Важно съобщение / Important Announcement, 2006 by Maria Vassileva

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I M P O R T A N T

A N N O U N C E M E N T

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Ñ Ú Î Á Ù Å Í È Å

I M P O R T A N T

A N N O U N C E M E N T

Èçëîæáà â Ñîôèéñêàòà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ ñåïòåìâðè-îêòîìâðè 2006

Exhibition at the Sofia Art Gallery September-October 2006

Êóðàòîðè: Ìàðèÿ Âàñèëåâà, Äàíèåëà Ðàäåâà

Curators: Maria Vassileva, Daniela Radeva

Àâòîðèòå íà ïðîåêòà áëàãîäàðÿò íà âñè÷êè õóäîæíèöè çà ïðåäîñòàâåíèòå ñíèìêè è òåêñòîâå

The authors of the project express their gratitude to all artists for their contribution that made this publication possible

Ïðîåêòúò å ïîäêðåïåí îò “Ôîíä çà äåáþòíè ïðîåêòè â îáëàñòòà íà ñúâðåìåííèòå èçêóñòâà è êóëòóðà”

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The project is realized with the support of the “Fund for debut projects in the field of contemporary art and culture”

I M P O R T A N T

A N N O U N C E M E N T

Ìàðèÿ Âàñèëåâà 6 Maria Vassileva Äàíèåëà Ðàäåâà 13 Daniela Radeva Àäåëèíà Ïîïíåäåëåâà Àëëà Ãåîðãèåâà Áîðÿíà Äðàãîåâà Âàëåíòèí Ñòåôàíîâ Âåíöèñëàâ Çàíêîâ Âåðîíèêà Öåêîâà Ãåîðãè Ðóæåâ Ãåîðãè Òóøåâ Äèìèòðèíà Äîé÷èíîâà Äèìèòúð Òðàé÷åâ Åëåíà Ïàíàéîòîâà Èâàí Êþðàíîâ Èëèàí Ëàëåâ Éîàí Êèðèëîâ Êàëèí Ïëóã÷èåâ Êàëèí Ñåðàïèîíîâ Êèðèë Ïðàøêîâ Êðàñèìèð Äîáðåâ

17 26 34 38 44 48 52 54 58 60 64 68 69 72 75 76 78 92

Adelina Popnedeleva Alla Georgieva Boryana Dragoeva Valentin Stefanoff Ventsislav Zankov Veronica Tzekova Georgi Rouzhev Georgi Toushev Dimitrina Doichinova Dimitar Traychev Elena Panayotova Ivan Kiuranov Ilian Lalev Ioan Kirilov Kalin Plugchiev Kalin Serapionov Kiril Prashkov Krassimir Dobrev

Êðàñèìèð Òåðçèåâ Êîñòà Òîíåâ Êîñüî Ìèí÷åâ Ëú÷åçàð Áîÿäæèåâ Ìàðèÿ Çàôèðêîâà Íàäåæäà Îëåã Ëÿõîâà Íåäêî Ñîëàêîâ Íèêîëàé ×àêúðîâ Íèíà Êîâà÷åâà Ïðàâäîëþá Èâàíîâ Rassim Ñàìóèë Ñòîÿíîâ Ñàøî Ñòîèöîâ Ñèëâèÿ Ëàçàðîâà Ñòåôàí Íèêîëàåâ Õóáåí ×åðêåëîâ Þðè Ñòàéêîâ

95 100 101 102 120 122 124 156 157 161 172 175 176 180 182 188 192

Krassimir Terziev Kosta Tonev Kosio Minchev Luchezar Boyadjiev Maria Zafirkova Nadezhda Oleg Lyahova Nedko Solakov Nikolay Chakarov Nina Kovacheva Pravdoliub Ivanov Rassim Samuil Stoyanov Sasho Stoitzov Sylvia Lazarova Stefan Nikolaev Houben Cherkelov Jury Staikov

Ìàðèÿ Âàñèëåâà / Maria Vassileva

Òîçè êàòàëîã ñå îïèòâà äà ïîêàæå

The aim of this catalogue is to present the use

èçïîëçâàíåòî íà òåêñòà â áúëãàðñêîòî èçêóñòâî îò êðàÿ íà 80-òå ãîäèíè íà 20òè âåê äî äíåñ. Â íà÷àëîòî íà ðàáîòàòà èìàõìå ñàìî ñìúòíà ïðåäñòàâà çà îáåìà ìó. Ïîñòåïåííî áðîÿò íà àâòîðèòå ñå óâåëè÷àâàøå, âðåìåâèòå ãðàíèöè ñå ðàçòÿãàõà, à èçðàçíèòå ñðåäñòâà ïîêðèõà öåëèÿ ñïåêòúð. Îêàçà ñå, ÷å ôîðìóëàòà îáðàç+òåêñò å ñðåä âúçìîæíèòå ïîäõîäè çà èíòåðïðåòàöèÿ íà èçêóñòâîòî ïðåç ïåðèîäà. Òúé êàòî íå ìîæåõìå äà ñè ïîçâîëèì ïúëíà èç÷åðïàòåëíîñò íà ôàêòîëîãèÿòà, ñìå ñå îïèòàëè äà ÿ êîìïåíñèðàìå ñ èçòúêâàíå íà ìíîãîîáðàçèåòî.

of text in Bulgarian art from the late eighties of the 20th century up till now. In the beginning we had but a vague idea of the real scope of the work. Gradually the number of artists got bigger and the time confines moved further apart. As it turned out, the formula image + text was one of the potential ways to interpret art during that period. Since we weren’t able to give a thorough account of all the facts, we tried to compensate through focusing on the variety.

Â ñâåòîâíîòî èçêóñòâî òåêñòúò íàâëèçà â êðàÿ íà 60-òå ãîäèíè íà 20-òè âåê êàòî

Worldwide the text found its place in art in the late sixties of the 20th century as part of the continuous efforts to dematerialize the artistic object. In Bulgaria it invaded the territory of the visual in the late eighties and the early nineties of the 20th century along with the

÷àñò îò ïîñëåäîâàòåëíèòå óñèëèÿ çà äåìàòåðèàëèçàöèÿ íà õóäîæåñòâåíèÿ îáåêò. Â Áúëãàðèÿ òîé íàõëóâà â ïîëåòî íà âèçóàëíîòî â êðàÿ íà 80-òå è íà÷àëîòî íà 90-òå ãîäèíè íà 20-òè âåê åäíîâðåìåííî ñ âúçìîæíîñòòà çà ñâîáîäíî ãîâîðåíå. Çàðàæäàíåòî íà òîçè ïðîöåñ å ïî-ñêîðî ñâúðçàí ñ èäåÿòà çà êîìóíèêàöèÿ ñ ïóáëèêàòà, ñ æåëàíèåòî çà ïî-äèðåêòíî ñïîäåëÿíå íà íåñïîäåëåíîòî îò ïðåäèøíèòå äåñåòèëåòèÿ. Â ðàáîòà îò ñåðèÿòà ñè “Â ÷åñò íà...” (1995 ã.) Ëú÷åçàð Áîÿäæèåâ îòäàâà äúëæèìîòî íà ðàäåòåëÿ çà ÷èñòî êîíöåïòóàëíî èçêóñòâî Äæîóçåô Êîñóò, íî íå ñàìî ïðåâêëþ÷âàíåòî îò îáåêòà êúì êîíöåïòà îïðåäåëÿ èíòåðåñèòå íà áúëãàðñêèòå õóäîæíèöè ïðåç òîçè ïåðèîä. Ïîñëàíèÿòà èì ãîâîðÿò çà îñúçíàòà ëèïñà

opportunity of free speech. The origin of this process is mostly connected to the idea of communication with the public and the desire for a more direct sharing of the unspoken from the previous decades. In a work from the Homage to… series (1995) Luchezar Boyadjiev pays tribute to the champion of the purely conceptual art Joseph Kosuth but it is not merely the shift from the object to the concept that characterizes the interests of the Bulgarian artists of that period. Their messages convey a realized lack of understanding and an attempt to attract attention through an instrument that has proved its efficiency in time – the spoken word. A certain culmination in that respect are works like Nedko Solakov’s Encyclopedia Utopia and Top Secret (from 1990) where the personal and Ìàðèÿ Âàñèëåâà / Maria Vassileva

Ìàðèÿ Âàñèëåâà / Maria Vassileva

íà ÷óâàåìîñò è îïèò äà ñå ïðèâëå÷å âíèìàíèåòî ñ ïîìîùòà íà äîêàçàë âúçìîæíîñòèòå ñè âúâ âðåìåòî èíñòðóìåíò – ñëîâîòî. Êóëìèíàöèÿ â òàçè ïîñîêà ñà ðàáîòè êàòî “Åíöèêëîïåäèÿ Óòîïèÿ” è “Top Secret” íà Íåäêî Ñîëàêîâ îò 1990 ã., â êîèòî ðàçêàçâàíåòî íà ïåðñîíàëíè è îáùîçíà÷èìè èñòîðèè ñå “èçëèâà” â òåêñòîâå, ðèñóíêè è ñíèìêè, ñúáðàíè â óíèâåðñàëíàòà íåñúâúðøåíîñò íà ëåêñèêîííàòà ôîðìà. Âíåçàïíî îòêëþ÷åíàòà èçïîâåäíîñò å ïðàâî ïðîïîðöèîíàëíà íà äúëãî íàëàãàíîòî ìúë÷àíèå. Ëè÷íèòå áåëåæêè ñå ðåäóâàò ñ èçïîëçâàíåòî íà ãîòîâè òåêñòîâå – ñâîáîäàòà íà ñëîâîòî áåçóñëîâíî å ñâúðçàíà ñúñ ñâîáîäàòà íà ïå÷àòà.

universal stories are delivered in texts, drawings and photos put together in the universally imperfect form of the lexicon. The suddenly vented urge to confess is proportional to the long imposed silence. Personal notes alternate with ready-made texts – the freedom of speech is unconditionally bound to the freedom of press. Adelina Popnedeleva weaves tapestries out of the blue printed title of the first democratic newspaper “Demokratsia” (Temple, 1990). Luchezar Boyadjiev creates his work Alice’s Hole (1991) using volumes on Marxist-Leninist aesthetics. Georgi Rouzhev draws his self-portrait on the Manifesto of the German anarchists on the issues of Eastern Europe (1990). From then on the text is consistently used in painting, the video, photography, the object,

Àäåëèíà Ïîïíåäåëåâà òú÷å ãîáëåíè îò îòïå÷àòàíîòî ñúñ ñèíüî ìàñòèëî çàãëàâèå íà ïúðâèÿ äåìîêðàòè÷åí âåñòíèê “Äåìîêðàöèÿ” (“Õðàì”, 1990 ã.). Ëú÷åçàð Áîÿäæèåâ ñúçäàâà ðàáîòàòà ñè “Äóïêàòà íà Àëèñà” (1991 ã.), èçïîëçâàéêè òîìîâå ïî ìàðêñèñòêî-ëåíèíñêàòà åñòåòèêà. Ãåîðãè Ðóæåâ ïîñòàâÿ ñâîÿ àâòîïîðòðåò âúðõó Ìàíèôåñòà íà íåìñêèòå àíàðõèñòè ïî âúïðîñèòå çà Èçòî÷íà Åâðîïà (1990 ã.). Îòòóê íàòàòúê òåêñòúò åñòåñòâåíî ñå èçïîëçâà â æèâîïèñòà, âèäåîòî, ôîòîãðàôèÿòà, îáåêòà, èíñòàëàöèÿòà. Ïîíÿêîãà å âïëåòåí â ñòðóêòóðàòà íà òâîðáàòà, äðóã ïúò ñàìèÿò òîé å îáðàç. Íå å èçêëþ÷åíî äîðè äà çàãóáè çíà÷åíèåòî ñè, ïðåâúðíàò âúâ âèçóàëåí ñïåêòàêúë. Õàðàêòåðíî çà ïåðèîäà å, ÷å äóìèòå

the installation. Sometimes it is interwoven in the structure of the work, sometimes it is an image itself. It is not uncommon for it even to lose its meaning as transformed into a visual spectacle. Typically for the period, the words abandon the form of the sheet and start their journey on the walls of the gallery or conquer still other spaces turning almost into an element of architecture. Language itself is at the same time a physical object. The viewer is forced to read while moving. The words do not only change in size but become threedimensional. Kiril Prashkov, for example, weaves long texts out of wire turning the graphic beauty of the letters into an intricate visual lace which “breaks through” the walls. Nedko Solakov sets up exhibitions based entirely on hand-written texts which provoke the viewers’ watchfulness and make the Ìàðèÿ Âàñèëåâà / Maria Vassileva

Ìàðèÿ Âàñèëåâà / Maria Vassileva

íàïóñêàò ôîðìàòà íà ëèñòà è òðúãâàò ïî ñòåíèòå íà ãàëåðèÿòà èëè çàâëàäÿâàò äðóãè ïðîñòðàíñòâà, êàòî ïî÷òè ñå ïðåâðúùàò â àðõèòåêòóðåí åëåìåíò. Ñàìèÿò åçèê åäíîâðåìåííî å è ôèçè÷åñêè îáåêò. Çðèòåëÿò å ïðèíóäåí äà ÷åòå â äâèæåíèå. Äóìèòå íå ñàìî ïðîìåíÿò ðàçìåðèòå ñè, íî è ñòàâàò òðèèçìåðíè. Êèðèë Ïðàøêîâ íàïðèìåð ïëåòå äúëãè òåêñòîâå îò òåë, èçâåæäàéêè ãðàôè÷íàòà êðàñîòà íà áóêâèòå â ñëîæíè âèçóàëíè àæóðè, êîèòî “ïðîáèâàò” ñòåíèòå. Íåäêî Ñîëàêîâ ïðàâè öåëè èçëîæáè îò ðú÷íî íàïèñàíè òåêñòîâå, êîèòî ïðîâîêèðàò çðèòåëñêàòà íàáëþäàòåëíîñò, êàðàò ïîñåòèòåëÿ äà èçâúðøâà íåîáè÷àéíè äâèæåíèÿ â ïðîöåñà íà íàìèðàíå íà ïîñëàíèÿòà è òàêà ãî ïðåâðúùàò â îáåêò. Ïðàâäîëþá Èâàíîâ

visitors perform peculiar movements in the process of finding the message thus transforming them into objects themselves. In some of his projects Pravdoliub Ivanov also counts on the unity of text and space using rooted stereotypes and their visual equivalent – the printed word. A number of contemporary artists virtually “play” with popular slogans to be found mainly in advertisements. The aggressive verbal clichés surrounding us provoke them into counteracting using the same methods. Such approach can be seen in the works of Alla Georgieva, Silvia Lazarova, Adelina Popnedeleva, Veronika Tsekova, Georgi Toushev, Rassim. As with their predecessors of the sixties, the contemporary Bulgarian artists want to

ñúùî çàëàãà â íÿêîè ñâîè ïðîåêòè íà åäèíñòâîòî ìåæäó òåêñò è ïðîñòðàíñòâî, êàòî èçïîëçâà íàñàäåíè ñòåðåîòèïè è òåõíèÿ âèçóàëåí åêâèâàëåíò – ïå÷àòíîòî ñëîâî. Ðåäèöà ñúâðåìåííè õóäîæíèöè “èãðàÿò” èìåííî ñ ãîòîâèòå ëîçóíãè, ðàçïðîñòðàíåíè íàé-âå÷å â ðåêëàìàòà. Àãðåñèâíèòå ñëîâåñíè êëèøåòà, êîèòî íè çàîáèêàëÿò, ãè ïðîâîêèðàò äà èì îòâðúùàò ñúñ ñúùèòå ìåòîäè. Ïîäîáåí ïîäõîä ìîæå äà ñå âèäè â íÿêîè îò ðàáîòèòå íà Àëëà Ãåîðãèåâà, Ñèëâèÿ Ëàçàðîâà, Àäåëèíà Ïîïíåäåëåâà, Âåðîíèêà Öåêîâà, Ãåîðãè Òóøåâ, Ðàñèì.

emphasize the process of thinking which is indispensable for the relationship between the creator, the work and the viewer. This is where the similarities end. The dematerialization of art is no longer on the agenda. The text cannot exist without the matter. It is used as a counterpart of the other visual elements but often reveals the ability of the artist to digress from the stereotypes in the direction of the verbal expression. The contemporary art neither uses the word as a crutch nor relies on the language entirely. The text is part of the texture of images and meanings which for lack of a more precise term we tend to call contemporary art.

Êàêòî è òåõíèòå ïðåäøåñòâåíèöè îò 60-òå ãîäèíè, òàêà è ñúâðåìåííèòå Ìàðèÿ Âàñèëåâà / Maria Vassileva

Ìàðèÿ Âàñèëåâà / Maria Vassileva

áúëãàðñêè õóäîæíèöè èñêàò äà ïîä÷åðòàÿò ìèñëîâíèÿ ïðîöåñ, çàäúëæèòåëåí çà âðúçêàòà ìåæäó ñúçäàòåë, ïðîèçâåäåíèå è çðèòåë. Íî ïðèëèêèòå ñâúðøâàò äî òóê. Äåìàòåðèàëèçàöèÿòà íà èçêóñòâîòî äíåñ íå å íà äíåâåí ðåä. Òåêñòúò íå ìîæå äà ñúùåñòâóâà áåç ìàòåðèÿ. Òîé ñå èçïîëçâà êàòî åäíîçíà÷åí íà äðóãèòå âèçóàëíè åëåìåíòè, íî ÷åñòî ïîêàçâà è ñïîñîáíîñòòà íà õóäîæíèêà äà ðàç÷óïâà ñòåðåîòèïè ïî ïîñîêà íà ñëîâåñíàòà èçðàçíîñò. Äíåøíîòî èçêóñòâî íå óïîòðåáÿâà ñëîâîòî êàòî ïàòåðèöà, íî íå å è áàçèðàíî âúðõó åçèêà. Òåêñòúò å ÷àñò îò ïëåòåíèöàòà îò îáðàçè è ñìèñëè, êîÿòî ïîðàäè ëèïñà íà ïî-òî÷åí òåðìèí íàðè÷àìå ñúâðåìåííî èçêóñòâî.

Êàêúâ å ñìèñúëúò äà ñå ñúñòàâÿ ïîäîáåí

What is the point in compiling such a catalogue

êàòàëîã, êîãàòî òåêñòúò, ïúðâîíà÷àëíî ÷óæäåíåö íà òåðèòîðèÿòà íà âèçóàëíîòî, îòäàâíà èìà óòâúðäåíè ïîçèöèè? Ëåêî çàñåí÷åí îò îáðàçèòå, òåêñòúò ìîæå äà ñå ïðî÷åòå, íî ìîæå è äà ñå ïðîïóñíå. Ìîæå äà èçãëåæäà, ÷å äóìèòå ñà ñàìî ìàòåðèàë, à ïèñàíåòî – òåõíèêà. Çàòîâà öåëòà íà òîçè êàòàëîã å äà “èçíåñå” òåêñòà, çà äà ìîæåì äà ñå âãëåäàìå â íåãî ïî-îòáëèçî, äà îòäåëèì ìàëêî ïîâå÷å âðåìå è âíèìàíèå çà “÷åòåíå” íà èçêóñòâîòî, äîðè ñ ðèñê äà ïðåíåáðåãíåì ìàëêî íåãîâàòà îáðàçíà ñòðàíà.

if the text, once alien to the territory of the visual, has long established its reputation? A bit obscured by the images, the text might be read but it could also be overlooked. Words may seem just a material and writing a mere technique. Therefore the aim of this catalogue is to put the text forward so that we can have a closer look at it and spend a little more time on “reading” art even at the risk of slightly neglecting its visual aspect.

Êîãàòî õóäîæíèöèòå êîíöåïòóàëèñòè îò 70-òå ãîäèíè íà 20-òè âåê çà ïúðâè ïúò ñúçäàâàò âèçóàëíè ïðîèçâåäåíèÿ ñ òåêñò, òå ïîêàçâàò êàê áóêâèòå è ÷èñëàòà ñàìè ïî

As the conceptual artists from the 70ies of the 20th century added text to their visual works, they showed how letters and numbers could themselves be the means of expression. Nowadays the text is considered intrinsic for visual art regardless of whether within the space between “the thoughts and the speech” of the Äàíèåëà Ðàäåâà / Daniela Radeva

Äàíèåëà Ðàäåâà / Daniela Radeva

ñåáå ñè ìîãàò äà èçîáðàçÿâàò. Äíåñ âå÷å òåêñòúò ñå ïðèåìà êàòî åñòåñòâåíî ïðèñúù çà âèçóàëíîòî èçêóñòâî, íåçàâèñèìî äàëè â ïðîñòðàíñòâîòî “ìåæäó ìèñëèòå è ðå÷òà” íà õóäîæíèöèòå èìà îáðàçíè èëè ñëîâåñíè ôîðìè. Ñúïîñòàâåí ñ èçîáðàæåíèåòî, åäíî îò íàéãîëåìèòå ïðåäèìñòâà íà òåêñòà å ñïîñîáíîñòòà ìó äà èçðàçÿâà êîíêðåòíà ìèñúë, êîÿòî ìîæå äà ñå ðàç÷åòå áåç èçìåíåíèÿ, òàêà ÷å äà ðàçïðîñòðàíè íÿêîå ìíîãî “âàæíî ñúîáùåíèå” (ïî åäíîèìåííàòà ðàáîòà íà Íåäêî Ñîëàêîâ, ïîäñêàçàëà è íàçâàíèåòî íà èçëîæáàòà). Òîâà îáà÷å å ïîäâåæäàùî. Åäíî èçðå÷åíèå èëè äîðè ñàìî åäíà äóìà ìîãàò äà èìàò íå ïî-ìàëêî ìíîãîîáðàçíè çíà÷åíèÿ îò êîåòî è äà å èçîáðàæåíèå. Àêî ïî òåëåâèçèÿòà îáÿâÿò, ÷å íÿêúäå ñå îòêðèâà ìóçåé íà

authors there are visual or verbal forms. As compared to the picture, one of the greatest assets of the text is its ability to express a particular thought which can be unequivocally deciphered so as to disseminate a “very important announcement” (after Nedko Solakov’s work of the same name which has also suggested the title of the exhibition). This, however, is misleading. A sentence or even a single word can have no lesser variety of meanings as compared to any image. If there was an announcement on TV for the opening of a museum of contemporary art, this would be a message. If the announcement was fictional, though, it would no longer be a message but an imitation of a fictional reality loaded with much more information than a common announcement. A person cannot simply see or read meaning and content. An artist never just “offers” them indisputably whether using an

ñúâðåìåííîòî èçêóñòâî, òîâà å ñúîáùåíèå. Àêî ñúîáùåíèåòî îáà÷å å õóäîæåñòâåíà èçìèñëèöà, òîãàâà íå å ñúîáùåíèå, à íàïîäîáÿâàíå íà íÿêàêâà ôèêòèâíà äåéñòâèòåëíîñò, ñúäúðæàùà ìíîãî ïîâå÷å èíôîðìàöèÿ îò îáèêíîâåíî ñúîáùåíèå. ×îâåê íå ìîæå ïðîñòî äà âèäè èëè ïðî÷åòå ñìèñúëà è ñúäúðæàíèåòî. Õóäîæíèêúò íèêîãà íå ãè “äàðÿâà” ïðîñòî òàêà, íåçàâèñèìî äàëè èçïîëçâà îáðàç èëè òåêñò. Óäîâîëñòâèåòî îò èçêóñòâîòî èäâà îò òúðñåíåòî è íàìèðàíåòî íà êëþ÷à èëè êîäà, ñ êîèòî çðèòåëÿò ìîæå äà ïðîíèêíå âúòðå.

image or a text. The pleasure of art comes along with the searching for and the finding of the key or password letting the viewer get inside.

Äàíèåëà Ðàäåâà / Daniela Radeva

Àäåëèíà Ïîïíåäåëåâà / Adelina Popnedeleva

Àëëà Ãåîðãèåâà / Alla Georgieva

Áîðÿíà Äðàãîåâà (Áîðÿíà Ðîññà) / Boryana Dragoeva (Boryana Rossa)

Âàëåíòèí Ñòåôàíîâ / Valentin Stefanoff

Âåíöèñëàâ Çàíêîâ / Ventsislav Zankov

Âåðîíèêà Öåêîâà / Veronica Tzekova

Ãåîðãè Ðóæåâ / Georgi Rouzhev

Ãåîðãè Òóøåâ / Georgi Toushev

Äèìèòðèíà Äîé÷èíîâà / Dimitrina Doichinova

Äèìèòúð Òðàé÷åâ / Dimitar Traychev

Åëåíà Ïàíàéîòîâà / Elena Panayotova

Èâàí Êþðàíîâ / Ivan Kiuranov

Èëèàí Ëàëåâ / Ilian Lalev

Éîàí Êèðèëîâ / Ioan Kirilov

Êàëèí Ïëóã÷èåâ / Kalin Plugchiev

Êàëèí Ñåðàïèîíîâ / Kalin Serapionov

Êèðèë Ïðàøêîâ / Kiril Prashkov

Êðàñèìèð Äîáðåâ / Krassimir Dobrev

Êðàñèìèð Òåðçèåâ / Krassimir Terziev

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Êîñòà Òîíåâ / Kosta Tonev

Êîñüî Ìèí÷åâ / Kosio Minchev

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