Sir Thomas More coined the term utopia in 1516 for his book “ Libellus vere aureus, nec minus salutaris quam festivus, de optimo rei publicae statu deque nova insula Utopia“, which literally translates as "A golden little Book, no less beneficial than entertaining of a republic’s best state and of the new island Utopia." The book describes an imaginary island society off the coast of South America. Utopia is derived from the Greek prefix "ou-" (οὐ), meaning "no", and topos (τόπος), "place" - so the name literally means ‘Nowhere’. In English Utopia is pronounced as Eutopia (in Greek Εὐτοπία) - a fact noted by More himself in an addendum to the book. Eutopia is a word describing a place where the combination of natural conditions, human society, etc. are so perfect that all live in a state of complete satisfaction [...]
On March 13, 2020, a state of exception was stated in Bulgaria, as in many countries around the world, in connection with the declared pandemic of Covid 19 virus. The subsequent social isolation stopped not only the normal rhythm of life for every citizen from the affected countries, it rescheduled all over the world under completely new rules of conduct in the public arena unforseen for us all. Unexpectedly, we found ourselves in a situation of an unfamiliar form of government, which, according to Giorgio Agamben's definition, "is no one's land between public law and political fact, and between law and order." In his book Homo Sacer 2: The State of Exception Agamben explores this "temporary and extraordinary" measure of emergency management from the time of the Roman Empire to the present day [...]
In 1950, Alan Turing developed the concept of the child machine, which was an idea of embryonic artificial intelligence. He imagined it as a simple system that used learning as a means of self-development. Turing believed that instead of creating a program that simulates the brain of an adult, a program could be created that simulates the brain of a child and then, when properly trained, we can obtain a brain of an adult. Modern intelligent systems interact with one another, share data, learn and improve - the origin of this digital communication is human, but the rationale behind which such systems evolve, in many cases is unpredictable.
The invisible protocols laid down in the technical means without which we cannot imagine today's world are conditioned by the new virtual space of hypertext and e-writing. In Out of Control: The New Biology of Machines, Kevin Kelly emphasizes that "the total sum that we call knowledge or science represents a network of ideas that point to each other and enlighten each other, while at the same time the very shape of this network molds us.“ [...]
One of the main lines of the Gonul Nuhoglu’s works is the ‘display’ of the missing body - part of her installations illustrate the paradox that the realization of reality can be stronger and more powerful not in putting the objects on display, but in marking their absence. ‘Empty’ clothes tell stories that allude to various aspects of human existence - from the futility of parlor protocols restricting the personality to certain frameworks imposed from outside to the rebellion and revolution constrained in the straitjackets of penalty regimes in human socium. Clothes can be both original expression and personal prison for human individuality. According to Michel Foucault "the body is also immersed in a political field; power relationships take a direct grip on it; they surround it, mark it, educate it, torture it, force it to work, impose on it various ceremonies, require of it signs.”*** In this sense the ‘signs’ of the body left by Gonul Nuhoglu create a new interpretation of the world we live in, personal belongings are not just belongings, but an emanation of the disintegration of the personality at a time when personal moral imperatives can generally walk past the messages sent by the political regimes. [...]
During the longstanding research on the structure of the image, Georgi Georgiev Jorrras turns the work on a visual object into a ritual. It can be described with Jung's idea of abstraction as "A form of mental activity by which a conscious content is freed from its association with irrelevant elements”. This type of creative process has a direct impact on the final result realized in paintings, drawings, installations or site-specific projects. In preparing his exhibitions, Jorrras enters a lifestyle that provides a certain type of meditation over the content of each work. This leads to decisions on what materials to use, what intervention to apply to them and when to finish each work cycle.
The project of Stela Vasileva, Signs of Sound is a multimedia installation that functions in-line with the architectural environment where it is exhibited. The first part of the project was created for the concert Stone Hall in the Balchik Palace for the Music Campus Balchik event. The installation consists of nine mirror double-sided panels, bent in the form of various sound waves. Besides being a plastic object, when placed near the musicians, they capture and reflect the vibrations of their instruments, and the mirror panels materialize not only the sound but also the play of light in the architectural environment of display. The second part of Signs of Sound will be developed for the space of the Water Tower in Lozenets /Gallery + 359/. Music specially created for the site will sound within this project and the three-dimensional ‘sound waves’ will be displayed and illuminated in a new way corresponding to the cylindrical spiral movement of spectators in the tower.
Psychedelic states describe changes in human perceptions that cause synesthetic states. They are the result of activating connections between the different brain areas that are specialized in processing information from different senses. The term "psychedelic" derives from the ancient Greek words psuchē (ψυχή - psyche, "mind") and dēlōsē (δήλωση - "manifestation") and translates as "manifestation of the mind". In everyday life we perceive the signals coming from the senses separately, autonomously - we see colours, we hear sounds, and we feel touching. In the case of synesthetic states, this modality is mixed up and people "see sounds", "hear colours", etc. [...]
The most laconic description of the drawing as a process is to leave a trace with a tool selected by the artist on a material specified for the artistic intervention. The drawing is the shortest and quickest way to visualize ideas, and in this sense the spontaneous reaction leading to the appearance of lines on the drawing surface as well as the unintentional gesture are sealed directly into the final result. The American anthropologist, Ellen Dissanayake phrases art making as “the ability to shape and thereby exert some measure of control over the untidy material of everyday life". For Boryana Petkova, drawing is an act of rationalization of the world and not an artistic practice with a certain media. She documents the process of drawing from different points of view - the physical movement of the hand, the interaction with architecture and its surfaces, the sounds produced by the graphic and the derivatives of these sounds like music or computer modelled three-dimensional shapes, the specifics of observation in drawing, or briefly, Boryana analyses the line's ability to follow the movement of thought. In one of his studies, the British anthropologist, Tim Ingold presents the development of the notion of the line through Indian communication systems, through threads in the fabric and kipu, ancient ceramics, the Australian Aboriginal art, geographic maps, musical notation, the writing system and calligraphy, the schemes of relationships employed in scientific research and genealogy, etc. In conclusion, one of his findings is that "the fragmented postmodern line does not move progressively from one destination to another, but from one point of rupture to another. These points are not locations but dislocations, segments out of joint.” The hand that holds the pencil in Boryana's works does not just lay lines on the white surface, it explores territories, creates paths, makes sense of surfaces, leaves traces of work in confined spaces, traces describing emotional states, traces of immediate reactions to the physical environment, of the effort to overcome borders. [...]