Важно съобщение / Important Announcement, 2006

Â À Æ Í Î Ñ Ú Î Á Ù Å Í È Å / I M P O R T A N T A N N O U N C E M E N T


Exhibition at the Sofia Art GallerySeptember-October 2006

Curators: Maria Vassileva, Daniela Radeva

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

Èçëîæáà â Ñîôèéñêàòà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿñåïòåìâðè-îêòîìâðè 2006

Êóðàòîðè: Ìàðèÿ Âàñèëåâà, Äàíèåëà Ðàäåâà

Àâòîðèòå íà ïðîåêòà áëàãîäàðÿò íà âñè÷êè õóäîæíèöèçà ïðåäîñòàâåíèòå ñíèìêè è òåêñòîâå


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

Ïðîåêòúò å ïîäêðåïåí îò “Ôîíä çà äåáþòíèïðîåêòè â îáëàñòòà íà ñúâðåìåííèòå èçêóñòâàè êóëòóðà”

Maria VassilevaDaniela Radeva

Adelina PopnedelevaAlla GeorgievaBoryana DragoevaValentin StefanoffVentsislav ZankovVeronica TzekovaGeorgi RouzhevGeorgi ToushevDimitrina DoichinovaDimitar TraychevElena PanayotovaIvan KiuranovIlian LalevIoan KirilovKalin PlugchievKalin SerapionovKiril PrashkovKrassimir Dobrev

Ìàðèÿ ÂàñèëåâàÄàíèåëà Ðàäåâà

Àäåëèíà ÏîïíåäåëåâàÀëëà Ãåîðãèåâà

Áîðÿíà ÄðàãîåâàÂàëåíòèí ÑòåôàíîâÂåíöèñëàâ ÇàíêîâÂåðîíèêà Öåêîâà

Ãåîðãè ÐóæåâÃåîðãè Òóøåâ

Äèìèòðèíà Äîé÷èíîâàÄèìèòúð Òðàé÷åâÅëåíà Ïàíàéîòîâà

Èâàí ÊþðàíîâÈëèàí Ëàëåâ

Éîàí ÊèðèëîâÊàëèí Ïëóã÷èåâ

Êàëèí ÑåðàïèîíîâÊèðèë Ïðàøêîâ

Êðàñèìèð Äîáðåâ

613

172634384448525458606468697275767892

Krassimir TerzievKosta TonevKosio MinchevLuchezar BoyadjievMaria ZafirkovaNadezhda Oleg LyahovaNedko SolakovNikolay ChakarovNina KovachevaPravdoliub IvanovRassimSamuil StoyanovSasho StoitzovSylvia LazarovaStefan NikolaevHouben CherkelovJury Staikov

Êðàñèìèð ÒåðçèåâÊîñòà ÒîíåâÊîñüî Ìèí÷åâ

Ëú÷åçàð ÁîÿäæèåâÌàðèÿ Çàôèðêîâà

Íàäåæäà Îëåã ËÿõîâàÍåäêî Ñîëàêîâ

Íèêîëàé ×àêúðîâÍèíà Êîâà÷åâà

Ïðàâäîëþá ÈâàíîâRassim

Ñàìóèë ÑòîÿíîâÑàøî ÑòîèöîâÑèëâèÿ Ëàçàðîâà

Ñòåôàí ÍèêîëàåâÕóáåí ×åðêåëîâÞðè Ñòàéêîâ

95100101102120122124156157161172175176180182188192

6 Ìàðèÿ Âàñèëåâà / Maria Vassileva

The aim of this catalogue is to present the useof text in Bulgarian art from the late eighties ofthe 20th century up till now. In the beginningwe had but a vague idea of the real scope ofthe work. Gradually the number of artists gotbigger and the time confines moved furtherapart. As it turned out, the formula image +text was one of the potential ways to interpretart during that period. Since we weren’t ableto give a thorough account of all the facts, wetried to compensate through focusing on thevariety.

Worldwide the text found its place in art in thelate sixties of the 20th century as part of thecontinuous efforts to dematerialize the artisticobject. In Bulgaria it invaded the territory ofthe visual in the late eighties and the earlynineties of the 20th century along with the

Òîçè êàòàëîã ñå îïèòâà äà ïîêàæåèçïîëçâàíåòî íà òåêñòà â áúëãàðñêîòîèçêóñòâî îò êðàÿ íà 80-òå ãîäèíè íà 20-òè âåê äî äíåñ. Â íà÷àëîòî íà ðàáîòàòàèìàõìå ñàìî ñìúòíà ïðåäñòàâà çà îáåìàìó. Ïîñòåïåííî áðîÿò íà àâòîðèòå ñåóâåëè÷àâàøå, âðåìåâèòå ãðàíèöè ñåðàçòÿãàõà, à èçðàçíèòå ñðåäñòâà ïîêðèõàöåëèÿ ñïåêòúð. Îêàçà ñå, ÷å ôîðìóëàòàîáðàç+òåêñò å ñðåä âúçìîæíèòåïîäõîäè çà èíòåðïðåòàöèÿ íàèçêóñòâîòî ïðåç ïåðèîäà. Òúé êàòî íåìîæåõìå äà ñè ïîçâîëèì ïúëíàèç÷åðïàòåëíîñò íà ôàêòîëîãèÿòà, ñìå ñåîïèòàëè äà ÿ êîìïåíñèðàìå ñ èçòúêâàíåíà ìíîãîîáðàçèåòî.

Â ñâåòîâíîòî èçêóñòâî òåêñòúò íàâëèçàâ êðàÿ íà 60-òå ãîäèíè íà 20-òè âåê êàòî

7Ìàðèÿ Âàñèëåâà / Maria Vassileva

opportunity of free speech. The origin of thisprocess is mostly connected to the idea ofcommunication with the public and the desirefor a more direct sharing of the unspoken fromthe previous decades. In a work from theHomage to… series (1995) Luchezar Boyadjievpays tribute to the champion of the purelyconceptual art Joseph Kosuth but it is notmerely the shift from the object to the conceptthat characterizes the interests of the Bulgarianartists of that period. Their messages convey arealized lack of understanding and an attemptto attract attention through an instrument thathas proved its efficiency in time – the spokenword.

A certain culmination in that respect are workslike Nedko Solakov’s Encyclopedia Utopia andTop Secret (from 1990) where the personal and

÷àñò îò ïîñëåäîâàòåëíèòå óñèëèÿ çàäåìàòåðèàëèçàöèÿ íà õóäîæåñòâåíèÿîáåêò. Â Áúëãàðèÿ òîé íàõëóâà â ïîëåòîíà âèçóàëíîòî â êðàÿ íà 80-òå è íà÷àëîòîíà 90-òå ãîäèíè íà 20-òè âåêåäíîâðåìåííî ñ âúçìîæíîñòòà çàñâîáîäíî ãîâîðåíå. Çàðàæäàíåòî íà òîçèïðîöåñ å ïî-ñêîðî ñâúðçàí ñ èäåÿòà çàêîìóíèêàöèÿ ñ ïóáëèêàòà, ñ æåëàíèåòî çàïî-äèðåêòíî ñïîäåëÿíå íà íåñïîäåëåíîòîîò ïðåäèøíèòå äåñåòèëåòèÿ. Â ðàáîòàîò ñåðèÿòà ñè “Â ÷åñò íà...” (1995 ã.)Ëú÷åçàð Áîÿäæèåâ îòäàâà äúëæèìîòî íàðàäåòåëÿ çà ÷èñòî êîíöåïòóàëíîèçêóñòâî Äæîóçåô Êîñóò, íî íå ñàìîïðåâêëþ÷âàíåòî îò îáåêòà êúìêîíöåïòà îïðåäåëÿ èíòåðåñèòå íàáúëãàðñêèòå õóäîæíèöè ïðåç òîçè ïåðèîä.Ïîñëàíèÿòà èì ãîâîðÿò çà îñúçíàòà ëèïñà


universal stories are delivered in texts,drawings and photos put together in theuniversally imperfect form of the lexicon.The suddenly vented urge to confess isproportional to the long imposed silence.Personal notes alternate with ready-madetexts – the freedom of speech is unconditionallybound to the freedom of press. AdelinaPopnedeleva weaves tapestries out of the blueprinted title of the first democratic newspaper“Demokratsia” (Temple, 1990). LuchezarBoyadjiev creates his work Alice’s Hole (1991)using volumes on Marxist-Leninist aesthetics.Georgi Rouzhev draws his self-portrait on theManifesto of the German anarchists on theissues of Eastern Europe (1990).

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

íà ÷óâàåìîñò è îïèò äà ñå ïðèâëå÷åâíèìàíèåòî ñ ïîìîùòà íà äîêàçàëâúçìîæíîñòèòå ñè âúâ âðåìåòîèíñòðóìåíò – ñëîâîòî.

Êóëìèíàöèÿ â òàçè ïîñîêà ñà ðàáîòè êàòî“Åíöèêëîïåäèÿ Óòîïèÿ” è “Top Secret” íàÍåäêî Ñîëàêîâ îò 1990 ã., â êîèòîðàçêàçâàíåòî íà ïåðñîíàëíè èîáùîçíà÷èìè èñòîðèè ñå “èçëèâà” âòåêñòîâå, ðèñóíêè è ñíèìêè, ñúáðàíè âóíèâåðñàëíàòà íåñúâúðøåíîñò íàëåêñèêîííàòà ôîðìà. Âíåçàïíîîòêëþ÷åíàòà èçïîâåäíîñò å ïðàâîïðîïîðöèîíàëíà íà äúëãî íàëàãàíîòîìúë÷àíèå. Ëè÷íèòå áåëåæêè ñå ðåäóâàò ñèçïîëçâàíåòî íà ãîòîâè òåêñòîâå –ñâîáîäàòà íà ñëîâîòî áåçóñëîâíî åñâúðçàíà ñúñ ñâîáîäàòà íà ïå÷àòà.


the installation. Sometimes it is interwoven inthe structure of the work, sometimes it is animage itself. It is not uncommon for it even tolose its meaning as transformed into a visualspectacle. Typically for the period, the wordsabandon the form of the sheet and start theirjourney on the walls of the gallery or conquerstill other spaces turning almost into anelement of architecture. Language itself is atthe same time a physical object. The viewer isforced to read while moving. The words donot only change in size but become three-dimensional. Kiril Prashkov, for example,weaves long texts out of wire turning thegraphic beauty of the letters into an intricatevisual lace which “breaks through” the walls.Nedko Solakov sets up exhibitions basedentirely on hand-written texts which provokethe viewers’ watchfulness and make the

Àäåëèíà Ïîïíåäåëåâà òú÷å ãîáëåíè îòîòïå÷àòàíîòî ñúñ ñèíüî ìàñòèëîçàãëàâèå íà ïúðâèÿ äåìîêðàòè÷åí âåñòíèê“Äåìîêðàöèÿ” (“Õðàì”, 1990 ã.). Ëú÷åçàðÁîÿäæèåâ ñúçäàâà ðàáîòàòà ñè “Äóïêàòàíà Àëèñà” (1991 ã.), èçïîëçâàéêè òîìîâå ïîìàðêñèñòêî-ëåíèíñêàòà åñòåòèêà. ÃåîðãèÐóæåâ ïîñòàâÿ ñâîÿ àâòîïîðòðåò âúðõóÌàíèôåñòà íà íåìñêèòå àíàðõèñòè ïîâúïðîñèòå çà Èçòî÷íà Åâðîïà (1990 ã.).

Îòòóê íàòàòúê òåêñòúò åñòåñòâåíîñå èçïîëçâà â æèâîïèñòà, âèäåîòî,ôîòîãðàôèÿòà, îáåêòà, èíñòàëàöèÿòà.Ïîíÿêîãà å âïëåòåí â ñòðóêòóðàòà íàòâîðáàòà, äðóã ïúò ñàìèÿò òîé å îáðàç.Íå å èçêëþ÷åíî äîðè äà çàãóáè çíà÷åíèåòîñè, ïðåâúðíàò âúâ âèçóàëåí ñïåêòàêúë.Õàðàêòåðíî çà ïåðèîäà å, ÷å äóìèòå


visitors perform peculiar movements in theprocess of finding the message thustransforming them into objects themselves. Insome of his projects Pravdoliub Ivanov alsocounts on the unity of text and space usingrooted stereotypes and their visual equivalent –the printed word.

A number of contemporary artists virtually“play” with popular slogans to be found mainlyin advertisements. The aggressive verbalclichés surrounding us provoke them intocounteracting using the same methods. Suchapproach can be seen in the works of AllaGeorgieva, Silvia Lazarova, Adelina Popnedeleva,Veronika Tsekova, Georgi Toushev, Rassim.

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

íàïóñêàò ôîðìàòà íà ëèñòà è òðúãâàò ïîñòåíèòå íà ãàëåðèÿòà èëè çàâëàäÿâàòäðóãè ïðîñòðàíñòâà, êàòî ïî÷òè ñåïðåâðúùàò â àðõèòåêòóðåí åëåìåíò.Ñàìèÿò åçèê åäíîâðåìåííî å è ôèçè÷åñêèîáåêò. Çðèòåëÿò å ïðèíóäåí äà ÷åòå âäâèæåíèå. Äóìèòå íå ñàìî ïðîìåíÿòðàçìåðèòå ñè, íî è ñòàâàò òðèèçìåðíè.Êèðèë Ïðàøêîâ íàïðèìåð ïëåòå äúëãèòåêñòîâå îò òåë, èçâåæäàéêèãðàôè÷íàòà êðàñîòà íà áóêâèòå â ñëîæíèâèçóàëíè àæóðè, êîèòî “ïðîáèâàò”ñòåíèòå. Íåäêî Ñîëàêîâ ïðàâè öåëèèçëîæáè îò ðú÷íî íàïèñàíè òåêñòîâå,êîèòî ïðîâîêèðàò çðèòåëñêàòàíàáëþäàòåëíîñò, êàðàò ïîñåòèòåëÿ äàèçâúðøâà íåîáè÷àéíè äâèæåíèÿ â ïðîöåñàíà íàìèðàíå íà ïîñëàíèÿòà è òàêà ãîïðåâðúùàò â îáåêò. Ïðàâäîëþá Èâàíîâ


emphasize the process of thinking which isindispensable for the relationship between thecreator, the work and the viewer. This is wherethe similarities end. The dematerialization ofart is no longer on the agenda. The text cannotexist without the matter. It is used as acounterpart of the other visual elements butoften reveals the ability of the artist to digressfrom the stereotypes in the direction of theverbal expression. The contemporary artneither uses the word as a crutch nor relies onthe language entirely. The text is part of thetexture of images and meanings which for lackof a more precise term we tend to callcontemporary art.

ñúùî çàëàãà â íÿêîè ñâîè ïðîåêòè íàåäèíñòâîòî ìåæäó òåêñò èïðîñòðàíñòâî, êàòî èçïîëçâà íàñàäåíèñòåðåîòèïè è òåõíèÿ âèçóàëåíåêâèâàëåíò – ïå÷àòíîòî ñëîâî.

Ðåäèöà ñúâðåìåííè õóäîæíèöè “èãðàÿò”èìåííî ñ ãîòîâèòå ëîçóíãè,ðàçïðîñòðàíåíè íàé-âå÷å â ðåêëàìàòà.Àãðåñèâíèòå ñëîâåñíè êëèøåòà, êîèòî íèçàîáèêàëÿò, ãè ïðîâîêèðàò äà èìîòâðúùàò ñúñ ñúùèòå ìåòîäè. Ïîäîáåíïîäõîä ìîæå äà ñå âèäè â íÿêîè îòðàáîòèòå íà Àëëà Ãåîðãèåâà, ÑèëâèÿËàçàðîâà, Àäåëèíà Ïîïíåäåëåâà, ÂåðîíèêàÖåêîâà, Ãåîðãè Òóøåâ, Ðàñèì.

Êàêòî è òåõíèòå ïðåäøåñòâåíèöè îò60-òå ãîäèíè, òàêà è ñúâðåìåííèòå


áúëãàðñêè õóäîæíèöè èñêàò äàïîä÷åðòàÿò ìèñëîâíèÿ ïðîöåñ,çàäúëæèòåëåí çà âðúçêàòà ìåæäóñúçäàòåë, ïðîèçâåäåíèå è çðèòåë.Íî ïðèëèêèòå ñâúðøâàò äî òóê.Äåìàòåðèàëèçàöèÿòà íà èçêóñòâîòî äíåñíå å íà äíåâåí ðåä. Òåêñòúò íå ìîæå äàñúùåñòâóâà áåç ìàòåðèÿ. Òîé ñå èçïîëçâàêàòî åäíîçíà÷åí íà äðóãèòå âèçóàëíèåëåìåíòè, íî ÷åñòî ïîêàçâà èñïîñîáíîñòòà íà õóäîæíèêà äà ðàç÷óïâàñòåðåîòèïè ïî ïîñîêà íà ñëîâåñíàòàèçðàçíîñò. Äíåøíîòî èçêóñòâî íåóïîòðåáÿâà ñëîâîòî êàòî ïàòåðèöà, íîíå å è áàçèðàíî âúðõó åçèêà. Òåêñòúò å÷àñò îò ïëåòåíèöàòà îò îáðàçè èñìèñëè, êîÿòî ïîðàäè ëèïñà íà ïî-òî÷åíòåðìèí íàðè÷àìå ñúâðåìåííî èçêóñòâî.

Äàíèåëà Ðàäåâà / Daniela Radeva

What is the point in compiling such a catalogue

if the text, once alien to the territory of the visual,has long established its reputation? A bitobscured by the images, the text might be readbut it could also be overlooked. Words mayseem just a material and writing a mere technique.Therefore the aim of this catalogue is to put thetext forward so that we can have a closer look atit and spend a little more time on “reading” arteven at the risk of slightly neglecting its visualaspect.

As the conceptual artists from the 70ies of the20th century added text to their visual works,they showed how letters and numbers couldthemselves be the means of expression.Nowadays the text is considered intrinsic forvisual art regardless of whether within the spacebetween “the thoughts and the speech” of the

Êàêúâ å ñìèñúëúò äà ñå ñúñòàâÿ ïîäîáåíêàòàëîã, êîãàòî òåêñòúò, ïúðâîíà÷àëíî÷óæäåíåö íà òåðèòîðèÿòà íà âèçóàëíîòî,îòäàâíà èìà óòâúðäåíè ïîçèöèè? Ëåêîçàñåí÷åí îò îáðàçèòå, òåêñòúò ìîæå äà ñåïðî÷åòå, íî ìîæå è äà ñå ïðîïóñíå. Ìîæå äàèçãëåæäà, ÷å äóìèòå ñà ñàìî ìàòåðèàë, àïèñàíåòî – òåõíèêà. Çàòîâà öåëòà íà òîçèêàòàëîã å äà “èçíåñå” òåêñòà, çà äà ìîæåìäà ñå âãëåäàìå â íåãî ïî-îòáëèçî, äàîòäåëèì ìàëêî ïîâå÷å âðåìå è âíèìàíèå çà“÷åòåíå” íà èçêóñòâîòî, äîðè ñ ðèñê äàïðåíåáðåãíåì ìàëêî íåãîâàòà îáðàçíàñòðàíà.

Êîãàòî õóäîæíèöèòå êîíöåïòóàëèñòè îò70-òå ãîäèíè íà 20-òè âåê çà ïúðâè ïúòñúçäàâàò âèçóàëíè ïðîèçâåäåíèÿ ñ òåêñò,òå ïîêàçâàò êàê áóêâèòå è ÷èñëàòà ñàìè ïî

13

14 Äàíèåëà Ðàäåâà / Daniela Radeva

authors there are visual or verbal forms.As compared to the picture, one of the greatestassets of the text is its ability to express aparticular thought which can be unequivocallydeciphered so as to disseminate a “veryimportant announcement” (after NedkoSolakov’s work of the same name which has alsosuggested the title of the exhibition). This,however, is misleading. A sentence or even asingle word can have no lesser variety ofmeanings as compared to any image. If there wasan announcement on TV for the opening of amuseum of contemporary art, this would be amessage. If the announcement was fictional,though, it would no longer be a message but animitation of a fictional reality loaded with muchmore information than a commonannouncement. A person cannot simply see orread meaning and content. An artist never just“offers” them indisputably whether using an

ñåáå ñè ìîãàò äà èçîáðàçÿâàò. Äíåñ âå÷åòåêñòúò ñå ïðèåìà êàòî åñòåñòâåíîïðèñúù çà âèçóàëíîòî èçêóñòâî, íåçàâèñèìîäàëè â ïðîñòðàíñòâîòî “ìåæäó ìèñëèòå èðå÷òà” íà õóäîæíèöèòå èìà îáðàçíè èëèñëîâåñíè ôîðìè.

Ñúïîñòàâåí ñ èçîáðàæåíèåòî, åäíî îò íàé-ãîëåìèòå ïðåäèìñòâà íà òåêñòà åñïîñîáíîñòòà ìó äà èçðàçÿâà êîíêðåòíàìèñúë, êîÿòî ìîæå äà ñå ðàç÷åòå áåçèçìåíåíèÿ, òàêà ÷å äà ðàçïðîñòðàíè íÿêîåìíîãî “âàæíî ñúîáùåíèå” (ïî åäíîèìåííàòàðàáîòà íà Íåäêî Ñîëàêîâ, ïîäñêàçàëà èíàçâàíèåòî íà èçëîæáàòà). Òîâà îáà÷å åïîäâåæäàùî. Åäíî èçðå÷åíèå èëè äîðè ñàìîåäíà äóìà ìîãàò äà èìàò íå ïî-ìàëêîìíîãîîáðàçíè çíà÷åíèÿ îò êîåòî è äà åèçîáðàæåíèå. Àêî ïî òåëåâèçèÿòà îáÿâÿò,÷å íÿêúäå ñå îòêðèâà ìóçåé íà

15Äàíèåëà Ðàäåâà / Daniela Radeva

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

ñúâðåìåííîòî èçêóñòâî, òîâà å ñúîáùåíèå.Àêî ñúîáùåíèåòî îáà÷å å õóäîæåñòâåíàèçìèñëèöà, òîãàâà íå å ñúîáùåíèå, àíàïîäîáÿâàíå íà íÿêàêâà ôèêòèâíàäåéñòâèòåëíîñò, ñúäúðæàùà ìíîãî ïîâå÷åèíôîðìàöèÿ îò îáèêíîâåíî ñúîáùåíèå.×îâåê íå ìîæå ïðîñòî äà âèäè èëè ïðî÷åòåñìèñúëà è ñúäúðæàíèåòî. Õóäîæíèêúòíèêîãà íå ãè “äàðÿâà” ïðîñòî òàêà,íåçàâèñèìî äàëè èçïîëçâà îáðàç èëè òåêñò.Óäîâîëñòâèåòî îò èçêóñòâîòî èäâà îòòúðñåíåòî è íàìèðàíåòî íà êëþ÷à èëè êîäà,ñ êîèòî çðèòåëÿò ìîæå äà ïðîíèêíå âúòðå.

17Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

18 Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

26 Àëëà Ãåîðãèåâà / Alla Georgieva

27Àëëà Ãåîðãèåâà / Alla Georgieva

29Àëëà Ãåîðãèåâà / Alla Georgieva

Àëëà Ãåîðãèåâà / Alla Georgieva 33

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

35Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)

Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)36

Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa) 37

38 Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

39Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

4433ÂÂààëëååííòòèèíí ÑÑòòååôôààííîîââ // VVaalleennttiinn SStteeffaannooffff

44 Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

45Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

46 Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

47Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

48 Âåðîíèêà Öåêîâà / Veronica Tzekova

49Âåðîíèêà Öåêîâà / Veronica Tzekova

50 Âåðîíèêà Öåêîâà / Veronica Tzekova

51Âåðîíèêà Öåêîâà / Veronica Tzekova

52 Ãåîðãè Ðóæåâ / Georgi Rouzhev

54 Ãåîðãè Òóøåâ / Georgi Toushev

55Ãåîðãè Òóøåâ / Georgi Toushev

56 Ãåîðãè Òóøåâ / Georgi Toushev

57Ãåîðãè Òóøåâ / Georgi Toushev

58 Äèìèòðèíà Äîé÷èíîâà / Dimitrina Doichinova

59Äèìèòðèíà Äîé÷èíîâà / Dimitrina Doichinova

60 Äèìèòúð Òðàé÷åâ / Dimitar Traychev

62 Äèìèòúð Òðàé÷åâ / Dimitar Traychev

63Äèìèòúð Òðàé÷åâ / Dimitar Traychev

64 Åëåíà Ïàíàéîòîâà / Elena Panayotova

65Åëåíà Ïàíàéîòîâà / Elena Panayotova

66 Åëåíà Ïàíàéîòîâà / Elena Panayotova

67Åëåíà Ïàíàéîòîâà / Elena Panayotova

68 Èâàí Êþðàíîâ / Ivan Kiuranov

69Èëèàí Ëàëåâ / Ilian Lalev

Èëèàí Ëàëåâ / Ilian Lalev70

Èëèàí Ëàëåâ / Ilian Lalev 71

Éîàí Êèðèëîâ / Ioan Kirilov72

Éîàí Êèðèëîâ / Ioan Kirilov 73

74 Éîàí Êèðèëîâ / Ioan Kirilov

A B

75Êàëèí Ïëóã÷èåâ / Kalin Plugchiev

7766 ÊÊààëëèèíí ÑÑååððààïïèèîîííîîââ // KKaalliinn SSeerraappiioonnoovv

77Êàëèí Ñåðàïèîíîâ / Kalin Serapionov

Êèðèë Ïðàøêîâ / Kiril Prashkov78

A B

Êèðèë Ïðàøêîâ / Kiril Prashkov 79

82 Êèðèë Ïðàøêîâ / Kiril Prashkov

83Êèðèë Ïðàøêîâ / Kiril Prashkov

92 Êðàñèìèð Äîáðåâ / Krassimir Dobrev

93Êðàñèìèð Äîáðåâ / Krassimir Dobrev

94 Êðàñèìèð Äîáðåâ / Krassimir Dobrev

95Êðàñèìèð Òåðçèåâ / Krassimir Terziev

96 Êðàñèìèð Òåðçèåâ / Krassimir Terziev

97Êðàñèìèð Òåðçèåâ / Krassimir Terziev

9999ÊÊððààññèèììèèðð ÒÒååððççèèååââ // KKrraassssiimmiirr TTeerrzziieevv

100 Êîñòà Òîíåâ / Kosta Tonev

101Êîñüî Ìèí÷åâ / Kosio Minchev

102 Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

103Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev

110055

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev108

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev 109

111111

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev112

Ëú÷åçàð Áîÿäæèåâ / Luchezar Boyadjiev 113

111155

120 Ìàðèÿ Çàôèðêîâà / Maria Zafirkova

121Ìàðèÿ Çàôèðêîâà / Maria Zafirkova

122 Íàäåæäà Îëåã Ëÿõîâà / Nadezhda Oleg Lyahova

123Íàäåæäà Îëåã Ëÿõîâà / Nadezhda Oleg Lyahova

124 Íåäêî Ñîëàêîâ / Nedko Solakov

125Íåäêî Ñîëàêîâ / Nedko Solakov

112277

112288

112299

113311

113322

113333

114400

114433

114499

115500

115511

115522

115533

ÍÍèèêêîîëëààéé ××ààêêúúððîîââ // NNiikkoollaayy CChhaakkaarroovv115566

Íèíà Êîâà÷åâà / Nina Kovacheva 157

158 Íèíà Êîâà÷åâà / Nina Kovacheva

159Íèíà Êîâà÷åâà / Nina Kovacheva

116600 ÍÍèèííàà ÊÊîîââàà÷÷ååââàà,, ÂÂààëëååííòòèèíí ÑÑòòååôôààííîîââ // NNiinnaa KKoovvaacchheevvaa,, VVaalleennttiinn SStteeffaannooffff

161Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

116622

116633

164 Ïðàâäîëþá Èâàíîâ / Pravdoliub Ivanov

116655

116677

116688

116699

117711ÏÏððààââääîîëëþþáá ÈÈââààííîîââ // PPrraavvddoolliiuubb IIvvaannoovv

Ðàñèì / Rassim172

A B

Ðàñèì / Rassim 173

174 Ðàñèì / Rassim

175Ñàìóèë Ñòîÿíîâ / Samuil Stoyanov

176 Ñàøî Ñòîèöîâ / Sasho Stoitzov

177Ñàøî Ñòîèöîâ / Sasho Stoitzov

178 Ñàøî Ñòîèöîâ / Sasho Stoitzov

179Ñàøî Ñòîèöîâ / Sasho Stoitzov

Ñèëâèÿ Ëàçàðîâà / Sylvia Lazarova180

A B

Ñèëâèÿ Ëàçàðîâà / Sylvia Lazarova 181

118822 ÑÑòòååôôààíí ÍÍèèêêîîëëààååââ // SStteeffaann NNiikkoollaaeevv

118833

118844

118855

118866

118877ÑÑòòååôôààíí ÍÍèèêêîîëëààååââ // SStteeffaann NNiikkoollaaeevv

Õóáåí ×åðêåëîâ / Houben Cherkelov188

Õóáåí ×åðêåëîâ / Houben Cherkelov 189

190 Õóáåí ×åðêåëîâ / Houben Cherkelov

191Õóáåí ×åðêåëîâ / Houben Cherkelov

192 Þðè Ñòàéêîâ / Jury Staikov

193

AAddeelliinnaa PPooppnneeddeelleevvaa,, bb.. 11995566

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

Language, 1996newspapers, wire, 150 x 80The Paper, Shipka 6 Gallery, Art Gallery Dobrich, 1996

Advertisement Only, 1996installation, paper, text, 210 x 300 The Paper, Shipka 6 Gallery, Sofia, 1996

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

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

ÀÀääååëëèèííàà ÏÏîîïïííååääååëëååââàà,, ðð.. 11995566

Õðàì, 1990ïàìóê, âúëíà, âåñòíèöè, 87 õ 100

Óìåðåí àâàíãàðä â ðàìêèòå íà òðàäèöèÿòà, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1990

Åçèê, 1996 âåñòíèöè, òåë, 150 õ 80

Õàðòèÿòà, ãàëåðèÿ Øèïêà 6, ÕÃ Äîáðè÷, 1996

Ñàìî ðåêëàìà, 1996èíñòàëàöèÿ, õàðòèÿ, òåêñò, 210 õ 300

Õàðòèÿòà, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1996

Êíèãà çà ëþáîâòà, 1997êíèãà-îáåêò, 33 õ 40 õ 4Áúëãàðñêàòà àðò- êíèãà,

ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1997

The Real Thing, 2000ïúðôîðìàíñ, ëåòèùå JFK, New York, ñúâìåñòíî ñ

Ìèøåë Áåê Áúëãàðèÿ, Íþ Éîðê, Íþ Éîðê, 2000

194

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

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

AAllllaa GGeeoorrggiieevvaa,, bb.. 11995577

The Self-Portrait as a Sexual-Culinary Object, 1997black and white photography, hand-coloring, dimensions variable (detail)Erato’s version, Shipka 6 Gallery, 1997

Dolce vita, 1999Installation, 500 pink and white wafers, size 30 x 40, 18packs of pink lokum (Turkish delight), 3 kg C-200 gumObsession, The Central Mineral Bath, Sofia, 1999

Èäåàëúò, 2000ïúðôîðìàíñ

Áúëãàðèÿ, Íþ Éîðê, Íþ Éîðê, 2000Èäåàëúò, Öåíòúð çà ñúâðåìåííî èçêóñòâî Áàíÿ

Ñòàðèííà, Ïëîâäèâ, 2004

Èçêîíñóìèðàé ìå÷òèòå ñè, 2001ïúðôîðìàíñ, äâå òîðòè, êàðòîíåíè ÷èíèè,

ïëàñòìàñîâè âèëèöèShop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ,

Ñîôèÿ, 2001

ÀÀëëëëàà ÃÃååîîððããèèååââàà,, ðð.. 11995577

Àâòîïîðòðåò êàòî ñåêñóàëíî-êóëèíàðåí îáåêò, 1997÷åðíî-áÿëà ôîòîãðàôèÿ, îöâåòÿâàíå,

âàðèðàùè ðàçìåðè (ôðàãìåíò)Âåðñèÿòà íà Åðàòî, ãàëåðèÿ Øèïêà 6, 1997

Dolce vita, 1999èíñòàëàöèÿ, 500 ðîçîâè è áåëè âàôëeíè êîðè ñ ðàçìåð

30 õ 40, 18 êóòèè ðîçîâ ëîêóì, 3 êã. ëåïèëî Ñ-200Îáñåáâàíå, Öåíòðàëíà ìèíåðàëíà áàíÿ, Ñîôèÿ,

1999

195

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

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

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

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

Alla`s Secret, 2000äèãèòàëåí ïå÷àò, ñåðèÿ îò 3, 130 õ 120 / 100Ñóáåêòè è ñåíêè, ÀÒÀ Öåíòúð çà ñúâðåìåííî

èçêóñòâî, 2000Bound/less Borders, Ïúðâè ïúòóâàù Áàëêàíñêè

ïðîåêò íà îòêðèòî, 2002-2003Óìíîæàâàíå íà îòðàæåíèÿòà, ÑÃÕÃ, 2006

Dolce Vita, 2000îáåêò, 37 õ 26,5 õ 3

Îãëåäàëöå, îãëåäàëöå…, ÕÃ Ðóñå, 2000

Íîâ àðîìàò, 2001èíñòàëàöèÿ, ïúðôîðìàíñ,

2 ïîñòåðà (ëàçåðåí ïðèíòåð), ôëàêîíè ñ CS-GasShop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ,

Ñîôèÿ, 2001

Áðàòÿ è ñåñòðè. Ñàìîçàùèòà çà æåíè è ìúæå, 2001 èíñòàëàöèÿ, 10 òåíèñêè ñ öâåòíè îòïå÷àòúöè,

1 ÷åðíî-áÿëà ñíèìêàDare to be different. Artist Women from the Balkans for Culture of Tolerance,Ôèåð è Òèðàíà,, 2001

196

Book from bread, 2000bread, 4 leaves, 23 õ 27 2nd International Artists Book Triennial, ARKA Gallery,Vilnius, Lithuania, 2000

BBoorryyaannaa DDrraaggooeevvaa ((BBoorryyaannaa RRoossssaa)),, bb.. 11997722

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

Vibro-Elephant, 20013D animation, 7 min, advertising poster, 100 x 70, digital printWomen at (on) the Market, underpass Saint Sofia, Sofia,2001

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

Õëåáíà êíèãà, 2000êíèãà, õëÿá, 4 ëèñòà, 23 õ 27

II Måæäóíàðîäíî òðèåíàëå íà àðòèñòè÷íàòà êíèãà,ãàëåðèÿ ÀÐÊÀ, Âèëíþñ, Ëèòâà, 2000

ÁÁîîððÿÿííàà ÄÄððààããîîååââàà ((ÁÁîîððÿÿííàà ÐÐîîññññàà)),, ðð.. 11997722

Æèâîòúò è ñìúðòòà íà Êàïèòàí Àìåðèêà, 1999öèêúë ðèñóíêè, àìáàëàæíà õàðòèÿ, ñìåñåíà

òåõíèêà, 113 õ 108 âñÿêàÌëàäè êóðàòîðè ïðåäñòàâÿò ìëàäè õóäîæíèöè,

Øèïêà 6, Ñîôèÿ, 1999

Âèáðî-Ñëîí, 20013D àíèìàöèÿ, 7 ìèí., ðåêëàìåí ïîñòåð, 100 õ 70,

äèãèòàëåí ïå÷àòShop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ,

Ñîôèÿ, 2001

I Lost My..., 2002öèêúë ôîòîãðàôèè, 100 x 70

EXPORT- IMPORT. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ,ÑÃÕÃ, 2003

197

VVaalleennttiinn SStteeffaannooffff,, bb.. 11995599

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

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

It’s Difficult to Be Closed, 2000wall 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, 2000concept statement, wall installation, dimension variableThe Museum of Contemporary Art, Belgrade, 2000

ÂÂààëëååííòòèèíí ÑÑòòååôôààííîîââ,, ðð.. 11995599

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

Closed, 1998-2000ïëåêñèãëàñ, 22 ÷àñòè, âàðèðàùè ðàçìåðè

Identifications of the Space, ÀÒÀ Öåíòúð çà ñúâðåìåííîèçêóñòâî, Ñîôèÿ, 1998

Identifications of the Space II, ãàëåðèÿ Luc Queyrel,Ïàðèæ, 1998

Ìóçåé çà ñúâðåìåííî èçêóñòâî, Áåëãðàä, 2000ãàëåðèÿ Mabel Semmler, Ïàðèæ, 2003

Le forum Itinérant, Ñòðàñáóðã, Ôðàíöèÿ, 2004

It’s Difficult to Be Closed, 2000ñòåííà 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

êîíöåïöèÿ, ñòåííà èíñòàëàöèÿ, âàðèðàùè ðàçìåðè Ìóçåé çà ñúâðåìåííî èçêóñòâî, Áåëãðàä, 2000

198

Le forum Itinérant, Strasbourg, France, 2004Villa du Parc-Centre d’Art Contemporain, Annemasse, France, 2006

The Tide is Turning, 2004light object, 140 x 60 x 18

Difference is Scary, 2006light object, 60 x 60

VVeennttssiissllaavv ZZaannkkoovv,, bb.. 11996622

Why Does the Prince Take So Long?, 1995oil on canvas, 200 õ 155Without Innocence, Mix Gallery, Sofia, 1995

A Taste of Paradise, 1993oil on canvas, 180 õ 220Without Innocence, Mix Gallery, Sofia, 1995Contemporary Art from Bulgaria, presented by the National Art Gallery, National Palace of Culture, Sofia, 1997Nude, Sofia Art Gallery, Sofia, 1999

Le forum Itinérant, Ñòðàñáóðã, Ôðàíöèÿ, 2004Villa du Parc-Centre d’Art Contemporain,

Àíåìàñ, Ôðàíöèÿ, 2006

The Tide is Turning, 2004ñâåòëèíåí îáåêò, 140 x 60 x 18

Difference is Scary, 2006ñâåòëèíåí îáåêò, 60 x 60

ÂÂååííööèèññëëààââ ÇÇààííêêîîââ,, ðð.. 11996622

Çàùî íà ïðèíöà ìó òðÿáâàøå òîëêîâà âðåìå?, 1995ì.á., ïë., 200 õ 155

Áåç íåâèííîñò, ãàëåðèÿ Ìèêñ, Ñîôèÿ, 1995

Âêóñ íà ðàé, 1993ì.á., ïë., 180 õ 220

Áåç íåâèííîñò, ãàëåðèÿ Ìèêñ, Ñîôèÿ, 1995 Ñúâðåìåííî áúëãàðñêî èçêóñòâî, ñåëåêöèÿ íà ÍÕÃ,

ÍÄÊ, Ñîôèÿ, 1997Ãîëî òÿëî, ÑÃÕÃ, 1999

199

Make War Not Love, 1997 performanceFestival Explosions, Kapelica Gallery, Ljubliana, 1997

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

VVeerroonniiccaa TTzzeekkoovvaa,, bb.. 11997733

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

Make War Not Love, 1997 ïúðôîðìàíñ

ôåñòèâàë Explosions, ãàëåðèÿ Êàïåëèöà, Ëþáëÿíà, 1997

Ïèñìî, 2000(ïî ñòèõîòâîðåíèå íà Âàïöàðîâ)

âèäåîÌåæäóíàðîäåí ôåñòèâàë Âèäåîàðõåîëîãèÿ,

Ñîôèÿ, 2000-2001 Ñèìïîçèóì Understanding the Balkans, Ñêîïèå, 2001

ÂÂååððîîííèèêêàà ÖÖååêêîîââàà,, ðð.. 11997733

Sweetshirt, 2002ðàáîòàòà 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 íàIn den Schluchten des Balkan, Kunsthalle Fridericianum,

200

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

Ask a Man Who Owns One, 2005t-shirts, underwear, printAsk a Man Who Owns One, Bulgarian Cultural Institute, Haus Wittgenstein, Vienna, 2005Corporately Yours,Wienstation, Vienna, 2005

Êàñåë, Ãåðìàíèÿ, 2003èçëîæáà Billboart Gallery Europe, Áðàòèñëàâà, 2003

BLOOD: Lines and Connections, Ìóçåé çà ñúâðåìåííîèçêóñòâî, Äåíâúð, ÑÀÙ, 2003

Facts and Fiction, Áúëãàðñêè êóëòóðåí èíñòèòóò ÄîìÂèòãåíùàéí, Âèåíà, 2003

In den Schluchten des Balkan, ÊóíñòõàëåÔðèäåðèöèàíóì, 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, 2005Ask a Man Who Owns One, Áúëãàðñêè êóëòóðåíèíñòèòóò Äîì Âèòãåíùàéí, Âèåíà, 2005Corporately Yours, Wienstation, Âèåíà, 2005

Ask a Man Who Owns One, 2005òåíèñêè, áåëüî, ïå÷àòAsk a Man Who Owns One,

Áúëãàðñêè êóëòóðåí èíñòèòóò Äîì Âèòãåíùàéí,Âèåíà, 2005

Corporately Yours,Wienstation, Âèåíà, 2005

201

Phony Noises, 2005action, digital images, dimensions variableVienna, 2005

GGeeoorrggii RRoouuzzhheevv,, 11996644

Self-portrait over the German Anarchist’s Manifest Concern-ing the East-European Issues, 1990photomontage, dimensions variable3rd International Istanbul Biennial, Istanbul, Turkey, 1992New Radical Practices, XXL Gallery, Sofia, 1997

GGeeoorrggii TToouusshheevv,, bb.. 11996699

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

Phony Noises, 2005àêöèÿ, äèãèòàëíè îòïå÷àòúöè, âàðèðàùè ðàçìåðè

Âèåíà, 2005

ÃÃååîîððããèè ÐÐóóææååââ,, 11996644

Àâòîïîðòðåò âúðõó Ìàíèôåñòà íà íåìñêèòåàíàðõèñòè ïî âúïðîñèòå çà Èçòî÷íà Åâðîïà, 1990

ôîòîìîíòàæ, âàðèðàùè ðàçìåðèÒðåòî ìåæäóíàðîäíî áèåíàëå íà ñúâðåìåííîòî

èçêóñòâî, Èñòàíáóë, Òóðöèÿ, 1992Íîâè ðàäèêàëíè ïðàêòèêè, ãàëåðèÿ XXL, Ñîôèÿ, 1997

ÃÃååîîððããèè ÒÒóóøøååââ,, ðð.. 11996699

Òå íå ñà ãàíãñòåðè, òå ñà æèâîïèñöè!, 1999àêðèë âúðõó ïëàòíî, 100 õ 130

Gangstart, ãàëåðèÿ XXL, Ñîôèÿ, 1999Radikal Kunst from Bulgaria, Áúëãàðñêè êóëòóðåíèíñòèòóò Äîì Âèòãåíùàéí, Âèåíà, 1999Ñúâðåìåííà áúëãàðñêà æèâîïèñ, Ñåóë, 2001

Export-Import. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ, ÑÃÕÃ,

202

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

This Gallery Could Turn into a Terrific Bar, 1999picture-comics, cardboardBacterium Bulgaricus Art. Contemporary Bulgarian Art, Mu-seum of Foreign Art, Riga, Latvija, 1999

In the Beginning the Chicken Was Not There, 1999picture-comics, cardboardBacterium Bulgaricus Art. Contemporary Bulgarian Art, Mu-seum of Foreign Art, Riga, Latvija, 1999

DDiimmiittrriinnaa DDooiicchhiinnoovvaa,, bb.. 11995577

Glory (I’m Looking for Ants), 1994ants, food-stuffs, dimensions variableN-Forms? Reconstructions and Interpretations, Raiko Aleksiev Gallery, Sofia, 1994

Ñîôèÿ, 2002Paint or Die 2, 1999

àêðèë âúðõó ïëàòíî, 130 õ 150Íîâà áúëãàðñêà æèâîïèñ 2, ãàëåðèÿ XXL, Ñîôèÿ, 1999

Çëàòíî îêî, Áèåíàëå çà ñúâðåìåííî èçêóñòâî, Íîâè Ñàä, Ñúðáèÿ è ×åðíà ãîðà, 1999

Â òàçè ãàëåðèÿ ìîæå äà ñòàíå ñòðàõîòåí áàð, 1999êàðòèíà-êîìèêñ, êàðòîí

Bacterium Bulgaricus Art. Ñúâðåìåííî áúëãàðñêîèçêóñòâî, Ìóçåé çà ÷óæäåñòðàííî èçêóñòâî, Ðèãà,

1999

In the Beginning the Chicken Was Not There, 1999êàðòèíà-êîìèêñ, êàðòîí

Bacterium Bulgaricus Art. Ñúâðåìåííî áúëãàðñêî èçêóñòâî,Ìóçåé çà ÷óæäåñòðàííî èçêóñòâî, Ðèãà, 1999

ÄÄèèììèèòòððèèííàà ÄÄîîéé÷÷èèííîîââàà,, ðð.. 11995577

Ñëàâà (Òúðñÿ ìðàâêè), 1994ìðàâêè, õðàíèòåëíè ïðîäóêòè, âàðèðàùè ðàçìåðè

N-Ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿ Ðàéêî Àëåêñèåâ, Ñîôèÿ, 1994

203

DDiimmiittaarr TTrraayycchheevv,, bb.. 11995522

Limit Tolerance, 1999 acrylic, collage, cardboard, 200 õ 150 Zwarte Zee, Noordzee, Bulgarian-Dutch project, ArtGallery “Boris Georgiev”, Varna, Bulgaria, 1999 Zwarte Zee, Noordzee, Bulgarian-Dutch project, Dordreht, The Netherlands, 1999

Paper Jam, 2000installation, paper, 36 x 50/70 The Paper Usage, Art Gallery, Varna, Bulgaria, 2000Study by Andy Warhol, 2001object, polyester, folio, 200 x 100 x 50The Music, Georgi Velchev house-museum, Varna, Bulgaria, 2001Business Correspondence, 2002paper, printer, 180 õ 120August in Art, Festival of Visual Arts, Varna, Bulgaria,2002

EElleennaa PPaannaayyoottoovvaa,, bb.. 11996644

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

ÄÄèèììèèòòúúðð ÒÒððààéé÷÷ååââ,, ðð.. 11995522

Äîïóñòèìî îòêëîíåíèå, 1999àêðèë, êîëàæ, êàðòîí, 200 õ 150

×åðíî ìîðå, Ñåâåðíî ìîðå, Áúëãàðî-õîëàíäñêèïðîåêò, ÕÃ “Áîðèñ Ãåîðãèåâ”, Âàðíà, 1999

×åðíî ìîðe, Ñåâåðíî ìîðå, Áúëãàðî-õîëàíäñêèïðîåêò, Äîðäðåõò, Õîëàíäèÿ, 1999

Paper Jam, 2000èíñòàëàöèÿ, õàðòèÿ, 36 x 50/70

Õàðòèÿòà íà÷èí íà óïîòðåáà , ÕÃ , Âàðíà, 2000Åòþä ïî Óîðõîë, 2001

îáåêò, ïîëèåñòåð, ôîëèî, 200 õ 100 õ 50Ìóçèêàòà, Êúùà-ìóçåé Ãåîðãè Âåë÷åâ, Âàðíà, 2001

Äåëîâà êîðåñïîíäåíöèÿ, 2002õàðòèÿ, ïðèíòåð, 180 x 120

Àâãóñò â èçêóñòâîòî, Ôåñòèâàë íà âèçóàëíèòåèçêóñòâà, Âàðíà, 2000

ÅÅëëååííàà ÏÏààííààééîîòòîîââàà,, ðð.. 11996644

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

204

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 Balkancountries, National Art Gallery, Sofia, 2001donumenta, Regensburg, Germany, 2005

Dedications: to Mladen Stilinovic, 2003textile, 178 x 182Radical: vaguely, National Art Gallery, Sofia, 2003Radical: vaguely, Saint Hyacinthe Gallery, Montreal, Canada, 20032007: We grow-stop growing to be?, EI Bank Gallery, Sofia, 2005After / Before, Landesgalerie, Eisenstadt, Austria, 2006

Labeling – A Throw of the Dice, 2004fired clay, acrylic colors, varnish, textile, nails, paper,metal, thread, dimension variables Identities, University of Michoacan, Morelia, Mexico, 2004

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, 2001donumenta, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005

Ïîñâåòåíà íà Ìëàäåí Ñòèëèíîâè÷, 2003, òåêñòèë, 178 x 182

Ðàäèêàëíî: íåÿñíî, ÍÕÃ, Ñîôèÿ, 2003Ðàäèêàëíî: íåÿñíî, ãàëåðèÿ Ñåí-Õèàñèíò,

Ìîíðåàë, Êàíàäà, 20032007: Ñòàâàìå-ïðå-ñòàâàìå äà ñìå?,

ãàëåðèÿ Ñè Áàíê, Ñîôèÿ, 2005Ñëåä / Ïðåäè, Îáëàñòíà õóäîæåñòâåíà ãàëåðèÿ,

Àéçåíùàä, Àâñòðèÿ, 2006

Åòèêåòèðàíå – õâúðëÿíå íà çàðà, 2004èçïàëåíà ãëèíà, àêðèë, ôèðíèç, ïèðîíè, ïëàò,õàðòèÿ, ìåòàë, êàíàï, âàðèðàùè ðàçìåðèIdentities, Óíèâåðñèòåò íà Ìè÷îàêàí, Ìîðåëèÿ,

Ìåêñèêî, 2004

205

IIvvaann KKiiuurraannoovv,, bb..11996666

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

IIlliiaann LLaalleevv,, bb.. 11996622

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

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

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

ÈÈââààíí ÊÊþþððààííîîââ,, ðð.. 11996666

Âå÷íî ùå òå îáè÷à! Òâîÿòà êóêëà, 1996ôîòîãðàôèÿ, 100 x 140

Ñâèäåòåëñòâà. Ðåàëíàòà ðàçëè÷íîñò, ÑÃÕÃ, Ñîôèÿ,1996

ÈÈëëèèÿÿíí ËËààëëååââ,, ðð.. 11996622

Ãàòàíêà, 2000ãàçîáåòîííè áëîê÷åòà Èòîíã, 200 õ 300 õ 20

Àâãóñò â èçêóñòâîòî, Àðõåîëîãè÷åñêè ìóçåé, Âàðíà,Áúëãàðèÿ, 2000

Ïðåñïàïèå èëè íÿêîëêî îïèòà äà äîêîñíà ÒðóìàíÊàïîòè, 1999

èíñòàëàöèÿ, âèäåî, êðèñòàëíè ïðåñïàïèåòà,àíèìèðàí òåêñò, åëåêòðîííà áÿãàùà ïúòåêàÏðåñïàïèå èëè íÿêîëêî îïèòà äà äîêîñíà Òðóìàí

Êàïîòè, ãàëåðèÿ Àòà-Ðàé, Ñîôèÿ, 1999

Â î÷àêâàíå, 2000öèêúë äèãèòàëíè îòïå÷àòúöè, 134 õ 180 âñåêè

Â î÷àêâàíå, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2000Du bist di Welt, Kunstlerhaus Viena, Âèåíà, 2001

206

IIooaann KKiirriilloovv,, bb.. 11996666

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

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

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

ÉÉîîààíí ÊÊèèððèèëëîîââ,, ðð.. 11996666

Ïîíÿêîãà ñúì ñúùèÿ êàòî áàùà ñè – ìðàçÿ äà ìåáåçïîêîÿò, 2002

ì.á., ïë., 100 x 100Freeze Muthafucka, ñàìîñòîÿòåëíà èçëîæáà, ãàëåðèÿ

XXL, Ñîôèÿ, 2002Áúëãàðñêè õóäîæíèöè îò ðóìúíñêè ïðîèçõîä, Áóêóðåù,

2004

Òîìè Ëèé Äæîóíñ, 2002ì.á., ïë., 100 x 100

Freeze Muthafucka, ñàìîñòîÿòåëíà èçëîæáà, ãàëåðèÿXXL, Ñîôèÿ, 2002

Áúëãàðñêè õóäîæíèöè îò ðóìúíñêè ïðîèçõîä, Áóêóðåù,2004

Êîëàòà, 2004ì.á., ïë., 140 x 200

Radical: Vaguely, ãàëåðèÿ Plein Sud, Ìîíðåàë, Êàíàäàè Íàöèîíàëíà õóäîæåñòâåíà ãàëåðèÿ, Ñîôèÿ, 2003Áèåíàëå íà ñúâðåìåííîòî èçêóñòâî, Øóìåí, Áúëãàðèÿ,

2004Donunmenta 2005, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005Ñúâðåìåííà áúëãàðñêà æèâîïèñ, Âàðøàâà, 2006

207

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

KKaalliinn PPlluuggcchhiieevv,, bb.. 11997733

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

KKaalliinn SSeerraappiioonnoovv,, bb.. 11996677

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

Ìîòîðúò, 2004ì.á., ïë., 140 x 200

Radical: Vaguely, ãàëåðèÿ Plein Sud, Ìîíðåàë, Êàíàäàè Íàöèîíàëíà õóäîæåñòâåíà ãàëåðèÿ, Ñîôèÿ, 2003Áèåíàëå íà ñúâðåìåííîòî èçêóñòâî, Øóìåí, Áúëãàðèÿ,

2004donumenta 2005, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005Ñúâðåìåííà áúëãàðñêà æèâîïèñ, Âàðøàâà, 2006

ÊÊààëëèèíí ÏÏëëóóãã÷÷èèååââ,, ðð.. 11997733

Flag, 2005äèãèòàëåí îòïå÷àòúê, 120 õ 240

Ôåñòèâàë Ìàëúê Ñåçîí, Òåàòðàëíà ðàáîòèëíèöàÑôóìàòî, Ñîôèÿ, 2005

Çàáðàíåíî çà ÷îâåøêî, áóë. Öàð Îñâîáîäèòåë 16,Ñîôèÿ, 2006

ÊÊààëëèèíí ÑÑååððààïïèèîîííîîââ,, ðð.. 11996677

Èçêóñòâîòî å íàâñÿêúäå, 1996-1997ðåàëèçèðàíà â äâå âåðñèè:

1/ 14 ÷åðíî-áåëè îòïå÷àòúêà, 70 õ 90 âñåêè

208

Work in Between, Foundation BINZ 39, Zurich, Switzerland, 1997Project Kunst in Everywhere, Ata-Ray Gallery, Sofia, 19979th International Biennial of Graphic Art, Varna, Bulgaria, 1997 Inventing a People. Contemporary Art in the Balkans, National Gallery for Foreign Art, Sofia, 1999ArtExpo Foundation, Bucharest, 1999Macedonian Museum of Contemporary Art, Thessaloniki, Greece, 1999 2/ Two-channel slide projection, dimensions variableVideo Works, ATA Center for Contemporary Art, Sofia, 1997The Alternative Galleries of the 90ies,Center for Contemporary Art � Ancient Bath,Plovdiv, Bulgaria, 1999

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

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, 1999ArtExpo Foundation, Áóêóðåù, 1999

Macedonian Museum of Contemporary Art, Ñîëóí, Ãúðöèÿ, 1999

2/ äâóêàíàëíà äèàïîçèòèâíà ïðîæåêöèÿ, âàðèðàùè ðàçìåðè

Âèäåî ðàáîòè, ATA Öåíòúð çà ñúâðåìåííîèçêóñòâî, Ñîôèÿ, 1997

Àëòåðíàòèâíèòå ãàëåðèè íà 90-òå, Öåíòúð çà ñúâðåìåííî èçêóñòâî Áàíÿ Ñòàðèííà,

Ïëîâäèâ, 1999

×óâñòâàòå ëè ñå ðàçëè÷åí?, 1996-1998èíñòàëàöèÿ ñ òåêñòîâå, âàðèðàùè ðàçìåðè

Ñâèäåòåëñòâà. Ðåàëíàòà ðàçëè÷íîñò, ÑÃÕÃ, Ñîôèÿ, 1996

Work in Between, Ôîíäàöèÿ BINZ 39,

209

Bulgariaavantgarde. Kräftemessen II, KünstlerwerkstattLothringerstrasse, Munich, Germany, 1998

Do you feel you are different?Different as a way of existence. Different in relation to some-body or something. Different as a human being with per-sonal cultural attitudes. Your difference as a way of acceptingthe otherness.

KKiirriill PPrraasshhkkoovv,, bb.. 11995566

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

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

Öþðèõ, Øâåéöàðèÿ, 1997Áúëãàðèÿàâàíãàðä. Kräftemessen II, Künstlerwerkstatt

Lothringerstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998

×óâñòâàòå ëè ñå ðàçëè÷åí?Ðàçëè÷åí êàòî ôîðìà íà ñúùåñòâóâàíå. Ðàçëè÷åí ïî

îòíîøåíèå íà íÿêîãî èëè íåùî. Ðàçëè÷åí êàòîñúùåñòâî ñúñ ñîáñòâåíè êóëòóðíè ðàçáèðàíèÿ. Âàøàòà

ðàçëè÷íîñò êàòî íà÷èí çà ïðèåìàíå íà äðóãîñòòà.

ÊÊèèððèèëë ÏÏððààøøêêîîââ,, ðð.. 11995566

Âåðòèêàëíà êíèãà, 1994õàðòèÿ, òóø, ìåòàë, ïÿñúê, ïàâåòà, îòâàðÿùà

êíèãàòà ìàøèíà, âàðèðàùè ðàçìåðèBook-Art, Ìåæäóíàðîäíà èçëîæáà íà ïðîãðàìàòà

ÊóëòóðÊîíòàêò, Õîðí, Àâñòðèÿ, 1994Ãîäèøíà èçëîæáà íà Ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6,

Ñîôèÿ, 1995Eastern Europe: Spatia Nova, IV Ñàíêò-Ïåòåðáóðãñêî

áèåíàëå, Ñàíêò-Ïåòåðáóðã, Ðóñèÿ, 1996

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

210

This cobblestone comes from Sofia. Once a Russian, then aGerman, then again a Russian pissed on itThis cobblestone comes from Moscow. It was used for awhile as a weaponThis cobblestone is from Berlin. Once it had an Eastern and aWestern side. Now it has less sidesThis cobblestone comes from Vienna. It always felt it wasGerman but no one believed itThis cobblestone comes from Kiev. In the beginning it was inthe heart of Russia, now Ukraine

Street Book, 1995paper, ink, wire, wood 3 cobble stones, ca 80 x 20 x 20 eachThe Oh God No/O Yeah Book And Other Books And Vegetables, Studios of KulturKontakt, Vienna, 1995Art in Landscape, International Symposium, Gars-am-Kamp, Austria, 1996Eastern Europe: Spatia Nova, IV St. Petersburg Biennial, St. Petersburg, Russia, 1996

Library Fence, 1995wood, wire, tempera, ca 30 x 360 x 4 The Oh God No/O Yeah Book And Other Books AndVegetables, Studios of KulturKontakt, Vienna, 1995

Òîâà ïàâå èäå îò Ñîôèÿ. Âåäíúæ ðóñíàê, ïîñëåãåðìàíåö, ïîñëå ïàê ðóñíàê ïèêàõà îòãîðå ìó

Òîâà ïàâå èäå îò Ìîñêâà. Áèëî å èçïîëçâàíî çà ìàëêîêàòî îðúæèå

Òîâà ïàâå èäå îò Áåðëèí. Íÿêîãà òî èìàøå èçòî÷íà èçàïàäíà ñòðàíà. Ñåãà ñòðàíèòå ìó ñà ïî-ìàëêî

Òîâà ïàâå èäå îò Âèåíà. Òî âèíàãè ñå å ÷óâñòâàëîíåìñêî, íî íèêîé íå ìó å âÿðâàë

Òîâà ïàâå èäå îò Êèåâ. Â íà÷àëîòî å áèëî â ñúðöåòî íàÐóñèÿ, ñåãà Óêðàéíà

Óëè÷íà êíèãà, 1995õàðòèÿ, òóø, òåë, äúðâî, 3 ïàâåòà,

îê. 80 õ 20 õ 20 âñÿêîThe Oh God No/O Yeah Book And Other Books And Vegetables, Studios of KulturKontakt, Âèåíà, 1995Èçêóñòâî â ïåéçàæà, Ìåæäóíàðîäåí ñèìïîçèóì,

Ãàðñ-àì-Êàìï, Àâñòðèÿ, 1996 Eastern Europe: SpatiaNova, IV Ñàíêò-Ïåòåðáóðãñêî áèåíàëå,

Ñàíêò-Ïåòåðáóðã, Ðóñèÿ, 1996

Áèáëèîòå÷íà îãðàäà, 1995äúðâî, òåë, òåìïåðà, îê. 30 õ 360 õ 4

The Oh God No/O Yeah Book And Other Books AndVegetables, Studios of KulturKontakt, Âèåíà, 1995

211

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

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

Speaking Cobble Stones, 1997oil on 15 cobble stones, ca 12 x 12 x 12 eachAnnual Exhibition of Section 13, Shipka 6 Gallery, Sofia, 19972nd Cetinje Biennial, Cetinje, Serbia and Montenegro, 1998In The Gorges Of The Balkans, Kunsthalle Fridericianum,Kassel, Germany, 2003

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

Ãîäèøíà èçëîæáà íà Ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6,Ñîôèÿ, 1997

Öèòàò, Ãüîòå-èíñòèòóò Ñîôèÿ, 2000

Òàçè ãîðà èçãëåæäà äîñòà ïîëèòè÷åñêè êîðåêòíà, 1995äúðâî, áÿëà áîÿ, îê. 270 õ 300 õ 10

Èçêóñòâî â ïåéçàæà, Ìåæäóíàðîäåí ñèìïîçèóì,Ãàðñ-àì-Êàìï, Àâñòðèÿ, 1995

Ãîâîðåùè ïàâåòà, 1997ìàñëåíà áîÿ, 15 ïàâåòà, îê. 12 õ 12 õ 12 âñÿêîÃîäèøíà èçëîæáà íà ñåêöèÿ 13, ãàëåðèÿ Øèïêà 6,

Ñîôèÿ, 19972-ðî Öåòèíñêî áèåíàëå,

Öåòèíå, Ñúðáèÿ è ×åðíà ãîðà, 1998Â äåáðèòå íà Áàëêàíèòå, Êóíñòõàëå

Ôðèäåðèöèàíóì, Êàñåë, Ãåðìàíèÿ, 2003

100% ñúì åâðîïåéñêî, ñàìî ïîâúðõíîñòòà ìè åáàëêàíñêà

Áÿõ îïàêîâàíî â ëþáîâíî ïèñìî äî íÿêîÿ ñè Æàí-ÊëîäÂ Áóäàïåùà óäàðèõ ðóñêè âîéíèê ïðåç 1849 è äðóã

ñúâåòñêè ïðåç 1956Èìàõ ôîðìàòà íà Áóäà, êîãàòî Àëåêñàíäúð ìå äîíåñå â

Ìàêåäîíèÿ

212

Just some centuries ago I was covered with hieroglyphsNot that I’m anti-French but I prefer bare feet to MichelinI was the one who helped Archimedes with his principleJuliet climbed on me to kiss RomeoI still remember the step of the first Marathon runnerI came in Europe by mistake with the first potatoes from PeruCeausescu first stood & then lay on meThree sides of me are Muslim, one is Catholic & two are Or-thodox ChristianIt was a long journey from Byzantium via Constantinople toIstanbulOnce Onan threw his semen all over me

Made in BG, 1997wood, installation with variable dimensionsARS EX NATIO. Made in BG, Plovdiv, Bulgaria, 1997

Garbage Slogan (Remember! Your Garbage Has To BeSocially Correct!), 1998local garbage, various glues, ca 180 x 1400 x 10 Bulgariaavangarde, Kraeftemessen II, Kuenstlerwerkstatt

Åäèí ñúðáèí ìå õâúðëè ïî áúëãàðèí, áúëãàðèíúò ïî ãðúêè ò. í.

Åäâà äîïðåäè íÿêîëêî âåêà áÿõ ïîêðèòî ñ éåðîãëèôèÍå ÷å ñúì íàñòðîåíî àíòèôðåíñêè, íî ïðåäïî÷èòàì

áîñè êðàêà ïðåä ÌèøëåíÀç ñúì îíîâà, êîåòî ïîìîãíà íà Àðõèìåä çà çàêîíà ìó

Æóëèåòà ñòúïè îòãîðå ìè, çà äà öåëóíå ÐîìåîÎùå ñè ñïîìíÿì ñòúïêàòà íà ïúðâèÿ ìàðàòîíåö×àóøåñêó ïúðâî ñòîÿ, à ïîñëå ëåãíà îòãîðå ìè

Äîéäîõ â Åâðîïà ïî ïîãðåøêà ñ ïúðâèòå êàðòîôè îò ÏåðóÈìàì òðè ìþñþëìàíñêè, åäíà êàòîëè÷åñêà è äâå

ïðàâîñëàâíè ïîâúðõíîñòè Äúëãî áå ïúòóâàíåòî ìè îò Âèçàíòèÿ ïðåç

Êîíñòàíòèíîïîë äî ÈñòàíáóëÂåäíúæ Îíàí ìå çàëÿ ñúñ ñåìåòî ñè

Ïðîèçâåäåíî â Áúëãàðèÿ, 1997äúðâî, èíñòàëàöèÿ, âàðèðàùè ðàçìåðèARS EX NATIO. Ïðîèçâåäåíî â Áúëãàðèÿ,

Ïëîâäèâ, Áúëãàðèÿ, 1997

Áîêëó÷åí ëîçóíã (Ïîìíè! Áîêëóêúò òè äà å ñîöèàëíîêîðåêòåí!), 1998

ìåñòåí áîêëóê, ðàçëè÷íè ëåïèëà, îê. 180 õ 1400 õ 10Bulgariaavangarde, Kraeftemessen II, Kuenstlerwerkstatt

213

Lothringenstrasse, Munich, Germany, 1998

Il est vrai qu’il est difficile de vous écrire et de n’être paspoète, 1999photoinstallation, 30 x 300 (detail)Hommage a Pouchkine. The Text as a Still-life, French Institute, Sofia, 2000EUROPA ERWEITERN, Industriellen Vereinigung, an exhibition of KulturKontakt, Vienna, 2001Quotations, Moscow Museum of Contemporary Art,Moscow, 2005Pushkin Out of Wire, 199921 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, 1999Appolonia Festival of Arts, Sozopol, Bulgaria, 1999Hommage a Pouchkine. The Text as a Still-life, French Institute, Sofia, 2000Quotations, Moscow Museum of Contemporary Art,Moscow, 2005

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

Lothringenstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998

Il est vrai qu’il est difficile de vous écrire et de n’être paspoète (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, 2000EUROPA ERWEITERN, Industriellen Vereinigung,

KulturKontakt, Âèåíà, 2001Öèòàòè, Ìîñêîâñêè ìóçåé íà ñúâðåìåííîòî

èçêóñòâî, Ìîñêâà, 2005Òåëåíèÿò Ïóøêèí, 1999

21 ôîòîãðàôèè ñ òåêñòà íà “ß âàñ ëþáèë...”, 20 õ 30 âñÿêà (ôðàãìåíò)

200 ãîäèíè Ïóøêèí, Àñîöèàöèÿ íà ìîñêîâñêèòåõóäîæåñòâåíè ãàëåðèè, Ìîñêâà, 1999

Spaces Gallery, Êëèâëàíä, Îõàéî, ÑÀÙ, 1999Ôåñòèâàë íà èçêóñòâàòà Àïîëîíèÿ, Ñîçîïîë, 1999

Hommage a Pouchkine. Òåêñòúò êàòî íàòþðìîðò,Ôðåíñêè èíñòèòóò, Ñîôèÿ, 2000

Öèòàòè, Ìîñêîâñêè ìóçåé íà ñúâðåìåííîòîèçêóñòâî, Ìîñêâà, 2005

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

214

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, producedtogether with Bruce Checefsky)digital print, 20 x 156Reading And Eating and other texts and watercolors, ATA Center for Contemporary Art, Sofia, 2002Reading And Eating Texts, Grass, Ink, Wood,Remont Gallery, Belgrade, 2002

Tvoj dom je tamo gdje je tvoje smece (Your Home Is WhereYour Garbage Is), 2002local garbage, various glues, ca 80 x 2000 x 10Speaking With The Man On The Street, Reconstructions, 4th Cetinje Biennial, Cetinje, Montenegro, 2002

Lamentation (It’s Hard To Be A Macho Nowadays), 2002digital print, dimensions variableBound/Less Borders, First Outdoor Touring BalkanProject, Goethe Institut, Belgrade, Scopje, Rijeka, Sofia,Bucharest, 2002-2003

1999äúðâî, 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 10Ãîâîðè ñ ÷îâåêà îò óëèöàòà, Ðåêîíñòðóêöèè,

4-òî Öåòèíñêî áèåíàëå, Öåòèíå, ×åðíà ãîðà

Îïëàêâàíå (Òðóäíî å äà ñè ìà÷î â íàøè äíè), 2002äèãèòàëåí ïå÷àò, âàðèðàùè ðàçìåðè

Bound/Less Borders, First Outdoor Touring BalkanProject, Ãüîòå èíñòèòóò, Áåëãðàä, Ñêîïèå, Ðèåêà,

Ñîôèÿ, Áóêóðåù, 2002-2003In the Gorges of the Balkan. A Report, Kunsthalle

215

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

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

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

Äóìè íà ìúäðîñòòà (çàãëàâèÿ íà êóðàòîðñêè çàÿâëåíèÿîò êíèãà ñúñ ñúùîòî èìå, Íþ Éîðê, 2000), 2005

òåë, îê. 3600Memory (W)Hole, ïðîãðàìà Continental Breakfast,

Ëþáëÿíñêè çàìúê, Ëþáëÿíà, 2005;Ìóçåé çà ñúâðåìåííî èçêóñòâî,

Ñêîïèå, 2006

words of wisdom*�some questions to consider�some suggestions for beginning curators�the curator as a beginning, not an end�fig-ures 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�aplea 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 onexhibitions�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 sayfades faster then the pages of the book you are holding�a few droplets of wisdom�selected nodes in a network of thoughts on curat-ing�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,

216

Skopje, 2006

They Are Teaching Me, 2005print on tracing paper, glue, 0,5 x 1200

KKrraassssiimmiirr DDoobbrreevv,, bb.. 11996622

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

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

Ó÷àò ìå, 2005ïå÷àò âúðõó ïàóñ, ëåïèëî, 0,5 õ 1200

ÊÊððààññèèììèèðð ÄÄîîááððååââ,, ðð.. 11996622

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

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

mouth, and ear�the boredom & excitement of curating�battery, Kraftwerk, and laboratory (alexander dorner revisited)�the curator’scalling�

the acrobat, the chef, the go-between, and the dreamer�the creative curator�curatorial cool�leave the art alone!�letter to a young cu-rator�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 theright questions�making art visible�

* Òîâà ñà çàãëàâèÿòà íà ìàòåðèàëèòå íà ñâåòîâíîèçâåñòíè êóðàòîðè, ïóáëèêóâàíè â èçäàíèåòî �Words of Wisdom: ACurator’s Vade Mecum” (�Äóìè íà ìúäðîñòòà: óïúòâàíå çà êóðàòîðè”). Íå ãè ïðåâåæäàìå, çà äà íå ñå èçãóáè �öâåòà” íàåçèêà � áåë.ðåä.

217

ãàëåðèÿ Àðò ’36, Ñîôèÿ, 1995Ïëàñòè÷åñêèÿò îáðàç íà 90-òå, ÍÄÊ, Ñîôèÿ, 1996Êëàñè÷åñêè ñþæåòè, ãàëåðèÿ Àòà-Ðàé, Ñîôèÿ, 1996

êëóá Ðàäèî ñèòè – Íþ Éîðê, Ñîôèÿ, 1997Surreale poesie, Kunsthaus Ressmann, Ìàíõàéì,

Ãåðìàíèÿ, 1997Äèñêîëóâúð, ÍÕÃ, Ñîôèÿ, 1998

Ôåìèíèñòèêà – íàóêà çà ïîëîæåíèåòî, 2001ì. á., ïë., 58 õ 41

Àòåíòàòè, Áóëàðò, Âàðíà, 2001Ïåéçàæúò êàòî ìåòàôîðà, ãàëåðèÿ ÕÕL, Ñîôèÿ, 2001

Ñþæåòúò, Íàöèîíàëíè åñåííè èçëîæáè, Ïëîâäèâ, 2004

ÊÊððààññèèììèèðð ÒÒååððççèèååââ,, ðð.. 11996699

Wow, 2001ì. á., ïë., 80 õ 100

Ïèêñåëè ðåàëíîñò, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2001

You, 2001ì. á., ïë., 80 õ 100


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

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

KKrraassssiimmiirr TTeerrzziieevv,, bb.. 11996699

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

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

218

01:12:32:18? �01:12:32:19!, 2001ì. á., ïë., 80 õ 100


To Whom It May Concern (Àðòèñòúò å èíäèàíåöúò íàñâåòà), 2001

âèäåî èíñòàëàöèÿÌàêðî âèäåî, íà ôàñàäàòà íà ÍÄÊ,

Ñîôèÿ, 2001

Ïðåêðàñåí äåí å, íàëè?, 2002ì. á. ïë., äèïòèõ, 73 õ 184

Ïèêñåëè ðåàëíîñò, ãàëåðèÿ Èðèäà, Ñîôèÿ, 2001Íîâà çåìÿ, Øèïêà 6, Ñîôèÿ, 2004

Äàëå÷íè ïðèëèêè, 2005îòïå÷àòúöè âúðõó ôîòîõàðòèÿ, 20 x 92 / 68

Äàëå÷íè ïðèëèêè, Ãüîòå èíñòèòóò, Ñîôèÿ, 2005Beton Salon, Museumsquartier, Âèåíà, 2006

ÊÊîîññòòàà ÒÒîîííååââ,, ðð.. 11998800

Ïàìåòíèê íà åäíà ëîøà ðèñóíêà, 2006ñèòîïå÷àò, àêðèë âúðõó ïëàòíî, 230 õ 200

01:12:32:18? �01:12:32:19!, 2001oil on canvas, 80 õ 100Reality Pixels, Irida Gallery, Sofia, 2001

To Whom It May Concern (The Artist is the Indian of theWorld ), 2001video installationMakro Video, on the façade of the National Palace ofCulture, Sofia,, 2001

It’s a Perfect Day, Isn’t?, 2002oil on canvas, diptych, 73 x 184Reality Pixels, Irida Gallery, Sofia, 2001New Ground, Shipka 6 Gallery, 2004

Remote resemblances, 2005photography series, inkjet print on photo-paper, 20 x 92 /68 Remote Resemblances, Goethe-Institut Sofia, 2005Beton Salon, Museumsquartier, Vienna, 2006

KKoossttaa TToonneevv,, bb.. 11998800

Monument of One Bad Drawing, 2006print, acrylic on canvas, 230 x 200

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Áÿõ 9 ãîäèøåí, êîãàòî â ÷àñ ïî ðèñóâàíå íà âñè÷êèó÷åíèöè â êëàñà áå äàäåíà çàäà÷à äà íàðèñóâàò äåñåí çàïëàò. 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 çàáåçêðàéíà ïîâòîðÿåìîñò âúðõó ïëàò. Ìîñòðè çà òîçèïëàò áÿõà íàøèòå ëèñòîâå. Õðóìíà ìè èäåÿ è çàïî÷íàõðåâíîñòíî äà ðèñóâàì. Òîãàâà îñúçíàâàõ, ÷å òåñíèòå

èçèñêâàíèÿ çà ïîâòîðåíèå íà ìîòèâèòå áèõà äîâåëè äîóåäíàêâÿâàíå íà âñè÷êè ðèñóíêè, à ñ òîâà è

îáåçêóðàæèëè èíäèâèäóàëíîñòòà. Àç âèäÿõ, ÷ååäèíñòâåíèÿò íà÷èí äà ñå èçðàçè èíäèâèäóàëíîñò

áåøå ÷ðåç ñàìàòà äåêîðàòèâíà ôîðìà. Êàêòîèçãëåæäàøå, âñè÷êè ðèñóâàõà öâåòÿ, òàêà ÷å àç ñå

ãîðäååõ ñ îðèãèíàëíîñòòà íà ÷åðâåíèòå ÷åðåïè, êîèòîðèñóâàõ. Êúì êðàÿ íà ÷àñà ó÷èòåëêàòà îáèêàëÿøå èçêëàñíàòà ñòàÿ, çà äà êîìåíòèðà ðèñóíêèòå, êîèòîáÿõìå íàïðàâèëè. Êîãàòî ñòèãíà äî ìîÿòà, òÿ ñå

âúçìóòè, çàÿâÿâàéêè ïðåä öåëèÿ êëàñ, ÷å íèêîãà íå áèâàäà ðèñóâàì ïîäîáíè íåùà. Òÿ ìè ÿ âçå, êàòî ìå íàêàðà

äà íàðèñóâàì íîâà, ïî-ïðèåìëèâà. Ïîâå÷å íå âèäÿõðèñóíêàòà ñè.

I was 9 years old. All the students in my art lesson weregiven the task to design fabric patterns. Our teacher in-structed us with the standard characteristics that our draw-ings should have. The central idea was that the smalldrawings 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 sowthat the only way to express uniqueness was through theimage itself. Everyone else seemed to sketch flowers, so Iwas proud for the originality of the red skulls and crossbonesthat I sketched. At the end of the session the teacher circu-lated

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KKoossiioo MMiinncchheevv,, 11996699

Obituaries, 1993xerox, 30 x 21N-Forms? Reconstructions and Interpretations, Raiko Alek-siev Gallery, Sofia, 1994

LLuucchheezzaarr BBooyyaaddjjiieevv,, bb.. 11995577

Alice’s Hole or the Swamp of Marxist-Leninist Esthetics, 1991installation, books, drawings, text, dimensions variableKaimak (cream) – art, Shipka 6 Gallery, Sofia, 1991Festigung des Glaubens, IFA Galerie, Berlin, 1992Luchezar Boyadjiev, Hohenthal und Bergen Galerie,Munich, Germany, 1993

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

ÊÊîîññüüîî ÌÌèèíí÷÷ååââ,, ðð.. 11996699

Íåêðîëîçè, 1993êñåðîêñ, 30 õ 21

N-ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿÐàéêî Àëåêñèåâ, Ñîôèÿ, 1994

ËËúú÷÷ååççààðð ÁÁîîÿÿääææèèååââ,, ðð.. 11995577

Äóïêàòà íà Àëèñà èëè áëàòîòî íà ìàðêñèñòêî-ëåíèíñêàòà åñòåòèêà, 1991

èíñòàëàöèÿ, êíèãè, ðèñóíêè, òåêñò, âàðèðàùèðàçìåðè

Êàéìàê-àðò, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1991Óêðåïâàíå íà âÿðàòà, ãàëåðèÿ ÈÔÀ, Áåðëèí, 1992Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Õîõåíòàë óíä Áåðãåí,

Ìþíõåí, Ãåðìàíèÿ, 1993

Íàäãðîáèå çà Éîçåô Áîéñ, 1991îáåêò

Èëþçèè, èëþçèè, Êëóá íà (âå÷íî) ìëàäèÿ õóäîæíèê,ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1991

Óêðåïâàíå íà âÿðàòà, ãàëåðèÿ ÈÔÀ, Áåðëèí, 1992

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

TOEFL, 1992installation, objects, collages, text, dimensions variable Medical Check-up, Club of the (eternally) Young Artist,Shipka 6 Gallery, Sofia, 1992

Customized IFA - Berlin Catalogues, 199372 catalogues from the one-artist show Festigung desGalubens; paper, drawings, collages, texts, 21.5 x 28.5 eachLuchezar Boyadjiev, Hohenthal und Bergen Galerie,Munich, Germany, 1993Works on Paper, Ata-Ray Gallery, Sofia, 1993Beyond Belief: Contemporary Art from East Central Europe,Museum of Contemporary Art, Chicago, USA, 1995Allen Memorial Art Museum, Oberlin College, USA andInstitute of Contemporary Art, Philadelphia, USA, 1996Joslyn Art Museum, Omaha, Nebraska, USA, 1997Luchezar Boyadjiev. I love Jesus - Souvenir Shop, in formerBulgarian Embassy at Aller-Retour,3rd International Biennial, Cetinje,

Holy Bible, 1992ïëàñòìàñîâ ïèñòîëåò-èãðà÷êà, òðèåçè÷íà áèáëèÿ

Óêðåïâàíå íà âÿðàòà, ãàëåðèÿ ÈÔÀ, Áåðëèí, 1992

TOEFL – Åçèêîâ ïðåãëåä, 1992èíñòàëàöèÿ, îáåêòè, êîëàæè, òåêñò,

âàðèðàùè ðàçìåðèÌåäèöèíñêè ïðåãëåä, Êëóá íà (âå÷íî) ìëàäèÿõóäîæíèê, ãàëåðèÿ Øèïêà 6, Ñîôèÿ, 1992

Customized IFA - Berlin Catalogues, 199372 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, 1993Îòâúä 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, 1996Ìóçåé Äæîñëèí, Îìàõà, ÑÀÙ, 1997

Ëú÷åçàð Áîÿäæèåâ. I love Jesus – ìàãàçèí çà ñóâåíèðè,

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Serbia and Montenegro, 1997

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, 1995white t-shirts with text, edition; produced on the occa-sion of the opening of Beyond Belief: Contemporary Artfrom East Central Europe, MCA, Chicago, USAChairs and Symbols, Project for Peaceful Co-Identification,1995-200111 color photographs, 50 x 70 each, 11 digital prints, 50 x 70 each Blood & Honey / Future’s in the Balkans, The EsslCollection, Klosterneuburg/Vienna, 2003Globale Positionen in Der Standard Daily, Museum in Progress, Vienna, Nov.-Dec. 2001http://www.mip.at/de/werke/525.htmlLuchezar Boyadjiev, Knoll Galerie, Vienna, 2001

áèâøå ïîñîëñòâî íà Áúëãàðèÿ, Aller-Retour, Òðåòî öåòèíñêî áèåíàëå, Öåòèíå,

Ñúðáèÿ è ×åðíà Ãîðà, 1997

Àâòîïîðòðåò êàòî êîíöåïòóàëíà èêîíà. Â ÷åñò íà Äæîóçåô Êîñóò, 1995

(÷àñò îò èíñòàëàöèÿòà Â ÷åñò íà, 1995)öâåòíà ôîòîãðàôèÿ, 50 õ 64,5

Orient/ation, 4-òî Ìåæäóíàðîäíî áèåíàëå,Èñòàíáóë, Òóðöèÿ, 1995

Don’t Art Around, 1995áåëè òåíèñêè ñ íàäïèñ, òèðàæ

Ïðîèçâåäåíè âúâ âðúçêà ñ îòêðèâàíå íà èçëîæáàòàÎòâúä 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 inProgress, Âèåíà, íîåìâðè – äåêåìâðè 2001,

http://www.mip.at/de/werke/525.htmlËú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Êíîë, Âèåíà, 2001

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Luchezar Boyadjiev, Remont Gallery, Belgrade, 2000-2001Communication, Aschersleber Kunst-und Kulturverein, Aschersleben, Germany, 2000Luchezar Boyadjiev. E-Face 2000. web versionhttp://www.halle-fuer-kunst.de/luchezar/;http://www.halle-fuer-kunst.de/web/.Halle_fuer_Kunst, Luneburg, Germany, 2001TEMP-Balkania, Kiasma Museum of Contemporary Art,Helsinki, 1999Bulgariaavangarde. Kraeftemessen II, KuenstlerwerkstattLothringerstrasse, Munich, 1998I Love Jesus – Souvenir Shop, former Bulgarian Embassy,Cetinje, Serbia and Montenegro, 1997Up and Down. Back and Forth. 68 Hope Street Gallery.Part of: Escaping Gravity. Video Positive’97, Liverpool,England, 1997Projects from..., National Gallery for Foreign Art, Sofia, 1995The Fountain of Europe. Doubletake, 1994-1995Installation, pillows, text, bed, moving objects, drawings, etc., dimensions variable.The Fountain of Europe. Doubletake, Center for CuratorialStudies, Bard College, Annandale-on-Hudson, NY,USA, 1994

Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Ðåìîíò, Áåëãðàä, 2000-2001

Communication, Aschersleber Kunst-und Kulturverein, Aschersleben, 2000

E-Face 2000. Èíòåðíåò âåðñèÿ http://www.halle-fuer-kunst.de/luchezar/; http://www.halle-fuer-

kunst.de/web/. Halle_fuer_Kunst, Luneburg, 2001TEMP-Balkania,Ìóçåé çà ñúâðåìåííî èçêóñòâî

Êèàçìà, Õåëçèíêè, 1999Áúëãàðèÿàâàíãàðä. Kraeftemessen II, Kuenstlerwerkstatt

Lothringerstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998I love Jesus – Souvenir Shop, áèâøå áúëãàðñêî

ïîñîëñòâî, Öåòèíå, Ñúðáèÿ è ×åðíà ãîðà, 1997Up 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, 1994-1995èíñòàëàöèÿ, âúçãëàâíèöè, òåêñò, ëåãëî, äâèæåùè

ñå îáåêòè, ðèñóíêè, âàðèðàùè ðàçìåðèÔîíòàíúò íà Åâðîïà, Öåíòúð çà êóðàòîðñêè

èçñëåäâàíèÿ, êîëåæúò Áàðä, Àíàäåéë-îí-Õúäñúí,ÑÀÙ, 1994

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

Home / Town, 1998installation (27 photo collages mounted over a wall-painted map of Sofia)Money/Nations, Shedhalle, Zurich, Switzerland, 1998Leisure and Survival, Taxispalais, Innsbruck, Austria, 1999Reachable(s), CIX Gallery, Skopje, 1999-2000L’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 Beach Commandments, 1994site-specific installation, text with permanent marker onabandoned concrete structure on the path to a beachon the Black Sea Coast, Arkoutino, BulgariaMoisture – Plainair for Avant-garde art. Organized by KA Gallery (Bourgas) in Arkoutino, on the Black SeaCoast, Bulgaria, 1994

Ôîíòàíúò íà Åâðîïà, Íàöèîíàëíà ãàëåðèÿ çà÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ, 1995

Îòâúä ãðàíèöèòå, Ïúðâî ìåæäóíàðîäíî áèåíàëå,Êâàíäæó, Ðåïóáëèêà Êîðåÿ, 1995

Äîì / Ãðàä, 1998èíñòàëàöèÿ (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 / Poli-tics, 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

10 ïëàæíè çàâåòà, 1994èíñòàëàöèÿ çà êîíêðåòíî ìÿñòî, òåêñò ìàðêåðâúðõó èçîñòàâåíà áåòîííà ôîðìà íà ïúòåêàòà

êúì ïëàæà â Àðêóòèíî, Áúëãàðèÿ.Âëàæíîñò – ïëåíåð çà àâàíãàðäíî èçêóñòâî,

Àðêóòèíî, Áúëãàðèÿ, 1994

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

In/Out…, in Again, 1999cycle 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, 1999Reachable(s), CIX Gallery, Skopje, 1999-2000On Demand, Galerie Fotohof, Salzburg, Austria, 1999Publi©domain, Fototriennale ’99, Graz, Austria, 1999Reality Watch_ICA, Municipal Art Gallery, Rousse,Bulgaria, 2001Correspondences, IFA Galerie, Berlin / Stuttgart / Bonn,2001In/Out…, Center for Advanced Studies, Sofia, 2002Graphica Creativa ’02, Jyvaeskylae ArtMuseum/Jyvaeskylae Centre for Printmaking,Jyvaeskylae, Finland, 2002

Çàâðúùàíåòî íà Âåðîíèêà â êóõíÿòà, 1997ëàçàðåí 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

Íàâúòðå/íàâúíêà..., ïàê íàâúòðå, 1999öèêúë 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, 1999Reachable(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, 2001Íàâúòðå/Íàâúíêà..., Öåíòúð çà àêàäåìè÷íè

èçñëåäâàíèÿ, Ñîôèÿ, 2002Graphica Creativa ’02, Ìóçåé “Jyvaeskylae” / �Jyvaesky-

lae” ãðàôè÷åí öåíòúð, Jyvaeskylae, Ôèíëàíäèÿ, 2002

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He woke up one early morning and this is what he saw. Hewas in SofiaThere was a lot of hope�In/Out, in again� After all, if people could interact whyshouldn’t their homes interact as well?He had heard a lot of rumors about the country. It was diffi-cult to know what is the fair truthPeople here liked to say that “the children are the future ofthe country”. One could hardly disagree with thatStrangely enough the streets of this city were full of energyand life, especially during the summer. It was so nice to goout there incognito and walk around recognized by no oneHe did not have to be explained the kind of place he was in.That was self-evidentIt was obvious that every now and then the pressure of lifeunder such harsh conditions could get a hold on everybody,even on the strongest of them all. So, he made friendsA place to sit down and talk. This has always been availableto the mix of BG society usually coming here�Very often the country was producing far too much reality forits own good� There was no way to predict exactly when andhow it might burst open in a massive spree of violent activityVery often the country was producing far too much reality forits own good�Of course, he was never quite sure that he was getting the

ÒÒîé ñå ñúáóäè åäíà ðàííà ñóòðèí è òîâà å, êîåòîâèäÿ. Òîé áåøå â ÑîôèÿÈìàøå ìíîãî íàäåæäà�

Íàâúòðå / Íàâúíêà�, ïàê íàâúòðå� Â 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 èñòèíàòàÕîðàòà òóê îáè÷àò äà êàçâàò �äåöàòà ñà áúäåùåòî íà

ñòðàíàòà”. Òðóäíî å ÷îâåê äà íå å ñúãëàñåí ñ òîâàÑòðàííî, óëèöèòå íà òîçè ãðàä áÿõà ïúëíè ñ åíåðãèÿ è

æèâîò, îñîáåíî ïðåç ëÿòîòî. Áåøå ïðèÿòíî äàèçëåçåø íàâúí èíêîãíèòî è äà ñå ðàçõîæäàø áåç íÿêîé

äà òå ðàçïîçíàåÍå áåøå íåîáõîäèìî äà ìó îáÿñíÿâàò êúäå ñå íàìèðà.

Òîâà áåøå î÷åâèäíîÁåøå î÷åâèäíî, ÷å ïðè òàêèâà ñóðîâè óñëîâèÿ, ïðåñàòà

íà æèâîòà ñå îòðàçÿâà âúðõó âñåêè, äîðè âúðõó íàé-ñèëíèòå. Çàòîâà òîé ñè íàìåðè ïðèÿòåëè

Ìÿñòî, êúäåòî äà ñåäíåø è ïîïðèêàçâàø. Òàêîâàâèíàãè å áèëî äîñòúïíî çà ñìåñåíîòî BG îáùåñòâî,

îáèêíîâåíî èäâàùî òóê�Ìíîãî ÷åñòî ñòðàíàòà ïðîèçâåæäàøå ïðåêàëåíî ìíîãîðåàëíîñò çà ñâîåòî ñîáñòâåíî äîáðî� Íÿìàøå íà÷èíäà ñå ïðåäñêàæå òî÷íî êîãà è êàê òîâà ùå èçáóõíå â

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full meaning of all these jokes local people were telling eachother over a drink but the fun throng was there anywayThe level of the survivability factor in this country was incred-ibly high. He was aware of even the most outlandish waysthat people were able to find in order to make a living�He thought that “the Culture of Complaint”, a term coinedby a local artist he was working with, is an adequate but notso fair description of the status quo around here after 1989Occasionally there was just so much to do, take care of,arrange�

Movables – My Room, 1998digital print on textile, each one 380 x 450 Bulgariaavantgarde. Kraeftemessen II. KuenstlerwerkstattLothringerstrasse, Munich, Germany, 1998Inventing a People. Contemporary Art in the Balkans.National Gallery for Foreign Art, Sofia; ArtExpoFoundation, Bucharest; Macedonian Museum ofContemporary Art, Thessaloniki, Greece; Art Box,

áåñåí ïîðîé îò íàñèëèåÌíîãî ÷åñòî ñòðàíàòà ïðîèçâåæäàøå ïðåêàëåíî ìíîãî

ðåàëíîñò çà ñâîåòî ñîáñòâåíî äîáðî�Ðàçáèðà ñå, òîé íå áåøå ñúâñåì ñèãóðåí, ÷å ñõâàùàçíà÷åíèåòî íà âñè÷êè âèöîâå, êîèòî ìåñòíèòå ñèðàçêàçâàõà åäèí íà äðóã íà ÷àøêà, íî íåçàâèñèìî îò

òîâà, âåñåëàòà òúëïà áåøå òàìÍèâîòî íà ôàêòîðà îöåëÿâàíå â òàçè ñòðàíà áåøå

íåâåðîÿòíî âèñîêî. Áÿõà ìó ÿñíè è íàé-íåîáè÷àéíèòåíà÷èíè, êîèòî õîðàòà íàìèðàõà, çà äà îöåëåÿò� Òîé ñè ìèñëåøå, ÷å �êóëòóðàòà íà îïëàêâàíåòî”,

òåðìèí, ïðîèçëÿçúë îò ìåñòåí õóäîæíèê, ñ êîãîòî òîéðàáîòåøå, å àäåêâàòíî, íî íå òîëêîâà ÷åñòíî

îïèñàíèå íà ìåñòíîòî status quo ñëåä 1989Ïîíÿêîãà ïðîñòî èìàøå òîëêîâà ìíîãî íåùà äà ñå

âúðøàò, ïîäðåæäàò, îáãðèæâàò�

Äâèæèìîñòè – ìîÿòà ñòàÿ, 1998äèãèòàëåí îòïå÷àòúê âúðõó òåêñòèë, äâà áðîÿ,

380 õ 450 âñåêè Áúëãàðèÿàâàíãàðä, Êþíñòëåðôåðêùàäò

Ëîòðèíãåðùðàñå, Ìþíõåí, Ãåðìàíèÿ, 1998Èçìèñëÿíå íà íàðîä. Ñúâðåìåííî èçêóñòâî îò

Áàëêàíèòå, Ìåæäóíàðîäíà ãàëåðèÿ çà÷óæäåñòðàííî èçêóñòâî, Ñîôèÿ; Áóêóðåù, Ñîëóí,

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Kavala, Greece; Contemporary Art Center of Larissa,Larissa, Greece, 1999Paravent, Kunsthalle Krems, Austria, 2004

Small Talk, 1998109 photographs, 9 x 13Small Talk 1, Institute of Contemporary Art, Sofia, 1998Reachable(s), CIX Gallery, Skopje, 1999Ñooperativ – Kunstdialoge Ost-West, Stadthaus Ulm, Ulm, Germany, 2000

GastARTbeiter, 2000ink-jet print on paper, 210 x 510 (also part of Å-Face2000, interactive version)Budapest Box, Ludwig Museum, Budapest, 2002Luchezar Boyadjiev, Knoll Galerie, Vienna, 2001-2002E-Face 2000, Halle_fuer_Kunst, Luneburg, 2001An Artist who does not speak English is not an artist, Knoll Galerie, Budapest, 2001; Tallinna Kunstihoone(Tallinn Art Hall), Tallinn, 2002Small Talk, Museum of Contemporary Art, Skopje, 2001Don’t Look at Me with this tone!, Section 13, Shipka 6 Gallery, Sofia, 2001Luchezar Boyadjiev, Remont Gallery, Belgrade, 2000-2001

Êàâàëà, Ëàðèñà, 1999Paravent, Êóíñòõàëå Êðåìñ, Êðåìñ,

Àâñòðèÿ, 2004

Ëàô ìîàáåò, 1998109 ôîòîãðàôèè, 9 õ 13 âñÿêàËàô ìîàáåò, ÈÑÈ-Ñîôèÿ, 1998

Reachable(s), ãàëåðèÿ CIX, Ñêîïèå, 1999cooperativ – Kunstdialoge Ost-West, Óëì, Ãåðìàíèÿ, 2000

GastARTbeiter, 2000äèãèòàëåí 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, 2001-2002E-Face 2000, Halle_fuer_Kunst, Ëþíåáóðã, Ãåðìàíèÿ,

2001Õóäîæíèê, 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

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Leseraum, Secession, Vienna, 2000-2001Communication, Aschersleber Kunst-und Kulturverein,Aschersleben, Germany, 2000cooperativ – Kunstdialoge Ost-West, Stadthaus Ulm, Ulm, Germany, 2000Communication Front 2, Center for Contemporary Art Ancient Bath, Mexican House Gallery, Plovdiv,Bulgaria, 2000ArtMoscow ‘2000, Central House of the Artist, Moscow, 2000E-FACE 2000/ Pro@Contra – MachineMachy,ArtMediaCenter TV Gallery, MoscowWorthless (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,

Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Ðåìîíò, Áåëãðàä, 2000-2001

Leseraum (×èòàëíÿ), Ñåöåñèîí, Âèåíà, 2000-2001Êîìóíèêàöèÿ, Êóíñòôåðàéí Àøåðñëåáåí,

Àøåðñëåáåí, Ãåðìàíèÿ, 2000cooperativ – Kunstdialoge Ost-West, Óëì, Ãåðìàíèÿ, 2000

Ôðîíò çà êîìóíèêàöèè 2, Öåíòúð çà ñúâðåìåííîèçêóñòâî Áàíÿ Ñòàðèííà, ãàëåðèÿ Ìåêñèêàíñêà

êúùà, Ïëîâäèâ, Áúëãàðèÿ, 2000ArtMoscow ‘2000, Öåíòðàëåí äîì íà õóäîæíèêà,

Ìîñêâà, 2000E-FACE 2000/ Pro@Contra – MachineMachy, ArtMedia-

Center TV Gallery, ÌîñêâàÁåçöåííî, 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,

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(11) my love, (12) my mother, (13) my friends, my enemies, (14) my art “dependents” (15) that call at odd hours (16) for no obvious reason, (17) my colleagues, my (18) e-mailers, my students, (19) etc. (20) Order in my health�, (21) like not smoking (22) for more than a week, (23) at first/at least, (24) and maybe running (25) some tests every (26) once in a while, (27) let alone getting back in (28) some of my missing (29) “mouth instrumentarium”� (30) Order in my work/career � (31) like, sit down and (32) finally put together (33) my mailing list. (34) Or my documentation, (35) for instance texts

(11) ëþáèìàòà, (12) ìàéêà ìè,

(13) ìîèòå ïðèÿòåëè, ìîèòå âðàãîâå,(14) ìîèòå õóäîæåñòâåíè íàâëåöè, (15) êîèòî çâúíÿò ïî âñÿêî âðåìå

(16) áåç âèäèìà ïðè÷èíà, (17) ìîèòå êîëåãè, ìîèòå

(18) èìåéëúðè, ìîèòå ñòóäåíòè, (19) è ò. í.

(20) Ðåä â ìîåòî çäðàâå�, (21) êàòî äà ïðåñòàíà äà ïóøà

(22) çà ïîâå÷å îò ñåäìèöà(23) êàòî íà÷àëî/èëè íàé-ìàëêîòî,

(24) è ìîæå áè äà ñè ïðàâÿ(25) íÿêîè èçñëåäâàíèÿ(26) îò âðåìå íà âðåìå,

(27) äà íå ãîâîðèì, ÷å òðÿáâà äà âúðíà(28) îáðàòíî ïîíå ÷àñò îò ëèïñâàùèÿ(29) ìè �óñòåí èíñòðóìåíòàðèóì”... (30) Ðåä â ìîÿòà ðàáîòà/êàðèåðà �

(31) êàòî íàïðèìåð äà ñåäíà è (32) íàé-íàêðàÿ äà ïîäðåäÿ

(33) ìåéëèíã ëèñòà ñè.(34) Èëè ìîÿòà äîêóìåíòàöèÿ, (35) íàïðèìåð � ìîè òåêñòîâå

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(36) by me and texts (37) on my work in (38) neat folders which are (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 (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

(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) Â 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

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(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 (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,

(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,

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(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 froma trip.

(86) çàäà÷êè çà âúðøåíå, (87) ãëóïàâè âðúçêè è

(88) ïðåãîâîðè áåç áúäåùå.(89) Èñêà ìè ñå ïîíå(90) äà ñòàíà ìàëêî

(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.

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©LCHZR BDJV’98

English for Artists, 2000digital print, 29 õ 21Luchezar Boyadjiev, Remont Gallery, Belgrade, 2000Luchezar Boyadjiev, Knoll Gallery, Vienna, 2001

Schadenfreude Guided Tours, 2003performances; installation, drawings, video, worked-on catalogue, etc., dimensions, length and specific context variableIn the Gorges of the Balkans, Kunsthalle Fridericianum,Kassel, Germany, 2003Nedko Solakov. A 12 1/3 (and even more) Year Survey,Casino Luxembourg – Forum d’art Contemporain,Luxembourg, 2004Love it or leave it, 5th Cetinje Biennial, Cetinje, Serbia and Montenegro, 2004Cosmopolis, National Museum of Contemporary Art,Thessalonica, Greece, 2004Belonging, 7th International Sharjah Biennial, Sharjah, UAE, 2005

©Ë×ÇÐ ÁÄÆÂ’98

Àíãëèéñêè çà õóäîæíèöè, 2000äèãèòàëåí îòïå÷àòúê, 29 õ 21

Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Ðåìîíò, Áåëãðàä, 2000Ëú÷åçàð Áîÿäæèåâ, ãàëåðèÿ Êíîë, Âèåíà, 2001

Schadenfreude Guided Tours, 2003Ïúðôîðìàíñè. Èíñòàëàöèÿ, ðèñóíêè, âèäåî,

îáðàáîòåíè êàòàëîçè, è äð., âàðèðàùè ðàçìåðè,äúëæèíà è êîíòåêñò.

Â äåáðèòå íà Áàëêàíèòå, ÊóíñòõàëåÔðèäåðèöèàíóì, Êàñåë, Ãåðìàíèÿ, 2003

Íåäêî Ñîëàêîâ. 12 1/3 (÷å è îùå) ãîäèíè ïðåãëåä.Êàçèíî Ëþêñåìáóðã – ôîðóì çà ñúâðåìåííî

èçêóñòâî, Ëþêñåìáóðã, 2004Love it or leave it, Ïåòî Öåòèíñêî áèåíàëå, Öåòèíå,

Ñúðáèÿ è ×åðíà ãîðà, 2004Êîñìîïîëèñ, Íàöèîíàëåí ìóçåé çà ñúâðåìåííî

èçêóñòâî, Ñîëóí, Ãúðöèÿ, 2004

Belonging, Ñåäìî ìåæäóíàðîäíî áèåíàëå, àðäæà, Îáåäèíåíè àðàáñêè åìèðñòâà, 2005

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MMaarriiaa ZZaaffiirrkkoovvaa,, bb.. 11995511

King Size 1, 1997acrylic on canvas, 40 õ 40King Size, Osem (Eight) Gallery, Varna, Bulgaria, 1997

Ways Without Words, 2004cotton, acrylic, 160 x 200 August in Art, Festival of Visual Arts, Varna, Bulgaria, 2004

NNaaddeezzhhddaa OOlleegg LLyyaahhoovvaa,, bb.. 11996600

NOL, 1999object, 100% liquid author’s soapSoap Reflections, ÀÒÀ Center for Contemporary Art,Sofia, 1999donumenta, Salzstadel-Museum, Regensburg, 2005

Big Mag, 2004print, dimensions variableThe Global and the Man, Sfumato Theatre-Laboratory,Sofia, 2004Urban Legends, Sofia Art Gallery, 2006

ÌÌààððèèÿÿ ÇÇààôôèèððêêîîââàà,, ðð.. 11995511

King Size 1, 1997àêðèë âúðõó ïëàòíî, 40 x 40

King Size, ãàëåðèÿ Îñåì, Âàðíà, 1997

Ïúòèùà áåç äóìè, 2004ïàìóê, àêðèë, 160 õ 200

Àâãóñò â èçêóñòâîòî, Ôåñòèâàë íà âèçóàëíèòåèçêóñòâà, Âàðíà, 2004

ÍÍààääååææääàà ÎÎëëååãã ËËÿÿõõîîââàà,, ðð.. 11996600

ÍÎË, 1999îáåêò, 100% ðàçìèò àâòîðñêè ñàïóí

Ñàïóíåíè îòðàæåíèÿ, ÀÒÀ Öåíòúð çà ñúâðåìåííîèçêóñòâî, Ñîôèÿ, 1999

donumenta, Salzstadel-Museum, Regensburg, 2005

Big Mag, 2004äèãèòàëåí îòïå÷àòúê, âàðèðàùè ðàçìåðè

Ãëîáàëíîòî è ÷îâåêúò, Òåàòðàëíà ðàáîòèëíèöàÑôóìàòî, Ñîôèÿ, 2004

(Ãð)àäñêè ïðèêàçêè, ÑÃÕÃ, 2006

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NNeeddkkoo SSoollaakkoovv,, bb.. 11995577

Naked Body, 1987oil and graphite on linen, 60 x 81 (destroyed)Courtesy the artist.Photo: Nedko SolakovProposed for The National Art Exhibition Nude in 1987and rejected by the jury

Memory from the Federal Republic, 1989graphite, ink, oil, acrylic, metal, train tickets, postcards,wire, staples on wood, 97 x 130 x 3Photo: Anatoly Michaylov and Konstantin Shestakov. Courtesy the artist.Collection Burger, Switzerland11. 11, Municipal Art Gallery, Blagoevgrad, Bulgaria, 1989Europe Unknown, Palac Sztuki, Cracow, 1991A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

ÍÍååääêêîî ÑÑîîëëààêêîîââ,, ðð.. 11995577

Ãîëî òÿëî, 1987ìàñëåíè áîè, ãðàôèò âúðõó ëåíåíî ïëàòíî, 61 õ 81

(óíèùîæåíà) Ñúñ ñúãëàñèåòî íà õóäîæíèêà.

Ñíèìêà: Íåäêî ÑîëàêîâÏðåäëîæåíà çà ÎÕÈ Ãîëî òÿëî, 1987 è îòõâúðëåíà

îò æóðèòî

Ñïîìåíè îò Ôåäåðàëíàòà ðåïóáëèêà, 1989ãðàôèò, ìàñòèëî, ìàñëåíè áîè, àêðèë, ìåòàë,áèëåòè çà âëàê, ïîùåíñêè êàðòè÷êè, æèöà,

êëàìåðè âúðõó äúðâî, 97 x 130 x 3ñíèìêà: Àíàòîëè Ìèõàéëîâ è ÊîíñòàíòèíØåñòàêîâ. Ñúñ ñúãëàñèåòî íà õóäîæíèêà

Êîëåêöèÿ Áóðãåð, Øâåéöàðèÿ11. 11, ÕÃ, Áëàãîåâãðàä, Áúëãàðèÿ, 1989

Europe Unknown, Palac Sztuki, Êðàêîâ, 1991A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,

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

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Top secret, 1989-1990acrylic, drawing ink, oil, photographs, graphite, bronze,aluminum, wood, shameful secret, 179 slips in originalindex box, 14 x 46 x 39Photo: Anatoly Michaylov and Konstantin Shestakov.Courtesy the artist and Galerie Arndt & Partner,Berlin/ZurichThe End of the Quotation, Club of the (Eternally) YoungArtists, Sofia, 1990Beyond Belief, Museum of Contemporary Art, Chicago;Allen Memorial Art Museum, Oberlin College; ICA,Philadelphia, 1995-1996A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz,2003-2005Privatesierungen. Post-Communist Condition, Kunstwerke,Berlin, 2004Leftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Zurich, 2005

Top Secret, 1989-1990àêðèëíè 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, 1995-1996A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – 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 ìîèíåïðîäàäåíè ðàáîòè îò ãàëåðèèòå, ñ êîèòî ðàáîòÿ),

Êóíñòõàóñ Öþðèõ, Öþðèõ, 2005

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Encyclopedia Utopia, 1990mixed media on paper and various supports, 224 pagesin three volumes hardbound in leather, each volumeaprox. 33x25x4. Photos: Anatoly Michaylov, KonstantinShestakov. Courtesy the artistThe City Utopia, Bonington Gallery, Nottingham, 1990From a Moment of Truth..., Karl Drerup Gallery, PlimouthState College, Plimouth, USA, 1992Utopia Station, 50 Esposizione Internazionale d’Arte, LaBiennale di Venezia, Venice, 2003A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

New Noah’s Ark, 1991-1992mixed 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

Åíöèêëîïåäèÿ �Óòîïèÿ, 1990ñìåñåíà òåõíèêà âúðõó õàðòèÿ, 224 ñòðàíèöè â 3òîìà, ðú÷íî ïîäâúðçàíè ñ êîæà, 33 õ 25 õ 4 âñåêè.

Ñíèìêà: Àíàòîëè Ìèõàéëîâ, ÊîíñòàíòèíØåñòàêîâ

Ñúñ ñúãëàñèåòî íà õóäîæíèêà.The City Utopia, ãàëåðèÿ Bonington, Íîòèíãúì, 1990

From a Moment of Truth..., ãàëåðèÿ Karl Drerup,Äúðæàâåí êîëåæ Ïëèìóò, Ïëèìóò, ÑÀÙ, 1992Utopia Station, 50 Ìåæäóíàðîäíî Âåíåöèàíñêî

áèåíàëå, Âåíåöèÿ, 2003A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,


7 êàðòèíè, 13 ìîùåõðàíèòåëíèöè, 1 èíñòàëàöèÿ (Íîâ Íîåâ êîâ÷åã), 1991-1992

èíñòàëàöèÿ, ñìåñåíà òåõíèêà, âàðèðàùè ðàçìåðè(ôðàãìåíò)

Ñúñ ñúãëàñèåòî íà õóäîæíèêà è O.K Centrum, Ëèíöè ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí/Öþðèõ.

Ñíèìêà: Íåäêî Ñîëàêîâ.7 êàðòèíè, 13 ìîùåõðàíèòåëíèöè, 1 èíñòàëàöèÿ (Íîâ

Íîåâ êîâ÷åã), ÍÄÊ, Ñîôèÿ 1992

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Neue Arche Noah, Ifa Galerie, Berlin, 19923rd Istanbul Biennial, 1992A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005Leftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Zurich, 2005

New Noah’s Ark (detail)

From somewhere “elsewhere” an instruction has been issuedto a common man (Noah) to save the strange creatureswhich had “landed” one morning in the bathroom of hispanel apartment. The creatures had come from anotherworld (already gone); passing through his bathroom (theborder between his and their world) and they only had to be“taken” by him to that “elsewhere.” Nothing out of Noah’sworld was to get in the container (the Ark) � except thesecreatures. And Noah’s world had been doomed (that’s what those fromthe “elsewhere” told him). This was the Eve of Earth’s LastDay...�A “classical “painting (Noah’s Breakfast), a small stone with

Neue Arche Noah, ãàëåðèÿ Ifa, Áåðëèí, 1992Òðåòî Èñòàíáóëñêî áèåíàëå, 1992

A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,




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 ñååäíà ñóòðèí â áàíÿòà íà íåãîâèÿ ïàíåëåí àïàðòàìåíò.

Ñúùåñòâàòà èäâàëè îò äðóã ñâÿò (âå÷å ìúðòúâ),ìèíàëè ïðåç áàíÿòà íà Íîé (ãðàíèöàòà ìåæäó íåãîâèÿ èòåõíèÿ ñâÿò) è òðÿáâàëî äà áúäàò “îòêàðàíè” îò íåãîâ òîâà “äðóãàäå”. Íèùî îò ñâåòà íà Íîé íå áèâàëî äàâëåçå 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 ïîäâúçãëàâíèöàòà ñè ñúùàòà ñóòðèí), 12 ðèñóíêè íà

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the inscription “you” on it (which Noah found that samemorning under his pillow), twelve drawings of the Ark, onebook which describes everything in depth, strange sounds ofrunning water and many, many gaily colored plastic crea-tures, crawling to their (but not our) deliverance.Nedko Solakov, 1991

The Truth (The Earth is Plane, The World is Flat), 1992-1995painting, 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 theartist. Collection: MUDAM, Musée d’Art ModerneGrand-Duc Jean du LuxembourgInstability – Progress. The Project for the XXII Sao PauloBiennial’94, French Institute, Sofia, 199422 Bienal, Sao Paulo, 1994Beyond Belief, Museum of Contemporary Art, Chicago;Allen Memorial Art Museum, Oberlin College; ICA,Philadelphia, 1995-1996A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

êîâ÷åãà, åäíà êíèãà, ïîäðîáíî îïèñâàùà âñè÷êî (ïúëíà èñ íåäîèçêàçàíè íåùà), ñòðàííè çâóöè îò òå÷àùà âîäà èìíîãî, ìíîãî øàðåíè ïëàñòìàñîâè ñúùåñòâà, ïúëçÿùè

êúì ñâîåòî (íå è íàøåòî) ñïàñåíèå.Íåäêî Ñîëàêîâ, 1991

Èñòèíàòà (Çåìÿòà å ïëîñêà), 1992-1995

æèâîïèñ, ðèñóíêè, êîëàæ, ñíèìêè, êàðòè, ñ÷óïåíèãëîáóñè, 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 LuxembourgÍåñòàáèëíîñò – Ïðîãðåñ. Ïðîåêò çà 22-ðîòî áèåíàëåâ Ñàî Ïàîëî’94, Ôðåíñêè èíñòèòóò, Ñîôèÿ, 1994

22-ðî áèåíàëå â Ñàî Ïàîëî, 1994Beyond Belief, Museum of Contemporary Art, ×èêàãî;Allen Memorial Art Museum, Oberlin College; ICA,

Ôèëàäåëôèÿ, 1995-1996A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,

Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum,

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What do the 72-year-old Novel Prize Winner physicist Dr.Haraldar Gusstalsan, the obscure Bulgarian artist Sundy Lev-akov, the sailor Rodald Berikow, the astronaut Vitali R., theskilful politician Philip Mason, a bum named Goro, and aseven-year-old girl have in common?You don’t know, do you?Well, all seven (and a lot more people as well) have recentlyexperienced the sudden revelation that the Earth is actuallyflat. Since that moment, they have begun living their lives inincredible spiritual harmony � all their torments, the endlessquestions which have clouded their existence are gone�The strange thing is that, in one way or another, this story isrelated to Bulgaria.Yes, the World is flat.Believe it!

This is me, too.…, 1996mixed (too much) media, all costumes designed and ex-ecuted by Slava Nakovska, dimensions variableCollection De Vleeshal, Middelburg, The NetherlandsManifesta I, Natuur Museum, Rotterdam, 1996A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,

Ëèíö, 2003-2005

Êîå å îáùîòî ìåæäó 72-ãîäèøíèÿ Íîâåëîâ ëàóðåàòôèçèêà ä-ð Õàðàëäàð Ãóñòàëñàí, íåïîçíàòèÿ áúëãàðñêè

õóäîæíèê Ñàíäè Ëåâàêîâ, ìîðÿêà Ðîäàëä Áåðèêîó,êîñìîíàâòà Âèòàëèé Ð., îáèãðàíèÿ ïîëèòèê ÔèëèïÌåéñúí, ñêèòíèêà Æîðî è åäíî ìàëêî 7-ãîäèøíî

ìîìè÷åíöå?Íå çíàåòå, íàëè?

Îáùîòî å, ÷å è ñåäìèíàòà (à ïîêðàé òÿõ è ìíîãîäðóãè) èçâåäíúæ îñúçíàâàò, ÷å Çåìÿòà âñúùíîñò åïëîñêà... 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!

Òîâà ñúùî ñúì àç...., 1996ñìåñåíà (ïðåêàëåíî ìíîãî) òåõíèêà, âñè÷êè

êîñòþìè ïðîåêòèðàíè è èçïúëíåíè îò ÑëàâàÍàêîâñêà, âàðèðàùè ðàçìåðè

Ìàíèôåñòà 1, Ïðèðîäîíàó÷åí ìóçåé, Ðîòåðäàì,1996

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

The Story of Saint Pipo (who instead of giving presents takesaway the Christmas presents), 1998acrylic on gilt carved walnut wood, 60 x 42 x 5Photo Angel Tzvetanov. Courtesy the artist and GalleryArndt & Partner, Berlin/Zurich.A Christmas Show, Galerie arsFutura, Zurich, 1998Stories 1, Center for Contemporary Art, UjazdowskiCastle, Warsaw, 2000A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005

Luxembourg – Forum d’art Contemporain,Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum, Ëèíö,

2003-2005Ensemble!, 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

Èñòîðèÿòà íà Ñâ. Ïèïî (êîéòî âìåñòî äà ïîäíàñÿïîäàðúöè 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 íàõóäîæíèêà è Ãàëåðèÿ Àðíäò & Ïàðòíúð,

Áåðëèí/ÖþðèõA Christmas Show, Galerie ars Futura, Öþðèõ, 1998Stories 1, Center for Contemporary Art, Ujazdowski

Castle, Âàðøàâà, 2000A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,


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Good News, Bad News, 1998children’s toys, glass, water, dice, artificial flower, pen,handwritten texts on paper and stone, 12 spotlights, di-mensions variable (detail). Photo: Nedko Solakov.Courtesy the artist.Medialization, Edsvik Konst. Kultur, Sollentuna,Stockholm; Eesti Kunstimuuseum, Tallinn, 1998A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz,2003-2005Nuit Blanche, various locations, Paris, 2004

Announcement, 1999message printed on 15,000 postcards and 200 T-shirts.Courtesy the artistAnnouncement, Official participation of Bulgaria, La Biennale di Venezia, Venice, 1999A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005Leftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Zurich, 2005

Äîáðè íîâèíè, ëîøè íîâèíè, 1989äåòñêè èãðà÷êè, ñòúêëî, âîäà, çàðîâå, èçêóñòâåíîöâåòå, õèìèêàëêà, ðú÷íî íàïèñàíè òåêñòîâå âúðõó

õàðòèÿ è êàìúê, 12 íàñî÷âàùè ëàìïè, âàðèðàùèðàçìåðè (ôðàãìåíò). Ñíèìêà: Íåäêî Ñîëàêîâ.

Ñúñ ñúãëàñèåòî íà õóäîæíèêà.Medialization, Edsvik Konst. Kultur, Ñîëåíòóíà,Ñòîêõîëì; Eesti Kunstimuuseum, Òàëèí, 1998



Nuit Blanche, ðàçëè÷íè ìåñòà, Ïàðèæ, 2004

Ñúîáùåíèå, 1999ñúîáùåíèå, îòïå÷àòàíî âúðõó 15000 ïîùåíñêèêàðòè÷êè è 200 ôëàíåëêè. Ñúñ ñúãëàñèåòî íà

õóäîæíèêàÍàöèîíàëíî ó÷àñòèå íà Áúëãàðèÿ íà 48-òî

Âåíåöèàíñêî áèåíàëå, 1999A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,


Leftovers – a selection of my unsold pieces from the private

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Play Sofia, Kunsthalle Wien/project space Karlsplatz,Vienna, 2005

On the Wing, 1999-14 texts (visible from the window seats) on the wings ofsix Boeing 737 from the official Luxemburg LUXAIRfleet, vinyl lettering, dimensions variable (detail). Cour-tesy the artist, Casino Luxemburg and LUXAIR, Luxem-burg. In the frames of Faiseurs d’histoires, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, 1999edition äî 6+2 AP, Galerie Georges-Philippe &Nathalie Vallois, ParisPrints:A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005Normalisation: That from a long way off look like flies,Platform Garanti Contemporary Art Center, Istanbul,2005

galleries I work with, Kunsthaus Zurich, Öþðèõ, 2005Play Sofia, Kunsthalle Wien/project space Karlsplatz,

Âèåíà, 2005

Íà êðèëîòî, 1999-14 òåêñòà (âèäèìè îò ìåñòàòà äî ïðîçîðöèòå)

âúðõó êðèëåòå íà Áîèíã 737 îò îôèöèàëíèÿïðåâîçâà÷ íà Ëþêñåìáóðã LUXAIR, âèíèë, âàðèðàùèðàçìåðè (ôðàãìåíò). Ñúñ ñúãëàñèåòî íà õóäîæíèêà,

Êàçèíî Ëþêñåìáóðã è LUXAIR, Ëþêñåìáóðã. Âðàìêèòå 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, 1999A 12 1/3 (and even more) Year Survey,

Casino Luxembourg – Forum d’art Contemporain,Ëþêñåìáóðã, Rooseum, Ìàëìüî, O.K Centrum,

Ëèíö, 2003-2005Normalisation: That from a long way off look like flies,

Platform Garanti Contemporary Art Center, Èñòàíáóë,2005

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El Bulgaro, 2000complicated mixed media, texts, dimensions variable.Photos: Nedko Solakov. Courtesy Galerie Arndt & Partner, Berlin, and the artist. Collection Ellipse Foun-dation, Portugal.Galerie Arndt & Partner, Berlin, Special ProjectsARCO’2000 A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005Leftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Zurich, 2005

El Bulgaro - The Sensational Discovery

As disclosed recently, during El Greco’s time, a no less giftedartist lived. El Bulgaro was his name and his paintings anddrawings by comparison to the Great Greco’s happened toshow much more natural-looking people�not the dancingworm type of elongated figures but mighty, kind of flattened-out, stern, but still cute, guys. Who was this person? Whyhasn’t anyone heard anything about El Bulgaro?It is still a secret. Due to very complicated circumstances, itwas not possible to disclose his �uvre before the year 2000.

El Bulgaro, 2000óñëîæíåíà ñìåñåíà òåõíèêà, òåêñò, âàðèðàùè

ðàçìåðè. Ñíèìêè: Íåäêî Ñîëàêîâ. Ñúñ ñúãëàñèåòîíà Ãàëåðèÿ Àðíäò & Ïàðòíúð, Áåðëèí è íà

õóäîæíèêà. Êîëåêöèÿ Ellipse Foundation, ÏîðòóãàëèÿGalerie Arndt & Partner, Berlin, Special Projects

ARCO’2000 A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,


Leftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Öþðèõ, 2005

Åë Áóëãàðî � Ñåíçàöèîííîòî îòêðèòèå

Êàêòî ñòàíà ÿñíî íåîòäàâíà, ïî âðåìåòî íà Åë Ãðåêî åæèâÿë åäèí íå ïî-ìàëêî òàëàíòëèâ õóäîæíèê.

Íåãîâîòî èìå å Åë Áóëãàðî è íåãîâèòå êàðòèíè èðèñóíêè, â ñðàâíåíèå ñ òåçè íà ãîëåìèÿ Åë Ãðåêî,

ïîêàçâàò äîñòà ïî-åñòåñòâåíî èçãëåæäàùè õîðà - íåîò òèïà íà èçäúëæåíèòå, íàïîìíÿùè òàíöóâàù ÷åðâåéôèãóðè, à ìîùíè, íÿêàê ñïëåñêàíè, ïëúòíè, íî âñå ïàê

ñèìïàòè÷íè ìîì÷åòà. Êîé å òîçè ÷îâåê? Çàùî íèêîé íåå ÷óâàë íèùî çà Åë Áóëãàðî? Òîâà âñå îùå å çàãàäêà.

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Even now, when it is appropriate to do so, it is still too dan-gerous to exhibit El Bulgaro’s originals (that is why, dear con-noisseur, you may have a glimpse only at mediocre recentcopies/replicas of part of El Bulgaro’s work.) It seems that aheavy discussion about this �discovery“ will take place overthe next decade.Special attention must be paid to one of the possible expla-nations of the phenomenal El Bulgaro’s existence (kept forcenturies in deep secret). There is too much hard-to-ignoreevidence that El Greco himself was hiding behind El Bul-garo’s personality. The production of all these elongated,slimy, unhealthy figures all day long, day after day, commis-sion after commission, apparently placed an enormous bur-den on El Greco’s psyche. Most probably, during the fullmoon, on those Toledo nights, the famous Greek wouldwake up acting like a lunatic, not capable of realising whathe was doing, and led by his subconscious impulses, hewould enter his studio again (or another, still unknown,room) and start painting these mighty, natural-looking menand women, bites from daily life.According to another (not yet publicly disclosed) document,El Greco’s second ego came from one of his grandmotherswho adventurously moved to the island of Crete from South-ern Bulgaria (which was at that time under Turkish occupa-tion). It seems that this Bulgarian grandmother put a fateful

Èìà òâúðäå ìíîãî ñâèäåòåëñòâà, êîèòî íå ìîãàò äàáúäàò ïðåíåáðåãíàòè, ÷å çàä ëè÷íîñòòà íà Åë Áóëãàðîñå å êðèåë ñàìèÿò Åë Ãðåêî. Ïðîèçâåæäàíåòî íà âñè÷êèòåçè èçäúëæåíè, õëúçãàâè, íåçäðàâè ôèãóðè äåí ñëåä äåí,ïîðú÷êà ñëåä ïîðú÷êà, î÷åâèäíî å ïîäëîæèëî íà îãðîìíîíàòîâàðâàíå Åëãðåêîâàòà ïñèõèêà. Íàé-âåðîÿòíî ïî

ïúëíîëóíèå, â îíåçè òîëåäñêè íîùè, ïðî÷óòèÿò ãðúê ñåå ñúáóæäàë è å äåéñòâàë êàòî ëóíàòèê è, âîäåí îòñâîèòå ïîäñúçíàòåëíè èìïóëñè, å âëèçàë îòíîâî âàòåëèåòî ñè è å çàïî÷âàë äà ðèñóâà òåçè ïëúòíè,

åñòåñòâåíî èçãëåæäàùè ìúæå è æåíè. Ñïîðåä äðóã (âñåîùå 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 ïúëíîëóííèòåíîùè, êúäåòî å íàìèðàë äóõîâåí áàëàíñ. ßðêàòà

ñâåòëèíà, îáãúðíàëà øèðîêî àêëàìèðàíèòå îëòàðíèïàíà è îôèöèàëíè ïîðòðåòè íà Åë Ãðåãî, íàìèðà

ñúîòâåòñòâèå â ñúäáîâíèòå ëóííîîñâåòåíè ñêðîìíè,

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mark over little Domenikos. The Bulgarian seed workeddeeply 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 survivingworks, there is the signature �El Bulgaro.“ Finally, the artistfelt free to disclose his identity. The Bulgarian ego guidedhim through full moon nights when he sought spiritual bal-ance. The limelight on El Greco’s widely acclaimed, gloriousaltarpieces and official portraits found its counterpart in themoonlight illuminating the weird El Bulgaro’s modest but noless honest little paintings.An incidental witness of these activities happened to be oneof the house servants who immediately reported to the fam-ily. The folks were horrified and at once called for the familydoctor who performed an extensive treatment on El Greco’sbody (secretly, of course. The same doctor observed that apossible reason for El Greco’s moonlight walks might be anoverdose of the hot chocolate that he normally drank in thelate afternoon. The drink was pretty new at that time, a fresharrival from the new overseas provinces and therefore it stillhad not been examined properly). The family council de-cided to keep this second behaviour of the artist a secret. Thescandal that certainly would have arisen in the society of po-tential clients was something that could not be risked. Not tomention, the Inquisition authorities, even in those times, did-

íî íå ïî-ìàëêî èñòèíñêè ìàëêè êàðòèíè. Åäèí äîìàøåíñëóãà ñòàâà íåâîëåí ñâèäåòåë íà òåçè äåéíîñòè èâåäíàãà äîêëàäâà íà ñåìåéñòâîòî. Õîðàòà áèëèóæàñåíè è íà ìèíóòàòà ïîâèêàëè ñåìåéíèÿ ëåêàð,

êîéòî ïîäëîæèë íà ïðîñòðàííî ëå÷åíèå åëãðåêîâîòîòÿëî (òàéíî, åñòåñòâåíî). Ñúùèÿò äîêòîð îòáåëÿçàë,

÷å åäíà îò âúçìîæíèòå ïðè÷èíè çà ñðåäíîùíèòåðàçõîäêè íà Åë Ãðåêî ñà ïðåêîìåðíèòå äîçè òå÷åíøîêîëàä, êîéòî òîé îáèêíîâåíî ïèåë â êúñíèÿ

ñëåäîáåä. Ñåìåéíèÿò ñúâåò ðåøèë äà ïàçè âòîðàòàëè÷íîñò íà àðòèñòà â òàéíà. Íå áèâàëî äà ñå ðèñêóâà

ñúñ ñêàíäàëà, êîéòî áè ìîãúë äà âúçíèêíå âîáùåñòâîòî îò ïîòåíöèàëíè êëèåíòè. Äà íå ãîâîðèì,

÷å àâòîðèòåòèòå íà Èíêâèçèöèÿòà äîðè â îíåçèâðåìåíà íå ñà õàðåñâàëè îñîáåíî áúëãàðèòå. Ïî òàçèïðè÷èíà âå÷å íàðèñóâàíèòå ðàáîòè ñà áèëè çàêëþ÷åíèíà 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 ñú-ñúùåñòâóâàíå íà åäíà âèñîêà, õëúçãàâà, èçäúëæåíà,

äîáëåñòíà ôèãóðà è íà åäèí ñïëåñêàí, ïëúòåí (äåáåë)ìúæ íà åäèí ñðàâíèòåëíî íåïîïóëÿðåí ïèñàòåë íà èìåÑåðâàíòåñ èëè íåùî ïîäîáíî. È ò.í., è ò.í. - ìàëêà

÷àñò îò òàçè íåâåðîÿòíà èñòîðèÿ å ïðåä âàñ.

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n’t like Bulgarians so much. Therefore, the already paintedworks were locked away in a safe secret place and the doctortreated the Maestro with a short series of highly advancedhypnotism sessions (during which appeared the details of hisshameful Bulgarian origin). The servant who witnessed ElBulgaro/El Greco in action was kicked out of the house. Un-fortunately, in order to have some retribution, that dishonestman 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 orsomething.And so on and so forth�a small part of this unbelievable storyis before you. Take a look and think about it�Nedko Solakov, SofiaJanuary 2000Text edited by Geneva Anderson

A (not so) White Cube, 2001mixed (almost invisible) media, dimensions variableChat solo exhibition, IASPIS Gallery, Stockholm, 2001.Courtesy the artists and IASPIS Gallery, StockholmBasics, Kunsthalle Bern, Bern, 2002, Photo: DominiqueUldry, Courtesy the Kunsthalle BernConnected to A (not so) White Cube works:

Ðàçãëåäàéòå ÿ è ìèñëåòå çà íåÿ.

Íåäêî Ñîëàêîâ, Ñîôèÿßíóàðè 2000 ã.

(Íå òîëêîâà) áÿë êóá, 2001ñìåñåíà (ïî÷òè íåâèäèìà) òåõíèêà, âàðèðàùè

ðàçìåðèÑàìîñòîÿòåëíà èçëîæáà Chat, IASPIS Gallery,

Ñòîêõîëì, 2001. Ñúñ ñúãëàñèåòî íà õóäîæíèêà è íàãàëåðèÿ IASPIS, Ñòîêõîëì.

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

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A (not so) White Cube, P.S.1 Special Projects Program,P.S.1 Contemporary Art Center, New York, 2001Chat, The Royal Academy Sculpture Hall / IASPISGallery, Stockholm, 2001Basics, Kunsthalle Bern, Bern, 2002Mess, Stichting De Appel, Amsterdam, 2002Seaweeds, Base, Florence (with Slava Nakovska), 2003Art Focus 4, Underground Prisoner’s Museum,Jerusalem, 2003Love it or Leave it, 5th Cetinje Biennial, Cetinje /Dubrovnik, 2004Homework, Gagosian Gallery, Berlin, in the frame of the4th Berlin Biennial, Berlin, 2006

The photo on p. 138 is from IASPIS Gallery, Stockholm,2001; the photo on p. 139 is from Kunsthalle Bern,Bern, 2002

Mirrors, 2001-2003gilt wood, mirrors, permanent ink, handwritten text,series of 7 mirrors (detail). Photo: Studio Tutti.

minique Uldry, Ñúñ ñúãëàñèåòî íà Kunsthalle BernÑâúðçàíè ñ Íå òîëêîâà... ðàáîòè:

A (not so) White Cube, P.S.1 Special Projects Program,Öåíòúð çà ñúâðåìåííî èçêóñòâî P.S.1,

Íþ Éîðê, 2001Chat, The Royal Academy Sculpture Hall / IASPIS

Gallery, Ñòîêõîëì, 2001Basics, Kunsthalle Bern, Áåðí, 2002

Mess, Stichting De Appel, Àìñòåðäàì, 2002Seaweeds, Base, Ôëîðåíöèÿ

(çàåäíî ñúñ Ñëàâà Íàêîâñêà), 2003Art Focus 4, Underground Prisoner’s Museum,

Éåðóñàëèì, 2003Love it or Leave it, 5-òî áèåíàëå â Öåòèíå,

Öåòèíå / Äóáðîâíèê, 2004Homework, 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

Îãëåäàëà, 2001-2003äúðâî ñúñ çëàòåí âàðàê, îãëåäàëà, ÷åðåí òóø,

ðú÷íî íàïèñàíè òåêñòîâå, ñåðèÿ îò 7 îãëåäàëà

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

From My Home, 2002permanent felt pen on lambda prints mounted on aluminium, series of 4, 120 x 150 each (detail). Original photos: Angel Tzvetanov. Photo: SergeVeignant. Courtesy Galerie Georges-Philippe & NatalieVallois, Paris, and the artistCosta Alves. Courtesy the artist, Museu do Chiado Lisbon and Módulo Centro Difusor de Arte, LisbonA 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,

(ôðàãìåíò). Ñíèìêà: Ñòóäèî Òóòè. Ñúñ ñúãëàñèåòîíà ãàëåðèÿ Æîðæ-Ôèëèï & Íàòàëè Âàëîà è íà

õóäîæíèêàÑàìîñòîÿòåëíà èçëîæáà Îãëåäàëà, ãàëåðèÿ Æîðæ-

Ôèëèï & Íàòàëè Âàëîà, Ïàðèæ, 2003A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,


The Simple Life, Hydra School Project / The HydraFestival, Hydra Island, Ãúðöèÿ, 2005



Îò ìîÿ äîì, 2002ïåðìàíåíòåí òúíêîïèñåö âúðõó îòïå÷àòúöè,

ìîíòèðàíè íà àëóìèíèåâà îñíîâà, ñåðèÿ îò 4, 120x 150 âñåêè (ôðàãìåíò). Îðèãèíàëíè ñíèìêè: ÀíãåëÖâåòàíîâ. Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Æîðæ-Ôèëèï

& Íàòàëè Âàëîà, Ïàðèæ è íà õóäîæíèêàÑàìîñòîÿòåëíà èçëîæáà Nature People, Museu do

Chiado Lisbon, 2002A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,

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

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

A High Level Show with a Catalogue, 2002felt 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 artistA High Level Show with a Catalogue, Center for Contemporary Art, Kitakyushu, Japan, 2002

Romantic Landscapes with Missing Parts, 2002


Ïðèðîäíè ñúùåñòâà, 2002ïåðìàíåíòåí òúíêîïèñåö âúðõó îòïå÷àòúöè,

ìîíòèðàíè âúðõó àëóìèíèåâà îñíîâà, ñåðèÿ îò 7,120 õ 150 (ôðàãìåíò)

Îðèãèíàëíà ñíèìêà: Àíãåë ÖâåòàíîâNature People, Museu do Chiado, Ëèñàáîí, 2002

Casa de luz, Fundacio Foto Colectania,Áàðñåëîíà, 2004


Èçëîæáà íà âèñîêî íèâî ñ êàòàëîã, 2002òúíêîïèñåö âúðõó ñòåíà, îáåêòè, êàòàëîã

(îãðàíè÷åí òèðàæ) ñ îïèñàíèÿ íà èñòîðèèòå,ïîêàçàíè íà 4,5 ìåòðà âèñî÷èíà, âàðèðàùè

ðàçìåðè. Ñúñ ñúãëàñèåòî íà Öåíòúðà çàñúâðåìåííî èçêóñòâî â Êèòàêóøó è íà õóäîæíèêà

A High Level Show with a Catalogue, Öåíòúð çàñúâðåìåííî èçêóñòâî, Êèòàêóøó,

ßïîíèÿ, 2002-2003

Ðîìàíòè÷íè ïåéçàæè ñ ëèïñâàùè ÷àñòè, 2002

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12 paintings, oil on linen, 108 x 140 each, handwrittentext on wall, almost invisible texts and drawings aroundthe gilt-framed paintings, dimensions variable. Photos,Joaquin Cortes. Courtesy the artist and Museo NacionalCentro de Arte Reina Sofia, Madrid Collection IVAM, Valencia, Spain. Romantic Landscapes with Missing Parts, Neuer BerlinerKunstverein, Berlin; Ulmer Museum, Ulm, 2002Romantic Landscapes with Missing Parts, Espacio Uno,Museo Nacional Centro de Arte Reina Sofia, Madrid, 2003A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,Luxembourg, Rooseum, Malmoe, O.K Centrum, Linz, 2003-2005Leftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Zurich, 2005

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

“Romantic Landscapes with Missing Parts” were executed inthe murky winter of 2001-2002 up north in Stockholm in anice studio at the Royal Academy of Fine Arts.That was a very hard, horrible time for me, the conceptual

12 êàðòèíè, ìàñëåíè áîè âúðõó ïëàòíî, 108 õ 140âñÿêà, ðú÷íî íàïèñàí òåêñò âúðõó ñòåíà, ïî÷òèíåâèäèìè òåêñòîâå è ðèñóíêè îêîëî êàðòèíèòåñúñ çëàòíè ðàìêè, âàðèðàùè ðàçìåðè. Ñíèìêè:

Õîàêèí Êîðòåñ. Ñúñ ñúãëàñèåòî íà õóäîæíèêà è íàMuseo Nacional Centro de Arte Reina Sofia, Ìàäðèä

Êîëåêöèÿ IVAM, ÂàëåíñèÿRomantic Landscapes with Missing Parts, Neuer Berliner Kunstverein, Áåðëèí; Ulmer Museum, Óëì, 2002

Romantic Landscapes with Missing Parts, Espacio Uno, MuseoNacional Centro de Arte Reina Sofia, Ìàäðèä, 2003

A 12 1/3 (and even more) Year Survey, Casino Luxembourg – Forum d’art Contemporain,



Kunsthaus Zurich, Öþðèõ, 2005

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

“Ðîìàíòè÷íè ïåéçàæè ñ ëèïñâàùè ÷àñòè” áÿõàñúçäàäåíè ïðåç ìðà÷íàòà çèìà íà 2001-2002, íà ñåâåð â

Ñòîêõîëì, â åäíî îò ïðåêðàñíèòå àòåëèåòà íàÊðàëñêàòà àêàäåìèÿ ïî èçêóñòâàòà.

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artist who pretends that being classically educated in muralpainting 20 years ago gives him some kind of advantage.Most of the time during these three months I was reallypissed off by my inability to achieve in paint what I wanted(not to mention the bitter feeling that I was not quite surewhat I actually did want). In such moments I had an enor-mous desire to close my eyes and have all these canvases, oilpaints, brushes, easels, and palettes disappear so that I couldagain start dealing with ideas (mainly) � a relatively easy (atleast for me) way of working. But I kept doing the paintings,day by day, night after night, fiercely trying to accomplishthem in an acceptable way for an audience like you.“Why am I doing this?!” I had been asking myself this con-stantly, when one day I realized that perhaps the reason forme to keep going was that I had the little hope that all theparts missing from these romantic landscapes �

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;

Òîâà áåøå ìíîãî òåæêî, óæàñíî âðåìå çà ìåí,õóäîæíèêà-êîíöåïòóàëèñò, êîéòî ïðåòåíäèðà, ÷å

êëàñè÷åñêîòî ìó îáðàçîâàíèå ïî ñòåíîïèñ îòïðåäè 20ãîäèíè ìó äàâà íÿêàêâî ïðåäèìñòâî. Ïðåç ïîâå÷åòîâðåìå íà òðèìåñå÷íèÿ ìè ïðåñòîé àç íàèñòèíà áÿõ

âêèñíàò îò íåñïîñîáíîñòòà ñè äà ïîñòèãíà âæèâîïèñòà òîâà, êîåòî èñêàõ (äà íå ãîâîðèì è çà

íåïðèÿòíîòî ÷óâñòâî, ÷å íå áÿõ ñúâñåì ñèãóðåí êàêâîòî÷íî èñêàì). Â äàäåíè ìîìåíòè èìàõ îãðîìíîòî

æåëàíèå äà çàòâîðÿ î÷è è âñè÷êè òåçè ïëàòíà, ìàñëåíèáîè, ÷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 íàðàáîòà. Íî àç ïðîäúëæàâàõ äà ïðàâÿ êàðòèíèòå, äåíñëåä äåí, íîù ñëåä íîù, îæåñòî÷åíî îïèòâàéêè ñå äà

ãè çàâúðøâà â ïðèåìëèâ çà çðèòåëè êàòî âàñ âèä.

“Çàùî ïðàâÿ òîâà?!” Ïîñòîÿííî ñè çàäàâàõ òîçèâúïðîñ, äîêàòî åäèí äåí îñúçíàõ, ÷å ìîæå áè

ïðè÷èíàòà äà ïðîäúëæàâàì å ìàëêàòà íàäåæäà, ÷åâñè÷êè ëèïñâàùè ÷àñò îò òåçè ðîìàíòè÷íè ïåéçàæè -

ëóíàòà;îòðàæåíèåòî íà ïëàíèíàòà âúðõó ñïîêîéíàòà

ïîâúðõíîñò íà åçåðîòî;ñâåòëèíàòà êàòî öÿëî;

ëîäêàòà íà ìîðÿêà;

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

- would have a better and more interesting life when left out-side the paintings.Nedko SolakovJanuary, 2002StockholmEdited by Sina Najafi

Fear, 2002-2003terracotta, Alitalia, Austrian Airlines and Lufthansaboarding passes, ball pen, ten pairs of sculptures, someof them in pieces, dimensions variable. Detail Fear #10 (Frankfurt-Sofia)Photos: Angel Tzvetanov. Courtesy the artist and the 2nd Albisola Ceramic Biennial, Albisola2nd Biennale of Ceramic in Contemporary Art, Albisola, 2003

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 íåçàâúðøåíàòàæèâîïèñ;

êîíöåíòðàöèÿòà íà õóäîæíèêà (ñúùåñòâåíà ÷àñò îòõîðèçîíòà íåî÷àêâàíî ñå ñðèâà íàäîëó)...

- áèõà èìàëè ïî-äîáúð è èíòåðåñåí æèâîò, àêîîñòàíàò èçâúí êàðòèíèòå.

Íåäêî Ñîëàêîâÿíóàðè, 2002Ñòîêõîëì

Ñòðàõ, 2002-2003òåðàêîòà, áîðäíè êàðòè îò Àëèòàëèÿ,

Àâñòðèéñêèòå àâèîëèíèè è Ëóôòõàíçà, õèìèêàëêà,10 ÷èôòà ñêóëïòóðè, íÿêîè íà ÷àñòè, âàðèðàùè

ðàçìåðèÄåòàéë: ñòðàõ ¹ 10 (Ôðàíêôóðò – Ñîôèÿ).

Ñíèìêè: Àíãåë ÖâåòàíîâÑúñ ñúãëàñèåòî íà õóäîæíèêà è íà Âòîðîòî

áèåíàëå ïî êåðàìèêà, Àëáèñîëà

255

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

The Cell, 2003felt pen on cell walls, dimensions variable (detail)Courtesy Art Focus, Jerusalem, and the artistArt Focus 4, Underground Prisoner’s Museum,Jerusalem, 2003

(about) Fourteen, 2003black drawing ink on museum walls, 19 locations,dimensions variable (detail). Courtesy Museum für Moderne Kunst, Frankfurt, and the artistPermanent exhibition, Museum für Moderne Kunst,Frankfurt. Gift of the artist.

2nd Biennale of Ceramic in Contemporary Art,Àëáèñîëà, 2003


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


Kunsthaus Zurich, Öþðèõ, 2005Êèëèÿòà, 2003

òúíêîïèñåö âúðõó ñòåíèòå íà êèëèÿòà, âàðèðàùèðàçìåðè (ôðàãìåíò). Ñúñ ñúãëàñèåòî íà Art Focus,

Éåðóñàëèì è íà õóäîæíèêàArt Focus 4, Underground Prisoner’s Museum,

Éåðóñàëèì, 2003

(îêîëî) ×åòèðèíàéñåò, 2003 ÷åðåí òóø âúðõó ìóçåéíèòå ñòåíè, 19 ìåñòà,

âàðèðàùè ðàçìåðè (ôðàãìåíò). Ñúñ ñúãëàñèåòî íà Ìóçåÿ çà ìîäåðíî èçêóñòâî,

Ôðàíêôóðò è íà õóäîæíèêàÏîñòîÿííà åêñïîçèöèÿ, Ìóçåé çà ìîäåðíî èçêóñòâî,

Ôðàíêôóðò. Äàðåíèå îò àâòîðà

256

Nedko Solakov – Leftovers (a selection of my unsold piecesfrom the private galleries I work with), 2005 (detail)Photo: FBM Studio, ZürichLeftovers – a selection of my unsold pieces from the privategalleries I work with, Kunsthaus Zurich, Zurich, 2005

Wallpaper, 1993-mixed media on local industrial wallpaper, dimensions variable4 (maybe 5) Room Installations, Elemag 2D Gallery, Sofia, 1993The Outburst of Signs, Künstlerwerkstatt Lothringerstrasse,Munich, 1995Orient/ation, 4th Istanbul Biennial, 1995Enclosures, The New Museum of Contemporary Art,New York, 1996Silly, Galerie Arndt & Partner, Berlin, 1998Zeitwenden – Looking forward into the next millennium,Kunstmuseum Bonn, Bonn, 1999Cruce de caminos/Crossroads, Sala Plaza de España,Madrid, 2000Zeitwenden, Museum Moderner Kunst Stiftung LudwigWien, 20er Haus, Vienna, 2000Mess, Stichting De Appel, Amsterdam, 2002


2005 (ôðàãìåíò)Ñíèìêà: FBM Studio, Öþðèõ


Òàïåò, 1993-iñìåñåíà òåõíèêà âúðõó ôàáðè÷íè òàïåòè,

âàðèðàùè ðàçìåðè 4 (ìîæå áè 5) ñòàéíè èíñòàëàöèè, Åëåìàã 2Ä,

Ñîôèÿ, 1993The Outburst of Signs, Künstlerwerkstatt Lothringerstrasse,

Ìþíõåí, 1995Orient/ation, 4-òî Èñòàíáóëñêî áèåíàëå,

Èñòàíáóë, 1995Enclosures, The New Museum of Contemporary Art,

Íþ Éîðê, 1996Silly, 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 LudwigWien, 20er Haus, Âèåíà, 2000

257

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

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

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

Mess, Stichting De Appel, Àìñòåðäàì, 2002A 12 1/3 (and even more) Year Survey, CasinoLuxembourg – Forum d’art Contemporain,



Ñíèìêèòå íà ñ. 150 è ñ. 151 ñà îò O.K Centrum, Ëèíö, 2003

Ïàòåòè÷íè èñòîðèè #2, 2006ñåïèÿ, ÷åðåí è áÿë òóø, ëàâè, õàðòèÿ,

ñåðèÿ îò 9 ðèñóíêè, 19 õ 28 âñÿêà Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Àðíäò & Ïàðòíúð,

Áåðëèí/ÖþðèõÊîëåêöèÿ Ella Cisneros, Ìàÿìè, ÑÀÙ

Äúëáîêî ïåñèìèñòè÷íè èñòîðèè #2, 2006ñåïèÿ, ÷åðåí è áÿë òóø, ëàâè, õàðòèÿ, ñåðèÿ îò 9

ðèñóíêè, 19 õ 28 âñÿêà Ñúñ ñúãëàñèåòî íà àâòîðà

258

NNiikkoollaayy CChhaakkaarroovv,, bb.. 11997711

01110110 01100101 01110010 01110011, 2001video, PAL, color, sound (mono), 4 min., loopMacrovideo, on the façade of the National Palace of Cul-ture, Sofia, 2001Urban Cycles, Library Walk (Library Walk), St Peter’sSquare, Manchester, UK, 2002Post Mythological Stories, 9th Cairo Biennial, 2003On the BG Track, Young Bulgarian Films 2000-2003,Waimar, Germany, 2003

NNiinnaa KKoovvaacchheevvaa,, bb.. 11996600

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

ÍÍèèêêîîëëààéé ××ààêêúúððîîââ,, ðð.. 11997711

01110110 01100101 01110010 01110011, 2001âèäåî, PAL, öâÿò, çâóê (ìîíî), 4 ìèí., loop

Ìàêðî âèäåî, íà ôàñàäàòà íà ÍÄÊ, Ñîôèÿ, 2001Urban Cycles, Library Walk (ïåøåõîäíà çîíà äîÃðàäñêàòà Áèáëèîòåêà), ïëîùàä Ñâ. Ïåòúð,

Ìàí÷åñòúð, Âåëèêîáðèòàíèÿ, 2002Íîâè ìèòîëîãè÷íè èñòîðèè, 9-òî ìåæäóíàðîäíî

áèåíàëå â Êàéðî, 2003Ïî áúëãàðñêàòà ñëåäà, Ìëàäè áúëãàðñêè ôèëìè 2000-

2003, Âàéìàð, Ãåðìàíèÿ, 2003

ÍÍèèííàà ÊÊîîââàà÷÷ååââàà,, ðð.. 11996600

Òðè íèâà, 1993 êíèãà-îáåêò, äúðâåíà êóòèÿ, ïëåêñèãëàñ,ïðåäìåòè, òåêñò, ðú÷íà õàðòèÿ, òóø

N-ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè, ãàëåðèÿÐàéêî Àëåêñèåâ, Ñîôèÿ, 1994

Le Livre dans tous ses etats, ãàëåðèÿCaroline Corre, Ïàðèæ, 1994Ôðåíñêè èíñòèòóò, Ñîôèÿ, 1994

Salon de Livre’95, ãàëåðèÿ Caroline Corre, Ïàðèæ, 1995 FRAC, Haute-Normandie, 1996

259

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

Sometimes, 1996-1997series of 70 pieces, mixed media on paper, 20 x 18 x 4Stockholm Art Fair, Gallery Luc Queyrel, 1999Artist as Object II, ATA Center for Contemporary Art, Sofia, 1999Nadége Dana-Vizzacchero, Cannes, France, 2002HAOS, Belgrade, 2002

Sometimes I …., 1999-2000series of 22 pieces, photo, drawing, 65 x 200 x 10Gallery Luc Queyrel, Paris, 1998Gallery Mabel Semmler, Paris, 2002

3,39%, 2004 (together with Valentin Stefanoff)video, 3,14 min.Cosmopolis1, Macedonian Museum of Contemporary Art, Thessalonique, Greece, 2004National Museum of Contemporary Art, Bucharest, Romunia, 2005

Íàöèîíàëåí ìóçåé íà æåíèòå â èçêóñòâîòî,Âàøèíãòîí, ÑÀÙ, 1996

Êîëåêöèÿ JP Morgan, New York

Ïîíÿêîãà, 1996-1997ñåðèÿ îò 70 ÷àñòè, ñìåñåíà òåõíèêà âúðõó

õàðòèÿ, 20 õ 18 õ 4Stockholm Art Fair, ãàëåðèÿ Luc Queyrel, 1999Õóäîæíèêúò êàòî îáåêò II, ATA Öåíòúð çà

ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1999Nadége Dana-Vizzacchero, Êàí, Ôðàíöèÿ, 2002

HAOS, Áåëãðàä, 2002

Ïîíÿêîãà àç ..., 1999-2000ñåðèÿ îò 22 ÷àñòè, ôîòîãðàôèÿ, ðèñóíêè,

65 x 200 x 10ãàëåðèÿ Luc Queyrel, Ïàðèæ, 1998

ãàëåðèÿ Mabel Semmler, Ïàðèæ, 2002

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

Cosmopolis1, Ìàêåäîíñêè ìóçåé íà ñúâðåìåííîòîèçêóñòâî, Ñîëóí, Ãúðöèÿ, 2004

Íàöèîíàëåí ìóçåé çà ñúâðåìåííî èçêóñòâî,Áóêóðåù, Ðóìúíèÿ, 2005

260

PPrraavvddoolliiuubb IIvvaannoovv,, bb.. 11996644

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

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

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

ÏÏððààââääîîëëþþáá ÈÈââààííîîââ,, ðð.. 11996644

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, 1996Ìåæäó ìèñëèòå è ðå÷òà, ãàëåðèÿ XXL, Ñîôèÿ, 1997

Ëè÷íè ìåñòîèìåíèÿ, 1996ôîòîèíñòàëàöèÿ, 8 ÷àñòè, 30 õ 40 âñÿêà

Ôîòîèíñòàëàöèè, ãàëåðèÿ ÀÒÀ-Ðàé, Ñîôèÿ, 1996Bulgarian Glimpse Show, Àñîöèàöèÿ íà Ìîñêîâñêèòå

ãàëåðèè è ÁÊÈÖ, 1997

Ïðåâúïëàùåíèÿ, 1997÷åðíîáÿëà ôîòîãðàôèÿ, 80 õ 80, 80 õ 90, 80 õ 80Foto und videî kunst aus Bulgarien, Menschenbilder,

ãàëåðèÿ IFA, Áåðëèí, 1997Àðõèâúò, ãàëåðèÿ Øèïêà 6, 1998

Èçêóñòâîòî å æèâîò, 1997ðèñóíêà, 260 õ 156, ÷åðíîáÿëà ôîòîãðàôèÿ, 11 õ 15

×åðíî-ñèâî-áÿëî, ãàëåðèÿ Øèïêà 6, 1997Black-Gray-White, Kerava Art Museum, Finland, 1997

261

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

Too many premonitions come trueTo whom it may concern � don’t be so naiveThe cynical power of compassionMemory is muscleDo you think you are the sameCoordinate X and Y are not married so Z is illegitimateMy column is a blackbox The chaos of desires is being ordered by disappointmentsDo you think 69 was better that 96I’m everyone and everyone is meTransformation always takes time and energyWhat do you call a ladder with no stepsInformation and Vice copulate in InternetA flight over the relief of meaningsFuck the leaders so they breed new onesFeminists are menRevolutions start from the stomach, guess where they end upLove is a liquidThe Iron Curtain is up, the play has started

Íà íèâîòî íà î÷èòå, 1998òåêñòîâå îò ñàìîçàëåïâàùî pvc ôîëèî,

âàðèðàùè ðàçìåðèÍà íèâîòî íà î÷èòå, ãàëåðèÿ Òåä, Âàðíà, 1998

ÈÑÈ-Ñîôèÿ, Ãðàäñêà ãàëåðèÿ, Ðóñå, 2001

Òâúðäå ìíîãî ñáúäíàòè ïðåä÷óâñòâèÿÇà êîéòî ñå îòíàñÿ � íå áúäè òîëêîâà íàèâåí

Öèíè÷íàòà âëàñò íà ñú÷óâñòâèåòîÏàìåòòà å ìóñêóë

Ñìÿòàø ëè ÷å ñè ñúùèÿòÊîîðäèíàòèòå X è Y íÿìàò áðàê Z å íåçàêîíåí

Äåáåëîòî ìè ÷åðâî å ÷åðíà êóòèÿÕàîñúò íà æåëàíèÿòà ñå ïîäðåæäà îò ðàçî÷àðîâàíèÿòà

Ìèñëèø ëè ÷å 69 áåøå ïî-äîáðà îò 96Àç ñúì âñåêè è âñåêè ñúì àç

Òðàíñôîðìàöèÿòà âèíàãè îòíåìà âðåìå è åíåðãèÿÊàê íàðè÷àòå ñòúëáà áåç ñòúïàëà

Èíôîðìàöèÿòà è ïîðîêúò ñå ÷óêàò â InternetÏîëåò íàä ðåëåôà íà çíà÷åíèÿòàÅáè ëèäåðèòå çà äà ðîäÿò íîâè

Ôåìèíèñòêèòå ñà ìúæåÐåâîëþöèèòå çàïî÷âàò îò ñòîìàõà ïîçíàé êúäå

ñâúðøâàòËþáîâòà å òå÷íîñò

262

Games that don’t make you sweat are not gamesDon’t read � contemplateHave you been convicted for the same thingErase after readingMetaphor is a transport companyThe three of my desires is a bonsaiCivilization is a habitI am a bachelor with eyeglassesIt is easier to believe than to workYou are to going to die tooThey spoke English in BabylonIf the information is a line then it’s wider than longerTake from this sentence as much you can carryDisciplined ejaculationFreedom is bypassing usNature is a masochistDon’t forbid us to be poor

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

Æåëÿçíàòà çàâåñà å âäèãíàòà ïèåñàòà çàïî÷íàÈãðèòå êîèòî íå òå èçïîòÿâàò íå ñà èãðè

Íå ÷åòè à ñúçåðöàâàéÈ âèå ëè ñòå îñúäåíè çà ñúùîòîÈçòðèé ñëåä êàòî ãî ïðî÷åòåø

Ìåòàôîðà å òðàíñïîðòíà ôèðìàÄúðâîòî íà ìîèòå æåëàíèÿ å áîíçàé

Öèâèëèçàöèÿòà å íàâèêÀç ñúì åðãåí ñ î÷èëà

Ïî-ëåñíî å äà âÿðâàø îòêîëêîòî äà ðàáîòèøÂèå ñúùî ùå óìðåòå

Âúâ Âàâèëîí ñà ãîâîðåëè àíãëèéñêèÀêî èíôîðìàöèÿòà å ëèíèÿ òÿ å ïî-øèðîêà îòêîëêîòî

äúëãàÂçåìè îò òîâà èçðå÷åíèå êîëêîòî ìîæåø äà íîñèø

Äèñöèïëèíèðàíà åÿêóëàöèÿÑâîáîäàòà íè ïîäìèíàâàÏðèðîäàòà å ìàçîõèñò

Íå íè çàáðàíÿâàéòå äà áúäåì áåäíè

Òîâà, êîåòî…, 1999îáåêò, ëåòðàñåò âúðõó ïðîçðà÷íè ïëàêè, 21 õ 29.7

Ðåöåïòè – íîâ èêîíîãðàôñêè íàðú÷íèê,Èíñòèòóò çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, 1999

263

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

RRaassssiimm,, bb.. 11997722

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

I Love Denitsa, 1997photography, 28,5 x 21advertisement in the magazine Èçêóñòâî. Art in Bulgaria,1997/41

Self portrait with GSM, 1998digital print, 180 x 120Bulgariaavangarde. Kraftemessen II, Kunstlerwerkstatt

Ïîëîâèí…, 1999èíñòàëàöèÿ, âàðèðàùè ðàçìåðè è ìàòåðèàëè

Äà îáúðíåì ñòðàíèöàòà, Àïîëîíèÿ ‘99, Ñîçîïîë, 1999Îò äðóãà ñòðàíà…,

ÀÒÀ Öåíòúð çà ñúâðåìåííî èçêóñòâî, 2000Pessimism No More, Ìóçåé çà èçÿùíè èçêóñòâà,

Ëà Øî-äà-Ôîí, Øâåéöàðèÿ, 2002donumenta, Ðåãåíñáóðã, Ãåðìàíèÿ, 2005

ÐÐààññèèìì,, ðð.. 11997722

Ïîñòåð, 1996ôîòîãðàôèÿ, 28,5 õ 21

ðåêëàìà â ñïèñàíèå Èçêóñòâî. Art in Bulgaria, 1996/29

Àç îáè÷àì Äåíèöà, 1997ôîòîãðàôèÿ, 28,5 õ 21

ðåêëàìà â ñïèñàíèå Èçêóñòâî. Art in Bulgaria, 1997/41

Àâòîïîðòðåò ñ GSM, 1998äèãèòàëåí îòïå÷àòúê, 180 õ 120

Áúëãàðèÿàâàíãàðä. Kraeftemessen II, Kuenstlerwerkstatt

264

Lothringerstrasse, Munich, 1998It could be Obsession, Association for Contemporary art,Graz, 2000Inventing a People. Contemporary art from the Balkans, National Gallery for Foreign arts, Sofia, 1999After the Wall: Art and Culture in post-communist Europe,Moderna Museet, Stockholm, 1999

Recipe for Contemporary Art, 1999print, golden marker on paper, 30 x 21Recipes – New Iconographic Manual, Institute of Contemporary art, Sofia, 1999

SSaammuuiill SSttooyyaannoovv,, bb.. 11997755

Eye Sight Sharpness Test, 2006print on 120 gr. offset paper, 11,5 õ 16Important Announcement, catalogue, Sofia 2006

SSaasshhoo SSttooiittzzoovv,, bb.. 11995522

Right to Work (Altars and Souvenirs), 1995

Lothringerstrasse, Ìþíõåí, Ãåðìàíèÿ, 1998It Could be Obsession, Àñîöèàöèÿ çà ñúâðåìåííî

èçêóñòâî, Ãðàö, 2000Èçìèñëÿíå íà íàðîä. Ñúâðåìåííî èçêóñòâî îò

Áàëêàíèòå, Íàöèîíàëíà ãàëåðèÿ çà ÷óæäåñòðàííîèçêóñòâî, Ñîôèÿ, 1999

After the Wall: Art and Culture in post-communist Europe,Moderna Museet, Ñòîêõîëì, 1999

Ðåöåïòà çà ñúâðåìåííî èçêóñòâî, 1999ïå÷àò, çëàòåí ìàðêåð âúðõó õàðòèÿ, 30 õ 21

Ðåöåïòè – íîâ èêîíîãðàôñêè íàðú÷íèê,Èíñòèòóò çà Ñúâðåìåííî Èçêóñòâî, Ñîôèÿ, 1999

ÑÑààììóóèèëë ÑÑòòîîÿÿííîîââ,, ðð.. 11997755

Òåñò çà ïðîâåðêà íà çðèòåëíàòà îñòðîòà, 2006ïå÷àò, 120 ãð. îôñåòîâà õàðòèÿ, 11,5 õ 16

Âàæíî ñúîáùåíèå, êàòàëîã, Ñîôèÿ 2006

ÑÑààøøîî ÑÑòòîîèèööîîââ,, ðð.. 11995522

Ïðàâî íà òðóä (îëòàðè), 1995

265

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

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

Reflections on Art as Antithesis, 1996installation, text, paper, 10 components, 20 x 15 eachLabiles gleichgewicht, Karl Hofer, Berlin, 1996National Art Gallery, Sofia, 1996

Commemorative Plate, 1997marble, wood, 50 x 60 x 60Ars ex Natio. Made in BG, Mexican House Gallery, Plovdiv, 1997

SSyyllvviiaa LLaazzaarroovvaa,, bb.. 11996600

Obsession for me, 1999

èíñòàëàöèÿ, ñìåñåíà òåõíèêà âúðõó äúðâî, 120 x 40 x 2 âñåêè

ãàëåðèÿ ÍÎ, Áåðëèí, 1996EXPORT-IMPORT. Ñúâðåìåííî èçêóñòâî îò Áúëãàðèÿ,

ÑÃÕÃ, 2003

Èçòî÷íè ìèíèàòþðè, 1996èíñòàëàöèÿ, ñì. òåõíèêà, 15 ÷àñòè,

âàðèðàùè ðàçìåðèÈçòî÷íè ìèíèàòþðè, ÍÕÃ, Ñîôèÿ, 1996Ìèñëè çà èçêóñòâîòî – àíòèòåçà, 1996

èíñòàëàöèÿ, òåêñò, õàðòèÿ, 10 êîìïîíåíòà, 20 õ15 âñåêè

Labiles gleichgewicht, Karl Hofer, Áåðëèí, 1996Íàöèîíàëíà õóäîæåñòâåíà ãàëåðèÿ, Ñîôèÿ, 1996

Âúçïîìåíàòåëíà ïëî÷à, 1997ìðàìîð, ôàçåðíà ïëîñêîñò, 50 õ 60 x 60

Ars ex Natio. Ïðîèçâåäåíî â Áúëãàðèÿ, ãàëåðèÿÌåêñèêàíñêà êúùà, Ïëîâäèâ, 1997

ÑÑèèëëââèèÿÿ ËËààççààððîîââàà,, ðð.. 11996600

Îáñåáâàíå çà ìåí, 1999

266

poster, black-and-white ink-jet print on paper, 390 x 260Obsession, The Central Mineral Bath, Sofia, 1999Reflections Multiplied, Sofia Art Gallery, Sofia, 2006

A New Page, 2000poster, 100 õ 70Subjects and Shadows, ATA Center for contemporary art,Sofia, 2000

Sofia, Faith, Hope, Love, 2001poster, 170 x 120 Shop-Art. Women at (on) the Market, Underpass Saint Sofia, Sofia, 2001Reflections Multiplied, Sofia Art Gallery, Sofia, 2006

SStteeffaann NNiikkoollaaeevv,, bb.. 11997700

Ontario Est, 2001wall painting, digital clocks, dimensions variableDouble vie, Clark Gallery, Montreal, 2001Courtesy Gallery Michel Rein, Paris

ïîñòåð, 390 õ 260 Îáñåáâàíå, Öåíòðàëíà ìèíåðàëíà áàíÿ,

Ñîôèÿ, 1999Óìíîæàâàíå íà îòðàæåíèÿòà, ÑÃÕÃ, 2006

Íîâà ñòðàíèöà, 2000ïîñòåð, 100 õ 70

Ñóáåêòè è ñåíêè, ÀÒÀ Öåíòúð çà ñúâðåìåííîèçêóñòâî, Ñîôèÿ, 2000

Ñîôèÿ, Âÿðà, Íàäåæäà è Ëþáîâ, 2001ïîñòåð, 170 õ 120

Shop-Art. Æåíè íà ïàçàð(à), ïîäëåç Ñâåòà Ñîôèÿ,Ñîôèÿ, 2001

Óìíîæàâàíå íà îòðàæåíèÿòà, ÑÃÕÃ, 2006

ÑÑòòååôôààíí ÍÍèèêêîîëëààååââ,, ðð.. 11997700

Ontario Est, 2001ñòåíîïèñ, äèãèòàëíè ÷àñîâíèöè,

âàðèðàùè ðàçìåðèDouble vie, ãàëåðèÿ Clark, Ìîíðåàë, 2001

Ñúñ ñúãëàñèåòî íà ãàëåðèÿ Michel Rein, Ïàðèæ

267

Il devait être 17:51, j’avais envie d’une glace. Je suis de-scendu dans le salon, ma mère fumait une Kent devant latélé. J’ai couru vers elle. Elle m’a pris sur ses genoux. C’étaitun film russe ou bulgare en noir et blanc dans lequel les gensallaient faire preve de beaucoup de courage. C’était long.Trois ans plus tard vers 19:30, L’Armée Rouge n’était plustrès loin. A 21:12, ou peut-être à 21:21, elle était déja auxportes de Berlin. Je n’en pouvais plus, J’ai fermé les yeux. Mamère m’a allongé sur le divan, elle est partie téléphoner. J’aidormi longtemps. La Toccata e Fuga de Bach m’a révéille.J’ai ouvert les yeux. C’était mon Nokia qui sonnait. J’aiappuyé trop tard sur le bouton vert. Mon portable indiquait17:51. J’ai allumé une cigarette puis je me suis levé. Je re-montais Ontario vers l’ouest. J’avais envie d’une glace.

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

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

Áåøå îêîëî 17:51, ïðèèñêà ìè ñå åäèí ñëàäîëåä. Ñëÿçîõ âõîëà, 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. Òðèãîäèíè ïî-êúñíî, êúì 19:30, ÷åðâåíàòà àðìèÿ âå÷å íå áåøå

äàëå÷. Â 21:12 èëè ìîæå áè â 21:21 òÿ áåøå âå÷å ïðåäâðàòèòå íà Áåðëèí. Íå ìîæåõ äà èçäúðæàì ïîâå÷å,

çàòâîðèõ î÷è. Ìàéêà ìè ìå ñëîæè äà ëåãíà âúðõó äèâàíà èîòèäå äà òåëåôîíèðà. Àç ñïàõ äúëãî. Òîêàòà è Ôóãà íà Áàõìå ñúáóäè. Îòâîðèõ î÷è. Òîâà áåøå ìîÿòà Nokia, êîÿòîçâúíåøå. Àç íàòèñíàõ çåëåíèÿ áóòîí ìíîãî êúñíî. Ìîÿòìîáèëåí 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, 2003èçäðàñêàí êàðòîí, äâå ÷àñòè, 40 x 60 âñÿêà

ãàëåðèÿ Michel Rein, Ïàðèæ, 2003

Áàëêàíòîí, 2004íåîí, 15 x 100

Áàëêàíòîí, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî,Ñîôèÿ, 2004

Come to…, CCA, Ãëàçãîó, Âåëèêîáðèòàíèÿ, 2005

268

HHoouubbeenn CChheerrkkeelloovv,, bb.. 11997700

AIDS, 1993-1994installation, watercolor on paper, dimensions variableAIDS, Studio Spectrum Gallery, Sofia, 1994N-Forms Reconstuctions and Interpretations, Raiko Aleksiev Gallery, 1994

JJuurryy SSttaaiikkoovv,, bb.. 11997788

The truth for the Red house, 2006digital print, 50% magenta, 100 x 150

ÕÕóóááååíí ××ååððêêååëëîîââ,, ðð.. 11997700

AIDS, 1993-1994èíñòàëàöèÿ, àêâàðåë âúðõó õàðòèÿ,

âàðèðàùè ðàçìåðèAIDS, ãàëåðèÿ Ñòóäèî Ñïåêòúð, Ñîôèÿ, 1994N-Ôîðìè? Ðåêîíñòðóêöèè è èíòåðïðåòàöèè,

ãàëåðèÿ Ðàéêî Àëåêñèåâ, Ñîôèÿ, 1994

ÞÞððèè ÑÑòòààééêêîîââ,, ðð.. 11997788

Èñòèíàòà çà ×åðâåíàòà êúùà, 2006äèãèòàëåí îòïå÷àòúê, 50% ìàãåíòà, 100 x 150

Ñúñòàâèòåëè: Ìàðèÿ Âàñèëåâà, Äàíèåëà ÐàäåâàÒåêñòîâå: Ìàðèÿ Âàñèëåâà, Äàíèåëà ÐàäåâàÏðåâîä:Ãðàôè÷íî îôîðìëåíèå: Íàäåæäà Îëåã ËÿõîâàÏðåäïå÷àòíà ïîäãîòîâêà: ÈÄÀÏå÷àò: ÅÊÑÏÐÅÑÏÐÈÍÒ ÅÎÎÄÑîôèÿ 2006ISBN

© àâòîðèòå, ÑÃÕÃ

Compilers: Maria Vassileva, Daniela RadevaTexts: Maria Vassileva, Daniela Radeva

Translation: Graphic design: Nadezhda Oleg Lyahova

Print layout: IDAPrinted by: EXPRESSPRINT LTD.

Sofia 2006ISBN

© the authors, Sofia Art Gallery

ÑÃÕÃ / Sofia Art Galleryóë. Ãóðêî 1 /1, Gurko StreetÑîôèÿ / Sofiahttp://sghg.cult.bg

Важно съобщение / Important Announcement, 2006

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Transcript of Важно съобщение / Important Announcement, 2006