STRUCTURA PROJECT ROOM

curated by Vasil Vladimirov

02.07.2022 - 28.07.2022

Process Anatomy №2. Frequencies of Trauma, Krasimira Butseva

Process Anatomy №2. Frequencies of Trauma, Krasimira Butseva

Process Anatomy №1. Tales of the Limit, Aksiniya Peycheva

Process Anatomy №1. Tales of the Limit, Aksiniya Peycheva

We are launching our next project: the Structura Project Room is a special space in the gallery dedicated to showcasing young artists. Curator under 35 selected by competition will realize 4 exhibitions in 2022. The initiative is developed within the framework of the one-year platform “HOW SOON IS NOW?”, supported by the National Culture Fund.

This year the competition for curator was won by Vasil Vladimirov. Expect the first exhibition at the end of March. Here we introduce the curator and the main aspects of the idea to be developed.

The “Process Anatomy” project creates a space for speculation on the seemingly unexplored territory and state of artistic research. A series of exhibitions will present existing works by four different artists. Rather than in their materiality and ‘finished form’, they will be present through ideas and references related to the artistic research and the process of making behind them. The gallery space will be transformed into a studio of sorts where viewers will be involved in a process of ‘reverse engineering’, tracing the research methods at the heart of the respective artistic practice.

Taking the focus away from the conventional way of displaying art in a gallery setting, the series of exhibitions will discuss the different manifestations of artistic research. For example, it will raise questions about the role of the artist working at the intersection between art and (social) science. Can and in what ways it can contribute epistemologically to these fields? More generally, how does artistic inquiry assist in articulating and understanding human experience?

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Vasil Vladimirov is curator and coordinator of the art program at KO-OP art space, Sofia, and works as a freelancer. He has a BA in Modern History and Politics, and an MA in Political Sociology. At KO-OP he facilitated: “Sweet & Sour Hour” (solo exhibition by Mihail Novakov), “The Future Will Come” (solo exhibition by Mitch Brezunek), “First Line” (solo exhibition and publication by Andrea Popyordanova), “NO ARTIST CAN PREDICT THE FUTURE?” (group exhibition with EEP Berlin), “Viriditas” (solo exhibition by Gergana Petrova). He has participated as a curator in the festivals “Month of Photography” in Bratislava and “International Photographic Meetings” in Plovdiv, and is the director of FIG. – a festival for illustration and graphics in Sofia. He is currently part of the Swimming Pool “Social Vision Centre” working group and is developing his own research project related to Bulgaria’s cultural heritage.

Process Anatomy #2
Krasimira Butseva. Frequencies of Trauma

2 – 30 July 2022. Opening: July 2, Saturday, 6-8 pm

The second exhibition of the series Process Anatomy presents the work Frequencies of Trauma which is specially created for the current project. It is the continuation of Krasimira Butseva’s investigation into her own practice as an artist, which began during her residency at Akademie Schloss Solitude in 2021 and resulted in the ongoing project, A Study of a Practice.

Krasimira Butseva’s practice explores and investigates the history, memory, trauma and political violence in relation to Eastern European communism. She is a multi-disciplinary artist who employs various media – photography, collage, film, found objects, archives, and installation. Regardless of the topic that her work deals with, ultimately, she provides a meta-commentary on the very medium of photography. The artist challenges the democratising qualities of photography and the digital image, by demonstrating the incapability and failure in providing objective representations. It is precisely the democratic nature in the dissemination of images that moves the photographic image from the realms of aesthetics to that of human interaction and thus politics. Krasimira Butseva uses these notions to employ and actively manipulate or emulate the appearance of archival and found images, thus fooling the viewer and emphasising the subjective nature of the medium.

Within the context of the curatorial programme Process Anatomy, Krasimira Butseva’s practice demonstrates the artist taking on the role of a social scientist – historian, anthropologist or sociologist. History is told through objects and images and the artist is an active agent in their collection, curation and preservation.

The process of archiving involves active selection that is based on a story that the institution or entity is seeking to tell. In the current exhibition, Krasimira Butseva challenges the role of cultural and political institutions and their active negligence in critically examining the problematic past of the communist regime in the ongoing period of transition. Thus, metaphorically, the images presented are also in transition, incomplete, glitched, and distorted – existing in a liminal space between conflict and resolution, between fragmentation and completeness.

The project is realized with the financial support of the National Culture Fund.
Graphic Design: Zahari Dimitrov

Krasimira_Annotations_Handout_pdf

The text for the project by Krasimira Butseva can be downloaded in PDF format from HERE

 

 

Process Anatomy #1
Aksiniya Peycheva. Tales of the Limit

Curator: Vasil Vladimirov
March 29 – April 21, 2022. Opening: March 29, Tuesday, 6-8 pm

The first exhibition of the series Process Anatomy will present Tales of the Limit, a multi-disciplinary project by the artist Aksiniya Peycheva in which she collaborates with a physicist and microbiologist. The work creates a prerequisite for dialogue and exchange of the same visual information over and over again between the fields of visual art, artificial intelligence and microbiology. The same image – an AI-generated portrait of a non-existing person – is painted by the artist as a classical portrait on canvas and then transferred via a specially created matrix fed with various bacteria strains to a bed of agar where they grow to reproduce the portrait. These three fundamentally different methodologies bring about different results, through which Aksiniya calls into question the efficiency of the systems of communication and how visual information (or the lack thereof) can be seen as an indicator of the functionality of these systems.

Within the context of Process Anatomy, the work Tales of the Limit and Aksiniya’s practice in general, expresses the multi-disciplinary quality of artistic research, especially in the implementation of scientific research methods and processes in the conceptualisation and production of the artworks. As well as a processual characteristic that is based on the observation and implementation of biological processes and systems. The exhibition will take the final form and function of the object as a starting point and will move in reverse following the journey from idea to materialisation. Throughout this journey, we will inquire into the role of Aksiniya’s visual exploration into the production of knowledge in relation to how information is transposed in different media, what is lost and what remains. Is the medium simply subservient to our will, or there are other forces at play that give it agency? This question can be reformulated to resonate throughout the rest of the curatorial programme. To what extent the process is a controllable system of thoughts and actions or an “organised chaos” of experimentation and exploration?

The “Process Anatomy” is a curatorial project by Vasil Vladimirov which will explore the complexities of innovative art practices and their exploratory characteristics dissociated from a predetermined final object. A series of exhibitions will present existing works by four different artists. Rather than in their materiality and “finished form”, they will be present through ideas and references related to the artistic research and the process of making behind them. The gallery space will be transformed into a studio of sorts where viewers will be involved in a process of“reverse engineering”, tracing the research methods and processes at the heart of the respective artistic practice.

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Aksiniya Peycheva is a transdisciplinary artist, based in Sofia, Bulgaria. The focus of her work is the process of ‘visual translation’ where she explores the possible ways of moving pieces of information between different fields of knowledge – ‘how one or several scientific fields can be combined in order to answer a question only important to art.’ She often collaborates with scientists, and her projects are also accompanied by a theoretical part, the result of a long study on certain topics, which include the topic of the visual translation of music or pain. Light, kinetic, interactive of multilayered glass installations, her works contain different layers of information, using various scientific methodologies, which can be explored as an attempt to redefine the fields of knowledge and to rethink the initial need to set their boundaries.

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Tales of the Limit was produced in the programme of DA Lab E-valuation, 2021 by the DA Lab foundation and was presented at Heerz Tooya, Veliko Tarnovo at DA Fest 2021

The project is realized with the financial support of the National Culture Fund.
Graphic Design: Zahari Dimitrov

 

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