Лого на Софийска Градска Художествена Галерия
Анимация по време на зареждане


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.







Zlatyu Bpyadjiev and Baratsite

13 June 2013 - 01 July 2013


Zlatyu Boyadjiev and Baratsite is an exhibition organized by Sofia City Art Gallery and Art Gallery - Plovdiv. It consists of two parts - the first one includes iconic works by Zlatyu Boyadjiev from different periods, and the second is dedicated to his friendship with Vassil Barakov and David Peretz - the three known as Baratsite, tracking their common path in arts, as well as the personal development of each of them.

Zlatyu Boyadjiev will draw hundreds of compositions, portraits and landscapes in his creative life, marked by a watershed - the paralysis that determined his biography as an artist. So his work is divided into two periods. The first is characterized by the classic manner of composition, and in the picturesque building up is felt the influence of the Impressionists, of Renaissance masters and old icons, but the themes are always bound by Bulgarian nature, the small town and the village, with life in them. In the second period, when he began painting with his left hand, the style of the artist changed dramatically in the direction of imagery, including dozens of figures in the compositions and colours and expressive brushstrokes. His works acquired pronounced expressiveness and dramaticism. Some of them attract with their enjoyable story, while others are filled with bizarre characters, often as a disguise of symbolic meaning.

Fate made the three future artists meet in Plovdiv, where they had their first steps in art. That road started from drawing in the ruins of Kurshum Khan tavern, from the sign drawing company, the Academy of Arts, and their common lodging in Sofia, to take them out on the trails of the Rhodope mountains. Barakov, Boyadjiev and Peretz discovered their artistic means in this soft and beautiful mountain that attracted them 
for years. And while the generation of Bulgarian landscape artists before them found beauty in old houses, their yards and alleys, it was Baratsite who discovered the Rhodope mountains for Bulgarian art as a plastic and sign image. The landscape in 

the works of Boyadjiev, Barakov and Peretz is not just a beautiful view, but a specific creative attitude and mindset, depending on the purely subjective standpoint and feeling of the author.
Massive arrays, deep valleys, Rhodope style houses, curved paths, people and animals that inhabit them - they all possess the integrity and the forms that excited the three artists. They were attracted by the power of the mountain, its primary materiality, by the animate and the inanimate in it. The three artists, slowly over the decades, will walk their path from the Rhodope landscapes, through still lifes, figure compositions and portraits.
Peretz will create amazing landscapes and still life, turning them into high art. Over the years, he will go through figure composition with the means of synthetic expressive realism, reaching lyrical abstraction and progressively destructuring the image. 
Barakov will be creative in still-life and portraits, but in all his works his preference will remain for the landscape genre. The artist’s early landscapes were expressive, with marked relief, saturated colour and dense texture, without minor details, but with synthetically achieved and simply expressed form. He was one of the first Bulgarian artists who developed industrial landscape. At a later stage Barakov created paintings, impressionistic in spirit.

So Zlatyu Boyadjiev, Vadsil Barakov and David Peretz subscribed to the history of Bulgarian art with the common direction in their young age, their personal individual contribution over the decades, and they remained forever linked by their students’ nickname Baratsite.

On the occasion of the exhibition was issued a bilingual (Bulgarian and English) catalogue of 100 pages with 114 reproductions, a comprehensive biography of Zlatyu Boyadjiev and a complete bibliography of the three artists.

The exhibition was organized with the collaboration of the Art Galleries in: Burgas, Varna, Vidin, Gabrovo, Dobrich, Kazanlak, Lovech, Pazardjik, Pernik, Pleven, Plovdiv, Ruse, Sliven, Smolyan and Stara Zagora, as well as the Academician Svetlin Rusev, the National Art Gallery, the Boyan Radev collection, the State Agency of archives, the Municipal Institute Ancient Plovdiv, the National Library in Plovdiv, The National Library Ivan Vazov - Plovdiv, section Local History, the Regional State Archives - Plovdiv, the Regional Museum of History in Blagoevgrad, The organization of Jews in Bulgaria - Shalom. 

After Sofia, the exhibition will be shown in the Art Galleries of Plovdiv and Stara Zagora.







MESSAGES OF LIGHT

17 May 2013 - 02 June 2013


The exhibition is among the events featured in the Second Paper Art Biennial, held within the framework of the Sofia Paper Art Festival 2013. The biennial’s current edition, comprised of 19 exhibitions in various Sofia venues, has broad international representation. 

The selection of artworks, exhibited under the “Messages of Light” motto, high-lights the specifics of paper art from the vantage point of various traditions and cultures around the world. With its fragile structure, which is a combination of primeness and exquisiteness, delicacy and playfulness, elegance and grotesqueness, mundaneness and magic, paper is a material affording artists countless opportunities for creative reconsideration of the world. Many of the artworks were developed as nature forms, others feature elements of script, folklore traditions, poetic confessions. This involved the use of various manual paper-casting technologies, as well as of recycled and scrap paper. The imagination and artistic freedom paper is approached with by artists transform the mundane everyday material into a delicate spiritual message.

The exhibition features 27 artworks by 13 artists: Harald Metzler - Austria, Eva Toker - Argentina, Gail Stiffe and Jassica Wong - Australia, Irene Rammensee and Helene Tschacher – Germany, Sun Young Kang - Korea, Veroniquies Sapin – France, Yoshio Hasegawa – Japan, Ferry Staverman – the Netherlands, Magda Sobon – Poland, Aidee Bernard – France and Kathrin Dardel – Switzerland.

Most of the artists participating in the exhibition are members of the International Association of Hand Papermakers and Paper Artists (IAPMA). Many of them came to our country specifically for the festival and the presentations included in its programme. Helene Tschacher was a long-time president of the association, while annual paper art congresses help promote successfully new trends in this kind of art. 

Two presentations will be delivered at the Sofia City Art Gallery-hosted exhibition: one devoted to recycled paper and its products, introducing new trends in the cre-ation of various constructions, and a lecture entitled “Paper in China” to be deliv-ered by Liu Ian Gracely, curator of international sculpture events.





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