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Gallery
- Click HERE for more images |
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Robot,
Revolucia, Onanism! (Робот, Революция, Онанизъм!) series of 3
digital col photographs,2004 |
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"Man
has the custom of demonizing his creatures (their slave function
is related to the revolt, to the overcoming of the slavery, the
rebel slave replacing his master - the law of marginality tending
towards the center...
The robot makes it possible for the man to feel
like a creator, capable of creating a Garden of Eden with one single
aim - to drive away its inhabitants." Vita- Cook |
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"Good,
Bad & Ugly"(Добрата, Лошата и Грозният") series
of 5 digital photographs,2002 |
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"...She
has lived beyond the extremeness of radical feminism, for her the
bloody revolution flows over into the red world of lipstick, and
the iconography of soft-feminism is the hypocrisy of the bad-looking,
man-like housewife.
The
image of the new woman is the image of the new carelessness – this
is the way that woman can achieve success, and avoid the problems
all generations of women before her have created for themselves
– the image of the new successful feminism...." Boryana Dragoeva |
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exhibition
view |
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"Afther
the Game", series of
3 photographs, 2002 |
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"...“Liberty” or to be correct the “Tank-Girl”, has got down
from the barricades, and has been debased to a cleaning-lady, who
removes the blood from the
corpus of the tank…the Heroes (the men) are dead, needlessly (without
any sense or reason), after having toyed around with their newest
“strategy”, and their “holy blood” has been transmuted into simple
red liquid, smudging the noble post-industrial ruins
Cult.bg / "Fashion? What is this?"
Vita -Cook, 2002 |
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exhibition
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"I
Lost My...", series of
4 digital photographs, 2002 |
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“…The
series “I Lost My…” is a remake of little known pin-up photograph
from the 50's. The reconsideration and actualisation
of the profane image, transformed by the artist's effort, from an
apotheosis of the female bondage
into an aggressive feminist proclamation,
makes the spectator if not laugh, at least smile bitterly…"....................................
Vitalia Ivanova-Cook, Cult.bg, "Fashion? What is This?",
2002 |
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"The Biggest
Meatball in the World" movie project, together with O. Mavromatti,
photo-series, 2001 |
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"The Biggest
Meatball In The World" is an example of nearly classical in its
structure, traditionally referential in its postmodern status, polystylistic,
and metaphorical cinema... And, of course,
this is a film coming from the Eastern, the post-communist block,
so it is also about the impossibility for the East to acquire the
art language of the West, the ever existing problem of communication
between the blind and the deaf.. |
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"Are you Hаppy?
Yes, I'm Happy!", 2 photographs,2000 |
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Тези фотографии са екзалтиран израз
на радостта от това да бъдеш жена,притежавайки всички женски функции
образували твоята форма, изпълвнена със специфични емоции и увенчана
с духовния венец на другостта. ..................б.д. |
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"Still life",
series of 3 photographs, 1999 |
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Изяждащото и изяденото,
заснети в момент на оргазмена кулминация - в този миг те размиват
границите на предназначението си и придобиват характеристиките на
другия, а в последвалото заключение те постепено възвръщат обичайната
си различност.....................б.д. |
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"Aim/Less",
series of 3 photographs, 1999 |
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Mixing terror and aestheticism
has become more than a rave nowadays. If the guys in the board of
UNITED COLORS OF BENNETON saw the picture of the Boeing on the bullet-pierced
window, Boryana would immediate-ly become their highest paid photographer........
B. Kostadinov |
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"Muscleman",
1998 |
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"Clone",
2 digital photographs, 1997 |
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One
can always find a kind of imaginary museum in the minds of those
dealing with art. I have always thought of "Cloning" as part of
this museum, whenever figuring it out. It is also the most difficult
of all to answer the question "why" when it comes to something that
is really your favourite. "Cloning " is a work of art that can undoubtedly
be singled out as an example of clearness of the relationship artist-idea-communication.
It doesn't happen too often that one comes across an interesting
concept which is given such a perfect visual form.
Boris
Kostadinov |
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