FUTURE UNFORGETTABLE – PHASE I
IN DEFENCE OF SOLID MATERIAL
September – October 2021
PHASE I of FUTURE UNFORGETTABLE presents the line of conceptualization in Section I. of the concept of FUTURE UNFORGETTABLE
The eventual manifestations of the phase interconnect into a visual environment themes and ideas characteristic of Bulgarian art, presented by the works of the announced authors and their artistic practices, such as: political opposition, institutional deficiency, institutional critique, models of institutionalization, individualism, the relation between name and institution and between body and institution, instrumentalization, operationality, expansion of the body, the body as instrumental and political entity, problems of representation, the oppositions “outside” – “inside”, “community” – “person”, tension and fragility of borders and last but not least – labor.
The name “In Defence of Solid Material” is inspired by Dr Gatev’s work “In Defence of Solid Material”, 1994, part of the collection of Nedko Solakov and Slava Nakovska.
IN DEFENCE OF SOLID MATERIAL
Sarieva, Plovdiv
curated by Vesselina Sarieva
10 September – 29 October
Opening: 10 September, 5 pm – 8 pm
Rada Boukova, Luchezar Boyadjiev, Dr Gatev, Pravdoliub Ivanov, Vladimir Ivanov, Ivan Moudov, Maria Nalbantova, Stefan Nikolaev, Nedko Solakov, Radostin Sedevchev, Kamen Stoyanov, RASSIM®
Works from the exhibition are owned by private collectors from Plovdiv, Sofia, Paris, Brussels.
“In Defence of Solid Material” in Sarieva Gallery is the main exhibition of PHASE I of the new curatorial project of Vesselina Sarieva FUTURE UNFORGETTABLE.
FUTURE UNFORGETTABLE is a curated multi-genre situation in the sphere of visual arts. This situation creates an environment step by step in six thematic time phases which carry out the realization of main exhibitions, satellite exhibition gestures, documental video series, screening programs, meetings with artists, spatial situations and interventions, open conversations, exhibition and collection tours, publications on thematic tests, accompanied by a recommended bibliography and links.
The phases of FUTURE UNFORGETTABLE will unfold in a programmed temporal span between September and December 2021, at different partnership spaces, galleries, formal and informal locations in Bulgaria, all of which will be announced by the program stages.
The thematic focus of this multi-genre situation is polyphonic and wide-ranging. Through the medium of curatorial analysis and selection, it deals with topics such as contemporary Bulgarian art from the 1980s to the present day, art collecting, mapping of topical art spaces in Bulgaria, contemporary institutional practices, hypotheses on the past and the future. In its separate thematic and temporal phases, FUTURE UNFORGETTABLE brings out specific microfoci points and topics.
The first exhibition, “In Defense of Solid Material”, browses along the historic line of Bulgarian contemporary art by presenting works created between 1973 and 2019 by authors Rada Boukova, Luchezar Boyadjiev, Dr Gatev, Pravdoliub Ivanov, Vladimir Ivanov, Maria Nalbantova, Stefan Nikolaev, Radostin Sedevchev, Nedko Solakov, Kamen Stoyanov, RASSIM®, Ivan Moudov with 0gms.
The exhibition interconnects into a visual environment themes and ideas characteristic of Bulgarian art, presented by the works of the announced authors and their artistic practices, such as: political opposition, institutional deficiency, institutional critique, models of institutionalization, individualism, the relation between name and institution and between body and institution, instrumentalization, operationality, expansion of the body, the body as instrumental and political entity, problems of representation, the oppositions “outside” – “inside”, “community” – “person”, tension and fragility of borders and last but not least – labor.
Works from the exhibition are owned by private collectors from Plovdiv, Sofia, Paris, Brussels.
“Saxophone player in the Bathroom”, 1973 by Sasho Stoitzov
Arosita Gallery, Sofia
17 – 30 September
The work is in a corporate collection, Sofia.
As part of the FUTURE UNFORGETTABLE project and in particular its first phase – IN DEFENCE OF SOLID MATERIAL – in Arosita Gallery there will be realized a satellite exhibition gesture, presenting the work “Saxophone Player in the Bathroom”, 1973 by Sasho Stoitzov.
Sasho Stoitzov for his work “Saxophone Player in the Bathroom”:
“I returned to Blagoevgrad after graduating from the Art High School in Sofia, 1971.
From ideas flying in my mind, in the heights, I found myself in a closed and very limited place.
By working on the painting Saxophone Player in the Bathroom, I lived in a complete and incredible inner freedom.
Many aspects of the painting were “counter” to the definition of art back then, like painting a water heater, pipes in a bathroom, taps, a saxophone, which was considered American propaganda, as well as modern clothes then and bathroom tiles.
With the composition in the work I wanted to strengthen the idea of a “fisheye” and a distorted vertical in relation to the Earth, a sort of “capsule” moving through space.
I painted 4 tiles a day.
I presented the work for a regional exhibition in Blagoevgrad. There was a jury chaired by an artist representative from UBA Sofia (Union of Bulgarian Artists).
We were waiting outside with other artists for the jury’s decision, I was 21 years old at the time. The secretary of the group called me – the UBA representative wanted to talk to me. He told me: I have traveled the world and seen many exhibitions, the work can be part of the global art world, but finally the jury from Blagoevgrad did not allow it.
Recently, almost 40 years later, by total chance I met the same secretary of the group. At the opening of a new modern gallery, directly opposite of the old one and at the place where I was waiting for the result of the jury. She recognized me and told me that she would never forget the controversy that surrounded this work.
Its idea is about freedom, the one that the politically and socially oppressed people in those days were looking for, and finding it in those yet untouched spaces.
Oil paint on a “Panama” fabric canvas in order to create its shape, handmade primer, subframe used for “posters”, given to me by Plamen Bratanov. External frame designed by me.
The saxophone model is owned by a musician from Blagoevgrad.
We transported it on the bare roof of a brand new Opel (very rare) then, owned by the father (a doctor who worked in Libya) of my friend, the architect Plamen Paraskov.
In the early 90’s the work was shown in the gallery Ata Rai, along with preserved original tiles, the blouse and some photos of the old state of the bathroom.
It is also shown in my exhibition at the National Gallery of Fine Arts. Curated by Maria Vasileva
There was an idea, after the exhibition in Ata Rai (Ata Paradise), to participate in the Istanbul Biennale.
In his book, Chavdar Popov defines the work as the first postmodernist thinking in Bulgaria.
This sort of geometry in the work, in conjunction with the figure in the composition, later on appeared in my other works too.”
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Sasho Stoitzov
Saxophone Player in the Bathroom, 1973
oil on canvas
170 x 190 cm
part of MFG collection, Sofia
Presentation of a work part of the cycle “Corrections, 1996-98”, 2015 by RASSIM®
One Gallery, Sofia
September 18 – October 18
As part of the FUTURE UNFORGETTABLE project and in particular its first phase – IN DEFENCE OF SOLID MATERIAL in One Gallery will be realized a satellite exhibition gesture, presenting a work by RASSIM®, part of the series “Corrections, 1996-98”, 2015 (One of the ten buckets of protein that the artist drank for the implementation of the project “Corrections 1996-98””, 2015)
Working out in the gym for a period of one year, I followed – around the clock – a sporting, nutritional and sleep regimen. The Corrections project had to do with my dealing with a certain period of my life – the time when I was conscripted in the army. It was firstly experienced as a means to cope with reality and, secondly, conceived as art. Looking inside, in an attempt to know yourself, you change in order to express yourself freely. This is the only way to change the thing that is out there. In the beginning of 1996, I turned to my own body and turned it into an object of art, creating a sculpture of flesh and blood using not classical means but the tools of bodybuilding, formally banned up to 1989. I corrected my body in order to create an ideal for a modern nude body coveted by Antiquity, merging together model/object and artist in a single unity. If Michelangelo created David from marble, I created RASSIM from a live body. I exploit my own self – my own body; expressing yourself by using models, other people, other people’s bodies is voyeurism/inhuman. – RASSIM® 2015
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RASSIM®
One of the ten buckets of protein that the artist drank for the
implementation of the project “Corrections 1996-98”, 2015.
Bronze copy
24 x 30 x 30 cm
ART COLLECTION IN BULGARIA, HISTORY, COURSES AND PROBLEMS OF THE ENVIRONMENT, SVETLA PETKOVA for Open Art Files, www.openartfiles.bg
© Future Unforgettable, 2021