Лого на Софийска Градска Художествена Галерия
Анимация по време на зареждане

Photo exhibition "Strandja"

12 May 2005 - 05 June 2005


The exhibition displays 15 Bulgarian photographers who have participated in the Strandja 2004 Photo Expedition. It is part of a series of projects that the 41T Ltd. produced in the past few years within the framework of an extensive exploration of the Strandja region. The exploration covers the Strandja Mountains natural sites, the local architecture, the local people and their customs, beliefs and traditions. A CD is to be released with records of folk music from Strandja.

The photo expedition was organized in August-September 2004 with help from the Swiss Cultural Program in Bulgaria and support from Hewlett Packard. The members of the expedition were: Ana-Mati, Asya Ivanova, Vesselina Nikolaeva, Georgi Doumanov, Evgeni Koevski, Emil Bouzatov, Ivo Hadjimishev, Irina Papazova, Kalina Goranova, Mario Krastev, Nadezhda Pavlova, Rossen Manchev, Svetoslav Karadjov, Simeon Svilenov and Yassen Zahariev. They were free to visit and shoot unique but otherwise restricted areas of the Strandja Mountains. The outcome was a plentiful and diverse production of photos, which were displayed at the Strandja Photo Exhibition and included in the Strandja Photo Album, which was sponsored by Lukoil Bulgaria. The exhibition was intended to attract the public attention to the region, which is on the bottom of the population density table, to the culture, traditions, people and scenic nature so that the Strandja Mountains could become a really listed area.

Courtesy should be extended to the Sofia Art Gallery, the Swiss Cultural Program in Bulgaria, Lukoil Bulgaria, Damyanitsa Winery and 41T Ltd. for making this photo exhibition possible.

DIMITAR KIROV a jubilee year ...1953-2003...

10 May 2005 - 05 June 2005


Dimiter Kirov- Dikiro will celebrate his seventieth anniversary on 20 May 2005. On this occasion, the painter is exhibiting selected paintings, created during the period 1953- 2003, in the Sofia City Art Gallery. The majority of them belong to the author.
The painter was born in Istanbul. In 1959, he graduated in Monumental Painting from The Sofia City Academy of Arts with Professor Georgui Bogdanov. He works and lives in Plovdiv. He is an honorary member of the ‘Nika Kai’ Group of Japanese Painters. 
His first steps in painting have coincided with the period of the bright and ardently disputed new gropings of Bulgarian expressive art. Together with his young colleagues, friends and fellow-citizens Hristo Stefanov, Georgui Bojilov, Yoan Leviev and Encho Pironkov, he founded an artistic society which we still call ‘The 60’s School of Plovdiv’. 
Figurativeness and abstract complement each other in the style of Dimiter Kirov. He decomposes the actual shape in order to build new shapes in his own way. In the years, his creative work has become thematically connected with several cycles offering rich expressive and plastic opportunities- music and ballet, different layers (historic and cultural), burnt icons.
He has tens of decorative-monumental works of art in his biography and also over 40 exhibitions in Bulgaria and abroad. His works of art are owned by the National Gallery of Art, the Sofia City Art Gallery, galleries in the country, museums and private collections in Bulgaria, Armenia, Belgium, Venezuela, Germany, Georgia, Greece, Denmark, Spain, Canada, Cyprus, Mexico, Russia, Turkey, France, the Netherlands, the Czech Republic, Switzerland, Sweden, Japan. 
He has won prestigious state and painters’ awards among which: The Sofia City Award - 1967; The Great Prize of the Town of Plovdiv- 1967; the Award named after Vladimir Dimitrov Maistora for the ‘Requiem for the Samuil Warriors’ - 1981; The ‘Zahari Zograf’ Great National Prize– 1983; The ‘Zlatyui Boyadjiev’ Great National Prize – 1986, etc.
Without prudery, the painter says: „Those who think I am a millionaire are right. I really am a millionaire as I have the largest collection of paintings by Dimiter Kirov.”

MEETING POINT Anna Podekova. Urban and Suburban Landscapes

26 April 2005 - 15 May 2005


The map is the means of traveling for the dreamer who will never leave home and make his travels come true. It is a way to lose yourself or not to lose yourself, depending on your familiarity with the conditionality and its signs. 

Maps are a brief literature category, too. They speak many languages, describing the places they show. They are the pictures of the earth redrawn by people, and urban pictures reflect the even more complex and sometimes weird image created by the necessity of man to ensure his comfort. There is everything in this exhibition - islands for the dreamers, cities for the urban people, historic maps for the nostalgic people, political maps for the dabblers in politics. 

Viewers are in their own right to select the approach to this exhibition –treating them as geographic maps with the pleasure-provoking intellectual game of decoding them, or as abstractions loaded with the aesthetic beauty of the color and shape. 


14 April 2005 - 11 May 2005


The COVER CLASSIC GRAPHICATURE COLLECTION (1999-2003) is the most recent series, featuring thirty artworks created by Professor Gazdov during the past several years. The graphicatures, familiar to connoisseurs, appear for the first time in shapes and technique unusual for them. In addition to serigraphic prints, they exist as vinyl ‘billboards’. 

The cycle of graphicatures, not shown before, is directed towards the world’s history of art, which is turned into a subject of visual interpretations. The artist has put under operative analysis paintings by some of the world-famous painters ranging from the Renaissance to the Postimpressionism. All works are united by one common ideological strategy, but the original idea has gone through numerous directions of development in each artistic creation. World-famous artwork masterpieces by Brueghel, Rubens, Vermeer, Mane are recreated. The Professor Gazdov’s artistic intervention is not only visual but also a conceptual one. Familiar details are developed towards a direction never imagined before; they can be hidden in the white spots or they can completely disappear. Through his critical approach, the author reveals details that are only implied in the ‘original’ artwork or completely eliminates the ones infringing the logic of the interpretation. Thus, the graphicatures retell, further develop and create new content of the works emblematic for the history of art. 

According to “Bulgarian Encyclopedia, A…Z”, published in 2002/2003 by the ‘Trud’ Publishing House, “graphicature” is “a definition of a visual idea with grotesque and artistic unexpectedness and a typical relationship between the black spots and the parts of the white background entering them, in a serigraphic technique; the author’s graphic style of I.Gazdov.

Prior to the present collection of graphicatures, the cycles ‘Play of silhouettes’, ‘Graphicatures-origami’, ‘Black touches’, ‘ Erotic graphicatures’ are created and shown in a sequence of exhibitions in Sofia, Plovdiv, Yambol, Gabrovo, Tryavna, Sozopol, Paris, Copenhagen, Toyama, Warsaw.


04 April 2005 - 08 May 2005


The Sofia Art Gallery exhibition features 49 artists, each one presented with two works. In this respect, this is the largest-scale presentation of contemporary Japanese graphic art.

Since the beginning of 2000, the contacts between Japanese and Bulgarian graphic artists have become more purposeful. The friendship and professional cooperation, between Professor Akira Kurosaki and Professor Roumen Skorchev, dating from 1981, have laid the basis of the project. With the participation of „Lessedra” Gallery and its director, Georgi Kolev, the exhibitions ‘Contemporary Graphic Art from Japan and Bulgaria’, (NFAG, 2001) and ‘Contemporary Bulgarian and Japanese Graphic Art’ (Kyoto and Japan, 2003) were presented.

The Japanese Graphic Art Association is the largest organization of this kind in Japan and an internationally renowned partner. It was founded in 1931. Nowadays, it has 187 artists-members and its associate members are 181. Along with the achievements of contemporary Japanese graphic art, its annual exhibitions offer participation to young talents, and the use of new techniques and expressive means is promoted and popularized. 

Akira Kurosaki was born in 1937 in Manchuria, Talien. He graduated from the Kyoto Institute of Technology, Kyoto in 1962. Inspired by the Ukio-e style, he began creating woodcuts around 1967. In 1970, he received the award of the Ministry of Education from the Seventh International Graphic Art Biennale in Tokyo. He has participated in numerous exhibitions in Japan and abroad and received awards in Florence, Seoul, Norway, Bharat, Cairo, Portland, Maastricht and more. In 1983 he received First Prize at the Second International Graphic Art Biennale in Varna. 

He is a professor and Director of the Graphic Art Department at the Kyoto Seika University and a member of the Japanese Graphic Art Association. He is author of the books: “Contemporary woodcut”, “Woodcut”, “Work on paper”, “Graphic Art History”. 

MEETING POINT Svetlin Balezdrov. "7"

04 April 2005 - 24 April 2005


My three-dimensional abstract work aims at influencing the subconscious and provoking contemplation, e.g to tune the spirit to those peculiar states, typical for the Eastern mysticism. The Asian thread in the project could also be traced in the treatment of the material. Each module of the ensemble is folded only by on single piece of paper without infringing its integrity. Despite my explicit interest towards the East, I belong to the cultural tradition of the West and I think that my work is seriously influenced by the constructivism and minimalism.

Svetlin Balezdrov

MEETING POINT Nikolay Zanev. Derailed

15 March 2005 - 27 May 2005


Within the context of “Meeting point”, Nikolay Zanev’s project raises numerous questions of major importance treating the relationship between critique, audience, artist and artefact. The artist makes the art object and the critique dependent by critically exposing texts in the gallery space, offering free interpretations of them. His methods include appropriations of already existing objects, photography, pictures and manipulated objects. 

The critical text often sets off to explore different possible relations and meanings of the work. Using foreign borrowings and too complex metaphors and abstract descriptions it exposes the artistic work to the risk of distortion, oversaturation and overcharging. The impressive phrases and complex metaphors provide the artist with specific material. He takes solely the literal meaning of them and thus removes in a surgical manner the connotation of the epithets in the description. The result is a sequence of graphic, generalized pictures, similar to the explicatory symbols on commercial product packages. Thus, N. Zanev reduces the image to a semiotic sign, eliminates the effectiveness of the description and hurls it to the bottom of its impact ability.

Despite the fact that the exhibition employs simple means and without being pompously ambitious, it raises a huge number of questions in numerous directions: form the frequently discussed public space to the pitiable state of the critique torn between its function of art and a formative modulator in the contemporary artistic reality. 

Vera Mlechevska

IVAN KANEV painting

02 March 2005 - 26 March 2005


The Sofia City Art Gallery presents Ivan Kunev on the occasion of his 70th anniversary. The exposition features about 80 pastel, water-colour and painting works from 1963 to the end of 2004.
Ivan Kunev is one of the few artists who get inspired by direct contact with nature even nowadays. Thus, landscapes of Sofia, Balchik, Sliven, Koprivshtitza, Smolyan, Damask, Crimea, Gurzuf and his numerous portraits were created during the decades. His works of art appear contemplative at first sight, and yet, they contain not only the profundity of time but also the capability to live through experience and feeling suggested by the beauty of shapes and the subtle colour tints.
The artist was born on 29 March, 1935 in the town of Nova Zagora. In 1963, he graduated from the National Academy of Arts in Sofia; major Applied Graphic Arts taught by Professor Alexander Poplilov.He has worked in the area of painting and graphic art. He has participated in various joint art exhibitions and has organised one-man exhibitions. He has worked as a curator and chief organiser of the art gallery in Sliven / 1963-1968/, expert in matters concerning art galleries, the Museums Department at the Committee of Culture /1973-1985/, Director of the Sofia City Art Gallery /1985-1993/.
His works are owned by the National Art Gallery, the Sofia City Art Gallery, art galleries in Pleven, Sliven, Stara Zagora, Kazanluk, Silistra, Russe, and private collectors in Bulgaria, Switzerland, Denmark and more.


24 February 2005 - 13 March 2005


Replaced categories, a flawed stereotype and lack of strict schematics pierce the space of the “Light” installation. Contrasting and mobile associations depict the new material shapes whose remote and subdued clarity is expressed in a new centre: the spectator is involuntarily turned into the moving force of the whole project. With the aid of a photo cell the presence of the spectator instantly makes each element alive, giving to it his/her own rhythm. Penetrating through the dimensions of time, the spectator is the one to add intensity that varies from moderately calm to overtly dynamical. The colours are warm and energetic. They are born from the darkness in the inalterable playful hue of the surprise. 

The sphere of Vasilena Mihaylova is situated in the centre, rhythmically pulsating in the lively waves of the red. Acting as a nucleus and a symbol of the infinite source, it moves into the light of the perfect cosmos. The hidden creatures of Liuba Atanasova also gravitate towards the infinity. Symbols of the invisible presence, they unexpectedly become alive exceeding human height. Their active and burning gaze reminds the lurking eternal observers. Stern linearity defeated by the soft chaotic matter is presented by Rozaliya Ekimova. The geometry is atrophied and the clear, solid lines of matter are distorted, outlining a new and unknown dimension. The work of Monica Naydenova has evaded the boundaries of its static character and the harsh expressiveness of shapes. In it she intertwines the visible with the invisible with the aid of iron armature and transparent chiffon, elevating it in the shape of a spiral arc above the visitor. In the numerous rays, piercing the solid matter, Vulko Bekirski presents to us space- conquered, thoroughly infiltrated by the light. The shadow is already gone, giving way to the infinite power and absolutism of the light. 

The sensation of a perfect unity and entireness of the concept is perceptible through the fine threads bonding the elements. Sank into seeming peace, they imperceptibly wash away the boundaries of the conceptions, drifting into a distant dream. 

Juliya Karemova

MEETING POINT Alexander Valchev. Reminiscences*

03 February 2005 - 20 February 2005


The idea: to make portraits of great artistic merit in the spirit of Renaissance, of our contemporaries, people engaged in intellectual activities.
How was the idea conceived: there is a beautiful view from the window of my place of work. A part of the National Library, the garden belonging to it, some buildings and in the distance – the impressive Balkan mountains can be seen. Most of the people who visit me on one or another occasion, sit down with their back to the window, which takes up the whole northern wall and their silhouettes are outlined against this view. As a setting this reminded me not only once of the magnificent portrait of Federico da Montefeltro, the duke of Urbino, painted in 1465-66 by the great Renaissance artist Piero de la Francesca. I had the impression that this context seemed to express the best of the very human being. I shared my observations with Alexander Valchev, and it turned out that he had also had similar impressions and associations. That is how the idea of the present project was conceived.
Realization of the idea: after we saw a great number of Renaissance portraits, we decided that it was a good idea to introduce several criteria on the selection of models. They should be people engaged in intellectual work, should have inner potential, and as far as it is possible, physical resemblance with a certain Renaissance person. The main and not an easy task of the author was to express the spiritual nature of the portrayed person, to catch and convey such depth, inner beauty and dignity, which are a distinctive feature of the Renaissance portraits. In order to achieve this goal, the suitable character was put in typical background reproducing as exactly as possible the posture, atmosphere and setting from a portrait - prototype.
In technical respect, the so created “neo-Renaissance” portraits are large-format digital colored prints.
The message: each ordinary person might look with dignity. If the person wants that and makes minimum efforts. People nowadays are not much more different than those who lived 500 years ago. Portraits serve as evidence of that. Maybe people have only lost their own calmness and faith of the Renaissance man that he is the most perfect creation of God.

Stefania Yanakieva


*reminiscence - (лат. reminiscentia) - reverberation of somebody else’s work in poetry, music, fine arts, etc.

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