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31 май 2007

“Made In” New Works, Plamen Dejanoff Body-Without-Organs, Daniela Kostova


Isola Art Center
www.isolartcenter.org
info@isolartcenter.org
tel/ +39 6057111 / +39 3336753542

hosted by
AssabOne
http://www.assab-one.org
via Assab, 1
20132 Milano
tel +39 02 2828546

“Made In”
New Works, Plamen Dejanoff
Body-Without-Organs, Daniela Kostova


Curated by Katia Anguelova

Opening– Monday, 28th May 2007, 7pm

29th May– 28 June 2007
Assab One (piano terra)
Via Assab, 1 20132 Milano
(from Tuesday-Fryday -3pm-7pm)

Isola Art Center runs the risk of losing the spaces in which it has
operated
since 2003, and no suitable alternative space in which to continue its
activity has been proposed.
Temporary Isola Art Center is hosted from AssabOne, an exhibition space
founded by Elena Quarestani that produces and promotes cultural and art
projects. Isola Art Center has worked with 1500 square meters of
exhibition space on the second floor of the industrial building known as the
"Stecca degli Artigiani", owned by the city. The space contains a permanent
collection of artworks inserted in the architecture of the building by
international artists like Marjetica Potrc, Tania Brughiera, Seamus
Farrell and Italian artists like Michelangelo Pistoletto, Stefano Arienti, Luca
Pancrazzi, Massimo Bartolini, Gabriele Di Matteo, Vedovamazzei, Loris
Cecchini and Bernardo Giorgi.

For this event Katia Anguelova has invited Daniela Kostova and Plamen
Dejanoff –residents of NY USA and Vienna, Austria respectively. The
two artists share a common Bulgarian origin that also acts as a starting
point for their projects.

Plamen Dejanoff’s project originates from the relationships between
art, culture and economy, issues that the artist has been investigating for
some years now. In Planets of Comparison Dejanoff explores the relations
between the systems of art and of economy. Here he acts simultaneously as
artist, manager and collector.

In the nineties Dejanoff bought seven houses in Veliko Tarnovo (a city
in the centre of Bulgaria) to be restructured by Plamen Dejanoff in
collaboration with a number of architecture studies (Kьhn/Malvezzi,
Vienna, Berlin, Grьntuch & Ernst Berlin, Gruppo A12 Milano, Cocktail Lyon) and
afterwards used by institutions, galleries and museums for cultures
activities. The project started with MUMOK, the Museum of Modern Art
Ludwig Foundation Vienna, where a bronze statue representing a part of the
first realised house was exhibited in the spring of 2006 (the project was
realised
by Plamen Dejanoff with the Austian architects Wiederin/Konzett and
Hubmann &Vass). The project will then move to Veliko Tarnovo where MUMOK will
be establishing a space in the Balkans for the next years. Plamen combines
strategies of art and business in a similar way to how Andy Warhol
combined Pop and Conceptual Art.

For this exhibition Plamen Dejanoff presents new phases of the project
on MUMOK house in Veliko Tarnovo, designed together with architects Erich
Hubmann & Andreas Vass from Vienna, featuring drawings, maquettes, and
new objects branded ‘dejanoff’ that are actually realised in
collaboration with Bulgarian craftmens and “made in Bulgaria”. This project, playful
and economically rewarding at the same time, transforms the existential
experience into a sort of joint venture which is typical in the real
economy, thus continuing his investigation into art and economy.

Daniela Kostova uses her documentary video, Body-Without-Organs, as raw
material for an installation, designed originally for Isola Art Centre,
composed of a series of ‘social environments’. The passage through
the installation invites viewers to reflect on the issues of emigration,
travelling and music as a point of integration.

The title of the work borrows the concept of “body-without-organs”
from Gilles Deleuze. The expression “le corps sans organs” may seem
obscure, but its definition is quite clear. It means conceptualizing the body
without reducing it to an organic form, not a body deprived of the organs,
instead a body on its way to differentiation. The body without organs is
therefore in-organic life and, as such, a power of individualization not yet
turned into an organism.
The exhibition becomes a means for cultural dialogue and confrontation
between geographical places that are different yet near. Inspired by
the New York music scene of ethno-mesh and gypsy-punk the installation
describes the Bulgarian Bar ironically named the Bulgarian Cultural Centre in New
York City seen through the eyes of those who recently emigrated there.
Bulgarian Bar is not a “cultural center” but rather a cultural
imaginary and an area of converging opposite tendencies: on one hand the
institutional representation of the National Cultural Center and on the other the
essence of the nomad spirit expressed through the gypsy-punk music.

Dancing in the Bulgarian Bar transcends the usual bodily function,
overiding it with new possible meanings provided by the orgasmic fusion with
music. The experience in the Bulgarian Bar becomes an anthropological metaphor
that shows plurality of culture. The work of Daniela Kostova becomes the
search for one’s self in the human community, where spiritual values are the
consequence of collective adventures. It is not by accident that DJ
Boro says of Gypsy music – “the Gypsy idea works very well, because they
don’t have a state. They are continuously nomadic”. In short, the party
depends on the people’s possibilities and on their capacity to forget their own
identities.

For further information please contact the curator of the exhibition,
Katia Anguelova, zebonski@fastwebnet.it

For image material please contact info@isolartcenter.org

Thanks to Elena Quarestani and AssabOne

Supporting body:
European Cultural Foundation
Provincia di Milano

28 май 2007

Global Feminisms za otkrivaneto na Elisabeth A Sackler Center for Feminist Art v Brooklyn Museum, NY


Do kraia na Juni vse oste moze da se vidi izlozbata
Global Feminisms,

syzdadena za otkrivaneto na Elisabeth A Sackler Center
for Feminist Art v Brooklyn Museum, NY, v koiato
uchastvam s rabotata si “Praznuvane na sledvastia mig”
1999. Izlozbata ste putuva po USA v sledvastite 2
godini.

Po-dolu ima kratuk announce, link kym saita na muzeia
I po-obshiren press release.

Borynana Rossa

http://www.brooklynmuseum.org/exhibitions/global_feminisms/

Exhibition checklist
http://www.brooklynmuseum.org/exhibitions/global_feminisms/check_list_revised.pdf

March 23–July 1, 2007
Elizabeth A. Sackler Center for Feminist Art and
Morris A. and Meyer Schapiro Wing, 4th Floor
In celebration of the opening of the Elizabeth A.
Sackler Center for Feminist Art, the Museum presents
Global Feminisms, the first international exhibition
exclusively dedicated to feminist art from 1990 to the
present. The show consists of work by approximately
eighty women artists from around the world and
includes work in all media—painting, sculpture,
photography, film, video, installation, and
performance. Its goal is not only to showcase a large
sampling of contemporary feminist art from a global
perspective but also to move beyond the specifically
Western brand of feminism that has been perceived as
the dominant voice of feminist and artistic practice
since the early 1970s.This exhibition is arranged
thematically and features the work of important
emerging and mid-career artists.
The Brooklyn Museum presents exhibitions that give
voice to diverse points of view. Global Feminisms
contains challenging subject matter that some visitors
may find disturbing or offensive. Children 17 and
under must be accompanied by an adult. Discretion is
advised.
This exhibition is co-curated by Maura Reilly, Ph.D.,
Curator of the Elizabeth A. Sackler Center for
Feminist Art, Brooklyn Museum, and Linda Nochlin,
Ph.D., Lila Acheson Wallace Professor of Modern Art,
Institute of Fine Arts, New York University.


For Immediate Release

October 2006
Press Contact: Anne Edgar, Anne Edgar Associates,
(646) 336-7230, anne@anneedgar.com
Sally Williams, Public Information Office, Brooklyn
Museum, (718) 638-5000, ext. 331

Ground-breaking International Survey Inaugurates
Elizabeth A. Sackler Center for Feminist Art at the
Brooklyn Museum
Brooklyn, NY — Global Feminisms, a large-scale
international survey of contemporary art, will
inaugurate a
major new exhibition and study center devoted to art
created from a feminist perspective. Signaling an
intent
to take the study of new, often-critical visual
expressions in new directions, the Elizabeth A.
Sackler Center
for Feminist Art at the Brooklyn Museum, the first
facility of its kind in the United States, ventures
far beyond
American and European borders for the inauguration
presentation.
On view from March 23 through July 1, 2007, the
exhibition has been made possible, in part, through
the
generous support of the Altria Group, Inc.
Global Feminisms assembles works in a range of media
by more than 100 women artists, most of whom are
under 40 and two-thirds of whom have never before
presented work in New York. Some 50 countries are
represented, including a good number that seldom
figure in the contemporary art discourse, such as
Sierra
Leone, Kenya, Russia, Yugoslavia, Costa Rica,
Afghanistan, Indonesia and Taiwan.
The joint enterprise of two scholars, Maura Reilly,
Curator of the new Center, and Linda Nochlin, Lila
Acheson
Wallace Professor of Modern Art at the New York
University Institute of Fine Arts, the survey
coincides with
the 30th anniversary of the first major exhibition to
explore the role of women in the history of Western
art.
Organized by Dr. Nochlin, with Ann Sutherland Harris,
Women Artists: 1550-1950 was presented at the Brooklyn
Museum in 1977.

“In Global Feminisms, we are attempting to construct a
definition of ‘feminist’ art that is as broad and
flexible
as possible,” says Reilly. “Linda and I kept asking
what it means to be a feminist in radically different
cultural,
political, and class situations. And we found not one
definition, but many; hence, the term ‘feminisms.’”
“Since Woman Artists opened in San Francisco 30 years
ago, gender studies has penetrated all ways of looking
at art. So even though it is true that many aspects of
society have not changed much, or enough, in
200 Eastern Parkway,
Brooklyn,
NY 11238-6052
T(718) 638-5000 F(718) 501-6134
www.brooklymuseum.org

the intervening years, it is also true that,
consciously or unconsciously, people now make work
that was
impossible before feminism,” says Dr. Nochlin.

Life Cycles / Identities / Politics / Emotions

Despite real differences in the life situations and
preoccupations of the artists, several threads of
thought
emerge as themes in Global Feminisms. One is an
interest in Life Cycles that transforms rather
sclerotic
conventional conceptions of a woman’s life into visual
experiences that more closely mirror life as it is
lived—and dreamed—today. Among the works featured in
this section is a huge photograph by the London-
based artist Melanie Manchot, featuring the artist’s
mother nude from the waist up, and laughing against a
background of sky so blue it could grace a Hallmark
card. In another work, a large-scale color photograph,
the
California-based artist Catherine Opie displays
herself as she is, a woman whose appearance is far
from the
Madison Avenue ideal, nursing her son in a portrait of
vulnerability and strength as guileless and true as
any
example of the Christian “mother and child” iconology
in art history.

Dr. Reilly and Dr. Nochlin also found artists around
the world exploring Identities, whether it be racial
identity,
gender identity, or concern with the concept of self.
In this section, viewers will find a number of artists
skewering notions of exoticism with deliciously
hyperbolic send-ups of, for example, the contented
Spanish
peasant woman (Pilar Albarracнn of Madrid); the butch
lesbian in a never-ending ritual of binding (Mary
Coble,
Washington D.C.); and the hot, hip Asian chick doing
karaoke as performed and documented for video by
Taiwanese-born artist Hsia-Fei Chang. Mequitta Ahuja
of Chicago is represented by a huge oil-on-canvas
entitled Boogie Woogie (2005) in which an African
tribal dancer, a blue-eyed, bearded black man-woman,
seems to charge across the picture plane
full-tilt—breasts, horns, tail and all.

Nowhere can the incalculable differences among women
be grasped more clearly than in the section focusing
on the recurring theme of Politics. Regina Josй
Galindo is seen trailing a bloody footprint with each
step as she
walks from the Court of Constitutionality to the
National Palace in Guatemala City, in memory of
murdered
Guatemalan women, in her performance videotape, Who
Can Erase the Prints? (2003). Irani artist Parastou
Forouhar’s digital wallpaper is seen to be filled with
sketches of figures performing different actions, as
lively as
those to be found in a Ukiyo-E woodblock; yet closer
inspection reveals that these men and women are being
acted upon, tortured in a variety of horrible ways.
And Tania Bruguera, who lives in Cuba and the U.S.,
asks the
viewer to consider the meaning of a Cuban flag woven
of hair from countless anonymous Cubans. She entitled
the 1995/96 work, “Estadistica (Statistic).”

Another theme in Global Feminisms is Emotions.
Japanese artist Ryoko Suzuki contributes a mural-sized
installation of three photographs in which her face is
bound tightly by pig’s intestines—bullied into a kind
of
mute, anonymous submission. Bulgarian artist Boryana
Rossa is among a number of artists represented in
this section who wields a wicked humor, appropriating
cultural clichйs about women’s histrionic emotions and
blasting away at these assumptions, as in her video
Celebrating the Next Twinkling (1999).. In another
work, a
2004 video by Polish artist Anna Baumgart whose title
translates as “ecstatic, hysteric and saintly ladies,”
the
female protagonists are shown performing psychological
and physical pathologies.


Among the other artists represented in Global
Feminisms are Arahmaiani (Indonesia), Pilar Albarracнn
(Spain), Rebecca Belmore (Canada), Tania Bruguera
(Cuba), Lee Bul (Korea), Tracey Moffatt (Australia),
Priscilla Monge (Costa Rica), Ingrid Mwangi (Kenya),
Patricia Piccinini (Sierra Leone), Jenny Saville
(U.K.), Shahzia Sikander (Pakistan), Sissi (Italy),
Milica Tomic (Yugoslavia), Adriana Varejгo (Brazil),
and
Miwa Yanagi (Japan). The wide range of media employed
in the exhibition includes painting, sculpture,
photography, works on paper, installation, video, and
performance. Elizabeth A. Sackler Center for Feminist
Art
Global Feminisms inaugurates The Elizabeth A. Sackler
Center for Feminist Art, which was established in
2003 through funding from The Elizabeth A. Sackler
Foundation. The Center’s 8,300 sq. ft. facility on the
Museum’s fourth floor has been designed by one of the
nation’s leading architects, Susan T. Rodriguez of
Polshek Partnership Architects.

Along with the opening of Global Feminisms, an icon of
contemporary art returns to the public stage in
March: Judy Chicago’s The Dinner Party is to be a
permanent centerpiece of the Center. Also on view,
organized by Edward Bleiberg, Curator of Egyptian Art,
in collaboration with Dr. Reilly, is Pharaohs, Queens,
and Goddesses, an exhibition drawn from the Museum’s
renowned Egyptian collection to illuminate the role of
women in Egyptian art and life.

Catalogue and Programs

A fully illustrated catalogue published by Merrell
will accompany the exhibition. Reflecting the global
reach
of the exhibition, the catalogue will feature essays
by Reilly, Nochlin; N’Gonй Fall, an independent
curator
born and raised in Senegal; Geeta Kapur, an
independent art critic and curator in Delhi; Elisabeth
Lebovici,
Paris-based independent scholar and an art critic;
Charlotta Kotik, John and Barbara Vogelstein Curator
of Contemporary Art at the Brooklyn Museum; Joan Kee,
independent critic, curator, and art historian
specializing in modern and contemporary art of East
Asia; Michiko Kasahara, Chief Curator of the Tokyo
Metropolitan Museum of Photography; and Virginia Pйrez
Ratton, Director of the TEOR/йTica art project in
San Jose, Costa Rica.

Organizers

Maura Reilly, Ph.D. is the Curator of the Elizabeth A.
Sackler Center for Feminist Art. Prior to assuming
this
position in 2003, Dr. Reilly taught art history and
women’s studies at Tufts University, as well as
courses at
Pratt Institute, Vassar College, and the Institute of
Fine Arts, New York University, where she received her
Ph. D.
Global Feminisms co-curator Linda Nochlin, Ph.D. is
currently the Lila Acheson Wallace Professor of Modern
Art at the Institute of Fine Arts, New York
University. Previously she held positions at Yale
University, The
CUNY Graduate Center, and Vassar College. She is the
author of numerous acclaimed books and articles
and has lectured widely, including the Norton Lectures
at Harvard University.


Public Programs
A schedule of public programs related to Global
Feminisms will be released closer to the opening date.

GENERAL INFORMATION
Admission:
Contribution $8; students with valid I.D. and older
adults $4. Free to Members and children under 12
accompanied by an adult. Group tours or visits must
be arranged in advance by calling extension 234.
Directions:
Subway: Seventh Avenue express (2 or 3) to Eastern
Parkway/Brooklyn Museum stop; Lexington Avenue
express (4 or 5) to Nevins Street, cross platform and
transfer to the 2 or 3. Bus: B71, B41, B69, B48.
On-site parking available.
Museum Hours:
Wednesday through Friday, 10 a.m. to
5 p.m.; First Saturday of each month,
11 a.m. to 11 p.m.; all other Saturdays,
11 a.m. to 6 p.m.; Sunday, 11 a.m. to
6 p.m. Closed Thanksgiving, Christmas,
and New Year’s Day.

Boriana Rossa - tri kuratorski proekta prez 2007

Tuk presdtaviam trite proekta, chiito curator biah
tazi godina.

“V prisystvie na tialoto”
(In the Presence of the
Body) vse oste moze da byde vidian do kraia na June v
Center for Bio Technology and Interdisciplinary
Studies (CBTIS) v Rensselaer Polytechnic Institute,
Troy, NY.

Proektyt „Everything You Wanted to Know About “The
East” but Were Afraid to Ask”

Stana prichina za syzdavaneto na universitetska
bibliotechna kolekcia ot video dokumentacia na
pyrformansi ot istochno evropeiski strain, za koiato
biaha zakupeni videa na Ventsislav Zankov, Rassim,
Daniela Kostova, Boryana Rossa, Oleg Mavromatti, Anton
Terziev I Ultrafuturo (K. Damianova, O. Mavromatti, M.
Dimitrov)

Izlozbata „The 8th of March International Women’s Day
Art Show”
, kurirahme zaedno s Daniela Kostova & Dara
Greenwald, kakto I s pomostta na raznoobrasznoto po
polowa samoidentifikacia universitetsko & mestno
artistichno obstestvo.

Tuk mogat da bydat vidiani snimki ot trite proekta:

http://roboriada.org/ultrafuturo

Po-dolu podrobna informacia na angliiski.

„In the Presence of the Body” se namira v:

Rensselaer Polytechnic Institute
110 8th Street, CBTIS,
Troy, NY 12180

Bih iskala da izkaza specialni blagodarnosti kym
Daniela Kostova, Oleg Mavromatti, Rich Pell & Kathy
High, koito poloziha ogromni usilia za da moze tezi
tri proekta da bydat osystestveni.

Boryana Rossa


……
In the Presence of the Body
Curated by Boryana Rossa


“In the Presence of the Body” is an inaugural
exhibition in conjunction with the BioArts Initiative.
The BioArt Initiative is a collaborative research
project between Rensselaer’s Arts Department and the
Center for Biotechnology and Interdisciplinary Studies
(CBIS). This project proposes to lay the foundation
establishing RPI as a premiere institution for the
synthesis of emerging biotechnological research and
media art practice. The potential for creating a
mutually supportive and critically engaged culture
between art, engineering and science exists at RPI to
a degree that is possible in only a select few
universities worldwide.
“In the Presence of The Body” is a season of events
dedicated to art, biology and society at RPI, Center
for Biotechnology and Interdisciplinary Studies
(CBIS), and West Hall.
EVENTS:
BioArt Initiative Opening receptions:
Wednesday, April 18th, 4-6 pm, RPI, West Hall, Gallery
111, documentation of bioart works
Wednesday, April 18th, RPI, Center for Biotechnology
and Interdisciplinary Studies (CBIS), MEART the Semi
Living Artist

Artist/scientist talks and discussions:
Monday, April 23th, 6-10 pm, RPI, Center for
Biotechnology and Interdisciplinary Studies, Bruggeman
Conference Center
Speakers:
Steve Potter
(Ph.D., Biological Sciences, University of
California—Irvine, Department of Neurobiology and
Behavior, 1993, Assistant Professor, Coulter
Department of Biomedical Engineering, Georgia
Institute of Technology, Atlanta)
Steve Kurtz
(Ph.D., Interdisciplinary Humanities, University of
Florida, artist, University at Buffalo, The State
University of New York, founding member Critical Art
Ensemble)
Adam Zaretsky
(MFA School of the Art Institute of Chicago, artist,
Universiteit Leiden, The Netherlands)
In The Presence of The Body Description:
In the Presence of the body is the first exhibition
event of the ground breaking BioArt Initiative for
collaboration between the Department of Electronic Art
and the Center for Biotechnology and Interdisciplinary
Studies (CBIS) at RPI. The initiative brings together
RPI’s cutting-edge biotechnology resources with its
world-class electronic arts community. The show will
feature drawings made by MEART, a biological art work
consisting of living cell culture that controls a
robotic arm. Documentation of bioart works will be
displayed with the aim of introducing the university
and the local community to the collaboration of art
and science as a field that stands as a mediator
between scientific research and society. Artists from
Australia, Canada, Russia,
Bulgaria, Germany and the US will demonstrate an
engaging and critical overview of some of the aspects
of current scientific research and its application.
The show will be in conjunction with an evening of
talks and discussions. Artists and scientists will
present their research, artistic projects and
experience in collaborative art/science work.
In The Presence of The Body at CBIS:
The core project presented at the CBIS will be MEART
the Semi Living Artist, a result of seven years of
collaboration between SymbioticA Research Group
(SymbioticA - The Art & Science Collaborative Research
Lab, University of WA), and Dr. Steve Potter's Lab
(Department of Biomedical Engineering, Georgia
Institute of Technology).
MEART - The Semi Living Artist is a geographically
detached, bio-cybernetic research and development
project exploring aspects of creativity and artistry
in the age of new biological technologies. It was
developed and hosted by SymbioticA Research Lab. MEART
is an installation distributed between two (or more)
locations in the world. Its “brain” consists of
cultured nerve cells that grow and live in a
neuro-engineering lab, in the Georgia Institute of
Technology, Atlanta, USA (Dr. Steve Potter's lab). Its
“body” is a robotic drawing arm that is capable of
producing two-dimensional drawings. The “brain” and
the “body” communicate in real time when MEART is
shown live in a gallery.
MEART is suggesting future scenarios where humans will
create/grow/manufacture intuitive and creative
“thinking entities” that develop into intelligent and
unpredictable beings. They may be created by humans
for anthropocentric use, but as they will be creative
and unpredictable they might not necessarily stay the
way they were originally intended. This work explores
questions such as: What is creativity? According to
what criteria do we evaluate it? Can we move away from
our anthropocentric thinking about the “only human”
creative capability? Can we recognize the creativity
of The Other we don’t know? How does our definition of
creativity relate to what we think intelligence is?
A focal exhibit of the show will be documentation of
MEART – a short film, photographs, scientific poster
and reports as well as original drawings of the robot.

Other artists’ videos will be screened at CBIS
including works by SymbioticA research Lab (Oron
Catts, Ionat Zurr, Tanya Visocevic, Phil Gamblen, Guy
Ben Ary, Bruce Murphy, Douglas Bakkum), Eduardo Kac,
Paul Vanouse, BIOTEKNICA (Shawn Bailey & Jennifer
Willet).

“In The Presence of The Body” exhibition at WEST HALL
GALLERY 111:
The second location of the show is Gallery 111, at
West Hall. Similar to the show at the CBIS a variety
of bio-art documentation will extend public
understanding of what the dimensions of art/science
collaboration field are. The focus is on re-evaluation
of the scientific research, the opportunities or
misinterpretations exposed to society and the
dimensions of the public awareness about its
applications.
Other artists videos will be screened Gallery 111
including works by: Adam Zaretsky and Barbara Groves,
BIOTEKNICA, Critical Art Ensemble w/ Rich Pell,
Dimitry Bulatov, Julia Reodica, Stelarc and Nina
Sellars, SymbioticA Research Group, ULTRAFUTURO, Where
the Dogs are Running.
"In the Presence of the Body" is also a precursor of
the show “Corpus Extremus (Life+)” scheduled for
exhibition December 2007 at the renowned
art/performance space Exit Art in New York. “Corpus
Extremus (Life+)” focuses the investigation to
questions of life and death while expanding the
framework to arenas of technology related to this
theme. The exhibition topic will include genetic and
biotechnologies (tissue engineering, cryobiology,
nanotechnology), cybernetics, virtual reality, the
fusing of the human and the machine, the technologies
of death, and the corporate marketing of the
biological.
……
Everything You Always Wanted to Know About "The East"
But Were Afraid to Ask
Curated by Boryana Rossa
IS TWO IN ONE:
EXHIBITION
AND A MUSIC PARTY
Opening party: Tuesday, May 8th, 7-11 pm,
“Fifty-one-third” 51 3rd, Troy, NY
with live performances by: the jesse stiles 3000,
Doestoevsky's Pistols, DJ joro-boro from the Bulgarian
Bar in NYC
Exhibition:
The intention of this show is to expose
artistic/political practices that are not very well
known in the U.S. and to challenge some stereotypes
about Eastern Europe. Artists from Russia, Bulgaria
and Estonia use their bodies to talk about issues of
gender, religious, national and political identity in
the “young” democracies.
Music Party:
Subverting the flow of corporate imperialism,
joro-boro imports the sound of the world as ethnomesh
- a mix of gypsypunk, balkan dancehall, booty bhangra,
favela turbo funk, bandari beats, sonidero cumbia,
techno brass q-check and whatever else is needed to
detonate a global wedding party where everybody is
related.
More about the show:

Most of the works presented are public interventions
and performances. Made primarily in the nineties--time
of dramatic changes for most of the countries of the
communist block—they provoked polarized reactions in
the Eastern European societies and media.
These works have been also exhibited in Western
countries like Germany, USA, Canada, France, Spain,
Austria, Switzerland and many others. Artists in the
show include:
Absolute Love Sect (SAL), Daniela Kostova, Elena
Kovylina, Emperor Wawa, Georgy Toushev, Houben
Cherkelov, Kai Kaljo, NEZSEZIUDIK (O. Mavromatti, D.
Pimenov, A. Osmolovski, A. Brener), Rassim,
Ultrafuturo (Boryana Rossa, Oleg Mavromatti, Anton
Terziev, Katia Damianova, Miroslav
Dimitrov),Ventsislav Zankov.
Pictures:
http://www.flickr.com/photos/zulma/sets/72157600197019036/
…….
The 8th of March International Women’s Day Art Show
Opening Party: Thursday, March 8th, 6-10 pm
Live Performances by C. Ryder Cooley, Sarah Paul &
Chris Skinner, and Evolution Revolution!
At 51 3rd Street, Troy, NY
Wednesday March 14th 2007
6-8 pm with an artist talk by Dara Greenwald
Friday March 16th 2007
7pm Screening and The Hole Body Performance by Boryana
Rossa
The 8th of March marks the international day of
celebration for women’s rights. International Women’s
Day has been celebrated on this date since 1917. This
show highlights the work of over 20 local women
artists and their collaborators. This happening/
celebration/ party/ show includes drawing, video,
animation, performance, sculpture, bio-art,
photography, installations, music, and more. Artists
in the show include: Barbara Groves , Bettina
Escauriza, Boryana Rossa, Branda Miller, Cat Mazza, C.
Ryder Cooley, Caz McIntee, Daniela Kostova, Dara
Greenwald, Evolution Revolution, Julia Christensen,
Julia Reodica, Jung Yoon, Kathy High, Kyra Garrigue,
Lin Bell, Liz Blum, Nao Bustamante, Nina Baldwin,
Olivia Robinson, Seana Biondolillo, Sarah Paul & Chris
Skinner, and Zulma Aguiar.
More Info on International Women’s Day
In 1911, as a result of the decision taken at
Copenhagen the previous year, International Women's
Day was marked for the first time (19 March) in
Austria, Denmark, Germany and Switzerland, where more
than one million women and men attended rallies. In
addition to the right to vote and to hold public
office, they demanded the right to work, to vocational
training and to an end to discrimination on the job.
Less than a week later, on 25 March, the tragic
Triangle Fire in New York City took the lives of more
than 140 working girls, most of them Italian and
Jewish immigrants. This event had a significant impact
on labour legislation in the United States, and the
working conditions leading up to the disaster were
invoked during subsequent observances of International
Women's Day.
In 1917, on the last Sunday of February, Russian women
began a strike for "bread and peace" in response to
the death over 2 million Russian soldiers in war.
Opposed by political leaders the women continued to
strike until four days later the Czar was forced to
abdicate and the provisional Government granted women
the right to vote. The date the women's strike
commenced was Sunday 23 February on the Julian
calendar then in use in Russia. This day on the
Gregorian calendar in use elsewhere was 8 March.

25 май 2007

24.05.2007 18.30 Хамбара - за Действието, Изкуството, Иконите и Спайдърмен - светец

дискусията протече в 3 части - в началото Орлин Дворянов напоително обяснява дейностите на Изкуство в Действие, после се повдигна въпросът за стойности и критерии в изкуството. Любен Кулелиев представи проекта си от Германия, който предизвика дебати около иконата, каноните, светостта, което се вписа в контекста на денят на Светите братя Кирил и Методий. Сиреч от "програмно" говорене се стигна до Спайдърман -икона. Иконата Е медиатор. Да кажа - за мен разговорът стана интересен, когато започна да се говори...

целия запис е тук

[аудио запис] 1h 55min , 139Mbt .mp3

проект 4х4 http://4x4.39grama.info/

22 май 2007

Everything You Always Wanted to Know About "The East" But Were Afraid to Ask Curated by Boryana Rossa

FOR IMMEDIATE RELEASE
>
> Everything You Always Wanted to Know About "The
> East"
> But Were Afraid to Ask
> Curated by Boryana Rossa
>
> IS TWO IN ONE:
>
> EXHIBITION
> AND A MUSIC PARTY
>
> Opening reception/party:
>
> Tuesday, May 8th,
> 7-11 pm,
> �Fifty-one-third�
> 51 3rd, Troy, NY
>
> with live performances by
> �the jesse stiles 3000�
> �Doestoevsky's Pistols�
> DJ joro-boro from the Bulgarian Bar in NYC
> Boryana Rossa/Oleg Mavromatti
>
> Contact: Boryana Rossa, 518-9613376,
> bori999@yahoo.com
>
> Exhibition:
> The intention of this show is to expose
> artistic/political practices that are not very well
> known in the U.S.; to challenge some stereotypes
> about Eastern Europe and what the �freedom of
> expression� is worldwide. Artists from Russia,
> Bulgaria and Estonia use their bodies to talk about
> issues of gender, religious, national and political
> identity in the �young� democracies. Boryana
Rossa
> and
> Oleg Mavromatti will perform live �True Love�
> presented for the first time at Exit Art, NY, March
> 2007.
>
> Music Party:
> Subverting the flow of corporate imperialism,
> joro-boro imports the sound of the world as
> ethnomesh
> - a mix of gypsypunk, balkan dancehall, booty
> bhangra,
> favela turbo funk, bandari beats, sonidero cumbia,
> techno brass q-check and whatever else is needed to
> detonate a global wedding party where everybody is
> related.
>
> More about the show:

> Most of the works presented are public interventions
> and performances. Made primarily in the
> nineties--time of dramatic changes for most of the
> countries of the communist block�they provoked
> polarized reactions in the Eastern European
> societies
> and the media.
> These works have been also exhibited in Western
> countries like Germany, USA, Canada, France, Spain,
> Austria, Switzerland and many others. Some of them
> have been presented in important international
> forums
> like the exhibition Body and the East - From the
> 1960s
> to the Present, Moderna Galerija, Ljubljana,
> Slovenia
,
> EXIT Art, New York; BLOOD: Lines and Connections,
> The
> Museum of Contemporary Art, Denver, After the Wall -
> Art and culture in post-Communist Europe, Moderna
> Museet, Stockholm.
>
> Artists in the show include:

> Absolute Love Sect (SAL), Daniela Kostova, Elena
> Kovylina, Expropriation of the Territory of Art
> (ETI),
> Emperor Wawa, Georgy Toushev, Houben Cherkelov, Kai
> Kaljo, , Rassim, Ultrafuturo (Boryana Rossa, Oleg
> Mavromatti, Anton Terziev, Katia Damianova, Miroslav
> Dimitrov),Ventsislav Zankov.

18 май 2007

dead art 2007



dead beauty 2007 by Ventsislav Zankov

16 май 2007

съвременно изкуство и България

трябва Надежда Ляхова да сподели най-пресните си впечатления от столиците и артистичния живот на:
Сърбия
Румъния
и
по нататък -Германия и прочее

това , за което сме единодушни - че тук е жалко и мизерно - не като липса на пари, сърбите не са цъфнали и вързали, а като духовна нищета и мизерия, -плоски мечти, и кални ценности, и шибано запратено назад във времето изсилено, измислено достойнство

железен орден кой какво и защо

you can't save me

може и така

нечовешко

малко съветски песни и красавици

съдбата си играе със съдбата на съдба

бейби,бейби,бейби

What do New York Couples Fight About

Jackson Pollock on John Cage

царевицата и кунст-а - акция на плажа

Her Morning Elegance / Oren Lavie

Jonathan Meese - tate modern london

music: Royksopp - Sparks