Лого на Софийска Градска Художествена Галерия
Анимация по време на зареждане

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.

KIRIL GULEMETOV painting prints drawings

01 February 2005 - 27 February 2005


The exhibition presents Kiril Gulemetov’s artistic life in its different stylistic and plastic periods during the decades. Among the 100 graphic works presented are metal engravings /etching, aquatint, mezzotint /, with the classic finesse of the image, typical for the author; wood and linoleum engravings that are close to the print stylistics of the revival period; lithography, drawings and watercolours. The exposition features 50 paintings from the period from 1962 to 2001 shown for the first time to viewers. 
In the creative work of Kiril Gulemetov the precision of the engravings and the realistic drawing are combined with the attention towards detail and a warm, humane insight into the ordinary at first sight plots taken from nature and country life. 


28 January 2005 - 27 March 2005


Organizers: Geo Milev International Foundation, Sofia Art Gallery, Art gallery of Stara Zagora, Geo Milev Museum House of Stara Zagora

With the support of: The Municipality of Stara Zagora, The SS Cyril and Methodius International Foundation, The Democratic Network Association, AKB FORES (The Financial & Industrial Concern) PLc, BULGARGAS PLc

Curator: Ass. Prof. Rouzha Marinska 

In 2005, 110 years from the birth of Geo Milev (1895-1925) will be celebrated. His name and activity as a poet, critic, editor, theatre figure and painter are connected in Bulgarian history with the peak of the development of modernism at the beginning of the 1920’s. The “Vezni” (“Balance”) - 1919-1922 and “Plamak” (“Flame”) - 1924 magazines edited by him became the uniting centre for the Bulgarian intellectuals, poets and artistst with radical views in the area of literature and art. 

The exhibition features approximately 100 large-scale reproductions of Geo Milev’s works and the works of artists form his circle such as: Ivan Milev, Ivan Boyadjiev, Petar Dachev, Sirak Skitnik and others.

The art works are divided in five main themes: 
The Ego; Gods and Rites; The Woman; The City; Music.

Lecture program (On Thursdays, 4 pm):

3 February - LEDA MILEVA: My father
10 February – Ass. Prof. ROUZHA MARINSKA, New Bulgarian University: The Artists from Geo Milev’s circle 
17 February – Prof. SVETLOZAR IGOV, PhD, Institute of Literature, Bulgarian Academy of Sciences: Geo Milev – The leader of Bulgarian Avant-garde 
24 February – Ass. Prof. LACHEZAR KARANLUKOV, the ‘Pancho Vladigerov’ National Academy of Music: Bulgarian Music Art and European Modernism 
10 March - Prof. MIROSLAV DACHEV, New Bulgarian University: 
Geo Milev and Modern Poetry
17 March - VIOLETA DECHEVA, Senior research Associate IІ degree, Institute of Art Criticism, Bulgarian Academy of Sciences:
Geo Milev and the Theatre as a Figure and Practice of Modernism 
24 March – CATHERINA GADJEVA, PhD student at New Bulgarian University: Bulgarian Modernists and the photographer


12 January 2005 - 16 January 2005


The exhibition organized with the aim to be collected funds for the Bulgarian Red Cross is a cooperative initiative of the Sofia City Art Gallery and the Bulgarian Red Cross. Guided by the principles of humanism and unity the two organizations work together in the name of a noble cause. Tens of Bulgarian artists, always ready to help responded to their appeal: Svetlin Roussev, Ivan B. Ivanov, Gredi Assa, Edmond Demirdjian, Valentin Kolev, Luben Genov, Darina Tzureva, Dolores Dilova, Mariela Ivanova, Miglena Alexandrova, Mariyana Marinova, Bogdan Penev, Luben Kostov, Milko Pavlov, Kalya Zografova, Boris Kolev, Mimi Dobreva, Ivan Kunev, Andrey Daniel, Iva Vladimirova, Silva Buchvarova, Stephan Bojkov and others.

MEETING POINT Nedko Jechev. Kinetic Objects

22 December 2004 - 16 January 2005


The exhibition of Nedko Jechev includes paintings and kinetic objects: bamboozling mechanisms, connected through the laws of Physics, movement and center of gravity.
The object as an expressive means is disused or ripped out of its typical context, isolated from its own meaning. The object has become such that we have never seen it before– “afascinated” (Gianni Rodari) and placed in new ratios and proportions, with its picturesque definiteness – old door handles and saws, forks, shoes and slats, parts of mechanisms and wheels – each one of them with its own look and sound, with its musical rhythm during the propelling process. Obviously, inspiration can steal into the ears, too. Probably this is why the installations of Nedko Jechev take hold of the senses; rivet the attention with its real presence, with what they are. They do not prove anything and are not soaked in ideological pathos. They are created for fun, for beauty …… ”Pastime for lazybones” that does not involve any rigorous thinking.
Through his work, the author has reached that wisdom familiar to children in the game with useless at first sight things that actually make much more sense than we suppose. The viewer, free to choose, can obey their suggestions – the bird trying to fly, but in vain, the black sense of humor of the fish, “The wings of desire ”, which will never fly above the eye level. On the other hand, he can also show off and ‘play’ with the moving fish, wings and shoes.
The action with the accordion (together with Rhin Yamamura), named “Fish thrown out of the water”, has a direct logical and conceptual link with the installations. Here, however, the human figure is the mechanism driving the music instrument that looks as if it is breathing. 

Dragomira Simeonova 


17 December 2004 - 16 January 2005


The Antarctica exhibition presents the latest one-man project of Svilen Panayotov after his participation in the twelfth Bulgarian Antarctic expedition on the island of Livingston, Antarctica. After a three-month stay at the beginning of 2004, the photographer returned with rich impressions and numerous photographs. The project’s aim is through the photographic exhibition consisting of 51 works, video films and a text, the unique animal world and exceptional beauty of this unrefined continent and also the labour of the Bulgarian workers on the pole to be popularised. 

ATANAS NEYKOV NAYO paintings design graphics sculpture

16 December 2004 - 16 January 2005


Atanas Neykov was born on 30 May 1924 in Sofia. He studied at the Italian Royal College. He graduated from the Academy of Arts in1948, with major Decorative Art with tutors Professor Kiril Tzonev and Professor Dechko Uzunov.
He worked on painting, graphic art and spatial design. He designed for Grazzi Cristali, Modena, Italy, a leading company in the design and construction of structures and furniture of crystal glass. 
He took part in the joint exhibitions of the Union of Bulgarian Artists, graphic biennales in Lugano, Krakow, Sao Paolo, Biel, Vienna, Ljubljana and others. He took part in exhibitions in Rome, Moscow, London, New York, Paris, Tokyo, Luxemburg, Basel, Graz, Lisbon, Vienna, Prague, Pittsburgh, Budapest and others. He had one-man shows in Berlin, Krakow, Milan, Brussels, Paris, Modena, Bologna, Capri, Parma, Brussels, Helsinki and Verona.
He designed the interior of the National Historic Museum inside the Palace of Justice in Sofia, the National Archaeological Museum in Sofia, the Shooting Gallery (with Svetlin Roussev), the Gallery of Foreign Art, the museum-houses of Dechko Uzunov and Nenko Balkanski in Kazanluk, art galleries in Dobrich and Sliven, Rakovski’s Pantheon in Kotel, the Saint Nicola church in Pleven, the glass façade of the OBB bank, the exhibition of icons of the Saints Kyril and Metodii in the San Clemente church in Rome and in Elvangen, Germany, the Bulgarian national participation in the Christopher Columbus EXPO in Italy, etc. 
He died on 26 December 2003 in Sofia.

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