Me, Myself and the EU
09 May 2017 - 11 June 2017
Me, Myself and EU is Alex Majoli’s exploration of Europe’s contemporary social and political issues and its identity crisis through three key characters:
The emergent far-right: The rise of fiercely anti-immigrant far-right parties such as the French National Front and the Danish People’s Party play a key role in shaping Europe’s new image in response to the migrant and refugee crisis.
They receive a disproportionate share of media attention, augmenting their theatrical role and their ability to impact on how the majority of people perceive the story of this crisis unfolding.
Individual migrants and refugees’ assimilation experiences in Europe: The dramatic scenes of migrants and refugees fleeing their war-torn and poverty-stricken homes and arriving exhausted at southern European beaches and eastern European borders are but one commencing moment in a long process of acceptance and assimilation - or lack thereof.
The fragmenting receiving societies: Conflicts at several layers of European society are playing out in response to the refugee and migrant crisis. A general divide between Eastern and Western Europe is materializing, raising sensitive questions about whether countries like Hungary share compatible values with others like Germany and Sweden. Friction is being laid bare within European regions, too, as the arrival of refugees and migrants is revealing a hardline current in countries that are generally assumed to be among the most inclusive and tolerant.
With this project, shown for the first time in Sofia State Art Gallery, Majoli aims to invite the audience to question what is happening with the ideology of Europe as a whole and xenophobia, the refugee crisis and the extreme right wing across the entire continent in specific. His approach to this concept aims to challenge the viewer’s understanding of reality, by drawing attention to the masks we wear as actors playing our roles in society.
Alex Majoli created the exhibition "Me, Myself and EU" invited by Fotofabrika Foundation. He visited Bulgaria in April this year, because My first show in Bulgaria cannot miss a Bulgarian footage.
14 March 2017 - 30 April 2017
THE NUDE MALE BODY 1856 - 1944
21 February 2017 - 26 March 2017
The topic of the nude male body in the great world of art is not new. In Bulgaria, however, attempts to present it in the museum/gallery space, as well as in the theoretical sphere are absent. Studied, researched, problematized, shared as a visual narrative, that history in our country remains marginalized.
“Every nude body, as abstract as it is, should arouse in the viewer a drop of erotic feeling, even if it is a pale shadow – and if it doesn’t, it is bad art and false morals” – noted in his capital research on the nude body in art Kenneth Clark. Even if we disagree with this ideology in its entirety, it seems we cannot find reasonable arguments to refute the claim that “naked”, at least on the territory of art, is associated with concepts such as sexual and erotic. Concepts, which in every period, seem to be a subject of redefinition by adding more branching arrangements and details. Concepts, which are reflected in the traditional culture of Bulgarians and have peculiar uses in a number of ceremonies, folk songs, mythological and poetic notions. However, in the exhibition “Nude Male Body 1856 – 1944”, which fits in itself not an exhaustive, but still representative sample of images, projections of this “use” can hardly be seen in pure form. What causes this? What distances the Bulgarian artist from the man's body? Why by conveying a nude man on the canvas by the artist, he turns simply to a non-erotic object, devoid of emotion? Where does this refusal of the artist to engage with the nude male body come from? How are these “uses” (with/)of the nude male body in the art of our country being perceived by the authors? And by the observer?
These are just a fraction of the issues that the team of this exhibition is trying to place in the space of Bulgarian fine art. The answers to these questions can hardly be unambiguous. But these are answers without which the nude male body will continue to make us look away in a feigningly uncomfortable manner.
The exhibition offers the first-ever visual narrative of this particular national closeness through the figure of the man that is left without clothes. The nude man who, for one reason or the other, after leaving the private space somehow turns into an object disturbing the society. The exhibition presents the development of educational male study throughout the period and the “use” of the nude male body in the work of artists in the country. Visitors can see 96 works – paintings, drawings and sculpture by 54 artists, some of which are iconic names in the history of Bulgarian art and other are forgotten and completely unknown to the general audience.
The exhibition is accompanied by a catalogue and is implemented in a partnership with the National Gallery, Sofia, National Academy of Art, Earth and Man National Museum – Sofia, Union of Bulgarian Artists, the art galleries in Plovdiv, Kyustendil, Shumen, Pleven, Pazardzhik, Kazanlak, Stara Zagora, Lom, Studio-collection “Svetlin Rusev”, Foundation “Tzanko Lavrenov”, private collections of Aleksander Kerezov, Boyan Radev, Ventsislav Kadiev, Vladimir Georgiev, Ivo Raykov, Nikolay Mladzhov, Dr. Ognian Delibozov, Toma Nikolov and Hristo Balarev.
Curators: Adelina Fileva, Ramona Dimova, Plamen V. Petrov
LINE: THE SHORT NAME FOR SPACE
07 February 2017 - 05 March 2017
Line (together with form, chiaroscuro, colouring, volume etc.) is a major element of the image, often the fundamental one preceding all the rest. Marking the initial impulse of the idea, effecting a spontaneous connection between realization and representation, the line often remains the essential and sometimes even the only carrier of the work’s emotional intensity.
The exhibition allows viewers to get to know both landmark but also completely unknown paintings, graphics and sculptures from the collection of the Sofia City Art Gallery.
Curator: Svetla Georgieva
14 December 2016 - 29 January 2017
07 December 2016 - 12 February 2017
.The exhibition constitutes the concluding phase of the ‘Visual Chronicles’ project aimed at the creation of an archive of art in Bulgaria during the mid- through the late 20th century in the shape of video interviews and through the memories of artists who lived in the abovementioned age.
Curators: Maria Vasileva, Daniela Radeva
ANCESTRAL MEMORY AND HERITAGE. FOUR GENERATIONS OF ARTISTS
02 November 2016 - 27 November 2016
This year marks the 100th Anniversary of the birth of the artist Vassil Yonchev. The “ANCESTRAL MEMORY AND HERITAGE” Exhibition is an attempt to survey the creative work of one of the biggest Bulgarian artistic families – the Yonchevs. A family which still lives on, and its members continue to demonstrate their worth in the fields of painting, graphic art, sculpture, illustration, graphic design, animation, book design, typeface, scenography, costume design, and cinematography. This is a visual story – a document – of the talent’s power.
In 1892, the family’s founder – Dimitar Vassilev Yonchev – was born in Plovdiv. His name is associated with laying the foundations of scenography and costume design in Plovdiv. Due to his dozens of designs elaborated for Plovdiv’s theatrical stage, some of which have been preserved even to this day, Dimitar Yonchev has won recognition as one of the most important names in the town’s theatrical life in the 1920s and the 1930s. Charismatic, talented and Bohemian in terms of spirit, he was the father of five children, to whom he passed on his passion for art. The doyen of the Bulgarian typeface school – Vassil Yonchev – was also amongst these inheritors. The “ANCESTRAL MEMORY AND HERITAGE” Exhibition reveals the history of this family – of its members, whose paths were to cross those of members of the Enev, the Dzhidrov, the Gogov, the Wendt and the Müller families.
The Exhibition shows paintings, graphic art, scenography sketches, costume and book designs, animation, and photography. This is a project that unites the creative work of four generations of artists – 25 professionals altogether. The audience has the opportunity to scrutinize designs of Dimitar Yonchev, Vassil Yonchev’s original illustrations for children’s books, paintings by Zdravko, Dimitar and Iliya Yonchev painted especially for this Exhibition, creative works of the grand master of the cinematographic scenography and an apprentice of Kiril Tsonev and Ivan Penkov – Konstantin Dzhidrov–Dzhidrata. And more: graphic works by the Müller family; Georg Wendt’s photographs, who has photographed the German designer and also a photograph – Karl Lagerfeld.
This Exhibition is the first of its kind, presenting four generations of artists who have left their mark on the history of the Bulgarian
SOFIA CITY ART GALLERY PLAMEN DEJANOFF BORIS KOSTADINOV EMANUEL LAYR GALLERY AUSTRIAN EMBASSY SOFIA
11 October 2016 - 11 November 2016
The exhibition has the unusual title: SOFIA CITY ART GALLERY, PLAMEN DEJANOFF, BORIS KOSTADINOV, EMANUEL LAYR GALLERY, AUSTRIAN EMBASSY SOFIA.
In this project the organizers of the exhibition are displayed in alphabetical order and this title reminds an "advertising campaign" with a specific textual "teaser".
The text is imprinted on a large banner - on the facade of the Sofia City Art Gallery. Furthermore, the artist puts numerous posters with the same content at different key locations in the city - galleries, bookstores, theaters, restaurants, cafes...
What are the aims of this campaign? It should disclose the idea of creating a Center for Contemporary Art in a wonderful old house in Arbanassi village.
The house was built in 1480 and is the first house in Bulgaria, which has its own bathroom. Its wood carvings are remarkable. They were at the heart of the exhibition “Foundation Requirements” at the 21er Haus museum in Vienna last year.
The exhibition SOFIA CITY ART GALLERY, PLAMEN DEJANOFF, BORIS KOSTADINOV, EMANUEL LAYR GALLERY, AUSTRIAN EMBASSY SOFIA asks questions to the general public about its understanding of the importance of contemporary art in the contemporary Bulgarian context and the private initiatives for its encouragement.
Curator Boris Kostadinov
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