The Sky is a Color

November – December 2021

In its final sixth stage, the project Future Unforgettable will converge a series of artistic actions intended to function as antitheses and conclusions of the five stages realized so far that were largely investigative and documentary in nature. This stage will throw flashes of its own interpretations about the future of art, as well as the environment and the institutions related to it. Interpretations with pending development in the project archive and the upcoming future activities of Sarieva after the formal completion of Future Unforgettable.


In line with the project’s entirety, its sixth phase is characterized by hybridity and structural polyphony – it steps outside the dynamic narrative, leaving room for non-narrative and non-spatial environments. Curatorial and communicational processes function here as development of newborn meanings into forms, directions, illuminations, compilations, retreats for artistic actions, nodes of connections.


The assets of Phase VI are open-ended systems, meeting places, co-authorship, shared environments, the surrender of intention to chance, the possibility for conflict-free intersection, unintentional empathy, intuition in place of institution, sharing as place for the emergence of an unattached center, interrelations as the only criterion of form and value. 


Future Unforgettable‘s final phase attempts to touch upon a type of logic, according to which the term “contemporary art”, as well as the systems and relationships adjacent to it, could either adapt and fully realize its meaning, or remain but a term that marks a particular stage in the history of art. Along this logical vein, art could hypothetically advance forward and generate the meaning of “contemporary art” if placed within a dynamic situation of intersection and exchange. Intersection and exchange literally form the amplitude of its realization. Speaking of realization, it has to do with a logic of contemporaneity which does not espouse authorship in the well-known and hitherto accepted sense of something created by someone of the same name. The project phase ventures to experiment with the possibility of understanding authorship (as well as collecting or curating) as an act of “undertaking” or “continuation”, and not just of “owning” as something we formally associate with material possessions. In this sense, the “contemporary” aspect of the artwork exists and exerts influence as such in the course of time, not so much through form and formal features, but rather through the situation itself – derivative and complex, be it preconditioned or emergent.  


The logic of the project’s sixth iteration is presupposed by the inevitable prospects of the time we live in with its parallel and doubling realities, fluctuations of moments and timelines, complexities of perception, multiplicity of contexts and identities. And since such type of reality exists on the outside of any given space and excludes any total physical or formal representation, the only remaining guiding point and refuge of reality is emotion.


By making the assumptions that without any senses there is no perception of art, that without the other’s “eyes” there is no art at all, that color and form cannot exist without light, Phase VI of the project Future Unforgettable entitles itself The Sky is a Color – a reference to Rada Boukova’s eponymous unfinished work from 2014, consisting of two eyes and four hands, realized in collaboration with Angelina Kristeva.  In this work, the artist involves another person who is blind, yet capable of utilizing different forms of perception of light, space and change that the artist herself is unfamiliar with. The artwork is created in collaboration, through discussion and various experiments, and takes place in parallel communication whereby different senses and levels of perception are introduced with the aim of enriching the process. Seeing comes to signify feeling, realization, onrush. 


Future Unforgettable Phase VI will commence with its main exhibition – Rudi Ninov’s solo show Colour Words in Prologue (Sarieva, Plovdiv, November 19 – December 30, 2021); at the same place and in the same period of time, it will organize an exhibition gesture entitled Hand-woven kozyak, 2.40х1.70 cm. and realized as situation, experiment and proposal for future “meeting places”; it will also include a proposition for a mind map with Luchezar Boyadjiev’s artwork The Mad Carpetmaker = Лудият килимар, 2021, serving as a complementary example of the aforementioned logic. The event Collectors’ Forum, lecture and discussion with Peruvian collector Carlos Marsano, will open up a different perspective on art collecting as a process of interconnecting different types of logic and ensuring an artwork’s continuity. The concluding project Phase VI will announce and publish the newly composed Manifesto of Happiness, 2021 by the ULTRAFUTURO collective (Boryana Rossa and Oleg Mavromatti). Furthermore, Phase VI of Future Unforgettable will develop yet another possibility for outpouring its visual, textual and social potentiality with the “sound mural” of Prof. Georgi Arnaudov – Bulgarian composer of symphonic, chamber, film and theater music, lecturer at New Bulgarian University. In its forthcoming manifestations, Phase VI will feature a collaboration with the artist Rada Boukova. 

The name of the sixth phase of Future Unforgettable is inspired by Rada Boukova’s work  The Sky is a Color, 2014.

Main exhibition

Colour Words in Prologue
Rudi Ninov
solo exhibition
Curator: Vesselina Sarieva

Sarieva, Plovdiv
19 November 2021 – 30 December 2021
Opening: November 19, 17:00 – 20:00
in the presence of the artist

SARIEVA is pleased to present the first solo exhibition of the gallery represented artist Rudi Ninov Colour Words in Prologue.


Colour Words in Prologue is the main exhibition of Phase VI of the multi-genre visual art situation Future Unforgettable, curated by Vesselina Sarieva and realized in six thematic and temporal stages throughout the period September-December 2021 in various cities and exhibition spaces around Bulgaria and online.


The exhibition Colour Words in Prologue includes a series of paintings, drawings and sculptures made during the global pandemic at the author‘s studio in Frankfurt, Germany. It also features a ceramic installation of eighty spherical objects titled ‘My Favourite Things’, accompanied by a unique wallpaper work.

Rudi often works in-between several series of sculptures, paintings and drawings  simultaneously over a prolonged period of time. The works are created in the same studio space allowing for a constant formal feedback between each piece, resulting in unintended relationships. Meaning is found in their apparent difference where each finished work is a propellent for the next, as a form of reaction.

Similar to a single frame on 35mm film slide, each painting presents its unique setting (space), light (colour) and characters (shapes). The bigger plot line is revealed within a group of works, thereby contributing to the effects of stillness, movement and duration been detected in the paintings.


The  ongoing series of small paintings ‘Untitled (Fêtes 1971)’ made on discarded card from hardcover books, reveal the linguistic logic and syntax which navigates his ever expanding lexicon within the paintings. Diverse in composition and colour, the works evoke a variety of associations that can be related to unspoken language, heard sounds or simple musical visualisations.

Like syllables and words pinned to the wall, together with the other works in the show,  they reveal Rudi’s relationship to Abstraction from two distinct but adjacent perspectives; the formal and the personal. The work’s small scale pulls the viewer within a private space, appearing in an intimate dialogue with the artist’s free and experimental treatment of each individual space.

The formal is evident in his intelligent but seemingly nonchalant use of the paint medium. Rendered flat and in vivid colours, squares, rectangles, swirls and other elementary shapes seemingly brake in and out of an invisible but a fundamental grid which acts as the musical score line to the whole series. The works embrace an almost endless and open referentiality to poetry, cinema and other works of art.

One work within this series, a swirl composed of many small paper cutouts is a direct reference to the well-known work by Henri Matisse ‘The Snail’ 1953. Rudi says: “I saw this work for the very first time at the Tate in London when I was eleven. My family had just moved to London and there was a period of time at the start where my mother didn’t have a job. In that time she made sure to take me to every free museum there was in the city. None of us spoke English so we literary kept walking and looking around. None of us was into Art, but we were constantly introduced to it. For whatever reason, that painting stuck with me and I’ve been going back to it in my thoughts throughout the years. During the pandemic I felt a great deal of humbleness and sincerity around me, and perhaps because of that I decided to materialise this experience of that painting as a little homage.”

Exhibition gesture

The Carpet

Hand-woven kozyak, 2.40 x 1.70 cm
Sarieva, Plovidv

November 19 – December 30, 2021

Lecture and Discussion

Collectors’ Forum 2021

autumn session 

Collecting is Connecting 

Speaker: Carlos Marsano

in conversation with Vesselina Sarieva 



20 November, 2021, Saturday 

The event can be viewed on the Facebook and the YouTube channels of Open Arts Foundation



The event Collectors’ Forum, lecture and discussion with Peruvian collector Carlos Marsano, in the frame of Future Unforgettable Phase VI, will open up a different perspective on art collecting as a process of interconnecting different types of logic and ensuring an artwork’s continuity.


For Carlos Marsano collecting is connecting, a global practice. For Carlos collecting is building the connection between the work and artists. It is vital to create a future for emerging artists by creating and supporting relationships within the art ecosystem. Carlos approaches collecting as a practice, not a status. He is interested in discovering young talent, supporting initiatives and making things happen.


When Carlos Marsano (Peru) started to collect he was initially focused on Pre-Columbian art. Later, in 2003, when he was living in Brazil, he became engaged with and began collecting contemporary art. As he likes to see the evolution of the artists over time, his collection focuses on young and emerging artists.

Carlos is the co-founder of Artus, a new platform in Peru to support local artist through residency programmes abroad. He currently leads the acquisition committee at Museo arte de Lima MALI, Peru and is a member of the International Leadership Council at the New Museum in New York.

Limited print

Manifesto of Happiness, 2021


available November through December 2021 in Sarieva, Plovdiv and selected galleries in Sofia

Manifesto of Happiness, 2021 by ULTRAFUTURO was published in December 2021 by Open Arts Foundation as a part of the last Phase VI of the multi­genre visual art situation Future Unforgettable, curated by Vesselina Sarieva.


Boryana Rossa shares the following about the work:


The text “Manifesto of Happiness” came about after conversations about the meaning of life, its brevity and the importance of art. The manifesto is undoubtedly inspired by our stay in Balchik this year (2021), by the sun, the sea, the beautiful birds flying outside the window, in contrast to the typically gloomy TV news on Bulgarian television, in addition to the catastrophic situation in the world during the second year of the pandemic.

The sense of being on the tiny island of an earthly paradise, isolated from the horrors of the collapsing world order and the vile anti-human race between the various vaccines etc. We felt like creating a comfort zone, at least in the territory of art. An outlet, a place where we could relax, catch our breath after the lockdowns, the deaths and the absolute uncertainty of the future.

It seems to us that what is really important right now is to find a way to confront the total nightmare of this world, to find a remedy for depression and despair. But it should be noted that, right at the very beginning of the pandemic, we had ideas of a ‘magic’ solution to the problems associated with this situation. Partly, the realization of these thoughts had a place in the interactive ZOOM performance “Anti-coronavirus Vaccination Dome” 2020 with the participation of artists such as Selma Selman, Peter Lee, Voin de Voin, Yasen Zgurowski, Patrick Boehmke, Alexandra Kulik, Shuang Liu, Antonia Pashova and Martina Stefanova.

In the performance each participant had to invent a “magical” cure-performance against COVID-19. It should be noted that the performance itself, which took place about six months before the first vaccine appeared, referred to the strange behavior of some well-known artists in this situation, namely Elena Kovylina, who claimed to possess a magic technology that prevented the disease. It was a special device that she wore constantly.

At first we thought it was crazy, but then we decided that such a belief in something strange, in something like a techno-Placebo was not without meaning and could even save believers from contagion by mobilizing the powers of the body. These of course were our thoughts during the uncertainty and chaos before the development of vaccines.

Then it suddenly became obvious to us that even a strange tool like this pseudo-device gives one hope and we simply have no right to criticize anyone for that.  In the end, everybody lives as long as they can. Later, unfortunately, it turned out that the people who adhered to this new strategy were by no means so innocent because they joined the army of anti-vaxxers. So on the basis of all this the manifesto emerged as a means of breaking the grim deadlock.

Later on, now in 2021, we started to think about what this territory of art could be so it would separate us from the gloom, what are the artistic problems which this art possesses, and how this whole idea relates to the broader context of happiness beyond the specifics of the pandemic. We have described these problems of art in the manifesto itself. The manifesto is also a logical extension of all the other manifestos we have written relating to equality and anti-discrimination. It is indirectly linked to technology, if we think of it as a method, ‘magic’ or even rituals, and not so much as technical inventions. Rather, perhaps, the manifesto reveals an aspect of our thoughts and work that is not visible enough in our previous works and reflects our love of art that speaks of friendship and kindness, through images of sympathetic and kind objects and characters. In the illustrations we have included images from childhood favourite films and artists which have inspired, soothed and created a sense of comfort and happiness in our early childhood, when we felt as lost and scared, as we did in the moments of chaos and uncertainty in adolescence or more mature ages. 


Mind map

The Mad Carpetmaker = Лудият килимар, 2021

Luchezar Boyadjiev and Vesselina Sarieva

available November through December 2021 in Sarieva, Plovdiv and online

Luchezar Boyadjiev and Vesselina Sarieva share the following about the carpet:


What do we say here? Where do we sit from here on? Why, whom with and how do we go about it?


Our kind of carpet is both real and imaginary; it is a bit mad, a bit futuristic, and a bit nostalgic. It is ultra-inviting and overwhelmingly welcoming to transition us into the future.


In this drawing-“mind map” of it (the stains that you do not see anymore…) are the traces of the thoughts and materials that have: a/ come from the world onto the artists’ working table; b/ they have been processed somewhere there; and c/ have left traces of its birth and starting point of return back into the world as art works, propositions for thinking, and material for future engagements.


Any carpet, but ours in particular, owns both the traces of its makers and the visions of its users. It is magical, it is crawling, it is flying, and it is “ours” for all those who want to share a sit-together and talk-together on its comforting surface. It is an object, defining a location for debate where in the past there might have been fights, and in the future there will be who knows what… It is a tepih for debate (as in a mat for verbal judo, perhaps) and a carpet for collective peace and weaving of ideas. 


Its main characteristic is that it travels… It goes to spaces and sits on the floors everywhere and anywhere where people needed to have a focus for reflexion beyond the art on the walls or the PR outside of the walls.

It is a tool and a metaphor that makes an appearance on this drawing as a mind-map – a product of collaboration, debate and talks – both public and private between an artist and an art enabler!  


The Carpet


take off your shoes and sit or just touch it


a time capsule of places and debates on art

a meeting point at art


a space within a space

a thing between things

Something that happens while other things or all things are (busy) happening


a game changer 

the future of any art institution


every, and any carpet that is seen as a meta-institutional meeting point

a work of art which is not a ‘totem’ and yet is a material object

is freed from possessions

and is truth-demanding


alternately falling apart and reassembling in a new whole



that’s what every carpet is

your carpet is.


Note: ……………………………………? (You are welcomed to project your thoughts here)

Sound murals

…down and up…
Prof. Georgi Arnaudov

26 November – 30 December 2021

SARIEVA Gallery is pleased to present the newly created work – sound mural in two parts by Prof. Georgi Arnaudov. The presentation,  by invitation of Vesselina Sarieva, is part of Phase VI of the curated multi-genre visual art situation “Future Unforgettable”. You can hear the pieces in the gallery in Plovdiv between November 26 – December 30, 2021.


Prof. Arnaoudov shares the following about his work:


… down and up …. is a sound mural, an autonomous object for contemplation, a construction of  physical and social process, which presupposes communication with it and immersion in the sensory presence of the flow of the whole panopticon of sounds.


The existence of the sound mural in space and time is free and can be exhibited both indoors or outdoors and on the web.  Like temple frescoes, the sound mural can be heard in its entirety, in parts, or indefinitely, and all this should be taken as a spontaneous action without intention. The mechanosensitive process of this listening requires a lack of effort, inactivity and spontaneous sensitivity to the movement of the molecules of each sound.


The two parts of the work are a common constructive unit, an environment for the meeting point of different interactions between sound, text and gesture, intersecting approaches based on intuitions, which create the form randomly, as a combination of emptiness and a sound originating from silence. the gestures of the word, the body and the self-generating consciousness.



Prof. Gheorghi Arnaoudov was born in 1957 in Sofia. He is the author of numerous, symphonies, oratorios and concertos, which win him national and international awards and prizes. His works have premiered in prestigious concert halls such as the Royal Festival Hall in London, Carnegie Hall in New York, the Concert Haus in Vienna and many others. His works are included in numerous anthologies of music of the XX and XXI century and editions of world-famous performers. He is currently teaching in the “Music” and “Theatre” departments of New Bulgarian University as well in the Faculty of Philosophy of the Sofia University “St. Kliment Ohridski” and in the National School of Music “Lubomir Pipkov” – Sofia.

© Future Unforgettable, 2021