Лого на Софийска Градска Художествена Галерия
Анимация по време на зареждане


URBAN LEGENDS

20 April 2006 - 26 May 2006


 

This is an exhibition which shows works dedicated to the city of Sofia. What they express is the authors’ reactions to the dynamic changes going on in the city over the past ten years. In line with the great social disturbances of a “society in transition” the face of the city is changing every day, every hour, every minute.

The artists express their attitude towards what is happening. Sometimes they are critical or nostalgic, sometimes ironic or exaggerating. The means of expression, i.e. photography, painting, video, net art, installations etc., signpost the expanded territory of our art over the past 15 years. What the works share in common is the willingness for a dialogue concerning the present and the future of the city we live in. 

Sofia Art Gallery possesses a rich collection of works dedicated to the capital dating from the beginning of the 20th century to the late 80ies. They show how the nostalgically romantic vision gradually transforms and makes room for the urban utopias. It is curious enough to trace how the artists see the city of Sofia at present. Their visual commentaries, though inspired by reality in this particular case, often sound unrealistic like fairy tales. And fairy tales can often be scary. Thereby comes the name of the exhibition “URBAN LEGENDS”. Let the viewers themselves decide where the borderline between reality and the author’s fantasy is. Yet let’s not forget that fairy tales always have a happy ending.

Participants: Luchezar Boyadjiev, Kalina Dimitrova, Nadezhda Oleg Lyahova, Kiril Prashkov, Kalin Serapionov, Samuil Stoyanov, Krassimir Terziev, Kosta Tonev, Veronika Tsekova and Dimitar Yaranov.

Exhibition curator – Maria Vassileva.







Dessislava Mincheva Painting

15 April 2006 - 05 May 2006


 

Dessislava Mincheva is among the most prominent representatives of Bulgarian fine art. Her creative impulse is permanently directed towards the field of painting and drawing. The artist has made herself known through the genre of the portrait, composition, still life and landscape. 

The current exposition at Sofia Art Gallery includes about 60 works created over the last year for the needs of this particular exhibition. The main focus is on compositions of female figures where the plasticity of form and the movement of the model are emphasized. 

Regardless of whether she works on canvass or paper, in oils or pastel Dessislava Mincheva always tries to strike a balance between line and colour with line usually being dominant. The artist prefers bigger formats which give her the opportunity to reconcile essentially monochromatic yet nuance rich colourful harmonies with constructive drawing elements and striking linear accents.


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Dessislava Mincheva was born in 1956 in the city of Sofia. In 1981 she graduated from the National Academy of Arts specializing in painting under Academician Svetlin Roussev. Since 1985 the artist has had more than 23 one-man exhibitions in the country and abroad. Alongside that she has also taken part in numerous Bulgarian and international expositions. In 2002 she received a gold medal for drawing from the Agazzi Foundation, Italy.

Dessislava Mincheva is a Professor in drawing and painting at the National Academy of Arts in Sofia. 







virus virus ! Bertran Berrenger, Ltitia Carton, Baptiste Debombourg, Gerome Nox, Anne-Marie Rognon, Lionel Sabatt

05 April 2006 - 16 April 2006


 

Virus, virus! Doesn’t that sound like а samba tune? Swaying and dancing rhythmically. It is spreading like the virus of the day carried by the chicken, ducks, swans and all those migrant birds that set off from China, stop in Turkey, fly over Romania, Africa and France to reach the North and then fly back. Less lethal but equally pervasive like those small bombs called H5N1 which we don’t know how to stop and which are transported by air and disperse like pollen. We are living in the “information” age. Information that allows for a great amount of disinformation. Ever so permeating. This is it – virus.

Virus as the notorious “emigration flood” so frequently discussed. Virus as the American funds, those big sums of money which travel from one end of the world to the other disregarding any rule or regulation. Virus as the companies which delocalize. Virus as the one that attacks our e-mails. Virus as everything that slips away, oozes and soaks into “the underground” or above in the open, rushes by then disappears and moves on.

Our exhibition is organized around this notion which is central to our lives and the idea of movement, unstableness, permeation and constant branching. It is not meant to be displayed in a closed space or in a single or several museum halls where the works of art are the subject of contemplation but rather in a pattern similar to The Garden of Forking Paths Borges is talking about or even – and why not? – to Heidegger’s Roads to Nowhere. A light and hazardous exhibition wandering like Schubert’s Wanderer Fantasie which is concurrently displayed at two places and splits up between two cities – Bucharest and Sofia – and two countries spreading across newspapers, magazines, the radio, television, the Internet. An exhibition which unlike the usual linear discourse presents itself open and multiplied. 

Leonor Nuridsany
Curator of the exhibition







Tenyu Pindarev Jubilee exhibition

24 March 2006 - 22 April 2006


 

Tenyu Pindarev is one of the acknowledged senior artists among Bulgarian cartoonists. More than 60 years of creative activity have secured him an honorary place not only on the pages of all comic publications but also in the minds of thousands of viewers for whom the simplified, expressive humour has long become the trade mark of a unique and unforgettable style.

At the time he started his career as a cartoonist Tenyu Pindarev was already an accomplished artist and also a person with sensitive civil consciousness. The abrupt and curving line of his cartoons gains in spirituality from his dignified human stand that denies cruelty, injustice and hypocrisy, ridicules stupidity, loathes moral debauchery and sympathizes with the wrongly treated simplicity and goodness. His humour is sparing and forgiving and warmed by his understanding of the innocent vices of man.
He also works in the field of graphic art and is the author of a number of lithographic cycles. He illustrates books, comic literature mainly. He is the author of numerous posters as well as comic portraits of eminent Bulgarians.

The exhibition in Sofia Art Gallery is dedicated to his 85th anniversary and includes 70 works from different periods of his creative career. Among them are the cycles devoted to Aleko Konstantinov and Choudomir, some friendly comic portraits of famous people, mainly artists whom the author loved and respected as well as lots of cartoons on different topics, some of which have become emblematic as a reflection of important events in the political and spiritual world. 

What presents a particular interest is the piece called At Stoyan Venev’s Jubilee Exhibition in 1964 which was created between 1998-2001. It includes 204 comic portraits of eminent culture makers of that period.

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Tenyu Pindarev was born in 1921 in the town of Kazanluk. In 1946 he graduated in painting from the Academy of Arts under Professor Ilia Petrov. In 1948 he was appointed artistic editor in “Sturshel” newspaper where he worked until 1980. Then he spent four years on the editorial staff of “Caricature” magazine. He took part in numerous cartoon exhibitions at home and abroad – Gabrovo, Moscow, Berlin, Havana, Prague, Budapest etc. He has also got a prize for excellent presentation in Montreal and first prize from the international exhibition in Trento, Italy. Works of his are among the possessions of the National Art Gallery, the House of Humour and Satire in Gabrovo, the art galleries of Kazanluk, Plovdiv, Varna, Turgovishte, Razgrad and private home and foreign collectors. Holder of the Medal Order of Cyril and Methodius. Honorary citizen of the town of Kazanluk.







Illustrator Lyuben Zidarov's The Complete and Incomplete Andersen

11 March 2006 - 01 April 2006


 

“I have illustrated Andersen’s fairy tales four times at different points of my career as an illustrator, which is a strong proof of how long I have carried this author inside.
For me, however, he also proved to be the most difficult one since the fairy tales read by an adult were no longer stories about people and animals but a whole world carrying the philosophy and wisdom of the eternal in the moral code of mankind.
In the course of many years I collected documental material about the time of Andersen and my trip to Denmark gave me the unique chance to immerse in the atmosphere of his world.
It gave me the opportunity to make a new attempt at the last, fourth and unfortunately not completed edition, to turn my back on precise information and to plunge into the psychological substance of fairy tales.
The distance of time will undoubtedly decide whether the new illustrations are the best ones and if, despite my professional experience, they are not much the worse for the lack of the romanticism and imperfection of a young beginner …”
Lyuben Zidarov







ACTION: CONTEMPORARY ART Sasho Stoitzov. Waterfall

11 March 2006 - 01 April 2006


 

The aim of “Action: Contemporary Art” is to enrich the “Contemporary Art and Photography” collection of Sofia Art Gallery and to stimulate the most innovative trends in Bulgarian art. It is the gallery staff’s deep conviction that the mission of the museum is to follow, choose and preserve the best examples of both the past and present art history. The absence of a Museum of contemporary art makes this function even more necessary under the existing circumstances. For more than 20 years several generations of artists have been working in the field of the modern means of expression without their works being placed in museum collections. This disconcerting fact makes us undertake more active steps towards the preservation of this particular art.

After the exhibitions of Nadezhda Oleg Lyahova and Boryana Dragoeva in 2004 and 2005, Sofia Art Gallery is now showing the donation of artist Sasho Stoitsov. The "Waterfall" installation includes acrylic board plastic pieces, drawings, oils and prints.

Sasho Stoitzov’s name (b. 1952) is among the most renowned ones in the history of contemporary Bulgarian art. Having started his career as a painter he was among the first artists to respond to the changes in the late eighties of the 20th century. His works dating from that time are among the classics of the Bulgarian avant-garde. Sasho Stoitzov is one of the few artists whose name is associated with the notion of Soc-Art. 

Since 1998 the artist has been living and working in New York. After a few years’ break Sasho Stoitzov made a striking comeback to his homeland first with the "Naturally" exhibition in the National Art Gallery in 2004 and then with the "Waterfall" 
exhibition (first shown in Solers Gallery in 2005).

With "Waterfall" Sasho Stoitsov has tried to create a minimalist depiction of nature and in a specific, unobtrusive yet expressive manner to convey the sense of elemental power and authenticity.







Sofia Art Gallery and the 8th of March Group present: REFLECTIONS MULTIPLIED Adelina Popnedeleva, Alla Georgieva, Anna Hen-Yossifova, Elena Karamihailova, Elisaveta Konsoulova-Vazova, Princess Evdokia, Mariela Gemisheva, Nadezhda Oleg Lyahova, Nevena Gancheva, Nina Kovacheva, Silvia Lazarova, Todorka Bourova, Tzana Ivanova-Boyadjieva, Vera Ivanova

08 March 2006 - 07 April 2006


 

The exhibition is a try at a mirror reconsideration of history. It is a “tête-à-tête”” of two generations of lady artists: the first “bunch” of graduates from art academies in Bulgaria who advocated the right of the “fair sex” to deal seriously with art, and artists who in late 20th century understood art as an avenue to convey messages and to provoke public opinion. 

The mirror approach in the construction of the exhibition is not a haphazard choice. First, the mirror is an attribute, which is invariably associated with the female principle. Second, the mirror is a common motif in the pictures of the lady artists from the early 20th century whereas the series of self-portraits from the end of the century just allude to it. Third, the mirror carries divine and magic characteristics that are typical of art and women alike. Fourth, speculum (the Latin word for mirror) is a gyno examination instrument, which is interpreted by Luce Irigaray as a symbol of the male penetration into the opposite sex based on the idea of “nonexistence” and cavity. This is how feminism is incorporated into the subject. Fifth, the mirror refers to thinking because of the etymology of the word speculum – from speculor meaning “to speculate” in the sense of “to think” or “to reflect”. This adds to the ambition of the provocative nature of the exhibition. Last but not least the speculum is associated with a spectacular performance (spectaculum), which is the quintessence of any exhibition.

Probably the opposition (or juxtaposition) seems audacious from the perspective of the tolerant theory of art. However, almost seventy years and many other lady artists are intervening between these two generations… The contrast is deliberate as sometimes it best expresses the essence and, moreover, the approach has its raison d'être. The two groups of artists have many things in common. The former protested and asked to attend the nude painting classes in the Art Academy, to have their artworks displayed in general exhibitions side by side with the works of artists from the opposite sex, to organize their own exhibitions and to be treated in a serious way. The latter tried to raise taboo questions that for many years before them were unuttered in the guise of fear and inertia. The former were trained abroad and brought home the trends of Impressionism and Expressionism. The latter experimented with media and means of expression that previously were not employed in Bulgarian art. As regards the subject matter, the affinity is undeniable: both groups are definitely introspective. Self-portrait appears to be the commonest choice. Understandably, the reasons are far from being identical. In the early 20th century the self-portrait stood for growing self-confidence and self-consciousness. At the end of the century the self-portrait was the vehicle of inner drama and anxiety and raised many questions. The exhibition seeks to highlight the similarities and dissimilarities in the attitude to the still life, the male nude body and the portrait. In fact the real mirror is the spectator who is the “looking glass” of destinies, ambitions and achievements that, while being distant from each other in time, are kindred in a deeply intrinsic way. 

Are reflections possible in this parade of mirrors? Will it be possible to catch the image or will the image dissolve and disappear into the infinity of variations? We count not on the categoricalness achieved but on diversity. The purpose of the exhibition is to multiply the reflections and to make the diversity, intricacy and even confusion of the reflections provoke a discussion.

Maria Vassileva
Exhibition Curator







GENKO GENKOV

17 February 2006 - 19 March 2006


 

Genko Genkov is one of the most eminent Bulgarian artists known for his striking personality and rebellious spirit. His last one-man exhibition was held in 1993. Today, thirteen years later, Sofia Art Gallery is displaying some works of his created in the period between 2002 and 2006. The exposition includes portraits and landscapes in oil and water-colour which show the latest stage in his artistic development.

Genko Genkov has created mainly landscapes which are notable for the specific style of their author – clearly defined volumes, vivid colours and relief surfaces. In the early years of his artistic career the author used to give preference to the darker range of colours. His landscapes represent people and animals. In the course of time the integrated colour splashes and the characteristic intense warm colours gradually appeared. A tree, a house, a mountain or a path in the open serve as centre of the composition in his paintings. Genko Genkov prefers painting from life and often depicts Sofia neighbourhoods or the outskirts of the villages of Roudartsi and Dragoil. 

Through the years the artist has experimented with a variety of methods and techniques of painting. In the 70ies he explored the potential of the different materials, applying oil as water-colour, treating the surface with sand or replacing the brush with a knife. In the 90ies he would use pigments reminding of the ceramic glaze. His works reveal elements of the art of post-impressionism and fovism.

The works exhibited in Sofia Art Gallery represent the best of Genko Genkov as an artist. Painted with boldness and imagination they prove time and again that he is among the most unique and intriguing Bulgarian artists.

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Genko Genkov was born in 1923 in the village of Choba near Karlovo. He grew up in Bourgas. He finished Secondary School for Classic Languages in Bourgas. In 1948 he graduated from the National Academy of Arts under Professor Dechko Ozounov. His first one-man exhibition took place in 1965 and in 1973 there was a retrospective exhibition on the occasion of his 50th anniversary. In 1972 he was conferred the Cyril and Methodius Order of Merit Third Class. His last one-man exhibition was held in 1993.







STOYAN RANGELOV Paintings and Drawings

19 January 2006 - 12 February 2006


 

The name of Stoyan Rangelov is barely known to the general Bulgarian public. The artist was born in 1911 in the village of Draintsi near Trun. In 1929 he entered the Academy of Fine Arts in Sofia. In 1934 he graduated from the Painting Department under Prof. Nikola Marinov and the Decorative Arts Departmant under Prof. Nikolai Rainov. Upon graduating with honours, Stoyan Rangelov earned a specialization scholarship and left for Germany and Italy. He died in Sofia in 1949.

Stoyan Rangelov used to work as an army artist for the Military Geographic Institute in Sofia. He is known for his works of oil, water-colours, drawings, graphics, caricatures and monumental decorations. His most active period as an artist was in the thirties and forties. During his short life he held eight one-man exhibitions in Sofia and around the country. His work is found in the permanent collections of the National Art Gallery, Sofia Art Gallery, the Museum of Military history in Sofia and private collectors.

The current exhibition includes about 50 works – paintings, water-colours, drawings and documents. The exposition aims at presenting an ignored artist and popularizing his artistic heritage. The works at display – portraits, landscapes and compositions – embody the spirit of a controversial and dynamic period of Bulgarian history. They impress with romantic and nostalgic moods, expressive solid forms and water-colour blendings with pasty brush strokes. The “Native” and the “European” intertwine in an eclectic way thus building up the artistic image of Stoyan Rangelov.







Vaska Emanouilova. The Life of Form Exhibition dedicated to the 100th anniversary of the artist

22 December 2005 - 28 February 2006


 

Vaska Emanuilova is one of the milestones of modern Bulgarian sculpture. She is the first waman-sculptor to leave a blazing trail in our art. Vaska Emanuilova achieved impressive results in portrait, nude, genre composition and history-inspired scenes. Her choice to work mainly with terracotta made this material the emblem of her art. In addition the artist produced scores of drawings and watercolors.

On 4 February 1985 Vaska Emanuilova made a donation comprising 90 statutes, 48 watercolors and 35 drawings to the Sofia Art Gallery. In the previous year the collection was on display at a branch of the Sofia Art Gallery known as the Vaska Emanuilova Permanent Exhibition at 9 Shesti Septemvri Street in Sofia. Unfortunately ten years later restitution claims shut down the gallery.

To mark the artist’s birth centenary the Sofia Art Gallery is organizing a grand retrospective, which presents the donation, and works that are possessed by the National Art Gallery and the Studio-Collection Svetlin Roussev. The exhibits comprise 107 statues, a selection of drawings and watercolor paintings and authentic documents concerning the artist. The Erotic Series that has been unknown until recently is also there. The focus of the exhibition are the portraits of Vaska Emanuilova painted by famous Bulgarian painters Stoyan Venev, Ivan Nenov, John Popov, Rouska Marinova, Kiril Petrov, Mina Ivanov, Donka Konstantinova, Nenko Balkanski, Lyuba Palikareva, Svetlin Roussev. Among the exhibits are pictures by the painter Kiril Petrov that are part of Vaska Emanuilova’s donation.

Members of the team that organized the exhibition are: Slava Ivanova, Vessela Hristova-Radoeva, Maria Vassileva and Marin Marinov. Irena Gerassimova and Simeon Simeonov did the conservation and restoration of the works.

A 134-page catalogue with a color album, a black-and-white catalogue section, a biography chapter, a bibliography part and appendices was released to commemorate the exhibition.

Co-organizers of the exhibition are:
National Museum of Bulgarian Fine Art
State Cultural Institute under the Minister of Foreign Affairs
Studio-Collection Svetlin Roussev

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Vaska Emanuilova was born on 25 December 1905 in the village of Komshtitsa, Godech district. 1922-1927: student at the State Art Academy, painting classes under the tuition of Prof. Tzeno Todorov and sculpture classes under the tuition of Prof. Ivan Lazarov. 1927-1944: works on display at the general art exhibitions organized by the Union of Artists Societies in Bulgaria. From 1927 onwards her works were displayed at practically all exhibitions of lady artists. She was a founding member of the Society of New Artists in 1931. In 1939 she spent three months in France with a scholarship provided by monsieur Belain (secretary at the French Legation in Sofia). From 1944 onwards she had her works exhibited at practically all General Art Expositions arranged by the Union of Bulgarian Artists. Her domains were tabletop sculpture, easel painting, and larger-than-life sculpture in plaster of Paris, bronze and terracotta. Her preferences were the portrait, the nude, the history scenes and genre painting. She died in Sofia on 11 July 1985.

Vaska Emanuilova’s works are now possessions of: the National Art Gallery, the Sofia Art Gallery, the Art Galleries in Plovdiv, Rousse, Varna, Dobrich, Bourgas, the Art Gallery "Donation Svetlin Roussev" in Pleven, private collections in and outside Bulgaria.





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