#sarievselfisolation 2020
Dimitar Solakov / Iana Boukova / Kalin Serapionov / Kosta Tonev / Luchezar Boyadjiev / Maria Nalbantova / Michail Michailov / Mitch Brezounek / Pravdoliub Ivanov / Rudi Ninov / Snejanka Mihaylova / Stela Vasileva / Stefan Nikolaev / Voin de Voin / Vitto Valentinov / Zara Alexandrova / Zoran Georgiev

 

In the situation of self isolation provoked by COVID-19 pandemic, Sariev gallery, launched on 27 March 2020 #sarievselfisolation.

#sarievselfisolation is a laboratory where the gallery is curating and presenting works of art, texts, videos, sounds, and images that express thoughts on this moment in the life of our world and visions about its tomorrow.

#sarievselfisolation was presenting new works, all of them created or developed after the invitation by Vesselina and Katrin Sarievi. Each artist was in focus for 3 – 4 days.

During the pandemic the selection was presented in the social media and on the website of the gallery and created meaning, dynamics, and life that was missing in the art scene.

This viewing room presents all the projects by the artists included in #sarievselfisolation as well a documentary feature-length film. 

 


Mitch Brezounek
Plovdiv 2020
#sarievselfisolation
27 March –30 March 2020

In the dark days of the coronavirus, stuck in my flat on the 6th floor in Plovdiv, I can observe the behavior of the population during isolation. Being an anthropologist, I started drawing to record the stereotypes of my fellow citizens. Between imagination and reality, this series of drawings “Plovdiv 2020” emerged, which gives another perspective or even brings a smile in the corner of your mouth without assuaging the situation. / Mitch Brezounek, Plovdiv, March 2020

Mitch Brezounek
Plovdiv 2020, 2020, folder consisting 11 printed digital drawings, 42 х 29 cm each, signed and dated March 2020

Mitch Brezounek
First day, 2020
printed digital, drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Teleworking, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Alone at home, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Lost on the Highway, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Apocalypse Now, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Desperate Housewives, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Fitness Bless You, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Smoke on the Water, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Social Media, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Take a Break, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

Mitch Brezounek
Self portrait, 2020
printed digital drawing from the series “Plovdiv 2020”, March 2020

 

 

 

At the begginig, for me was like to watch a bit around, because during the quarantine it's interesting to take your time and you have a lot of time to wait inside. And being here was a good moment to watch through my windows everything that was happening outside, as well as the only time I went to buy some food for us and to explore visually what was happening on the street and the reaction of the people, everything. - Mitch Brezounek

 

More about the artist at this link


Pravdoliub Ivanov
selection of works, 2020
#sarievselfisolation
1 April – 4 April 2020

If we want life back to the way we liked it, do we have to rethink the values with which we created it?
/ Pravdoliub Ivanov, 31.03. 2020,Sofia, sent in a mail to Vesselina and Katrin Sarievi

Pravdoliub Ivanov
А dream I had on March 24th, 2020 
drawinг, 29.5 х 21 cm
From the series Quarantine, started March 2020

24.03.2020
By 3 in the afternoon I fill dizzy and went to bed. I dreamed that people could see into the future by wearing a simple medical mask put on eyes.
I saw a lot of people around me doing it.
I moved my mask fromthe mouth to my eyes and saw how some compelling, invisible force drives the right-handers had to do everything with the left hand and vice versa, the left-handers had to do everything with the right hand.
The world was the same, but much more awkwardly made.
I couldn’t understand why everything had the same yellow-reddish color.
At first, I decided that everything was made of copper, but then I looked as if things were smeared with iodine.
David woke me up by running into bedroom shouting – Dad, we’re making a movie with Mom. / Pravdoliub Ivanov

 

Pravdoliub Ivanov
Art therapy, 2020
collage, 20 х 15 cm
From the series Quarantine, started March 2020

Pravdoliub Ivanov
Vera and Yana, 2020
drawing, 42 х 29 cm
From the series Quarantine, started March 2020

Pravdoliub Ivanov
Untitled, 2020
drawing, 29.5 х 21 cm
From the series Quarantine, started March 2020

Pravdoliub Ivanov
Untitled, 2020
drawing, 21 х 29 cm
From the series Quarantine, started March 2020

Pravdoliub Ivanov
Quarantine Selfie, 2020
photography
From the series Quarantine, started March 2020

Pravdoliub Ivanov
Art History in Pandemic Time, 2020
collаge
From the series Quarantine, started March 2020

Pravdoliub Ivanov
Art History in Pandemic Time, 2020
collаge
From the series Quarantine,, started March 2020

 

 

Well, this is a project of Sariev Gallery that started with the pandemic. Actually, for me there is one such feature that the first week of quarantine I fell into many, well, panic conditions, depressive ones, from which I actually Vesi Sarieva got me out by calling me up and saying that they had launched this programme... and basically, she... did not let me sink into my depressions... and so it started – this is the programme. Otherwise, for me - and otherwise, the programme really is an attempt by the gallery to address people it trusts, whom it likes, who could help other people with their work. Just in the same way I personally called different acquaintances, who were far away from me, simply to hear how they were, to tell them to take care, to check on their health… Something like that, only at the level of galleries and artists. And at the same time, with a feedback really to… works that artists created during the pandemic. - Pravdoliub Ivanov

 

More about the artist at this link


Dimitar Solakov
Let Humanity Tip Over. I Need Fewer Priorities.,2020, project
#sarievselfisolation
5 April –7 April 2020

Things are changing, like they’ve always have in an endless cycle, and humanity still cannot realise just how fragile it is, where its place in this cycle is. So little of what people think and worry about is meaningful. They cling to the superficial, feeding greed, which grows more and more powerful and reckless. The tower of collective greed must topple. Let humanity tip over. I need fewer priorities. / Dimitar Solakov, Voneshta Voda, Bulgaria, March 2020

Dimitar Solakov
Let Humanity Tip Over. I Need, Fewer Priorities., 2020
3d render

 

#sarievselfisolation was an opportunity to be with my colleagues in a time when we were all isolated and everybody stayed at home. It was very curious to watch my colleagues process the state of emergency, which was the same for all of us - from their point of view. I spent the pandemic or at least its first act in the countryside, where I was able to walk freely outdoors, which is a huge luxury, especially when you have two young children who would blow up a flat. My daily routine during the pandemic was almost the same as any other time: I spent it mostly working. The only stressful and more unpleasant thing for me was going shopping in the nearest town and everything related to it, such as going through checkpoints, applying sanitisers, which is still valid and in general the entire suspiciousness which I feel for the unknown people whom I pass by and wonder if this person is sick, if they are infected, if I will become infected or not, and as some form of antitherapy I took up cooking even more intensively than normally and started making all sorts of cakes and other such sweet pastries. - Dimitar Solakov

 

More about the artist at this link


Kosta Tonev
#sarievselfisolation
8 April – 10 April 2020

For #sarievselfisolation the artist Kosta Tonev transforms his living room window into a movie screen, which displays subtitles from famous moments in film history. Thus, his everyday life, seen from the position of his neighbors, becomes a mosaic of movie scenes dedicated to the isolation of the individual and the attempt to reenact social interactions.

Kosta Tonev
You talkin' to me? (Taxi Driver), 2020
4 photographs,
30 х 30 cm (each)
Photographs documenting a series of collages on the window of the artist's home.
Subtitles from “Taxi Driver” (1976).

 

Kosta Tonev
You talkin 'to me? (Taxi Driver), 2020
Video, 30 sec.

 

Kosta Tonev
April 8th. Thank God for the rain, which washed away the garbage and trash off the sidewalks (Taxi Driver), 2020
3 photographs
30 х 30 cm (each)
Photographs documenting a series of collages on the window of the artist's home.
Subtitles from “Taxi Driver” (1976

 

Kosta Tonev
That's no ordinary look. That's the kind of look a man gives when he is afraid somebody might be watching him (Rear Window), 2020
3 photographs,
30 х 30 cm (each)
Photographs documenting a series of collages on the window of the artist's home.
Subtitles from “Rear Window” (1954).

 

 

 

Kosta Tonev
It’s probably nothing, it’s just a little neighborhood murder.
(Rear Window), 2020
photography
30 х 30 cm
Photography documenting a collage on the window of the artist’s home. 
Subtitles from “Rear Window” (1954).

 

 

Kosta Tonev
Best goddamned bartender... (The Shining), 2020
2 photographs
30 х 30 cm (each)
Photographs documenting a series of collages on the window of the artist's home
Subtitles from “The Shining” (1980).

Kosta Tonev
Here's to 5 miserable months on the wagon and all the irreparable harm that it's caused me. (The Shining), 2020
Video, 30 sec.

 

Kosta Tonev
Here's to 5 miserable months on the wagon and all the irreparable harm that it's caused me. (The Shining), 2020
2 photographs, 
30 х 30 cm (each)
Photographs documenting a series of collages on the window of the artist's home.
 Subtitles from “The Shining” (1980)

 

 

I found this project very likeable; I was very pleased to receive it because it appeared at some point where everything seemed to have stopped. After that things started to move. It appeared to me – I just decided that it is, well, quite a good idea, as an alternative to an exhibition in a physical form and for me this is – how to put it – maybe a step towards reconsidering the format of the exhibition. In my view, this is something that we will start happening more and more often, our reconsideration of things. Now, given that we have such technologies in our hands, the very format of the exhibition will start being reconsidered; I think #sarievselfisolation was kind of a step in that direction. - Kosta Tonev

 

More about the artist at this link


Rudi Ninov
#sarievselfisolation
11 April – 14 April 2020
“Here’s a few ink drawings on paper from an on going series called (after Charles Mingus Pithecanthropus Erectus 1956). His music is fascinating, sketchy and unpredictable, and has been playing in the background while making drawings on the coffee table at home away from studio. 
I’ve always thought my studio was a large toolbox, I guess the paintings would be the packed and ready to go toolbox…then the drawings are all the small bolts and nuts that I have to look for, join together, knock into place, polish, only to take apart again.” / Rudi Ninov, Frankfurt, April 2020

Rudi Ninov
Untitled #15 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #18 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #24 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #17 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #26 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #14 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #16 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #22 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #28 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

Rudi Ninov
Untitled #1 (after Charles Mingus’
Pithecanthropus Erectus 1956), 2020
ink on paper, 23 x 30.5cm

   

 

Rudi Ninov, April 2020

Rudi Ninov, April 2020

 

Together with the drawings, we also showed two texts – one of which was called Yellow because it was about a disappointment of mine for not being able to buy one colour at the time of lockdown. The shops were closed down. I tried ordering some things online but all shops said long delays were expected. So, I resorted to putting a soluble vitamin C table tin some water with a little yellow ink with the idea that it would produce a slightly yellow-orange colour, but of course nothing worked out simply because it started to foam and congeal in some strange lumps, and the other text was somehow also about a frustration or disappointment of mine with something that came from observation. This frustration came from an observation and it simply dawned on me how much time I spent drawing on the couch, right, the way I sat or lay down at one time made my leg go numb and all these bodily properties somehow suddenly became the center of my thoughts. This text came right from these bodily observations, sitting on the couch. - Rudi Ninov

 

More about the artist at this link


Maria Nalbantova
Brave New Hygiene, 2020
15 April – 17 April 2020

Brave New Hygiene, 2020
We are constantly given advice and instructions about how to wash hands – a major barrier against spreading infections. Using the simplest means of hygiene – the soap, we are protecting both ourselves and our loved ones. We are washing away doubt, problems and danger. Handwashing has become a ritual. The soap is now a field of interpretation regarding both the existence of the community and the issue of how to deal with a crisis. / Maria Nalbantova, Sofia, April 14th, 2020

Maria Nalbantova
Malaysian tigress, 2020
9,3 х 5,5 х 2 сm
soap, water tattoo, acrylic

Maria Nalbantova
Palm Beach, 2020
7,8 х 4,8 х 11 сm
soap, cocktail umbrella

Maria Nalbantova
Dragon measures, 2020
9 х 5,5 х 2 сm
soap, water tattoo, acrylic

 

Maria Nalbantova
Pureporn, 2020
8 x 5 x 2 cm
image transfer on soap

 

Maria Nalbantova
Pink dreams, 2020
8,5 x 5 x 2 cm
image transfer on soap

 

Maria Nalbantova
Pureporn, 2020
8 x 5 x 2 cm
image transfer on soap

Maria Nalbantova
Gold, 2020
9 x 5,5 x 2,5 cm
soap, gilding, glue

Maria Nalbantova
Bodybuilder, 2020
8,3 х 5 х 3 сm
image transfer on soap

Maria Nalbantova
Gold, 2020
9 x 5,5 x 2,5 cm
soap, gilding, glue

 

 

#sarievselfisolation was an invitation at a very appropriate time for me, because at the moment of a pandemic, in social isolation, in which we work in seclusion, anyway my practice to that moment as an artist had been extremely associated with seclusion, with concentration, but in this case it was as a reason for discussion, a way to reconnect, although one way or another because of the pandemic and the isolation we were separated from each other and in this sense it was an invitation to dialogue. - Maria Nalbantova

 

More about the artist at this link


Snejanka Michailova
Translation of Psalm 22 in Feelings by Snejanka Mihailova in a dialogue with Philip Baber on 19 April (Orthodox Easter)


"Human depths became apparent, the world is in a revelation. The exterior world of our projection, desires, expectations fall out as a dead skin, intentions become visible. It’s not only our intentions alone that became visible but our feelings too. Years ago I begun а translation of the The Book of Psalms from the Old Testament in feelings and each translation is accompanied by a short reflection on the relation between human voice and devine voice. I composed a dictionary of such an attempt, and each prayer rewrites not in words but in breath the struggle to find a language for a feeling. Currently we are experiencing not so much a state of emergency but rather state of revelation in which we are confronted with what is happening in our psychic and emotional life. One day these emotions too will get outlined as illusions and will abandon us to make place for a further stages of relations in our interiority with the spiritual. The attention of our hearts in this challenging times requires listening and responsiveness towards and fromwithin, in that sense the role of prayer is to be reconsidered. Psalm 22 is now released after the invitation of Vesselina Sarieva, this is a prayer that Jesus prays on the cross and it preserves the last words before his death and resurrection.” S.M.

 

More about the artist at this link


Michail Michailov
Roaming
April 2020, Vienna
21 April - 23 April

Not that the pursuit of orientation is something new for Michail Michailov. But because of the worldwide COVID-19 shutdown, everyone suddenly loses their bearings and nobody knows how the future will go. New thinking and new ideas are needed. Michailov lands lost and with hope at the same time on his rooftop, roams around and searches for new directions…

Michail Michailov
Roaming, April 2020, Vienna
HD video, 4’25’'
edition: 5+2 AP
camera: Hannes Anderle

 

I wanted to express exactly what I was feeling at that moment. Actually, the roof of the house where I live was at that moment of isolation the only place where I found refuge, and that's why I decided to do it there. One day I climbed on the roof and installed one of the many satellite dishes, with which I certainly cut off the satellite connection of one of my neighbours; but I used this very satellite dish as some appliance or device with which I could search for new directions and trends. - Michail Michailov
 

More about the artist at this link


 

Zara Alexandrova
series of drawings after Margaret Atwood’s “Handmaid’s Tale“
25 April – 27 April

“In our life under quarantine suddenly we are granted more time to spend with our families, read books, watch movies etc. It is somehow ironic to imagine that there are homes where reading Margaret Atwood’s “Handmaid’s Tale“ or streaming the TV series after the book now turns from fiction into reality. This kind of scenario could be specific to a social position of a woman confined to home, whose subsistence relies primarily on a man. But, we can also think of working class women who have to work in order to subsist and who historically have been able to use the workspace as momentary escape from the patriarchy of the household. In times like this “the nostalgia for the present“ no longer applies.” / Zara Alexandrova, April 2020, Berlin

Zara Alexandrova
She Had to Stay at Home (after Margaret Atwood), 2020
aquarelle, acid-free paper
30×40 cm

 

 

Zara Alexandrova
It’s a Girl (after Margaret Atwood), 2020
aquarelle, acid-free paper
40×30 cm

 

 

Zara Alexandrova
Women’s Shelter 2, 2020
aquarelle, acid-free paper
40×30 cm

Zara Alexandrova
Bondage Bread 8, 2020,
aquarelle, acid-free paper
40×30 cm

Zara Alexandrova
Sellout, 2020
aquarelle, acid-free paper,
40×30 cm

Zara Alexandrova
Bondage Bread 6, 2020
aquarelle, acid-free paper
40×30 cm

 

In Germany, the isolation itself did not have so many restrictions, and we were allowed to walk the streets and go normally shopping the necessary things. However, we didn’t underestimate the situation and tried to work from home. Of course, when we create a work of art, it is only one side of the creative process. On the other hand, we need to share our ideas by showing our work to the public, etc. and as the galleries and museums closed down during the lockdown, I believe the #sarievselfisolation appeared as a relevant and timely one, in order to relieve this vacuum in which the artists fell and could not display the works they were creating. - Zara Alexandrova

 

More about the artist at this link


Kalin Serapionov
At the end of the day, 2020, cycle of 6 videos
29 April – 1 May 2020

Exploring the boundaries of what’s possible in a situation of self-isolation, the artist makes “quick drawings” of the people with whom he talked online while in isolation. The medium of the contact with the other determines here the medium of representation of others.
“At the end of the day” presents another type of “drawing” and building an image in digital space. This is drawing on a white screen with sound and words. The author sets up an abstract orientation for the image that he remembers and invites the viewer to build up their own image, while inputting sense and creativit

 

Kalin Serapionov
Drawing of a Man (#1), April, 2020
Video, sound, 62 sec.
Sound Angel Simitchiev
Part of the cycle “At the end of the day”,2020

 

Kalin Serapionov
Drawing of a Woman (#2), April, 2020
Video, sound, 62 sec.
Sound Angel Simitchiev
Part of the cycle “At the end of the day”, 2020

 

 

Kalin Serapionov
Drawing of a Young Woman (#3), April, 2020
Video, sound, 62 sec.
Sound Angel Simitchiev,
Part of the cycle “At the end of the day”, 2020

 

 

Kalin Serapionov
Drawing of a Man (# 4), April, 2020
Video, sound, 99 sec.
Sound Angel Simitchiev
Part of the cycle “At the end of the day”, 2020

 

 

Kalin Serapionov
Drawing of an Elder Woman (#5), April, 2020
Video, sound, 115 sec.
Sound Angel Simitchiev
Part of the cycle “At the end of the day”, 2020

 

 

Kalin Serapionov
Drawing of a Man (# 6), April, 2020
Video, sound, 102 sec.
Sound Angel Simitchiev
Part of the cycle “At the end of the day”, 2020

 

 

I believe that one of the main assets of #sarievselfisolation is that the project managed to create a sense of community: a community of artists, a community of colleagues, and managed to create a feeling that the artist can be heard, albeit in a time of isolation. The project provided an opportunity for different artists to create something at this very specific moment of self-isolation; the moment when we somehow limited ourselves to communicate and respectively limited the way we could accumulate impressions and react to certain processes. The other thing I liked in #sarievselfisolation is that it provided an opportunity to create works for the digital space, for social networks, rather than simply transferring existing information in the form of images from works already created or exhibitions on social networks. I think this is especially important because it somehow unleashes a certain form of creativity in the artist, which is related to the fact that they are not thinking about the physical space, but thinking about the digital one, because it has its specificity. That's why I think #sarievselfisolation a sense could be called site-specific. - Kalin Serapionov

More about the artist at this link


Stela Vasileva
Series of drawings “Self-Distance”
3 May – 5 May 2020

An ordinary day is no longer so ordinary. Our daily routine too. People adopt new habits and rethink others. In the Self-Distance drawing series, I depict a person who is placed in a situation of forced distance, despite his needs and desires. People on the move, with no apparent purpose and direction. Everything seems normal, but not quite. Only nature remains as an observer, unattainable, as if unaffected, at rest for reflection. / Stella Vasileva, April 2020

Stela Vasileva
Untitled, 2020,
paper, mechanical pencil 0.5 mm
red color pencil,
30 x 40 cm
 

Stela Vasileva
Untitled, 2020
paper, watercolor,
30 x 40 cm
 

Stela Vasileva
Untitled, 2020
paper, mechanical pencil 0.5 mm
red color pencil
30 x 40 cm
 

Stela Vasileva,
Untitled, 2020
paper, mechanical pencil 0.5 mm
red color pencil
30 x 40 cm
 

Stela Vasileva
Untitled, 2020
paper, mechanical pencil 0.5 mm
red color pencil
30 x 40 cm
 

Stela Vasileva,
Untitled, 2020
paper, mechanical pencil 0.5 mm
red color pencil
30 x 40 cm
 

 

 

All the time during the pandemic, I worked extremely hard because I teach and am a teacher. Literally for two days we, i.e. most colleagues - all colleagues - and I had to log on to an online teaching platform, which turned out to take a hell of a lot of time. Generally, I didn’t have other time to run my other projects and ideas, so this opportunity that came up and the invitation to participate in #sarievselfisolation somehow gave me an incentive to mobilise and work a little, but as a whole the pandemic passed in front of the computer. - Stela Vasileva

 

More about the artist at this link


Voin de Voin
Study of Light, series of works, 2020
6 –8 May 2020

Secret diary / nature diary. The content reminds a mystical-poetic-outlaw transcript of different encounters. The series are an exercise in reduction of the polyphony of possibilities within mechanisms of perception and has a goal to disregard possible narrations. It enters in dialogue with everything that surround us- natural elements like light, sound, vibration passage of time, nature itself. Set in the conjunction of movement and observation, where the spiritual informs the sinful. /Voin de Voin, Solitude Academy Stuttgart,2020

 

Voin de Voin
Study 1, 2020
photography
140 x 80 cm
Part of the series Study of Light

Voin de Voin
Negotiation, 2020
digital photography
40 x 60 cm
Part of the series Study of Light

Voin de Voin
Study 3, 2020
photography, digital collage
120 x 80 cm
Part of the series Study of Light

Voin de Voin
Light Study 3, 2020
photography, digital collage
120 x 80 cm
Part of the series Study of Light

Voin de Voin
Study 2, 2020
photography, digital collage
140 x 80 cm
Part of the series Study of Light

Voin de Voin
Study, 2020
pen drawing on wallpaper
60 x 60 cm
Part of the series Study of Light

 

My works for #sarievselfisolation is a series of observations who finally ended up being presented in the form of a photograph, collages, drawings and manuscript and in general my work was very much based on the idea of being stript off any kind of political skin, so basically I was depolitisicing the subjects that i've been working on in years and finally finding an essence in that. - Voin the Voin

 

More about the artist at this link


Iana Boukova
Fears leading to insanity (excerpt) 2017 – 2020
Страхове, водещи до полудяване (откъс) 2017 -2020
9 – 11 May 2020

There are topics where it is a symptom the very fact that they are called “current”. Victorians are said to have talked about death all the time, but never about sex. Like Victorians with a reverse sign, we constantly talk about sex, never about death. “Fears leading to insanity” is a poetic project based on “found text” and exploring the inability of the modern person to approach the subject of their mortality. From the shamanic jargon of medicine through the mourning kitsch to the inexhaustible pataphysics of the popular media, language proves to be both powerless and aggressive, macabrely comical in every attempt to utter the fact of dying. Madness takes the place of metaphysics. “I don’t need to say anything. I’m just showing” says Benjamin. The fragments used have been collected by the Web in recent years from a variety of sources: stories in the news, forensic reports, posts in groups and discussion forums, advertisements of funeral homes, dictionary entries, Google search results etc. The text has not been changed, only in some places the lines are cut to resemble verse form. Original spelling is preserved. / Iana Boukova, April 2020

Съществуват теми, при които е симптом самият факт да бъдат наречени “актуални”. За викторианците се казва, че постоянно говорели за смъртта, но никога за секс. Подобно на викторианци с обратен знак, ние постоянно говорим за секс, никога за смърт.
“Страхове,водещи до полудяване” е поетичен проект, базиран на “готов” и “намерен” текст и изследващ неспособността на съвременния човек да доближи темата за своята смъртност. От шаманския жаргон на медицината през траурния кич до неизчерпаемата патафизика на популярните медии езикът се оказва едновременно безпомощен и агресивен, макабрено комичен във всеки опит да произнесе факта на умирането. Лудостта заема мястото на метафизиката. „Няма нужда да казвам каквото и да било. Просто показвам“, твърди Бенямин.
Използваните фрагменти са събирани от Мрежата през последните години от разнородни източници: вестникарски съобщения, доклади по съдебна медицина, изказвания в групи и форуми, рекламни материали на погребални бюра, речникови статии, резултати от Гугъл търсачки. Текстът не е променян, единствено на места редовете са насечени, така че да добият „стихотворна” форма. Запазен е автентичният правопис. / Яна Букова, Април 2020г.

*texts – available in Bulgarian only
може да прочетете всички текстове от поемата в този линк

Iana Boukova, Fears leading to insanity (excerpts) 2017 – 2020

 

 

My project is entitled Fears Leading to Insanity and is actually a work with a ready-made text, a searched text, i.e. excerpts from texts in Bulgarian that I have found in the last 2-3 years on the Internet. The topic of the project is death. I have actually been working on how people talk about death nowadays. In some ways, when I was invited, when I was approached with an offer to participate by the Sariev Gallery, I found it particularly appropriate to propose exactly this project, because the whole situation with the coronavirus suddenly showed something I had thought about at length over the previous years, namely that in the recent years, people have been talking on various topics, but very little has been said about death. - Iana Boukova

 

More about the artist at this link


Luchezar Boyadjiev
Sofia needs to enjoy (a lake, a Ferris Wheel, a climb up Vitosha Mountain), 2020

 

 

Sofia needs to enjoy (a lake, a Ferris Wheel, a climb up Vitosha Mountain), 2020
drawing
101 x 203 cm
Cycle: Utopian Solutions for Dystopian Cities

 

 

For Sofia in particular, my dream is for the city to merge with the mountain and become green again. At the foot of the mountain-city there will be a gigantic blue lake and at the top on the summit, there will be a beautiful   gigantic Ferris wheel, which is not only propelled by the wind, but also generates electricity for its self-propulsion. The #sarievselfisolation programme was something very fresh in this whole series of, I would say, an avalanche of online projects by all sorts of private galleries abroad and in Bulgaria. Many museums adopted this platform to do something in a moment in which as if the entire life has stopped. To me, the most positive thing was that Sariev Gallery started working with artists of whom not all are part of the group of artists working with the gallery on a permanent basis, i.e. new faces have emerged, most of whom are all young people who every day seemed to be offering a new work of art and a new surprise, and at least for me they instilled the sense of optimism... - Luchezar Boyadjiev

 

More about the artist at this link


Stefan Nikolaev
DEADLINE 2020

Stefan Nikolaev
DEADLINE 2020
engraved granite, gold leaf
unique work
14 x 75 x 4 cm

 

 

When the universal pandemic and quarantine were declared, i.e. the worldwide process of lockdown, my sudden and spontaneous wish was to do nothing, to suspend any work, creative or other, since the other work was stopped anyway. No creative work, no expression. But at the invitation of the Sariev Gallery, this #sarievselfioslation programme, at the end of its development, at the end of this, in general, lockdown – there was a light at the end of the tunnel – then I seemed to somehow regain the desire to do something material and then I did this work specifically for Sariev, which is actually entitled Deadline. “Deadline“ in this case should mean this familiar to all of us, right, I’ll have to go into the total context of everyday life, the word for the urgent, the fast, the final, the deadline, but in fact it turned out that today this deadline is gone, i.e. today this work is coming at the “dead of the deadline”, i.e. this is the end of the deadlines, since you know that everything is already shifting, there is no way to get things done within some real deadline. - Stefan Nikolaev

 

More about the artist at this link


Vitto Valentinov
SIGNALS
Short Messages (through Eye Signals)
May, 2020

In times of pandemic, when we have to cover our mouths with a mask and keep distance to stay safe, developing alternate forms of communication has become a new necessity. 

SIGNALS is a continuation of a series of projects in which participants communicate with each other using uncommon means. In a global situation of calls for social distancing, this work speaks about the search for an alternative language for distance communication. In a series of short videos, Vitto Valentinov, wearing a face mask, sends short Morse code messages by blinking with his eyes.

The language of art is symbolic. It gives no suggestions for direct application. Thus, the author does not offer the Morse code as a practical way of communication, but provokes us to be inventive in connecting with whatever means is available in any unusual situation.

At a time when pandemic lays a groundwork for nationalism with new forms of localization rapidly emerging, the need for international dialogue is extremely palpable. Art, within its own means, also deals with communication beyond the national, while seeking the universal.

 


SIGNALS 
Morse Code Blinking Messages (#1) 
May, 2020 
Video, sound, 2:20 min. 
Performed by Vitto Valentinov 
Filmed by Kevork Vanlyan

 


SIGNALS 
Morse Code Blinking Messages (#2) 
May, 2020 
Video, sound, 1:55 min. 
Performed by Vitto Valentinov 
Filmed by Kevork Vanlyan 

 


SIGNALS 
Morse Code Blinking Messages (#3) 
May, 2020 
Video, sound, 1:37 min. 
Performed by Vitto Valentinov 
Filmed by Kevork Vanlyan 

 

 

The Covid pandemic has imposed a lot of restrictions on us, but for me as an artist, limited conditions are not always short of resources and good working conditions. I have always seen myself more as an inventor than an artist and I think that limitations develop the imagination. That exactly is the theme of my project, how to be innovative during a state of emergency and be innovative in something that is essential as a necessity – communication. In this project, I turn to our bodies as a means of expression, and not to super complex technologies at our disposal nowadays. This new work is part of a series of projects in which the participants communicate using unusual means of expression. During quarantine, I thematise the idea about the distance communication with unusual means in a series of short videos with a mask on my face, and I am sending my messages with short and long blinks using the international Morse code. - Vitto Valentinov

 

More about the artist at this link


Zoran Georgiev
From the very beginning, the quarantine unlocked a whole range of paradoxes, propaganda, conspiracies and utopian hopes for change. The panic-buying turned the toilet paper into a symbol of safety that can be purchased at an affordable price by anyone. Social media and the Internet proved to be the only way to communicate, but they also established themselves as the most relevant source of propaganda and manipulation. All this abundance of information that flooded us made me react to the new situation with a series of drawings in which I show that nothing new actually happened. The same old problems are now more visible than ever.

 

Zoran Georgiev
Social Distancing Shopping Bag, 2020
aquarelle, acid free paper
30/40cm

Zoran Georgiev
Small Tribute to the Big Waste of Time, 2020
aquarelle, acid free paper
40/30cm

 

Zoran Georgiev
To Dr. Li, 2020
aquarelle, acid free paper
30/40cm

Zoran Georgiev
T.I.N.A., 2020
aquarelle, acid-free paper
30/40 cm


Zoran Georgiev
Placebo for Anti-vaxxers, 2020
aquarelle, acid-free paper
30/40 cm

Zoran Georgiev
Sad Protester, 2020
aquarelle, acid-free paper
30/40 cm

 

I rather reacted to the entire abundance of information that flooded us in the social media, in the various magazines and podcasts, propaganda and all types of conspiracy, utopian hopes for a change and even the panicky purchase of toilet paper turned it into some symbol of safety that could be bought by everyone at a reasonable price. In addition, social media such as Facebook, Twitter or Instagram disseminated all types of conspiracies, disinformation and speculations about how the virus started, what we should do, how we should protect ourselves, whether we should take care or not, an all this made me somehow think about all the “newly emerged situations”, to which I reacted with a series of paintings, in which I actually showed that nothing was changing, it was just that all the old problems we had previously had had become more visible than ever. - Zoran Georgiev

 

More about the artist at this link


Vesselina and Katrin would like to thank the artists for the inspiring collaboration, the followers for their reactions, the collectors and the media for their interest, the gallery assistant for the hard work on the viewing room, to Kalin Serapionov for the documentary film and Plovdiv Municipality for the support in archiving and documenting #sarievselfisolation!

 

 

 The documentary film “#sarievselfisolation Pandemic Diaries”, 2020 and #sarievselfisolation Viewing room are supported by Plovdiv Municipality