Важно съобщение / Important Announcement, 2006

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I M P O R T A N T

A N N O U N C E M E N T

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I M P O R T A N T

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Èçëîæáà â Ñîôèéñêàòà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ ñåïòåìâðè-îêòîìâðè 2006

Exhibition at the Sofia Art Gallery September-October 2006

Êóðàòîðè: Ìàðèÿ Âàñèëåâà, Äàíèåëà Ðàäåâà

Curators: Maria Vassileva, Daniela Radeva

Àâòîðèòå íà ïðîåêòà áëàãîäàðÿò íà âñè÷êè õóäîæíèöè çà ïðåäîñòàâåíèòå ñíèìêè è òåêñòîâå

The authors of the project express their gratitude to all artists for their contribution that made this publication possible

Ïðîåêòúò å ïîäêðåïåí îò “Ôîíä çà äåáþòíè ïðîåêòè â îáëàñòòà íà ñúâðåìåííèòå èçêóñòâà è êóëòóðà”

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The project is realized with the support of the “Fund for debut projects in the field of contemporary art and culture”

I M P O R T A N T

A N N O U N C E M E N T

Ìàðèÿ Âàñèëåâà 6 Maria Vassileva Äàíèåëà Ðàäåâà 13 Daniela Radeva Àäåëèíà Ïîïíåäåëåâà Àëëà Ãåîðãèåâà Áîðÿíà Äðàãîåâà Âàëåíòèí Ñòåôàíîâ Âåíöèñëàâ Çàíêîâ Âåðîíèêà Öåêîâà Ãåîðãè Ðóæåâ Ãåîðãè Òóøåâ Äèìèòðèíà Äîé÷èíîâà Äèìèòúð Òðàé÷åâ Åëåíà Ïàíàéîòîâà Èâàí Êþðàíîâ Èëèàí Ëàëåâ Éîàí Êèðèëîâ Êàëèí Ïëóã÷èåâ Êàëèí Ñåðàïèîíîâ Êèðèë Ïðàøêîâ Êðàñèìèð Äîáðåâ

17 26 34 38 44 48 52 54 58 60 64 68 69 72 75 76 78 92

Adelina Popnedeleva Alla Georgieva Boryana Dragoeva Valentin Stefanoff Ventsislav Zankov Veronica Tzekova Georgi Rouzhev Georgi Toushev Dimitrina Doichinova Dimitar Traychev Elena Panayotova Ivan Kiuranov Ilian Lalev Ioan Kirilov Kalin Plugchiev Kalin Serapionov Kiril Prashkov Krassimir Dobrev

Êðàñèìèð Òåðçèåâ Êîñòà Òîíåâ Êîñüî Ìèí÷åâ Ëú÷åçàð Áîÿäæèåâ Ìàðèÿ Çàôèðêîâà Íàäåæäà Îëåã Ëÿõîâà Íåäêî Ñîëàêîâ Íèêîëàé ×àêúðîâ Íèíà Êîâà÷åâà Ïðàâäîëþá Èâàíîâ Rassim Ñàìóèë Ñòîÿíîâ Ñàøî Ñòîèöîâ Ñèëâèÿ Ëàçàðîâà Ñòåôàí Íèêîëàåâ Õóáåí ×åðêåëîâ Þðè Ñòàéêîâ

95 100 101 102 120 122 124 156 157 161 172 175 176 180 182 188 192

Krassimir Terziev Kosta Tonev Kosio Minchev Luchezar Boyadjiev Maria Zafirkova Nadezhda Oleg Lyahova Nedko Solakov Nikolay Chakarov Nina Kovacheva Pravdoliub Ivanov Rassim Samuil Stoyanov Sasho Stoitzov Sylvia Lazarova Stefan Nikolaev Houben Cherkelov Jury Staikov

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Ìàðèÿ Âàñèëåâà / Maria Vassileva

Òîçè êàòàëîã ñå îïèòâà äà ïîêàæå

The aim of this catalogue is to present the use

èçïîëçâàíåòî íà òåêñòà â áúëãàðñêîòî èçêóñòâî îò êðàÿ íà 80-òå ãîäèíè íà 20òè âåê äî äíåñ.  íà÷àëîòî íà ðàáîòàòà èìàõìå ñàìî ñìúòíà ïðåäñòàâà çà îáåìà ìó. Ïîñòåïåííî áðîÿò íà àâòîðèòå ñå óâåëè÷àâàøå, âðåìåâèòå ãðàíèöè ñå ðàçòÿãàõà, à èçðàçíèòå ñðåäñòâà ïîêðèõà öåëèÿ ñïåêòúð. Îêàçà ñå, ÷å ôîðìóëàòà îáðàç+òåêñò å ñðåä âúçìîæíèòå ïîäõîäè çà èíòåðïðåòàöèÿ íà èçêóñòâîòî ïðåç ïåðèîäà. Òúé êàòî íå ìîæåõìå äà ñè ïîçâîëèì ïúëíà èç÷åðïàòåëíîñò íà ôàêòîëîãèÿòà, ñìå ñå îïèòàëè äà ÿ êîìïåíñèðàìå ñ èçòúêâàíå íà ìíîãîîáðàçèåòî.

of text in Bulgarian art from the late eighties of the 20th century up till now. In the beginning we had but a vague idea of the real scope of the work. Gradually the number of artists got bigger and the time confines moved further apart. As it turned out, the formula image + text was one of the potential ways to interpret art during that period. Since we weren’t able to give a thorough account of all the facts, we tried to compensate through focusing on the variety.

 ñâåòîâíîòî èçêóñòâî òåêñòúò íàâëèçà â êðàÿ íà 60-òå ãîäèíè íà 20-òè âåê êàòî

Worldwide the text found its place in art in the late sixties of the 20th century as part of the continuous efforts to dematerialize the artistic object. In Bulgaria it invaded the territory of the visual in the late eighties and the early nineties of the 20th century along with the

÷àñò îò ïîñëåäîâàòåëíèòå óñèëèÿ çà äåìàòåðèàëèçàöèÿ íà õóäîæåñòâåíèÿ îáåêò.  Áúëãàðèÿ òîé íàõëóâà â ïîëåòî íà âèçóàëíîòî â êðàÿ íà 80-òå è íà÷àëîòî íà 90-òå ãîäèíè íà 20-òè âåê åäíîâðåìåííî ñ âúçìîæíîñòòà çà ñâîáîäíî ãîâîðåíå. Çàðàæäàíåòî íà òîçè ïðîöåñ å ïî-ñêîðî ñâúðçàí ñ èäåÿòà çà êîìóíèêàöèÿ ñ ïóáëèêàòà, ñ æåëàíèåòî çà ïî-äèðåêòíî ñïîäåëÿíå íà íåñïîäåëåíîòî îò ïðåäèøíèòå äåñåòèëåòèÿ.  ðàáîòà îò ñåðèÿòà ñè “Â ÷åñò íà...” (1995 ã.) Ëú÷åçàð Áîÿäæèåâ îòäàâà äúëæèìîòî íà ðàäåòåëÿ çà ÷èñòî êîíöåïòóàëíî èçêóñòâî Äæîóçåô Êîñóò, íî íå ñàìî ïðåâêëþ÷âàíåòî îò îáåêòà êúì êîíöåïòà îïðåäåëÿ èíòåðåñèòå íà áúëãàðñêèòå õóäîæíèöè ïðåç òîçè ïåðèîä. Ïîñëàíèÿòà èì ãîâîðÿò çà îñúçíàòà ëèïñà

opportunity of free speech. The origin of this process is mostly connected to the idea of communication with the public and the desire for a more direct sharing of the unspoken from the previous decades. In a work from the Homage to… series (1995) Luchezar Boyadjiev pays tribute to the champion of the purely conceptual art Joseph Kosuth but it is not merely the shift from the object to the concept that characterizes the interests of the Bulgarian artists of that period. Their messages convey a realized lack of understanding and an attempt to attract attention through an instrument that has proved its efficiency in time – the spoken word.

A certain culmination in that respect are works like Nedko Solakov’s Encyclopedia Utopia and Top Secret (from 1990) where the personal and Ìàðèÿ Âàñèëåâà / Maria Vassileva

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Ìàðèÿ Âàñèëåâà / Maria Vassileva

íà ÷óâàåìîñò è îïèò äà ñå ïðèâëå÷å âíèìàíèåòî ñ ïîìîùòà íà äîêàçàë âúçìîæíîñòèòå ñè âúâ âðåìåòî èíñòðóìåíò – ñëîâîòî. Êóëìèíàöèÿ â òàçè ïîñîêà ñà ðàáîòè êàòî “Åíöèêëîïåäèÿ Óòîïèÿ” è “Top Secret” íà Íåäêî Ñîëàêîâ îò 1990 ã., â êîèòî ðàçêàçâàíåòî íà ïåðñîíàëíè è îáùîçíà÷èìè èñòîðèè ñå “èçëèâà” â òåêñòîâå, ðèñóíêè è ñíèìêè, ñúáðàíè â óíèâåðñàëíàòà íåñúâúðøåíîñò íà ëåêñèêîííàòà ôîðìà. Âíåçàïíî îòêëþ÷åíàòà èçïîâåäíîñò å ïðàâî ïðîïîðöèîíàëíà íà äúëãî íàëàãàíîòî ìúë÷àíèå. Ëè÷íèòå áåëåæêè ñå ðåäóâàò ñ èçïîëçâàíåòî íà ãîòîâè òåêñòîâå – ñâîáîäàòà íà ñëîâîòî áåçóñëîâíî å ñâúðçàíà ñúñ ñâîáîäàòà íà ïå÷àòà.

universal stories are delivered in texts, drawings and photos put together in the universally imperfect form of the lexicon.

The suddenly vented urge to confess is proportional to the long imposed silence.

Personal notes alternate with ready-made texts – the freedom of speech is unconditionally bound to the freedom of press. Adelina Popnedeleva weaves tapestries out of the blue printed title of the first democratic newspaper “Demokratsia” (Temple, 1990). Luchezar Boyadjiev creates his work Alice’s Hole (1991) using volumes on Marxist-Leninist aesthetics.

Georgi Rouzhev draws his self-portrait on the Manifesto of the German anarchists on the issues of Eastern Europe (1990).

From then on the text is consistently used in painting, the video, photography, the object,

Àäåëèíà Ïîïíåäåëåâà òú÷å ãîáëåíè îò îòïå÷àòàíîòî ñúñ ñèíüî ìàñòèëî çàãëàâèå íà ïúðâèÿ äåìîêðàòè÷åí âåñòíèê “Äåìîêðàöèÿ” (“Õðàì”, 1990 ã.). Ëú÷åçàð Áîÿäæèåâ ñúçäàâà ðàáîòàòà ñè “Äóïêàòà íà Àëèñà” (1991 ã.), èçïîëçâàéêè òîìîâå ïî ìàðêñèñòêî-ëåíèíñêàòà åñòåòèêà. Ãåîðãè Ðóæåâ ïîñòàâÿ ñâîÿ àâòîïîðòðåò âúðõó Ìàíèôåñòà íà íåìñêèòå àíàðõèñòè ïî âúïðîñèòå çà Èçòî÷íà Åâðîïà (1990 ã.). Îòòóê íàòàòúê òåêñòúò åñòåñòâåíî ñå èçïîëçâà â æèâîïèñòà, âèäåîòî, ôîòîãðàôèÿòà, îáåêòà, èíñòàëàöèÿòà. Ïîíÿêîãà å âïëåòåí â ñòðóêòóðàòà íà òâîðáàòà, äðóã ïúò ñàìèÿò òîé å îáðàç. Íå å èçêëþ÷åíî äîðè äà çàãóáè çíà÷åíèåòî ñè, ïðåâúðíàò âúâ âèçóàëåí ñïåêòàêúë. Õàðàêòåðíî çà ïåðèîäà å, ÷å äóìèòå

the installation. Sometimes it is interwoven in the structure of the work, sometimes it is an image itself. It is not uncommon for it even to lose its meaning as transformed into a visual spectacle. Typically for the period, the words abandon the form of the sheet and start their journey on the walls of the gallery or conquer still other spaces turning almost into an element of architecture. Language itself is at the same time a physical object. The viewer is forced to read while moving. The words do not only change in size but become threedimensional. Kiril Prashkov, for example, weaves long texts out of wire turning the graphic beauty of the letters into an intricate visual lace which “breaks through” the walls.

Nedko Solakov sets up exhibitions based entirely on hand-written texts which provoke the viewers’ watchfulness and make the Ìàðèÿ Âàñèëåâà / Maria Vassileva

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Ìàðèÿ Âàñèëåâà / Maria Vassileva

íàïóñêàò ôîðìàòà íà ëèñòà è òðúãâàò ïî ñòåíèòå íà ãàëåðèÿòà èëè çàâëàäÿâàò äðóãè ïðîñòðàíñòâà, êàòî ïî÷òè ñå ïðåâðúùàò â àðõèòåêòóðåí åëåìåíò. Ñàìèÿò åçèê åäíîâðåìåííî å è ôèçè÷åñêè îáåêò. Çðèòåëÿò å ïðèíóäåí äà ÷åòå â äâèæåíèå. Äóìèòå íå ñàìî ïðîìåíÿò ðàçìåðèòå ñè, íî è ñòàâàò òðèèçìåðíè. Êèðèë Ïðàøêîâ íàïðèìåð ïëåòå äúëãè òåêñòîâå îò òåë, èçâåæäàéêè ãðàôè÷íàòà êðàñîòà íà áóêâèòå â ñëîæíè âèçóàëíè àæóðè, êîèòî “ïðîáèâàò” ñòåíèòå. Íåäêî Ñîëàêîâ ïðàâè öåëè èçëîæáè îò ðú÷íî íàïèñàíè òåêñòîâå, êîèòî ïðîâîêèðàò çðèòåëñêàòà íàáëþäàòåëíîñò, êàðàò ïîñåòèòåëÿ äà èçâúðøâà íåîáè÷àéíè äâèæåíèÿ â ïðîöåñà íà íàìèðàíå íà ïîñëàíèÿòà è òàêà ãî ïðåâðúùàò â îáåêò. Ïðàâäîëþá Èâàíîâ

visitors perform peculiar movements in the process of finding the message thus transforming them into objects themselves. In some of his projects Pravdoliub Ivanov also counts on the unity of text and space using rooted stereotypes and their visual equivalent – the printed word.

A number of contemporary artists virtually “play” with popular slogans to be found mainly in advertisements. The aggressive verbal clichés surrounding us provoke them into counteracting using the same methods. Such approach can be seen in the works of Alla Georgieva, Silvia Lazarova, Adelina Popnedeleva, Veronika Tsekova, Georgi Toushev, Rassim.

As with their predecessors of the sixties, the contemporary Bulgarian artists want to

ñúùî çàëàãà â íÿêîè ñâîè ïðîåêòè íà åäèíñòâîòî ìåæäó òåêñò è ïðîñòðàíñòâî, êàòî èçïîëçâà íàñàäåíè ñòåðåîòèïè è òåõíèÿ âèçóàëåí åêâèâàëåíò – ïå÷àòíîòî ñëîâî. Ðåäèöà ñúâðåìåííè õóäîæíèöè “èãðàÿò” èìåííî ñ ãîòîâèòå ëîçóíãè, ðàçïðîñòðàíåíè íàé-âå÷å â ðåêëàìàòà. Àãðåñèâíèòå ñëîâåñíè êëèøåòà, êîèòî íè çàîáèêàëÿò, ãè ïðîâîêèðàò äà èì îòâðúùàò ñúñ ñúùèòå ìåòîäè. Ïîäîáåí ïîäõîä ìîæå äà ñå âèäè â íÿêîè îò ðàáîòèòå íà Àëëà Ãåîðãèåâà, Ñèëâèÿ Ëàçàðîâà, Àäåëèíà Ïîïíåäåëåâà, Âåðîíèêà Öåêîâà, Ãåîðãè Òóøåâ, Ðàñèì.

emphasize the process of thinking which is indispensable for the relationship between the creator, the work and the viewer. This is where the similarities end. The dematerialization of art is no longer on the agenda. The text cannot exist without the matter. It is used as a counterpart of the other visual elements but often reveals the ability of the artist to digress from the stereotypes in the direction of the verbal expression. The contemporary art neither uses the word as a crutch nor relies on the language entirely. The text is part of the texture of images and meanings which for lack of a more precise term we tend to call contemporary art.

Êàêòî è òåõíèòå ïðåäøåñòâåíèöè îò 60-òå ãîäèíè, òàêà è ñúâðåìåííèòå Ìàðèÿ Âàñèëåâà / Maria Vassileva

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Ìàðèÿ Âàñèëåâà / Maria Vassileva

áúëãàðñêè õóäîæíèöè èñêàò äà ïîä÷åðòàÿò ìèñëîâíèÿ ïðîöåñ, çàäúëæèòåëåí çà âðúçêàòà ìåæäó ñúçäàòåë, ïðîèçâåäåíèå è çðèòåë. Íî ïðèëèêèòå ñâúðøâàò äî òóê. Äåìàòåðèàëèçàöèÿòà íà èçêóñòâîòî äíåñ íå å íà äíåâåí ðåä. Òåêñòúò íå ìîæå äà ñúùåñòâóâà áåç ìàòåðèÿ. Òîé ñå èçïîëçâà êàòî åäíîçíà÷åí íà äðóãèòå âèçóàëíè åëåìåíòè, íî ÷åñòî ïîêàçâà è ñïîñîáíîñòòà íà õóäîæíèêà äà ðàç÷óïâà ñòåðåîòèïè ïî ïîñîêà íà ñëîâåñíàòà èçðàçíîñò. Äíåøíîòî èçêóñòâî íå óïîòðåáÿâà ñëîâîòî êàòî ïàòåðèöà, íî íå å è áàçèðàíî âúðõó åçèêà. Òåêñòúò å ÷àñò îò ïëåòåíèöàòà îò îáðàçè è ñìèñëè, êîÿòî ïîðàäè ëèïñà íà ïî-òî÷åí òåðìèí íàðè÷àìå ñúâðåìåííî èçêóñòâî.

Êàêúâ å ñìèñúëúò äà ñå ñúñòàâÿ ïîäîáåí

What is the point in compiling such a catalogue

êàòàëîã, êîãàòî òåêñòúò, ïúðâîíà÷àëíî ÷óæäåíåö íà òåðèòîðèÿòà íà âèçóàëíîòî, îòäàâíà èìà óòâúðäåíè ïîçèöèè? Ëåêî çàñåí÷åí îò îáðàçèòå, òåêñòúò ìîæå äà ñå ïðî÷åòå, íî ìîæå è äà ñå ïðîïóñíå. Ìîæå äà èçãëåæäà, ÷å äóìèòå ñà ñàìî ìàòåðèàë, à ïèñàíåòî – òåõíèêà. Çàòîâà öåëòà íà òîçè êàòàëîã å äà “èçíåñå” òåêñòà, çà äà ìîæåì äà ñå âãëåäàìå â íåãî ïî-îòáëèçî, äà îòäåëèì ìàëêî ïîâå÷å âðåìå è âíèìàíèå çà “÷åòåíå” íà èçêóñòâîòî, äîðè ñ ðèñê äà ïðåíåáðåãíåì ìàëêî íåãîâàòà îáðàçíà ñòðàíà.

if the text, once alien to the territory of the visual, has long established its reputation? A bit obscured by the images, the text might be read but it could also be overlooked. Words may seem just a material and writing a mere technique.

Therefore the aim of this catalogue is to put the text forward so that we can have a closer look at it and spend a little more time on “reading” art even at the risk of slightly neglecting its visual aspect.

Êîãàòî õóäîæíèöèòå êîíöåïòóàëèñòè îò 70-òå ãîäèíè íà 20-òè âåê çà ïúðâè ïúò ñúçäàâàò âèçóàëíè ïðîèçâåäåíèÿ ñ òåêñò, òå ïîêàçâàò êàê áóêâèòå è ÷èñëàòà ñàìè ïî

As the conceptual artists from the 70ies of the 20th century added text to their visual works, they showed how letters and numbers could themselves be the means of expression.

Nowadays the text is considered intrinsic for visual art regardless of whether within the space between “the thoughts and the speech” of the Äàíèåëà Ðàäåâà / Daniela Radeva

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Äàíèåëà Ðàäåâà / Daniela Radeva

ñåáå ñè ìîãàò äà èçîáðàçÿâàò. Äíåñ âå÷å òåêñòúò ñå ïðèåìà êàòî åñòåñòâåíî ïðèñúù çà âèçóàëíîòî èçêóñòâî, íåçàâèñèìî äàëè â ïðîñòðàíñòâîòî “ìåæäó ìèñëèòå è ðå÷òà” íà õóäîæíèöèòå èìà îáðàçíè èëè ñëîâåñíè ôîðìè. Ñúïîñòàâåí ñ èçîáðàæåíèåòî, åäíî îò íàéãîëåìèòå ïðåäèìñòâà íà òåêñòà å ñïîñîáíîñòòà ìó äà èçðàçÿâà êîíêðåòíà ìèñúë, êîÿòî ìîæå äà ñå ðàç÷åòå áåç èçìåíåíèÿ, òàêà ÷å äà ðàçïðîñòðàíè íÿêîå ìíîãî “âàæíî ñúîáùåíèå” (ïî åäíîèìåííàòà ðàáîòà íà Íåäêî Ñîëàêîâ, ïîäñêàçàëà è íàçâàíèåòî íà èçëîæáàòà). Òîâà îáà÷å å ïîäâåæäàùî. Åäíî èçðå÷åíèå èëè äîðè ñàìî åäíà äóìà ìîãàò äà èìàò íå ïî-ìàëêî ìíîãîîáðàçíè çíà÷åíèÿ îò êîåòî è äà å èçîáðàæåíèå. Àêî ïî òåëåâèçèÿòà îáÿâÿò, ÷å íÿêúäå ñå îòêðèâà ìóçåé íà

authors there are visual or verbal forms.

As compared to the picture, one of the greatest assets of the text is its ability to express a particular thought which can be unequivocally deciphered so as to disseminate a “very important announcement” (after Nedko Solakov’s work of the same name which has also suggested the title of the exhibition). This, however, is misleading. A sentence or even a single word can have no lesser variety of meanings as compared to any image. If there was an announcement on TV for the opening of a museum of contemporary art, this would be a message. If the announcement was fictional, though, it would no longer be a message but an imitation of a fictional reality loaded with much more information than a common announcement. A person cannot simply see or read meaning and content. An artist never just “offers” them indisputably whether using an

ñúâðåìåííîòî èçêóñòâî, òîâà å ñúîáùåíèå. Àêî ñúîáùåíèåòî îáà÷å å õóäîæåñòâåíà èçìèñëèöà, òîãàâà íå å ñúîáùåíèå, à íàïîäîáÿâàíå íà íÿêàêâà ôèêòèâíà äåéñòâèòåëíîñò, ñúäúðæàùà ìíîãî ïîâå÷å èíôîðìàöèÿ îò îáèêíîâåíî ñúîáùåíèå. ×îâåê íå ìîæå ïðîñòî äà âèäè èëè ïðî÷åòå ñìèñúëà è ñúäúðæàíèåòî. Õóäîæíèêúò íèêîãà íå ãè “äàðÿâà” ïðîñòî òàêà, íåçàâèñèìî äàëè èçïîëçâà îáðàç èëè òåêñò. Óäîâîëñòâèåòî îò èçêóñòâîòî èäâà îò òúðñåíåòî è íàìèðàíåòî íà êëþ÷à èëè êîäà, ñ êîèòî çðèòåëÿò ìîæå äà ïðîíèêíå âúòðå.

image or a text. The pleasure of art comes along with the searching for and the finding of the key or password letting the viewer get inside.

Äàíèåëà Ðàäåâà / Daniela Radeva

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Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

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Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

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Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

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Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

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Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

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Àëëà Ãåîðãèåâà / Alla Georgieva

Àëëà Ãåîðãèåâà / Alla Georgieva

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Àëëà Ãåîðãèåâà / Alla Georgieva

Àëëà Ãåîðãèåâà / Alla Georgieva

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Àëëà Ãåîðãèåâà / Alla Georgieva

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Àëëà Ãåîðãèåâà / Alla Georgieva

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Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)

Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)

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Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)

Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)

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Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

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Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

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Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

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Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

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Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

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Âåðîíèêà Öåêîâà / Veronica Tzekova

Âåðîíèêà Öåêîâà / Veronica Tzekova

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Âåðîíèêà Öåêîâà / Veronica Tzekova

Âåðîíèêà Öåêîâà / Veronica Tzekova

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Ãåîðãè Ðóæåâ / Georgi Rouzhev

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Ãåîðãè Òóøåâ / Georgi Toushev

Ãåîðãè Òóøåâ / Georgi Toushev

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Ãåîðãè Òóøåâ / Georgi Toushev

Ãåîðãè Òóøåâ / Georgi Toushev

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Äèìèòðèíà Äîé÷èíîâà / Dimitrina Doichinova

Äèìèòðèíà Äîé÷èíîâà / Dimitrina Doichinova

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Äèìèòúð Òðàé÷åâ / Dimitar Traychev

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Äèìèòúð Òðàé÷åâ / Dimitar Traychev

Äèìèòúð Òðàé÷åâ / Dimitar Traychev

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Åëåíà Ïàíàéîòîâà / Elena Panayotova

Åëåíà Ïàíàéîòîâà / Elena Panayotova

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Åëåíà Ïàíàéîòîâà / Elena Panayotova

Åëåíà Ïàíàéîòîâà / Elena Panayotova

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Èâàí Êþðàíîâ / Ivan Kiuranov

Èëèàí Ëàëåâ / Ilian Lalev

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Èëèàí Ëàëåâ / Ilian Lalev

Èëèàí Ëàëåâ / Ilian Lalev

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Éîàí Êèðèëîâ / Ioan Kirilov

Éîàí Êèðèëîâ / Ioan Kirilov

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Éîàí Êèðèëîâ / Ioan Kirilov

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Êàëèí Ïëóã÷èåâ / Kalin Plugchiev

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Êàëèí Ñåðàïèîíîâ / Kalin Serapionov

Êàëèí Ñåðàïèîíîâ / Kalin Serapionov

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Êèðèë Ïðàøêîâ / Kiril Prashkov

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Êèðèë Ïðàøêîâ / Kiril Prashkov

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Êèðèë Ïðàøêîâ / Kiril Prashkov

Êèðèë Ïðàøêîâ / Kiril Prashkov

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Êèðèë Ïðàøêîâ / Kiril Prashkov

Êèðèë Ïðàøêîâ / Kiril Prashkov

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Êèðèë Ïðàøêîâ / Kiril Prashkov

Êèðèë Ïðàøêîâ / Kiril Prashkov

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Êèðèë Ïðàøêîâ / Kiril Prashkov

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Êðàñèìèð Äîáðåâ / Krassimir Dobrev

Êðàñèìèð Äîáðåâ / Krassimir Dobrev

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Êðàñèìèð Äîáðåâ / Krassimir Dobrev

Êðàñèìèð Òåðçèåâ / Krassimir Terziev

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Êðàñèìèð Òåðçèåâ / Krassimir Terziev

Êðàñèìèð Òåðçèåâ / Krassimir Terziev

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Êðàñèìèð Òåðçèåâ / Krassimir Terziev

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Êîñòà Òîíåâ / Kosta Tonev

Êîñüî Ìèí÷åâ / Kosio Minchev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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108

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

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Ìàðèÿ Çàôèðêîâà / Maria Zafirkova

Ìàðèÿ Çàôèðêîâà / Maria Zafirkova

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Íàäåæäà Îëåã Ëÿõîâà / Nadezhda Oleg Lyahova

Íàäåæäà Îëåã Ëÿõîâà / Nadezhda Oleg Lyahova

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Íåäêî Ñîëàêîâ / Nedko Solakov

Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

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Íåäêî Ñîëàêîâ / Nedko Solakov

Íåäêî Ñîëàêîâ / Nedko Solakov

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Íèêîëàé ×àêúðîâ / Nikolay Chakarov

Íèíà Êîâà÷åâà / Nina Kovacheva

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Íèíà Êîâà÷åâà / Nina Kovacheva

Íèíà Êîâà÷åâà / Nina Kovacheva

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Íèíà Êîâà÷åâà, Âàëåíòèí Ñòåôàíîâ / Nina Kovacheva, Valentin Stefanoff

Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

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Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

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Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

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Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

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Ðàñèì / Rassim

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B

Ðàñèì / Rassim

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174

Ðàñèì / Rassim

Ñàìóèë Ñòîÿíîâ / Samuil Stoyanov

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Ñàøî Ñòîèöîâ / Sasho Stoitzov

Ñàøî Ñòîèöîâ / Sasho Stoitzov

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Ñàøî Ñòîèöîâ / Sasho Stoitzov

Ñàøî Ñòîèöîâ / Sasho Stoitzov

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Ñèëâèÿ Ëàçàðîâà / Sylvia Lazarova

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B

Ñèëâèÿ Ëàçàðîâà / Sylvia Lazarova

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Ñòåôàí Íèêîëàåâ / Stefan Nikolaev

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Ñòåôàí Íèêîëàåâ / Stefan Nikolaev

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Õóáåí ×åðêåëîâ / Houben Cherkelov

Õóáåí ×åðêåëîâ / Houben Cherkelov

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190

Õóáåí ×åðêåëîâ / Houben Cherkelov

Õóáåí ×åðêåëîâ / Houben Cherkelov

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Þðè Ñòàéêîâ / Jury Staikov

Àäåëèíà Ïîïíåäåëåâà, ð. 1956

Adelina Popnedeleva, b. 1956

Õðàì, 1990 ïàìóê, âúëíà, âåñòíèöè, 87 õ 100 Óìåðåí àâàíãàðä â ðàìêèòå íà òðàäèöèÿòà, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1990

Temple, 1990 cotton, wool, newspapers, 87 õ 100 Moderate Avant-Garde within the Framework of Tradition, Shipka 6 Gallery, Sofia, 1990

Åçèê, 1996 âåñòíèöè, òåë, 150 õ 80 Õàðòèÿòà, ãàëåðèÿ Øèïêà 6, ÕÃ Äîáðè÷, 1996

Language, 1996 newspapers, wire, 150 x 80 The Paper, Shipka 6 Gallery, Art Gallery Dobrich, 1996 Advertisement Only, 1996 installation, paper, text, 210 x 300 The Paper, Shipka 6 Gallery, Sofia, 1996

Ñàìî ðåêëàìà, 1996 èíñòàëàöèÿ, õàðòèÿ, òåêñò, 210 õ 300 Õàðòèÿòà, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1996

Book of Love, 1997 book-object, 33 õ 40 õ 4 Bulgarian Art Book, ATA Center for contemporary art, Sofia, 1997

Êíèãà çà ëþáîâòà, 1997 êíèãà-îáåêò, 33 õ 40 õ 4 Áúëãàðñêàòà àðò- êíèãà, ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1997

The Real Thing, 2000 performance, JFK, New York, together with Michele Beck Bulgaria, New York, New York, 2000

The Real Thing, 2000 ïúðôîðìàíñ, ëåòèùå JFK, New York, ñúâìåñòíî ñ Ìèøåë Áåê Áúëãàðèÿ, Íþ Éîðê, Íþ Éîðê, 2000

193

194 Èäåàëúò, 2000 ïúðôîðìàíñ Áúëãàðèÿ, Íþ Éîðê, Íþ Éîðê, 2000 Èäåàëúò, Öåíòúð çà ñúâðåìåííî èçêóñòâî Áàíÿ Ñòàðèííà, Ïëîâäèâ, 2004

The Ideal, 2000 performance Bulgaria, New York, New York, 2000 The Ideal, Center for Contemporary Art – Ancient Bath, Plovdiv, 2004

Èçêîíñóìèðàé ìå÷òèòå ñè, 2001 ïúðôîðìàíñ, äâå òîðòè, êàðòîíåíè ÷èíèè, ïëàñòìàñîâè âèëèöè Shop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ, Ñîôèÿ, 2001

Consume Up Your Dreams, 2001 performance, two cakes, cardboard plates, plastic forks Shop-Art. Women at (on) the Market, Underpass Saint Sofia, Sofia, 2001

Àëëà Ãåîðãèåâà, ð. 1957 Àâòîïîðòðåò êàòî ñåêñóàëíî-êóëèíàðåí îáåêò, 1997 ÷åðíî-áÿëà ôîòîãðàôèÿ, îöâåòÿâàíå, âàðèðàùè ðàçìåðè (ôðàãìåíò) Âåðñèÿòà íà Åðàòî, ãàëåðèÿ Øèïêà 6, 1997 Dolce vita, 1999 èíñòàëàöèÿ, 500 ðîçîâè è áåëè âàôëeíè êîðè ñ ðàçìåð 30 õ 40, 18 êóòèè ðîçîâ ëîêóì, 3 êã. ëåïèëî Ñ-200 Îáñåáâàíå, Öåíòðàëíà ìèíåðàëíà áàíÿ, Ñîôèÿ, 1999

Alla Georgieva, b. 1957 The Self-Portrait as a Sexual-Culinary Object, 1997 black and white photography, hand-coloring, dimensions variable (detail) Erato’s version, Shipka 6 Gallery, 1997 Dolce vita, 1999 Installation, 500 pink and white wafers, size 30 x 40, 18 packs of pink lokum (Turkish delight), 3 kg C-200 gum Obsession, The Central Mineral Bath, Sofia, 1999

Alla`s Secret, 2000 äèãèòàëåí ïå÷àò, ñåðèÿ îò 3, 130 õ 120 / 100 Ñóáåêòè è ñåíêè, ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, 2000 Bound/less Borders, Ïúðâè ïúòóâàù Áàëêàíñêè ïðîåêò íà îòêðèòî, 2002-2003 Óìíîæàâàíå íà îòðàæåíèÿòà, ÑÃÕÃ, 2006

Alla`s Secret, 2000 digital prints, series of 3, 130 õ 120 / 100 Subjects and Shadows, ATA Center for contemporary art, Sofia, 2000 Bound/less Borders, First Outdoors Touring balkan Project, 2002-2003 Reflections Multiplied, Sofia Art Gallery, 2006

Dolce Vita, 2000 îáåêò, 37 õ 26,5 õ 3 Îãëåäàëöå, îãëåäàëöå…, ÕÃ Ðóñå, 2000

Dolce Vita, 2000 object, 37 õ 26,5 õ 3 Mirror, Mirror…, Art Gallery Rousse, Bulgaria, 2000

Íîâ àðîìàò, 2001 èíñòàëàöèÿ, ïúðôîðìàíñ, 2 ïîñòåðà (ëàçåðåí ïðèíòåð), ôëàêîíè ñ CS-Gas Shop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ, Ñîôèÿ, 2001

New Fragrance, 2001 installation, performance, two posters (laser printer), phials with CS-Gas Shop-Art. Women at (on) the Market, underpass Saint Sofia, Sofia, 2001

Áðàòÿ è ñåñòðè. Ñàìîçàùèòà çà æåíè è ìúæå, 2001 èíñòàëàöèÿ, 10 òåíèñêè ñ öâåòíè îòïå÷àòúöè, 1 ÷åðíî-áÿëà ñíèìêà Dare to be different. Artist Women from the Balkans for Culture of Tolerance,Ôèåð è Òèðàíà,, 2001

Brothers and sisters, Self-defence for women and men, 2001 installation, 10 t-shirts with color print, 1 black and white photo Dare to be different. Artist Women from the Balkans for Culture of Tolerance, Fier and Tirana, 2001

195

196 Õëåáíà êíèãà, 2000 êíèãà, õëÿá, 4 ëèñòà, 23 õ 27 II Måæäóíàðîäíî òðèåíàëå íà àðòèñòè÷íàòà êíèãà, ãàëåðèÿ ÀÐÊÀ, Âèëíþñ, Ëèòâà, 2000 Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà), ð. 1972

Book from bread, 2000 bread, 4 leaves, 23 õ 27 2nd International Artists Book Triennial, ARKA Gallery, Vilnius, Lithuania, 2000 Boryana Dragoeva (Boryana Rossa), b. 1972

Æèâîòúò è ñìúðòòà íà Êàïèòàí Àìåðèêà, 1999 öèêúë ðèñóíêè, àìáàëàæíà õàðòèÿ, ñìåñåíà òåõíèêà, 113 õ 108 âñÿêà Ìëàäè êóðàòîðè ïðåäñòàâÿò ìëàäè õóäîæíèöè, Øèïêà 6, Ñîôèÿ, 1999

The life and the Death of Capitan America, 1999 drawings, brown paper, mixed media, 113 x 108 each Young Curators Present Young Artists, Shipka 6 Gallery, Sofia, 1999

Âèáðî-Ñëîí, 2001 3D àíèìàöèÿ, 7 ìèí., ðåêëàìåí ïîñòåð, 100 õ 70, äèãèòàëåí ïå÷àò Shop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ, Ñîôèÿ, 2001

Vibro-Elephant, 2001 3D animation, 7 min, advertising poster, 100 x 70, digital print Women at (on) the Market, underpass Saint Sofia, Sofia, 2001

I Lost My..., 2002 öèêúë ôîòîãðàôèè, 100 x 70 EXPORT- IMPORT. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ, ÑÃÕÃ, 2003

I Lost My..., 2002 photography, 100 õ 70 EXPORT- IMPORT. Contemporary Art from Bulgaria, Sofia Art Gallery, 2003

Âàëåíòèí Ñòåôàíîâ, ð. 1959

Valentin Stefanoff, b. 1959

Òîâà ëè å íàèñòèíà òîâà, êîåòî òúðñèõìå, 1996 ðèñóíêà, êàðòîí, 100 x 150, 10 ÷àñòè ãàëåðèÿ l’Espace Hérault, Ïàðèæ, 1996

Is This What We Were Looking For, 1996 drawing on cardboard, 100 x 150, 10 pieces Gallery de l’Espace Hérault, Paris, France, 1996

Closed, 1998-2000 ïëåêñèãëàñ, 22 ÷àñòè, âàðèðàùè ðàçìåðè Identifications of the Space, ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1998 Identifications of the Space II, ãàëåðèÿ Luc Queyrel, Ïàðèæ, 1998 Ìóçåé çà ñúâðåìåííî èçêóñòâî, Áåëãðàä, 2000 ãàëåðèÿ Mabel Semmler, Ïàðèæ, 2003 Le forum Itinérant, Ñòðàñáóðã, Ôðàíöèÿ, 2004

Closed, 1998-2000 series of works on Plexiglas, 22 pieces, dimension variable Identifications of the Space, ATA Centre for Contemporary Art, Sofia, 1998 Identifications of the Space II, Gallery Luc Queyrel, Paris, 1998 The Museum of Contemporary Art, Belgrade, 2000 Gallery Mabel Semmler, Paris, France, 2003 Le forum Itinérant, Strasbourg, France, 2004

It’s Difficult to Be Closed, 2000 ñòåííà èíñòàëàöèÿ, âàðèðàùè ðàçìåðè Ìóçåé çà ñúâðåìåííî èçêóñòâî, Áåëãðàä, 2000

It’s Difficult to Be Closed, 2000 wall installation, dimension variable The Museum of Contemporary Art, Belgrade, 2000

Sometimes the Closed is More Open than Open and Open is More Closed than Closed, 2000 êîíöåïöèÿ, ñòåííà èíñòàëàöèÿ, âàðèðàùè ðàçìåðè Ìóçåé çà ñúâðåìåííî èçêóñòâî, Áåëãðàä, 2000

Sometimes the Closed is More Open than Open and Open is More Closed than Closed, 2000 concept statement, wall installation, dimension variable The Museum of Contemporary Art, Belgrade, 2000

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198 Le forum Itinérant, Ñòðàñáóðã, Ôðàíöèÿ, 2004 Villa du Parc-Centre d’Art Contemporain, Àíåìàñ, Ôðàíöèÿ, 2006 The Tide is Turning, 2004 ñâåòëèíåí îáåêò, 140 x 60 x 18

Le forum Itinérant, Strasbourg, France, 2004 Villa du Parc-Centre d’Art Contemporain, Annemasse, France, 2006 The Tide is Turning, 2004 light object, 140 x 60 x 18

Difference is Scary, 2006 ñâåòëèíåí îáåêò, 60 x 60

Difference is Scary, 2006 light object, 60 x 60

Âåíöèñëàâ Çàíêîâ, ð. 1962

Ventsislav Zankov, b. 1962

Çàùî íà ïðèíöà ìó òðÿáâàøå òîëêîâà âðåìå?, 1995 ì.á., ïë., 200 õ 155 Áåç íåâèííîñò, ãàëåðèÿ Ìèêñ, Ñîôèÿ, 1995 Âêóñ íà ðàé, 1993 ì.á., ïë., 180 õ 220 Áåç íåâèííîñò, ãàëåðèÿ Ìèêñ, Ñîôèÿ, 1995 Ñúâðåìåííî áúëãàðñêî èçêóñòâî, ñåëåêöèÿ íà ÍÕÃ, ÍÄÊ, Ñîôèÿ, 1997 Ãîëî òÿëî, ÑÃÕÃ, 1999

Why Does the Prince Take So Long?, 1995 oil on canvas, 200 õ 155 Without Innocence, Mix Gallery, Sofia, 1995 A Taste of Paradise, 1993 oil on canvas, 180 õ 220 Without Innocence, Mix Gallery, Sofia, 1995 Contemporary Art from Bulgaria, presented by the National Art Gallery, National Palace of Culture, Sofia, 1997 Nude, Sofia Art Gallery, Sofia, 1999

Make War Not Love, 1997 performance Festival Explosions, Kapelica Gallery, Ljubliana, 1997

Make War Not Love, 1997 ïúðôîðìàíñ ôåñòèâàë Explosions, ãàëåðèÿ Êàïåëèöà, Ëþáëÿíà, 1997

Letter, 2000 (after the Vapzarov’s poem) video International festival Videoarcheology, Sofia, 2000-2001 Symposium Understanding the Balkans, Skopje, 2001

Ïèñìî, 2000 (ïî ñòèõîòâîðåíèå íà Âàïöàðîâ) âèäåî Ìåæäóíàðîäåí ôåñòèâàë Âèäåîàðõåîëîãèÿ, Ñîôèÿ, 2000-2001 Ñèìïîçèóì Understanding the Balkans, Ñêîïèå, 2001 Âåðîíèêà Öåêîâà, ð. 1973

Veronica Tzekova, b. 1973

Sweetshirt, 2002 ðàáîòàòà å áèëà ïðåäñòàâÿíà ïî ðàçëè÷íè íà÷èíè íà ðàçëè÷íè ìåñòà: Free cards, Fame Cards Advertising Media Ltd., òèðàæ îò 10000, Ñîôèÿ, 2002 Young Balkan Artists-Variations in Balkan Spaces, ÷àñò îò New Balkans, Ñîëóí, Ãúðöèÿ, 2003 Sweets under Hammer, ïúðôîðìàíñ â ðàìêèòå íà In den Schluchten des Balkan, Kunsthalle Fridericianum,

Sweetshirt, 2002 the work was presented and employed in various ways at: Free cards, Fame Cards Advertising Media Ltd., issue of 10 000, Sofia, 2002 Young Balkan Artists-Variations in Balkan Spaces, part of New Balkans, Thessaloniki, Greece, 2003 Sweets under Hammer, auction performance, In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel, Germany, 2003

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200 Êàñåë, Ãåðìàíèÿ, 2003 èçëîæáà Billboart Gallery Europe, Áðàòèñëàâà, 2003 BLOOD: Lines and Connections, Ìóçåé çà ñúâðåìåííî èçêóñòâî, Äåíâúð, ÑÀÙ, 2003 Facts and Fiction, Áúëãàðñêè êóëòóðåí èíñòèòóò Äîì Âèòãåíùàéí, Âèåíà, 2003 In den Schluchten des Balkan, Êóíñòõàëå Ôðèäåðèöèàíóì, Êàñåë, Ãåðìàíèÿ, 2003 Fame Cards Media Guide, Freecards Advertising Media, Ñîôèÿ, 2003 Scanning notions of Turkishness, ïúðôîðìàíñ, Kreuzberg, Áåðëèí, 2004 Quest for Turkishness, ïúðôîðìàíñ, Èñòàíáóë, Òóðöèÿ, 2005 Jamming pro~ and anti~, àêöèÿ, Äåñàó, Ãåðìàíèÿ, 2005 Ask a Man Who Owns One, Áúëãàðñêè êóëòóðåí èíñòèòóò Äîì Âèòãåíùàéí, Âèåíà, 2005 Corporately Yours, Wienstation, Âèåíà, 2005 Ask a Man Who Owns One, 2005 òåíèñêè, áåëüî, ïå÷àò Ask a Man Who Owns One, Áúëãàðñêè êóëòóðåí èíñòèòóò Äîì Âèòãåíùàéí, Âèåíà, 2005 Corporately Yours, Wienstation, Âèåíà, 2005

Billboart Gallery Europe exhibition, Bratislava, 2003 BLOOD: Lines and Connections, Museum of Contemporary Art/Denver, USA, 2003 Facts and Fiction, Bulgarian Cultural Institute , Haus Wittgenstein, Vienna, 2003 In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel, Germany, 2003 Fame Cards Media Guide, Freecards Advertising Media, Sofia, 2003 Scanning notions of Turkishness, performance, Kreuzberg, Berlin, 2004 Quest for Turkishness, performance, Istanbul, Turkey, 2005 Jamming pro~ and anti~, action, Dessau, Germany, 2005 Ask a Man Who Owns One, Bulgarian Cultural Institute, Haus Wittgenstein, Vienna, 2005 Corporately Yours, Wienstation, Vienna, 2005 Ask a Man Who Owns One, 2005 t-shirts, underwear, print Ask a Man Who Owns One, Bulgarian Cultural Institute, Haus Wittgenstein, Vienna, 2005 Corporately Yours, Wienstation, Vienna, 2005

Phony Noises, 2005 action, digital images, dimensions variable Vienna, 2005

Phony Noises, 2005 àêöèÿ, äèãèòàëíè îòïå÷àòúöè, âàðèðàùè ðàçìåðè Âèåíà, 2005 Ãåîðãè Ðóæåâ, 1964

Georgi Rouzhev, 1964

Àâòîïîðòðåò âúðõó Ìàíèôåñòà íà íåìñêèòå àíàðõèñòè ïî âúïðîñèòå çà Èçòî÷íà Åâðîïà, 1990 ôîòîìîíòàæ, âàðèðàùè ðàçìåðè Òðåòî ìåæäóíàðîäíî áèåíàëå íà ñúâðåìåííîòî èçêóñòâî, Èñòàíáóë, Òóðöèÿ, 1992 Íîâè ðàäèêàëíè ïðàêòèêè, ãàëåðèÿ XXL, Ñîôèÿ, 1997

Self-portrait over the German Anarchist’s Manifest Concerning the East-European Issues, 1990 photomontage, dimensions variable 3rd International Istanbul Biennial, Istanbul, Turkey, 1992 New Radical Practices, XXL Gallery, Sofia, 1997

Ãåîðãè Òóøåâ, ð. 1969

Georgi Toushev, b. 1969

Òå íå ñà ãàíãñòåðè, òå ñà æèâîïèñöè!, 1999 àêðèë âúðõó ïëàòíî, 100 õ 130 Gangstart, ãàëåðèÿ XXL, Ñîôèÿ, 1999 Radikal Kunst from Bulgaria, Áúëãàðñêè êóëòóðåí èíñòèòóò Äîì Âèòãåíùàéí, Âèåíà, 1999 Ñúâðåìåííà áúëãàðñêà æèâîïèñ, Ñåóë, 2001 Export-Import. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ, ÑÃÕÃ,

They Are Not Gangsters, They Are Painters!, 1999 acrylic on canvas, 100 x 130 Gangstart, XXL Gallery, Sofia, 1999 Radikal Kunst from Bulgaria, Bulgarian Cultural Institute Wittgenstein House, Vienna, 1999 Contemporary Bulgarian Painting, Seoul, 2001 Export-Import. Contemporary Art from Bulgaria, Sofia Art

201

202 Ñîôèÿ, 2002 Paint or Die 2, 1999 àêðèë âúðõó ïëàòíî, 130 õ 150 Íîâà áúëãàðñêà æèâîïèñ 2, ãàëåðèÿ XXL, Ñîôèÿ, 1999 Çëàòíî îêî, Áèåíàëå çà ñúâðåìåííî èçêóñòâî, Íîâè Ñàä, Ñúðáèÿ è ×åðíà ãîðà, 1999

Gallery, Sofia, 2002 Paint or Die 2, 1999 acrylic on canvas, 130 õ 150 New Bulgarian Painting 2, XXL Gallery, Sofia, 1999 Golden Eye, Biennial of Contemporary art, Novi Sad, Serbia and Montenegro, 1999

 òàçè ãàëåðèÿ ìîæå äà ñòàíå ñòðàõîòåí áàð, 1999 êàðòèíà-êîìèêñ, êàðòîí Bacterium Bulgaricus Art. Ñúâðåìåííî áúëãàðñêî èçêóñòâî, Ìóçåé çà ÷óæäåñòðàííî èçêóñòâî, Ðèãà, 1999

This Gallery Could Turn into a Terrific Bar, 1999 picture-comics, cardboard Bacterium Bulgaricus Art. Contemporary Bulgarian Art, Museum of Foreign Art, Riga, Latvija, 1999

In the Beginning the Chicken Was Not There, 1999 êàðòèíà-êîìèêñ, êàðòîí Bacterium Bulgaricus Art. Ñúâðåìåííî áúëãàðñêî èçêóñòâî, Ìóçåé çà ÷óæäåñòðàííî èçêóñòâî, Ðèãà, 1999

In the Beginning the Chicken Was Not There, 1999 picture-comics, cardboard Bacterium Bulgaricus Art. Contemporary Bulgarian Art, Museum of Foreign Art, Riga, Latvija, 1999

Äèìèòðèíà Äîé÷èíîâà, ð. 1957 Ñëàâà (Òúðñÿ ìðàâêè), 1994 ìðàâêè, õðàíèòåëíè ïðîäóêòè, âàðèðàùè ðàçìåðè N-Ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿ Ðàéêî Àëåêñèåâ, Ñîôèÿ, 1994

Dimitrina Doichinova, b. 1957 Glory (I’m Looking for Ants), 1994 ants, food-stuffs, dimensions variable N-Forms? Reconstructions and Interpretations, Raiko Aleksiev Gallery, Sofia, 1994

Äèìèòúð Òðàé÷åâ, ð. 1952

Dimitar Traychev, b. 1952

Äîïóñòèìî îòêëîíåíèå, 1999 àêðèë, êîëàæ, êàðòîí, 200 õ 150 ×åðíî ìîðå, Ñåâåðíî ìîðå, Áúëãàðî-õîëàíäñêè ïðîåêò, Õà “Áîðèñ Ãåîðãèåâ”, Âàðíà, 1999 ×åðíî ìîðe, Ñåâåðíî ìîðå, Áúëãàðî-õîëàíäñêè ïðîåêò, Äîðäðåõò, Õîëàíäèÿ, 1999

Limit Tolerance, 1999 acrylic, collage, cardboard, 200 õ 150 Zwarte Zee, Noordzee, Bulgarian-Dutch project, Art Gallery “Boris Georgiev”, Varna, Bulgaria, 1999 Zwarte Zee, Noordzee, Bulgarian-Dutch project, Dordreht, The Netherlands, 1999 Paper Jam, 2000 installation, paper, 36 x 50/70 The Paper Usage, Art Gallery, Varna, Bulgaria, 2000 Study by Andy Warhol, 2001 object, polyester, folio, 200 x 100 x 50 The Music, Georgi Velchev house-museum, Varna, Bulgaria, 2001 Business Correspondence, 2002 paper, printer, 180 õ 120 August in Art, Festival of Visual Arts, Varna, Bulgaria, 2002

Paper Jam, 2000 èíñòàëàöèÿ, õàðòèÿ, 36 x 50/70 Õàðòèÿòà íà÷èí íà óïîòðåáà , Õà , Âàðíà, 2000 Åòþä ïî Óîðõîë, 2001 îáåêò, ïîëèåñòåð, ôîëèî, 200 õ 100 õ 50 Ìóçèêàòà, Êúùà-ìóçåé Ãåîðãè Âåë÷åâ, Âàðíà, 2001 Äåëîâà êîðåñïîíäåíöèÿ, 2002 õàðòèÿ, ïðèíòåð, 180 x 120 Àâãóñò â èçêóñòâîòî, Ôåñòèâàë íà âèçóàëíèòå èçêóñòâà, Âàðíà, 2000 Åëåíà Ïàíàéîòîâà, ð. 1964

Elena Panayotova, b. 1964

Ñåäåì, 2001 äúðâî, ñòúêëî, ìàäæóí, ïèðîíè, êàðòîí, ãëèíà,

Seven, 2001 wood, glass, cardboard, clay, nails, paper, soaps, cord,

203

204 õàðòèÿ, ñàïóíè, êàíàï, ïåðà, âúëíà, êàìúíè, ïóêàíêè, ïÿñúê, êîï÷åòà, òåêñòèë, ñóõè ðàñòåíèÿ, àêðèë, 170 x 93 x 24 Ìå÷òàòà íà ìîÿ æèâîò, õóäîæíè÷êè îò Áàëêàíèòå, ÍÕÃ, Ñîôèÿ, 2001 donumenta, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005 Ïîñâåòåíà íà Ìëàäåí Ñòèëèíîâè÷, 2003, òåêñòèë, 178 x 182 Ðàäèêàëíî: íåÿñíî, ÍÕÃ, Ñîôèÿ, 2003 Ðàäèêàëíî: íåÿñíî, ãàëåðèÿ Ñåí-Õèàñèíò, Ìîíðåàë, Êàíàäà, 2003 2007: Ñòàâàìå-ïðå-ñòàâàìå äà ñìå?, ãàëåðèÿ Ñè Áàíê, Ñîôèÿ, 2005 Ñëåä / Ïðåäè, Îáëàñòíà õóäîæåñòâåíà ãàëåðèÿ, Àéçåíùàä, Àâñòðèÿ, 2006 Åòèêåòèðàíå – õâúðëÿíå íà çàðà, 2004 èçïàëåíà ãëèíà, àêðèë, ôèðíèç, ïèðîíè, ïëàò, õàðòèÿ, ìåòàë, êàíàï, âàðèðàùè ðàçìåðè Identities, Óíèâåðñèòåò íà Ìè÷îàêàí, Ìîðåëèÿ, Ìåêñèêî, 2004

putty, feathers, wool, stones, popcorn, sand, buttons, cloth, grass, acrylic colors, 170 x 93 x 24 The Dream Of My Life, women artists from the Balkan countries, National Art Gallery, Sofia, 2001 donumenta, Regensburg, Germany, 2005 Dedications: to Mladen Stilinovic, 2003 textile, 178 x 182 Radical: vaguely, National Art Gallery, Sofia, 2003 Radical: vaguely, Saint Hyacinthe Gallery, Montreal, Canada, 2003 2007: We grow-stop growing to be?, EI Bank Gallery, Sofia, 2005 After / Before, Landesgalerie, Eisenstadt, Austria, 2006 Labeling – A Throw of the Dice, 2004 fired clay, acrylic colors, varnish, textile, nails, paper, metal, thread, dimension variables Identities, University of Michoacan, Morelia, Mexico, 2004

Èâàí Êþðàíîâ, ð. 1966

Ivan Kiuranov, b.1966

Âå÷íî ùå òå îáè÷à! Òâîÿòà êóêëà, 1996 ôîòîãðàôèÿ, 100 x 140 Ñâèäåòåëñòâà. Ðåàëíàòà ðàçëè÷íîñò, ÑÃÕÃ, Ñîôèÿ, 1996 Èëèÿí Ëàëåâ, ð. 1962

Will Always Love You! Your Doll, 1996 c-prints, 100 x 140 Evidence. The Real Diversity, Sofia Art Gallery, 1996 Ilian Lalev, b. 1962

Ãàòàíêà, 2000 ãàçîáåòîííè áëîê÷åòà Èòîíã, 200 õ 300 õ 20 Àâãóñò â èçêóñòâîòî, Àðõåîëîãè÷åñêè ìóçåé, Âàðíà, Áúëãàðèÿ, 2000

Riddle, 2000 Itong blocks, 200 x 300 x 20 August in Art Festival, Archaeological Museum, Varna, Bulgaria, 2000

Ïðåñïàïèå èëè íÿêîëêî îïèòà äà äîêîñíà Òðóìàí Êàïîòè, 1999 èíñòàëàöèÿ, âèäåî, êðèñòàëíè ïðåñïàïèåòà, àíèìèðàí òåêñò, åëåêòðîííà áÿãàùà ïúòåêà Ïðåñïàïèå èëè íÿêîëêî îïèòà äà äîêîñíà Òðóìàí Êàïîòè, ãàëåðèÿ Àòà-Ðàé, Ñîôèÿ, 1999

Paper-weight or Several Attempts to Touch Truman Kapoti, 1999 installation, video, crystal paper-weights, animated text, LED sign Paper-weight or Several Attempts to Touch Truman Kapoti, Ata-Ray Gallery, Sofia, 1999

 î÷àêâàíå, 2000 öèêúë äèãèòàëíè îòïå÷àòúöè, 134 õ 180 âñåêè  î÷àêâàíå, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2000 Du bist di Welt, Kunstlerhaus Viena, Âèåíà, 2001

In a State of Expectation, 2000 series of digital prints, 134 x 180 each In a State of Expectation, Irida Gallery, Sofia, 2000 Du bist di Welt, Kunstlerhaus Viena, Vienna, 2001

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206 Éîàí Êèðèëîâ, ð. 1966

Ioan Kirilov, b. 1966

Ïîíÿêîãà ñúì ñúùèÿ êàòî áàùà ñè – ìðàçÿ äà ìå áåçïîêîÿò, 2002 ì.á., ïë., 100 x 100 Freeze Muthafucka, ñàìîñòîÿòåëíà èçëîæáà, ãàëåðèÿ XXL, Ñîôèÿ, 2002 Áúëãàðñêè õóäîæíèöè îò ðóìúíñêè ïðîèçõîä, Áóêóðåù, 2004

Sometimes I’m Just Like My Father – I Hate to be Bothered, 2002 oil on canvas, 100 x 100 Freeze Muthafucka, personal exhibition, XXL Gallery, Sofia, 2002 Bulgarian Artists of Romanian Origin, Bucharest, 2004

Òîìè Ëèé Äæîóíñ, 2002 ì.á., ïë., 100 x 100 Freeze Muthafucka, ñàìîñòîÿòåëíà èçëîæáà, ãàëåðèÿ XXL, Ñîôèÿ, 2002 Áúëãàðñêè õóäîæíèöè îò ðóìúíñêè ïðîèçõîä, Áóêóðåù, 2004

Tommy Lee Jones, 2002 oil on canvas, 100 x 100 Freeze Muthafucka, personal exhibition, XXL Gallery, Sofia, 2002 Bulgarian Artists of Romanian Origin, Bucharest, 2004

Êîëàòà, 2004 ì.á., ïë., 140 x 200 Radical: Vaguely, ãàëåðèÿ Plein Sud, Ìîíðåàë, Êàíàäà è Íàöèîíàëíà õóäîæåñòâåíà ãàëåðèÿ, Ñîôèÿ, 2003 Áèåíàëå íà ñúâðåìåííîòî èçêóñòâî, Øóìåí, Áúëãàðèÿ, 2004 Donunmenta 2005, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005 Ñúâðåìåííà áúëãàðñêà æèâîïèñ, Âàðøàâà, 2006

The Car, 2004 oil on canvas, 140 x 200 Radical: Vaguely, Plein Sud Gallery, Montreal, Canada and the National Art Gallery, Sofia, 2003 Biennial of Contemporary Art, Shoumen, Bulgaria, 2004 Donunmenta 2005, Regensburg, Germany, 2005 Contemporary Bulgarian Painting, Warsaw, 2006

The Bike, 2004 oil on canvas, 140 x 200 Radical: Vaguely, Plein Sud Gallery, Montreal, Canada and the National Art Gallery, Sofia, 2003 donumenta 2005, Regensburg, Germany, 2005 Contemporary Bulgarian Painting, Warsaw, 2006

Ìîòîðúò, 2004 ì.á., ïë., 140 x 200 Radical: Vaguely, ãàëåðèÿ Plein Sud, Ìîíðåàë, Êàíàäà è Íàöèîíàëíà õóäîæåñòâåíà ãàëåðèÿ, Ñîôèÿ, 2003 Áèåíàëå íà ñúâðåìåííîòî èçêóñòâî, Øóìåí, Áúëãàðèÿ, 2004 donumenta 2005, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005 Ñúâðåìåííà áúëãàðñêà æèâîïèñ, Âàðøàâà, 2006 Êàëèí Ïëóã÷èåâ, ð. 1973

Kalin Plugchiev, b. 1973

Flag, 2005 äèãèòàëåí îòïå÷àòúê, 120 õ 240 Ôåñòèâàë Ìàëúê Ñåçîí, Òåàòðàëíà ðàáîòèëíèöà Ñôóìàòî, Ñîôèÿ, 2005 Çàáðàíåíî çà ÷îâåøêî, áóë. Öàð Îñâîáîäèòåë 16, Ñîôèÿ, 2006

Flag, 2005 print, 120 õ 240 Festival Little Season, Theatre-Laboratory Sfumato, Sofia, 2005 Forbidden for Human, 16 Tzar Osvoboditel Blvd., Sofia, 2006

Êàëèí Ñåðàïèîíîâ, ð. 1967

Kalin Serapionov, b. 1967

Èçêóñòâîòî å íàâñÿêúäå, 1996-1997 ðåàëèçèðàíà â äâå âåðñèè: 1/ 14 ÷åðíî-áåëè îòïå÷àòúêà, 70 õ 90 âñåêè

KKunst in Everywhere, 1996-1997 Realized in two versions: 1/ 14 b/w prints, 70 x 90 each

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208 Work in Between, Ôîíäàöèÿ BINZ 39, Öþðèõ, Øâåéöàðèÿ, 1997 Èçêóñòâîòî å íàâñÿêúäå, ãàëåðèÿ Àòà-Ðàé, Ñîôèÿ, 1997 Äåâåòî ìåæäóíàðîäíî áèåíàëå íà ãðàôèêàòà, Âàðíà, Áúëãàðèÿ, 1997 Inventing a People. Ñúâðåìåííî èçêóñòâî îò Áàëêàíèòå, Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ, 1999 ArtExpo Foundation, Áóêóðåù, 1999 Macedonian Museum of Contemporary Art, Ñîëóí, Ãúðöèÿ, 1999 2/ äâóêàíàëíà äèàïîçèòèâíà ïðîæåêöèÿ, âàðèðàùè ðàçìåðè Âèäåî ðàáîòè, ATA Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1997 Àëòåðíàòèâíèòå ãàëåðèè íà 90-òå, Öåíòúð çà ñúâðåìåííî èçêóñòâî Áàíÿ Ñòàðèííà, Ïëîâäèâ, 1999 ×óâñòâàòå ëè ñå ðàçëè÷åí?, 1996-1998 èíñòàëàöèÿ ñ òåêñòîâå, âàðèðàùè ðàçìåðè Ñâèäåòåëñòâà. Ðåàëíàòà ðàçëè÷íîñò, ÑÃÕÃ, Ñîôèÿ, 1996 Work in Between, Ôîíäàöèÿ BINZ 39,

Work in Between, Foundation BINZ 39, Zurich, Switzerland, 1997 Project Kunst in Everywhere, Ata-Ray Gallery, Sofia, 1997 9th International Biennial of Graphic Art, Varna, Bulgaria, 1997 Inventing a People. Contemporary Art in the Balkans, National Gallery for Foreign Art, Sofia, 1999 ArtExpo Foundation, Bucharest, 1999 Macedonian Museum of Contemporary Art, Thessaloniki, Greece, 1999 2/ Two-channel slide projection, dimensions variable Video Works, ATA Center for Contemporary Art, Sofia, 1997 The Alternative Galleries of the 90ies, Center for Contemporary Art Ancient Bath, Plovdiv, Bulgaria, 1999

Do You Feel You are Different?, 1996-1998 text installation, dimensions variable Evidence. The Real Diversity, Sofia Art Gallery, Sofia, 1996 Work in Between, Foundation BINZ 39, Zurich, Switzerland, 1997

Bulgariaavantgarde. Kräftemessen II, Künstlerwerkstatt Lothringerstrasse, Munich, Germany, 1998

Öþðèõ, Øâåéöàðèÿ, 1997 Áúëãàðèÿàâàíãàðä. Kräftemessen II, Künstlerwerkstatt Lothringerstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998

Do you feel you are different?

Different as a way of existence. Different in relation to somebody or something. Different as a human being with personal cultural attitudes. Your difference as a way of accepting the otherness.

×óâñòâàòå ëè ñå ðàçëè÷åí? Ðàçëè÷åí êàòî ôîðìà íà ñúùåñòâóâàíå. Ðàçëè÷åí ïî îòíîøåíèå íà íÿêîãî èëè íåùî. Ðàçëè÷åí êàòî ñúùåñòâî ñúñ ñîáñòâåíè êóëòóðíè ðàçáèðàíèÿ. Âàøàòà ðàçëè÷íîñò êàòî íà÷èí çà ïðèåìàíå íà äðóãîñòòà. Êèðèë Ïðàøêîâ, ð. 1956

Kiril Prashkov, b. 1956

Âåðòèêàëíà êíèãà, 1994 õàðòèÿ, òóø, ìåòàë, ïÿñúê, ïàâåòà, îòâàðÿùà êíèãàòà ìàøèíà, âàðèðàùè ðàçìåðè Book-Art, Ìåæäóíàðîäíà èçëîæáà íà ïðîãðàìàòà ÊóëòóðÊîíòàêò, Õîðí, Àâñòðèÿ, 1994 Ãîäèøíà èçëîæáà íà Ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1995 Eastern Europe: Spatia Nova, IV Ñàíêò-Ïåòåðáóðãñêî áèåíàëå, Ñàíêò-Ïåòåðáóðã, Ðóñèÿ, 1996

Vertical Book, 1994 paper, ink, metal, sand, cobble stones, book-opening machine, dimensions variable Book-Art, International Show of the program of KulturKontakt, Horn, Austria, 1994 Annual Exhibition of Section 13, Shipka 6 Gallery, Sofia, 1995 Eastern Europe: Spatia Nova, IV St. Petersburg Biennial, St. Petersburg, Russia, 1996

Òîâà ïàâå èäå îò Âàðøàâà. Õîðàòà íèêîãà íå çíàåõà â êîÿ ïîñîêà äà ãî ìåòíàò

This cobblestone comes from Warsaw. People never could chose in which direction to throw it

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210 Òîâà ïàâå èäå îò Ñîôèÿ. Âåäíúæ ðóñíàê, ïîñëå ãåðìàíåö, ïîñëå ïàê ðóñíàê ïèêàõà îòãîðå ìó Òîâà ïàâå èäå îò Ìîñêâà. Áèëî å èçïîëçâàíî çà ìàëêî êàòî îðúæèå Òîâà ïàâå èäå îò Áåðëèí. Íÿêîãà òî èìàøå èçòî÷íà è çàïàäíà ñòðàíà. Ñåãà ñòðàíèòå ìó ñà ïî-ìàëêî Òîâà ïàâå èäå îò Âèåíà. Òî âèíàãè ñå å ÷óâñòâàëî íåìñêî, íî íèêîé íå ìó å âÿðâàë Òîâà ïàâå èäå îò Êèåâ.  íà÷àëîòî å áèëî â ñúðöåòî íà Ðóñèÿ, ñåãà Óêðàéíà Óëè÷íà êíèãà, 1995 õàðòèÿ, òóø, òåë, äúðâî, 3 ïàâåòà, îê. 80 õ 20 õ 20 âñÿêî The Oh God No/O Yeah Book And Other Books And Vegetables, Studios of KulturKontakt, Âèåíà, 1995 Èçêóñòâî â ïåéçàæà, Ìåæäóíàðîäåí ñèìïîçèóì, Ãàðñ-àì-Êàìï, Àâñòðèÿ, 1996 Eastern Europe: Spatia Nova, IV Ñàíêò-Ïåòåðáóðãñêî áèåíàëå, Ñàíêò-Ïåòåðáóðã, Ðóñèÿ, 1996 Áèáëèîòå÷íà îãðàäà, 1995 äúðâî, òåë, òåìïåðà, îê. 30 õ 360 õ 4 The Oh God No/O Yeah Book And Other Books And Vegetables, Studios of KulturKontakt, Âèåíà, 1995

This cobblestone comes from Sofia. Once a Russian, then a German, then again a Russian pissed on it This cobblestone comes from Moscow. It was used for a while as a weapon This cobblestone is from Berlin. Once it had an Eastern and a Western side. Now it has less sides This cobblestone comes from Vienna. It always felt it was German but no one believed it This cobblestone comes from Kiev. In the beginning it was in the heart of Russia, now Ukraine Street Book, 1995 paper, ink, wire, wood 3 cobble stones, ca 80 x 20 x 20 each The Oh God No/O Yeah Book And Other Books And Vegetables, Studios of KulturKontakt, Vienna, 1995 Art in Landscape, International Symposium, Gars-am-Kamp, Austria, 1996 Eastern Europe: Spatia Nova, IV St. Petersburg Biennial, St. Petersburg, Russia, 1996 Library Fence, 1995 wood, wire, tempera, ca 30 x 360 x 4 The Oh God No/O Yeah Book And Other Books And Vegetables, Studios of KulturKontakt, Vienna, 1995

Annual Exhibition of Section 13, Shipka 6 Gallery, Sofia, 1997 Quotation, Goethe-Institut Sofia, 2000

Ãîäèøíà èçëîæáà íà Ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1997 Öèòàò, Ãüîòå-èíñòèòóò Ñîôèÿ, 2000

This Forest Looks Quite Politically Correct, 1995 wood, white paint, ca 270 x 300 x 10 Art in Landscape, International Symposium, Gars-amKamp, Austria, 1995

Òàçè ãîðà èçãëåæäà äîñòà ïîëèòè÷åñêè êîðåêòíà, 1995 äúðâî, áÿëà áîÿ, îê. 270 õ 300 õ 10 Èçêóñòâî â ïåéçàæà, Ìåæäóíàðîäåí ñèìïîçèóì, Ãàðñ-àì-Êàìï, Àâñòðèÿ, 1995 Ãîâîðåùè ïàâåòà, 1997 ìàñëåíà áîÿ, 15 ïàâåòà, îê. 12 õ 12 õ 12 âñÿêî Ãîäèøíà èçëîæáà íà ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1997 2-ðî Öåòèíñêî áèåíàëå, Öåòèíå, Ñúðáèÿ è ×åðíà ãîðà, 1998  äåáðèòå íà Áàëêàíèòå, Êóíñòõàëå Ôðèäåðèöèàíóì, Êàñåë, Ãåðìàíèÿ, 2003

Speaking Cobble Stones, 1997 oil on 15 cobble stones, ca 12 x 12 x 12 each Annual Exhibition of Section 13, Shipka 6 Gallery, Sofia, 1997 2nd Cetinje Biennial, Cetinje, Serbia and Montenegro, 1998 In The Gorges Of The Balkans, Kunsthalle Fridericianum, Kassel, Germany, 2003

100% ñúì åâðîïåéñêî, ñàìî ïîâúðõíîñòòà ìè å áàëêàíñêà Áÿõ îïàêîâàíî â ëþáîâíî ïèñìî äî íÿêîÿ ñè Æàí-Êëîä Â Áóäàïåùà óäàðèõ ðóñêè âîéíèê ïðåç 1849 è äðóã ñúâåòñêè ïðåç 1956 Èìàõ ôîðìàòà íà Áóäà, êîãàòî Àëåêñàíäúð ìå äîíåñå â Ìàêåäîíèÿ

I’m 100% European, only my surface is Balkan I was wrapped in a love letter to a certain Jeanne-Claude In Budapest I hit a Russian soldier in 1849 and a Soviet one in 1956 I was shaped as Buddha when Alexander made me come to Macedonia A Serb threw me on a Bulgarian, the Bulgarian on a Greek, etc

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212 Åäèí ñúðáèí ìå õâúðëè ïî áúëãàðèí, áúëãàðèíúò ïî ãðúê è ò. í. Åäâà äîïðåäè íÿêîëêî âåêà áÿõ ïîêðèòî ñ éåðîãëèôè Íå ÷å ñúì íàñòðîåíî àíòèôðåíñêè, íî ïðåäïî÷èòàì áîñè êðàêà ïðåä Ìèøëåí Àç ñúì îíîâà, êîåòî ïîìîãíà íà Àðõèìåä çà çàêîíà ìó Æóëèåòà ñòúïè îòãîðå ìè, çà äà öåëóíå Ðîìåî Îùå ñè ñïîìíÿì ñòúïêàòà íà ïúðâèÿ ìàðàòîíåö ×àóøåñêó ïúðâî ñòîÿ, à ïîñëå ëåãíà îòãîðå ìè Äîéäîõ â Åâðîïà ïî ïîãðåøêà ñ ïúðâèòå êàðòîôè îò Ïåðó Èìàì òðè ìþñþëìàíñêè, åäíà êàòîëè÷åñêà è äâå ïðàâîñëàâíè ïîâúðõíîñòè Äúëãî áå ïúòóâàíåòî ìè îò Âèçàíòèÿ ïðåç Êîíñòàíòèíîïîë äî Èñòàíáóë Âåäíúæ Îíàí ìå çàëÿ ñúñ ñåìåòî ñè Ïðîèçâåäåíî â Áúëãàðèÿ, 1997 äúðâî, èíñòàëàöèÿ, âàðèðàùè ðàçìåðè ARS EX NATIO. Ïðîèçâåäåíî â Áúëãàðèÿ, Ïëîâäèâ, Áúëãàðèÿ, 1997 Áîêëó÷åí ëîçóíã (Ïîìíè! Áîêëóêúò òè äà å ñîöèàëíî êîðåêòåí!), 1998 ìåñòåí áîêëóê, ðàçëè÷íè ëåïèëà, îê. 180 õ 1400 õ 10 Bulgariaavangarde, Kraeftemessen II, Kuenstlerwerkstatt

Just some centuries ago I was covered with hieroglyphs Not that I’m anti-French but I prefer bare feet to Michelin I was the one who helped Archimedes with his principle Juliet climbed on me to kiss Romeo I still remember the step of the first Marathon runner I came in Europe by mistake with the first potatoes from Peru Ceausescu first stood & then lay on me Three sides of me are Muslim, one is Catholic & two are Orthodox Christian It was a long journey from Byzantium via Constantinople to Istanbul Once Onan threw his semen all over me

Made in BG, 1997 wood, installation with variable dimensions ARS EX NATIO. Made in BG, Plovdiv, Bulgaria, 1997 Garbage Slogan (Remember! Your Garbage Has To Be Socially Correct!), 1998 local garbage, various glues, ca 180 x 1400 x 10 Bulgariaavangarde, Kraeftemessen II, Kuenstlerwerkstatt

Lothringenstrasse, Munich, Germany, 1998

Lothringenstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998 Il est vrai qu’il est difficile de vous écrire et de n’être pas poète (Íàèñòèíà, òðóäíî å ÷îâåê äà âè ïèøå è äà íå å ïîåò), 1999 ôîòîèíñòàëàöèÿ, 30 õ 300 (ôðàãìåíò) Hommage a Pouchkine. Òåêñòúò êàòî íàòþðìîðò, Ôðåíñêè èíñòèòóò, Ñîôèÿ, 2000 EUROPA ERWEITERN, Industriellen Vereinigung, KulturKontakt, Âèåíà, 2001 Öèòàòè, Ìîñêîâñêè ìóçåé íà ñúâðåìåííîòî èçêóñòâî, Ìîñêâà, 2005 Òåëåíèÿò Ïóøêèí, 1999 21 ôîòîãðàôèè ñ òåêñòà íà “ß âàñ ëþáèë...”, 20 õ 30 âñÿêà (ôðàãìåíò) 200 ãîäèíè Ïóøêèí, Àñîöèàöèÿ íà ìîñêîâñêèòå õóäîæåñòâåíè ãàëåðèè, Ìîñêâà, 1999 Spaces Gallery, Êëèâëàíä, Îõàéî, ÑÀÙ, 1999 Ôåñòèâàë íà èçêóñòâàòà Àïîëîíèÿ, Ñîçîïîë, 1999 Hommage a Pouchkine. Òåêñòúò êàòî íàòþðìîðò, Ôðåíñêè èíñòèòóò, Ñîôèÿ, 2000 Öèòàòè, Ìîñêîâñêè ìóçåé íà ñúâðåìåííîòî èçêóñòâî, Ìîñêâà, 2005

Il est vrai qu’il est difficile de vous écrire et de n’être pas poète, 1999 photoinstallation, 30 x 300 (detail) Hommage a Pouchkine. The Text as a Still-life, French Institute, Sofia, 2000 EUROPA ERWEITERN, Industriellen Vereinigung, an exhibition of KulturKontakt, Vienna, 2001 Quotations, Moscow Museum of Contemporary Art, Moscow, 2005 Pushkin Out of Wire, 1999 21 photographs with the text of “I loved you and…”, 20 x 30 each (detail) 200 Years Pushkin, Association of Art Galleries, Moscow, 1999 Spaces Gallery, Cleveland, Ohio, USA, 1999 Appolonia Festival of Arts, Sozopol, Bulgaria, 1999 Hommage a Pouchkine. The Text as a Still-life, French Institute, Sofia, 2000 Quotations, Moscow Museum of Contemporary Art, Moscow, 2005

Ïðèðîäåí òåêñò (The Time Has Come… To Talk Of Many Things, îò “Àëèñà â Îãëåäàëíèÿ ñâÿò” íà Ëóèñ Êåðúë),

Natural Text (The Time Has Come… To Talk Of Many

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214 1999 äúðâî, ñòîìàíà, îê. 300 õ 300 õ 12 Ñêóëïòóðåí ïàðê Drechtoevers, Öâàéíäðåõò, Õîëàíäèÿ Reading And Eating, 2001 (÷àñò îò êíèãàòà Bugs/Reading and Eating, â ñúàâòîðñòâî ñ Áðþñ ×åñåôñêè) äèãèòàëåí ïå÷àò, 20 õ 156 Reading And Eating è äðóãè òåêñòîâå è àêâàðåëè, ATA Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 2002 Reading And Eating Texts, Grass, Ink, Wood, ãàëåðèÿ Remont, Áåëãðàä, 2002 Tvoj dom je tamo gdje je tvoje smece (Äîìúò òè å òàì, êúäåòî å áîêëóêúò òè), 2002 ìåñòåí áîêëóê, ðàçëè÷íè ëåïèëà, îê. 80 õ 2000 õ 10 Ãîâîðè ñ ÷îâåêà îò óëèöàòà, Ðåêîíñòðóêöèè, 4-òî Öåòèíñêî áèåíàëå, Öåòèíå, ×åðíà ãîðà Îïëàêâàíå (Òðóäíî å äà ñè ìà÷î â íàøè äíè), 2002 äèãèòàëåí ïå÷àò, âàðèðàùè ðàçìåðè Bound/Less Borders, First Outdoor Touring Balkan Project, Ãüîòå èíñòèòóò, Áåëãðàä, Ñêîïèå, Ðèåêà, Ñîôèÿ, Áóêóðåù, 2002-2003 In the Gorges of the Balkan. A Report, Kunsthalle

Things, from “Through The Looking Glass” by Lewis Caroll), 1999 wood, steel, ca 300 x 300 x 12 Sculpture Park Drechtoewers, Zwejndrecht, The Netherlands Reading And Eating, 2001 (part of the book Bugs/Reading and Eating, produced together with Bruce Checefsky) digital print, 20 x 156 Reading And Eating and other texts and watercolors, ATA Center for Contemporary Art, Sofia, 2002 Reading And Eating Texts, Grass, Ink, Wood, Remont Gallery, Belgrade, 2002 Tvoj dom je tamo gdje je tvoje smece (Your Home Is Where Your Garbage Is), 2002 local garbage, various glues, ca 80 x 2000 x 10 Speaking With The Man On The Street, Reconstructions, 4th Cetinje Biennial, Cetinje, Montenegro, 2002 Lamentation (It’s Hard To Be A Macho Nowadays), 2002 digital print, dimensions variable Bound/Less Borders, First Outdoor Touring Balkan Project, Goethe Institut, Belgrade, Scopje, Rijeka, Sofia, Bucharest, 2002-2003

Fridericianum, Êàñåë, Ãåðìàíèÿ, 2003 Play Sofia, Kunsthalle Wien, Âèåíà, 2005

In the Gorges of the Balkan. A Report, Kunsthalle Fridericianum, Kassel, Germany, 2003 Play Sofia, Kunsthalle Wien, Vienna, 2005

Äóìè íà ìúäðîñòòà (çàãëàâèÿ íà êóðàòîðñêè çàÿâëåíèÿ îò êíèãà ñúñ ñúùîòî èìå, Íþ Éîðê, 2000), 2005 òåë, îê. 3600 Memory (W)Hole, ïðîãðàìà Continental Breakfast, Ëþáëÿíñêè çàìúê, Ëþáëÿíà, 2005; Ìóçåé çà ñúâðåìåííî èçêóñòâî, Ñêîïèå, 2006

Words Of Wisdom (titles of curatorial statements from the book with the same name, New York, 2000), 2005 wire, ca 3600 Memory (W)Hole, Continental Breakfast Program, Ljubljana Castle, Ljubljana, 2005; Museum of Contemporary Art,

words of wisdom* some questions to consider some suggestions for beginning curators the curator as a beginning, not an end figures of the future never play sorcerer’s apprentice answers for words of wisdom: a curator’s vade mecum a career and a calling among entertainment, market and science why curate? memoranda (three questions) my own shared credo a plea for intellectual speculation notes on curating curating new media making sense of things going forward, looking back reflections a visual medium negatives to remember notes to a young curator thoughts on exhibitions mama said thoughts on curating art in (a new) context vade mecum? I wonder if works of art are considered scores, their performances are exhibitions a recipe for exhibitions curating a reflection whatever I say fades faster then the pages of the book you are holding a few droplets of wisdom selected nodes in a network of thoughts on curating other walls how and why untitled think it over my work as a curator sentences on being a curator of contemporary art curator-moderator resistance and healing through art eye,

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216 mouth, and ear the boredom & excitement of curating battery, Kraftwerk, and laboratory (alexander dorner revisited) the curator’s calling the acrobat, the chef, the go-between, and the dreamer the creative curator curatorial cool leave the art alone! letter to a young curator exhibition or ex/position? ”shut up and look” play favorites morality for curators notes towards a history of independent curating, or the last picture show and the first independent curator creating and curating: ICI subtle interventions ICI-questions and answers does art need directors? become a great curator in six simple steps! asking the right questions making art visible * Òîâà ñà çàãëàâèÿòà íà ìàòåðèàëèòå íà ñâåòîâíîèçâåñòíè êóðàòîðè, ïóáëèêóâàíè â èçäàíèåòî Words of Wisdom: A Curator’s Vade Mecum” ( Äóìè íà ìúäðîñòòà: óïúòâàíå çà êóðàòîðè”). Íå ãè ïðåâåæäàìå, çà äà íå ñå èçãóáè öâåòà” íà åçèêà áåë.ðåä.

Skopje, 2006 Ó÷àò ìå, 2005 ïå÷àò âúðõó ïàóñ, ëåïèëî, 0,5 õ 1200 They Are Teaching Me, 2005 print on tracing paper, glue, 0,5 x 1200 Êðàñèìèð Äîáðåâ, ð. 1962

Krassimir Dobrev, b. 1962

Õåé, ñëàâÿíè, 1993 ì. á., ïë., 51,5 õ 40,5

Hello, Slavs, 1993 oil on canvas, 51,5 õ 40,5

Åäèí àìåðèêàíåö âúâ Âåíåöèÿ, 1995 ì. á., ïë., 46 õ 55

One American in Venice, 1995 oil on canvas, 46 x 55

Art’36 Gallery, Sofia, 1995 The Pictorial Image of the 1990-ies, National Palace of Culture, Sofia, 1996 Classical Subject-matters, Ata-Ray Gallery, Sofia, 1996 Club Radio City – New York, Sofia, 1997 Surreale poesie, Kunsthaus Ressmann, Manheim, Germany, 1997 Discolouvre, Ntional Art Gallery, Sofia, 1998

ãàëåðèÿ Àðò ’36, Ñîôèÿ, 1995 Ïëàñòè÷åñêèÿò îáðàç íà 90-òå, ÍÄÊ, Ñîôèÿ, 1996 Êëàñè÷åñêè ñþæåòè, ãàëåðèÿ Àòà-Ðàé, Ñîôèÿ, 1996 êëóá Ðàäèî ñèòè – Íþ Éîðê, Ñîôèÿ, 1997 Surreale poesie, Kunsthaus Ressmann, Ìàíõàéì, Ãåðìàíèÿ, 1997 Äèñêîëóâúð, ÍÕÃ, Ñîôèÿ, 1998

Feministika – a Science About the Situation, 2001 oil on canvas, 58 x 41 Assaults, Bulart Gallery, Varna, Bulgaria, 2001 The Landscape as a Metaphor, XXL Gallery, Sofia, 2001 The Subject, National Autumn Exhibitions, Plovdiv, Bulgaria, 2004

Ôåìèíèñòèêà – íàóêà çà ïîëîæåíèåòî, 2001 ì. á., ïë., 58 õ 41 Àòåíòàòè, Áóëàðò, Âàðíà, 2001 Ïåéçàæúò êàòî ìåòàôîðà, ãàëåðèÿ ÕÕL, Ñîôèÿ, 2001 Ñþæåòúò, Íàöèîíàëíè åñåííè èçëîæáè, Ïëîâäèâ, 2004 Êðàñèìèð Òåðçèåâ, ð. 1969

Krassimir Terziev, b. 1969

Wow, 2001 ì. á., ïë., 80 õ 100 Ïèêñåëè ðåàëíîñò, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2001

Wow, 2001 oil canvas, 80 õ 100 Reality Pixels, Irida Gallery, Sofia, 2001

You, 2001 ì. á., ïë., 80 õ 100 Ïèêñåëè ðåàëíîñò, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2001

You, 2001 oil on canvas, 80 õ 100 Reality Pixels, Irida Gallery, Sofia, 2001

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218 01:12:32:18? 01:12:32:19!, 2001 ì. á., ïë., 80 õ 100 Ïèêñåëè ðåàëíîñò, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2001 To Whom It May Concern (Àðòèñòúò å èíäèàíåöúò íà ñâåòà), 2001 âèäåî èíñòàëàöèÿ Ìàêðî âèäåî, íà ôàñàäàòà íà ÍÄÊ, Ñîôèÿ, 2001 Ïðåêðàñåí äåí å, íàëè?, 2002 ì. á. ïë., äèïòèõ, 73 õ 184 Ïèêñåëè ðåàëíîñò, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2001 Íîâà çåìÿ, Øèïêà 6, Ñîôèÿ, 2004 Äàëå÷íè ïðèëèêè, 2005 îòïå÷àòúöè âúðõó ôîòîõàðòèÿ, 20 x 92 / 68 Äàëå÷íè ïðèëèêè, Ãüîòå èíñòèòóò, Ñîôèÿ, 2005 Beton Salon, Museumsquartier, Âèåíà, 2006 Êîñòà Òîíåâ, ð. 1980 Ïàìåòíèê íà åäíà ëîøà ðèñóíêà, 2006 ñèòîïå÷àò, àêðèë âúðõó ïëàòíî, 230 õ 200

01:12:32:18? 01:12:32:19!, 2001 oil on canvas, 80 õ 100 Reality Pixels, Irida Gallery, Sofia, 2001 To Whom It May Concern (The Artist is the Indian of the World ), 2001 video installation Makro Video, on the façade of the National Palace of Culture, Sofia,, 2001 It’s a Perfect Day, Isn’t?, 2002 oil on canvas, diptych, 73 x 184 Reality Pixels, Irida Gallery, Sofia, 2001 New Ground, Shipka 6 Gallery, 2004 Remote resemblances, 2005 photography series, inkjet print on photo-paper, 20 x 92 /68 Remote Resemblances, Goethe-Institut Sofia, 2005 Beton Salon, Museumsquartier, Vienna, 2006 Kosta Tonev, b. 1980 Monument of One Bad Drawing, 2006 print, acrylic on canvas, 230 x 200

Áÿõ 9 ãîäèøåí, êîãàòî â ÷àñ ïî ðèñóâàíå íà âñè÷êè ó÷åíèöè â êëàñà áå äàäåíà çàäà÷à äà íàðèñóâàò äåñåí çà ïëàò. Ó÷èòåëêàòà îáÿñíè êàêâè ñà õàðàêòåðèñòèêèòå, êîèòî íàøèòå ðèñóíêè òðÿáâàøå äà ïðèòåæàâàò. Îñíîâíàòà, îò êîèòî áåøå, ÷å ìàëêà, ñúçäàäåíà îò íàñ ôîðìà, òðÿáâà äà áúäå çàðåäåíà ñ âúçìîæíîñò çà áåçêðàéíà ïîâòîðÿåìîñò âúðõó ïëàò. Ìîñòðè çà òîçè ïëàò áÿõà íàøèòå ëèñòîâå. Õðóìíà ìè èäåÿ è çàïî÷íàõ ðåâíîñòíî äà ðèñóâàì. Òîãàâà îñúçíàâàõ, ÷å òåñíèòå èçèñêâàíèÿ çà ïîâòîðåíèå íà ìîòèâèòå áèõà äîâåëè äî óåäíàêâÿâàíå íà âñè÷êè ðèñóíêè, à ñ òîâà è îáåçêóðàæèëè èíäèâèäóàëíîñòòà. Àç âèäÿõ, ÷å åäèíñòâåíèÿò íà÷èí äà ñå èçðàçè èíäèâèäóàëíîñò áåøå ÷ðåç ñàìàòà äåêîðàòèâíà ôîðìà. Êàêòî èçãëåæäàøå, âñè÷êè ðèñóâàõà öâåòÿ, òàêà ÷å àç ñå ãîðäååõ ñ îðèãèíàëíîñòòà íà ÷åðâåíèòå ÷åðåïè, êîèòî ðèñóâàõ. Êúì êðàÿ íà ÷àñà ó÷èòåëêàòà îáèêàëÿøå èç êëàñíàòà ñòàÿ, çà äà êîìåíòèðà ðèñóíêèòå, êîèòî áÿõìå íàïðàâèëè. Êîãàòî ñòèãíà äî ìîÿòà, òÿ ñå âúçìóòè, çàÿâÿâàéêè ïðåä öåëèÿ êëàñ, ÷å íèêîãà íå áèâà äà ðèñóâàì ïîäîáíè íåùà. Òÿ ìè ÿ âçå, êàòî ìå íàêàðà äà íàðèñóâàì íîâà, ïî-ïðèåìëèâà. Ïîâå÷å íå âèäÿõ ðèñóíêàòà ñè.

I was 9 years old. All the students in my art lesson were given the task to design fabric patterns. Our teacher instructed us with the standard characteristics that our drawings should have. The central idea was that the small drawings we created would have the capacity to spread in endless repetition on fabric. Our paper was sample of that fabric.

My idea came to me and I eagerly started to draw in my sketchpad. At the time, I was aware that the narrow guidelines made the repeated images uniform in their presentation, which might discourage individuality. I sow that the only way to express uniqueness was through the image itself. Everyone else seemed to sketch flowers, so I was proud for the originality of the red skulls and crossbones that I sketched. At the end of the session the teacher circulated

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220 Êîñüî Ìèí÷åâ, ð. 1969 Íåêðîëîçè, 1993 êñåðîêñ, 30 õ 21 N-ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿ Ðàéêî Àëåêñèåâ, Ñîôèÿ, 1994 Ëú÷åçàð Áîÿäæèåâ, ð. 1957 Äóïêàòà íà Àëèñà èëè áëàòîòî íà ìàðêñèñòêî-ëåíèíñêàòà åñòåòèêà, 1991 èíñòàëàöèÿ, êíèãè, ðèñóíêè, òåêñò, âàðèðàùè ðàçìåðè Êàéìàê-àðò, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1991 Óêðåïâàíå íà âÿðàòà, ãàëåðèÿ ÈÔÀ, Áåðëèí, 1992 Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Õîõåíòàë óíä Áåðãåí, Ìþíõåí, Ãåðìàíèÿ, 1993 Íàäãðîáèå çà Éîçåô Áîéñ, 1991 îáåêò Èëþçèè, èëþçèè, Êëóá íà (âå÷íî) ìëàäèÿ õóäîæíèê, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1991 Óêðåïâàíå íà âÿðàòà, ãàëåðèÿ ÈÔÀ, Áåðëèí, 1992

Kosio Minchev, 1969 Obituaries, 1993 xerox, 30 x 21 N-Forms? Reconstructions and Interpretations, Raiko Aleksiev Gallery, Sofia, 1994 Luchezar Boyadjiev, b. 1957 Alice’s Hole or the Swamp of Marxist-Leninist Esthetics, 1991 installation, books, drawings, text, dimensions variable Kaimak (cream) – art, Shipka 6 Gallery, Sofia, 1991 Festigung des Glaubens, IFA Galerie, Berlin, 1992 Luchezar Boyadjiev, Hohenthal und Bergen Galerie, Munich, Germany, 1993

Tombstone for Joseph Beuys, 1991 object Illusions, illusions, Club of the (eternally) Young Artist, Shipka 6 Gallery, Sofia, 1991 Festigung des Glaubens, IFA Galerie, Berlin, 1992

Holy Bible, 1992 plastic gun-toy, bible in three languages Festigung des Glaubens, IFA Galerie, Berlin, 1992

Holy Bible, 1992 ïëàñòìàñîâ ïèñòîëåò-èãðà÷êà, òðèåçè÷íà áèáëèÿ Óêðåïâàíå íà âÿðàòà, ãàëåðèÿ ÈÔÀ, Áåðëèí, 1992 TOEFL – Åçèêîâ ïðåãëåä, 1992 èíñòàëàöèÿ, îáåêòè, êîëàæè, òåêñò, âàðèðàùè ðàçìåðè Ìåäèöèíñêè ïðåãëåä, Êëóá íà (âå÷íî) ìëàäèÿ õóäîæíèê, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1992

TOEFL, 1992 installation, objects, collages, text, dimensions variable Medical Check-up, Club of the (eternally) Young Artist, Shipka 6 Gallery, Sofia, 1992 Customized IFA - Berlin Catalogues, 1993 72 catalogues from the one-artist show Festigung des Galubens; paper, drawings, collages, texts, 21.5 x 28.5 each Luchezar Boyadjiev, Hohenthal und Bergen Galerie, Munich, Germany, 1993 Works on Paper, Ata-Ray Gallery, Sofia, 1993 Beyond Belief: Contemporary Art from East Central Europe, Museum of Contemporary Art, Chicago, USA, 1995 Allen Memorial Art Museum, Oberlin College, USA and Institute of Contemporary Art, Philadelphia, USA, 1996 Joslyn Art Museum, Omaha, Nebraska, USA, 1997 Luchezar Boyadjiev. I love Jesus - Souvenir Shop, in former Bulgarian Embassy at Aller-Retour, 3rd International Biennial, Cetinje,

Customized IFA - Berlin Catalogues, 1993 72 êàòàëîãà îò ñàìîñòîÿòåëíàòà èçëîæáà Óêðåïâàíå íà âÿðàòà; ðèñóíêà, òåêñò, êîëàæ, 21,5 x 28,5 âñåêè Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Õîõåíòàë óíä Áåðãåí, Ìþíõåí, Ãåðìàíèÿ, 1993 Ðàáîòè âúðõó õàðòèÿ, ãàëåðèÿ Àòà-Ðàé, Ñîôèÿ, 1993 Îòâúä âÿðàòà. Ñúâðåìåííî èçêóñòâî îò Èçòî÷íà Åâðîïà, Ìóçåé çà ñúâðåìåííî èçêóñòâî, ×èêàãî, ÑÀÙ, 1995 Ìóçåé Allen Memorial, Êîëåæ Îáåðëèí, ÑÀÙ è Èíñòèòóò çà ñúâðåìåííî èçêóñòâî, Ôèëàäåëôèÿ, ÑÀÙ, 1996 Ìóçåé Äæîñëèí, Îìàõà, ÑÀÙ, 1997 Ëú÷åçàð Áîÿäæèåâ. I love Jesus – ìàãàçèí çà ñóâåíèðè,

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222 áèâøå ïîñîëñòâî íà Áúëãàðèÿ, Aller-Retour, Òðåòî öåòèíñêî áèåíàëå, Öåòèíå, Ñúðáèÿ è ×åðíà Ãîðà, 1997

Serbia and Montenegro, 1997

Àâòîïîðòðåò êàòî êîíöåïòóàëíà èêîíà.  ÷åñò íà Äæîóçåô Êîñóò, 1995 (÷àñò îò èíñòàëàöèÿòà  ÷åñò íà, 1995) öâåòíà ôîòîãðàôèÿ, 50 õ 64,5 Orient/ation, 4-òî Ìåæäóíàðîäíî áèåíàëå, Èñòàíáóë, Òóðöèÿ, 1995

Self-portrait as a Conceptual Icon, Homage to Joseph Kosuth, 1995 (part from the installation Homage to, 1995) color photograph, 50 õ 64,5 Orient/ation, 4th International Biennial, Istanbul, Turkey, 1995

Don’t Art Around, 1995 áåëè òåíèñêè ñ íàäïèñ, òèðàæ Ïðîèçâåäåíè âúâ âðúçêà ñ îòêðèâàíå íà èçëîæáàòà Îòâúä âÿðàòà, ÌÑÈ, ×èêàãî, ÑÀÙ, 1995 Ñòîëîâå è ñèìâîëè. Ïðîåêò çà ìèðíà ñúâìåñòíà èäåíòèôèêàöèÿ, 1995-2001 11 öâåòíè ôîòîãðàôèè, 50 õ 70 âñÿêà; 11 äèãèòàëíè ãðàôèêè, 50 õ 70 âñÿêà Êðúâ è ìåä. Áúäåùåòî å íà Áàëêàíèòå, Êîëåêöèÿ Åññë, Êëîñòåðíîéáóðã/Âèåíà, Àâñòðèÿ, 2003 Ãëîáàëíè ïîçèöèè âúâ â-ê Ùàíäàðä, Museum in Progress, Âèåíà, íîåìâðè – äåêåìâðè 2001, http://www.mip.at/de/werke/525.html Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Êíîë, Âèåíà, 2001

Don’t Art Around, 1995 white t-shirts with text, edition; produced on the occasion of the opening of Beyond Belief: Contemporary Art from East Central Europe, MCA, Chicago, USA Chairs and Symbols, Project for Peaceful Co-Identification, 1995-2001 11 color photographs, 50 x 70 each, 11 digital prints, 50 x 70 each Blood & Honey / Future’s in the Balkans, The Essl Collection, Klosterneuburg/Vienna, 2003 Globale Positionen in Der Standard Daily, Museum in Progress, Vienna, Nov.-Dec. 2001 http://www.mip.at/de/werke/525.html Luchezar Boyadjiev, Knoll Galerie, Vienna, 2001

Luchezar Boyadjiev, Remont Gallery, Belgrade, 2000-2001 Communication, Aschersleber Kunst-und Kulturverein, Aschersleben, Germany, 2000 Luchezar Boyadjiev. E-Face 2000. web version http://www.halle-fuer-kunst.de/luchezar/; http://www.halle-fuer-kunst.de/web/.

Halle_fuer_Kunst, Luneburg, Germany, 2001 TEMP-Balkania, Kiasma Museum of Contemporary Art, Helsinki, 1999 Bulgariaavangarde. Kraeftemessen II, Kuenstlerwerkstatt Lothringerstrasse, Munich, 1998 I Love Jesus – Souvenir Shop, former Bulgarian Embassy, Cetinje, Serbia and Montenegro, 1997 Up and Down. Back and Forth. 68 Hope Street Gallery.

Part of: Escaping Gravity. Video Positive’97, Liverpool, England, 1997 Projects from..., National Gallery for Foreign Art, Sofia, 1995 The Fountain of Europe. Doubletake, 1994-1995 Installation, pillows, text, bed, moving objects, drawings, etc., dimensions variable.

The Fountain of Europe. Doubletake, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, USA, 1994

Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Ðåìîíò, Áåëãðàä, 20002001 Communication, Aschersleber Kunst-und Kulturverein, Aschersleben, 2000 E-Face 2000. Èíòåðíåò âåðñèÿ http://www.hallefuer-kunst.de/luchezar/; http://www.halle-fuerkunst.de/web/. Halle_fuer_Kunst, Luneburg, 2001 TEMP-Balkania, Ìóçåé çà ñúâðåìåííî èçêóñòâî Êèàçìà, Õåëçèíêè, 1999 Áúëãàðèÿàâàíãàðä. Kraeftemessen II, Kuenstlerwerkstatt Lothringerstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998 I love Jesus – Souvenir Shop, áèâøå áúëãàðñêî ïîñîëñòâî, Öåòèíå, Ñúðáèÿ è ×åðíà ãîðà, 1997 Up and Down. Back and Forth. 68 Hope Street Gallery. ×àñò îò Escaping Gravity – Video Positive’97, Ëèâúðïóë, 1997 Ïðîåêòè îò..., Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ, 1995 Ôîíòàíúò íà Åâðîïà, 1994-1995 èíñòàëàöèÿ, âúçãëàâíèöè, òåêñò, ëåãëî, äâèæåùè ñå îáåêòè, ðèñóíêè, âàðèðàùè ðàçìåðè Ôîíòàíúò íà Åâðîïà, Öåíòúð çà êóðàòîðñêè èçñëåäâàíèÿ, êîëåæúò Áàðä, Àíàäåéë-îí-Õúäñúí, ÑÀÙ, 1994

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224 Ôîíòàíúò íà Åâðîïà, Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ, 1995 Îòâúä ãðàíèöèòå, Ïúðâî ìåæäóíàðîäíî áèåíàëå, Êâàíäæó, Ðåïóáëèêà Êîðåÿ, 1995

The Fountain of Europe, National Gallery for Foreign Art, Sofia, 1995 Beyond the Borders, 1st International Biennial, Kwangju, South Korea, 1995

Äîì / Ãðàä, 1998 èíñòàëàöèÿ (27 ôîòîêîëàæà, ìîíòèðàíè âúðõó êàðòà íà Ñîôèÿ, íàðèñóâàíà âúðõó ñòåíà) Money/Nations, Øåäõàëå, Öþðèõ, Øâåéöàðèÿ, 1998 Leisure and Survival, Òàêñèñïàëå, Èíñáðóê, Àâñòðèÿ, 1999 Reachable(s), ãàëåðèÿ CIX, Ñêîïèå, 1999 L’Autre moitie de l’Europe. Social Reality / Existence / Politics, Íàöèîíàëíà ãàëåðèÿ Æî äå Ïîì, Ïàðèæ, 2000 Virtual Urban, http://www.arthouse.ie/exhibitions/vu/index.html ; http://www.potrc.org/vu/luchezer.htm, 2000

Home / Town, 1998 installation (27 photo collages mounted over a wall-painted map of Sofia) Money/Nations, Shedhalle, Zurich, Switzerland, 1998 Leisure and Survival, Taxispalais, Innsbruck, Austria, 1999 Reachable(s), CIX Gallery, Skopje, 1999-2000 L’Autre moitie de l’Europe. Social Reality / Existence / Politics, Galerie nationale du Jeu de Paume, Paris, 2000 Virtual Urban, http://www.arthouse.ie/exhibitions/vu/index.html ; http://www.potrc.org/vu/luchezer.htm, 2000

10 ïëàæíè çàâåòà, 1994 èíñòàëàöèÿ çà êîíêðåòíî ìÿñòî, òåêñò ìàðêåð âúðõó èçîñòàâåíà áåòîííà ôîðìà íà ïúòåêàòà êúì ïëàæà â Àðêóòèíî, Áúëãàðèÿ. Âëàæíîñò – ïëåíåð çà àâàíãàðäíî èçêóñòâî, Àðêóòèíî, Áúëãàðèÿ, 1994

10 Beach Commandments, 1994 site-specific installation, text with permanent marker on abandoned concrete structure on the path to a beach on the Black Sea Coast, Arkoutino, Bulgaria Moisture – Plainair for Avant-garde art. Organized by KA Gallery (Bourgas) in Arkoutino, on the Black Sea Coast, Bulgaria, 1994

Çàâðúùàíåòî íà Âåðîíèêà â êóõíÿòà, 1997 ëàçàðåí îòïå÷àòúê âúðõó õàðòèÿ, 230 õ 340 Aller-Retour, Òðåòî ìåæäóíàðîäíî áèåíàëå, Öåòèíå, Ñúðáèÿ è ×åðíà ãîðà, 1997 Reachable(s), ãàëåðèÿ CIX, Ñêîïèå, 1999 Ôðîíò çà êîìóíèêàöèÿ, Öåíòúð çà ñúâðåìåííî èçêóñòâî Áàíÿ Ñòàðèííà, Ïëîâäèâ, Áúëãàðèÿ, 1999

Veronica Revisiting Kitchen, 1997 laser print on paper, 230 õ 340 120 Aller-Retour, 3rd International Biennial, Cetinje, Serbia and Montenegro, 1997 Reachable(s), CIX Gallery, Skopje, 1999 Communication Front, Center for Contemporary Art 121 Ancient Bath, Plovdiv, Bulgaria, 1999

Íàâúòðå/íàâúíêà..., ïàê íàâúòðå, 1999 öèêúë äèãèòàëíè îòïå÷àòúöè âúðõó õàðòèÿ, 14 áðîÿ 70 õ 90 âñåêè, åäèí áðîé 160 õ 220 Íàâúòðå/íàâúíêà..., ïàê íàâúòðå, Ðåçèäåíöèÿ íà øâåéöàðñêèÿ ïîñëàíèê, Ñîôèÿ, 1999 Reachable(s), ãàëåðèÿ CIX, Ñêîïèå, 1999 On Demand, ãàëåðèÿ Ôîòîõîô, Çàëöáóðã, Àâñòðèÿ, 1999 Publi©domain, Ôîòîòðèåíàëå’ 99, Ãðàö, Àâñòðèÿ, 1999 Reality Watch_ICA, Õóäîæåñòâåíà ãàëåðèÿ, Ðóñå, Áúëãàðèÿ, 2001 Correspondences, ãàëåðèÿ ÈÔÀ, Áåðëèí, Ùóòãàðò, Áîí, 2001 Íàâúòðå/Íàâúíêà..., Öåíòúð çà àêàäåìè÷íè èçñëåäâàíèÿ, Ñîôèÿ, 2002 Graphica Creativa ’02, Ìóçåé “Jyvaeskylae” / Jyvaeskylae” ãðàôè÷åí öåíòúð, Jyvaeskylae, Ôèíëàíäèÿ, 2002

In/Out…, in Again, 1999 cycle of digital prints on paper, 14 prints 70 x 90 each, one print 160 x 220 In/Out…, in Again, at the Swiss Embassy Residence, Sofia, 1999 Reachable(s), CIX Gallery, Skopje, 1999-2000 122 On Demand, Galerie Fotohof, Salzburg, Austria, 1999 Publi©domain, Fototriennale ’99, Graz, Austria, 1999 Reality Watch_ICA, Municipal Art Gallery, Rousse, Bulgaria, 2001 Correspondences, IFA Galerie, Berlin / Stuttgart / Bonn, 2001 In/Out…, Center for Advanced Studies, Sofia, 2002 Graphica Creativa ’02, Jyvaeskylae Art 123 Museum/Jyvaeskylae Centre for Printmaking, Jyvaeskylae, Finland, 2002

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226 ÒÒîé ñå ñúáóäè åäíà ðàííà ñóòðèí è òîâà å, êîåòî âèäÿ. Òîé áåøå â Ñîôèÿ Èìàøå ìíîãî íàäåæäà Íàâúòðå / Íàâúíêà , ïàê íàâúòðå  êðàÿ íà êðàèùàòà, àêî õîðàòà ñè îáùóâàò, çàùî è òåõíèòå äîìîâå äà íå ìîãàò äà ñè îáùóâàò? Áåøå ÷óâàë ìíîãî ñëóõîâå çà òàçè ñòðàíà. Áåøå òðóäíî äà ñå óçíàå êàêâà å èñòèíàòà Õîðàòà òóê îáè÷àò äà êàçâàò äåöàòà ñà áúäåùåòî íà ñòðàíàòà”. Òðóäíî å ÷îâåê äà íå å ñúãëàñåí ñ òîâà Ñòðàííî, óëèöèòå íà òîçè ãðàä áÿõà ïúëíè ñ åíåðãèÿ è æèâîò, îñîáåíî ïðåç ëÿòîòî. Áåøå ïðèÿòíî äà èçëåçåø íàâúí èíêîãíèòî è äà ñå ðàçõîæäàø áåç íÿêîé äà òå ðàçïîçíàå Íå áåøå íåîáõîäèìî äà ìó îáÿñíÿâàò êúäå ñå íàìèðà. Òîâà áåøå î÷åâèäíî Áåøå î÷åâèäíî, ÷å ïðè òàêèâà ñóðîâè óñëîâèÿ, ïðåñàòà íà æèâîòà ñå îòðàçÿâà âúðõó âñåêè, äîðè âúðõó íàéñèëíèòå. Çàòîâà òîé ñè íàìåðè ïðèÿòåëè Ìÿñòî, êúäåòî äà ñåäíåø è ïîïðèêàçâàø. Òàêîâà âèíàãè å áèëî äîñòúïíî çà ñìåñåíîòî BG îáùåñòâî, îáèêíîâåíî èäâàùî òóê Ìíîãî ÷åñòî ñòðàíàòà ïðîèçâåæäàøå ïðåêàëåíî ìíîãî ðåàëíîñò çà ñâîåòî ñîáñòâåíî äîáðî Íÿìàøå íà÷èí äà ñå ïðåäñêàæå òî÷íî êîãà è êàê òîâà ùå èçáóõíå â

He woke up one early morning and this is what he saw. He was in Sofia There was a lot of hope In/Out, in again After all, if people could interact why shouldn’t their homes interact as well?

He had heard a lot of rumors about the country. It was difficult to know what is the fair truth People here liked to say that “the children are the future of the country”. One could hardly disagree with that Strangely enough the streets of this city were full of energy and life, especially during the summer. It was so nice to go 124 out there incognito and walk around recognized by no one He did not have to be explained the kind of place he was in.

That was self-evident It was obvious that every now and then the pressure of life under such harsh conditions could get a hold on everybody, even on the strongest of them all. So, he made friends A place to sit down and talk. This has always been available to the mix of BG society usually coming here Very often the country was producing far too much reality for its own good There was no way to predict exactly when and how it might burst open in a massive spree of violent activity Very often the country was producing far too much reality for its own good Of course, he was never quite sure that he was getting the

áåñåí ïîðîé îò íàñèëèå Ìíîãî ÷åñòî ñòðàíàòà ïðîèçâåæäàøå ïðåêàëåíî ìíîãî ðåàëíîñò çà ñâîåòî ñîáñòâåíî äîáðî Ðàçáèðà ñå, òîé íå áåøå ñúâñåì ñèãóðåí, ÷å ñõâàùà çíà÷åíèåòî íà âñè÷êè âèöîâå, êîèòî ìåñòíèòå ñè ðàçêàçâàõà åäèí íà äðóã íà ÷àøêà, íî íåçàâèñèìî îò òîâà, âåñåëàòà òúëïà áåøå òàì Íèâîòî íà ôàêòîðà îöåëÿâàíå â òàçè ñòðàíà áåøå íåâåðîÿòíî âèñîêî. Áÿõà ìó ÿñíè è íàé-íåîáè÷àéíèòå íà÷èíè, êîèòî õîðàòà íàìèðàõà, çà äà îöåëåÿò Òîé ñè ìèñëåøå, ÷å êóëòóðàòà íà îïëàêâàíåòî”, òåðìèí, ïðîèçëÿçúë îò ìåñòåí õóäîæíèê, ñ êîãîòî òîé ðàáîòåøå, å àäåêâàòíî, íî íå òîëêîâà ÷åñòíî îïèñàíèå íà ìåñòíîòî status quo ñëåä 1989 Ïîíÿêîãà ïðîñòî èìàøå òîëêîâà ìíîãî íåùà äà ñå âúðøàò, ïîäðåæäàò, îáãðèæâàò Äâèæèìîñòè – ìîÿòà ñòàÿ, 1998 äèãèòàëåí îòïå÷àòúê âúðõó òåêñòèë, äâà áðîÿ, 380 õ 450 âñåêè Áúëãàðèÿàâàíãàðä, Êþíñòëåðôåðêùàäò Ëîòðèíãåðùðàñå, Ìþíõåí, Ãåðìàíèÿ, 1998 Èçìèñëÿíå íà íàðîä. Ñúâðåìåííî èçêóñòâî îò Áàëêàíèòå, Ìåæäóíàðîäíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ; Áóêóðåù, Ñîëóí,

full meaning of all these jokes local people were telling each other over a drink but the fun throng was there anyway The level of the survivability factor in this country was incredibly high. He was aware of even the most outlandish ways that people were able to find in order to make a living He thought that “the Culture of Complaint”, a term coined 125 by a local artist he was working with, is an adequate but not so fair description of the status quo around here after 1989 Occasionally there was just so much to do, take care of, arrange

Movables – My Room, 1998 digital print on textile, each one 380 x 450 Bulgariaavantgarde. Kraeftemessen II. Kuenstlerwerkstatt Lothringerstrasse, Munich, Germany, 1998 Inventing a People. Contemporary Art in the Balkans.

126 National Gallery for Foreign Art, Sofia; ArtExpo Foundation, Bucharest; Macedonian Museum of Contemporary Art, Thessaloniki, Greece; Art Box,

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228 Êàâàëà, Ëàðèñà, 1999 Paravent, Êóíñòõàëå Êðåìñ, Êðåìñ, Àâñòðèÿ, 2004 Ëàô ìîàáåò, 1998 109 ôîòîãðàôèè, 9 õ 13 âñÿêà Ëàô ìîàáåò, ÈÑÈ-Ñîôèÿ, 1998 Reachable(s), ãàëåðèÿ CIX, Ñêîïèå, 1999 cooperativ – Kunstdialoge Ost-West, Óëì, Ãåðìàíèÿ, 2000 GastARTbeiter, 2000 äèãèòàëåí îòïå÷àòúê, 210 õ 510, (è êàòî ÷àñò îò Å-Face 2000, èíòåðàêòèâíà âåðñèÿ) Budapest Box, Ìóçåé Ëóäâèã, Áóäàïåùà, 2002 Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Êíîë, Âèåíà, 2001-2002 E-Face 2000, Halle_fuer_Kunst, Ëþíåáóðã, Ãåðìàíèÿ, 2001 Õóäîæíèê, êîéòî íå ãîâîðè àíãëèéñêè, íå å õóäîæíèê, ãàëåðèÿ Êíîë, Áóäàïåùà, 2001 è Õóäîæåñòâåí ñàëîí – Òàëèí, Òàëèí, 2002 Ëàô ìîàáåò, Ìóçåé çà ñúâðåìåííî èçêóñòâî, Ñêîïèå, 2001 Íå ìå ãëåäàé ñ òàêúâ òîí!, Ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 2001

Kavala, Greece; Contemporary Art Center of Larissa, Larissa, Greece, 1999 Paravent, Kunsthalle Krems, Austria, 2004 Small Talk, 1998 109 photographs, 9 x 13 Small Talk 1, Institute of Contemporary Art, Sofia, 1998 Reachable(s), CIX Gallery, Skopje, 1999 Ñooperativ – Kunstdialoge Ost-West, Stadthaus Ulm, Ulm, Germany, 2000 GastARTbeiter, 2000 127 ink-jet print on paper, 210 x 510 (also part of Å-Face 2000, interactive version) 128 Budapest Box, Ludwig Museum, Budapest, 2002 Luchezar Boyadjiev, Knoll Galerie, Vienna, 2001-2002 E-Face 2000, Halle_fuer_Kunst, Luneburg, 2001 An Artist who does not speak English is not an artist, Knoll Galerie, Budapest, 2001; Tallinna Kunstihoone (Tallinn Art Hall), Tallinn, 2002 Small Talk, Museum of Contemporary Art, Skopje, 2001 Don’t Look at Me with this tone!, Section 13, Shipka 6 Gallery, Sofia, 2001 Luchezar Boyadjiev, Remont Gallery, Belgrade, 2000-2001

Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Ðåìîíò, Áåëãðàä, 2000-2001 Leseraum (×èòàëíÿ), Ñåöåñèîí, Âèåíà, 2000-2001 Êîìóíèêàöèÿ, Êóíñòôåðàéí Àøåðñëåáåí, Àøåðñëåáåí, Ãåðìàíèÿ, 2000 cooperativ – Kunstdialoge Ost-West, Óëì, Ãåðìàíèÿ, 2000 Ôðîíò çà êîìóíèêàöèè 2, Öåíòúð çà ñúâðåìåííî èçêóñòâî Áàíÿ Ñòàðèííà, ãàëåðèÿ Ìåêñèêàíñêà êúùà, Ïëîâäèâ, Áúëãàðèÿ, 2000 ArtMoscow ‘2000, Öåíòðàëåí äîì íà õóäîæíèêà, 129, Ìîñêâà, 2000 130, E-FACE 2000/ Pro@Contra – MachineMachy, ArtMedia- 131, Center TV Gallery, Ìîñêâà Áåçöåííî, Ìîäåðíà Ãàëåðèÿ, Ëþáëÿíà, 2000 (1) Âèíàãè ïëàíèðàì (2) äà ñëîæà ðåä (3) â æèâîòà ñè.

(4) Êàòî íàïðèìåð äà ðåøà (5) êîè ñà ìîèòå ïðèîðèòåòè è (6) äà íå ïèëåÿ âðåìå è åíåðãèÿ (7) çà äðåáíè íåùà.

(8) Ðåä â ìîèòå (9) îòíîøåíèÿ ñ õîðàòà (10) ñèíà ìè,

Leseraum, Secession, Vienna, 2000-2001 Communication, Aschersleber Kunst-und Kulturverein, Aschersleben, Germany, 2000 cooperativ – Kunstdialoge Ost-West, Stadthaus Ulm, Ulm, Germany, 2000 Communication Front 2, Center for Contemporary Art Ancient Bath, Mexican House Gallery, Plovdiv, Bulgaria, 2000 ArtMoscow ‘2000, Central House of the Artist, Moscow, 2000 E-FACE 2000/ Pro@Contra – MachineMachy, ArtMediaCenter TV Gallery, Moscow Worthless (Invaluable), Moderna Galerja, Ljubljana, 2000 (1) I am always planning (2) to put some order (3) in my life.

(4) Like - getting my (5) priorities straight and (6) not waste time/energy (7) on small things.

(8) Order in my (9) relations to people (10) my son,

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230 (11) ëþáèìàòà, 132, (11) my love, (12) ìàéêà ìè, 133, (12) my mother, (13) my friends, my enemies, (13) ìîèòå ïðèÿòåëè, ìîèòå âðàãîâå, (14) my art “dependents” (14) ìîèòå õóäîæåñòâåíè íàâëåöè, (15) that call at odd hours (15) êîèòî çâúíÿò ïî âñÿêî âðåìå (16) for no obvious reason, (16) áåç âèäèìà ïðè÷èíà, (17) my colleagues, my (17) ìîèòå êîëåãè, ìîèòå (18) e-mailers, my students, (18) èìåéëúðè, ìîèòå ñòóäåíòè, (19) etc.

(19) è ò. í.

(20) Order in my health , (20) Ðåä â ìîåòî çäðàâå , (21) like not smoking (21) êàòî äà ïðåñòàíà äà ïóøà (22) for more than a week, (22) çà ïîâå÷å îò ñåäìèöà (23) at first/at least, (23) êàòî íà÷àëî/èëè íàé-ìàëêîòî, (24) and maybe running (24) è ìîæå áè äà ñè ïðàâÿ (25) íÿêîè èçñëåäâàíèÿ 134 (25) some tests every (26) once in a while, (26) îò âðåìå íà âðåìå, (27) let alone getting back in (27) äà íå ãîâîðèì, ÷å òðÿáâà äà âúðíà (28) some of my missing (28) îáðàòíî ïîíå ÷àñò îò ëèïñâàùèÿ (29) “mouth instrumentarium” (29) ìè óñòåí èíñòðóìåíòàðèóì”...

(30) Order in my work/career (30) Ðåä â ìîÿòà ðàáîòà/êàðèåðà (31) like, sit down and (31) êàòî íàïðèìåð äà ñåäíà è (32) finally put together (32) íàé-íàêðàÿ äà ïîäðåäÿ (33) my mailing list.

(33) ìåéëèíã ëèñòà ñè.

(34) Or my documentation, (34) Èëè ìîÿòà äîêóìåíòàöèÿ, (35) for instance texts (35) íàïðèìåð ìîè òåêñòîâå

(36) è òåêñòîâå (37) çà ìîè ðàáîòè â (38) ñïðåòíàòè ïàïêè, êîèòî ñà (39) ïîäðåäåíè, ëåñíè çà ðàáîòà (40) è êîìïàêòíè , (41) áåç èçïëúçâàùè ñè èçðåçêè (42) èëè ïàð÷åòà îò âåñòíèöè (43) íàâñÿêúäå (44) Èëè ñíèìêè, äèàïîçèòèâè, ôëîïèòà, (45) ïðîåêòíè ðèñóíêè, è ò. í.

(46)  ïëàñòìàñîâè äæîáîâå (47) è ñîëèäíè ïàïêè, (48) êîèòî íå âúðâÿò õðîíîëîãè÷íî, (49) à ïî ëîãèêàòà íà (50) ñúäúðæàíèå, òåõíèêà, è ò. í.

(51) Èëè êàòàëîçè, ñïèñàíèÿ (52) è âñè÷êèòå ïîäîáíè íåùà, (53) êîèòî ñà (54) ãðúáíàêúò íà ñóåòàòà (55) è áúäåùî áðåìå (56) çà ìîÿ ñèí (57) Ñëàâà Áîãó, (58) ïîíå ìîèòå ðàáîòè, (59) òåçè, êîèòî ñà òóê, (60) ñà ïîäðåäåíè

(36) by me and texts (37) on my work in (38) neat folders which are 135 (39) orderly, easy to handle (40) and compact, (41) no loose clippings (42) or piles of paper (43) everywhere (44) Or photos, slides, floppies, (45) project drawings, etc.

(46) in plastic sheets (47) and solid folders (48) that don’t go chronologically (49) but in terms of (50) content, medium, etc.

(51) Or catalogues, magazines (52) and all that stuff (53) which is the 136 (54) backbone of vanity (55) and a future burden (56) on my son (57) Thank God, (58) at least my works, (59) the ones that are here, (60) are stacked

231

232 (61) â êóòèè, êîèòî , (62) å äîáðå, òå ñà (63) íàâñÿêúäå èç êúùè (64) Òîâà èçãëåæäà, (65) ÷å ñå ïðåâðúùà â (66) ïîñòîÿíåí íàâèê.

(67) Ñèãóðåí ñúì, ÷å (68) àêî íÿêîãà èìàì (69) ìîå ñîáñòâåíî (70) àòåëèå ñ (71) ìíîãî ïðîñòðàíñòâî è (72) øêàôîâå è ò. í., (73) àç ùå ïðîäúëæà (74) äà äúðæà âñè÷êî (75) â êóòèè (76) Ðåä (77) òîâà íèêîãà íå ñå îòíàñÿ (78) äî ìåí (79) àç âèíàãè (80) ãóáÿ (81) äîáðèòå íàìåðåíèÿ (82) è ñå îòïëåñâàì ïî (83) âñåêèäíåâíàòà (84) ðàáîòà, (85) òåëåôîííè îáàæäàíèÿ,

(61) in boxes which, (62) well, they are (63) everywhere at home (64) This seems to (65) has developed into (66) a permanent habit.

(67) I am sure that (68) if I ever have (69) a studio of (70) my own with (71) lots of space and (72) cabinets, etc., (73) I will still (74) keep everything 137 (75) In boxes (76) Order (77) it never works (78) with me (79) I always (80) end up loosing (81) the good intentions (82) and get carried (83) away by the daily (84) workload, (85) telephone calls,

(86) çàäà÷êè çà âúðøåíå, (87) ãëóïàâè âðúçêè è (88) ïðåãîâîðè áåç áúäåùå.

(89) Èñêà ìè ñå ïîíå 138, (90) äà ñòàíà ìàëêî 139, (91) ïî-óìåí è (92) äà ñè äúðæà óñòàòà çàòâîðåíà (93) ïî òîçè íà÷èí (94) èäåèòå, êîèòî èìàì (95) ùå áúäàò ñïîäåëåíè (96) åäâà ñëåä êàòî (97) ãè ðåàëèçèðàì (98) Ìàëêèòå íåùà âèíàãè (99) ñå èçïðå÷âàò íà ïúòÿ ìè.

(100) Ïîñòîÿííî ìèñëÿ (101) äà ñå îòúðâà îò òÿõ, íî òå (102) âñå ñå çàâðúùàò.

(103) Ìàëêèòå íåùà èãðàÿò (104) òîëêîâà ãîëÿìà ðîëÿ â ìîÿ æèâîò (105) Ïîíÿêîãà ñè ìèñëÿ, (106) ÷å æèâîòúò ìè (107) ñå ñúñòîè ñàìî îò (108) ìàëêè íåùà.

(109) Íî ãè çàáåëÿçâàì åäèíñòâåíî, êîãàòî ñå ïðèáåðà ó äîìà ñëåä íÿêîå ïúòóâàíå.

233

(86) errands, (87) stupid alliances and (88) futureless negotiations.

(89) I wish at least (90) I could get a bit (91) more clever and (92) keep my mouth shut (93) this way the (94) ideas I have (95) will be shared (96) only after they (97) are realized (98) Small things always get (99) in my way.

(100) I always mean to get (101) rid of them but they (102) keep on coming back.

(103) The small things play (104) such a big role in my life (105) Sometimes I think (106) that my life (107) consists only of (108) small things.

(109) But I only notice them when I come back home from a trip.

234 ©Ë×ÇÐ ÁÄÆÂ’98 Àíãëèéñêè çà õóäîæíèöè, 2000 äèãèòàëåí îòïå÷àòúê, 29 õ 21 Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Ðåìîíò, Áåëãðàä, 2000 Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Êíîë, Âèåíà, 2001 Schadenfreude Guided Tours, 2003 Ïúðôîðìàíñè. Èíñòàëàöèÿ, ðèñóíêè, âèäåî, îáðàáîòåíè êàòàëîçè, è äð., âàðèðàùè ðàçìåðè, äúëæèíà è êîíòåêñò.  äåáðèòå íà Áàëêàíèòå, Êóíñòõàëå Ôðèäåðèöèàíóì, Êàñåë, Ãåðìàíèÿ, 2003 Íåäêî Ñîëàêîâ. 12 1/3 (÷å è îùå) ãîäèíè ïðåãëåä. Êàçèíî Ëþêñåìáóðã – ôîðóì çà ñúâðåìåííî èçêóñòâî, Ëþêñåìáóðã, 2004 Love it or leave it, Ïåòî Öåòèíñêî áèåíàëå, Öåòèíå, Ñúðáèÿ è ×åðíà ãîðà, 2004 Êîñìîïîëèñ, Íàöèîíàëåí ìóçåé çà ñúâðåìåííî èçêóñòâî, Ñîëóí, Ãúðöèÿ, 2004 Belonging, Ñåäìî ìåæäóíàðîäíî áèåíàëå, àðäæà, Îáåäèíåíè àðàáñêè åìèðñòâà, 2005

©LCHZR BDJV’98 English for Artists, 2000 digital print, 29 õ 21 140 Luchezar Boyadjiev, Remont Gallery, Belgrade, 2000 Luchezar Boyadjiev, Knoll Gallery, Vienna, 2001 Schadenfreude Guided Tours, 2003 performances; installation, drawings, video, worked-on catalogue, etc., dimensions, length and specific context variable In the Gorges of the Balkans, Kunsthalle Fridericianum, Kassel, Germany, 2003 Nedko Solakov. A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, 2004 Love it or leave it, 5th Cetinje Biennial, Cetinje, Serbia and Montenegro, 2004 Cosmopolis, National Museum of Contemporary Art, Thessalonica, Greece, 2004 141 Belonging, 7th International Sharjah Biennial, Sharjah, UAE, 2005

Ìàðèÿ Çàôèðêîâà, ð. 1951

Maria Zafirkova, b. 1951

King Size 1, 1997 àêðèë âúðõó ïëàòíî, 40 x 40 King Size, ãàëåðèÿ Îñåì, Âàðíà, 1997 Ïúòèùà áåç äóìè, 2004 ïàìóê, àêðèë, 160 õ 200 Àâãóñò â èçêóñòâîòî, Ôåñòèâàë íà âèçóàëíèòå èçêóñòâà, Âàðíà, 2004

King Size 1, 1997 acrylic on canvas, 40 õ 40 King Size, Osem (Eight) Gallery, Varna, Bulgaria, 1997 Ways Without Words, 2004 cotton, acrylic, 160 x 200 142 August in Art, Festival of Visual Arts, Varna, Bulgaria, 2004

Íàäåæäà Îëåã Ëÿõîâà, ð. 1960

Nadezhda Oleg Lyahova, b. 1960

ÍÎË, 1999 îáåêò, 100% ðàçìèò àâòîðñêè ñàïóí Ñàïóíåíè îòðàæåíèÿ, ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1999 donumenta, Salzstadel-Museum, Regensburg, 2005 Big Mag, 2004 äèãèòàëåí îòïå÷àòúê, âàðèðàùè ðàçìåðè Ãëîáàëíîòî è ÷îâåêúò, Òåàòðàëíà ðàáîòèëíèöà Ñôóìàòî, Ñîôèÿ, 2004 (Ãð)àäñêè ïðèêàçêè, ÑÃÕÃ, 2006

NOL, 1999 object, 100% liquid author’s soap Soap Reflections, ÀÒÀ Center for Contemporary Art, Sofia, 1999 donumenta, Salzstadel-Museum, Regensburg, 2005 143 Big Mag, 2004 print, dimensions variable The Global and the Man, Sfumato Theatre-Laboratory, Sofia, 2004 Urban Legends, Sofia Art Gallery, 2006

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236 Íåäêî Ñîëàêîâ, ð. 1957

Nedko Solakov, b. 1957

Ãîëî òÿëî, 1987 ìàñëåíè áîè, ãðàôèò âúðõó ëåíåíî ïëàòíî, 61 õ 81 (óíèùîæåíà) Ñúñ ñúãëàñèåòî íà õóäîæíèêà. Ñíèìêà: Íåäêî Ñîëàêîâ 144, Ïðåäëîæåíà çà ÎÕÈ Ãîëî òÿëî, 1987 è îòõâúðëåíà 145, îò æóðèòî

Naked Body, 1987 oil and graphite on linen, 60 x 81 (destroyed) Courtesy the artist.

Photo: Nedko Solakov Proposed for The National Art Exhibition Nude in 1987 and rejected by the jury

Ñïîìåíè îò Ôåäåðàëíàòà ðåïóáëèêà, 1989 ãðàôèò, ìàñòèëî, ìàñëåíè áîè, àêðèë, ìåòàë, áèëåòè çà âëàê, ïîùåíñêè êàðòè÷êè, æèöà, êëàìåðè âúðõó äúðâî, 97 x 130 x 3 ñíèìêà: Àíàòîëè Ìèõàéëîâ è Êîíñòàíòèí Øåñòàêîâ. Ñúñ ñúãëàñèåòî íà õóäîæíèêà Êîëåêöèÿ Áóðãåð, Øâåéöàðèÿ 11. 11, ÕÃ, Áëàãîåâãðàä, Áúëãàðèÿ, 1989 Europe Unknown, Palac Sztuki, Êðàêîâ, 1991 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005

Memory from the Federal Republic, 1989 graphite, ink, oil, acrylic, metal, train tickets, postcards, wire, staples on wood, 97 x 130 x 3 Photo: Anatoly Michaylov and Konstantin Shestakov.

Courtesy the artist.

Collection Burger, Switzerland 11. 11, Municipal Art Gallery, Blagoevgrad, Bulgaria, 1989 Europe Unknown, Palac Sztuki, Cracow, 1991 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

Top Secret, 1989-1990 àêðèëíè áîè, ìàñòèëî, ìàñëåíè áîè, ñíèìêè, ãðàôèò, áðîíç, àëóìèíèé, äúðâî, ñðàìíà òàéíà, 179 áðîÿ â îðèãèíàëíà êóòèÿ çà êàðòîòåêèðàíå, 14 x 46 x 39 Ñíèìêà: Àíàòîëè Ìèõàéëîâ è Êîíñòàíòèí Øåñòàêîâ Ñúñ ñúãëàñèåòî íà õóäîæíèêà è Ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí/Öþðèõ Êðàé íà öèòàòà, Êëóá íà (âå÷íî) ìëàäèÿ õóäîæíèê, Ñîôèÿ, 1990 Beyond Belief, Ìóçåé çà ñúâðåìåííî èçêóñòâî, ×èêàãî; Allen Memorial Art Museum, Oberlin College; ICA, Ôèëàäåëôèÿ, 1995-1996 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Privatesierungen. Post-Communist Condition, Kunstwerke, Áåðëèí, 2004 Íåäêî Ñîëàêîâ – Îñòàòúöè (ñåëåêöèÿ íà ìîè íåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ), Êóíñòõàóñ Öþðèõ, Öþðèõ, 2005

Top secret, 1989-1990 acrylic, drawing ink, oil, photographs, graphite, bronze, 146 aluminum, wood, shameful secret, 179 slips in original index box, 14 x 46 x 39 Photo: Anatoly Michaylov and Konstantin Shestakov.

Courtesy the artist and Galerie Arndt & Partner, Berlin/Zurich The End of the Quotation, Club of the (Eternally) Young Artists, Sofia, 1990 Beyond Belief, Museum of Contemporary Art, Chicago; Allen Memorial Art Museum, Oberlin College; ICA, Philadelphia, 1995-1996 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Privatesierungen. Post-Communist Condition, Kunstwerke, Berlin, 2004 Leftovers – a selection of my unsold pieces from the private 147 galleries I work with, Kunsthaus Zurich, Zurich, 2005

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238 Åíöèêëîïåäèÿ Óòîïèÿ, 1990 ñìåñåíà òåõíèêà âúðõó õàðòèÿ, 224 ñòðàíèöè â 3 òîìà, ðú÷íî ïîäâúðçàíè ñ êîæà, 33 õ 25 õ 4 âñåêè. Ñíèìêà: Àíàòîëè Ìèõàéëîâ, Êîíñòàíòèí Øåñòàêîâ Ñúñ ñúãëàñèåòî íà õóäîæíèêà.

The City Utopia, ãàëåðèÿ Bonington, Íîòèíãúì, 1990 From a Moment of Truth..., ãàëåðèÿ Karl Drerup, Äúðæàâåí êîëåæ Ïëèìóò, Ïëèìóò, ÑÀÙ, 1992 Utopia Station, 50 Ìåæäóíàðîäíî Âåíåöèàíñêî áèåíàëå, Âåíåöèÿ, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005

148 Encyclopedia Utopia, 1990 mixed media on paper and various supports, 224 pages in three volumes hardbound in leather, each volume aprox. 33x25x4. Photos: Anatoly Michaylov, Konstantin Shestakov. Courtesy the artist The City Utopia, Bonington Gallery, Nottingham, 1990 From a Moment of Truth..., Karl Drerup Gallery, Plimouth State College, Plimouth, USA, 1992 149 Utopia Station, 50 Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

150, 7 êàðòèíè, 13 ìîùåõðàíèòåëíèöè, 1 èíñòàëàöèÿ 151, (Íîâ Íîåâ êîâ÷åã), 1991-1992 èíñòàëàöèÿ, ñìåñåíà òåõíèêà, âàðèðàùè ðàçìåðè (ôðàãìåíò) Ñúñ ñúãëàñèåòî íà õóäîæíèêà è O.K Centrum, Ëèíö è ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí/Öþðèõ. Ñíèìêà: Íåäêî Ñîëàêîâ.

7 êàðòèíè, 13 ìîùåõðàíèòåëíèöè, 1 èíñòàëàöèÿ (Íîâ Íîåâ êîâ÷åã), ÍÄÊ, Ñîôèÿ 1992

New Noah’s Ark, 1991-1992 mixed media, dimensions variable (detail) Courtesy the artist, O.K Centrum, Linz and Galerie Arndt & Partner, Berlin/Zurich.

Photo: Nedko Solakov.

7 Paintings, 13 Reliquaries, 1 Installation (New Noah’s Ark), National Palace of Culture, Sofia, 1992

Neue Arche Noah, Ifa Galerie, Berlin, 1992 3rd Istanbul Biennial, 1992 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

Neue Arche Noah, ãàëåðèÿ Ifa, Áåðëèí, 1992 Òðåòî Èñòàíáóëñêî áèåíàëå, 1992 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Íåäêî Ñîëàêîâ – Îñòàòúöè (ñåëåêöèÿ íà ìîè íåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ), Êóíñòõàóñ Öþðèõ, Öþðèõ, 2005 7 êàðòèíè, 13 ìîùåõðàíèòåëíèöè, 1 èíñòàëàöèÿ (Íîâ Íîåâ êîâ÷åã) (ôðàãìåíò) Îò íÿêúäå “äðóãàäå” íàðåæäàò íà åäèí îáèêíîâåí ÷îâåê (Íîé) äà ñïàñè ñòðàííèòå ñúùåñòâà, îçîâàëè ñå åäíà ñóòðèí â áàíÿòà íà íåãîâèÿ ïàíåëåí àïàðòàìåíò. Ñúùåñòâàòà èäâàëè îò äðóã ñâÿò (âå÷å ìúðòúâ), ìèíàëè ïðåç áàíÿòà íà Íîé (ãðàíèöàòà ìåæäó íåãîâèÿ è òåõíèÿ ñâÿò) è òðÿáâàëî äà áúäàò “îòêàðàíè” îò íåãî â òîâà “äðóãàäå”. Íèùî îò ñâåòà íà Íîé íå áèâàëî äà âëåçå â êîíòåéíåðà (êîâ÷åãà) îñâåí òåçè ñúùåñòâà. À ñâåòúò íà Íîé áèë îáðå÷åí (òàêà ìó êàçàëè òåçè îò “äðóãàäå”). Íàñòúïèë áèë ïîñëåäíèÿò çåìåí äåí... “Êëàñè÷åñêà” êàðòèíà (“Çàêóñêàòà íà Íîé”), ìàëúê êàìúê ñ íàäïèñ “òè” (êîéòî òîé íàìåðèë ïîä âúçãëàâíèöàòà ñè ñúùàòà ñóòðèí), 12 ðèñóíêè íà

New Noah’s Ark (detail) From somewhere “elsewhere” an instruction has been issued to a common man (Noah) to save the strange creatures which had “landed” one morning in the bathroom of his panel apartment. The creatures had come from another world (already gone); passing through his bathroom (the border between his and their world) and they only had to be “taken” by him to that “elsewhere.” Nothing out of Noah’s world was to get in the container (the Ark) except these 152 creatures.

And Noah’s world had been doomed (that’s what those from the “elsewhere” told him). This was the Eve of Earth’s Last Day...

A “classical “painting (Noah’s Breakfast), a small stone with

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240 êîâ÷åãà, åäíà êíèãà, ïîäðîáíî îïèñâàùà âñè÷êî (ïúëíà è ñ íåäîèçêàçàíè íåùà), ñòðàííè çâóöè îò òå÷àùà âîäà è ìíîãî, ìíîãî øàðåíè ïëàñòìàñîâè ñúùåñòâà, ïúëçÿùè êúì ñâîåòî (íå è íàøåòî) ñïàñåíèå. Íåäêî Ñîëàêîâ, 1991

153 the inscription “you” on it (which Noah found that same morning under his pillow), twelve drawings of the Ark, one book which describes everything in depth, strange sounds of running water and many, many gaily colored plastic creatures, crawling to their (but not our) deliverance.

Nedko Solakov, 1991

Èñòèíàòà (Çåìÿòà å ïëîñêà), 1992-1995 æèâîïèñ, ðèñóíêè, êîëàæ, ñíèìêè, êàðòè, ñ÷óïåíè ãëîáóñè, ïëþøåíè æèâîòíè, âèäåîôèëì íà DVD, öâÿò, çâóê, 9’52’’, ìîíèòîð, CD-ïëåéúð, âèñîêîãîâîðèòåëè, ôëàíåëêà, áúëãàðñêè âåñòíèöè, ðú÷íî íàïèñàíè òåêñòîâå, âàðèðàùè ðàçìåðè. Ñúñ ñúãëàñèåòî íà õóäîæíèêà. Êîëåêöèÿ: MUDAM, Musée d’Art Moderne Grand-Duc Jean du Luxembourg Íåñòàáèëíîñò – Ïðîãðåñ. Ïðîåêò çà 22-ðîòî áèåíàëå â Ñàî Ïàîëî’94, Ôðåíñêè èíñòèòóò, Ñîôèÿ, 1994 22-ðî áèåíàëå â Ñàî Ïàîëî, 1994 Beyond Belief, Museum of Contemporary Art, ×èêàãî; Allen Memorial Art Museum, Oberlin College; ICA, Ôèëàäåëôèÿ, 1995-1996 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum,

The Truth (The Earth is Plane, The World is Flat), 1992-1995 154 painting, drawings, collages, photographs, maps, discarded globes, stuffed animals, video film on DVD, colour, sound, 9’52’’, looped, monitor, CD-player, loudspeakers, T-shirt, Bulgarian newspapers, handwritten texts, dimensions variable. Courtesy the artist. Collection: MUDAM, Musée d’Art Moderne 155 Grand-Duc Jean du Luxembourg Instability – Progress. The Project for the XXII Sao Paulo Biennial’94, French Institute, Sofia, 1994 22 Bienal, Sao Paulo, 1994 Beyond Belief, Museum of Contemporary Art, Chicago; Allen Memorial Art Museum, Oberlin College; ICA, Philadelphia, 1995-1996 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, 156 Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

Ëèíö, 2003-2005 What do the 72-year-old Novel Prize Winner physicist Dr. Haraldar Gusstalsan, the obscure Bulgarian artist Sundy Levakov, the sailor Rodald Berikow, the astronaut Vitali R., the skilful politician Philip Mason, a bum named Goro, and a seven-year-old girl have in common?

You don’t know, do you?

Well, all seven (and a lot more people as well) have recently experienced the sudden revelation that the Earth is actually flat. Since that moment, they have begun living their lives in incredible spiritual harmony all their torments, the endless questions which have clouded their existence are gone The strange thing is that, in one way or another, this story is related to Bulgaria.

Yes, the World is flat.

Believe it!

Êîå å îáùîòî ìåæäó 72-ãîäèøíèÿ Íîâåëîâ ëàóðåàò ôèçèêà ä-ð Õàðàëäàð Ãóñòàëñàí, íåïîçíàòèÿ áúëãàðñêè õóäîæíèê Ñàíäè Ëåâàêîâ, ìîðÿêà Ðîäàëä Áåðèêîó, êîñìîíàâòà Âèòàëèé Ð., îáèãðàíèÿ ïîëèòèê Ôèëèï Ìåéñúí, ñêèòíèêà Æîðî è åäíî ìàëêî 7-ãîäèøíî ìîìè÷åíöå? Íå çíàåòå, íàëè? Îáùîòî å, ÷å è ñåäìèíàòà (à ïîêðàé òÿõ è ìíîãî äðóãè) èçâåäíúæ îñúçíàâàò, ÷å Çåìÿòà âñúùíîñò å ïëîñêà... È òå çàæèâÿâàò â íåâåðîÿòíà äóøåâíà õàðìîíèÿ. Ñòðàííîòî å, ÷å ïî åäèí èëè äðóã íà÷èí, òàçè èñòîðèÿ å ñâúðçàíà ñ Áúëãàðèÿ. Äà, Çåìÿòà å ïëîñêà. Ïîâÿðâàéòå!

This is me, too.…, 1996 mixed (too much) media, all costumes designed and executed by Slava Nakovska, dimensions variable Collection De Vleeshal, Middelburg, The Netherlands Manifesta I, Natuur Museum, Rotterdam, 1996 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,

Òîâà ñúùî ñúì àç...., 1996 ñìåñåíà (ïðåêàëåíî ìíîãî) òåõíèêà, âñè÷êè êîñòþìè ïðîåêòèðàíè è èçïúëíåíè îò Ñëàâà Íàêîâñêà, âàðèðàùè ðàçìåðè Ìàíèôåñòà 1, Ïðèðîäîíàó÷åí ìóçåé, Ðîòåðäàì, 1996 A 12 1/3 (and even more) Year Survey, Casino

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Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Ensemble!, MuHKA, Antwerp, 2005

242 Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Ensemble!, MuHKA, Antwerp, 2005

Ñíèìêàòà íà 129 ñòð. å îò Ìàíèôåñòà 1, Ðîòåðäàì, 1996, íà ñ. 130 îò A 12 1/3 (and even more) Year Survey, Ìàëìüî, 2004, íà ñ. 131 îò Ensemble!, Àíòâåðïåí, 2005

The photo on p. 129 is from Manifesta 1, Rotterdam, 1996; on p. 130 is from A 12 1/3 (and even more) Year Survey, Malmoe, 2004; on p. 131 is from Ensemble!, Antwerp, 2005

Èñòîðèÿòà íà Ñâ. Ïèïî (êîéòî âìåñòî äà ïîäíàñÿ ïîäàðúöè çà Êîëåäà ãè îòíàñÿ), 1998 àêðèëíè áîè âúðõó ðåçáîâàíî îðåõîâî äúðâî, ïîêðèòî ñúñ çëàòåí âàðàê, 60 x 42 x 5 Ñíèìêà: Àíãåë Öâåòàíîâ. Ñúñ ñúãëàñèåòî íà õóäîæíèêà è Ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí/Öþðèõ A Christmas Show, Galerie ars Futura, Öþðèõ, 1998 Stories 1, Center for Contemporary Art, Ujazdowski Castle, Âàðøàâà, 2000 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005

The Story of Saint Pipo (who instead of giving presents takes away the Christmas presents), 1998 acrylic on gilt carved walnut wood, 60 x 42 x 5 Photo Angel Tzvetanov. Courtesy the artist and Gallery Arndt & Partner, Berlin/Zurich.

A Christmas Show, Galerie arsFutura, Zurich, 1998 Stories 1, Center for Contemporary Art, Ujazdowski Castle, Warsaw, 2000 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

Äîáðè íîâèíè, ëîøè íîâèíè, 1989 äåòñêè èãðà÷êè, ñòúêëî, âîäà, çàðîâå, èçêóñòâåíî öâåòå, õèìèêàëêà, ðú÷íî íàïèñàíè òåêñòîâå âúðõó õàðòèÿ è êàìúê, 12 íàñî÷âàùè ëàìïè, âàðèðàùè ðàçìåðè (ôðàãìåíò). Ñíèìêà: Íåäêî Ñîëàêîâ. Ñúñ ñúãëàñèåòî íà õóäîæíèêà.

Medialization, Edsvik Konst. Kultur, Ñîëåíòóíà, Ñòîêõîëì; Eesti Kunstimuuseum, Òàëèí, 1998 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Nuit Blanche, ðàçëè÷íè ìåñòà, Ïàðèæ, 2004

Good News, Bad News, 1998 children’s toys, glass, water, dice, artificial flower, pen, handwritten texts on paper and stone, 12 spotlights, dimensions variable (detail). Photo: Nedko Solakov.

Courtesy the artist.

Medialization, Edsvik Konst. Kultur, Sollentuna, Stockholm; Eesti Kunstimuuseum, Tallinn, 1998 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Nuit Blanche, various locations, Paris, 2004

Ñúîáùåíèå, 1999 ñúîáùåíèå, îòïå÷àòàíî âúðõó 15000 ïîùåíñêè êàðòè÷êè è 200 ôëàíåëêè. Ñúñ ñúãëàñèåòî íà õóäîæíèêà Íàöèîíàëíî ó÷àñòèå íà Áúëãàðèÿ íà 48-òî Âåíåöèàíñêî áèåíàëå, 1999 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Leftovers – a selection of my unsold pieces from the private

Announcement, 1999 message printed on 15,000 postcards and 200 T-shirts.

Courtesy the artist Announcement, Official participation of Bulgaria, La Biennale di Venezia, Venice, 1999 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

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244 galleries I work with, Kunsthaus Zurich, Öþðèõ, 2005 Play Sofia, Kunsthalle Wien/project space Karlsplatz, Âèåíà, 2005 Íà êðèëîòî, 199914 òåêñòà (âèäèìè îò ìåñòàòà äî ïðîçîðöèòå) âúðõó êðèëåòå íà Áîèíã 737 îò îôèöèàëíèÿ ïðåâîçâà÷ íà Ëþêñåìáóðã LUXAIR, âèíèë, âàðèðàùè ðàçìåðè (ôðàãìåíò). Ñúñ ñúãëàñèåòî íà õóäîæíèêà, Êàçèíî Ëþêñåìáóðã è LUXAIR, Ëþêñåìáóðã.  ðàìêèòå íà Faiseurs d’histoires, Êàçèíî Ëþêñåìáóðã – Ôîðóì çà ñúâðåìåííî èçêóñòâî, Ëþêñåìáóðã, 1999 òèðàæ 6+2, ãàëåðèÿ Georges-Philippe & Nathalie Vallois, Ïàðèæ Îòïå÷àòúöè: Faiseurs d’histoires, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, 1999 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Normalisation: That from a long way off look like flies, Platform Garanti Contemporary Art Center, Èñòàíáóë, 2005

Play Sofia, Kunsthalle Wien/project space Karlsplatz, Vienna, 2005 On the Wing, 199914 texts (visible from the window seats) on the wings of six Boeing 737 from the official Luxemburg LUXAIR fleet, vinyl lettering, dimensions variable (detail). Courtesy the artist, Casino Luxemburg and LUXAIR, Luxemburg. In the frames of Faiseurs d’histoires, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, 1999 edition äî 6+2 AP, Galerie Georges-Philippe & Nathalie Vallois, Paris Prints: A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Normalisation: That from a long way off look like flies, Platform Garanti Contemporary Art Center, Istanbul, 2005

El Bulgaro, 2000 complicated mixed media, texts, dimensions variable.

Photos: Nedko Solakov. Courtesy Galerie Arndt & Partner, Berlin, and the artist. Collection Ellipse Foundation, Portugal.

Galerie Arndt & Partner, Berlin, Special Projects ARCO’2000 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

El Bulgaro, 2000 óñëîæíåíà ñìåñåíà òåõíèêà, òåêñò, âàðèðàùè ðàçìåðè. Ñíèìêè: Íåäêî Ñîëàêîâ. Ñúñ ñúãëàñèåòî íà Ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí è íà õóäîæíèêà. Êîëåêöèÿ Ellipse Foundation, Ïîðòóãàëèÿ Galerie Arndt & Partner, Berlin, Special Projects ARCO’2000 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Öþðèõ, 2005

El Bulgaro - The Sensational Discovery

Åë Áóëãàðî Ñåíçàöèîííîòî îòêðèòèå

As disclosed recently, during El Greco’s time, a no less gifted artist lived. El Bulgaro was his name and his paintings and drawings by comparison to the Great Greco’s happened to show much more natural-looking people not the dancing worm type of elongated figures but mighty, kind of flattenedout, stern, but still cute, guys. Who was this person? Why hasn’t anyone heard anything about El Bulgaro?

It is still a secret. Due to very complicated circumstances, it was not possible to disclose his uvre before the year 2000.

Êàêòî ñòàíà ÿñíî íåîòäàâíà, ïî âðåìåòî íà Åë Ãðåêî å æèâÿë åäèí íå ïî-ìàëêî òàëàíòëèâ õóäîæíèê. Íåãîâîòî èìå å Åë Áóëãàðî è íåãîâèòå êàðòèíè è ðèñóíêè, â ñðàâíåíèå ñ òåçè íà ãîëåìèÿ Åë Ãðåêî, ïîêàçâàò äîñòà ïî-åñòåñòâåíî èçãëåæäàùè õîðà - íå îò òèïà íà èçäúëæåíèòå, íàïîìíÿùè òàíöóâàù ÷åðâåé ôèãóðè, à ìîùíè, íÿêàê ñïëåñêàíè, ïëúòíè, íî âñå ïàê ñèìïàòè÷íè ìîì÷åòà. Êîé å òîçè ÷îâåê? Çàùî íèêîé íå å ÷óâàë íèùî çà Åë Áóëãàðî? Òîâà âñå îùå å çàãàäêà.

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246 Èìà òâúðäå ìíîãî ñâèäåòåëñòâà, êîèòî íå ìîãàò äà áúäàò ïðåíåáðåãíàòè, ÷å çàä ëè÷íîñòòà íà Åë Áóëãàðî ñå å êðèåë ñàìèÿò Åë Ãðåêî. Ïðîèçâåæäàíåòî íà âñè÷êè òåçè èçäúëæåíè, õëúçãàâè, íåçäðàâè ôèãóðè äåí ñëåä äåí, ïîðú÷êà ñëåä ïîðú÷êà, î÷åâèäíî å ïîäëîæèëî íà îãðîìíî íàòîâàðâàíå Åëãðåêîâàòà ïñèõèêà. Íàé-âåðîÿòíî ïî ïúëíîëóíèå, â îíåçè òîëåäñêè íîùè, ïðî÷óòèÿò ãðúê ñå å ñúáóæäàë è å äåéñòâàë êàòî ëóíàòèê è, âîäåí îò ñâîèòå ïîäñúçíàòåëíè èìïóëñè, å âëèçàë îòíîâî â àòåëèåòî ñè è å çàïî÷âàë äà ðèñóâà òåçè ïëúòíè, åñòåñòâåíî èçãëåæäàùè ìúæå è æåíè. Ñïîðåä äðóã (âñå îùå íåïóáëèêóâàí) äîêóìåíò, âòîðîòî Àç íà Åë Ãðåêî èäâà îò åäíà îò íåãîâèòå áàáè, àâàíòþðèñòêà, êîÿòî ñå ïðåìåñòèëà íà îñòðîâ Êðèò îò þæíà Áúëãàðèÿ (êîÿòî ïî òîâà âðåìå å ïîä òóðñêà îêóïàöèÿ). Áúëãàðñêîòî ñåìå ñå å ðàçâèâàëî äúëáîêî â ñúçíàíèåòî ìó ïðåç ðàííèòå ìó ãîäèíè â Êðèò, Âåíåöèÿ, Ðèì, Ìàäðèä, çà äà ñå ðàçïóêà ïî íåî÷àêâàí, íåïðåäâèäèì íà÷èí â Òîëåäî. Âúðõó íÿêîè îò îöåëåëèòå ðàáîòè èìà ïîäïèñ Åë Áóëãàðî“. Áúëãàðñêîòî Àç ãî âîäè ïðåç ïúëíîëóííèòå íîùè, êúäåòî å íàìèðàë äóõîâåí áàëàíñ. ßðêàòà ñâåòëèíà, îáãúðíàëà øèðîêî àêëàìèðàíèòå îëòàðíè ïàíà è îôèöèàëíè ïîðòðåòè íà Åë Ãðåãî, íàìèðà ñúîòâåòñòâèå â ñúäáîâíèòå ëóííîîñâåòåíè ñêðîìíè,

Even now, when it is appropriate to do so, it is still too dangerous to exhibit El Bulgaro’s originals (that is why, dear connoisseur, you may have a glimpse only at mediocre recent copies/replicas of part of El Bulgaro’s work.) It seems that a heavy discussion about this discovery“ will take place over the next decade.

Special attention must be paid to one of the possible explanations of the phenomenal El Bulgaro’s existence (kept for centuries in deep secret). There is too much hard-to-ignore evidence that El Greco himself was hiding behind El Bulgaro’s personality. The production of all these elongated, slimy, unhealthy figures all day long, day after day, commission after commission, apparently placed an enormous burden on El Greco’s psyche. Most probably, during the full moon, on those Toledo nights, the famous Greek would wake up acting like a lunatic, not capable of realising what he was doing, and led by his subconscious impulses, he would enter his studio again (or another, still unknown, room) and start painting these mighty, natural-looking men and women, bites from daily life.

According to another (not yet publicly disclosed) document, El Greco’s second ego came from one of his grandmothers who adventurously moved to the island of Crete from Southern Bulgaria (which was at that time under Turkish occupation). It seems that this Bulgarian grandmother put a fateful

mark over little Domenikos. The Bulgarian seed worked deeply in his mind during his early years in Crete, Venice, Rome, Madrid, and eventually it exploded in an unexpected, unpredictable way in Toledo. On some of the surviving works, there is the signature El Bulgaro.“ Finally, the artist felt free to disclose his identity. The Bulgarian ego guided him through full moon nights when he sought spiritual balance. The limelight on El Greco’s widely acclaimed, glorious altarpieces and official portraits found its counterpart in the moonlight illuminating the weird El Bulgaro’s modest but no less honest little paintings.

An incidental witness of these activities happened to be one of the house servants who immediately reported to the family. The folks were horrified and at once called for the family doctor who performed an extensive treatment on El Greco’s body (secretly, of course. The same doctor observed that a possible reason for El Greco’s moonlight walks might be an overdose of the hot chocolate that he normally drank in the late afternoon. The drink was pretty new at that time, a fresh arrival from the new overseas provinces and therefore it still had not been examined properly). The family council decided to keep this second behaviour of the artist a secret. The scandal that certainly would have arisen in the society of potential clients was something that could not be risked. Not to mention, the Inquisition authorities, even in those times, did-

íî íå ïî-ìàëêî èñòèíñêè ìàëêè êàðòèíè. Åäèí äîìàøåí ñëóãà ñòàâà íåâîëåí ñâèäåòåë íà òåçè äåéíîñòè è âåäíàãà äîêëàäâà íà ñåìåéñòâîòî. Õîðàòà áèëè óæàñåíè è íà ìèíóòàòà ïîâèêàëè ñåìåéíèÿ ëåêàð, êîéòî ïîäëîæèë íà ïðîñòðàííî ëå÷åíèå åëãðåêîâîòî òÿëî (òàéíî, åñòåñòâåíî). Ñúùèÿò äîêòîð îòáåëÿçàë, ÷å åäíà îò âúçìîæíèòå ïðè÷èíè çà ñðåäíîùíèòå ðàçõîäêè íà Åë Ãðåêî ñà ïðåêîìåðíèòå äîçè òå÷åí øîêîëàä, êîéòî òîé îáèêíîâåíî ïèåë â êúñíèÿ ñëåäîáåä. Ñåìåéíèÿò ñúâåò ðåøèë äà ïàçè âòîðàòà ëè÷íîñò íà àðòèñòà â òàéíà. Íå áèâàëî äà ñå ðèñêóâà ñúñ ñêàíäàëà, êîéòî áè ìîãúë äà âúçíèêíå â îáùåñòâîòî îò ïîòåíöèàëíè êëèåíòè. Äà íå ãîâîðèì, ÷å àâòîðèòåòèòå íà Èíêâèçèöèÿòà äîðè â îíåçè âðåìåíà íå ñà õàðåñâàëè îñîáåíî áúëãàðèòå. Ïî òàçè ïðè÷èíà âå÷å íàðèñóâàíèòå ðàáîòè ñà áèëè çàêëþ÷åíè íà ñèãóðíî òàéíî ìÿñòî, à ñëóãàòà, êîéòî âèäÿë Åë Áóëãàðî/Åë Ãðåêî â äåéñòâèå, áèë èçðèòàí îò êúùàòà. Çà íåùàñòèå, ñ öåë äà èìà íÿêàêâà âúçâðàùàåìîñò, áåç÷åñòíèÿò ìúæ ïðîäàë èäåÿòà çà ïðè÷óäëèâîòî ñúñúùåñòâóâàíå íà åäíà âèñîêà, õëúçãàâà, èçäúëæåíà, äîáëåñòíà ôèãóðà è íà åäèí ñïëåñêàí, ïëúòåí (äåáåë) ìúæ íà åäèí ñðàâíèòåëíî íåïîïóëÿðåí ïèñàòåë íà èìå Ñåðâàíòåñ èëè íåùî ïîäîáíî. È ò.í., è ò.í. - ìàëêà ÷àñò îò òàçè íåâåðîÿòíà èñòîðèÿ å ïðåä âàñ.

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248 Ðàçãëåäàéòå ÿ è ìèñëåòå çà íåÿ. Íåäêî Ñîëàêîâ, Ñîôèÿ ßíóàðè 2000 ã.

(Íå òîëêîâà) áÿë êóá, 2001 ñìåñåíà (ïî÷òè íåâèäèìà) òåõíèêà, âàðèðàùè ðàçìåðè Ñàìîñòîÿòåëíà èçëîæáà Chat, IASPIS Gallery, Ñòîêõîëì, 2001. Ñúñ ñúãëàñèåòî íà õóäîæíèêà è íà ãàëåðèÿ IASPIS, Ñòîêõîëì.

Basics, Kunsthalle Bern, Áåðí, 2002, Ñíèìêà: Do-

n’t like Bulgarians so much. Therefore, the already painted works were locked away in a safe secret place and the doctor treated the Maestro with a short series of highly advanced hypnotism sessions (during which appeared the details of his shameful Bulgarian origin). The servant who witnessed El Bulgaro/El Greco in action was kicked out of the house. Unfortunately, in order to have some retribution, that dishonest man sold the idea for the peculiar coexistence of a Tall, Slimy, Elongated, Noble figure and a Flattened-out, Mighty (fat) guy to a relatively unpopular writer named Cervantes or something.

And so on and so forth a small part of this unbelievable story is before you. Take a look and think about it Nedko Solakov, Sofia January 2000 Text edited by Geneva Anderson A (not so) White Cube, 2001 mixed (almost invisible) media, dimensions variable Chat solo exhibition, IASPIS Gallery, Stockholm, 2001.

Courtesy the artists and IASPIS Gallery, Stockholm Basics, Kunsthalle Bern, Bern, 2002, Photo: Dominique Uldry, Courtesy the Kunsthalle Bern Connected to A (not so) White Cube works:

minique Uldry, Ñúñ ñúãëàñèåòî íà Kunsthalle Bern Ñâúðçàíè ñ Íå òîëêîâà... ðàáîòè: A (not so) White Cube, P.S.1 Special Projects Program, Öåíòúð çà ñúâðåìåííî èçêóñòâî P.S.1, Íþ Éîðê, 2001 Chat, The Royal Academy Sculpture Hall / IASPIS Gallery, Ñòîêõîëì, 2001 Basics, Kunsthalle Bern, Áåðí, 2002 Mess, Stichting De Appel, Àìñòåðäàì, 2002 Seaweeds, Base, Ôëîðåíöèÿ (çàåäíî ñúñ Ñëàâà Íàêîâñêà), 2003 Art Focus 4, Underground Prisoner’s Museum, Éåðóñàëèì, 2003 Love it or Leave it, 5-òî áèåíàëå â Öåòèíå, Öåòèíå / Äóáðîâíèê, 2004 Homework, Gagosian Gallery, Berlin, in the frame of the 4th Berlin Biennial, Berlin, 2006

A (not so) White Cube, P.S.1 Special Projects Program, P.S.1 Contemporary Art Center, New York, 2001 Chat, The Royal Academy Sculpture Hall / IASPIS Gallery, Stockholm, 2001 Basics, Kunsthalle Bern, Bern, 2002 Mess, Stichting De Appel, Amsterdam, 2002 Seaweeds, Base, Florence (with Slava Nakovska), 2003 Art Focus 4, Underground Prisoner’s Museum, Jerusalem, 2003 Love it or Leave it, 5th Cetinje Biennial, Cetinje / Dubrovnik, 2004 Homework, Gagosian Gallery, Berlin, in the frame of the 4th Berlin Biennial, Berlin, 2006

Ñíèìêàòà íà ñ. 138 å îò ãàëåðèÿ IASPIS, Ñòîêõîëì, 2001, à ñíèìêàòà íà ñ. 139 å îò Êóíñòõàëå Áåðí, Áåðí, 2002

The photo on p. 138 is from IASPIS Gallery, Stockholm, 2001; the photo on p. 139 is from Kunsthalle Bern, Bern, 2002 Mirrors, 2001-2003 gilt wood, mirrors, permanent ink, handwritten text, series of 7 mirrors (detail). Photo: Studio Tutti.

Îãëåäàëà, 2001-2003 äúðâî ñúñ çëàòåí âàðàê, îãëåäàëà, ÷åðåí òóø, ðú÷íî íàïèñàíè òåêñòîâå, ñåðèÿ îò 7 îãëåäàëà

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250 (ôðàãìåíò). Ñíèìêà: Ñòóäèî Òóòè. Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Æîðæ-Ôèëèï & Íàòàëè Âàëîà è íà õóäîæíèêà Ñàìîñòîÿòåëíà èçëîæáà Îãëåäàëà, ãàëåðèÿ ÆîðæÔèëèï & Íàòàëè Âàëîà, Ïàðèæ, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 The Simple Life, Hydra School Project / The Hydra Festival, Hydra Island, Ãúðöèÿ, 2005 Íåäêî Ñîëàêîâ – Îñòàòúöè (ñåëåêöèÿ íà ìîè íåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ), Êóíñòõàóñ Öþðèõ, Öþðèõ, 2005

Courtesy Galerie Georges-Philippe & Natalie Vallois, Paris, and the artist Mirrors solo exhibition, Galerie Georges-Philippe & Natalie Vallois, Paris, 2003 Mirrors, Galerie Georges-Philippe & Nathalie Vallois, Paris, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 The Simple Life, Hydra School Project / The Hydra Festival, Hydra Island, Greece, 2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

Îò ìîÿ äîì, 2002 ïåðìàíåíòåí òúíêîïèñåö âúðõó îòïå÷àòúöè, ìîíòèðàíè íà àëóìèíèåâà îñíîâà, ñåðèÿ îò 4, 120 x 150 âñåêè (ôðàãìåíò). Îðèãèíàëíè ñíèìêè: Àíãåë Öâåòàíîâ. Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Æîðæ-Ôèëèï & Íàòàëè Âàëîà, Ïàðèæ è íà õóäîæíèêà Ñàìîñòîÿòåëíà èçëîæáà Nature People, Museu do Chiado Lisbon, 2002 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,

From My Home, 2002 permanent felt pen on lambda prints mounted on aluminium, series of 4, 120 x 150 each (detail).

Original photos: Angel Tzvetanov. Photo: Serge Veignant. Courtesy Galerie Georges-Philippe & Natalie Vallois, Paris, and the artist Costa Alves. Courtesy the artist, Museu do Chiado Lisbon and Módulo Centro Difusor de Arte, Lisbon A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,

Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005

Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

Ïðèðîäíè ñúùåñòâà, 2002 ïåðìàíåíòåí òúíêîïèñåö âúðõó îòïå÷àòúöè, ìîíòèðàíè âúðõó àëóìèíèåâà îñíîâà, ñåðèÿ îò 7, 120 õ 150 (ôðàãìåíò) Îðèãèíàëíà ñíèìêà: Àíãåë Öâåòàíîâ Nature People, Museu do Chiado, Ëèñàáîí, 2002 Casa de luz, Fundacio Foto Colectania, Áàðñåëîíà, 2004 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Öþðèõ, 2005

Nature People, 2002 permanent felt pen on lambda prints mounted on aluminum, series of 7, 120 x 150 (detail) Photo: Angel Tzvetanov Nature People solo exhibition, Museu do Chiado Lisbon, 2002. Photos: José Manuel Nature People, Museu do Chiado, Lisbon, 2002 Casa de luz, Fundacio Foto Colectania, Barcelona, 2004 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

Èçëîæáà íà âèñîêî íèâî ñ êàòàëîã, 2002 òúíêîïèñåö âúðõó ñòåíà, îáåêòè, êàòàëîã (îãðàíè÷åí òèðàæ) ñ îïèñàíèÿ íà èñòîðèèòå, ïîêàçàíè íà 4,5 ìåòðà âèñî÷èíà, âàðèðàùè ðàçìåðè. Ñúñ ñúãëàñèåòî íà Öåíòúðà çà ñúâðåìåííî èçêóñòâî â Êèòàêóøó è íà õóäîæíèêà A High Level Show with a Catalogue, Öåíòúð çà ñúâðåìåííî èçêóñòâî, Êèòàêóøó, ßïîíèÿ, 2002-2003

A High Level Show with a Catalogue, 2002 felt pen on wall, objects, catalogue (limited edition) with close-ups of stories displayed at a 4.5 m height, dimensions variable. Courtesy CCA, Kitakyushu, Japan, and the artist A High Level Show with a Catalogue, Center for Contemporary Art, Kitakyushu, Japan, 2002

Ðîìàíòè÷íè ïåéçàæè ñ ëèïñâàùè ÷àñòè, 2002

Romantic Landscapes with Missing Parts, 2002

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252 12 êàðòèíè, ìàñëåíè áîè âúðõó ïëàòíî, 108 õ 140 âñÿêà, ðú÷íî íàïèñàí òåêñò âúðõó ñòåíà, ïî÷òè íåâèäèìè òåêñòîâå è ðèñóíêè îêîëî êàðòèíèòå ñúñ çëàòíè ðàìêè, âàðèðàùè ðàçìåðè. Ñíèìêè: Õîàêèí Êîðòåñ. Ñúñ ñúãëàñèåòî íà õóäîæíèêà è íà Museo Nacional Centro de Arte Reina Sofia, Ìàäðèä Êîëåêöèÿ IVAM, Âàëåíñèÿ Romantic Landscapes with Missing Parts, Neuer Berliner Kunstverein, Áåðëèí; Ulmer Museum, Óëì, 2002 Romantic Landscapes with Missing Parts, Espacio Uno, Museo Nacional Centro de Arte Reina Sofia, Ìàäðèä, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Íåäêî Ñîëàêîâ – Îñòàòúöè (ñåëåêöèÿ íà ìîè íåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ), Kunsthaus Zurich, Öþðèõ, 2005

12 paintings, oil on linen, 108 x 140 each, handwritten text on wall, almost invisible texts and drawings around the gilt-framed paintings, dimensions variable. Photos, Joaquin Cortes. Courtesy the artist and Museo Nacional Centro de Arte Reina Sofia, Madrid Collection IVAM, Valencia, Spain.

Romantic Landscapes with Missing Parts, Neuer Berliner Kunstverein, Berlin; Ulmer Museum, Ulm, 2002 Romantic Landscapes with Missing Parts, Espacio Uno, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

Ñíèìêèòå îò ñ. 144 è ñ. 145 ñà îò Ìàäðèä, 2003

The photos on p. 144 and p. 145 are from Madrid, 2003

“Ðîìàíòè÷íè ïåéçàæè ñ ëèïñâàùè ÷àñòè” áÿõà ñúçäàäåíè ïðåç ìðà÷íàòà çèìà íà 2001-2002, íà ñåâåð â Ñòîêõîëì, â åäíî îò ïðåêðàñíèòå àòåëèåòà íà Êðàëñêàòà àêàäåìèÿ ïî èçêóñòâàòà.

“Romantic Landscapes with Missing Parts” were executed in the murky winter of 2001-2002 up north in Stockholm in a nice studio at the Royal Academy of Fine Arts.

That was a very hard, horrible time for me, the conceptual

artist who pretends that being classically educated in mural painting 20 years ago gives him some kind of advantage.

Most of the time during these three months I was really pissed off by my inability to achieve in paint what I wanted (not to mention the bitter feeling that I was not quite sure what I actually did want). In such moments I had an enormous desire to close my eyes and have all these canvases, oil paints, brushes, easels, and palettes disappear so that I could again start dealing with ideas (mainly) a relatively easy (at least for me) way of working. But I kept doing the paintings, day by day, night after night, fiercely trying to accomplish them in an acceptable way for an audience like you.

“Why am I doing this?!” I had been asking myself this constantly, when one day I realized that perhaps the reason for me to keep going was that I had the little hope that all the parts missing from these romantic landscapes

Òîâà áåøå ìíîãî òåæêî, óæàñíî âðåìå çà ìåí, õóäîæíèêà-êîíöåïòóàëèñò, êîéòî ïðåòåíäèðà, ÷å êëàñè÷åñêîòî ìó îáðàçîâàíèå ïî ñòåíîïèñ îòïðåäè 20 ãîäèíè ìó äàâà íÿêàêâî ïðåäèìñòâî. Ïðåç ïîâå÷åòî âðåìå íà òðèìåñå÷íèÿ ìè ïðåñòîé àç íàèñòèíà áÿõ âêèñíàò îò íåñïîñîáíîñòòà ñè äà ïîñòèãíà â æèâîïèñòà òîâà, êîåòî èñêàõ (äà íå ãîâîðèì è çà íåïðèÿòíîòî ÷óâñòâî, ÷å íå áÿõ ñúâñåì ñèãóðåí êàêâî òî÷íî èñêàì).  äàäåíè ìîìåíòè èìàõ îãðîìíîòî æåëàíèå äà çàòâîðÿ î÷è è âñè÷êè òåçè ïëàòíà, ìàñëåíè áîè, ÷åòêè, ñòàòèâè è ïàëèòðè äà èç÷åçíàò, òàêà ÷å äà ìîãà îòíîâî äà çàïî÷íà äà ñå çàíèìàâàì ñ èäåè (ãëàâíî) - îòíîñèòåëíî ëåñåí (ïîíå çà ìåí) íà÷èí íà ðàáîòà. Íî àç ïðîäúëæàâàõ äà ïðàâÿ êàðòèíèòå, äåí ñëåä äåí, íîù ñëåä íîù, îæåñòî÷åíî îïèòâàéêè ñå äà ãè çàâúðøâà â ïðèåìëèâ çà çðèòåëè êàòî âàñ âèä. “Çàùî ïðàâÿ òîâà?!” Ïîñòîÿííî ñè çàäàâàõ òîçè âúïðîñ, äîêàòî åäèí äåí îñúçíàõ, ÷å ìîæå áè ïðè÷èíàòà äà ïðîäúëæàâàì å ìàëêàòà íàäåæäà, ÷å âñè÷êè ëèïñâàùè ÷àñò îò òåçè ðîìàíòè÷íè ïåéçàæè -

the moon itself; the mountain’s reflection on the tranquil surface of the lake; the light in general; the sailor’s boat; all the profound thoughts in the philosopher’s head; the flock of anxious birds; the exhausted pilgrim’s tracks over the deep snow; Europa;

ëóíàòà; îòðàæåíèåòî íà ïëàíèíàòà âúðõó ñïîêîéíàòà ïîâúðõíîñò íà åçåðîòî; ñâåòëèíàòà êàòî öÿëî; ëîäêàòà íà ìîðÿêà;

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254 âñè÷êè äúëáîêè ìèñëè â ãëàâàòà íà ôèëîñîôà; ÿòîòî îò ðàçòðåâîæåíè ïòèöè;? ñëåäèòå íà èçòîùåíèÿ ïèëèãðèì âúðõó äúëáîêèÿ ñíÿã; Åâðîïà; çàìúêúò íà âúðõà íà ïëàíèíàòà; âèîëåòîâèÿò öâÿò íà äúãàòà; êåñèÿòà íà ñòðàííèêà, à íå î÷åâèäíî íåçàâúðøåíàòà æèâîïèñ; êîíöåíòðàöèÿòà íà õóäîæíèêà (ñúùåñòâåíà ÷àñò îò õîðèçîíòà íåî÷àêâàíî ñå ñðèâà íàäîëó)...

- áèõà èìàëè ïî-äîáúð è èíòåðåñåí æèâîò, àêî îñòàíàò èçâúí êàðòèíèòå. Íåäêî Ñîëàêîâ ÿíóàðè, 2002 Ñòîêõîëì Ñòðàõ, 2002-2003 òåðàêîòà, áîðäíè êàðòè îò Àëèòàëèÿ, Àâñòðèéñêèòå àâèîëèíèè è Ëóôòõàíçà, õèìèêàëêà, 10 ÷èôòà ñêóëïòóðè, íÿêîè íà ÷àñòè, âàðèðàùè ðàçìåðè Äåòàéë: ñòðàõ ¹ 10 (Ôðàíêôóðò – Ñîôèÿ). Ñíèìêè: Àíãåë Öâåòàíîâ Ñúñ ñúãëàñèåòî íà õóäîæíèêà è íà Âòîðîòî áèåíàëå ïî êåðàìèêà, Àëáèñîëà

the castle on the top of the mountain; the rainbow’s violet band; the purse of the wanderer (not the obviously unfinished painting); the artist’s concentration (a substantial part of the horizon goes unexpectedly down)...

- would have a better and more interesting life when left outside the paintings.

Nedko Solakov January, 2002 Stockholm Edited by Sina Najafi

Fear, 2002-2003 terracotta, Alitalia, Austrian Airlines and Lufthansa boarding passes, ball pen, ten pairs of sculptures, some of them in pieces, dimensions variable.

Detail Fear #10 (Frankfurt-Sofia) Photos: Angel Tzvetanov. Courtesy the artist and the 2nd Albisola Ceramic Biennial, Albisola 2nd Biennale of Ceramic in Contemporary Art, Albisola, 2003

A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

2nd Biennale of Ceramic in Contemporary Art, Àëáèñîëà, 2003 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003 2005 Íåäêî Ñîëàêîâ – Îñòàòúöè (ñåëåêöèÿ íà ìîè íåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ), Kunsthaus Zurich, Öþðèõ, 2005 Êèëèÿòà, 2003 òúíêîïèñåö âúðõó ñòåíèòå íà êèëèÿòà, âàðèðàùè ðàçìåðè (ôðàãìåíò). Ñúñ ñúãëàñèåòî íà Art Focus, Éåðóñàëèì è íà õóäîæíèêà Art Focus 4, Underground Prisoner’s Museum, Éåðóñàëèì, 2003

The Cell, 2003 felt pen on cell walls, dimensions variable (detail) Courtesy Art Focus, Jerusalem, and the artist Art Focus 4, Underground Prisoner’s Museum, Jerusalem, 2003 (about) Fourteen, 2003 black drawing ink on museum walls, 19 locations, dimensions variable (detail). Courtesy Museum für Moderne Kunst, Frankfurt, and the artist Permanent exhibition, Museum für Moderne Kunst, Frankfurt. Gift of the artist.

(îêîëî) ×åòèðèíàéñåò, 2003 ÷åðåí òóø âúðõó ìóçåéíèòå ñòåíè, 19 ìåñòà, âàðèðàùè ðàçìåðè (ôðàãìåíò). Ñúñ ñúãëàñèåòî íà Ìóçåÿ çà ìîäåðíî èçêóñòâî, Ôðàíêôóðò è íà õóäîæíèêà Ïîñòîÿííà åêñïîçèöèÿ, Ìóçåé çà ìîäåðíî èçêóñòâî, Ôðàíêôóðò. Äàðåíèå îò àâòîðà

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Íåäêî Ñîëàêîâ – Îñòàòúöè (ñåëåêöèÿ íà ìîè íåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ), 2005 (ôðàãìåíò) Ñíèìêà: FBM Studio, Öþðèõ Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Öþðèõ, 2005 Òàïåò, 1993-i ñìåñåíà òåõíèêà âúðõó ôàáðè÷íè òàïåòè, âàðèðàùè ðàçìåðè 4 (ìîæå áè 5) ñòàéíè èíñòàëàöèè, Åëåìàã 2Ä, Ñîôèÿ, 1993 The Outburst of Signs, Künstlerwerkstatt Lothringerstrasse, Ìþíõåí, 1995 Orient/ation, 4-òî Èñòàíáóëñêî áèåíàëå, Èñòàíáóë, 1995 Enclosures, The New Museum of Contemporary Art, Íþ Éîðê, 1996 Silly, Galerie Arndt & Partner, Áåðëèí, 1998 Zeitwenden – Looking forward into the next millennium, Kunstmuseum Bonn, Áîí, 1999 Cruce de caminos/Crossroads, Sala Plaza de España, Ìàäðèä, 2000 Zeitwenden, Museum Moderner Kunst Stiftung Ludwig Wien, 20er Haus, Âèåíà, 2000

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Nedko Solakov – Leftovers (a selection of my unsold pieces from the private galleries I work with), 2005 (detail) Photo: FBM Studio, Zürich Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005 Wallpaper, 1993mixed media on local industrial wallpaper, dimensions variable 4 (maybe 5) Room Installations, Elemag 2D Gallery, Sofia, 1993 The Outburst of Signs, Künstlerwerkstatt Lothringerstrasse, Munich, 1995 Orient/ation, 4th Istanbul Biennial, 1995 Enclosures, The New Museum of Contemporary Art, New York, 1996 Silly, Galerie Arndt & Partner, Berlin, 1998 Zeitwenden – Looking forward into the next millennium, Kunstmuseum Bonn, Bonn, 1999 Cruce de caminos/Crossroads, Sala Plaza de España, Madrid, 2000 Zeitwenden, Museum Moderner Kunst Stiftung Ludwig Wien, 20er Haus, Vienna, 2000 Mess, Stichting De Appel, Amsterdam, 2002

A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Zurich, 2005

Mess, Stichting De Appel, Àìñòåðäàì, 2002 A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain, Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö, 2003-2005 Leftovers – a selection of my unsold pieces from the private galleries I work with, Kunsthaus Zurich, Öþðèõ, 2005

The photos on p. 150 and p. 151 are from O.K Centrum, Linz, 2003 Pathetic Stories #2, 2006 sepia, black and white ink, wash, paper, series of 9 drawings, 19 õ 28 each Courtesy Gallery Arndt & Partner, Berlin/ Zurich Collection Ella Cisneros, Miami, USA

Ñíèìêèòå íà ñ. 150 è ñ. 151 ñà îò O.K Centrum, Ëèíö, 2003 Ïàòåòè÷íè èñòîðèè #2, 2006 ñåïèÿ, ÷åðåí è áÿë òóø, ëàâè, õàðòèÿ, ñåðèÿ îò 9 ðèñóíêè, 19 õ 28 âñÿêà Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí/Öþðèõ Êîëåêöèÿ Ella Cisneros, Ìàÿìè, ÑÀÙ

Deeply Pessimistic Stories #2, 2006 sepia, black and white ink, wash, paper, series of 9 drawings, 19 õ 28 each Courtesy the artist

Äúëáîêî ïåñèìèñòè÷íè èñòîðèè #2, 2006 ñåïèÿ, ÷åðåí è áÿë òóø, ëàâè, õàðòèÿ, ñåðèÿ îò 9 ðèñóíêè, 19 õ 28 âñÿêà Ñúñ ñúãëàñèåòî íà àâòîðà

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258 Íèêîëàé ×àêúðîâ, ð. 1971 01110110 01100101 01110010 01110011, 2001 âèäåî, PAL, öâÿò, çâóê (ìîíî), 4 ìèí., loop Ìàêðî âèäåî, íà ôàñàäàòà íà ÍÄÊ, Ñîôèÿ, 2001 Urban Cycles, Library Walk (ïåøåõîäíà çîíà äî Ãðàäñêàòà Áèáëèîòåêà), ïëîùàä Ñâ. Ïåòúð, Ìàí÷åñòúð, Âåëèêîáðèòàíèÿ, 2002 Íîâè ìèòîëîãè÷íè èñòîðèè, 9-òî ìåæäóíàðîäíî áèåíàëå â Êàéðî, 2003 Ïî áúëãàðñêàòà ñëåäà, Ìëàäè áúëãàðñêè ôèëìè 20002003, Âàéìàð, Ãåðìàíèÿ, 2003 Íèíà Êîâà÷åâà, ð. 1960 Òðè íèâà, 1993 êíèãà-îáåêò, äúðâåíà êóòèÿ, ïëåêñèãëàñ, ïðåäìåòè, òåêñò, ðú÷íà õàðòèÿ, òóø N-ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿ Ðàéêî Àëåêñèåâ, Ñîôèÿ, 1994 Le Livre dans tous ses etats, ãàëåðèÿ Caroline Corre, Ïàðèæ, 1994 Ôðåíñêè èíñòèòóò, Ñîôèÿ, 1994 Salon de Livre’95, ãàëåðèÿ Caroline Corre, Ïàðèæ, 1995 FRAC, Haute-Normandie, 1996

Nikolay Chakarov, b. 1971 01110110 01100101 01110010 01110011, 2001 video, PAL, color, sound (mono), 4 min., loop Macrovideo, on the façade of the National Palace of Culture, Sofia, 2001 Urban Cycles, Library Walk (Library Walk), St Peter’s Square, Manchester, UK, 2002 Post Mythological Stories, 9th Cairo Biennial, 2003 On the BG Track, Young Bulgarian Films 2000-2003, Waimar, Germany, 2003

Nina Kovacheva, b. 1960 Three Levels, 1993 art book, wooden box, plexiglas, objects, text, handmade paper, ink N-Forms? Reconstructions and Interpretations, Raiko Aleksiev Gallery, Sofia, 1994 Le Livre dans tous ses etats, Gallery Caroline Corre, Paris, 1994 French Institute, Sofia, 1994 Salon de Livre’95, gallery Caroline Corre, Paris, 1995

FRAC, Haute-Normandie, 1996 The National Museum of Women in the Arts, Washington DC, USA, 1996 Collection: JP Morgan, New York

Íàöèîíàëåí ìóçåé íà æåíèòå â èçêóñòâîòî, Âàøèíãòîí, ÑÀÙ, 1996 Êîëåêöèÿ JP Morgan, New York Ïîíÿêîãà, 1996-1997 ñåðèÿ îò 70 ÷àñòè, ñìåñåíà òåõíèêà âúðõó õàðòèÿ, 20 õ 18 õ 4 Stockholm Art Fair, ãàëåðèÿ Luc Queyrel, 1999 Õóäîæíèêúò êàòî îáåêò II, ATA Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1999 Nadége Dana-Vizzacchero, Êàí, Ôðàíöèÿ, 2002 HAOS, Áåëãðàä, 2002

Sometimes, 1996-1997 series of 70 pieces, mixed media on paper, 20 x 18 x 4 Stockholm Art Fair, Gallery Luc Queyrel, 1999 Artist as Object II, ATA Center for Contemporary Art, Sofia, 1999 Nadége Dana-Vizzacchero, Cannes, France, 2002 HAOS, Belgrade, 2002 Sometimes I …., 1999-2000 series of 22 pieces, photo, drawing, 65 x 200 x 10 Gallery Luc Queyrel, Paris, 1998 Gallery Mabel Semmler, Paris, 2002

Ïîíÿêîãà àç ..., 1999-2000 ñåðèÿ îò 22 ÷àñòè, ôîòîãðàôèÿ, ðèñóíêè, 65 x 200 x 10 ãàëåðèÿ Luc Queyrel, Ïàðèæ, 1998 ãàëåðèÿ Mabel Semmler, Ïàðèæ, 2002

3,39%, 2004 (together with Valentin Stefanoff) video, 3,14 min.

Cosmopolis1, Macedonian Museum of Contemporary Art, Thessalonique, Greece, 2004 National Museum of Contemporary Art, Bucharest, Romunia, 2005

3,39%, 2004 (ñúâìåñòíî ñ Âàëåíòèí Ñòåôàíîâ) âèäåî, 3,14 ìèí.

Cosmopolis1, Ìàêåäîíñêè ìóçåé íà ñúâðåìåííîòî èçêóñòâî, Ñîëóí, Ãúðöèÿ, 2004 Íàöèîíàëåí ìóçåé çà ñúâðåìåííî èçêóñòâî, Áóêóðåù, Ðóìúíèÿ, 2005

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260 Ïðàâäîëþá Èâàíîâ, ð. 1964

Pravdoliub Ivanov, b. 1964

Ìåæäó ìèñëèòå è ðå÷òà, 1996 ôîòîèíñòàëàöèÿ, 30 ÷åðíîáåëè ôîòîãðàôèè, 40 õ 50 ñì âñÿêà (ôðàãìåíò) Eastern Europe: Spatia Nova, 4òî Ìåæäóíàðîäíî Áèåíàëå, Ïåòåðáóðã, Ðóñèÿ, 1996 Ìåæäó ìèñëèòå è ðå÷òà, ãàëåðèÿ XXL, Ñîôèÿ, 1997 Ëè÷íè ìåñòîèìåíèÿ, 1996 ôîòîèíñòàëàöèÿ, 8 ÷àñòè, 30 õ 40 âñÿêà Ôîòîèíñòàëàöèè, ãàëåðèÿ ÀÒÀ-Ðàé, Ñîôèÿ, 1996 Bulgarian Glimpse Show, Àñîöèàöèÿ íà Ìîñêîâñêèòå ãàëåðèè è ÁÊÈÖ, 1997

Between Thoughts and Talks, 1996 photo installation, 30 b/w photographs, 40 x 50 each (detail) Eastern Europe: Spatia Nova, 4th International Biennial, St. Petersburg, 1996 Between Thoughts and Talks, XXL Gallery, Sofia, 1997 Personal Pronounces, 1996 photo installation, 8 parts, 30 x 40 each Photo-Installations, Ata-Ray Gallery, Sofia, 1996 Bulgarian Glimpse Show, Association of Moscow Art Galleries and BCIC, Moscow, 1997

Ïðåâúïëàùåíèÿ, 1997 ÷åðíîáÿëà ôîòîãðàôèÿ, 80 õ 80, 80 õ 90, 80 õ 80 Foto und videî kunst aus Bulgarien, Menschenbilder, ãàëåðèÿ IFA, Áåðëèí, 1997 Àðõèâúò, ãàëåðèÿ Øèïêà 6, 1998

Embodiments, 1997 black and white photography, 80 õ 80, 80 õ 90, 80 õ 80 Foto und videî kunst aus Bulgarien, Menschenbilder, IFA Gallery, Berlin, 1997 The Archive, Shipka 6 Gallery, Sofia, 1998

Èçêóñòâîòî å æèâîò, 1997 ðèñóíêà, 260 õ 156, ÷åðíîáÿëà ôîòîãðàôèÿ, 11 õ 15 ×åðíî-ñèâî-áÿëî, ãàëåðèÿ Øèïêà 6, 1997 Black-Gray-White, Kerava Art Museum, Finland, 1997

Art is Life, 1997 drawing, 260 x 156, b/w photography, 11 x 15 Black-Gray-White, Shipka 6 Gallery, 1997 Black-Gray-White, Kerava Art Museum, Finland, 1997

At the Level of the Eyes, 1998 texts, self-adhesive folio, dimensions variable At the Level of the Eyes, TED Gallery, Varna, Bulgaria, 1998 ICA-Sofia, Art Gallery, Rousse, Bulgaria, 2001

Íà íèâîòî íà î÷èòå, 1998 òåêñòîâå îò ñàìîçàëåïâàùî pvc ôîëèî, âàðèðàùè ðàçìåðè Íà íèâîòî íà î÷èòå, ãàëåðèÿ Òåä, Âàðíà, 1998 ÈÑÈ-Ñîôèÿ, Ãðàäñêà ãàëåðèÿ, Ðóñå, 2001

Too many premonitions come true To whom it may concern don’t be so naive The cynical power of compassion Memory is muscle Do you think you are the same Coordinate X and Y are not married so Z is illegitimate My column is a blackbox The chaos of desires is being ordered by disappointments Do you think 69 was better that 96 I’m everyone and everyone is me Transformation always takes time and energy What do you call a ladder with no steps Information and Vice copulate in Internet A flight over the relief of meanings Fuck the leaders so they breed new ones Feminists are men Revolutions start from the stomach, guess where they end up Love is a liquid The Iron Curtain is up, the play has started

Òâúðäå ìíîãî ñáúäíàòè ïðåä÷óâñòâèÿ Çà êîéòî ñå îòíàñÿ íå áúäè òîëêîâà íàèâåí Öèíè÷íàòà âëàñò íà ñú÷óâñòâèåòî Ïàìåòòà å ìóñêóë Ñìÿòàø ëè ÷å ñè ñúùèÿò Êîîðäèíàòèòå X è Y íÿìàò áðàê Z å íåçàêîíåí Äåáåëîòî ìè ÷åðâî å ÷åðíà êóòèÿ Õàîñúò íà æåëàíèÿòà ñå ïîäðåæäà îò ðàçî÷àðîâàíèÿòà Ìèñëèø ëè ÷å 69 áåøå ïî-äîáðà îò 96 Àç ñúì âñåêè è âñåêè ñúì àç Òðàíñôîðìàöèÿòà âèíàãè îòíåìà âðåìå è åíåðãèÿ Êàê íàðè÷àòå ñòúëáà áåç ñòúïàëà Èíôîðìàöèÿòà è ïîðîêúò ñå ÷óêàò â Internet Ïîëåò íàä ðåëåôà íà çíà÷åíèÿòà Åáè ëèäåðèòå çà äà ðîäÿò íîâè Ôåìèíèñòêèòå ñà ìúæå Ðåâîëþöèèòå çàïî÷âàò îò ñòîìàõà ïîçíàé êúäå ñâúðøâàò Ëþáîâòà å òå÷íîñò

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262 Æåëÿçíàòà çàâåñà å âäèãíàòà ïèåñàòà çàïî÷íà Èãðèòå êîèòî íå òå èçïîòÿâàò íå ñà èãðè Íå ÷åòè à ñúçåðöàâàé È âèå ëè ñòå îñúäåíè çà ñúùîòî Èçòðèé ñëåä êàòî ãî ïðî÷åòåø Ìåòàôîðà å òðàíñïîðòíà ôèðìà Äúðâîòî íà ìîèòå æåëàíèÿ å áîíçàé Öèâèëèçàöèÿòà å íàâèê Àç ñúì åðãåí ñ î÷èëà Ïî-ëåñíî å äà âÿðâàø îòêîëêîòî äà ðàáîòèø Âèå ñúùî ùå óìðåòå Âúâ Âàâèëîí ñà ãîâîðåëè àíãëèéñêè Àêî èíôîðìàöèÿòà å ëèíèÿ òÿ å ïî-øèðîêà îòêîëêîòî äúëãà Âçåìè îò òîâà èçðå÷åíèå êîëêîòî ìîæåø äà íîñèø Äèñöèïëèíèðàíà åÿêóëàöèÿ Ñâîáîäàòà íè ïîäìèíàâà Ïðèðîäàòà å ìàçîõèñò Íå íè çàáðàíÿâàéòå äà áúäåì áåäíè

Games that don’t make you sweat are not games Don’t read contemplate Have you been convicted for the same thing Erase after reading Metaphor is a transport company The three of my desires is a bonsai Civilization is a habit I am a bachelor with eyeglasses It is easier to believe than to work You are to going to die too They spoke English in Babylon If the information is a line then it’s wider than longer Take from this sentence as much you can carry Disciplined ejaculation Freedom is bypassing us Nature is a masochist Don’t forbid us to be poor

Òîâà, êîåòî…, 1999 îáåêò, ëåòðàñåò âúðõó ïðîçðà÷íè ïëàêè, 21 õ 29.7 Ðåöåïòè – íîâ èêîíîãðàôñêè íàðú÷íèê, Èíñòèòóò çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1999

This that…, 1999 object, print on transparent plates, 21 õ 29.7 Recipes – New Iconographic Manual, Institute of Contemporary art, Sofia, 1999

Ïîëîâèí…, 1999 èíñòàëàöèÿ, âàðèðàùè ðàçìåðè è ìàòåðèàëè Äà îáúðíåì ñòðàíèöàòà, Àïîëîíèÿ ‘99, Ñîçîïîë, 1999 Îò äðóãà ñòðàíà…, ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, 2000 Pessimism No More, Ìóçåé çà èçÿùíè èçêóñòâà, Ëà Øî-äà-Ôîí, Øâåéöàðèÿ, 2002 donumenta, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005

Half…, 1999 installation, dimensions and materials variable To Turn the Page, Apollonia’99, Sozopol, Bulgaria, 1999 On the other Hand…, ATA Center for Contemporary Art, Sofia, 2000 Pessimism No More, Musee des Beaux arts, La Chaux-de-Fonds, Switzerland donumenta, Regensburg, Germany, 2005

Ðàñèì, ð. 1972

Rassim, b. 1972

Ïîñòåð, 1996 ôîòîãðàôèÿ, 28,5 õ 21 ðåêëàìà â ñïèñàíèå Èçêóñòâî. Art in Bulgaria, 1996/29

Poster, 1996 photography, 28,5 x 21 advertisement in the magazine Èçêóñòâî. Art in Bulgaria, 1997/29

Àç îáè÷àì Äåíèöà, 1997 ôîòîãðàôèÿ, 28,5 õ 21 ðåêëàìà â ñïèñàíèå Èçêóñòâî. Art in Bulgaria, 1997/41

I Love Denitsa, 1997 photography, 28,5 x 21 advertisement in the magazine Èçêóñòâî. Art in Bulgaria, 1997/41 Self portrait with GSM, 1998 digital print, 180 x 120 Bulgariaavangarde. Kraftemessen II, Kunstlerwerkstatt

Àâòîïîðòðåò ñ GSM, 1998 äèãèòàëåí îòïå÷àòúê, 180 õ 120 Áúëãàðèÿàâàíãàðä. Kraeftemessen II, Kuenstlerwerkstatt

263

264 Lothringerstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998 It Could be Obsession, Àñîöèàöèÿ çà ñúâðåìåííî èçêóñòâî, Ãðàö, 2000 Èçìèñëÿíå íà íàðîä. Ñúâðåìåííî èçêóñòâî îò Áàëêàíèòå, Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ, 1999 After the Wall: Art and Culture in post-communist Europe, Moderna Museet, Ñòîêõîëì, 1999 Ðåöåïòà çà ñúâðåìåííî èçêóñòâî, 1999 ïå÷àò, çëàòåí ìàðêåð âúðõó õàðòèÿ, 30 õ 21 Ðåöåïòè – íîâ èêîíîãðàôñêè íàðú÷íèê, Èíñòèòóò çà Ñúâðåìåííî Èçêóñòâî, Ñîôèÿ, 1999 Ñàìóèë Ñòîÿíîâ, ð. 1975 Òåñò çà ïðîâåðêà íà çðèòåëíàòà îñòðîòà, 2006 ïå÷àò, 120 ãð. îôñåòîâà õàðòèÿ, 11,5 õ 16 Âàæíî ñúîáùåíèå, êàòàëîã, Ñîôèÿ 2006 Ñàøî Ñòîèöîâ, ð. 1952 Ïðàâî íà òðóä (îëòàðè), 1995

Lothringerstrasse, Munich, 1998 It could be Obsession, Association for Contemporary art, Graz, 2000 Inventing a People. Contemporary art from the Balkans, National Gallery for Foreign arts, Sofia, 1999 After the Wall: Art and Culture in post-communist Europe, Moderna Museet, Stockholm, 1999 Recipe for Contemporary Art, 1999 print, golden marker on paper, 30 x 21 Recipes – New Iconographic Manual, Institute of Contemporary art, Sofia, 1999 Samuil Stoyanov, b. 1975 Eye Sight Sharpness Test, 2006 print on 120 gr. offset paper, 11,5 õ 16 Important Announcement, catalogue, Sofia 2006 Sasho Stoitzov, b. 1952 Right to Work (Altars and Souvenirs), 1995

installation, mixed media on wood, 120 x 40 x 2 each HO Gallery, Berlin, 1996 EXPORT-IMPORT. Contemporary Art from Bulgaria, Sofia Art Gallery, 2003

èíñòàëàöèÿ, ñìåñåíà òåõíèêà âúðõó äúðâî, 120 x 40 x 2 âñåêè ãàëåðèÿ ÍÎ, Áåðëèí, 1996 EXPORT-IMPORT. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ, ÑÃÕÃ, 2003

Eastern Miniatures, 1996 installation, mixed media, 15 parts, dimensions variable Eastern Miniatures, National Art Gallery, Sofia, 1996

Èçòî÷íè ìèíèàòþðè, 1996 èíñòàëàöèÿ, ñì. òåõíèêà, 15 ÷àñòè, âàðèðàùè ðàçìåðè Èçòî÷íè ìèíèàòþðè, ÍÕÃ, Ñîôèÿ, 1996 Ìèñëè çà èçêóñòâîòî – àíòèòåçà, 1996 èíñòàëàöèÿ, òåêñò, õàðòèÿ, 10 êîìïîíåíòà, 20 õ 15 âñåêè Labiles gleichgewicht, Karl Hofer, Áåðëèí, 1996 Íàöèîíàëíà õóäîæåñòâåíà ãàëåðèÿ, Ñîôèÿ, 1996

Reflections on Art as Antithesis, 1996 installation, text, paper, 10 components, 20 x 15 each Labiles gleichgewicht, Karl Hofer, Berlin, 1996 National Art Gallery, Sofia, 1996 Commemorative Plate, 1997 marble, wood, 50 x 60 x 60 Ars ex Natio. Made in BG, Mexican House Gallery, Plovdiv, 1997

Âúçïîìåíàòåëíà ïëî÷à, 1997 ìðàìîð, ôàçåðíà ïëîñêîñò, 50 õ 60 x 60 Ars ex Natio. Ïðîèçâåäåíî â Áúëãàðèÿ, ãàëåðèÿ Ìåêñèêàíñêà êúùà, Ïëîâäèâ, 1997

Sylvia Lazarova, b. 1960

Ñèëâèÿ Ëàçàðîâà, ð. 1960

Obsession for me, 1999

Îáñåáâàíå çà ìåí, 1999

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266 ïîñòåð, 390 õ 260 Îáñåáâàíå, Öåíòðàëíà ìèíåðàëíà áàíÿ, Ñîôèÿ, 1999 Óìíîæàâàíå íà îòðàæåíèÿòà, ÑÃÕÃ, 2006 Íîâà ñòðàíèöà, 2000 ïîñòåð, 100 õ 70 Ñóáåêòè è ñåíêè, ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 2000 Ñîôèÿ, Âÿðà, Íàäåæäà è Ëþáîâ, 2001 ïîñòåð, 170 õ 120 Shop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ, Ñîôèÿ, 2001 Óìíîæàâàíå íà îòðàæåíèÿòà, ÑÃÕÃ, 2006 Ñòåôàí Íèêîëàåâ, ð. 1970 Ontario Est, 2001 ñòåíîïèñ, äèãèòàëíè ÷àñîâíèöè, âàðèðàùè ðàçìåðè Double vie, ãàëåðèÿ Clark, Ìîíðåàë, 2001 Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Michel Rein, Ïàðèæ

poster, black-and-white ink-jet print on paper, 390 x 260 Obsession, The Central Mineral Bath, Sofia, 1999 Reflections Multiplied, Sofia Art Gallery, Sofia, 2006 A New Page, 2000 poster, 100 õ 70 Subjects and Shadows, ATA Center for contemporary art, Sofia, 2000 Sofia, Faith, Hope, Love, 2001 poster, 170 x 120 Shop-Art. Women at (on) the Market, Underpass Saint Sofia, Sofia, 2001 Reflections Multiplied, Sofia Art Gallery, Sofia, 2006 Stefan Nikolaev, b. 1970 Ontario Est, 2001 wall painting, digital clocks, dimensions variable Double vie, Clark Gallery, Montreal, 2001 Courtesy Gallery Michel Rein, Paris

Il devait être 17:51, j’avais envie d’une glace. Je suis descendu dans le salon, ma mère fumait une Kent devant la télé. J’ai couru vers elle. Elle m’a pris sur ses genoux. C’était un film russe ou bulgare en noir et blanc dans lequel les gens allaient faire preve de beaucoup de courage. C’était long.

Trois ans plus tard vers 19:30, L’Armée Rouge n’était plus très loin. A 21:12, ou peut-être à 21:21, elle était déja aux portes de Berlin. Je n’en pouvais plus, J’ai fermé les yeux. Ma mère m’a allongé sur le divan, elle est partie téléphoner. J’ai dormi longtemps. La Toccata e Fuga de Bach m’a révéille.

J’ai ouvert les yeux. C’était mon Nokia qui sonnait. J’ai appuyé trop tard sur le bouton vert. Mon portable indiquait 17:51. J’ai allumé une cigarette puis je me suis levé. Je remontais Ontario vers l’ouest. J’avais envie d’une glace.

Áåøå îêîëî 17:51, ïðèèñêà ìè ñå åäèí ñëàäîëåä. Ñëÿçîõ â õîëà, ìàéêà ìè ïóøåøå Kent ïðåä òåëåâèçîðà. Àç èçòè÷àõ êúì íåÿ. Òÿ ìå âçå âúðõó êîëåíåòå ñè. Òîâà áåøå åäèí ÷åðíîáÿë ðóñêè èëè áúëãàðñêè ôèëì, â êîéòî õîðàòà òðÿáâàøå äà ïðîÿâÿâàò ìíîãî ñìåëîñò. Áåøå äúëãî. Òðè ãîäèíè ïî-êúñíî, êúì 19:30, ÷åðâåíàòà àðìèÿ âå÷å íå áåøå äàëå÷.  21:12 èëè ìîæå áè â 21:21 òÿ áåøå âå÷å ïðåä âðàòèòå íà Áåðëèí. Íå ìîæåõ äà èçäúðæàì ïîâå÷å, çàòâîðèõ î÷è. Ìàéêà ìè ìå ñëîæè äà ëåãíà âúðõó äèâàíà è îòèäå äà òåëåôîíèðà. Àç ñïàõ äúëãî. Òîêàòà è Ôóãà íà Áàõ ìå ñúáóäè. Îòâîðèõ î÷è. Òîâà áåøå ìîÿòà Nokia, êîÿòî çâúíåøå. Àç íàòèñíàõ çåëåíèÿ áóòîí ìíîãî êúñíî. Ìîÿò ìîáèëåí òåëåôîí ïîêàçâàøå 17:51. Çàïàëèõ åäíà öèãàðà, ïîñëå ñòàíàõ. Îòíîâî èçêà÷èõ Îíòàðèî îòêúì çàïàä. Ïðèèñêà ìè ñå ñëàäîëåä.

One for money, Two for Show, 2003 èçäðàñêàí êàðòîí, äâå ÷àñòè, 40 x 60 âñÿêà ãàëåðèÿ Michel Rein, Ïàðèæ, 2003

One for Money, Two for Show, 2003 scraper board, two parts, 40 x 60 each Galerie Michel Rein, Paris, 2003

Áàëêàíòîí, 2004 íåîí, 15 x 100 Áàëêàíòîí, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 2004 Come to…, CCA, Ãëàçãîó, Âåëèêîáðèòàíèÿ, 2005

Balkanton, 2004 neon, 15 x 100 Balkanton, ÀÒÀ Center for Contemporary Art, Sofia, 2004 Come to…, CCA, Glasgow, United Kingdom, 2005

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268 Õóáåí ×åðêåëîâ, ð. 1970 AIDS, 1993-1994 èíñòàëàöèÿ, àêâàðåë âúðõó õàðòèÿ, âàðèðàùè ðàçìåðè AIDS, ãàëåðèÿ Ñòóäèî Ñïåêòúð, Ñîôèÿ, 1994 N-Ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿ Ðàéêî Àëåêñèåâ, Ñîôèÿ, 1994 Þðè Ñòàéêîâ, ð. 1978 Èñòèíàòà çà ×åðâåíàòà êúùà, 2006 äèãèòàëåí îòïå÷àòúê, 50% ìàãåíòà, 100 x 150

Houben Cherkelov, b. 1970 AIDS, 1993-1994 installation, watercolor on paper, dimensions variable AIDS, Studio Spectrum Gallery, Sofia, 1994 N-Forms Reconstuctions and Interpretations, Raiko Aleksiev Gallery, 1994

Jury Staikov, b. 1978 The truth for the Red house, 2006 digital print, 50% magenta, 100 x 150

Compilers: Maria Vassileva, Daniela Radeva Texts: Maria Vassileva, Daniela Radeva Translation: Graphic design: Nadezhda Oleg Lyahova Print layout: IDA Printed by: EXPRESSPRINT LTD. Sofia 2006 ISBN © the authors, Sofia Art Gallery

ÑÃÕÃ / Sofia Art Gallery óë. Ãóðêî 1 /1, Gurko Street Ñîôèÿ / Sofia http://sghg.cult.bg

Ñúñòàâèòåëè: Ìàðèÿ Âàñèëåâà, Äàíèåëà Ðàäåâà Òåêñòîâå: Ìàðèÿ Âàñèëåâà, Äàíèåëà Ðàäåâà Ïðåâîä: Ãðàôè÷íî îôîðìëåíèå: Íàäåæäà Îëåã Ëÿõîâà Ïðåäïå÷àòíà ïîäãîòîâêà: ÈÄÀ Ïå÷àò: ÅÊÑÏÐÅÑÏÐÈÍÒ ÅÎÎÄ Ñîôèÿ 2006 ISBN © àâòîðèòå, ÑÃÕÃ