Show map events
Friday 03 January 2025
30 December 2024 - 05 January 2025
December 2024
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
07.11.2024 - 05.01.2025
HOW I LIKE YOU
Bojidar Bonchev, Georgi Ruzhev, Iva Yaranova, Mariana Vassileva, Momchil Georgiev, Yuliy Takov
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
07.11.2024 - 05.01.2025
HOW I LIKE YOU
Bojidar Bonchev, Georgi Ruzhev, Iva Yaranova, Mariana Vassileva, Momchil Georgiev, Yuliy Takov
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
07.11.2024 - 05.01.2025
HOW I LIKE YOU
Bojidar Bonchev, Georgi Ruzhev, Iva Yaranova, Mariana Vassileva, Momchil Georgiev, Yuliy Takov
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
07.11.2024 - 05.01.2025
HOW I LIKE YOU
Bojidar Bonchev, Georgi Ruzhev, Iva Yaranova, Mariana Vassileva, Momchil Georgiev, Yuliy Takov
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
04.01.2025
THE NUTCRACKER
11:00
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Music and Dance Events
04.01.2025
THE NUTCRACKER
19:00
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
07.11.2024 - 05.01.2025
HOW I LIKE YOU
Bojidar Bonchev, Georgi Ruzhev, Iva Yaranova, Mariana Vassileva, Momchil Georgiev, Yuliy Takov
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Curator: Nadezhda Dzhakova
‘How I Like You’ presents the poetically ironic view of their surroundings by six contemporary artists. They reveal the way they perceive themselves, how others perceive them, and in what times they are living. Using the autobiographical approach as a means of self-expression and the search for a personal identity, the artists examine cultural, religious, political and social themes, focusing on self-reflection and criticising the notion of private and public space. The exhibition is part of the long-term Autobiography Project of curator Nadezhda Dzhakova.
Media partner: BTA / Bulgarian News Agency.
Nadezhda Dzhakova, Head of SAMCA
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
05.01.2025
THE NUTCRACKER
11:00
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Music and Dance Events
05.01.2025
THE NUTCRACKER
17:00
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Ballet by Pyotr Ilyich Tchaikovsky
Duration 2:00 Intermission 1
Main Hall
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
10.01.2025
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
11.01.2025
The lost princess
A concert with songs from the musicals "Anastasia" and "The Sound of Music"
Duration: 0:50
Chamber hall
Duration: 0:50
Chamber hall
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
31.05.2024 - 12.01.2025
NEDKO SOLAKOV
The Palace
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Nedko Solakov, who lives in Sofia, is one of the most renowned artists of his generation. He has an impressive professional biography with over 100 solo exhibitions in illustrious museums across Europe, America, and Asia. He has also had long-standing collaborations with prestigious international galleries and has participated in numerous international biennales such as Istanbul, Sydney, Venice, New Orleans, Tirana, Sharjah, Riga, Kathmandu, Moscow, Seville, Sao Paulo, Yekaterinburg, and Thessaloniki, among others. Additionally, he has been part of group exhibitions curated by visionary curators.
Notably, he is the only artist living in Bulgaria who has represented the country at the Biennale di Venezia and has been also included three times in its main curatorial project.
In 2007, he received an “Honorable Mention to an artist exhibited in the central international exhibition” at the 52nd Biennale. Nedko Solakov has also twice participated in the world’s most prestigious contemporary art exhibition, Dokumenta in Kassel.
At the core of Nedko Solakov’s immense success is his art’s ability to resonate with a diverse spectrum of viewers. His stories resonate with all, from sophisticated curators to those who find themselves in museums by chance. His visual language is a dynamic ‘conversation’ between drawing, painting, objects, space, and almost always text – narrative, description, commentary, and word games. His stories themselves are a kind of encyclopedia of the present time – art and artists, nature in all its diversity, current politics, social issues, and the heroes of the day, all woven together by the author with a wealth of emotion and humor, often with self-irony.
The project “A Cornered Solo Show” began back in 2021, when the artist approached directors and chief curators of well-known museums with the request to provide him with an “insignificant” corner in their buildings – a corner that has never been used for exhibitions, but which the public has access to.
So far, three “corners” have been realized in major European museums: #1 at MUDAM – the Grand-Duke Jean Museum of Modern Art in Luxembourg (2021), #2 at MAXXI – the National Museum of Art of the Twenty-First Century in Rome (2022), and at the Belvedere in Vienna, which is hosting the “Cornered Solo Show #3 (with Charles Escher as my artistic conscience),” until June 19 this year.
All three exhibitions, united by an unusual, strange, previously unused corner space, tell completely different stories created specifically for their context. At the National Gallery, in such a previously unused “new,” albeit obvious and easily accessible space in the Palace, “A Cornered (Future) Solo Show #4” tells the imaginary story of a humble court painter and his friend, a tiny mouse, who are living under the staircase of the palace. Iaroslava Boubnova, curator of the exhibition.
Media partner: BTA / Bulgarian News Agency
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
12.01.2025
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.01.2025
LITTLE RED RIDING HOOD
Musical fairy-tale by Alexander Vladigerov
Runnig time: 01:00
Chamber hall
It is performed in Bulgarian
Runnig time: 01:00
Chamber hall
It is performed in Bulgarian
Music and Dance Events
17.01.2025
ADRIANA LECOUVREUR
Opera by Francesco Cilea / Premiere
Duration: 2:30
Main Hall
It is performed in Italian, with Bulgarian and English subtitles
Duration: 2:30
Main Hall
It is performed in Italian, with Bulgarian and English subtitles
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
18.01.2025
DIE ZAUBERFLÖTE for children
Opera by Wolfgang Amadeus Mozart – version adapted for children
Runnig time: 01:00
Chamber hall
Performed in Bulgarian.
Runnig time: 01:00
Chamber hall
Performed in Bulgarian.
Music and Dance Events
18.01.2025
Music and Dance Events
18.01.2025
ADRIANA LECOUVREUR
Opera by Francesco Cilea / Premiere
Duration: 2:30
Main Hall
It is performed in Italian, with Bulgarian and English subtitles
Duration: 2:30
Main Hall
It is performed in Italian, with Bulgarian and English subtitles
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
19.01.2025
ADRIANA LECOUVREUR
Opera by Francesco Cilea / Premiere
Duration: 2:30
Main Hall
It is performed in Italian, with Bulgarian and English subtitles
Duration: 2:30
Main Hall
It is performed in Italian, with Bulgarian and English subtitles
Music and Dance Events
19.01.2025
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
24.01.2025
THE CARNIVAL OF ANIMALS
Children's performance to the music of Camille Saint-Saëns
Duration 1:00
Chamber hall
Duration 1:00
Chamber hall
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
25.01.2025
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
26.01.2025
THE THREE PIGGIES
Musical by Alexandar Raichev
Duration 1:00
Chamber hall
Performed in Bulgarian.
Duration 1:00
Chamber hall
Performed in Bulgarian.
Music and Dance Events
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
17.10.2024 - 27.05.2025
ALEXANDER DENKOV’S ILLUSTRATIONS FOR HOMER’S ‘THE ILIAD’ BY NARODNA KULTURA PUBLISHING HOUSE, 1969
Kvadrat 500, 4th floor
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Alexander Denkov (1925–1972) was an artist with a short lifespan, but an extremely rich, meaningful, and prolific oeuvre. He was most productive in the genres of illustration and book design, although his unabating energy also flowed into cinema and the theatre: he was the scenographer for the theatrical performances ‘The Iron Oil Lamp’ and ‘The Bells of Prespa’; and the production designer of films including ‘The Law of the Sea’, ‘The Sun and the Shadow’, ‘Stars’, and ‘The Five from Moby Dick’. His contribution to the development of science fiction illustration remains significant, while his curiosity for hidden natural beauties and his extreme nature made him one of the pioneers of diving and cave exploration in Bulgaria.
In 1969, Denkov produced his remarkable illustrations for Homer’s epic poem, ‘The Iliad’. Respecting the theory that this art visualised the word, enriching the author’s text, the artist transformed one of the most ancient literary works into images. The illustrations draw the reader into the atmosphere of Hellenic culture. The distinctive iconography and stylistics of the art of that time were interpreted to excellence, yet without being deprived of a personal style and individual expression. Through the contrast of the black lines with the white paper, he built perfect compositions, in which the strokes of differing intensity and density are predominant. This play between airiness and definiteness creates a feeling of dynamics of the image and density of tones and halftones. The works are part of the National Gallery’s extensive graphic stock.
Team
Curator: Dr Tanya Staneva
Restorer: Kristina Beleva
Graphic designer: Dimitrina Nenova
Translation into English: Nigrita Davis
Avgust Spasov
Iliya Shapkaroski
Exhibitions
06.06.2024 - 31.05.2025
The Wall Vol. 5: Filipina Stamenkova REFLECTIONS
Kvadrat 500 Atrium Entrance at 95, Vasil Levski Blvd.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Curator: Martin Kostashki
The fifth edition of the National Gallery project, ‘The Wall’, presents ‘Reflections’, a site-specific installation by artist Filipina Stamenkova.
The mirror is a unique object, and an aspect of a deeply personal experience within the space where we find ourselves. What we see changes as we move—much like the sequence of frames in a film, an experience based on the principle of anamorphosis.
The artist explains: ‘When visitors reach this wall, they see themselves reflected in the mirror and thus occupy a central place in the installation. In the context of architecture and exteriors, mirrors retain the magical ability to bend, distort, expand and transform images and, through them, our perception of those images and our relationship with the living space. A sometimes pleasant, sometimes surprising or even comforting, often strange and confusing experience, the act of capturing oneself in a reflective surface is so fundamental to our continued assessment. The mirrored surface is strangely passive, yet intrusive and energetic, not only because it reflects the environment and the people around but, because of the very nature of its reflective quality, it transforms the way we see the world that surrounds us.’
When viewers see themselves reflected in a work, art immediately inspires a pronounced interest and creates a magical fascination similar to that in the myth of Narcissus.
The scale of the mirrored sculptural installation expands the visual space of the Kvadrat 500 Atrium, adding another aspect to its entry into the inner life of the gallery—by changing it and creating a new space.
The installation was designed and built by Woood Makerspace, a shared workplace for people with ideas who are skilful with their hands, with tools, and who have an aptitude for engineering. A place for bold projects, design developments and creative workshops in ceramics and woodcarving, the atelier is well known for its production in Georgia, Morocco, South Africa, as well as throughout Europe. To this day, a condition for accepting a commission is that it be complex and require brainstorming and creativity. The Woood brand is also popular for its work with the fashion giant Louis Vuitton, for which it has produced various façade and interior installations for the brand’s boutiques in London, Paris, Tokyo, and other cities. In Bulgaria, Woood is widely known for a number of projects relating to urban causes: the Imp-Act Agency’s Christmas decoration, the hidden letters of the Reading Sofia Foundation, as well as for initiatives developing the capital’s tourist image of the, in partnership with Sofia Airport and soSofia.com, the independent platform for city symbols.
The project was made possible with the financial support of the Lachezar Tsotsorkov Foundation.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
31.01.2025
Music and Dance Events