Лого на Софийска Градска Художествена Галерия
Анимация по време на зареждане


SELECTED WORKS

04 February 2014 - 09 March 2014


Whether it is a hobby, a passion, or a business, collection of artworks typically remains hidden behind personal motives and preferences, keeping away from, or simply failing to gain wide publicity.

The SCAG exhibition grants the viewer access to this personal territory through selected works from Dr. Slavov’s collection.

 

Prof. Chavdar Slavov, DMSc, is a specialist in urology, a member of the World Health Organization (WHO) Standing Committee for Europe and also an international member of the World, European and American Urological Associations. He was born in 1953 in Sofia. He was granted honorary citizenship by the town of Kyustendil. He has been in close touch with artists and people belonging to various artistic circles throughout his whole life. He characterizes himself as an art connoisseur. He started building his collection in 1985.

Dr. Slavov’s collection features works by well-known artists, many of whom are represented by some of their most prominent artistic achievements. The broad variety of artworks presenting different genres, styles and techniques is complemented by the variety of the artists who created them, which includes classical Bulgarian artists, as well as contemporary ones. The collection is characterized by a marked preference for graphic art and drawing.

The exhibition features more than 100 graphic artworks by 81 artists, painting an intriguing picture of Bulgarian graphic art in the twentieth century and the turn of the 21st century. The selection, which was done by Academician Rumen Skorchev, presents the best periods in the development of Bulgarian graphic art, as well as graphic artworks by a number of artists, whose most prominent works belong to other genres. Alongside graphic artworks by Vasil Zahariev, Veselin Staykov, Preslav Karshovski, Pavel Valkov, the exhibition also presents graphic artworks by Dechko Uzunov, Ivan Kirkov, Atanas Yaranov, Dimitar Kazakov, Svetlin Rusev, Andrey Daniel, Emil Popov. The exhibition also features Genko Genkov’s only endeavor in the field of etching, early work by Ivan Ninov or Ivan Dimov, as well as graphic artworks by Kolyo Karamfilov, Milko Bozhkov, Stoyan Tsanev, Maria Duhteva, Aleksi Nachev, Zahari Kamenov, Kamen Starchev and many others.

The exhibition is an in-depth study of Bulgarian graphic arts, as well as a personal view of tendencies and values, the outcome of genuine love for art and true dedication.







MISSIRKOV / BOGDANOV

16 December 2013 - 26 January 2014


Photographers, cinematographers, visual campaign designers, creators of documentary features, videos and short films. Ideologists and founders of the AGITPROP film company, as well as co-founders of the Bulgarian Photographic Association, Boris Missirkov and Georgi Bogdanov are among the most prominent participants in the contemporary art scene.

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Their Sofia City Art Gallery exhibition features more than 80 portraits of famous Bulgarian cultural and community leaders. The exhibition venue is transformed into a photographic spectacle, offering a summarized portrait of our society through the images of some of its most notable members.

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The photographs featured in this exhibition were created between 1992 and 2013. The artists made a portrait of their generation and circle – contemporary Bulgarian actors, film directors, camera operators, photographers, authors, producers, musicians, television hosts, friends. Among them are Javor Gardev, Martichka Bozhilova, Nadezhda Koseva, Georgi Tenev, Kamen Donev, Koyna Ruseva, Snezhina Petrova, Deyan Donkov, Nina Nikolina, Ivan Lechev, Denis Rizov, Andrei Batashov, Stefan Valdobrev, Marius Kurkinski, Hristo Mutafchiev, Maya Bejanska and others. Also featured in the storyline are Bulgarian politicians, as well as foreign nationals having crossed paths with the artists: Antonina Stoyanova, Simeon Saxe-Coburg-Gotha, Sergei Stanishev, Terence Trent D'Arby, Javier Mariscal, Issey Miyake, David Carson, Elliott Earls.

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The exhibition comprises two groups of portraits – representative and freestyle. The former abide by the laws of classic studio photography, where front-view shots, neutral backgrounds and statically arranged compositions prevail. The latter may be characterized as accidentally captured images revealing unusual perspectives and positions. Thus the artists have created two images of the same generation, which is liberated, yet also focused on its aims and mission.

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Boris Missirkov and Georgi Bogdanov rely on techniques used in classic and advertising photography, coupled with snapshot techniques, thus creating a moving photographic language.

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The presence of the people having been portrayed, as well as the compelling style of the artists, characterized by exquisite taste and intuition, render the project a positive sign of the times, namely of the past 20 years.

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The exhibition will be accompanied by a book of photographs (180 pages, hardcover) by “Janet-45” Publishing, featuring texts by Walter Seidl, Maria Vassileva and Georgi Lozanov.

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A project of  

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The project received co-funding under the 2013 “Culture” Program of the Capital City Municipality, it was implemented to back up the application of Sofia and the South-western Region for European capital of culture - 2019 г.

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With the kind support of:

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130th ANNIVERSARY FROM THE BIRTH OF SIRAK SKITNIK

04 December 2013 - 09 March 2014


We are debtors, and remain in debt to Sirak Skitnik! That exclamation came from a researcher of the life and works of Panayot Todorov - born October 22, 1883 in the town of Sliven. And one cannot disagree with these words. Siraka, as his friends by experience and profession named him, has left a number of most dazzling marks on the paths of his time - a huge heritage bequeathed to us - unfortunately long ago forgotten.

The words of Siraka - poetic, critical, scenic and graphic, have been washed away by the horrible masquerade of the mundane in this country. A significant part of the paintings of this master of color and line are still missing, scattered in private collections, and even those stored in the depots of public art galleries, rarely meet their viewers. Theatre work, poetry, prose, radio - although they are fragments of the artist’s creative profile, also remain poorly explored.

 The current exhibition, set up in the halls of Sofia City Art Gallery, is an attempt to outline the development of the artist as painter, by tracing the various stages in his creative path and his own understanding of art. From the first bright scenic attempts of Sirak Skitnik during his training in St. Petersburg (1908-1912), through the works created in the troubled war years between the Balkan and First World War, to the brightest of works with which the author set up his two solo exhibitions (1933 and 1935), the public will meet the immense color skillfulness of the artist. The visitors of the gallery will view his most famous works, together with those almost never shown before.

In the halls of the gallery are sorted out also some of his bravest experiments in graphic art, to which Sirak Skitnik reached out - to become an illustrator of books:   Poems  by Edgar Allan Poe, Bulgarian ballads by Theodore Trayanov, Puppets by Chavdar Mutafov and many others.

The public will have the opportunity not only to face the creations of the artist, but also to use the specially designed by the Gallery team audio-guides with intriguing information about key works of the author.

As part of its strategy to expand the number of visitors, Sofia City Art Gallery provides access for people with impaired vision to the world of art, supplying for a second time an exhibition with tactile maps with whose help sightless visitors will be able to contact the works of Sirak  Skitnik.

For the purpose of delivering an overall presentation of the man and artist within the scope of the exhibition, visitors will have the opportunity to watch the movies Sirak Skitnik - directed by Zunka Yankova,  and  Let’s ask Sirak - directed by Petar Petrov,  kindly provided by the fund of Bulgarian National Television.

 

Media Partner of the project – Bulgarian National Radio.

The exhibition includes works and documents from Sofia City Art Gallery, National Museum of Bulgarian Fine Arts, State Agency of Archives, Dimitar Dobrovich – Sliven Art Gallery, Petko Zadgorski – Burgas Art Gallery, Boris Georgiev - Varna Art Gallery, Nikola Petrov – Vidin Art Gallery, Kazanlak Art Gallery, Stanka Dimitrova  - Kardzhali Art Gallery, Vladimir Dimitrov the Master – Kyustendil Art Gallery, Kiril Petrov – Montana Art Gallery, IIiya Beshkov  - Pleven Art Gallery, Svetlin Rusev Collection - Pleven, Gallery -museum Philippopolis  - Plovdiv,  City Art Gallery - Plovdiv, Ilia Petrov  - Razgrad Art Gallery, Atanas Sharenkov  - Haskovo Art Gallery, Elena Karamihailova  - Shumen Art Gallery, National Literary Museum, Sofia Capital City library, and private collections.







GOYA:

29 October 2013 - 08 December 2013



For the first time in Bulgaria is displayed the cycle of engravings The Horrors of War created by the great Spanish artist Francisco Jose de Goya y Lucientes (1746-1828). The exhibition is set up by the Cervantes Institute jointly with San Fernando Academy of Fine Arts, and its curator is Juan Bordes. Up to now the exposition has visited various centers of Instituto Cervantes round the world, such as Tokyo, Beijing, New Delhi, Warsaw, Krakow and more. The last point of the journey is Sofia, in the halls of Sofia City Art Gallery.

The exhibition includes 82 prints. The aim is to contribute to the promotion and study of this important series of prints. For this purpose, the printed works of the cycle are complemented with photographs by contemporary photo-reporters who from 1839 until now take the same anti-war approaches that, with his genius and amazing expressive power, Goya himself was taking.

The series of engravings Horrors of War (1810-1820) is conceived as an act of pacifism, by means of which the artist is not taking anybody's side, but is exposing the barbarity of the two sides in a war conflict. They are generated by the Spanish War of Independence (1808 -1814) that broke out as a reaction against the invasions of the French Emperor Napoleon. Goya is trying to go beyond the historical facts. The idea occured to him in Zaragoza, where he went at the invitation of General Palafox to report about the heroic defense of the city besieged by French troops, but instead he finds ruins.

"The Horrors" can be divided into three parts. In the first part Goya illustrates stories about real events with unquestionable authenticity, but in his prints he goes beyond the specific facts, loading them with a critical charge of more general character. In the second part the artist depicts the experience of war in the streets of Madrid, displaying the horrible year of hunger 1811, and describing war through its impact on people's daily lives. Finally, he makes a few prints in a symbolic code, that he names "categorical caprices." In them Goya focuses on the political situation in the postwar period, criticizing the establishment of absolutism and breaking off with the ideals of the Constitution.

In 1862 San Fernando Royal Academy of Fine Arts gains the eighty plates of the cycle The Horrors of War. In the following year1863 this important series of etchings is printed for the first time. Until then The Horrors of War have been recognized only through the three available copies from the series, and through the small number of test prints, made by the great artist during his lifetime. Since then, six copies of the cycle have been printed, and the cycle itself is supplemented in 1870 with two new plates by the Frenchman Paul Lefort. Through these engravings the views of Goya on the horrors of war become known to the world.

The created therein images of his personal experiences herald to a great extent the photographic language, because they are perceived as photo shots. They miss the preconceived composition that can make them resemble arranged scenes, or can soften their heartbreaking message. Furthermore, the engravings contain areas without information - an effect that a photographer will achieve through a smear or a flash. Finally, just like in photography, Goya boosts the documentary character of the scenes through titles like "I saw it", "That too," or "It happened that way."

The eighty-two prints making up the cycle The Horrors of War are shown grouped into seven sections - The front, The Victims, The Executions, The Mass migrations and looting, The Hunger, The Woman, The Post-War Period, and do not follow the numbering of the metal plates. The aim is to outline the main themes and the ideas interwoven with them that Goya develops in the entire series.







LYUBEN DIMANOV

23 October 2013 - 21 November 2013


The exhibition celebrates the 80th anniversary of the birth of Lyuben Dimanov – a prominent artist of diverse talents, as testified by his noteworthy contribution to various art genres and respectable presence on both the Bulgarian and the European art scenes.

Lyuben Dimanov’s art is among the most significant phenomena in Bulgarian visual arts. One of the leading figures having blazed the trail of new approaches to visual art in the 1960’s, he left a mark that contributed to the development of graphic arts and illustration in our country, creating idiosyncratic, memorable and monumental imagery. The tamed energy of his etchings or water colors, paintings, collages or illustrations move the viewer with its forcefulness and conclusiveness, as well as with the fine nuances of subtle sensitivity. Dimanov’s drawing, which is decorative and elevated, powerful and exquisite at the same time, is not only an introduction to the art of depiction, but also a bridge to spirituality.

The SCAG exhibition features selected works belonging to the genres of painting, graphic arts, drawing and collage, presenting various periods of Lyuben Dimanov’s artistic development, starting from the early 1960’s through to the present day. The centerpiece of the exhibition is a 10-piece series of paintings devoted to the ten commandments. Bibliophile editions such as “The Flowers of Evil”, “Sonnets”, “The Divine Comedy”, “When Flame and Rose Become One” are reminiscent of the highest peaks of the artist’s career in book design and illustration. Staying true to his identity in both his early works created in Bulgaria and his mature works created in Paris, the artist reveals the product of years-long artistic development, constituting a blend of expressiveness and spiritual messages.

An exhibition catalogue is available.







BED OF GRASS

24 September 2013 - 20 October 2013


The exhibition celebrates the 80th anniversary of the birth of Lyuben Dimanov – a prominent artist of diverse talents, as testified by his noteworthy contribution to various art genres and respectable presence on both the Bulgarian and the European art scenes.

Lyuben Dimanov’s art is among the most significant phenomena in Bulgarian visual arts. One of the leading figures having blazed the trail of new approaches to visual art in the 1960’s, he left a mark that contributed to the development of graphic arts and illustration in our country, creating idiosyncratic, memorable and monumental imagery. The tamed energy of his etchings or water colors, paintings, collages or illustrations move the viewer with its forcefulness and conclusiveness, as well as with the fine nuances of subtle sensitivity. Dimanov’s drawing, which is decorative and elevated, powerful and exquisite at the same time, is not only an introduction to the art of depiction, but also a bridge to spirituality.

The SCAG exhibition features selected works belonging to the genres of painting, graphic arts, drawing and collage, presenting various periods of Lyuben Dimanov’s artistic development, starting from the early 1960’s through to the present day. The centerpiece of the exhibition is a 10-piece series of paintings devoted to the ten commandments. Bibliophile editions such as “The Flowers of Evil”, “Sonnets”, “The Divine Comedy”, “When Flame and Rose Become One” are reminiscent of the highest peaks of the artist’s career in book design and illustration. Staying true to his identity in both his early works created in Bulgaria and his mature works created in Paris, the artist reveals the product of years-long artistic development, constituting a blend of expressiveness and spiritual messages.

An exhibition catalogue is available.







JULES PASCIN DE VIDIN PARIS

17 September 2013 - 21 November 2013


After a 38-year hiatus, owing to the extraordinary effort of the Embassy of France in Bulgaria, our country will host a retrospective exhibition of world famous artist Jules Pascin. It features 115 artworks belonging to the genres of painting, watercolor, drawing, graphic arts, collage, contributed by private collectors and art galleries in Paris, Luxemburg, Oslo, London and Tel Aviv.
Julius Mordecai Pincas, known as Jules Pascin, was born on 31 March, 1885 in the city of Vidin. In 1892, his family moved to Bucharest. Pascin graduated from high school in Vienna. Between 1902 and 1905 he received training at the art academies in Vienna, Budapest, Munich and Berlin. He contributed to the “Simplicissimus “ magazine published in Munich. In 1905, he moved to Paris, where he met his future wife, Hermine David. In 1907, he organized his first solo exhibition at Paul Cassirer’s gallery in Berlin. In 1914 he left for New York, where he lived until 1920. He traveled to the Southern states and Cuba. Then he went back to Paris, where he lived until his death in 1930.
In his relatively short life, Jules Pascin spent time in some of the world’s most vibrant cultural centres, namely Vienna, Munich, Berlin, Paris and New York. His art was far from being an isolated fact, it was rather part and parcel of what was going on in the first half of the 20th century. Having had a taste of the global changes in the ways art was viewed at the very turn of the century and having lived in one of the centres of artistic innovation, Vienna, he seemed to always find himself where things happened. As an active participant in the Munich and Berlin art scenes, Pascin reflected in his paintings the influence of Art Noveau, and later – of expressionism. Recognized as a genuine part of the School of Paris, the artist has invariably been associated with the Paris art scene. Having lived in the USA for seven years, where he was granted citizenship, he was the source of influence for a certain circle of American artists. 
The “Jules Pascin – From Vidin to Paris“ exhibition allows insight into the artist’s rich and versatile legacy. It features plenty of drawings, a genre the artist attached great importance to. The exhibition includes early works created in 1905, when he started contributing to the Munich-based “Simplicissimus “ magazine; works created up to 1914 during his first Parisian period; 1914 –1920 works from his American period; as well as works belonging to his second Parisian period, which lasted until his death in 1930.
Pascin’s art can understood only when viewed as a whole, considering all the influences and changes internalized by him through the years. His participation in the Vienna, Munich and Berlin art scenes played an important role in the development of 
his style. That is why it was essential to include drawings from this period in the exhibition. This highlights the importance of the early years, which are frequently overlooked. The inclusion of artworks from Pascin’s American period is another serious contribution of the exhibition. Besides the sketches of New York streets, there are drawings made by Pascin during his travels around the American South and Cuba, which are of particular interest as they reflect a somewhat unknown part of his legacy as an artist. They convey the immediacy and freshness of the very first impression, of drawing on the go. Yet, it is this type of artworks that clearly reveal the artist’s ability to “draw first sight portraits”, to elicit ready compositional solutions from chaotic reality, to bring the line’s dynamics and the stroke’s liveliness in tune with the rhythm of the journey. These drawings add to Pascin’s image as an artist who was hungry for the impressions created by reality, who could be inspired by a plain object, who sought for this type of inspiration, surrendered to the latter and willingly let himself be guided by it. The exhibition also features drawings made in Tunisia – another favourite destination of the artist, where he went on several occasions. 
The exhibition includes artworks belonging to all major themes and genres, namely nude body, portrait, compositions based on Biblical and mythological themes, erotic drawings, illustrations, travel sketches, etc. The exhibition reveals Pascin’s legacy, duly presenting each distinct period of his artistic development. This creates a more dynamic image of the artist, and a sense of the latter’s restless and impulsive spirit and character, which drove his artistic moods in various directions and subjected the artist to different influences and tests. 
The exhibition provides the opportunity to view all aspects of Jules Pascin’s artistic persona, namely the draftsman, the illustrator, the cartoonist and the painter; the master nude body, portrait, figure composition and landscape painter, the lyrical bard and the master of satire. Missing any of these aspects would make his image incomplete. Lively and dynamic as a person, he did not linger at the same place for a long time as an artist either – he was bound to search, change and alternate themes and genres. This is Jules Pascin – a restless genius, one of the most intriguing representatives of his time.

There is an exhibition catalogue in Bulgarian and French, including all artworks featured in the exhibition.

The research paper “Jules Pascin and Artistic Developments at the Turn of the 20th Century”, compiled by the exhibition’s curator Maria Vassileva was published (again in Bulgarian and French) as a separate edition.

Curator: Maria Vassileva
Exhibition team: David Weizmann, Adelina Fileva, Ilinka Chergarova, Petar Dimov, Nadezhda Danailova, Albena Charbanova, Kapka kaneva
 







Bulgarian Artists in Vienna. Contemporary Practices at the Beginning of the 21st Century

12 September 2013 - 13 November 2013


The democratic process of opening up of Bulgaria after 1989 as well as the economic conditions of life and the lack of adequate education caused the exodus of a large part of the creative intelligentsia. Both historically and geographically the nearest attractive destination in the developed Western European world turned out to be Vienna, now seen as an gravitational center for many artists. The access to education, the well developed art system and the possibilities for integration were the decisive factor when choosing a new “homeland”. Today numerous artists of Bulgarian origin live and work successfully in Vienna. It is this vibrant and current reality that provided motivation for the exhibition. 

Most of the participating artists graduated institutions for higher artistic education in Bulgaria and afterwards continued their studies in the art schools of Austria. The exhibition showcases 18 of them: Adriana Czernin (special participation), Plamen Dejanoff (special participation), Mara Mattuschka (special participation), Svetozara Aleksandrova, Borjana Ventzislavova, Vasilena Gankovska, Irina Georgieva, Nestor Kovachev, Lazar Lyutakov, Michail Michailov, Alexandar Peev, Maximilian Pramatarov, Krasimira Stikar, Kamen Stoyanov, Kosta Tonev, Iv Toshain, Desislava Unger and Sevda Chkoutova.

Parallel to their activities in Austria most of the participants maintain working contact and take an active part in the artistic process in Bulgaria. Life between two countries and contexts transforms their art into a phenomenon that is symptomatic for the changing world on the threshold between the 20th and the 21st centuries. Their art reflects on two realities – the old and the new country thus having the dynamic mark of the times we are living in. 

The exhibition project “Bulgarian Artists in Vienna. Contemporary Practices at the Beginning of the 21st Century” is meant to not only present quality artworks but also to analyze certain social and historical processes that are typical for the time. 

This exhibition is organized in collaboration with the Austrian Embassy in Bulgaria; with the support of the Program for Culture of the Sofia Municipality and with the technical assistance of Art Project Depot. 

A catalogue of 208 pages in Bulgarian and English is published. 

Project initiator: HR-Stamenov. 
On this project worked: Maria Vassileva, Michail Michailov, and Daniela Radeva.
 







eorgi Dimitrov. quadrilateral 2013

31 July 2013 - 01 November 2013


quadrilateral 2013 is a site-specific project conceived to commemorate the 100th anniversary of Kazimierz Malewicz’s Quadrilateral, commonly known as the Black Square. The piece appeared intuitively for the first time as part of the stage design for the opera Victory over the Sun in 1913. Later, in 1915, it was displayed at the Last Futurist Exhibition 0,10 in Saint Petersburg. The painting which heralded all other suprematist forms, titled Black Suprematic Square, is now an invaluable exhibit of the State Tretyakov Gallery’s collection in Moscow. 

Referring to one of the very first non-figurative concepts which brought the essence of a whole new painterly and philosophical world, the installation attempts on comprising the developments of non-objective art for the past century by reducing the physical space to a two-dimensional image. Ca. 100 sq. metres of adhesive black folio sheet is applied on the floor, walls and ceilings to recreate the notorious masterpiece.

Georgi Dimitrov (b. 1980) is an artist whose work is based on the principles of non-objective and constructive art. In 2010 he founded the nonsofia association - a non-profit entity that offers institutional support for non-objective art in Bulgaria. Last year he organised orthogonal: international forum for non-objective art. Apart from an exhibition, the event included a number of documentary screenings and lectures which aimed at increasing the popularity of non-objective art in Bulgaria. 







Exhibition of the BAZA Award for contemporary art nominees: Dimitar Solakov, Emilian Lalev, Iskra Blagoeva, Kiril Kuzmanov, Nikolay Zanev, Sasho Popovski, Stela Vasileva, Zoran Georgiev

18 June 2013 - 14 July 2013


Sofia City Art Gallery and Institute of Contemporary Art – Sofia together with: Foundation for a Civil Society, New York and Young Visual Artists Awards present Exhibition of the BAZA Award for contemporary art nominees.

The BAZA award for contemporary art is a part of the competition network Young Visual Artists Awards (yvaa.net), held yearly in Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Kosovo, Republic of Macedonia, Serbia, Slovakia and Slovenia. The connection between the separate competitions is established by the Foundation for a Civil Society in New York, which provides the awards – a six-week creative residency in New York for one artist from each country. Each of the national competitions has its own name, schedule and managing art institution. Author of the name BAZA and initiator of the award itself is Maria Vassileva. The Institute of Contemporary Art – Sofia (ica-sofia.org) is responsible for the realization of the competition and organizes it together with the Sofia City Art Gallery. 

The award winner’s stay in New York comprises becoming acquainted with the art scene and art life, meetings with curators and colleagues. The artists have working studios at their disposal as well as the opportunity to organize an exhibition in the space of the International Studio and Curatorial Program (iscp-nyc.org). 
The BAZA award winners so far are: Rada Boukova (2008), Samuil Stoyanov (2009), Anton Terziev (2010), Vikenti Komitski (2011) and Leda Ekimova (2012). 

The selection of the award winner is made by jury of well-established painters, curators and representatives of art institutions. In 2013 members of the jury are: Maria Vassileva (curator, chief curator of the Sofia City Art Gallery), Iara Boubnova (curator, director of ICA-Sofia), Nedko Solakov (artist), Boris Missirkov (photographer), Georgi Bogdanov (photographer), Olivier Boissiere (contemporary art collector), Sara Reisman (curator, Vilcek Foundation Fellow). Besides joining the jury for the second stage of the competition, the visit of Sara Reisman aims for becoming acquainted with the modern Bulgarian art scene. 

In the upcoming exhibition the eight 2013 nominees will present predominantly new projects. For Zoran Georgiev and Kiril Kuzmanov this is the second nomination for the BAZA award. Their works of art as well as the ones of Iskra Blagoeva, Stela Vasileva, Nikolay Zanev, and Dimitar Solakov are already popular with the public. Emilian Lalev and Sasho Popovski exhibit for the first time. Within the exhibition the authors will display objects, installations, paintings, drawings and video.

The BAZA award winner for 2013 is Kiril Kuzmanov.





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