New Piece of Art, 2013
6 min. video
300 x 400 cm New Piece of Art was a performance and a temporary installation for the duration of Sofia Contemporary 2013.
An abandoned billboard in the fields near Sofia Airport was over-painted by the artist with black colour. The action happened on the place and had a duration of about an hour. The artist was fighting with the size of the image and with the wind.
The second part of the project was an opening speech for the New Piece of Art. Here the artist behaved like if he was somebody from the municipality or from the festival and talked about the intention and the means of the work. Watch Kamen Stoyanov's opening speech here
Noise Trial, 2013
photo, video and text
each 100 x 150 cm
edition 2/5+1AP Watch here video to the artwork
Museum’s Socket, 2015
electrical socket from Sofia City Art Gallery,
video 2' 26'' An old electrical socket from a museum (Sofia City Art Gallery) has been exchanged by the artist with a new one. The Museum Socket got through the years many layers of paint, tape etc. and looks in itself as a piece of painting and sculpture at the same time.
In the video one can see its demontage and the montage of a new socket and the short talk between the artist and the electrician.
In the final installation the Museum Socket is put on pedestal and connected to the electricity in the new space in order to give a power for the projected video of its replacement.
A4 with 10,5 cm back
еdition 2/10+1AP Set of book and video documentation, 49” The artist book Operantium combines all drawings from the same titled performance in June 2016 at Kunstverein Gleis70 in Zurich.
Sign of Exclamation, 2015
50 x 55 x 50 cm
Stoyanov´s Tomato Products, 2012
digital video 14min., scatches, 23 color photographies, canvaces,
tomato soup in glass jars, inflatable vinyl tomato, song, artist book Soup stopped being “just soup” in 1962, when Andy Warhol showcased for the first time his “portraits” of the Campbell’s tomato soup in the Ferus Gallery in Los Angeles. Today even in the grocer’s around the corner the legendary little box is much more Warhol’s than Campbell’s, as it holds, in preserved state, a real revolution in our interaction with art.
Exactly 50 years later Kamen Stoyanov planted, in the yard of Schindler House in Los Angeles, the tomato seeds he had brought from Bulgaria. The artist spent his six month residence in the U.S. farming in this popular monument of modern architecture aiming at producing a limited amount of tomato soup following his own recipe. Drawing on the concept of the ready-made, he transposed a tradition from his motherland – the household preparation of winter’s reserves – into an atypical context. He used the peculiar architectural setting, the legendary Hollywood charisma and its hidden social dramas to reposition a simple domestic gesture and, through it, his own cultural identity, which he transformed into an art statement. Kamen Stoyanov started his work as homage to Warhol, but ultimately left no stone unturned in pursuing the idea of deconstructing the art object. What should he take back to Bulgaria? A can or a jar? He solved his conceptual dilemmas by taking back, together with the soup, his painterly “originals,” which originated in his farmer’s produce but in a purely “art” and, let’s say, intuitive way. Kamen Stoyanov has delved into social layers that go beyond the problem of the uniqueness of the work of art and the product status that Warhol has won for it. Through the artist’s experiences and in the contrast between the environment and his actions, there is a direct reference to the life of the immigrant population in the Mecca of beautiful illusions and to migration in general. Stoyanov tried to enrich this contrast by sabotaging reality and performing his art in the popular cooking show format, where he reveals the secret/recipe/his concept. He built his Farmville simulation not in a virtual but in a reallife yard ending up creating art out of soup and soup out of art.
Svetlana Kuyumdzhieva Watch the video here All elements of the work can be viewed here
Artworks with Light
We Own this Shit, 2014
each 80 x 120 cm
60 x 40 cm
80 x 120 cm
video 5.25 min, 2010 Kamen Stoyanov used for his action an empty billboard construction placed next to the Sofia airport. The artist climbed on it, fixed a hammock and finally placed himself on it, replacing the missing advertisement. He communicated with the arriving people by observing them and in this way awaked their interest. Watch the video here
Future Idea, 2013
80 x 120 cm
High Voltage Fence, 2015
80 x 80 cm
Subway Yard Bratislava, 2007
two digital prints on baryt,
93 x 120 cm
each 100 x 150 cm (framed)
At Shablenska Tuzla, 2015
photo on dibond
At Hotel 1000 Columns, 2015
each 80 x 120 cm
Looking Through the Fence, 2017
photo print on textile
305 x 340 cm
edition 3/5+1AP Watch the video here
New Istanbul Dream, 2016-2017
edition 5+1АР New Istanbul Dream investigates the construction side and process of the third Istanbul Airport situated northwest of Istanbul, on the Black sea. This is happening in different ways. The film shows the changing of the environment and the destruction of nature through the construction works for realizing the Megadream of current Turkish power - the biggest airport in the world. This is the basic conflict in the film. This conflict is embodied by a performative layer based on Karagöz - the traditional Ottoman shadow theater. This layer opens a space of an imaginary and activist movement and searches literary and metaphorically for a way out. The movie ends with a musical performance of the adapted and especially changed song Karagözlum by the Istanbul band Zoomk Ru Tu. Watch the movie trailer here
- Operantium, 2016 video documentation, 49” Watch the full video here
Ask Me a Question, 2016
ART for ART Theaterservice Vienna
HD video, 32”
edition 3+2АР The conversations with artists are indispensable attribute and a ritual of introduction, part of the requirement for publicity of the participants in the complex ecosystem of contemporary artistic life. Kamen Stoyanov meets all random and varied questions from the audience not with words, but with drawings. Drawn "blind", with hands folded in a box in front of him, so as to achieve both the mystery and the automatism of unconscious representation, as if he tries to be a medium. The author is only a mean of communication, but all that communication actually happens in the works. Watch the full video here