Sasho Stoitzov_catalog.pdf

Sasho Stoitzov BREAKTHROUGH curator Maria Vassileva National Gallery Sofia 10. 2 - 27. 3. 2016 ÏÐÎÁÈ Íàöèîíàëíà ãàëåðèÿ, Ñîôèÿ 10.02- 27.03.2016 Êóðàòîð Ìàðèÿ Âàñèëåâà Òåêñòîâå Ìàðèÿ Âàñèëåâà Ôîòîãðàôèè Áîðèñ ×åðíåâ Ïðåâîä Âëàäèìèð Ãåðìàíîâ Äèçàéí Ñàøî Ñòîèöîâ Ïðåäïå÷àò Ðîñèöà Ãåöîâà Òèðàæ 300 BREAKTHROUGH National Gallery, Sofia 10.02- 27.03.2016 Texts Maria Vassileva Images Boris Chernev Translation Vladimir Germanov Design Sasho Stoitzov Prepress Rositsa Getsova Printed in 300 copies BREAKTHROUGH Êàòàëîãúò å èçäàäåí ñ ëþáåçíîòî ñúäåéñòâèå íà This catalog is published with the kind support of Ñàøî Ñòîèöîâ ÏÐÎÁÈ Ïîâå÷å îò 3 äåñåòèëåòèÿ Ñàøî Ñòîèöîâ (ð. 1952) å â àâàíãàðäà íà íàé-èíòåðåñíèòå òúðñåíèÿ â èçêóñòâîòî. Òîé å ñðåä ìàëöèíàòà áúëãàðñêè õóäîæíèöè, êîèòî ïðåäâåùàâàò ãîëåìèòå ïðîìåíè â èçêóñòâîòî íè ñëåä 1989 ã. è ïðîäúëæàâàò äà ñà èçíåíàäâàùè è íîâàòîðñêè íàñòðîåíè è äíåñ. Àêòèâíèÿò ìó òâîð÷åñêè ïúò çàïî÷âà â íà÷àëîòî íà 80-òå ãîäèíè. Ïîÿâÿâà ñå ñúñ ñåðèÿ ãîëåìè ôîòîðåàëèñòè÷íè ïîðòðåòíè êîìïîçèöèè, ñ êîèòî ìíîãî áúðçî ñå íàëàãà êàòî åäèí îò íàéèíòåðåñíèòå æèâîïèñöè.  êðàÿ íà 80-òå, íà ïðàãà íà ïðåõîäà, Ñàøî Ñòîèöîâ íå ñàìî ó÷àñòâà â íàé-âàæíèòå çà ïåðèîäà èçëîæáè, íî è îðãàíèçèðà íÿêîè îò òÿõ êàòî åäèí îò ëèäåðèòå íà „Ãðóïà Áëàãîåâãðàä“. Òîé å ñðåä ïúðâèòå õóäîæíèöè, êîèòî ðåàãèðàò íà ïðîìåíåíèòå óñëîâèÿ. Òâîðáèòå ìó îò òîçè ïåðèîä îñòàâàò â êëàñèêàòà íà áúëãàðñêèÿ àâàíãàðä.  íà÷àëîòî íà 90-òå õóäîæíèêúò ðàçâèâà àêöèîíèñòêèòå, ñîöèàëíî êðèòè÷åñêè äåéñòâèÿ ïîïîñîêà íà ïî-çàäúëáî÷åí àíàëèç íà ìèíàëîòî. Ñàøî Ñòîèöîâ å åäèíñòâåíèÿò, êîéòî ñå ñâúðçâà ñ ïîíÿòèåòî „ñîö-àðò“ â áúëãàðñêîòî èçêóñòâîòî. Ñëåä çàìèíàâàíåòî ñè çà Íþ Éîðê ïðåç 1998 ã. òîé çàïî÷âà äà èçïîëçâà ôîòîàïàðàò è êîìïþòúð, è ðàçâèâà íîâà òåõíèêà - ñòèðîïîðåí êàðòîí, öâåòíè õàðòèè è ñêî÷îâå. Ñòîèöîâ ñúçäàâà ïàðàëåëíà ðåàëíîñò, êîÿòî ìíîãî íàïîìíÿ ïîðòðåòèòå îò ñåðèÿòà „Ïðîãðàìà“ â ïîñòàâÿíåòî íà ãðàíèöà ìåæäó âèäèìîòî è èðàöèîíàëíîòî. Ìàðèÿ Âàñèëåâà, êóðàòîð Sasho Stoitzov BREAKTHROUGH For more than 3 decades, Sasho Stoitzov (b. 1952) has been in the vanguard of the most intriguing explorations in the world of art. He was one of the few Bulgarian artists who anticipated the great changes that would take place in art after 1989, and continue to surprise with their innovative approach to this day. His active artistic career began in the early 1980's. He came up with a series of large photorealistic portrait compositions which quickly established him as one of the most interesting painters. In the late 1980's, the eve of the political transition, he participated in some of the exhibitions that were most emblematic for the period and also organized some of these in his capacity of one of the leaders of the Blagoevgrad Artists' Group. He was one of the first artists who worked on the changed conditions in the late 1980's. His works from that time have become classics of Bulgarian vanguard. In the early 1990's, Sasho Stoitzov's acts and social-criticism evolved towards a deeper analysis of the past. He is the one and only Bulgarian artist whose name is associated with the notion of soc-art in Bulgaria. Following his sojourn in New York city, in 1998, he started using a new technique - polystyrene boards, colored papers and adhesive tapes. The artist has created a parallel reality which very much resembles his portraits from the Program series in their drawing a border between visible and irrational. Maria Vassileva, curator Ñàêñîôîíèñò â áàíÿòà, 1973 Ìàñëåíè áîè âúðõó ïëàòíî 200 x 149 cì Saxophone Player in the Bathroom, 1973 Oil on canvas 200 x 149 cm Æèâîïèñíàòà òâîðáà „Ñàêñîôîíèñò â áàíÿòà“ å ñúçäàäåíà ïðåç 1973 ã. Òÿ íå å ïðèåòà â îêðúæíà èçëîæáà â Áëàãîåâãðàä êàòî ïåñèìèñòè÷íà. Ïðåç 1996 ã. Ñàøî Ñòîèöîâ ÿ ïîêàçâà çà ïúðâè ïúò â ñàìîñòîÿòåëíà èçëîæáà â ãàëåðèÿ „Àòà-ðàé“ â Ñîôèÿ.  èíñòàëàöèÿòà ñà âêëþ÷åíè îðèãèíàëíàòà êàðòèíà è åëåìåíòè îò èñòèíñêàòà áàíÿ, êîÿòî å áàíÿòà íà õóäîæíèêà. Âñúùíîñò ðàáîòàòà å àâòîïîðòðåò, êîéòî èçðàçÿâà óñàìîòÿâàíåòî è îò÷óæäàâàíåòî íà òâîðåöà îò ñâåòà íàîêîëî. Èçáîðúò íà ñàêñîôîí íå å ñëó÷àåí - â îíåçè ãîäèíè òîé ñå ñâúðçâà ñ îòðè÷àíèÿ ïî âðåìåòî íà ñîöèàëèçìà äæàç. Ïðîåêöèÿòà íà êàðòèíàòà âúðõó ïàóñ å ïî-êúñåí ïîãëåä êúì ñèòóàöèÿòà; ñâîåîáðàçíî êàðòîãðàôèðàíå íà åäíî îòìèíàëî âðåìå. The painting Saxophone Player in the Bathroom was produced back in 1973. It was not allowed to participate in a regional art exhibition as it was qualified as pessimistic. In 1996, Sasho Stoitzov displayed it for the first time in a one-man show in the Ata-ray gallery, in Sofia. The installation includes the original painting and components of the bathroom which was the artist's actual bathroom. In fact, this work is a self-portrait showing the solitude and the alienation of the artist from the world. The saxophone was not chosen arbitrarily - back then it was a symbol of the jazz music that was scorned and banned by the socialist regime. The projection of the painting on tracing paper is a later look at the situation; sort of mapping of the time past. Ïðîãðàìà Ï. Áðàòàíîâ, 1980 Ìàñëåíè áîè âúðõó ïëàòíî 140 x 170 cì P. Bratanov Program, 1980 Oil on canvas 140 x 170 cm Ñàøî Ñòîèöîâ çàïî÷âà ðàáîòà ïî ñåðèÿòà „Ïðîãðàìà“ â êðàÿ íà 70-òå ãîäèíè íà 20-òè âåê. Êîìïîçèöèèòå ñú÷åòàâàò ôîòîðåàëèçúì ñ îïòè÷íè åôåêòè. Êàðòèíèòå ñå îòëè÷àâàò îò îáùàòà ïðîäóêöèÿ ñ ðàöèîíàëíèÿ ñè ïîäõîä. Çà ðåàëèçàöèÿòà èì õóäîæíèêúò èçïîëçâà ôîòîàïàðàò, äèàïðîåêòîð, ëèíèÿ, ëåïåíêà è ïðúñêàíå ñ ïðàõîñìóêà÷êà. Ïî äóìèòå íà àâòîðà â òîçè ïåðèîä òîé âÿðâà, ÷å „õîðàòà ñà ÷àñò îò âñåëåíñêî öèôðîâî ïðîãðàìèðàíå, êîåòî ìîæå äà ñå âúçïðîèçâåäå íå ñàìî îò ÷îâåêà“. Ïîäîáíî ìèñëåíå íå îòãîâàðÿ íà ðàçáèðàíèÿòà íà âðåìåòî çà öåíòðàëíîòî ìÿñòî íà ÷îâåêà âúâ Âñåëåíàòà. Íå ñëó÷àéíî êàðòèíàòà „Ïðîãðàìà Áðàòàíîâ“ íå å áèëà äîïóñíàòà îò æóðèòî çà ïðåäñòàâÿíå â ñàìîñòîÿòåëíà èçëîæáà êàòî àãðåñèâíà è îò÷óæäåíà. . Sasho Stoitzov began his work on the Program series in the late 1970's. His compositions combine photorealism and optical effects. His works stand out amidst the mainstream with their rational approach. For their realization the artists used photo camera, slide-projector, ruler, adhesive tape and vacuum cleaner spray gun. In his words, during the period he believed that “people are a part of a cosmic digital programming, which could be reproduced not by man only”. This thinking corresponds to the understanding of the period about the central position of man in the Universe. Logically, the Program Bratanov painting was not allowed by a selection committee to be presented in an individual show as being “aggressive” and “alienated” Åäíî ñåìåéñòâî, 1979 Ìàñëåíè áîè âúðõó ïëàòíî 140 x 170 cì A Family, 1979 Oil on canvas 140 x 170 cm Ïðîãðàìà Àíäðåé, 1980 Ìàñëåíè áîè âúðõó ïëàòíî 140 x 160 cì Andrei Program, 1980 Oil on canvas 140 x 160 cm Áóì â åíåðãåòèêàòà, 1988 Øêàô, âúãëèùà, âàðèðàùè ðàçìåðè Boom in Power Engineering, 1988 Coal, cupboard, dimensions variable  êðàÿ íà 80-òå ãîäèíè íà 20. âåê Ñàøî Ñòîèöîâ ñå íàìèðà â àâàíãàðäà íà êîíöåïòóàëíèòå äåéñòâèÿ. Òîé ó÷àñòâà â íàé-åìáëåìàòè÷íèòå çà ïåðèîäà èçëîæáè è îðãàíèçèðà íÿêîè îò òÿõ êàòî åäèí îò ëèäåðèòå íà „Ãðóïà Áëàãîåâãðàä“ .  ðàáîòèòå, êîèòî ñúçäàâà ïî òîâà âðåìå, êàòî: „Áóì â åíåðãåòèêàòà“, 1988, „Íÿìà àëòåðíàòèâà“, 1988, „Äîìàøíà åêîëîãèÿ“, 1988, „Äóïêà â ïàðêåòà“, 1989, èìà ìíîãî ïîëèòèêà è ñîöèàëíà ðåôëåêñèÿ. Òå ñà ñâúðçàíè ñ äðàìàòè÷íèòå èäåîëîãè÷åñêè ïðîìåíè è òðàãè÷íîòî èêîíîìè÷åñêî ïîëîæåíèå.„Äóïêà â ïàðêåòà“ å ðåàêöèÿ ñðåùó åñíàôñêèÿ æèâîò, ïîäðåäåí ñïîðåä ðàçáèðàíèÿòà íà ñîöèàëèñòè÷åñêàòà ñèñòåìà. Ðàáîòàòà å ïðåäñòàâåíà â ïúðâàòà îáùîíàöèîíàëíà èçëîæáà íà „íåòðàäèöèîííîòî“ èçêóñòâî â Áúëãàðèÿ „11.11.89“ â Áëàãîåâãðàä. Ïîäðåæäàíåòî íà èçëîæáàòà ñúâïàäà ñúñ ñâàëÿíåòî íà Òîäîð Æèâêîâ îò âëàñò. In the late 1980's, Sasho Stoitzov was in the vanguard of conceptual action. He took part in the most significant exhibitions of the time and organized some of these as one of the leaders of the Blagoevgrad Artists' Group. The works he produced then, such as Boom in Power Engineering, 1988, No Alternative, 1988, Domestic Ecology, 1988, Hole in the Parquet, 1989, contain lots of politics and social reflection. They were prompted by the dramatic ideological changes and the tragic state of the national economy. Hole in the Parquet was a reaction against the philistinism of life as preordained by the socialist establishment. This work was presented at the first national exhibition of „non-traditional” art in Bulgaria entitled 11.11.89, in Blagoevgrad. The arranging of the exposition coincided with the ousting of Todor Zhivkov. Äóïêà â ïàðêåòà, 1989 Ïàðêåò Hole in the Parquet, 1989 Parquet Çíàìåíà, 1992 Ìàñëåíè áîè âúðõó ïëàòíî 190 x 180 cì Flags, 1992 Oil on canvas 190 x 180 cm  íà÷àëîòî íà 90-òå Ñàøî Ñòîèöîâ ðàçâèâà àêöèîíèñòêèòå, ñîöèàëíî êðèòè÷åñêè äåéñòâèÿ ïî-ïîñîêà íà ïî-çàäúëáî÷åí àíàëèç íà ìèíàëîòî. Ïðàâè ãî ïðåç íåãîâèòå ñèìâîëè (ïåòîëú÷êè, òúðíîêîïè, ëîïàòè) â æèâîïèñíè òâîðáè, äúðâîïëàñòèêè è àêâàðåëè â ñòèëèñòèêàòà íà èêîíàòà èëè èçòî÷íàòà ìèíèàòþðà. Ïîçíàòèòå îðúäèÿ íà òðóäà ñà ïðåâúðíàòè â èêîíè è îëòàðè, ïîêðèòè ñúñ çëàòåí âàðàê. Ìîòèâèòå ñà èçâàäåíè îò îáè÷àéíàòà ñè ñðåäà è çàãóáâàò êîíêðåòíîòî ñè ïîñëàíèå. Ñîöèàëèñòè÷åñêèòå ñèìâîëè ñà „óêðîòåíè“ è èçãëåæäàò êðàñèâî. Ñàøî Ñòîèöîâ ñúçäàâà åäèí ëîêàëåí ïîï-àðò, áàçèðàí íà áëèçêàòà èñòîðèÿ. Òîé å åäèíñòâåíèÿò áúëãàðñêè õóäîæíèê, êîéòî íàìèðà ñìèñúë è ìîòèâàöèÿ äà ñå çàíèìàâà ñ ìèíàëîòî è íåãîâàòà âèçóàëíà ðèòîðèêà. In the early 1990's, Sasho Stoitzov's actions and social-criticism evolved towards a deeper analysis of the past. He achieved this returning to his favorite symbols (pentacles, pickaxes, shovels) in his paintings, woodcarvings and water colors produced within the stylistics of Orthodox iconography or Eastern miniature. The all too familiar tools were transformed into icons and altars covered in gold-foil. Motives were taken out of their usual environment and have lost their specific message. Socialist symbols were „tamed” to look beautiful. Sasho Stoitzov has created a local pop-art based on recent history. He is the one and only Bulgarian artist who finds the motivation and reason to address the past and its visual rhetoric. Ìåäàë, 1991 Ìàñëåíè áîè âúðõó ïëàòíî Medal, 1991 Oil on canvas Ïðèðîäíî, 2004 Öâåòåí ïåíîêàðòîí è öâåòíè ëåïåíêè Natural, 2004 Colored foam board and colored tape Ïðèðîäíî 2, 2004 Öâåòåí ïåíîêàðòîí è öâåòíè ëåïåíêè, âàðèðàùè ðàçìåðè Natural 2, 2004 Colored foam board and colored tape, dimensions variable Ñåðèèòå „Ïðèðîäíî”, „Fly”, „NoLita” ñà çàïî÷íàòè â Íþ Éîðê ïðåç 2007 ã. „Èñêàõ äà ðàçáåðà äî êàêâè ïðîìåíè ìîæå äà ñòèãíå åäíà ÷èñòî ëèíåàðíà ðèñóíêà, ìàíèïóëèðàíà îò ðàçëè÷íè ìåäèè. Ïúðâî ðèñóâàì âúðõó äèãèòàëíà ïëîñêîñò, êîåòî âåäíàãà ïðîìåíÿ õàðàêòåðà íà ëèíèÿòà. Ñëåä òîâà ÿ ïîäëàãàì íà îáðàáîòêà îò íÿêîëêî êîìïþòúðíè ïðîãðàìè çà èçêóñòâî, êîèòî ñúáèðàò â ñåáå ñè îïèòà íà õóäîæíèöèòå îò öÿëàòà èñòîðèÿ íà èçêóñòâîòî.  ïîñëåäíèÿ åòàï âðúùàì âñè÷êî â òðàäèöèîííèòå ìàòåðèàëè: õàðòèÿ è öâåòíè ìîëèâè.“ Òúðñåíèÿòà ïðîäúëæàâàò â æèâîïèñ è â ñêóëïòóðèòå îò öâåòåí ïåíîêàðòîí, ñúçäàäåíè â ïåðèîäà 2009-2013 ã. The series Natural, Fly, NoLita started in New York city, in 2007. “I wanted to find out how would a purely linear drawing change if manipulated by various media. I first draw on digital plane which immediately changes the character of the line. Then I process it using several computer art applications based on the experience of artists from the entire history of art. In the last stage, I bring it all back to the traditional materials: paper, coloring pencils.” His explorations continued in painting and sculptures from colored polystyrene produced in 2009-2013. Ðàáîòèòå îò òàçè ñåðèÿ ñà âäúõíîâåíè îò êâàðòàë NoLita â Íþ Éîðê ïðåç 2009 ãîäèíà. Òàì êàòî ÷å ëè âðåìåòî å ñïðÿëî è æèâîòúò òå÷å ïî ñâîè ñîáñòâåíè çàêîíè, äàëå÷ îò äèíàìèêàòà íà ìåòðîïîëèñà. Óëîâåíèòå óëè÷íè ñöåíè ñà çàñíåòè, îáðàáîòåíè íà êîìïþòúð â íàðî÷åí èìïðåñèîíèñòè÷åí ìàíèåð è ïîñëå èçïúëíåíè â ìàòåðèàë ñ ëåêà è æèâà „àêâàðåëíà“ òåõíèêà. The works of this series were inspired by the New York city NoLita quarter, in 2009. It is as if the time has stopped over there and life follows its own law, detached from the dynamics of the metropolis. The captured street scenes were photographed, digitally processed in impressionistic manner and then implemented in light, live “aquarelle” technique. Àíòèêâàðèàòà íà Áèëè, 2015 Àêðèë âúðõó ïëàòíî 116 x 81 ñì Billy's Antiques & Props, 2015 Acrylic on canvas 116 x 81 ñm Ìîäà â äâîðà. Óë. Ñòàíòúí 13, 2015 Àêðèë âúðõó ïëàòíî 116 x 81 ñì Fashion in the backyard. 13, Stanton Str., 2015 Acrylic on canvas 116 x 81 ñm Ïîëåò 1, 2008 Àêðèë âúðõó ïëàòíî Fly 1, 2008 Acrylic on canvas Ïîëåò 2, 2008 Àêðèë âúðõó ïëàòíî Fly 2, 2008 Acrylic on canvas Fly, 2008 Öâåòåí ïåíîêàðòîí è öâåòíè ëåïåíêè Fly, 2008 Colored foam board and colored tape