ÒÐÀÆÅÍÈßÒÀ
Åëèñàâåòà Êîíñóëîâà-Âàçîâà. Àâòîïîðòðåò, 1925 (ÍÕÃ) Elisaveta Konsoulova-Vazova. Self-portrait, 1925 (National Art Gallery)
Ò
he exhibition is a try at a mirror reconsideration of history. It is a “tete-a-tete” of two generations of lady artists: the first “bunch” of graduates from art academies in Bulgaria who advocated the right of the “fair sex” to deal seriously with art, and artists who in late 20th century understood art as an avenue to convey messages and to provoke public opinion. The mirror approach in the construction of the exhibition is not a haphazard choice. First, the mirror is an attribute, which is invariably associated with the female principle. Second, the mirror is a common motif in the pictures of the lady artists from the early 20th century whereas the series of self-portraits from the end of the century just allude to it. Third, the mirror carries divine and magic characteristics that are typical of art and women alike. Fourth, speculum (the Latin word for mirror) is a gyno examination instrument, which is interpreted by Luce Irigaray as a symbol of the male penetration into the opposite sex based on the idea of “nonexistence” and cavity. This is how feminism is incorporated into the subject. Fifth, the mirror refers to thinking because of the etymology of the word speculum - from speculor meaning “to speculate” in the sense of “to think” or “to reflect”. This adds to the ambition of the provocative nature of the exhibition. Last but not least the speculum is associated with a spectacular performance (spectaculum), which is the quintessence of any exhibition. Probably the opposition (or juxtaposition) seems audacious from the perspective of the tolerant theory of art. However, almost seventy years and many other lady artists are intervening between these two generations... The contrast is deliberate as sometimes it best expresses the essence and, moreover, the approach has its raison d’etre. The two groups of artists have many things in common. The former protested and asked to attend the nude painting classes in the Art Academy, to have their artworks displayed in general exhibitions side by side with the works of artists from the opposite sex, to organize their own exhibitions and to be treated in a serious way. The latter tried to raise taboo questions that for many years before them were unuttered in the guise of fear and inertia. The former were trained abroad and brought home the trends of Impressionism and Expressionism. The latter experimented with media and means of expression that previously were not employed in Bulgarian art. As regards the subject matter, the affinity is undeniable: both groups are definitely introspective. Selfportrait appears to be the commonest choice. Understandably, the reasons are far from being identical. In the early 20th century the self-portrait stood for growing self-confidence and self-consciousness. At the end of the century the self-portrait was the vehicle of inner drama and anxiety and raised many questions. The exhibition seeks to highlight the similarities and dissimilarities in the attitude to the still life, the male nude body and the portrait. In fact the real mirror is the spectator who is the “looking glass” of destinies, ambitions and achievements that, while being distant from each other in time, are kindred in a deeply intrinsic way. Are reflections possible in this parade of mirrors? Will it be possible to catch the image or will the image dissolve and disappear into the infinity of variations? We count not on the categoricalness achieved but on diversity. The purpose of the exhibition is to multiply the reflections and to make the diversity, intricacy and even confusion of the reflections provoke a discussion. Maria Vassileva Exhibition Curator
ÓÌÍÎÆÀÂÀÍÅ ÍÀ
REFLECTIONS MULTIPLIED
March 8 - April 7, 2006, Sofia Art Gallery
ÑÃÕÃ è ãðóïà 8-ìè ìàðò Sofia Art Gallery and March 8th Group
Ò
8 ìàðò - 7 àïðèë 2006, Ñîôèéñêà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ Ó÷àñòíèöè: Òîäîðêà Áóðîâà, Íåâåíà Ãàí÷åâà, Ìàðèåëà Ãåìèøåâà, Àëëà Ãåîðãèåâà, Âåðà Èâàíîâà, Öàíà Èâàíîâà-Áîÿäæèåâà, Åëåíà Êàðàìèõàéëîâà, Åëèñàâåòà Êîíñóëîâà-Âàçîâà, Ñèëâèÿ Ëàçàðîâà, Íàäåæäà Îëåã Ëÿõîâà, Àäåëèíà Ïîïíåäåëåâà, Àííà Õåí-Éîñèôîâà Êóðàòîð: Ìàðèÿ Âàñèëåâà Participants: Adelina Popnedeleva, Alla Georgieva, Anna Hen-Yossifova, Elena Karamihailova, Elisaveta Konsoulova-Vazova, Mariela Gemisheva, Nadezhda Oleg Lyahova, Nevena Gancheva, Silvia Lazarova, Todorka Bourova, Tzana Ivanova-Boyadjieva, Vera Ivanova Curator of the exhibition: Maria Vassileva
Àëëà Ãåîðãèåâà. ÀÃ - Çëàòíà êîëåêöèÿ, 2002 Alla Georgieva. AG - Gold Collection, 2002
àçè èçëîæáà å îïèò çà îãëåäàëíî ïðåðàçãëåæäàíå íà èñòîðèÿòà. „Î÷è â î÷è“ ñå èçïðàâÿò äâå ïîêîëåíèÿ õóäîæíè÷êè. Îò åäíàòà ñòðàíà çàñòàâàò ïúðâèòå æåíè ñ õóäîæåñòâåíî îáðàçîâàíèå â Áúëãàðèÿ, êîèòî çàùèòàâàò ïðàâîòî íà „íåæíèÿ ïîë“ ñåðèîçíî äà ñå çàíèìàâà ñ èçêóñòâî. Îò äðóãàòà - õóäîæíè÷êèòå, êîèòî â êðàÿ íà 20-òè âåê îñúçíàâàò òâîð÷åñòâîòî êàòî âúçìîæíîñò çà îòïðàâÿíå íà ïîñëàíèÿ è ïðîâîêèðàíå íà îáùåñòâåíîòî ìíåíèå. Îãëåäàëíèÿò ïîäõîä ïðè ñúñòàâÿíåòî íà èçëîæáàòà íå å èçáðàí ñëó÷àéíî. Ïúðâî, îãëåäàëîòî å àòðèáóò, êîéòî íåèçìåííî ñå ñâúðçâà ñ æåíñêîòî íà÷àëî. Âòîðî, òî å ÷åñò ìîòèâ â êàðòèíèòå íà õóäîæíè÷êèòå îò íà÷àëîòî íà 20-òè âåê, à â ïîðåäèöàòà àâòîïîðòðåòíè òâîðáè îò êðàÿ íà ñúùîòî ñòîëåòèå ñå ïîäðàçáèðà. Òðåòî, îãëåäàëîòî íîñè áîæåñòâåíè è ìàãè÷åñêè õàðàêòåðèñòèêè - ïðèñúùè êàêòî íà èçêóñòâîòî, òàêà è íà æåíèòå. ×åòâúðòî, speculum (ëàòèíñêàòà äóìà çà îãëåäàëî) ñå íàðè÷à ïîïóëÿðåí ãèíåêîëîãè÷åí èíñòðóìåíò, êîéòî ñå òúëêóâà îò Ëþñ Èðèãàðå êàòî ñèìâîë íà ìúæêèÿ ïîäõîä êúì æåíàòà, îñíîâàí íà ïðåäñòàâàòà çà „ëèïñè“ è êóõèíè. Òàêà è ôåìèíèçìúò ñå âêëþ÷âà â òåìàòà. Ïåòî, îãëåäàëîòî îòïðàùà êúì ìèñëîâíîñòòà ïîðàäè åòèìîëîãèÿòà íà ñàìàòà äóìà speculum - îò speculor - íàáëþäàâàì, èçó÷àâàì. Òîâà äîáàâÿ êúì ïðîâîêàòèâíîñòòà íà èçëîæáàòà è ïî-ãîëÿìà àìáèöèÿ. Íå íà ïîñëåäíî ìÿñòî speculum ñå îáâúðçâà è ñúñ çðåëèùå, ñïåêòàêúë (spectaculum), êàêâàòî â ñúùíîñòòà ñè å âñÿêà èçëîæáà. Âåðîÿòíî ïîäîáíî ïðîòèâîïîñòàâÿíå (èëè ñúïîñòàâÿíå) èçãëåæäà äðúçêî îò ãëåäíà òî÷êà íà òîëåðàíòíîòî èçêóñòâîçíàíèå. Âñå ïàê ìåæäó òåçè äâå ïîêîëåíèÿ èìà ïî÷òè ñåäåì äåñåòèëåòèÿ è ìíîãî äðóãè æåíèõóäîæíè÷êè... Êîíòðàñòúò îáà÷å å òúðñåí, çàùîòî èìåííî òîé ïîíÿêîãà íàé-äîáðå èçÿâÿâà ñúùíîñòòà, à è îñíîâàíèÿòà çà òàêúâ ïîäõîä íå ñà ìàëêî. Ìåæäó äâåòå ãðóïè àâòîðêè èìà ìíîãî îáùè íåùà. Ïúðâèòå ñå áîðÿò äà áúäàò äîïóñêàíè â ÷àñîâåòå ïî ãîëî òÿëî â Õóäîæåñòâåíàòà àêàäåìèÿ, äà ó÷àñòâàò â îáùè èçëîæáè íàðàâíî ñ äðóãèÿ ïîë, ñàìè äà îðãàíèçèðàò èçëîæáè, äà áúäàò ïðèåìàíè íàñåðèîçíî. Âòîðèòå ñå îïèòâàò äà ïîâäèãíàò âúïðîñè-òàáó, îñòàíàëè äúëãè ãîäèíè íåèçêàçàíè, ïðèêðèòè îò ñòðàõ è èíåðòíîñò. Ïúðâèòå ó÷àò â ÷óæáèíà è äîíàñÿò â ñòðàíàòà ñè âåÿíèÿòà íà èìïðåñèîíèçìà è åêñïðåñèîíèçìà. Âòîðèòå åêñïåðèìåíòèðàò ñ íåèçïîëçâàíè äî ìîìåíòà â áúëãàðñêàòà õóäîæåñòâåíà ïðàêòèêà ìåäèè è íà÷èíè íà èçðàçÿâàíå. Ïî îòíîøåíèå íà ñþæåòèòå áåçóñëîâíî ñå íàëàãà åäíà ñúùåñòâåíà áëèçîñò - è åäíèòå, è äðóãèòå ñå âãëåæäàò ïðåäè âñè÷êî â ñåáå ñè. Àâòîïîðòðåòúò å êàòî ÷å ëè íàé-ðàçïðîñòðàíåíèÿò æàíð. Ðàçáèðà ñå, îñíîâàíèÿòà äàëå÷ íå ñà åäíàêâè.  íà÷àëîòî íà âåêà àâòîïîðòðåòúò å èçðàç íà íàðàñíàëîòî ñàìî÷óâñòâèå è ñàìîñúçíàíèå.  íåãîâèÿ êðàé - èçðàçÿâà âúòðåøíàòà äðàìà, áåçïîêîéñòâî è ïîñòàâÿ ìíîæåñòâî âúïðîñè. Èçëîæáàòà ñå îïèòâà äà çàäàäå ïàðàëåëè è ðàçëè÷èÿ è â îòíîøåíèåòî êúì íàòþðìîðòà, ãîëîòî ìúæêî òÿëî, ïîðòðåòà. Âñúùíîñò èñòèíñêîòî îãëåäàëî å çðèòåëÿò, à „ïðåç íåãî“ åäíè â äðóãè ñå îãëåæäàò äâå îòäàëå÷åíè âúâ âðåìåòî, íî ïî íÿêàêúâ äúëáîêî âúòðåøåí íà÷èí ñðîäíè - ñúäáè, àìáèöèè è ïîñòèæåíèÿ. Äàëè â òîçè ïàðàä íà îãëåäàëà îòðàæåíèÿòà ùå áúäàò âúçìîæíè? Ùå óñïååì ëè äà óëîâèì îáðàçà èëè òîé ùå ñå ðàçïàäíå è èçãóáè â áåçêðàÿ íà âàðèàöèèòå? Íàäÿâàìå ñå íå íà ïîñòèãíàòà êàòåãîðè÷íîñò, à íà ìíîãîîáðàçèå. Öåëòà íà òàçè èçëîæáà å óìíîæàâàíåòî íà îòðàæåíèÿòà äà ñå ñëó÷è è òÿõíîòî áîãàòñòâî, ñëîæíîñò è äîðè îáúðêàíîñò äà ïðîâîêèðàò ðàçãîâîð. Ìàðèÿ Âàñèëåâà Êóðàòîð íà èçëîæáàòà
Ìàðèåëà Ãåìèøåâà. Fish Party, 2004 Mariela Gemisheva. Fish Party, 2004
Åëèñàâåòà Êîíñóëîâà-Âàçîâà. Ïðåä Îãëåäàëîòî (ÑÃÕÃ) Elisaveta Konsoulova-Vazova. In Front of the Mirror (Sofia Art Gallery)
(Íå)Ñïîäåëåíè îòðàæåíèÿ Íà áúëãàðñêàòà õóäîæåñòâåíà ñöåíà íà÷àëíèòå âèçóàëíè ðàáîòè / àêöèè ñâúðçàâè ñ ôåìèíèñòêî ñàìîñúçíàíèå, áÿõà íàé-÷åñòî àâòîðåôåðåíòíè. Àâòîðêèòå ïðåäñòàâÿõà ñâîÿ ëè÷åí îïèò – èíòèìåí è ïóáëè÷åí, ñâîÿòà çàñåãíàòîñò îò ñîöèàëíè ðîëè, ïðåäïèñâàíè íà æåíèòå â îïðåäåëåíè ñðåäè. Ìíîãî ÷åñòî õóäîæíè÷êèòå âêëþ÷âàõà ñâîè îáðàçè â ðàáîòèòå ñè, ïîñðåäñòâîì ôîòîñíèìêè, äèàïîçèíèâè, îòïå÷àòúöè, âèäåîêëèïîâå. Îáùè âíóøåíèÿ â ðàáîòèòå íà ãðóïàòà „8 ìàðò“1, âúïðåêè ðàçëè÷èÿòà â èíäèâèäóàëíèòå ðåãèñòðè, áÿõà èãðîâîñò – ðàçèãðàâàíå íà (íå)ñâîè ðîëè è íàðåä ñ òîâà ñêåïòèöèçúì ñïðÿìî âúçìîæíîñòòà æåíàòà äà ïðèäîáèå âëàñò íàä ïðåäïèñâàíèòå é àìïëîà,. Ñèìâîëíàòà äåéíîñò ïî îòíîøåíèå íà ñåáåâúçïðèÿòèåòî íåèçìåííî ñå ñâúðçâà ñ îáðàç â îãëåäàëîòî, îùå ïîâå÷å âúâ âèçóàëíèòå èçêóñòâà. Îáðàç â îãëåäàëîòî ìîæå äà áúäå îáîáùàâàù ñèìâîë íà àâòîðåôåðåíòíîñò, íî è íà íåïîçíàâàåìîñò / îòâúäíîñò, íà ñòðàñò êúì ñàìîïîçíàíèå, íî è íà êîïíåæ ïî ñîáñòâåíèòå ñè îòðàæåíèÿ (íåèçáåæíîòî ïîçîâàâàíå íà ìèòà çà Íàðöèñ). Îãëåäàëíèÿò ïîãëåä êúì ñåáå ñè å ñúùî è íåñúâïàäàíå, ïðîïàäàíå äðóãàäå - îòðàçåíèÿò / óäâîåí îáðàç å ñúùèÿò, íî ðàçëè÷åí, äîðè ñàìî çàùîòî äÿñíîòî ñå âúçïðåìà êàòî ëÿâî, à íå-âèäèìàòà îáëàñò „çàä“ íàñ ïðåìèíàâà âúâ âèäèìî „íàðåä ñ“ îáðàçà íè. Ñïîäåëÿíåòî íà òîçè íåñúâïàäàù îáðàç, çàòðóäíåíèÿòà, ïîíÿêîãà íåâúçìîæíîñòòà çà ñïîäåëÿíå, âúçïðèåìàì êàòî âàæíà òåìà â íàñòîÿùàòà èçëîæáà. * * * Õóäîæíè÷êèòå îò êðàÿ íà ÕIÕ âåê , ñúäåéêè ïî ðàáîòèòå èì, íå ñà ðàçî÷àðîâàíè è ñêåïòè÷íè – ñÿêàø ïðåäïèñâàíèòå ðîëè íåäðàìàòè÷íî ñúâïàäàò ñúñ ñåáåâúçïðèÿòèåòî. Èíòèìíèÿò ñâÿò, êîéòî „ñå îãëåæäà“ â ðàáîòèòå èì, å æèçíåí.  íåãî ëèïñâàò „çíà÷èìèòå“ èñòîðè÷åñêè è îáùåñòâåíè ñþæåòè, ëèïñâàò ìåòàôîðèòå è ñèìâîëèòå íà ñòðàñòè è ñòðàäàíèÿ. Òåçè ëèïñè â ñðàâíåíèå ñ „ìúæêîòî“ òâîð÷åñòâî ñÿêàø íå ñå âúçïðèåìàò îò õóäîæíè÷êèòå êàòî íåäîñòèã è íåðàâåíñòâî. Ïîäîáíî íà õóäîæíè÷êèòå ëþáèòåëêè ïðåç XVIII è ðàííèÿ XIX âåê â Åâðîïà, ïúðâèòå õóäîæíè÷êè ñ ïðîôåñèîíàëíî îáðàçîâàíèå ó íàñ - Åëèñàâåòà Êîíñóëîâà – Âàçîâà, Åëåíà Êàðàìèõàéëîâà – ïðåäñòàâÿò â êàðòèíèòå ñè ôàìèëíàòà ñðåäà: ÷ëåíîâå íà ñåìåéñòâîòî, ïðèÿòåëè (íàé-÷åñòî ïðèÿòåëêàòà, ñåñòðàòà), äîìà (èíòåðèîðè ñ ôèãóðè, íàòþðìîðòè). Ñúçäàâàò ñå ìíîãîáðîéíè äåòñêè ïîðòðåòè – èíòåðåñ, ïîòâúðæäàâàù è ñâðúõîñòîéíîñòÿâàíåòî íà ìàé÷èíñòâîòî ïðåç XIX âåê â Åâðîïà, â îáùàòà èäåÿ çà ïðîñïåðèòåò íà íàöèîíàëíàòà äúðæàâà. Òåìàòè÷íî è æàíðîâî òåçè ðàáîòè, êàêòî è æåíñêèòå ëþáèòåëñêè ðàáîòè â ñàëîíèòå çà ãîñòè è â äîìàøíèòå õóäîæåñòâåíè àëáóìè, ñà äàëå÷ îò òðàäèöèÿòà íà àêàäåìè÷íîòî, „âèñîêî“ èçêóñòâî. Âúâ ôîðìàëíèòå è ñòèëîâè õàðàêòåðèñòèêè, îáà÷å, êàðòèíèòå íà òåçè ïúðâè áúëãàðñêè õóäîæíè÷êè ñå ðàçëè÷àâàò îò ëþáèòåëñêàòà îáëàñò – ïî èçïúëíåíèåòî â ìàñëåíà æèâîïèñ, ïî ãîëåìèòå ôîðìàòè, êîèòî ñà ìèñëåíè è çà èçëîæáåíè (à íå ñàìî çà äîìàøíè) ïðîñòðàíñòâà, êàêòî è ïî ïðîôåñèîíàëíîòî óñèëèå êúì îïðåäåëåíîñò â ñòèëà. Êîíâåíöèîíàëíèòå „æåíñêè“ ñþæåòè åäâà ëè âúçïðåïÿòñòâóâàò æåëàíàòà õóäîæíè÷åñêà êàðèåðà. Îáùåñòâåíèÿò ïðîáëåì å ñ ó÷àñòèåòî íà æåíèòå ñ ïðîôåñèîíàëíî îáðàçîâàíèå â èíñòèòóöèèòå íà õóäîæåñòâåíèÿ æèâîò, â ðåøàâàíåòî íà ïóáëè÷íè âúïðîñè (õóäîæåñòâåíè æóðèòà, ïîðú÷êè, îòêóïêè, ñòèïåíäèè è ò.í.). Òÿõíàòà ïðîôåñèîíàëíà õóäîæåñòâåíà êîìïåòåíòíîñò íå ìîæå äà ñå èçÿâè èçâúí ÷àñòíîòî ïðîñòðàíñòâî.  êðàÿ íà ÕIÕ âåê, çà äà ñå çàíèìàâà ñ èçêóñòâî, æåíàòà òðÿáâà äà å îò çàìîæíà è îáðàçîâàíà ñðåäà. Äëúæíîñòèòå, îñèãóðàâàùè çàïëàòà è ïîñòîÿííè äîõîäè, ñà íåäîñòúïíè çà õóäîæíè÷êèòå. Åäíî îãëàñåíî êîìïåòåíòíî ìíåíèå, èçîáùî çà æåíèòå ñ îáðàçîâàíèå, å: „÷å ïðè òàÿ ïîäãîòîâêà è ïðè òèÿ óñëîâèÿ, â êîèòî ñå
ðàçâèâà áúëãàðñêàòà äåâèöà, òÿ íèòî ìîæå, íèòî èìà ïðàâî äà ñå ÿâÿâà êàòî êîíêóðåíòêà íà þíîøàòà ïðè çàåìàíå íà ó÷èòåëñêè äëúæíîñòè.“2  æèâîïèñòà, â êàðòèíàòà ïðåç ðàííèÿ ïåðèîä, îáà÷å, òàçè ñèòóàöèÿ å òðóäíî ñïîäåëèìà, äîðè íåâúçìîæíà çà ñïîäåëÿíå. * * * Êàê ñå ðåàëèçèðàò ñîöèàëíî, êàê ñå èçäúðæàò õóäîæíè÷êèòå âåê ïî-êúñíî? Äíåñ âå÷å íèêîé íå ñè ïîçâîëÿâà äà íàïèøå ïóáëè÷íî ïîäîáíà íà öèòèðàíàòà „êîíñòàòàöèÿ“, íèòî ÷å: „Îíîâà, êîåòî â 99 íà ñòî ñëó÷àÿ êàðà æåíàòà äà „ëàìòè“ çà âèñøå îáðàçîâàíèå, å ñòðàõúò îò åâåíòóàëíîòî íåçàäîìÿâàíå.“3 Äàëè ïîðàäè ðåñïåêòèðàùàòà „ïîëèòè÷åñêà êîðåêòíîñò“, èëè çàùîòî ïðåäðàçñúäúöèòå è íåðàâíîñòîéíàòà êîíêóðåíöèÿ ñà èç÷åðïàíè ùå îñòàâèì íà ñïåöèàëèñòè îò äðóãè îáëàñòè. Êàêòî è ôàêòè÷íèòå ñúïîñòàâêè îòíîñíî çàåìàíè äëúæíîñòè è ïðèõîäèòå íà àðòèñòêèòå è àðòèñòèòå äíåñ. * * * Èçëîæáèòå íà ãðóïàòà „8 ìàðò“ îò 1999 ãîäèíà íàñàì îòñòîÿâàò òâîð÷åñêàòà çíà÷èìîñò íà îïðåäåëåí êðúã àðòèñòêè. Çà ðàçëèêà îò èçëîæáèòå íà ïúðâèòå õóäîæíè÷êè, îáà÷å, „íåâúçìîæíèòå çà ñïîäåëÿíå“ ñîöèàëíè ïðåïÿòñòâèÿ è ïðåäðàçñúäúöè, ïîðàæäàùè ñóáåêòèâíè ñòðàõîâå è çàòðóäíåíèÿ, ñåãà çàïî÷âàò äà ñå àðòèêóëèðàò. Ïî÷òè âåê íî-êúñíî õóäîæíè÷êèòå îò „8 ìàðò“ âñå òàêà „îãëåæäàò“ â ðàáîòèòå ñè åäèí èíòèìåí ñâÿò. Òîçè ïúò òîé âíóøàâà óñåùàíå çà íå-æèçíåíîñò, àëèåíàöèÿ, ðàçäâîåíèå. Ïîÿâÿâàò ñå íå-æèçíåíè ìåòàëíè íàñàæäåíèÿ (Àäåëèíà Ïîïíåäåëåâà); åðîòè÷íè òåëà ñðåä êîíêóðèðàùè ãè ìîðåòà îò ñàëàòà (Àëà Ãåîðãèåâà); áðóòàëíè ãëåäêè íà ìåñî, íàïîìíÿùî êëàñè÷åñêèòå åêîðøåòà, íàðåä ñ íà áóëêàòà - îáåêò íà ìúæêîòî æåëàíèå (Ìàðèåëà Ãåìèøåâà). Äîðè öâåòíèòå ôðèçîâå íà Íàäÿ Ëÿõîâà („Äèãèòàëíè íàòþðìîðòè“), ðàçãúðíàëè ñå îò ãúðáîâåòå íà æåíñêèòå ôèãóðè â áàñìåíè ðîêëè, ñà íÿêàê çàñòèíàëè, íåâèòàëíè (àâòîðêàòà óäà÷íî ãè íàçîâàâà „íàòþðìîðòè“). Òîçè èíòèìåí ñâÿò ïàðàäîêñàëíî óñúðäíî è ðàäîñòíî î(ò)ãëåæäà ñâîåòî ñàìîóíèùîæåíèå è ñìúðò. Ëþáîâòà, òðàäèöèîííî ñâúðçâàíà ñ „ìúæêèòå“ îáðàçè íà æåíàòà, â ñïîäåëåíèòå æåíñêè îòðàæåíèÿ îçàäà÷àâàùî ëèïñâà (â êðàÿ íà XIX âåê èëè âåê ïî-êúñíî). Äà âÿðâàìå ëè òîãàâà, ÷å „Ëþáîâòà, êîÿòî â æèâîòà íà ìúæà å ñàìî ïðèÿòåí (ïîíÿêîãà è ìíîãî íåïðèÿòåí) åïèçîä, â æèâîòà íà æåíàòà å åäíà âðàòîëîìíà ôàòàëíîñò (Verhaegniss áè ðåêúë Íèò÷å), åäíî ñúáèòèå, ïî-ñúäáîíîñíî îò êîåòî çà íåÿ íå ñúùåñòâóâà.“4 È çàùî js fijdld â íå-âèäèìàòà îáëàñò íà íåñïîäåëåíîòî? * * * Ñåäåì ãîäèíè ñëåä ñúçäàâàíåòî íà ãðóïàòà „8 ìàðò“ àðòèñòêèòå ñÿêàø ñà èç÷åðïàëè íåîáõîäèìîñòòà äà áúäàò ÷åñòî çàåäíî, íåïðåìåííî ìåæäó æåíè, çà äà èçñëåäâàò ñèòóàöèÿòà, ðîëèòå, æåëàíèÿòà íà æåíàòà. Èíòåðåñèòå íàäìèíàâàò âãëåæäàíåòî â ñîáñòâåíàòà ñèòóàöèÿ. Óñèëèÿòà ñà çà îòâîðåíîñò êúì äðóãîñòòà, ñúùî è êàòî êóëòóðíà ñèòóàöèÿ è èñòîðèÿ (íàñòîÿùàòà èçëîæáà ãî ïîòâúðæäàâà). Òåçè àìáèöèè íàäõâúðëÿò ôåìèíèñòêèÿ õîðèçîíò. Àðòèñòè÷íîòî ïðåôîðìóëèðàíå íà àëèåíàöèÿòà â ïðîíèöàåìîñò è âúçìîæíîñò çà ñìÿíà íà ìåñòàòà; ïðåîáðàçóâàíåòî íà ðàçëè÷èÿòà â òîëêîâà òðóäíàòà îòêðîâåíîñò ìåæäó ìúæà è æåíàòà, íî ñúùî è ìåæäó õóäîæíèêà / õóäîæíè÷êàòà è çðèòåëÿ / çðèòåëêàòà, å çàëîã íà ñïîäåëåíèòå îòðàæåíèÿ. Èðèíà Ãåíîâà 1
Âäúõíîâèòåëêà íà ñúçäàâàíåòî è êóðàòîðêà íà èçëîæáèòå å Ìàðèÿ Âàñèëåâà. Âæ.: www.8mart.cult.bg Ä-ð Ê. Êðúñòåâ. Äâå äóìè çà ñòóäåíòêàòà. Ñï. Ìèñúë, 1904, ãîä. XIV, êí. 7, ñ. 365-366. 3 Ïàê òàì, ñ. 366. 4 Ïàê òàì, ñ. 367. 2
O 14 îêòîìâðè 1896 ã. ñå îòêðèâà Äúðæàâíîòî ðèñóâàëíî ó÷èëèùå â Ñîôèÿ. Òîâà å ïúðâîòî âèñøå ó÷èëèùå â Áúëãàðèÿ, â êîåòî ìîãàò äà ó÷àò è æåíè. Ïðåç ïúðâàòà ãîäèíà ñà ïðèåòè 3, à ïðåç âòîðàòà 4 ìîìè÷åòà ñïðÿìî ñúîòâåòíî 46 è 45 ìîì÷åòà. Çà 10 ãîäèíè îò òàì ìèíàâàò 56 ñòóäåíòêè. O Ïúðâîíà÷àëíî æåíèòå íå ñà äîïóñêàíè äî âå÷åðíèÿ àêò ïî ðèñóâàíå íà ãîëî òÿëî îò íàòóðà. Ñðåä ñòóäåíòêèòå âúçíèêâà íåäîâîëñòâî, èçðàçèòåë íà êîåòî ñòàâà Åëèñàâåòà Êîíñóëîâà. Òÿ ñå ñðåùà ñ äèðåêòîðà ïðîô. Èâàí Ìúðêâè÷êà è ïðàâèëíèêúò å ïðîìåíåí. O Îò 1904 ã. äàòèðàò ïúðâèòå ìåæäóíàðîäíè ó÷àñòèÿ íà áúëãàðñêè æåíè-õóäîæíè÷êè (Àíåòà Õîäèíà, Àííà Õåí-Éîñèôîâà, Ìàðà Ëàçàðîâà, Åëåíà Êàðàìèõàéëîâà, Åëèñàâåòà Êîíñóëîâà-Âàçîâà) â èçÿâèòå íà Þæíîñëàâÿíñêîòî äðóæåñòâî „Ëàäà“ (1904, 1906, 1908 è 1912) è â Ìåæäóíàðîäíàòà õóäîæåñòâåíà èçëîæáà â Ðèì ïðåç 1911 ã. O Èçëîæáàòà íà Åëèñàâåòà Êîíñóëîâà ïðåç 1919 ã. å ïúðâàòà ñàìîñòîÿòåëíà èçÿâà íà æåíà-õóäîæíè÷êà â Áúëãàðèÿ. Ñëåä íåÿ ñàìîñòîÿòåëíè èçëîæáè îðãàíèçèðàò: Äîíêà Êîíñòàíòèíîâà (1920), Àíà Áàëñàìàäæèåâà (1923 è 1924), Íåâåíà Ãàí÷åâà (1927).  ðàìêèòå íà ãîäèøíàòà èçëîæáà íà äðóæåñòâî „Ðîäíî èçêóñòâî“ ïðåç 1923 ã. Åëåíà Êàðàìèõàéëîâà å ïðåäñòàâåíà ñ ðåòðîñïåêòèâíà ñåêöèÿ. O Åëåíà Êàðàìèõàéëîâà è Åëèñàâåòà Êîíñóëîâà-Âàçîâà ñà ñðåä ÷ëåíîâåòå-îñíîâàòåëè íà Äðóæåñòâî „Ðîäíî èçêóñòâî“ íà 13 îêòîìâðè 1919 ã. O Ðóñêà Ìàðèíîâà å ñðåä ÷ëåíîâåòå-îñíîâàòåëè íà Äðóæåñòâîòî íà íåçàâèñèìèòå õóäîæíèöè â êðàÿ íà 1919 ã. O Êîíêóðñúò ïî æèâîïèñ íà Õóäîæåñòâåíàòà àêàäåìèÿ çà ñïåöèàëèçàöèÿ â ÷óæáèíà ïðåç 1924 ã. å ñïå÷åëåí îò Íåâåíà Ãàí÷åâà. O Ïðåç 1924 ã. ñå îñíîâàâà Äðóæåñòâî íà æåíèòå ñ âèñøå îáðàçîâàíèå. Õóäîæíè÷êèòå (19,7%) ñà íà âòîðî ìÿñòî ïî ÷èñëåíîñò ñëåä ôèëîëîæêèòå (40,9%) è ïðåäè çàíèìàâàùèòå ñå ñ õóìàíèòàðíè íàóêè (12,7%), ïðèðîäíè íàóêè (11,3%), ïðàâî (9,9%), ìóçèêà (5,6%) è ìåäèöèíà (5,6%). Ïðåç 1928 ã. êúì íåãî ñå îáîñîáÿâà Äðóæåñòâî íà æåíèòå-õóäîæíè÷êè, îãëàâÿâàíî ïîñëåäîâàòåëíî îò Îë. ØåõàíîâàØèøêîâà è Ð. Ïàøåâà-Êîçàðåâà. Ñåêöèÿòà å ìíîãî àêòèâíà è ñúñ çíà÷èòåëíî ïðèñúñòâèå â îáùåñòâåíèÿ æèâîò. O Ìåæäó 1 è 14 ÿíóàðè 1928 ã. â Äúðæàâíàòà õóäîæåñòâåíà àêàäåìèÿ ñå îðãàíèçèðà ïúðâàòà æåíñêà õóäîæåñòâåíà èçëîæáà, îðãàíèçèðàíà îò äðóæåñòâîòî è ïîä ïàòðîíàæà íà êíÿãèíÿ Åâäîêèÿ.  íåÿ ó÷àñòâàò 29 õóäîæíè÷êè ñúñ 106 æèâîïèñíè ïëàòíà, 9 äåêîðàöèè, 14 êåðàìèêè è 7 ìåòàëîïëàñòèêè. Ñðåä òÿõ ñà: Åëèñàâåòà Êîíñóëîâà-Âàçîâà, Íåâåíà Ãàí÷åâà, Âåðà Èâàíîâà, Åêàòåðèíà Ñàâîâà, Íàòàëèÿ Ôóòåêîâà, Îëãà Øåõàíîâà è Âàñêà Åìàíóèëîâà. Ñëåäâàùèòå èçëîæáè ñà ïðåç 1930 è 1933 ã., ïîñëåäâàíè îò èçëîæáè â Áåëãðàä (1937) è Çàãðåá (1938). O  ïåðèîäà 1896-1930 ã. â ÷óæáèíà ïîëó÷àâàò õóäîæåñòâåíî ñè îáðàçîâàíèå èëè ñïåöèàëèçèðàò: Åëåíà Êàðàìèõàéëîâà (Âèåíà, Ìþíõåí), Åëèñàâåòà Êîíñóëîâà-Âàçîâà (Ìþíõåí), Àíåòà Õîäèíà (Ìþíõåí, Ïàðèæ), Öàíà Áîÿäæèåâà (Ïàðèæ), Çîÿ Ïàïðèêîâà (Ôëîðåíöèÿ), Åâäîêèÿ Ïåòåâà (Ìþíõåí, Ïàðèæ), Òîäîðêà Áóðîâà (Äðåçäåí). 92,5% îò ïðàêòèêóâàùèòå õóäîæíè÷êè ñà áúëãàðñêè âúçïèòàíè÷êè. O 14 October 1896: the State Painting School was opened in Sofia. It was the first higher educational institution open for female enrollment. Three girls enrolled in the first year and four in the second as against 46 è 45 boys respectively. A total of 56 female students attended the school in the next ten years. O Initially the girls were not allowed to paint nudes in the evening classes. They protested and Eilsaveta Konsoulova was the mouthpiece of their protest. She met with Prof. Ivan Mrkvicka, the headmaster, and the rules were changed. O 1904 saw the international debut of the Bulgarian women artists (Aneta Hodina, Anna Hen-Yossifova, Mara Lazarova, Elena Karamihailova, Elisaveta Konsoulova-Vazova) at the events of the Lada South Slav Society (1904, 1906, 1908 and 1912) and the International Art Exhibition in Rome in 1911. O Elisaveta Konsoulova’s exhibition in 1919 was the first solo exhibition of a woman artist in Bulgaria. It was followed by the solo exhibitions of Donka Konstantinova (1920), Ana Balsamadjieva (1923 and 1924), Nevena Gancheva (1927). A retrospection presented Elena Karamihailova at the annual exhibition of the Rodno Izkoustvo Society in 1923. O Elena Karamihailova and Elisaveta Konsoulova-Vazova were among the founding members of the Rodno Izkoustvo Society on 13 October 1919. O Rouska Marinova was among the founding members of the Independent Artists Society in the end of 1919. O Nevena Gancheva was the winner of the Art Academy’s painting contest for specializing abroad in 1924. O 1928: the Women Artists Society was founded within the Society of Women with University Education that was established in 1924. O 1-14 January 1928: the first exhibition of women artists was arranged at the State Art Academy by the Society under the patronage of Princess Evdokia. 29 women artists participated; among them: Elisaveta Konsoulova-Vazova, Nevena Gancheva, Vera Ivanova, Ekaterina Savova, Natalia Foutekova, Olga Shehanova and Vaska Emanouilova. Next were in 1930 and 1933, followed by exhibitions in Belgrade (1937) and Zagreb (1938). O 1896-1930: the following women artists received education or specialization abroad: Elena Karamihailova (Vienna, Munich), Elisaveta Konsoulova-Vazova (Munich), Aneta Hodina (Munich, Paris), Tsana Boyadjieva (Paris), Zolya Paprikova (Florence), Evdokia Peteva (Munich, Paris), Todorka Bourova (Dresden). Èçïîëçâàíè èçòî÷íèöè: / Reference: Àñåí Âàñèëèåâ, Èðèíà Ìèõàë÷åâà. Åëåíà Êàðàìèõàéëîâà, èçä. Áúëãàðñêè õóäîæíèê, Ñ. 1956 (Assen Vassiliev, Irina Mihalcheva. Elena Karamihailova, Bulgarski Houdozhnik Publishing House, Sofia, 1956) Èðèíà Ãåíîâà. Ìîäåðíèçìè è ìîäåðíîñò - (íå)âúçìîæíîñò çà èñòîðèçèðàíå. Èçêóñòâî â Áúëãàðèÿ è õóäîæåñòâåíèÿ îáìåí ñ áàëêàíñêèòå ñòðàíè, Ñîôèÿ 2004 (Irina Genova. Modernisms and Modernity: the (Im)possibility to Historicize. Art in Bulgaria and Artistic Exchange with the Balkan Countries, Sofia, 2004) Èðèíà Ãåíîâà, Òàòÿíà Äèìèòðîâà. Èçêóñòâîòî â Áúëãàðèÿ ïðåç 1920òå ãîäèíè. Ìîäåðíèçúì è íàöèîíàëíà èäåÿ, Ñ. 2003 (Irina Genova, Tatyana Dimitrova. Art in Bulgaria in the 1920s. Modernism and the National Idea, Sofia, 2003) Ìèëåíà Ãåîðãèåâà. Ñúþçúò íà þæíîñëàâÿíñêèòå õóäîæíèöè „Ëàäà“ (1904-1912). Áúëãàðñêîòî èçêóñòâî íà þæíîñëàâÿíñêèòå èçëîæáè, Ñ. 1994 (Milena Georgieva. The Lada Union of South Slav Artists (1904-1912). Bulgarian Art at the South Slav Exhibitions, Sofia, 1994) Äåíèöà Äàí÷åâà. Ùðèõè çà Òîäîðêà Áóðîâà (1902-1985), ñï. Ïðîáëåìè íà èçêóñòâîòî, 2002, êí. 4, ñ. 50-53 (Denitsa Dancheva. Profile: Todorka Bourova /1902-1985/, Problemi na Izkoustvoto magazine, No 4, pp. 50-53) Âåðà Äèíîâà-Ðóñåâà. Àííà Õåí-Éîñèôîâà. 1872-1931. Æèâîò è òâîð÷åñòâî, èçä. Ïèê, Âåëèêî Òúðíîâî, 2002 ã. (Vera Dinova-Rousseva. Anna HenYossifova. 1872-1931. Lifework. Pik Publishing House, Veliko Turnovo, 2002) Àíåëèÿ Íèêîëàåâà. Åëèñàâåòà Êîíñóëîâà-Âàçîâà è ïðèñúñòâèåòî é â îáùåñòâåíîòî ïðîñòðàíñòâî ïðåç ïúðâàòà ïîëîâèíà íà XX âåê“, ñï. Ïðîáëåìè íà èçêóñòâîòî, 2002, áð. 4, ñ. 54-59 (Anelia Nikolaeva. Elisaveta Konsoulova-Vazova and Her Presence in the Public Domain in the First Half of the 20th Century, Problemi na Izkoustvoto magazine, No 4, pp. 54-59)
(Un)Shared Reflections In the realm of Bulgarian art the initial visual works/campaigns connected to the feminist consciousness were predominantly self-referent. The authors presented their own intimate or public experience and their commitment to the social roles assigned to women in certain circles. The women artists quite often incorporated their own images in their works through photographs, slides, prints and video clips. Some of the common implications in the works of the 8th of March1 group, despite the differences in their individual registers, was the playfulness or the acting out of (non)typical roles alongside with some skepticism towards the ability of a woman to gain power over her imposed roles. The symbolic act of self-perception is invariably associated with an image in the mirror, which fully applies to visual arts in particular. An image in the mirror may be a unifying symbol of self-reference and at the same time of non-recognition/transcendence, of passion for self-cognition but also of longing for your own reflections (the inevitable evocation of the myth of Narcissus). The mirror look at yourself also means mismatching, vanishing somewhere else – the reflected/doubled image is the same but different even only because right is perceived as left and the invisible space “behind” us visualizes “alongside” our image. It is the sharing of this mismatching image, the difficulties and sometimes the impossibility for sharing that I consider a significant topic of the current exhibition. ***
Àííà Õåí-Éîñèôîâà. Ðîçè Anna Hen-Yossifova. Roses
Judging from their works, the women artists of the end of the 19th century wee neither disappointed nor skeptical, as if their imposed roles coincide in a non-dramatic way with their self-perception. The intimate world “mirrored” in their works is full of life. It lacks the “significant” historical and social story lines and the metaphors and symbols of passion and suffering. In contrast with the “male” works of art it seems that those deficiencies are not perceived by their authors as insufficiency and inequality. Like the amateur artists in Europe of the 18th and the early 19th century, the first professional women artists in our country – Elissaveta Konsoulova-Vazova and Elena Karamihailova – depicted the household environment in their paintings, i.e. family members, friends (girl friend or sister most often), home (interiors with figures, still-life paintings). Numerous child portraits were created. Such an interest proves the over-appreciation of motherhood in Europe during the 19th century and the common idea of prosperity for the national state. Those works together with the women’s amateur works in the drawingrooms and the private artistic albums are thematically and stylistically far from the tradition of the academic, “elite” art. Formally and stylistically, however, the paintings of those women pioneer artists differ from the amateur ones in the implementation of the oils, the bigger formats meant for exhibition (and not only domestic) halls as well as in the professional effort in defining a particular style. The conventional “female” storylines were hardly in the way of a desired artistic career. What caused a social problem was the participation of the professionally educated women in the artistic institutions and the making of public decisions (artistic hanging- committees, commissions, purchases, grants etc.). It was impossible for their professional and artistic competence to manifest itself outside the private world. For a woman of the late 19th century it was vitally important that she came from a wealthy and educated family in order to be able to take up art. The positions providing remuneration and stable incomes were inaccessible for a woman. A published commentary on educated women in general reads that: “… with the training and the circumstances under which the Bulgarian maiden develops, she is neither able, nor in the right to compete with a young man in holding any teachers’ positions.”2 In the painting and the works of that early period, however, that situation was hard, even impossible to share. *** How do women artists fulfill their social functions and provide for themselves a century later? Currently no one ever dares give publicity to a statement similar to the quoted one, neither write that: “What makes a woman ”crave” for higher education in 99% of the cases is the fear of a possible failure in marrying.”3 We’ll leave it to the specialists in some other
fields to decide whether this is due to the respect for the “political correctness” or because prejudice and unequal competition have been exhausted. We’ll do the same about comparing facts concerning the incomes and the positions occupied by the male and female artists nowadays. *** Since 1999 onwards the exhibitions of the 8th of March group have expressed the artistic significance of a certain circle of women artists. Unlike the exhibitions of the first artists, however, the “impossible to share” social impediments and prejudices generating subjective fears and difficulties, are now being articulated. Almost a century later the works of the women artists from 8th of March still “mirror” an intimate world. This time it conveys the sense of non-liveliness, alienation and splitting of the personality. What emerges is a non-living metal plantation (Adelina Popnedeleva), erotic bodies among a dominating sea of salad (Alla Georgieva), the brutal view of meat reminding of the classic ecorches, right next to the bride as the object of a man’s desire (Mariela Gemisheva). Even the colourful frescos of Nadya Lyahova (Digital Still Lives) spreading from the backs of the female figures in cotton print dresses look somehow still and non-living (the author successfully names them “still lives”). This intimate world is paradoxically zealous and cheerful in nurturing/reflecting its own self-destruction and death. Astonishingly, love, which is traditionally associated with the “male” images of the woman, is nowhere to be seen in the shared women’s reflections (at the end of the 19th century or a century later). Shall we believe then that “Love, which in a man’s life is only but a pleasant (yet sometimes quite unpleasant) episode, in a woman’s life is a fatal turning point (Verhaegniss as Nietzsche would say), an event she considers the most fateful one in her life.”4 And why does it remain in the invisible area of the unshared? *** Seven years after the creation of the 8th of March group the artists seem to have exhausted the necessity to be often together, among women for certain, in order to explore a woman’s situation, roles and wishes. The interests transcend the scrutinizing of one’s own situation. There is an attempt at opening towards the different both as a cultural situation and history (the present exhibition proves it). Those ambitions go beyond the feminist horizon. The artistic re-defining of the alienation into perception and the opportunity for changing places, the transforming of the differences in the so hard to find frankness in the relationship between a man and a woman, as well as between an artist and audience, is a guarantee for shared reflections. Irina Genova 1
Initiator and curator of the exhibition is Maria Vassileva. See: www.8mart.cult.bg 2 Dr.K.Krustev. A Few Words About the female Student. Misul Magazine, 1904, issue XIV, vol. 7, pp. 365-366. 3 Also there, p.366 4 Also there, p.367 Íàäåæäà Îëåã Ëÿõîâà. Vanitas, 1999 Nadezhda Oleg Lyahova. Vanitas, 1999
„Íå ìîæå äà ñå îòðå÷å, ÷å íàøàòà æåíà, êàêòî â ëèòåðàòóðàòà òúé è â æèâîïèñòà è ñêóëïòóðàòà, ïðîÿâÿâà òàëàíòëèâîñò, êîÿòî îñâîáîæäàâà öåíèòåëÿ îò ñíèçõîäèòåëíî-ãàëàíòíî îòíîøåíèå êúì íåéíàòà ðàáîòà. Äîðè íÿêîè âíàñÿò ÷óâñòâà è èíäèâèäóàëíîñò â òâîð÷åñòâîòî ñè, íà êîèòî áèõà çàâèäåëè ìúæåòå.“ Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå-õóäîæíè÷êè, â. Ñëîâî, 10 ÿíóàðè 1928 ã. „Òå óðåæäàò âå÷å òðåòàòà ñè èçëîæáà. Ïàê ïî÷âàì ñ òîâà: ÷å ÷îâåê áè èñêàë äà íàìåðè â èçëîæáàòà íà æåíèòå õóäîæíè÷êè åäíî òâîð÷åñòâî, â êîåòî íåùàòà è ñâåòúò, àêî íå ñà âèäåíè äîñòàòú÷íî îðèãèíàëíî è ñàìîáèòíî, òî ïîíå ïî-íåïîñðåäñòâåíî æåíñòâåíî.“ Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå õóäîæíè÷êè, â. Ñëîâî, 3 þíè 1931 ã. „Äàëè æåíàòà çà âúçïðèåìàíå íà ñâåòà „ïðèòåæàâà àïàðàò ñúâúðøåíî ðàçëè÷åí îò òîçè íà ìúæà“, êàêòî ïèøå åäèí îñîáåíî ïðîÿâèë ñå òàçè ãîäèíà ñ íåëåïèòå ñè ÷óäàòîñòè íàøåíñêè êðèòèê, íå çíàåì (ñòàâà äóìà çà Ñèðàê Ñêèòíèê è ñòàòèÿòà ìó „Èçëîæáàòà íà æåíèòå õóäîæíè÷êè“ âúâ â. Ñëîâî îò 3 þíè 1931 ã. – áåë. ðåä.). Ïîíå äî ñåãà íàóêàòà íå å îòêðèëà òàêîâà íåùî. Íî äà ñå ïèøå âúâ âðåìåòî, â êîåòî æèâååì, ÷å èçêóñòâîòî íà æåíàòà òîãàâà áè áèëî öåííî è îðèãèíàëíî, êîãàòî å „íåïîñðåäñòâåíî æåíñòâåíî“, å íàèñòèíà ïðàñòàð îñòàòúê îò õóáàâîòî èäèëè÷íî âðåìå íà ñàíòèìåíòàëíîñòèòå è... íà àíàäîëñêèÿ âêóñ êúì æåíñêàòà ïîêîðíîñò è êúì ñìåøíàòà çà äíåøíèÿ âåê ìúæêà ïîêðîâèòåëñòâóâàùà ñàìîóâåðåíîñò.“ Ñòåôàí Ìèòîâ. Èçëîæáàòà íà æåíèòå õóäîæíèöè, â. Ëèòåðàòóðåí ãëàñ, 20 þíè 1931 ã., áðîé 120 „Êàòî ïúðâà (ñòàâà äóìà çà ïúðâàòà èçëîæáà íà „Äðóæåñòâî íà æåíèòå ñ âèñøå îáðàçîâàíèå“ ïðåç 1928 ã. – áåë. ðåä.), êàêòî âèíàãè ñòàâà â òàêèâà ñëó÷àè, èçëîæáàòà íå áå äîñòàòú÷íî ïúëíà, òúé êàòî íÿêîè îò õóäîæíè÷êèòå íå âçåõà ó÷àñòèå. Âúïðåêè òîâà îáñòîÿòåëñòâî ïðèìåðúò îò íåÿ å äîáúð è öåëòà äîñòàòú÷íî ïîñòèãíàòà. Ïîñåòèòåëÿò ìîæà äà ñå óáåäè, ÷å æåíàòà è òóê å ñúñ ñèëåí äóõ è íàäåæäíà.“ Èç õóäîæåñòâåíèÿ ñâåò, ñï. Õóäîæåñòâåíà êóëòóðà, 1927-1928, áðîé 5-6, ñòð. 58 “It is indisputable that our [the Bulgarian] woman manifested talent in literature, painting and sculpture alike and that this talent took away the connoisseur’s patronizing and chivalrous attitude to her work. The feeling and individual touch that some women put in their works could provoke the male jealousy.” Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå-õóäîæíè÷êè, â. Ñëîâî, 10 ÿíóàðè 1928 ã. (Sirak Skitnik. The Exhibition of Women Artists, Slovo newspaper, 10 January 1928) “They are organizing their third exhibition. I repeat: what you would like to see at the exhibition of women artists is works where things and the world are interpreted at least in a more intimate womanly way unless seen in a sufficiently original and peculiar perspective.” Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå õóäîæíè÷êè, â. Ñëîâî, 3 þíè 1931 ã. (Sirak Skitnik. The Exhibition of Women Artists, Slovo newspaper, 3 June 1931) “We do not know whether the female tool of perception of the world is totally different from the male one, if I may quote a [Bulgarian] critic whose nonsensical and absurd observations made him particularly notorious this year (the critic in question is Sirak Skitnik and the quotation is from his article “The Exhibition of Women Artists” in Slovo newspaper of 3 June 1931 – editor’s note). At least science has not discovered that. However, to write today that the art produced by a woman would be valuable and singular if it is “deeply womanly” is indeed a remote remnant from the good idyllic days of sentimentality and … of the Anatolian predilection for female tameness and for the male patronizing self-conceit which is so ridiculous in this century.” Ñòåôàí Ìèòîâ. Èçëîæáàòà íà æåíèòå õóäîæíèöè, â. Ëèòåðàòóðåí ãëàñ, 20 þíè 1931 ã., áðîé 120 (Stefan Mitov, The Exhibition of Women Artists, Literatouren Glas newspaper, 20 June 1931, No 120) “Òhat first exhibition [of the Society of Women with University Education in 1928 – editor’s note], as usual, was unrepresentative as some women artists did not have their works displayed there. Nonetheless, its example is good and its achievement is sufficient. The visitor could see that the women here have a strong spirit and can be relied on.” Èç õóäîæåñòâåíèÿ ñâåò, ñï. Õóäîæåñòâåíà êóëòóðà, 1927-1928, áðîé 5-6, ñòð. 58 (In the World of Art, Houdozhestevena Kultura magazine, 1927-1928, Nos 5-6, p. 58
Àäåëèíà Ïîïíåäåëåâà. Íèðâàíà, 1999 Adelina Popnedeleva. Nirvana, 1999
Åëåíà Êàðàìèõàéëîâà. Ïîðòðåò íà ñåñòðà ìè, 1909 (ÍÕÃ) Elena Karamihailova. Portrait of My Sister, 1909 (National Art Gallery)
„Èçëîæáàòà („Îáñåáâàíå“, 1999 ã., Öåíòðàëíà ìèíåðàëíà áàíÿ, Ñîôèÿ – áåë. ðåä.) ñå çàïîìíè êàòî îïèò çà ïðåîäîëÿâàíå íà ìàëöèíñòâåíîòî âúçïðèåìàíå íà æåíñêàòà êóëòóðà, êîåòî â ìîìåíòà å ïîëèòè÷åñêè è èêîíîìè÷åñêè èçãîäíî, íî âñå ïàê å óíèçèòåëíî, îñîáåíî â ïîñòòîòàëèòàðíàòà äåéñòâèòåëíîñò.“ ßðà Áóáíîâà, „Æåíè â áàíÿòà“, â. Êóëòóðà, 18 ôåâðóàðè, 2000 ã., ñ. 8 „Íàðåä ñ ôåìèíèñòêèòå ïðîáëÿñúöè è æåíñêèòå òåìè, õóäîæíè÷êèòå â ãðóïà „8-ìè ìàðò“ ñúçäàâàò è ðåäèöà ïðîèçâåäåíèÿ ñ, äà êàæåì, îáùî÷îâåøêî çíà÷åíèå, ðåàãèðàò íà ðàçëè÷íè ñèòóàöèè â îáùåñòâîòî, â ÷àñòíîñò áúëãàðñêîòî.“ Äèàíà Ïîïîâà, „Áåëåæêè âúðõó ôåìèíèçìà è áúëãàðñêîòî èçêóñòâî“, ñï. Èçêóñòâî / Art in Bulgaria, 2003, þáèëååí áðîé „...õóäîæíè÷êèòå ìíîãî áúðçî óñïÿõà äà èçáÿãàò îò íåìèíóåìèòå îãðàíè÷åíèÿ, êîèòî ôåìèíèñêèÿò êîíòåêñò ïîñòàâÿ. Ïðîáëåìà íà ïîëà è ñàìîîïðåäåëåíèåòî, ñà ñàìî åäíè íî íå íåé-öåíòðàëíèòå òåìè â ðàáîòèòå èì. Õîðèçîíòà å äîñòàòú÷íî ðàçøèðåí, à æåíñêàòà ãëåäíà òî÷êà å ïðåìèíàëà ïðåç íàé-ðàçëè÷íè òåìè è ïðîáëåìè îò æèâîòà“. Âåñåëà Íîæàðîâà, íåïóáëèêóâàí òåêñò çà ãðóïà „8-ìè ìàðò“ „Ïúðâàòà æåíñêà ãðóïà íà áúëãàðñêàòà õóäîæåñòâåíà ñöåíà ñå ïîÿâÿâà â êðàÿ íà 90-òå ãîäèíè. Ñúñ ñâîÿòà äåéíîñò ãðóïà „8-ìè ìàðò“ èçðàçÿâà ïîçèöèÿòà ñè ïî îòíîøåíèå íà ñîöèàëíèÿ è õóäîæåñòâåíèÿ êîíòåêñò è èìåííî òîâà îïðåäåëÿ çíà÷èìîñòòà é. ×ðåç åêñïåðèìåíòè ñ ðàçëè÷íè ìåäèè ãðóïà „8-ìè ìàðò“ òâúðäî çàÿâÿâà îòíîøåíèåòî ñè êúì ìîäåðíàòà âèçóàëíà èçðàçíîñò è çàíèìàâàéêè ñå ñ îïèòà, ïîçèöèÿòà è ïðåäñòàâÿíåòî íà æåíèòå â áúëãàðñêîòî îáùåñòâî, ïðåäàâà íà òåçè âúïðîñè îáùåñòâåíî çíà÷åíèå.“ Danica Minic, “Art and Gender: The Positioning of a Women’s Art Group“, Balkan Umbrella, June 2002 (Äàíèöà Ìèíè÷, „Èçêóñòâî è Äæåíäúð: Ñúñòîÿíèå íà æåíñêèòå õóäîæåñòâåíè ãðóïè“, Balkan Umbrella, þíè 2002) Ñèëâèÿ Ëàçàðîâà. Ñîôèÿ, Âÿðà, Íàäåæäà è Ëþáîâ, 2001 Silvia Lazarova. Sophia, Faith, Hope and Love, 2001
ÃÐÓÏÀ „8-ÌÈ ÌÀÐÒ“ 1997 – „Âåðñèÿòà íà Åðàòî. Æåíñêà åðîòè÷íà èçëîæáà“, ãàëåðèÿ „Øèïêà“6, Ñîôèÿ, êóðàòîðè: ßðà Áóáíîâà è Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëáåíà Ìèõàéëîâà, Àëëà Ãåîðãèåâà, Àíæåëà Ìèíêîâà, Äèìèòðèíà Ñåâîâà, Åëåíà Ïàíàéîòîâà, Æàíà Áåõàð, Ìàðãàðèòà Ðàäåâà, Ìàðèåëà Ãåìèøåâà, Ìèõàåëà Ïúäåâà, Ìîíèêà Ðîìåíñêà, Ìîíèêà Ôèøåð (Øâåéöàðèÿ), Íåëè Ãàâðèëîâà, Íèíà Êîâà÷åâà, Îäèëèÿ ßíêîâà, Ñèëâà Áú÷âàðîâà, Ñëàâà Íàêîâñêà, Ñèëâèÿ Áîÿäæèåâà, Òàíÿ Àáàäæèåâà, ßâîðà Ïåòðîâà; êàòàëîã, êîíôåðåíöèÿ 1998 – „Êàïðèç“, Öåíòúð çà ñúâðåìåííî èçêóñòâî ÀÒÀ, Ñîôèÿ, ó÷àñòíèöè: Àëëà Ãåîðãèåâà, Àäåëèíà Ïîïíåäåëåâà, Åëåíà Ïàíàéîòîâà, Ìîíèêà Ðîìåíñêà, Ìîíèêà Ôèøåð (Øâåéöàðèÿ), Íàäåæäà Îëåã Ëÿõîâà, Íàäÿ Ãåíîâà, Ðåãóëà Ìèõåë (Øâåéöàðèÿ), Òàíÿ Àáàäæèåâà 1999 – „Îáñåáâàíå“, Öåíòðàëíà ìèíåðàëíà áàíÿ, Ñîôèÿ, êóðàòîð: Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè: Àëëà Ãåîðãèåâà, Àäåëèíà Ïîïíåäåëåâà, Äèìèòðèíà Ñåâîâà, Åëåíà Ïàíàéîòîâà, Èðà Äàíèëîâà (ÑÀÙ), Ìîíèêà Ðîìåíñêà, Ìîíèêà Ôèøåð (Øâåéöàðèÿ), Íàäåæäà Îëåã Ëÿõîâà, Íàäÿ Ãåíîâà, Ðåãóëà Ìèõåë (Øâåéöàðèÿ), Ñèëâèÿ Ëàçàðîâà, Òàíÿ Àáàäæèåâà; êàòàëîã 1999 – „Îáëè÷àíå / Ðàçñúáëè÷àíå“, Öåíòúð çà ñúâðåìåííî èçêóñòâî „Áàíÿ Ñòàðèííà“, Ïëîâäèâ, Áúëãàðèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà, Äèìèòðèíà Ñåâîâà, Èëèàíà Íåäêîâà, Ìàðèåëà Ãåìèøåâà 2000, ìàðò – „Îãëåäàëöå, îãëåäàëöå…“, Õóäîæåñòâåíà ãàëåðèÿ, Ðóñå, êóðàòîð Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Ñåðãèåâà, Äèìèòðèíà Ñåâîâà, Íàäÿ Ãåíîâà, Íàäåæäà Îëåã Ëÿõîâà, Ìîíèêà Ðîìåíñêà, Ñèëâèÿ Ëàçàðîâà, Åëåíà Ïàíàéîòîâà, Òàíÿ Àáàäæèåâà 2000, þëè – „Ñóáåêòè è Ñåíêè“, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà, Âåíöèñëàâ Çàíêîâ, Äàíèåëà Êîñòîâà, Äèìèòðèíà Ñåâîâà, Íàäÿ Ãåíîâà, Íàäåæäà Îëåã Ëÿõîâà, Ìîíèêà Ðîìåíñêà, Ñèëâèÿ Ëàçàðîâà, Åëåíà Ïàíàéîòîâà, Òàíÿ Àáàäæèåâà, êàòàëîã 2000, íîåìâðè – „Áúëãàðèÿ, Íþ Éîðê“, Åëèçàáåò Ôàóíäåéøúí ôîð äè Àðòñ, Íþ Éîðê, êóðàòîðè: Èðèíà Äàíèëîâà è Ðåãèíà Êèäåêåë, ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Äèìèòðèíà Ñåâîâà, Íàäåæäà Îëåã Ëÿõîâà, Ìîíèêà Ðîìåíñêà, Ñèëâèÿ Ëàçàðîâà, Åëåíà Ïàíàéîòîâà, Òàíÿ Àáàäæèåâà, Ìèøåë Áåê, Èðèíà Äàíèëîâà, Àêèêî Èøèêàâà, Áèðãèòà Ëúíä, Òåëìà Ìàòèàñ, Ñþ Ìóñêàò è Ñóçè Ñóðåê 2001, ÿíóàðè – ïðåäñòàâÿíå íà èçëîæáàòà „Ìåìîðàìà“ íà àâñòðèéñêàòà õóäîæíè÷êà Êàòàðèíà Ìàòèàçåê â ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, êàòàëîã 2001, þíè – „SHOP–ART. Æåíè íà ïàçàð(à)“, ïîäëåç „Ñâ.Ñîôèÿ“, êóðàòîð Ìàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà, Íàäåæäà Îëåã Ëÿõîâà, Ñèëâèÿ Ëàçàðîâà, Òàíÿ Àáàäæèåâà, êàòàëîã 2001, ñåïòåìâðè – ïðåäñòàâÿíå íà èçëîæáàòà „Íåïîäâèæíîñò“ íà àìåðèêàíñêàòà õóäîæíè÷êà Ñþçúí Ïåéäæ, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, êàòàëîã 2000 – 2001 – „Ñìÿíà íà ìåñòàòà“, ìåæäóíàðîäåí ïðîåêò è èçëîæáà â ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Äèìèòðèíà Ñåâîâà, Íàäåæäà Îëåã Ëÿõîâà, Òàíÿ Àáàäæèåâà, Ñóçàíà Ïåðèí (Øâåéöàðèÿ), Ñàáèíå Áàóìàí (Øâåéöàðèÿ), Êàòàðèíà Ìàòèàçåê (Àâñòðèÿ), Àíà Ñòîéêîâè÷ (Ìàêåäîíèÿ), Ìàðèëåíà Ïðåäà-Ñúíê (Ðóìúíèÿ); ñúñ ñúäåéñòâèåòî íà Pro Helvetia; êàòàëîã, êîíôåðåíöèÿ 2002, ìàðò – ïðåäñòàâÿíå íà èçëîæáàòà „SHESHOW. Ôîòîãðàôèÿ, äèãèòàëíè îòïå÷àòúöè è âèäåî îò Èñòàíáóë“, êóðàòîð Áåðàë Ìåäðà; ó÷àñòíèöè: Éåñèì Àãàîãëó, Éîñãþë Àðñëàí, Åëèô ×åëåáè, Èí÷è Åâèíåð, Ãþë Èëãàñ, Íåðèìàí Ïîëàò, Àíè Ñåòèÿí, Ñåðìèí Øåðèô, Ãîí÷à Ñåçåð, Õàíäàí Áüîðþòå÷åíå 2002, àâãóñò – „Ìîìè÷åòàòà è ìîðåòî“, ãàëåðèÿ Áóëàðò, Âàðíà, êóðàòîð: Ìàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà, Èäà Äàíèåë, Íèíà Êîâà÷åâà, Íàäåæäà Îëåã Ëÿõîâà, Ñèëâèÿ Ëàçàðîâà è Ëú÷åçàð Áîÿäæèåâ 2003 – „Æåíñêî âèäåî îò Áúëãàðèÿ“, ìóçåé ßíêî Äàäà, Åéí Õîä, Èçðàåë, êóðàòîð Ìàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà, Íàäåæäà Îëåã Ëÿõîâà è Òàíÿ Àáàäæèåâà 2004, ìàðò – „×åòèðè ñòàè“, ãàëåðèÿ ADS, Ñîôèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Ìàðèÿ Âàñèëåâà, Íàäåæäà Îëåã Ëÿõîâà, êàòàëîã 2004, ñåïòåìâðè – ó÷àñòèå íà Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Íàäåæäà Îëåã Ëÿõîâà è Ìàðèÿ Âàñèëåâà â Òðåòèÿ ñèìïîçèóì çà ñúâðåìåííî èçêóñòâî „Â ñîáñòâåí êîíòåêñò“, Õóäîæåñòâåíà ãàëåðèÿ, Äèìèòðîâãðàä.
Åëåíà Êàðàìèõàéëîâà. Ïðîëåò (ÕÃ - Øóìåí) Elena Karamihailova. Spring (Art Gallery - Shoumen)
THE “8-TH OF MARCH”GROUP 1997 – “Erato’s Version”, Shipka 6 Gallery, Sofia, curators: Iara Boubnova and Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Albena Mishailova (Bulgaria/Switzerland), Anjela Minkova, Margarita Radeva (Bulgaria/Greece), Dimitrina Sevova, Elena Panaiotova, Jana Behar, Mariela Gemisheva, Mishaela Padeva, Monika Romenska, Monika Fisher (Switzerland), Neli Gavrilova, Nina Kovacheva (Bulgaria/France), Odilia Iankova, Silva Bachvarova, Slava Nakovska, Silvia Boyadjieva, Tania Abadjieva, Iavora Petrova, catalogue, conference 1998 – “Caprice”, ATA Center for contemporary art, Sofia, participants: Adelina Popnedeleva, Alla Georgieva, Elena Panaiotova, Irina Danilova (USA), Monika Romenska, Monika Fisher (Switzerland), Nadezhda Oleg Lyahova, Nadia Genova, Regyla Michel (Switzerland), Tania Abadjieva 1999 – “Obsession”, Central Mineral Bath, Sofia, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Dimitrina Sevova, Elena Panaiotova, Irina Danilova (USA), Monika Romenska, Monika Fisher (Switzerland), Nadezhda Oleg Lyahova, Nadia Genova, Regyla Michel (Switzerland), Silvia Lazarova, Tania Abadjieva, catalogue 1999 – “Dressing/Undressing“, Center for contemporary art “Bania Starinna”, Plovdiv, Bulgaria, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Boriana Dragoeva, Dimitrina Sevova, Iliana Nedkova, Mariela Gemisheva 2000, March – “Mirror, Mirror…”, City Art Gallery, Russe, Bulgaria, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Boriana Dragoeva, Daniela Sergieva, Dimitrina Sevova, Elena Panaiotova, Monika Romenska, Nadezhda Oleg Lyahova, Nadia Genova, Silvia Lazarova, Tania Abadjieva 2000, July – “Subjects and Shadows”, ATA Center for Contemporary Art, Sofia, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Boriana Dragoeva, Daniela Kostova, Dimitrina Sevova, Elena Panaiotova, Monika Romenska, Nadezhda Oleg Lyahova, Nadia Genova, Silvia Lazarova, Tania Abadjieva, catalogue 2000, November – “Bulgaria, NY: Bulgarian and American Women Artists Collaborate”, Elizabeth Foundation for the Arts, New York, curators Irina Danilova and Regina Khidekl, participants Adelina Popnedeleva, Alla Georgieva, Dimitrina Sevova, Elena Panaiotova, Monika Romenska, Nadezhda Oleg Lyahova, Tania Abadjieva, Irina Danilova, Sue Muskat, Birgitta Lund, Michele Beck, Akiko Ichikawa, Suzy Sureck, Thelma Mathias 2001, January – presentation of the exhibition “Memorama” by Austrian artist Katarina Matiasek, ATA center for contemporary art, Sofia 2001, June – “SHOP-ART. Women on the market”, underpass “Saint Sofia”, Sofia, curator Maria Vassileva, participants Adelina Popnedeleva, Alla Georgieva, Boriana Dragoeva, Daniela Kostova, Daniela Sergieva, Nadezhda Oleg Lyahova, Nadia Genova, Silvia Lazarova, Tania Abadjieva; sponsored by KulturKontakt, catalogue 2001, September – presentation of the exhibition “Standing Still” by American artist Susan Page, ATA center for contemporary art, Sofia 2000-2001 - “Changing of Places”, international women exchange project and exhibition at ATA center for contemporary art, Sofia, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Dimitrina Sevova, Nadezhda Oleg Lyahova, Tania Abadjieva, Susan Perin (Switzerland), Sabine Baumann (Switzerland), Katarina Matiasek (Austria), Ana Stoikovic (Macedonia), Marilena Preda-Sanc (Romania); sponsored by Pro Helvetia; catalogue, conference 2002, March – presentation of the exhibition “SHESHOW. Photography, digital prints and video from Istanbul”, ATA center for contemporary art, Sofia; curator Beral Medra; participants: Yeþim Agaoglu, Özgül Arslan, Handan Börütecene, Elif Çelebi, Ýnci Eviner, Gül Ilgaz, Neriman Polat, Ani Setyan, Sermin Sherif 2002, August – “The Girls and the Sea”, Bulart Gallery, Varna, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Boriana Dragoeva, Daniela Kostova, Ida Daniel, Nina Kovacheva, Nadezhda Oleg Lyahova, Silvia Lazarova, Luchezar Boyadjiev 2003 – “Women’s video from Bulgaria”, Janko Dada Museum, Ein Hod, Israel, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Boriana Dragoeva, Daniela Kostova, Nadezhda Oleg Lyahova, Tania Abadjieva 2004, March – “Four Rooms”, ADS Gallery, Sofia, curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, Maria Vassileva, Nadezhda Oleg Lyahova, catalogue 2004, September – participation of Adelina Popnedeleva, Alla Georgieva, Maria Vassileva and Nadezhda Oleg Lyahova at the Third symposium for contemporary art, Art Gallery, Dimitrovgrad, Bulgaria
“The exhibition (“Obsession”, 1999, Central Mineral Bath, Sofia – editor’s note) is remembered as an attempt to surmount the minority perception of female culture which while being politically and economically agreeable, is humiliating, especially in the post totalitarian reality.” ßðà Áóáíîâà, „Æåíè â áàíÿòà“, â. Êóëòóðà, 18 ôåâðóàðè, 2000 ã., ñ. 8 (Iara Bubnova, “Women in the Bath”, Kultura newspaper, 18 February 2000, p. 8) “Along with the feminist flashes and themes, the women artists from the “8th of March” group created a number of works of universal significance and responded to different situations in the society, in particular the Bulgarian society.” Äèàíà Ïîïîâà, „Áåëåæêè âúðõó ôåìèíèçìà è áúëãàðñêîòî èçêóñòâî“, ñï. Èçêóñòâî / Art in Bulgaria, 2003 (Diana Popova, Notes on Feminism and Bulgarian Art, Izkoustvo / Art in Bulgaria magazine, 2003, jubilee number) “... very quickly the women artists managed to rid of the unavoidable restrictions that the feminist context poses. The problem of gender and self-identification are some of their themes but not the key themes in their works. The horizon is broadened enough, the female perspective is crosscutting the diversity of themes and life problems”. Âåñåëà Íîæàðîâà (Vessela Nozharova), unpublished text about the “8th of March” group
Àëëà Ãåîðãèåâà. Íîâ õåäîíèçúì, 2004 Alla Georgieva. New Hedonism, 2004
“The late 1990s saw the creation of the first women’s art group on the Bulgarian art scene. Through its activities, the “8th of March” group defined a stance towards a certain social and artistic context and its significance springs from that position. Through experiments in various media, the “8th of March” group was to become part of a bloc intent on affirming contemporary visual art forms on the Bulgarian art scene, and by dealing with the experience, position and representation of women in Bulgarian society, it gave these issues public relevance.” Danica Minic, “Art and Gender: The Positioning of a Women’s Art Group“, Balkan Umbrella, June 2002