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Everything is politicized and as an artist it is important to insert the viewer into a new world in which they feel happy, free and independent from the suggestions of television, social networks, radio, press.
Doctors are the new revivalists. I see in each of them unconditional devotion
Most of the cumulative effort from all income should go to doctors and the health sector, then to education and teachers, scientists, university professors, then to architects and artists.
Young people need to know that behind each work there is a story that is good to know, even if they do not respect it.
The boom needs visionaries, managers with a strategic vision of our development as a country.
– You have traveled all over the world with your paintings, but why did you choose France as the subject of your exhibition, which you will open on October 21 at the gallery at Calle Oborishte 5, Prof. Assa?
– My whole family is related to France: me, my wife Jeanne and my daughter Ina, who has lived in Paris for almost 12 years. He studied at two renowned universities right there. In France, higher education institutions have a higher status than universities because they are selective in entry. For me, the most respectable school where he studies is Penningen: Matisse himself studied there. In my next exhibition there is a tribute (from French Hommage – homage, br) to him.
I have been personally associated with France since the 1990s. Whether with friends or my daughter, France opens its doors to me every year on several occasions.
not just how
hiker
and a passerby, but
and as an artist
For France, you have to have a good key performance. It is even more important to speak French very well, then another incantation begins. However, if you don’t speak the language, you feel a bit remote. The art itself allows me to enter this world with my own eyes and feel infinitely happy, because even if I’m wrong, the translation is only mine.
– It has more than 100 exhibitions at home and abroad. How many are French?
“I counted them on the way.” The first is a group exhibition in the beautiful Paris City Hall building. Then comes the exhibition at the so-called All des Ar, where I had won a three-month scholarship in the 1990s. At the same time, I was invited to show the work that I had done in the studio of the Cité des Arts, in a spacious Parisian apartment with a real exhibition space. There was a large audience and a cocktail party just like any gallery show. I had a solo exhibition in a gallery in Bordeaux. I participated with my exhibition in a corporate exhibition of the oldest French insurance company: “Prevoir”. At the Bulgarian Cultural Center in Paris, I participated in a group exhibition showing self-portraits of Bulgarian artists. Before moving to the new building, the French Cultural Institute had a gallery where I held the exhibition Versailles, Versailles. Maybe I’m missing something.
– I saw how excited you were at the “worthy Bulgarians” ceremony last day at the presentation of the Grand Prix of Bulgarian doctors on the front lines of the pandemic. Do you have a personal reason for reverence for them?
– Yes. In the bad opportunity of facing a serious illness, which I do not like to talk about, I was fortunate that my treatment was attended by exceptional doctors. I don’t have enough words to express my gratitude and admiration for Professor Evgeniy Hadjiev, who translated for me over the years with professional skill and human warmth. Due to the non-trivial diagnosis I had
contact with doctors
from Vienna
and paris
Prof. Rusanka Kovacheva, with whom we have a warm friendship for many years, in addition to discovering Prof. Hadjiev, not only helped me to overcome diabetes, but also responded with the perception that experience and vocation give to each of my health problems.
Today, for me, doctors are the new revivalists, especially now when we are experiencing a serious crisis with COVID-19. I admire the whole class, because I see unconditional devotion in each of them.
They just go to the front and go into battle for human life. Exceptional! To me, these are the modern heroes who have turned the blades of the last few years. They bring you from somewhere and you are alive, healthy again, you work, you take care of your family and grandchildren, you feel happy. Like me. I believe this is the great change that the pandemic has brought. Today’s direct doctors are his teachers.
– Many are looking today for the formula of a strong state, in which they dream of Bulgaria becoming. What is your idea?
– What does “strong state” mean? We have learned from totalitarian experience that a strong state can crush its citizens. I have my own pacifist utopia. Most of the revenue from all efforts goes to doctors and the entire healthcare sector, then to education and teachers, including eternally neglected scientists and university professors, then to architects and artists … Finally it is the turn of the military and power structures. I do not understand how “war” or “guard and Apache” games drive the progress of humanity.
In my opinion, the protests, which have been going on for three months, are justified. Most Bulgarians hoped that over time, and 31 years have passed since the change, we would reach a solid line of morality, discipline and positivity. Ascent is hampered when the sense of justice is damaged.
– However, there is no rise in the whole world, don’t you think?
– Yes, but there are areas where there is great progress. Let’s think about digital technologies or advances in medicine. The boom needs visionaries, managers with a strategic vision of our development as a country. Causation breaks down when we want things in the here and now, and we don’t think about what they will reproduce over time.
– You teach at the Academy of Arts. Are you sure that the criteria by which you accept students are in line with new technologies and that you choose the most outstanding and talented candidates?
– The focus is no longer really on painting and sculpture. It has changed to electronics, media, social media. My students have access to huge sets of information with a few clicks of the device. Education should help them analyze, screen and assimilate it. And in painting, in painting, in sculpture, as well as in conceptual works of art, there must still be understanding. Without it, there is a simple encounter with a work of art, displayed on a telephone or on a computer screen. There is no memory, the ability to collect two works of art and do your own reading.
– In this sense, do you artists manage to influence society through your art?
– My colleagues and I look forward to a deeper reading of the messages we make with our work. There will be this instinct in man to see and appreciate the work, it leaves no trace.
Art,
especially
painting,
give way
territory of
Photography,
that conquers new fields and imposes its own rhythm and way of thinking. Susan Sontag writes that it is very easy to pull the trigger on the camera, but before then, many artists worked. After all, the moment, the second, this is new. Contemporary art needs space, sense and a bit of good humor, which we find less and less. Today everything is politicized, but for me as an artist it is more important to get the viewer out of the real situation, put him in a new world and make him feel happy, free and independent from the suggestions of television, radio, press. The picture is like a book – you may not be able to read, but even if you spell it, you will still be happy when you get your hands on it.
– I read that you carry the thought of Picasso in your pocket: “I always do what I cannot to learn to do it”. I remind you of your student years in Prague, so you didn’t stop painting anywhere and on any paper you came across, even the receipts for a coffee …
– Not only then, but now I make small drawings, doodles that taught me not to repeat. Why
the incident is just
now then it happens
second, you can’t
repeat one
and the same line
I remember very well how in one of the cafes you introduced me to a Czech artist, who later told me: “You paint so well, but why are you pushing so hard? Easy! “I loved his admiration and he said:” Maybe a little easier. “Why? And I in the Balkans insistently, with a thick line, for emphasis.
– Where do you understand your jobs best: here, in Bulgaria or abroad?
“I still believe that sooner or later they will understand me, here or elsewhere.” Even though my loved ones know that
I can do
“Vertically
take off “
Fewer artists are left who take painting seriously. We recently shipped Andrey Daniel. He was part of the group “The City”. We were the first avant-garde group, the first contemporary art gallery, the first to start making installations. Then in 1986, we didn’t even feel the winds of change. We work in another dimension, which turned out to be ahead.
I’ve always thought that our art should take the European scene seriously. So it didn’t work because of the personal pronouns who to go, who to be, why him and not me. Thus, Bulgarian art made great advances, but individual. Our biggest participation as a presentation of different generations of Bulgarian artists was at the Venice Biennale: Pavel Koychev, Huben Cherkelov and myself. The pavilion was in
beautiful palace,
not in the hallways,
roofs
yards with
Unpaid rents Bulgaria suffers when it does not show itself in the light it deserves.
– You said in your interview that you don’t paint pictures to hang on a nail in the kitchen. Does this ambition, which every true artist needs to advance, reach the man of the masses?
– I hope. You can not hang an Ivan Vukadinov in the kitchen, the picture will simply break the walls. Or Emil Stoychev or Teofan Sokerov, exceptional painters!
Because the kitchen smells like turpentine, but it doesn’t smell like silence, and then the meaning is lost. Why did I switch to larger formats? Because they don’t even fit in the living room.
– What should young people know?
– That nothing has started now, and behind each work there is a story that is good to know, even if they don’t respect it.
He was born on January 29, 1954 in Pleven.
In 1981 he graduated in mural painting at the University of Veliko Tarnovo “St. Saint Cyril and Methodius “in the class of Prof. Nikola Gelov
Professor, teaches painting at the Academy of Arts
His paintings are in the possession of the National Gallery of Art, the Sofia City Art Gallery, the Bundestag in Berlin, the Peter Ludwig Museum in Cologne, the Frank Page Collection in Baden-Baden, the Holocaust Museum in Washington and others.
There are more than 100 exhibitions in Bulgaria and around the world. The next will be on October 21 with more than 70 canvases for France, which is dedicated to the class of “white aprons”
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