Sculpture Park NL

Vehicles Dream, 1998 èíñòàëàöèÿ/ installation, 100 öâåòíè ñíèìêè íà ñïÿùè õîðà â Íþ Éîðêñêîòî ìåòðî, ìîíòèðàíè âúðõó ãóìåíè êîëåëà/ 100 color photos of sleeping people in New York subway, mounted on rubber wheels Longwood Arts Project, Íþ Éîðê/ New York, 1998 USA Ïóáëè÷íè êîëåêöèè/ public collections: Open Air Museum Drecht Banks Sculpture Park, The Netherlands; Musee des Beaux Arts, La Chaux-de-Fonds, Switzerlad

ÄÀÍÈÅËÀ ÊÎÑÒÎÂÀ/ DANIELA kOSTOVA/ ðîäåíà/ born 1974/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1998/ National Art Academy, Sofia, 1998/ æèâåå â Ñîôèÿ/ lives in Sofia/ Fair Play, 2000 âèäåî/ video, 2’ Åâðîïåéñêî âèäåî, ïðåäñòàâåíî îò Trieste Contemporanea/ Trieste Contemporanea European Video Art Presentation, Òðèåñò/ Trieste, 2001 I Video Medeja, Íîâè ñàä/ Novi Sad, 2000 YU Balkan Videofest, Áåëãðàä/ Belgrade, 2000 YU VA(MEDIA.DOC)VA, Ñîôèÿ/ Sofia, 2000 BG Àíòè-ôåìèíèçúì, àíòè-ìà÷èçúì/ Anti-Feminism, Anti-Machism, ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 2000 BG Deja Vu, 1999 aêöèÿ/ action, âàðèðàùè ðàçìåðè/ dimension variable Ostensiv, Ëàéïöèã/ Leipzig, 2001 D Ìîñêâà/ Moscow, 2002 RUS Áåðëèí/ Berlin, 2002 D Sofia Underground Festival, ÍÄÊ/ National Palace of Culture, Ñîôèÿ/ Sofia, 1999 BG Êóëòóðà/ Ñóáêóëòóðà, ãîäèøíà èçëîæáà íà Öåíòúð çà èçêóñòâà Ñîðîñ, Âàðíà,1999 BG / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ËÚ×ÅÇÀÐ ÁÎßÄÆÈÅÂ/ LUCHEZAR BOYADJIEV/ ðîäåí/ born 1957/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1980/ National Art Academy, Sofia, 1980/ æèâåå â Ñîôèÿ/ lives in Sofia Êîëêî ïèðîíà â óñòàòà? Àâòîïîðòðåò ñ 2 êã ïèðîíè ñ äúëæèíà 12,5 ñì/ How many Nails in a Mouth? Self-portrait with 2 kg of 12.5 cm long nails, 1995 öâåòíà ôîòîãðàôèÿ/ color photograph, 13õ9 ñì/ cm Ëú÷åçàð Áîÿäæèåâ/ Luchezar Boyadjiev, ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 YU I love Jesus Souvenir Shop, áèâøå áúëãàðñêî ïîñîëñòâî/ former Bulgarian Embassy, Aller-Retour, Òðåòî ìåæäóíàðîäíî áèåíàëå/ 3rd International Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU Bulgarian Glimpse Show, Association of Moscow Art Galleries and BCIC, Ìîñêâà/ Moscow, 1996 RUS Orient/ation, ×åòâúðòî ìåæäóíàðîäíî áèåíàëå/ 4th International Biennial, Èñòàíáóë/ Istanbul, 1995 TR GastARTbeiter, 2000 âåðñèÿ 1/ version 1 - èíê-äæåò îòïå÷àòúê âúðõó õàðòèÿ/ ink-jet print on paper, 210 (190) x 510 (480) ñì/ cm, òèðàæ 5/ edition of 5; âåðñèÿ 2/ version 2 - èíòåðàêòèâíà/ interactive, ÷àñò îò/ part of E-Face 2000 Budapest Box, Ludwig Museum, Áóäàïåùà/ Budapest, 2002 (îòïå÷àòúê/ print) H Luchezar Boyadjiev, ãàëåðèÿ Êíîë/ knoll Galerie, Âèåíà/ Vienna, 2001-2002 (îòïå÷àòúê/ print) A E-Face 2000, Halle_fur_kunst, Ëþíåáóðã/ Luneburg, îò åñåíòà íà 2001/ since fall 2001, (èíòåðàêòèâåí/ interactive, òåêñò/ text) D Õóäîæíèê, êîéòî íå ãîâîðè àíãëèéñêè, íå å õóäîæíèê/ An Artist who does not speak English is not an artist, ãàëåðèÿ Êíîë/ knoll Gallery, Áóäàïåùà/ Budapest, 2001 (îòïå÷àòúê/ print) H ; Tallinna kunstihoone (èçëîæáåíà çàëà Òàëèí/ Tallinn Art Hall), Òàëèí/ Tallinn (îòïå÷àòúê/ print è/ and èíòåðàêòèâåí/ interactive) EST Small Talk, Ìóçåé çà ñúâðåìåííî èçêóñòâî/ Museum of Contemporary Art, Ñêîïèå/ Skopje, 2001 (îòïå÷àòúê/ print è/ and èíòåðàêòèâåí/ interactive) MAK 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) BG Luchezar Boyadjiev, ãàëåðèÿ Ðåìîíò/ Remont Gallery, Áåëãðàä/ Belgrade, 2000-2001 (îòïå÷àòúê/ print) YU Leseraum, Secession, Âèåíà/ Vienna, 2000-2001 (îòïå÷àòúê/ print) A Communication, Aschersleber kunst- und kulturverein, Àøåðñëåáåí/ Aschersleben, 2000 (èíòåðàêòèâåí/ interactive) D cooperativ kunstdialoge Ost-West, Stadthaus Ulm, Óëì/ Ulm, 2000 (îòïå÷àòúê/ print) D Ôðîíò çà êîìóíèêàöèè 2/ Communication Front 2, Áàíÿ Ñòàðèííà/ Old Turkish Bathhouse, Êúùà Ìåêñèêàíñêà ãðàôèêà/ House of Mexican Graphic, Ïëîâäèâ/ Plovdiv, 2000 BG ArtMoscow ‘2000, Öåíòðàëåí äîì íà õóäîæíèêà/ Central House of the Artist, Ìîñêâà/ Moscow, 2000 (èíòåðàêòèâåí/ interactive) RUS E-FACE 2000/ Pro@Contra - MachineMachy, ArtMediaCenter TV Gallery, Ìîñêâà/ Moscow RUS Worthless (Invaluable), Moderna Galerja, Ëþáëÿíà/ Ljubljana, 2000 (îòïå÷àòúê/ print) SLO

Ðàçïÿòèå çà ðèáàðÿ/ Crucifixion for the Fisherman, 1991-92 150 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/ detail kUNSTRAI '93, Àìñòåðäàì/ Amsterdam, 1993 NL Art Frankfurt'93, ñ ãàëåðèÿ Õîõåíòàë óíä Áåðãåí/ with Hohenthal und Bergen Gallery, Ôðàíêôóðò/ Frankfurt, 1993 D Óêðåïâàíå íà âÿðàòà/ Fortification of Faith, ãàëåðèÿ Õîõåíòàë óíä Áåðãåí/ Hohenthal und Bergen Galerie, Ìþíõåí/ Munich D Festigung des Glaubens. Installations, ãàëåðèÿ èôà/ ifa Galerie, Áåðëèí/ Berlin, 1992 D Ðàçïÿòèå çà ðèáàðÿ - 150 ðèñóíêè/ Crucifixion for the Fisherman - 150 drawings, ãàëåðèÿ Ëåñåäðà/ Lessedra Gallery, Ñîôèÿ/ Sofia, 1992 D / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÈÂÀÍ ÌÓÄÎÂ/ IVAN MOUDOV/ ðîäåí/ born 1975/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 2002/ National Art Academy, Sofia, 2002/ æèâåå â Ñîôèÿ/ lives in Sofia Åäèí ÷àñ ïðåäèìñòâî/ One Hour Priority, 2000 âèäåî/ video, 60’ Trendification, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî/ Association for contemporary art <rotor>, Ãðàö/ Graz, 2001 A What, How and for Whom, Çàãðåá/ Zagreb, 2000 HR Âèåíà/ Vienna, 2001 A Ñòóäåíòñêî òðèåíàëå/ The Student Triennial, Èñòàíáóë/ Istanbul, 2000 TR Paranoia Style, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA center for contemporary art, Ñîôèÿ/ Sofia, 2000 BG / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / 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 ëèöåòî íà àâòîðà â äåéñòâèòåëíè ðàçìåðè, ñëàäîëåä, ïëîäîâå/ casts of the author’s face, life size, ice cream, fruit Inner Space Gallery, Ïîçíàí/ Poznan, 2000 PL Ôåñòèâàë íà èçêóñòâàòà Àïîëîíèÿ/ Apollonia Festival of Arts, Ñîçîïîë/ Sozopol, 1999 BG Ïðèêàçêà áåç êðàé/ Tale with no end, 2000 èíñòàëàöèÿ/ installation, îòëèâêè îò ëèöåòî íà àâòîðà â äåéñòâèòåëíè ðàçìåðè, âîäà, ïÿñúê/ casts of the author’s face, life size, water, sand Ìóçåé íà àðòèñòè÷íàòà êíèãà/ Art Book Museum, Ëîäç/ Lodz, Ïîëøà/ Poland, 2000 PL Óðåä, ÷ðåç êîéòî ñòàâàø Áîã/ God Producing Device, 1997; îáåêò/ object, äúðâî, îãëåäàëî, áîÿ/ wood, miracle, paint Âòîðî ìåæäóíàðîäíî áèåíàëå/ 2th International Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÍÅÄÊÎ ÑÎËÀÊÎÂ/ NEDkO SOLAkOV/ ðîäåí/ born 1957/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1981/ National Art Academy, Sofia, 1981/ æèâåå â Ñîôèÿ/ lives in Sofia Çàïîâÿäàé (Ðóñêà ðóëåòêà)/ Help Yourself (Russian Roulette), 1998 çàõàð, îöâåòèòåëè, áðàøíî, øîêîëàä, õàðòèÿ, 7 áðîÿ (èçðÿçàíèòå íîêòè íà õóäîæíèêà â åäíà îò òÿõ), 5õ5õ5 ñì âñÿêà/ sugar, coloring agents, flour, chocolate, paper, 7 pieces (the artist’s slipped nails inside one of them), 5x5x5 cm

each; ñúñ ñúãëàñèåòî íà õóäîæíèêà/ courtesy the artist; ñíèìêà Àíãåë Öâåòàíîâ/ photo Angel Tzvetanov Ñåäìî òðèåíàëå íà ìàëêàòà ïëàñòèêà/ 7. Triennale der kleinplastik, Zudwest LB, Ùóòãàðò/ Stuttgart, 1998 D Êîëåêöèîíåðúò íà èçêóñòâî (íÿêúäå â Àôðèêà èìà åäèí âåëèê ÷åðåí ÷îâåê, êîéòî êîëåêöèîíèðà èçêóñòâî îò Åâðîïà è Àìåðèêà, êóïóâàéêè ñâîÿ ïúðâè Ïèêàñî çà 23 êîêîñîâè îðåõà è ñâîÿ ðàíåí Ðàóøåíáúðã çà 7 àíòèëîïîâè êîñòè...)/ The Collector of Art (somewhere in Africa there is a great black man collecting art from Europe and America, buying his Picasso for 23 coconuts, and his early Rauschenberg for 7 antelope bones...), 1992-1994 èíñòàëàöèÿ/ installation, èäåÿ çà àôðèêàíñêà êîëèáà, ïÿñúê, ñóõè õðàñòè, êîæè îò îòðîâíè çìèè, êîêîñîâè îðåõè, àíàíàñè, îðèãèíàëè îò Ðàóøåíáúðã, Àïåë, Ëèøòåíùàéí, Èìåíäîðô, Áîéñ, Áàçåëèòö, Ïèêàñî, Åñòå, Ðàéíåð è äð./ an idea of African 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 Ludwig Museum; ñíèìêà/ photo Arpad Farkas, Lazslo Jaksity Partage d’exotismes, 5th Lyon Biennale, Ëèîí/ Lyon, 2000 F Ludwig Museum, Áóäàïåùà/ Budapest, 1994 (íà ñíèìêàòà/ on the picture) H (Íå òîëêîâà) áÿë êóá/ A (not so) White Cube, 2001 ñìåñåíà, ïî÷òè íåâèäèìà, òåõíèêà/ mixed, almost invisible, media; âàðèðàùè ðàçìåðè/ dimensions variable; ñúñ ñúãëàñèåòî íà õóäîæíèêà è De Appel/ courtesy the artist and De Appel; ñíèìêà Íåäêî Ñîëàêîâ/ photo Nedko Solakov P.S.1 Special Projects Program, Öåíòúð çà ñúâðåìåííî èçêóñòâî P.S.1/ P.S.1 Contemporary Art Center, Íþ Éîðê/ New York, 2001, ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition USA Basics, kunsthalle Bern, Áåðí/ Bern, 2002 CH Mess, Stichting De Appel, Àìñòåðäàì/ Amsterdam, 2002, ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition (íà ñíèìêàòà/ on the picture) NL Èçáðàíè ïóáëè÷íè êîëåêöèè/ Selected Public Collections: Center for Contemporary Art, Ujazdowski Castle, Warsaw; De Vleeshal, Middelburg, NL; Fonds National d’Art Contemporain, 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, Frankfurt am Main; Museum moderner kunst Stiftung Ludwig Wien; Natuur Museum, Rotterdam; Sammlung Hauser und Wirth, St. Gallen; Teyler Museum, Haarlem, NL; The Museum of Contemporary Art, Skopje; The Museum of Fine Arts, Budapest; The Museum of Modern Art, Department of Prints and Illustrated Books, New York; The National Library, Luxembourg; The New Museum of Contemporary Art, New York; Ulmer Museum, Ulm; Villa Merkel, Esslingen am Neckar, Germany / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÊÀËÈÍ ÑÅÐÀÏÈÎÍÎÂ/ kALIN SERAPIONOV/ ðîäåí/ born 1967/ Íàöèîíàëíà õóäîæåñòâåíà 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, 1998 âèäåî ïðîæåêöèÿ/ videoprojection, 9’30’’ Áúëãàðèÿàâàíãàðä/ Bulgariaavangardå. kraftemessen II“, kunstlerwerkstatt Lothringerstrasse 13, Ìþíõåí/ Munich, 1998 D Translocation_New Media Art, Generali Foundation, Âèåíà/ Vienna, 1999 A ; WRO 99, Ñåäìè ìåæäóíàðîäåí ôåñòèâàë íà íîâèòå ìåäèè/ 7th International Media Art Biennial, Âðîöëàâ/ Wroclaw, Ïîëøà/ Poland, 1999 PL ; After the Wall: Art and Culture in post-communist Europe, Moderna Museet, Ñòîêõîëì/ Stockholm, 1999 S ; Ludwig Museum, Áóäàïåùà/ Budapest, 2000 H ; Hamburger Banhof, Áåðëèí/ Berlin, 2002 D ; Ìåæäóíàðîäåí ôåñòèâàë íà êúñîìåòðàæíèÿ ôèëì/ International Short Film Festival, Îáåðõàóçåí/ Oberhausen, 2000 D

Ìîåòî èìå å Ñàìñîíàéò/ My Name is Samsonite, 1998 âèäåî ïðîæåêöèÿ/ video projection, 3’40’’, ëîîï/ loop The GMI - Global Multimedia Interface Project, Home/Leicester Squire, Ëîíäîí/ London, 1999-2000 GB 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 BG Artexpo Foundation, Áóêóðåù/ Bucharest RO Macedonian Museum of Contemporary Art, Ñîëóí/ Thessaloniki, GR Art Box, Êàâàëà/ kavala, 1999 GR Crossing Over 3, Íîâè Ñàä/ Novi Sad, 1998 YU Âèäåî/ Video Works, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA center for contemporary art, Ñîôèÿ/ Sofia, 1997 BG ×óâñòâàòå ëè ñå ðàçëè÷åí?/ Do You Feel You Are Different?, 1996-98 èíñòàëàöèÿ ñ òåêñòîâå/ text installation, âàðèðàùè ðàçìåðè/ dimensions variable, äåòàéë/ detail Bulgariaavantgarde. kraftemessen II, kunstlerwerkstatt Lothringerstrasse, Ìþíõåí/ Munich, 1998 D Work in Between, Foundation BINZ 39, Öþðèõ/ Zurich, 1997 CH 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, Ñîôèéñêà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ/ Sofia Art Gallery, Ñîôèÿ/ Sofia, 1996 BG / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÒÀÍß ÀÁÀÄÆÈÅÂÀ/ TANYA ABADJIEVA/ ðîäåíà/ born 1969/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ 1996/ National Art Academy, Sofia, 1996/ æèâåå â Áðèñòîë/ lives in Bristol, GB Ëúæèöè è ÿéöà/ Spoons and Eggs, 2000 çàåäíî ñ ðàáîòàòà íà Àêèêî Èøèêàâà/ together with the work of Akiko Ishikawa èíñòàëàöèÿ/ installation 164 ñóïåíè ëúæèöè, 164 ÿéöà/ 164 spoons, 164 eggs BULGARIA, NY, The Elizabeth Foundation for the Arts, Íþ Éîðê/ New York, 2000 USA Airing Inside, 1997 èíñòàëàöèÿ/ installation öåëîôàí/ cellophane Back and Forth, Òðåòî ìåæäóíàðîäíî áèåíàëå/ 3rd International Biennial, Öåòèíå/ Cetinje, Ìîíòåíåãðî/ Montenegro, 1997 YU

èçêóñòâà/ International Competition on Visual Arts, Íàöèîíàëíà ãàëåðèÿ/ National Gallery, Òèðàíà/ Tirana, 2000 AL Ñóáåêòè è ñåíêè/ Subjects and Shadows, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî/ ATA center for contemporary art, Ñîôèÿ/ Sofia, 2000 BG The Real Thing, 2000 çàåäíî ñ Ìèøåë Áåê/ together with Michele Beck ïúðôîðìàíñ/ performance, èíñòàëàöèÿ/ installation Times Squire; Ìåæäóíàðîäíî ëåòèùå JFk/ JFk International Airport; Elisabeth Foundation for the Arts, Íþ Éîðê/ New York, 2000 USA

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÍÈÍÀ ÊÎÂÀ×ÅÂÀ/ NINA kOVACHEVA/ ðîäåíà/ born 1960/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1985/ National Art Academy, Sofia, 1985/ æèâåå â Ïàðèæ/ lives in Paris My Beauty and My Beast, 2001 ñåðèÿ îò äèãèòàëíè ôîòîãðàôèè/ series of digital photos, 75õ110 ñì/ cm âñÿêà/ each Ìóçåé íà åðîòèêàòà/ The Museum of Erotic, Õàìáóðã/ Hamburg, 2002 D 9-òè ìóëòèìåäèåí ôåñòèâàë/ IX Festival Multimedia, Inner Space, Ïîçíàí/ Poznan, 2001 PL Galerie Nadege DanaVizzacchero, Êàí/ Cannes, 2002 F Íàöèîíàëíè åñåííè èçëîæáè/ National Autumn Exhibition, Áàëàáàíîâàòà êúùà/ The Balabanov House, Ïëîâäèâ/ Plovdiv, 2001 BG / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÂÀËÅÍÒÈÍ ÑÒÅÔÀÍÎÂ/ VALENTIN STEFANOFF/ ðîäåí/ born 1959/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1985/ National Art Academy, Sofia, 1985/ æèâåå â Ïàðèæ/ lives in Paris Open-Closed ìóëòèìåäèéíà èíñòàëàöèÿ/ multimedia installation Ìóçåé çà ñúâðåìåííî èçêóñòâî/ The Museum of Contemporary Art, Áåëãðàä/ Belgrade, (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition), 2000 YU

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

Áÿëî è ÷åðâåíî/ White & Red, 2001 èíñòàëàöèÿ/ installation, äâå âèäåà, ìàñà, ñòîë, ïèñìî äî Äæîðäæèÿ Î’Êèèô, êàðòè÷êà îò Äæîðäæèÿ Î’Êèèô/ two videos, table, chair, letter to Georgia O’keeffe, two postcards from Georgia O’keeffe, äåòàéë/ detail Open Studios, Spike Island, Áðèñòîë/ Bristol, 2001 GB / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / 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 compromises, 2000 âèäåî èíñòàëàöèÿ ñ äâà ìîíèòîðà/ video installation with two monitors Dare to Be Different, Ôèåð/ Fier, Àëáàíèÿ/ Albania, 2001 AL Onufri, Ìåæäóíàðîäåí êîíêóðñ çà âèçóàëíè

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

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÊÈÐÈË ÏÐÀØÊÎÂ/ kIRIL PRASHkOV/ ðîäåí/ born 1956/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1983/ National Art Academy, Sofia, 1983/ æèâåå â Ñîôèÿ/ lives in Sofia Óëè÷íà êíèãà/ Street Book, 1995 ïàâåòà, òåë, òåêñò âúðõó õàðòèÿ/ cobble stones, wire, text on paper, 80õ15õ20 ñì/ cm âñÿêî/ each kulturkontakt Studio Program, Vienna, 1995 A

Ïðèðîäåí òåêñò (ïî Ëóèñ Êàðîë)/ Natural Text (after Lewis Carroll), 1999 äúðâî, ñòîìàíà/ wood, still Ñêóëïòóðåí ïàðê Äðåõòîâåðñ/ Bulgaarse kunst langs de Drechtoevers, 1999 NL

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

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÁÎÐÈÑ ÌÈÑÈÐÊÎÂ/ BORIS MISSIRkOV/ ÃÅÎÐÃÈ ÁÎÃÄÀÍÎÂ/ GEORGI BOGDANOV/ 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, 1999-2001 Åìè Ñòàìáîëîâà/ Emi Stambolova (ïîñâåùàâà ñå íà Ïèåð è Æèë/ dedicated to Pierre et Gilles), 1999 öâåòíà ôîòîãðàôèÿ/ color photograph, 90õ60 ñì/ cm Â òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania, Neue Galerie. Museum Joanneum, Ãðàö/ Graz, 2002 A

Íîâà ìèòîëîãèÿ/ New Mythology, 1999-2001 îðêåñòúð “Òðè çâåçäè”/ the Three Stars Band (ïîñâåùàâà ñå íà áúëãàðñêèÿ ïðèêàçåí ôîëêëîð/ dedicated to Bulgarian fairy-tale folklore), 2000 öâåòíà ôîòîãðàôèÿ/ color photograph, 60õ90 ñì/ cm Â òúðñåíå íà Áàëêàíèÿ/ In Search of Balkania, Neue Galerie. Museum Joanneum, Ãðàö/ Graz, 2002 A / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÀËËÀ ÃÅÎÐÃÈÅÂÀ/ ALLA GEORGIEVA/ ðîäåíà/ born 1957/ Èíñòèòóò çà èçêóñòâî è äèçàéí, Õàðêîâ, Óêðàéíà, 1981/ Art and Design Institute, kharkov, Ukraine, 1981/ æèâåå â Ñîôèÿ/ lives in Sofia/ El Criminal Tango, 2001 âèäåî/ video, 3’57‘’ ONUFRI’2001, Ìåæäóíàðîäíà èçëîæáà íà âèçóàëíèòå èçêóñòâà/ International Exhibition of Visual Arts, Íàöèîíàëíà ãàëåðèÿ/ National Gallery, Òèðàíà/ Tirana, 2001 AL

ÍÀØÅ / OUR, 2000 èíñòàëàöèÿ/ installation, âèäåî, òðè îáåêòà, 3 ïîñòåðà, èíê-äæåò îòïå÷àòúê, 20 äðåõè/ video, 3 objects, 3 posters , ink-jet print, 20 clothes (çàåäíî ñ Èðèíà Äàíèëîâà/ together with Irina Danilova) Bulgaria, NY, Ñúâìåñòåí áúëãàðî-àìåðèêàíñêè æåíñêè ïðîåêò/ Bulgarian and American Women Artists Collaborate, Elizabeth Foundation Gallery, Íþ Éîðê/ New York, 2000 USA ×åñòèòà íîâà ãîäèíà / Happy New Year, 2000 äâà ïîñòåðà, èíê-äæåò îòïå÷àòúê/ 2 posters, ink-jet print, 50x70 ñì/ cm âñåêè/ each "e-europe", Bronx River Art Center and Gallery, Íþ Éîðê/ New York, 2000 USA

ÁÎÐßÍÀ ÄÐÀÃÎÅÂÀ/ BORIANA DRAGOEVA/ ðîäåíà/ born 1972/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia Ïðàçíóâàíå íà ñëåäâàùèÿ ìèã/ Celebrating the Next Twinkling, 1999 âèäåî/ video, 2’45’’ Darklight 4, Ôåñòèâàë íà äèãèòàëíîòî êèíî/ Digital Film Festival, Dublin, 2002 IRL Ïúðâè âèäåî ôåñòèâàë â ãðàä Êàíñê/ The First kansk Video Festival, 2002 RUS kulturdrag Nach Osten, Videorun in Novosibirsk, Ekaterinburg, krasnoyarsk, kansk and Irkutsk, 2002 RUS Äèãèòàëåí óèêåíä/ Digital weekend, Ñîôèÿ/ Sofia, 2002 RUS Ecology of Art in Industrial Settings, Nizhny Tagil State Museum of Fine Arts, Íèæíè Òàæèë/ Nizni Tagil, 2001 RUS INTERSTANDING 4: end repeat , Rotermann Salt Storage, Òàëèí/ Tallinn, 2001 EST get that balance, kampagnel, k3, Õàìáóðã/ Hamburg, 2001 D Îñìî ìåæäóíàðîäíî áèåíàëå/ The 8-th International Biennial, Êàéðî/ kairo, 2001 ET Video as a Female Terrain, Barbara Gross Gallery, Ìþíõåí/ Munich, 2001 D VA (MEDIA.DOC) VA, Àìåðèêàíñêè êóëòóðåí öåíòúð/ American Cultural Center, Ñîôèÿ/ Sofia, 2000 BG <hers>. Video as a Female Terrain, Ãðàö/ Graz, 2000 A Dreamcatcher, International Video Art and Short Film Festival, Êèåâ/ kiev, 2000 UKR Video Positive 2000, Unity Theatre, Ëèâúðïóë/ Liverpool, 2000 GB Crossing Over 4, Ëþáëÿíà/ Ljubliana, 1999 SLO Back & Forth, 1999 âèäåî/ video, 7’ Looming Up. Ñúâðåìåííî ôîòî è âèäåî èçêóñòâî îò Áúëãàðèÿ/ Actuelle Foto und Videokunst aus Bulgarien, Aspekte Galerie, Ìþíõåí/ Munich, 2001 D Âèåíà/ Wien, 2001 A Ecology of Art in Industrial Settings. International workshop-seminar, National Center for Contemporary Art - Moscow & Nizhny Tagil State Museum of Fine Arts, Íèæíè Òàæèë/ Nizni Tagil, 2001 RUS Video as a Female Terrain, Barbara Gross Gallery, Ìþíõåí/ Munich, 2001 D <hers>. Video as a Female Terrain, Ãðàö/ Graz, 2000 A VideoMedeja, The Forth International Video Summit, Íîâè Ñàä/ Novi Sad, 1999 YU Ôðîíò çà êîìóíèêàöèè/ Communication Front, Ôîðóì çà åëåêòðîííè èçêóñòâà/ Forum for Electronic Arts, Áàíÿ Ñòàðèííà/ Ancient Bath, Ïëîâäèâ/ Plovdiv, 1999 BG / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÂÅÍÖÈÑËÀÂ ÇÀÍÊÎÂ/ VENTSISLAV ZANkOV ðîäåí/ born 1962/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1988/ National Art Academy, Sofia, 1988/ æèâåå â Ñîôèÿ/ lives in Sofia Ostensive. Ñúâðåìåííî èçêóñòâî îò èçòî÷íà Åâðîïà/ Contemporary art from Eastern Europe, Ëàéïöèã/ Leipzig, 2001-2002 D Ok Berlin. Êàáåëíà òåëåâèçèÿ/ kabelen TV kanal, Áåðëèí/ Berlin, 2001 D

Body &The East, ãàëåðèÿ Exit Art/ Exit Art Gallery, Íþ Éîðê/ New York, 2001 USA Net.Congestion, International Festival of Streaming Media, Àìñòåðäàì/ Amsterdam, http://net.congestion.org, 2000 NL Body &The East. From the 1960s to the Present, Ìóçåé çà ìîäåðíî èçêóñòâî/ Museum of Modern Art, Ëþáëÿíà/ Ljubliana, 1998 SLO / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÊÐÀÑÈÌÈÐ ÒÅÐÇÈÅÂ/ kRASSIMIR TERZIEV/ ðîäåí/ born 1969/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia Ãàëåðèÿ èçîëèðàíè ïåðñîíàæè/ Isolated Personages Gallery, 1998 Âèäåî ïðîæåêöèÿ âúðõó 10 áåëè ðèçè/ Video projection onto 10 white shirts De Fabrik Art Center, Eindoven, Holland/ Àéíäõîâåí NL Ïàíàèð íà êíèãàòà/ Leipzig Book Fair, Ëàéïöèã/ Leipzig, 1999 D Version 01,

Áúëãàðî-ôðåíñêè ïðîåêò/ French-Bulgarian Project, ÍÕÃ/ National Art Gallery, Ñîôèÿ/ Sofia, 1998 BG Everything Seems to Be Alright, 1999 âèäåî èíñòàëàöèÿ/ video installatiom The kitchen, Íþ Éîðê/ New York, 1999 (ñàìîñòîÿòåëíà èçëîæáà/ solo exhibition) USA Ïðîåêò Êðàé/ Project End, Ìåäèåí ôîðóì/ Media Art Forum, Ñîôèÿ/ Sofia, 1999 BG Hold your Breath, Artequil Gallery, Ìîíðåàë/ Montreal, 1999 CDN

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÕÓÁÅÍ ×ÅÐÊÅËÎÂ/ HOUBEN CHERkELOV/ ðîäåí/ born 1970/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1998 / National Art Academy, Sofia, 1998/ æèâåå â Íþ Éîðê/ lives in New York Ïîðòðåò íà Ðîäíè Êèíã/ Portrait of Rodney king ìàñëåíè áîè íà ïëàòíî/ oil on canvas, 54õ65 ñì/ cm Ñúâðåìåííà áúëãàðñêà æèâîïèñ Contemporary Bulgarian Painting, Ñåóë/ Seoul, 2001 ROK

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÏÅÒÊÎ ÄÓÐÌÀÍÀ/ PETkO DURMANA/ ðîäåí/ born 1970/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997/ National Art Academy, Sofia, 1997/ æèâåå â Ñîôèÿ/ lives in Sofia Ïîòàïÿíå/ Dip, 2002 âèäåî ïðîæåêöèÿ/ video projection Urban Cycles_Uk, Ìàí÷åñòúð/ Manchester, 2002 GB

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ËÞÁÅÍ ÊÎÑÒÎÂ/ LYUBEN kOSTOV/ ðîäåí/ born 1952/ Óíèâåðñèòåò Ñâ. Ñâ. Êèðèë è Ìåòîäèé, Âåëèêî Òúðíîâî, 1979/ University of Veliko Tarnovo, 1979/ æèâåå â Ñîôèÿ/ lives in Sofia Êàïàí íà âðåìåòî/ The Trap of Time, 1993 äâèæåùà ñå äúðâåíà ìàøèíà/ mobile wooden machine, 160x150x150 ñì/ cm 22ðî áèåíàëå â Ñàî Ïàîëî/ The 22nd Biennial, Ñàî Ïàîëî/ Sao Paulo, 1994 BR Ôðåíñêè êóëòóðåí èíñòèòóò/ French Institute, Ñîôèÿ/ Sofia, 1994 BG ãàëåðèÿ Ëåñåäðà/ Lessedra Gallery, Sofia/ Ñîôèÿ, 1993 BG

Faceloading, 1998 íåò-àðò ïðîåêò/ net-art project Crossing Over - FACT, Ëèâúðïóë/ Liverpool, 1999 GB

Âúçäóøåí êîðàá/ Spaceship, 1997 äâèæåùà ñå äúðâåíà ìàøèíà/ mobile wooden machine, 650x800x500 ñì/ cm Âòîðî ìåæäóíàðîäíî áèåíàëå/ 2th International Biennial, Öåòèíå/ Cetinje, ×åðíà ãîðà/ Montenegro, 1997 YU / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ÃÅÎÐÃÈ ÒÓØÅÂ/ GEORGI TOUSHEV/ ðîäåí/ born 1969/ Íàöèîíàëíà õóäîæåñòâåíà àêàäåìèÿ, Ñîôèÿ, 1997 / National Art Academy, Sofia, 1997/ æèâåå â Íþ Éîðê/ lives in New York Ëàðà å ìîÿòà ìóçà/ Lara is My Muse, 2000, ìàñëåíè áîè íà ïëàòíî/ oil on canvas, 120õ100 ñì/ cm Ñúâðåìåííà áúëãàðñêà æèâîïèñ/ Contemporary Bulgarian Painting, Ñåóë/ Seoul, 2001 ROK

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

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

Âúòðåøíî/ Inwardly, 1996 èíñòàëàöèÿ/ 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 LV ãàëåðèÿ XXL/ XXL Gallery, Ñîôèÿ/ Sofia, 1996 BG

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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, Heike Munder, Henk Visch, Iara Boubnova, Iliana Nedkova, Ilina koralova, Irina Danilova, Iskra Fidancheva, Jan De Lange, kamen Balkanski, katalin Neray, katalin Timar, kathrin Rhomberg, 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, Regina kidhekel, 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-천