Bulart in Heroes Corner

/for italian and bulgarian scroll dowm/

BULART GALLERY. HEROES CORNER. BUDAPEST ART FAIR
PAOLO VIVIAN. BAR CODE . 2010 .IRON
25-28 NOVEMBER 2010. BUDAPEST

Mücsarnok , Dózsa György utca 37
1146 Budapest, Hungary
http://www.budapestartfair.hu/

info:
Heroes Corner and iron bar code

Normally barcode is an optical machine-readable representation of data, which shows certain data on certain products. Barcodes represented data in the widths or symbologies and some of the images termed 2D matrix codes. Here, in the work of Italian artist Paolo Vivian named “Bar Code” we could find several reflections and analogies. Especially made for Budapest Heroes Corner project, his iron bar code naturally turns our attention back to the times. His composition is made from rusted iron parts. The form, brown color, rust and corrosion reminds post-war time and the period of Iron Curtain when people weren`t allowed to communicate, travel, read, listen, feel even to have thoughts…It is not casual that western artist is presented in Heroes Corner from a gallery based in land behind iron curtain border. The invitation to Vivian from Bulart gallery symbolizing changed times and new social rules. Just 20 years ago that act was not only impossible. It could be also dangerous for life for both sides. The “Bar Code” of Vivian is a part of his artistic interest into the field of collective memory last years and it is a part of cycle bar codes where he discovers new forms of the memories and its metamorphosis and reflections into human behavior. This work of Vivian has socio-political aspects but his message hasn`t only one level of understanding for. His iron rusted curtain is as matrix of coded human memories, senses and dreams. Often we close the doors between us and world without reason just following a social models and codes for communications, speaks Vivian. He plays by words and searches the codes for normality. Coded barriers afore human relationships. Vivian used some empty spaces in his composition and natural temporal change of the iron face is a symbol for hope. Rust and corrosion here gives that hope. We are products of our concepts and our concepts are products of collective memory. Corrosion could changes the information and to transform the code and to decode the barrier.
Dora Bulart, curator


Paolo Vivian. "Bar Code". iron . 100/100/10 cm/ 60 kg

bio
Paolo Vivian is a multidisciplinary artist. His artistic interests are focused into the modality of collective memory, identity and human behavior. He plays by words and meanings and changes the places of the concepts. He used by means objects, wood, iron, sound, video, nature or people for his artistic games into the field of performance, installations and sculpture.

Paolo Vivian /1962, Serso, Italy/ has participated in many curatorial projects, collective exhibitions, international symposiums, festivals and art fairs in Italy and abroad since 1985.He has many international art awards from prestigious forums in Italy and abroud and his monumental works are part of public collections in Natuurkunst Drenthe (NL); Italian Culture Institute, Bergen (NO); Park Gerlache, Differdange (LU); Palace Cerra and Park Tre castagni, Pergine Valsugana (IT); Foundation “Camille Claudel “, La Bresse (FR); KunstForum, Stubenberg am see (AT); collection Bulart gallery, Varna (BG) etc. He is the founder of sKulturclub network; member of FIDA / federation of Italian contemporary artists/ and he is a curator of the international sculpture project “6x6”, Pine, Italy. Lives and works in Trento, Italy.he is presented by Bulart gallery (Varna, BG).
http://www.paolovivian.it/


Simon Hewitt, artistic director of Budapest Art fair and Paolo Vivian in front of "Bar Code" in Heroes Corner

/italian/
BULART GALLERIA. HEROES CORNER. BUDAPEST ART FAIR
PAOLO VIVIAN. BAR CODE . 2010 . FERRO . 25-28 NOVEMBRE 2010. BUDAPEST

http://www.budapestartfair.hu/ ; http://www.bulartgallery.blogspot.com/

informazione: Angolo degli eroi e il codice bare di ferro

Normalmente il codice a barre è un insieme di elementi grafici a contrasto, leggibili da un sensore a scansione, che si riferiscono a determinati dati che rimandano ad un prodotto specifico. Nel lavoro dell’artista italiano Paolo Vivian intitolato “Bar Code” possiamo trovare svariati riferimenti e analogie. Creato appositamente per la sezione speciale “Heroes Corner” della Budapest Art Fair 2010, il suo codice a barre focalizza naturalmente l’attenzione verso il passato. La sua opera e’ stata creata con pezzi di ferro che nel tempo si sono arrugginiti. La forma, il colore, la ruggine e la corrosione ricordano i tempi del dopo guerra nell’est europeo e il periodo della Cortina di ferro quando alla gente non era permesso comunicare, viaggiare, leggere, ascoltare, provare emozioni e nemmeno pensare... Non e’ casuale che un artista occidentale sia presentato nell’angolo degli eroi da una galleria che sta oltre il confine della ex cortina di ferro. L’invito dalla Bulart gallery a Vivian simboleggia il cambiamento dei tempi e l'affermazione di nuovi ruoli sociali. Solo vent’anni fa questa collaborazione non solo sarebbe stata impossibile, ma poteva essere pericolosa per la vita di entrambi. Il codice a barre di Vivian e’ parte del suo interesse artistico nel campo della memoria collettiva sviluppato negli ultimi anni e fa parte di un ciclo di codici a barre dove egli scopre nuove forme della memoria, le sue metamorfosi e i conseguenti rispecchiamenti nel comportamento umano. Questo lavoro di Vivian ha aspetti socio – politici ma il suo messaggio non ha un solo livello di comprensione. La sua cortina di ferro arrugginito e’ una matrice di memorie umane codificate, sensi e sogni. “Spesso noi chiudiamo le porte tra noi e il mondo senza ragioni, solamente per seguire modelli sociali e codici di comunicazione”, spiega Vivian. Lui gioca con le parole e ricerca un codice per la normalità. Le barriere codificate sforzano le relazioni umane. Gli spazi vuoti nella sua composizione e il cambiamento naturale del ferro sono un simbolo di speranza. La ruggine e la corrosione danno questa speranza. Noi siamo i prodotti dei nostri concetti e i nostri concetti sono prodotti della memoria collettiva. La corrosione può cambiare l’informazione e trasformare il codice in un decodificatore della barriera.
Dora Bulart, curatrice

bio
Paolo Vivian è l’artista multidisciplinare e la sua ricerca artistica è nel campo di memoria collettiva, una costellazione di memorie, fatta di episodi del vissuto privato e collettivo, con i quali ricostruisca il dialogo tra lo storico, religioso e la coscienza personale attraverso la contaminazione di media differenti: scultura, installazione, fotografia, performance,video etc.

Paolo Vivian /1962 , Serso, Italia / ha cominciato ad interessarsi all'arte dal 1985 e ha partecipato a molti importanti festival internazionali, simposi locali e internazionali di scultura, presente a fiere d’arte contemporanea in Italia e all’estero /Kunstart, Artvilnius, August in art,Altonale, Arte e natura etc/ . Egli ha tenuto diversi progetti concettuali, azioni e performance in Italia, Bulgaria, Francia, Germania,Austria, Paesi Bassi, Lituania e Ungheria. Conta più di 10 mostre personali in gallerie private, istituzioni culturali, sale pubbliche in Italia, Bulgaria e Lituania. Ha vinto molti premi internazionali per la scultura in Italia ed estero.Ha realizzato sculture monumentali in spazi pubblici in Lussemburgo, Francia, Norvegia, Paesi Bassi ed Italia. Lui e il membro della FIDA /federazione italiana degli artisti /. Vive e lavora a Trento. Paolo Vivian e presentato da Bulart galleria (Varna, BG).
http://www.paolovivian.it/



The galleries from Heroes Corner in Budapest Art Fair, 25- 28 nov 2010

/bulgarian/
БУЛАРТ ГАЛЕРИЯ. HEROES CORNER. BUDAPEST ART FAIR
ПАОЛО ВИВИАН. БАР КОД . 2010 . ЖЕЛЯЗО . 25-28 НОЕМВРИ 2010. БУДАПЕЩА

http://www.budapestartfair.hu/ ; http://www.bulartgallery.blogspot.com/

инфо:
Ъгълът на героите и железния бар код

Обикновено бар кодът е система за кодиране на данни за производителя и артикула, който служи за проследяване на движението на продукта и действията на потребителите. Разчита се от оптично сензорно устройство. Най-често срещани са бар кодовете, състоящи се от цифри и различни по широчина вертикални успоредни линии, които визуално наподобяват матрица. В работата на италианския художник Паоло Вивиан, озаглавена "Бар код" намираме множество тълкувания, аналогии и връзки. Създадена специално за проекта "Heroes corner” /Ъгълът на героите/ , част от Панаира за модерно и съвременно изкуство в Будапеща творбата на Вивиан по естествен начин обръща вниманието ни назад към миналото. В ъгъла на героите по покана на организаторите и на артистичния директор, критикът Саймън Хюит участват 25 водещи галерии за съвременно изкуство от бившите комунистически държави. Творбата на Вивиан , създадена от ръждиви парчета желязо, с формата си на решетка и с кафявия цвят на корозията обръща вниманието на зрителя по естествен начин към времето на Желязната завеса, когато хората нямаха право да общуват, да пътуват, да четат, да слушат музика, да чувстват и дори да мислят свободно ... Не е случайно, че западен художник е представен в този проекта наречен „Ъгълът на героите” от галерия, базирана в територия зад бившата Желязна завеса. Поканата на галерия "Буларт" към италианския художник символизира променящите се времена и е акт на утвърждаване на новия социален ред и роли. Само до преди двадесет години, това сътрудничество е не само не би било възможно, но би могло дори да бъде опасно за живота и на двете страни. Баркодът на Вивиан е резултат от творческите занимания на артиста в областта на колективната памет през последните няколко години и е част от поредица бар кодове, където той разкрива метаморфозите на социалната памет в наши дни, като изследва и произтичащите от това отражения в човешкото поведение. Произведението на Вивиан има социално – политически аспект, но това е само едната страна на посланието му. Неговата ръждива желязната завеса е и матрица на кодирани човешки спомени, мисли и мечти. "Често ние затваряме вратата между нас и околния свята без причина, само следвайки установени модели и социални кодове за комуникация", казва Вивиан и се заиграва с думите и концепциите, търсейки код за нормалност. Кодирана бариера в междуличностните взаимоотношения… Празните пространства в композицията, корозията върху структурата при него са символ на надежда. Ние сме продукт на концепциите си , които пък от своя страна са продукт на колективната памет. Корозията с течение на времето може да промени структурата на информацията и така да декодира бариерата като преминаването стане възможно.
Дора Дончева- Буларт, куратор

Био
Паоло Вивиан е мултидисциплинарен художник, който изследва модалността на колективната памет и отраженията и върху човешкото поведение и идентичност. Той си играе с думите и концепциите, променя значенията и местата на понятията. Използва обекти, предмети, дърво, желязо, звук, видео, природа и хора за артистичните си занимания в областта на пърформанса, инсталацията и скулптурата.

Паоло Вивиан / 1962, Серсо, Италия / участва от 1985 г. в множество кураторски проекти, концептуални изложби, международни симпозиуми, фестивали и арт-панаири в Италия и в чужбина / Kunstart, Artonale, August in art, Art and nature, Artvilnius и др/. Hосител е на международни награди за изкуство от престижни форуми в Италия, Франция, България. Негови монументални творби са част от обществени колекции в Natuurkunst, Дренте (Холандия); Italian culture institutе, Берген (Норвегия); парк Gerlache, Differdange (Люксембург); дворецът Cerra и парк Тре castagni, Pergine Valsugana (Италия), Фондация "Камий Клодел", Ла Брез (Франция); KunstForum, Stubenberg (Австрия); колекция на „Буларт” галерия, Варна (България) и т.н. Той е основател на артистичната международна мрежа sKulturclub и е член на FIDA / федерация на италианските съвременни художници /. Куратор е на международния проект за скулптура "6x6" в Пине, Италия. Живее и работи в Тренто, Италия. Представен е от галерия "Буларт" (Варна, България).
http://www.paolovivian.it

urban dialogues project.bulart gallery. kunstart 10.bolzano. italy.2010

URBAN DIALOGUES.BULART GALLERY.KUNSTART 10 - INTERNATIONAL FAIR FOR MODERN AND CONTEMPORARY ART.BOLZANO.ITALY.4-7 MARCH 2010
a r t i s t s :
Boris Kolev /1970, Sofia, Bulgaria/
Giorgia Brunelli /1966, Trento, Italy/
Giuseppe Cannistraro /1967, Thionville, France. Lives and works in Milano, Italy/
Kiril Cholakov /1964, Sofia, Bulgaria. Lives and works in Rimini, Italy/
Kaloyan Iliev - Kokimoto /1979, Varna, Bulgaria/
Luciano Olzer /1954, Pergine, Italy/
Marco Filippozzi /1977, Trento, Italy/
Paolo Vivian /1962, Serso, Italy/

Curatorial project named “Urban dialogues” collects works from emerging Bulgarian and Italian artists from different generations. Painting, collages, installations, video, photography and sculpture as tools to measure the pulse of the present cities and they are means to recognize the city's soul. The Urban dialogue project asks is the dialogue possible. It is a question of identity between samples of trendy myths and social frames. Contemporary urban culture sends the citizens into storming merry-go-round, empty of illusions, with alienation and introvert communications. The mass media creates new social rules and people driving between them beds and working places,communicating often only trough internet and mobile phones. The moral standards for happiness are same as TV serial “soap” movies. The present men is under pressing of his dreams for love and understanding and grey reality. Surreal dreaming spaces are only store for memories and nostalgic feelings to free spaces, true love and natural dialogues. In this project the artists are based in different cities in Bulgaria and Italy. Bulgaria with it's communist social background now is a beginner in urban communication frames. The long difficult period of socio-political transformation changes moral values and character of human relations. It is period of open borders and closed hearts. Italy has height economical secure between religious limitations, ancient culture archetypes, multietnical problems and urbanistic pulse. Both of the countries living into the dream for nature and social peace. And here the artistic reaction is an examples of urban dialogues - eclectic, nostalgic, full of worries and hope for good future. The question "is the dialogues possible" stays open.
Dora Doncheva, curator of the project
links:
newspaper "Narodno delo" daily /in bulgarian/:
http://www.narodnodelo.bg/news.php?news=38712
EXIBART /in italian/: http://www.exibart.com/notizia.asp/IDNotizia/30927/IDCategoria/1
KunStart fair's archive:
http://www.kunstart.it/en/previous-editions/?navanchor=2110005


BULART GALLERY.22 SHIPKA STR.VARNA.BULGARIA

Bulart gallery is based in Varna, Bulgaria. Since 1996 it presents modern and contemporary art by local and international artists. Conceptual projects by artistic groups, works by curatorial teams and individual artist research are a part from gallery work. The program “Youth art” searches new art trends in young generation. Bulart has taken participation in international art projects, festivals and fairs- local and in abroud. Bulart has a grant police and established annual grant for art students. The part of important projects in the gallery`s history : “Mery-go-round”, video installation by Dimitrina Sevova /Switzerland, 1999/; Stanislav Pamukchiev “Morfi”, installation /2000/;“And what?”, painting by Kolio Karamfilov / 2001/; ”The girls and the sea”, female art group 8 mart, curator Marya Vassileva /2002/; Vesselin Dimov, video installation “5 minutes sky” /2003/; David D'Agostino /USA/ , "Lost in ruins", installation / 2003/; Cvetan Krastev ,”40”, installation /2004/; ”The dead-lock”, Nedko Solakov and Svetlin Roussev, curator Vessela Nozharova /2004/;, Svilen Blazhev, painting / 2004/, “Tangrams for friends”, prints , prof. Vladimir Ivanov /2005/, ”Instanbul on the focus”, road action& exbition,Varna-Istanbul, /2005/, Raya Georgieva "Spli",stone sculpture /2002/ , Emil Mirazchiev, “Evrobear”, performance, video, /2007/, “The gallery” /2007/, installation by Matthias Biermann and Stephanie Gerner /Germany/, “INFINITY”, Simeon Stoilov, installation /2007/, Paolo Vivian /Italy/ “Homo Erectus”, installation ,video /2008/, Stephan Halter/ Germany/ “Pigsartpigs”, painting, installation /2009/, “Trought forms”, installation by Angel Karagiozov / 2009/, “You are involved just like me “, collages by Kaloyan Iliev- Kokimoto /2009/, “Impossible cities”, video installation, Lemeh 42 /Italy/, 2009; “Political economy of the portrait”, vinyl by Boris Serginov / 2009/ etc. Bulart gallery is editor of Art News Bulletin / since 2000/- bimonthly edition for art news in engish. Bulart gallery is co-partner of the weekend for contemporary art in Varna “con.tempo”. Bulart gallery organizes workshops and education rooms. Bulart works with collaboration with public culture institutions, art schools and culture societies- local and in abroud.
The curator of the gallery is Dora Doncheva - Bulart

Contacts:
Bulart gallery, 22 Shipka str., Varna, 9000, Bulgaria
phone: + 359 887 244 882; e-mail: dorabulart@gmail.com
working time : 2 - 7 p.m. by appointment

kiril cholakov.kunstart 10.urban dialogues

Urban dialogues,curatorial project of Bulart gallery for Kunstart 10 - VII international fair for modern and contemporary art, Bolzano,Italy, 4-7 march 2010

Kiril Cholakov
The shadow,object installation and paintings, 2010

Kiril Cholakov /1964, Sofia, Bulgaria/ graduated of the National Academy of Arts, Sofia,Bulgaria /1989/. Since 1994 realized 15 solo exhibition in Bulgaria and Italy. His artistic interest are in the field of contemporary art.His works were presented in curatorial projects in Ludwig Museum Koblenz, Germany /2008/, International biennial of Contemporary Art, Shumen, Bulgaria /2006/, Donumenta, Germany /2005/, Conflict/Conflict, Sinapsher, Villa Serena, Bologna, Italy /2005/, August in art biennial for visual arts, Varna, Bulgaria /2004/etc. He won several prizes for sculpture and painting in national competitions in Bulgaria /1987-1997/. Lives and works in Rimini, Italy.

Paolo Vivian.Kunstart 10.Urban dialogues

In Kunstart 10 fair Paolo Vivian has taken participation in curatorial project by Bulart gallery "Urban dialogues ". For his artistic point of view he used means of sculpture and installation.
List of the works /from left to right/: TNX hand I /marble 45/ 35/15 cm, steel base 120/ 40/40 cm, 2008/; Aurora of the spirit / wood, chome cubes with natural pugments and silver dust, 180/90/ 30 cm, 2008/, Stray dogs /installation with 7 natural stones , 92 wooden cubes and words/, 166/50/60 cm, 2010/ and TNX hand II /bronz, base steel, 120/40/40 cm; 2008/.



/for italian scroll down/

Paolo Vivian, "Stray dogs"
installation of seven natural stones, 92 wooden cubes and words,
steel base size 60/50/166 cm, 2010

"Stray dogs"
...Like a stray dog, I eat from any bowl,
leftovers are my library.
The knowledge does not belong to me,
but it crosses, goes through,
leaving a footprint though made of wood and stone.
Golden is the sublime that fires love and immensity.... /Paolo Vivian, 2010/

Paolo Vivian /1962, Serso, Italy/works in field of contemporary sculpture,installation and video. His artistic interests are based into the collective memory and he used by means
objects, sound, video or people for his artistic games. Since 1985 he has participated in many curatorial projects, collective exhibitions, international symposiums, festivals and art fairs in Italy and abroad, as some of them are ARTVILNIUS 09, Lithuania /2009/, Kunstart, Bolzano /2008, 2010/, “August in Art”, 8th biennial visual art, Bulgaria /2008/, Festival for sculpture “Camille Claudel”, France /2003 - 2010/, international project :Art and nature ", 2009, The Netherlands etc. He has 10 solo exhibitions, actions and performances in private galleries, cultural institutions, public halls in Italy, Bulgaria and Lithuania. He has
many international awards for sculpture from prestigious forums in Luxembourg /2008/, France /2006/, Italy /2005, 2004/etc. He was art director at the first international symposium of sculpture in stone and wood ”Memories of Amnesia”, Pergine, Italy /2007/ and he is a curator of the international sculpture project “Sei per Sei”, Pine, Italy/2008 - 2010/. His monumental works are part of public collections in Luxembourg, France, Norway, Italy, Netherlands. Lives and works in Pine, Trento, Italy. More info in http://www.paolovivian.it/


/italian/
PAOLO VIVIAN -“Cani Randagi” - installazione. pietra. legno
“...come un cane randagio, mangio da ogni ciotola
e gli avanzi sono la mia biblioteca.
Il sapere non mi appartiene ma transita, non senza lasciare
traccia...di pietra e legno.
d'oro e il sublime che incendia, d'amore e immenso” /P.V. 2010/

UN VIAGGIO nell’esistenza umana, la conversazione libera dell’amore e l’emozione della vita. Una ricerca artistica nello spirito, fra memoria personale e collettiva, e la poesia dell’anima. Cosi, in generale, siamo in grado di interpretare il messaggio nel nuovo progetto di Paolo Vivian “Cani randagi”. Con questa opera l’artista presenta la sua ricerca contemporanea nel campo della memoria umana. Una domanda artistica per la nostra vita presente e per le cose importanti nella vita. La memoria collettiva e il comportamento sociale hanno provocato l’interesse creativo dell’artista negli ultimi anni e in questo progetto la memoria lascia segni di esistenza delle emozioni umane, prendendo le forme di pietra e legno. Un’installazione con sette pietre dalla terra del Trentino che racchiudono 92 cubi di legno naturale. L’artista, durante il suo viaggio, ha mescolato l’accezione e i concetti presenti, sotto forma di piccoli cubi, e questi sono i simboli della memoria personale, loro sono anche la biblioteca di memoria collettiva. Le parole come altro strumento per il viaggio artistico: " ...come un cane randagio, mangio da ogni ciotola e gli avanzi sono la mia biblioteca. Il sapere non mi appartiene ma transita, non senza lasciare traccia... di pietra e legno.D'oro e il sublime che incendia, d’Amore e Immenso.."(Paolo Vivian,2010). Lui cerca di provocare la riflessione del pubblico.I cani randagi sono simbolo/personagi dalla vita umana,il simbolo per i sogni della liberta e per l'indipendenza.Vivian inizia un dialogo aperto per la poesia del vivere, per l’amore, per il dolore e per le nostre memorie d’oro. La chiave per il fruitore, in questo viaggio libero,e un dialogo dentro il deposito del cuore, dentro il nostro Alter-Ego, un dialogo colorato con la poesia della nostra vita. /il testo critico di Dora Doncheva, curatrice da Bulart Galleria/

Paolo Vivian /1962, Serso di Pergine, Italia/ nel 1985 inizia d'arte. Ha partecipato a molti festival d’arte,fiere d’arte, progetti curatori e simposi nazionali ed internazionali in Italia, Lussemburgo, Finlandia, Francia, Paesi Bassi, Germania, Lituania e Bulgaria.Ha tenuto progetti concettuali, azioni e performance in Italia e all’estero. Ha vinto molti premi internazionali per l’arte (Lussemburgo, Francia, Italia etc.). Conta piu di dieci mostre personali in Italia, Bulgaria e Lituania. Ha realizzato sculture monumentali in spazi pubblici in Italia e all’estero.E'stato art director al primo Simposio internazionale di scultura “ Memorie di amnesie” a Pergine nel 2007. Ideatore e curatore del progetto internazionale di scultura “Sei per Sei”, Baselga di Pine, Italia (2008- 2010). Le sue opere fanno parte di collezioni private in Italia e all’estero. Vive e lavora a Pine, Trento. Per la informazione: www.paolovivian.it

"TNX hand I" , marmo, detaglio, 2008

Giorgia Brunelli & Luciano Olzer. Snow-White and Night- Black. Kunstart 10 /english version/

GIORGIA BRUNELLI and LUCIANO OLZER.
"SNOW-WHITE AND NIGHT-BLACK".
a metamorphosis of a well-known tale.an unexpected and dark approach to the tale of Snow-White,through a multimedia and porcelain installation.
/Music by Giuliano Beber and Luciano Olzer;Starting from left (clockwise): Nignt-Black/Snow-White and Mother-Mistress/ When he turned back, it was too late/ Snow-White /

The body of Snow-White laid,naked,in the crystal coffin.Her sleep was dense and dreamless.A frozen and enchanted sleep.The dwarfs had placed the coffin in the middle of a lush glade, like a huge crystal pebble forgotten by who knows who.But now the snow was starting to fall down, small hard and frozen flakes. The green carpet was losing its consistency under a metallic and impending sky. The snow was devouring the lawn.A human figure took form in the far horizon.A thin body, dressed in black, riding a black and nervous arab horse.His name was Night-Black. He was a knight. The last knight of his species. Dark species.A long and forgotten time ago, an old man had breathed the prophecy into his ears. He was bearing the burden of survival for his race. Misterious race.A naked and frozen girl was sleeping a poisoned sleep inside a transparent coffin. He should awake her and possess her. The fruit of that union would guarantee the survival of his breed. The girl's name was Snow-White. Snow-White and Night-Black. An ironic smile flashed across his pale and thin face.He started descending the slope, slowly, heading toward the white glade. His horse was nervous in a weirdd way. He tried to read the horse mind. Nothing. Then he looked up, he had a sharp eye and could see beyond human limits. In the far away horizon, another figure was taking shape.A muscular body, dressed in blue. A white horse.The prince. The rival he had to kill to fulfill the prophecy.His hand slipped gently to the sword hilt, his death companion. A sharp and silver blade, he pulled it out in a split second, as if it were the submissive extention of his muscly tatooed arm.He whispered something into his horse ears. The black and nervous creature started gallopping, raising a cloud of white and thin snow. Night-black had seen the Prince, the Prince had not seen Night-black.That was a crucially important detail.The Prince was descending the slope from the opposite side. Strange voices and whispers in his mind were telling him there was something or someone in that crystal coffin that would change his fate.His white horse was nervous, he gently caressed him and incited him to go on.When he turned back, it was too late.A white cloud materialized behind him. In the middle of the cloud, a dark shape and a glittering blade.The blade slided slowly into his elegant neck, piercing him with all its endless length.Death.Night-black took the sword to his heart and gave the last farewell to the Prince. He had hit him in the back. It was un unfair combat. Not his style.But that was not so important. His mission was the priority.Nignt-Black left death behind. He was thinking about life, now.He slowly rode down the slope, heading toward the crystal coffin.The snow was falling down lightly, devouring everything with its white carpet. He hated white, it hurt his eyes, two light grey lakes.Now his horse was quieter.He walked down the last stretch of the path. He kneeled down beside the transparent coffin and looked inside.Snow-white. Livid lips, once fiery red, almost transparent skin, black hair sticking to the frozen face.He raised the lid.He kissed her.And waited....waited....Nothing happened.
Shadows came. Night, at last, his inseparable friend.He remained on his knees for several hours, senseless to cold. Now he knew every single detail of that still body. He felt a shiver running down his spine, he kissed her with immense tenderness,almost love. Those were unknown emotions to him.Nothing. The prophecy was false.He rose sharply and looked at the girl in anger. Who was she? What strange kind of power had she on him?He got close to his horse, it was nervous again, he tried to read its mind. He saw a woman. Fiery red lips, almost transparent skin, long dark hair sticking to her pale face. When he turned back, it was too late. White-snow pierced him in his heart with the long silver sword.Death.She started shivering and folded herself into his black mantel. Scent of blackness. She obsverved his naked body. It was covered with a texture of tatooes, a sort of mysterious script. She felt pity for him.She loaded the corpse on the horse with an agile movement and started climbing up the slope. She reached the point where the Prince had been killed and loaded his body on the horse, too. She continued along her
path. The snow was now falling down in larger flakes. Weary and cold.Snow-white possessed magic powers, which the long sleep had partly blurred. Hardly, she started whispering magic and obscure words. It was of crucial importance to reach Mother-Mistress.She kept walking for a long time. At last, in the horizon, the sweet shape of a white house started to take form.The house of Mother-Mistress.She had been waiting for her for so many years. Welcome my Daughter, she hugged and kissed her tenderly.The Mother's body was beautiful, impossible to describe. It was made to seduce and kill.Snow-white laid down the two bodies in front of the Mother. The prophecy had been fulfilled. The loving kiss of a dark knight had given her infinite powers on Good and Evil.From that moment on, the world would have never been the same.
/the text was written by G.Brunelli/

GIORGIA BRUNELLI /1966, Trento, Italy/is working into the field of contemporary ceramics and porcelain objects and installations since 1997. Her works are presented in collective exhibitions and curatorial projects in Italy. Lives and works in Italy.

LUCIANO OLZER /Pergine, Italy/ is working into the field of contemporary art since 1990. For his artistic research used video, photography, sounds, dances. His projects were presented in curatorial exhibitions, festivals, fairs in Italy, Lithuania and Bulgaria. Lives and works in Pergine, Italy.

"Snow-White and Night-Black" was presented in Kunstart 10 - VII International fair for modern and contemporary art/ Bolzano, Italy, march 2010/ from Bulart gallery and it was part of "Urban dialogues" project, curator Dora Doncheva.

giuseppe cannistraro.kunstart 10

Giuseppe Cannistraro.Museo del comunismo.painting project

Urban dialogues,curatorial project of Bulart gallery for Kunstart 10- International fair for modern and contemporary art, Bolzano, italy, 4-7 march 2010

bio/english/
Giuseppe Cannistraro /1967,Thionville,France/ present the painting project "The museum of communism", result of his traveling in post-socialistic countries last two years.Giuseppe Cannistraro graduated in painting at the Accademia di Belle Arti di Brera in Milan,Italy/1991/and currently he is a professor in drawing at the Art College Giovanni XXIII di Milano.He has taken particcipation in many collective exhibition and curatorial project in Italy, Monaco and Bulgaria.he has several solo exhibition in Italy.Lives and works in Milan, Italy.

breve CV /italiano/
Giuseppe Cannistraro /1967,Thionville,Francia/
Diplomato di laurea in pittura all'accademia di Belle Arti di Brera di Milano /1991/ e attualmente docente di "figura disegnata" presso il liceo artistico Giovanni XXIII°di Milano. Collettive: “Siamo piccoli ma cresceremo”, galleria Arteca, Milano;“ ITER Milano-Treviso” - Treviso, a cura di Martina Cavallarin /2009/, "Iter Milano-Torino" a cura di L.Giudici, galleria D Gallery, Torino; "Solitudini collettive", galleria World's Artists – Milano ; "Collettiva", galleria S.Lorenzo,Milano ; "KunStart 2008" con D Gallery, Torino /2008/; "Preview", galleria Spegash, Milano ; "Corpo 6" ass. cult.Viatoris-Seregno(Mi)/2007/etc.Vive e lavoro a Milano, Italia

kaloyan iliev- kokimoto.kunstart 10

"Toy story I", collage, acrylic on canvas, 60/60 cm,2010

"Toy story II", collage, acrylic on canvas, 60/60 cm,2010

Urban dialogues project by Bulart gallery for Kunstart 10- international fair for modern and contemporary art, Bolzano, Italy, 4-7 March 2010

Kaloyan Iliev – Kokimoto /1979,Varna,Bulgaria/
Graduated MA in Graphics at the Faculty of Fine Arts in St.Cyril and St. Methodius University of Veliko Turnovo,Bulgaria /2007/ and Specialization from the Graphic Art Department at the Academy of Fine Arts in Lodz, Poland /2008/. Lives and works in Varna.


Intersection project. Kunstart 10. Bulart gallery

Kaloyan Iliev- Kokimoto /1979,Varna,Bulgaria/ - SAMPLES OF REALITY project,collages
About the project: “Rebelling against the deceivable present of the past in one manipulative reality and its connection with the present day political and economical global worldwide changes, I build “samples of reality” which are in a process of hardening while the future is coming closer. Besides, any thought – shape could be demolished and changed before it has got harder, in 3D as in concrete reality. Man can and should change the world, and this is possible only if he shows activity….Once “fixed and settled” the event cannot be changed. It is dependent explicitly on us when and how this could happen!” /Kaloyan Iliev – Kokimoto/

INTERSECTIONS-An European Network for Contemporary Emerging Art
Project room reserved to 16 European galleries of contemporary art selected among those participating at KunStart,are called to set up 16 personal exhibitions of 16emerging artists,under 35,in dialogue with 16 promising local artists,under 35.The aim of this project is to trigger processes of networking at European level between the selected galleries, and to facilitate to take contact with the local reality and in particular with local museums and institutions.
ORGANIZING/SELECTION COMMITTEE::Valerio Deho (curator of KunSt Merano Arte); Martina Morocutti (curator of KunStart); Lisa Trockner (curator of the Sudtiroler Kunstlerbund); David Tomasi (curator of CRAM of Mezzocorona); Luca Bradamante (curator of Very Contemporary).The committee will interact with the following museums and institutions: Museion and Arge_Kunst (Bolzano), Kunst Merano Arte (Merano), Galleria Civica di Trento (Trento).

curator of the projects: Dora Doncheva

marco filippozzi, urban dialogues, kunstart 10

“judged by nature”, photography, 2009

Urban dialogues is a curatorial project by Bulart gallery for Kunstart 10 - international fair for modern and contemporary art, Bolzano, Italy. 4-7 March 2010

Marco Filippozzi /1977.Trento.Italy/
He studied Computer Programming and Literature at Trento University /2002/. He is working as project manager at the Foundation Bruno Kessler since 2002 in Trento. He has taken participation in collective exhibitions, workshops and projects for contemporary photography in Italy and Bulgaria /2006 - 2010/, and also he is directed a short movies /2006, Free University, Roma/. Lives and works in Tenno, Italy.

Boris Kolev, Urban dialogues,Bulart gallery In Kunstart 10

"Sound II",oil on canvas, 100/100 cm, 2009

"Sound I", oil on canvas, 100/100cm, 2009

"Composition", oil on canvas, 40/60cm, 2009

Urban dialogues,curatorial project of Bulart gallery for Kunstart 10 - international fair for modern and contemporary art, Bolzano, Italy, 4-7 march 2010

Boris Kolev / 1970, Sofia, Bulgaria /
In 1996 graduated from the Academy of Fine Arts in Sofia. In 1989 graduated from the Art High School in Sofia. He is a member of the Union of Bulgarian Artists. He has taken participation in international and national collective exhibitions and curatorial projects in Bulgaria, India, Germany, Turkey, Belgium, Austria etc. He realized several solo exhibitions in Bulgaria, Turkey, Spain and UK. He has awards for painting in national competitions held by Fine Art Academy in Bulgaria. His works are part of public collections as National Art Gallery-Bulgaria, Sofia Art Gallery, the National Palace of Culture-Bulgaria, and in private collections in Germany, USA, Belgium, Canada, Bulgaria, France, Turkey, and Spain. Lives and works in Sofia, Bulgaria.

bulart gallery in kunstart 10

urban dialogues project.
bulart gallery in kunstart 10 -
international fair for modern and contemporary art in
bolzano.italy
a special edition newspaper 3-7 march 2010

http://www.kunstart.it/

BULART gallery in KUNSTART 10

BULART GALLERY
is pleased to announce its participation at

KUNSTART 10
International Fair for Modern and Contemporary Art in
BOLZANO, ITALY
from 5th to 7th March 2010
The curatorial project " URBAN DIALOGUES' presents
bulgarian and italian artists.

URBAN DIALOGUES
project description

Curatorial project named “Urban dialogues” collects works from emerging Bulgarian and Italian artists from different generations. Painting,
collages, installations, video, photography and sculpture as tools to measure the pulse of the present cities and they are means to recognize the city's
soul. The Urban dialogue project raises the question: “is the dialogue possible?” It is a question of identity between samples of trendy myths and
social frames. Contemporary urban culture sends the citizens into storming merry- go-round, empty of illusions, alienation and introvert
communications. The mass media creates new social rules and people driving between them beds and working places, communicating often only trough internet and mobile phones. The moral standards for happiness are same as TV serial “soap” movies. The present - day men is under the pressure of his dreams for love and understanding from one side and the grey reality from the other. Surreal dreaming spaces are only a store for memories and nostalgic feelings for free spaces, true love and natural dialogues. In this project the artists are based in different cities in Bulgaria and Italy. Bulgaria with its communist social background now is a beginner in urban communication frames. The long difficult period of socio-political transformation changes moral values and character of human relations. It is period of open
borders and closed hearts. Italy has stable economical security among religious limitations, ancient culture archetypes, multietnical problems and urbanistic pulse. Both countries are living in a dream for nature and social peace. And here the artistic reaction is an example of urban dialogues - eclectic, nostalgic, full of worries and hope for good future. The question:“is the dialogues possible” stays open.
curator of the project: Dora Doncheva

a r t i s t s : Boris Kolev / Bulgaria/.Giorgia Brunelli /Italy/.Giuseppe Cannistraro /France.Italy/.Kiril Cholakov /Bulgaria.Italy/. Kaloyan Iliev - Kokimoto /Bulgaria/.Luciano Olzer /Italy/.Marco Filippozzi /Italy/.Paolo Vivian / Italy/

BULART GALLERY. HALL B. STAND 17
Kunstart 10. Fierabolzano. Bolzano. Italy. 5-7 March 2010
INSTERSECTION. stand z6.KALOYAN ILIEV-KOKIMOTO.SAMPLES OF REALITY PROJECT.
www.kunstart.it

BULART GALLERY. HALL B. STAND 17
KUNSTART 10. FIERA BOLZANO
BOLZANO.ITALY

http://www.kunstart.it/

DING DONG, performance by Paolo Vivian, ARTVILNIUS

DING DONG.Performance by Paolo Vivian /Italy/during ARTVILNIUS.

Curator: Dora Doncheva – Bulart
Time: 10 july 2009 17:30 - 18:00
11 july 2009 11:00 – 11:30

Place: BULART gallery , stand 4.2 ,hall 4, LITEXPO, ARTVILNIUS, VILNIUS, LITHUANIA

Description:
Italian artist Paolo Vivian /1962, Serso di Pergine / is known for his artistic research in the field of collective memory. He represents in ARTVILNIUS by Bulart gallery. In his last projects he has interest about contemporary religious attitude, he’s looking for personal indentify into contemporary socio-culture relationships. In his projects his games with audience is part of transformation of the concepts and same time is a tool for provocation. He plays different roles and his games are with concepts and social frames. Through his artistic games he changes the meaning and transforms the concepts.
Performance “Ding dong” is in close connection with his project “Dindele dondele campano”, part of “he/art/mythology” project of Bulart gallery in Artvilnis. Here he gives opportunity to the audience to be part of the game in his artistic imaginary temple, build up by objects installation and video in the gallery space. Vivian is playing with small bells traditional church music phrases. Performars from the audience are in his imaginary temple, listen music, ringing the same bells and express joy. The purpose of the artist is to provoke audience to express joy trought religoiuse symbols and music. His message is to be free and same time to don`t forget our traditions.

dindele dondele campanò, paolo vivian, he/art/mythology project, artvilnius 2009

/for italian scroll down/

"Dindele Dondele campanò" project by Paolo Vivian is a result of his performance, realised durind the patronal feast of St.George church in Serso, Italy. In this perfomance Vivian enters into the role of bells ringer and goes back to the time, when the bells sound was part of the daily life of people, the assurance of religiouse freedom and joy. The project seeks changes in socio-religiouse attitudes and attempts to provoke reflection on taboo in it. The song of the bells of Vivian is a message for evolution of present religiouse behavior.

Dora Doncheva- Bulart,curator

"Dindele dondele campanò",Paolo Vivian.installation.objects.video. 2009

participate: Paolo Vivian- performance, photos, installation; Massimiliano Lenzi - perfomar; Luciano Olzer - audio, video editing, photography

Paolo Vivian was born in Serso,Italy in 1962. Since 1985 he works in field of sculpture, installation and video. He is known with his researches in the field of collective memory. Founder of international artists network sKulturclub. He has participated in several international festival, curatorial projects and symposium in Italy, Germany, Finland, France, Luxembourg, Bulgaria, Holland and Lithiania. Lives and works in Trento, Italy.

italian :

Campane italiane suonano alla fiera ARTVILNIUS / x /
Vilnius, la capitale europea della cultura per 2009, nel luglio ospita il più grande evento artistico nel regione del Baltico - La prima Fiera Internazionale per l'arte contemporanea ARTVILNIUS. Le più importanti gallerie private degli Stati Baltici, insieme con le principali gallerie d'arte provenienti da Germania, Ungheria, Bulgaria, Russia, Portogallo, Svizzera, Danimarca, Islanda, Polonia, Austria, Grecia, Romania, India, Armenia, Francia, Finlandia, Svezia e altri presentato di oltre 450 artisti internazionali.
Il suono delle campane fa parte del "Dindele dondele campanò" progetto dell'artista italiano Paolo Vivian. Il progetto e presentato nello spazio della Galleria Bulart / Varna, Bulgaria / nel LITEXPO dove si svolge il forum. Paolo Vivian / 1962 /, è noto con la sua ricerca artistica nel campo della memoria collettiva. A Vilnius presenta una ricerca in chiave contemporanea sull'atteggiamento religioso dei nostri giorni. Attraverso l'installazione interattiva, fotografia e video, l'artista gioca con i tradizionali concetti e simboli religiosi. "Dindele dondele campanò" è il risultato della performance realizzata durante la festa patronale di San Giorgio a Serso / Italia /. In questa perfomance Vivian entra nel ruolo di spettatore - suonatore e va indietro nel tempo, quando il suono delle campane era nella vita quotidiana delle gente, l'espressione della libera comunicazione religiosa e la gioia. Il gioco di Vivian segue la tradizione, ma anche lui mette un segno sul carattere formale dei nostri giorni. Il suono delle campane oggi non comunicano la gioia religiosa, ma si tratta di una attività di routine della chiesa, non disponibile per tutti. Il progetto cerca i cambiamenti nella mentalità socio-religiosa e cerca di provocare la riflessione sui tabù in essa. La canzone delle campane di Vivian ha un preoccupante messaggio per l'uomo dei nostri giorni che vive nei limiti di socium e sociale dottrina. La canzone di campane è anche un messaggio di riforma per l'evoluzione del comportamento religioso,allarme di ri-evoluzione. Un messaggio per seguire le tradizioni, ma rimanendo liberi ... L'artista mette questi simboli religiosi dentro oggetti cubici cromati , i quali diventano nuovi segni per trasformare la memoria collettiva . Le piccole campane sono parte integrante dell'installazione, che consente al pubblico di partecipare al gioco e costruire un tempio, in cui l'espressione di gioia e di sentimento religioso non deve essere sacrilegio.
Provocante, nostalgico e pieno di speranza, il progetto di Paolo Vivian di trasportare i pezzi della memoria collettiva dai tempi antichi ai nostri giorni. L'artista mescola le culture le ed elemina le frontiere. Vilnius in Lituania e Serso in Italia sono collegate con la memoria collettiva di fede e di gioia. E le campane continuano a cantare senza preoccuparsi delle limitazioni che ci siamo imposti, noi persone dei nostri giorni. Perché, come l'ironico artista afferma nel testo del progetto: "Dindele dondele campanò, Torta si e crauti no... " Piccola filastrocca che anch'essa voleva rompere con il consueto pasto, i crauti, per la più buona e dolce torta …”
Paolo Vivian / 1962, Serso di Pergine, Italia / lavora nel campo del oggetto, scultura, installazione e video. Ha partecipato a numerose mostre, festival internazionale, progetti curatoriali e simposi internazionali in Italia, Bulgaria, Francia, Olanda, Lussemburgo, Finlandia e Germania.
"Dindele dondele campanò" è un progetto presentato alla prima fiera internazionale d'arte contemporanea negli Stati Baltici ARTVILNIUS su invito della Bulart Galleria /Bulgaria/, a cura di Dora Doncheva - Bulart. ARTVILNIUS è organizzato dall’ Associazione delle gallerie lituane. La curatrice principale della arte fiera è la Prof. Dr. Raminta Jurenaite. ARTVILNIUS si terrà dal 8 al 12 luglio.
Dora Doncheva -Bulart, Curatrice

/ X / - “Dindele dondele campanò ", un progetto di Paolo Vivian,
Partecipano : Paolo Vivian / perfomance, fotografia, installazione/, Massimiliano Lenzi / perfomar/, Luciano Olzer / audio, video editing , fotografia/ ; la Fotolito di Andrea Gadler, stampa UV ; Dora Doncheva- Bulart, curatrice / testo /
Galleria “Bulart ", ARTVILNIUS, LITEXPO, Sala 4, Stand 4.2
Vilnius, Lituania, 8 - 12 luglio 2009

http://www.artvilnius.com/

http://www.paolovivian.it/

he/art/mythology project.bulart gallery.artvilnius.8-12 july 2009

PS TV Market, Plamen Solomonski, he/art/mythology project,bulart gallery,artvilnius 2009

PS TV Market.video.Plamen Solomonski.2005

In "PS TV market", in which the artisy derides popular TV ads, which sell appliances omnifarious beauty, healthy living and "unique" goods for the household. The artist offers television viewers in exactly the same style as the TV ads "ground art". In case he spare his own graphic works which are highly appreciated by the fans. "Thus delivered art (ground and preserved) should become easier to" consumption "of all social groups in general and people will respect it," says Plamen Solomonski.

Plamen Solomonski /1970, Targovishte, Bulgaria/ he graduated in MA in “Bsh. K. Preslavsky” University , Shumen, Bulgaria , “Pictorial and Plastic Arts Teaching /1995 – 2000/. Member of AIAP , UNESCO and Association of the Bulgarian Artists. Since 2006 live and work in Trento, Italy.

he/art/mythology project.bulart gallery.artvilnius.8-12 july 2009

fragile/defective hearts.simeon stoilov.he/art/mythology project.bulart gallery.artvilnius 2009

FRAGILE/DEFECTIVE HEARTS.SIMEON STOILOV.

object.epoxy resine, wooden frame, plywood box, mirror, plexiglass.60/36/36 cm.

SIMEON STOILOV / 1971, Yambol, Bulgaria/ .Graduate of the National Academy of Arts, Sofia in “Painting”, with Prof. Svetlin Russev /1996/. Member of Bulgarian Artists' Union. Lives and works in Sofia, Bulgaria.

he/art/mythology project.bulart gallery.artvilnius.8-12 july 2009

the gallery project.i want to be bigger.matthias biermann.bulart gallery.he/art/mythology project.artvilnius 2009

the gallery project. i want to be bigger. video installation.matthias biermann

" The videoinstallation “ I want to be bigger” is a play with sizes, relations and meanings.First we have the box, which the artist named THE GALLERY. The box is open, but still a room for itself. If you see the open box in a usual art exhibition space, the box appears like a miniature of the surrounding area; a white cube in a white cube. It is a very small meaningless room and object. The visitor focuses the room, the object, to make a difference to the surrounding area. Of course focusing something small, means to make the same thing bigger. Looking on the inside of THE GALLERY, we see a little white doll without head. Inside the small box the doll appears big, but in relation to the surrounding outside of the box, the doll appears small. Behind, on the videoscreen, in the gallery box, we see a speaking head, perhaps the missing head of the doll in front of the screen. In relation to the doll and the gallery box , the head on the screen is really big, so that the body of the doll nearly disappears in the speaking head. But In relation to a real human head, the head on the screen is small and also the whole installation is small. So ,while change from an interior view to an exterior view we can perhaps understand, that the head repeats only one sentence: “I want to be bigger”. " Matthias Biermann

Matthias Biermann was born 1965 in Berlin ,Germany. He has gratuated in german language and literature studies, Saarbrucken, Manheim, Berlin /1986-1989/ and art studies in HDK Berlin /1990-1996/. Lives and works in Berlin.

he/art/mythology project.bulart gallery.artvilnius. 8-12 july

samples of reality.kaloyan iliev-kokimoto.bulart gallery.he/art/mythology project.artvilnius 2009

SAMPLES OF REALITY, collages by Kaloyan Iliev -Kokimoto

"Rebelling against the deceivable present of the past in one manipulative reality and its connection with the present day political and economical global worldwide changes, I build “samples of reality” which are in a process of hardening while the future is coming closer.
Besides, any thought – shape could be demolished and changed before it has got harder, in 3D as in concrete reality. Man can and should change the world, and this is possible only if he shows activity….Once “fixed and settled” the event cannot be changed. It is dependent explicitly on us when and how this could happen! ". Kaloyan Iliev – Kokimoto.

Kaloyan Iliev -Kokimoto was born in 1979, Varna,Bulgaria. Graduated MA in Graphics at the Faculty of Fine Arts in St. Cyril and St. Methodius University of Veliko Turnovo, Bulgaria /2007/ and Specialization from the Graphic Art Department at the Academy of Fine Arts in Lodz, Poland /2008/. Lives and works in Varna.

he/art/mythology project.bulart gallery.artvilnius.8-12 july 2009