Sofia Arsenal – Museum of Contemporary Art presents:
The exhibition is a continuation of the series of solo exhibitions of Bulgarian artists from the Autobiography Project of the Museum. It extends the focus on the individual artists by incorporating them into the general context of the museum space.
The seven artists and their latest works are united by the differences in their approach to creating painting today. Specific creative pursuits have been researched, offering artistic models beyond the traditional concept of the medium of art. Apart from the outlined developmental trends, the individual artists’ positions in the contemporary art environment clearly stand out.
In the case of RASSIM, painting is a means of archiving. A performance, shot in 1999, is transferred to a new medium. Currently, the artist uses paint and canvas to draw a frame of his choice: ‘That way, I preserve my ideas for the future.’
Unlike the traditional subject of painting relating to the real context in a more-or-less complex and motivated manner, Ludmil Lazarov’s objective painting is self-explanatory. ‘Despite the deep layers of paint transforming the painting base into a 3D object, we still sense the transparency.
Transparency not in the physical but in the ontological sense, for it is transparency of an object that does not hide a single thing but remains reassuringly within grasp.’ (Dr Emmanuel Mir).
Stanislav Pamukchiev experiments with matter, with the limits of painting, with the concept of materiality-temporality. Constructed of ash, charcoal, earth, straw, and metal, his paintings attack our senses, our perception of time and space. Traversing the idea of the primordial, original and archaic, they go beyond the semantically temporal context to affect us purely emotionally.
Sasho Stoitzov performs a mechanical transfer of materials, superimposing new meanings and significations. On the even canvas, he draws straight lines of paint, which would be nothing more than a decorative element if not pressed unexpectedly by a ‘wet cleaning cloth’. In this ‘abstract collaboration’, the artist discovers ‘the characteristic rationale’ of his art of painting.
Boryana Rossa includes ‘augmented reality’, which provides ground for discussion on topics related to the female principle, the dogmas imposed in society, and even in art, as the ‘female touch’ in painting. Video documentation of her performance, ‘Vitruvian Body’, expands the theme of the canon in art and its overcoming.
Adelina Popnedeleva tells a personal story from her childhood by means of painting. A document on the divorce of her parents is embroidered on canvas as a symbol of change. Rummaging through the photographs and documents also provoked the artist’s associations with fairy tales. Little Red Riding Hood, Sleeping Beauty, The Little Mermaid outline the great hopes of happiness and love, accompanied by the overcoming of the sense of guilt predetermined by our parents.
Lyuben Farzulev (Lyuben Kostov), is known for the large wooden machines that, over the years, he created mainly for public spaces: ‘Wooden Machine for Drawing’ from 1988, now replaces the moving wooden platform with a pictorial object. Brought into the museum space, it also changes its functions: from engaging the viewer in a socially gaming movement to providing a predominantly aesthetic impact.