It’s gone / 2013

It’s gone / 2013

“It’s Gone” is an interactive animation. The represented situation is a memory of a deer in the mountain. A video of a slightly moving deer in a fog loops till there is no presence in the space where the video is screened. The video loop is controlled by a PIR sensor. If the PIR sensor detects a moving person/ object in the space, the deer calmly leaves and hides in the fog and the mountain.
The deer is not afraid, it is not running for its life. It just concedes the mountain for you.
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I’m Sorry / 2012

I’m Sorry / 2012

2012, 386 holes drilled in 20 days , impact drill , Sofia, block of flats #711

Innocent is a work in which the “self excusing man” from my previous piece “Excuse me” (page 17), 2008, acquires a new evolutionary form – “the guilty person”. The guilty one runs through the dark and comes into sight to generate guilt, and to reveal the essence of part of our pathological relations in society. He materializes and “rationalizes” his existence in a vicious circle of action and regret. In a manner racking both to him and to the others around, he writes on the wall with an impact drill the word “(I’M) SORRY”.

Stanimir Genov

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Avalanche / 2016

Avalanche / 2016

The exhibition by Stanimir Genov presented at Contemporary Space, Varna is entitled “Avalanche”, something that is not typical for the region. The paintings exhibited in this “show” invoke another avalanche – a dense, total, at times psychedelic, colorful territory – neither a landscape, nor an abstract composition. Undefined inner state, which finds its visual expression in avalanche of forms, pre-images, almost-figures, quasi-spaces, half-gestures, etc.
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Exhibition / 2015

Exhibition / 2015

The Exhibition, created especially for the leading Bulgarian gallery in showing ainting. It features three series of works, Outside, I Want You in My Place and Other.

As a “universal artistic model”, it offers an extensive view of the artist’s internal landscape. The works, as in previous projects by Genov, lead a classical technique of high art use to the borderline territory of aesthetic excess. Without leaving, just the contrary, emphasizing the fineness as characterizing art, the author offers a new hierarchy in the traditional realia, coming from the cataclysms of contemporary society.

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Paintings / 2012

Paintings / 2012

„PAINTINGS“ The story that always unfolds around oeuvres of painting, the so called „paintings” has always been limited or rather restrained to the use of language. Whenever it has succeeded to escape from the descriptiveness of imagery, at the intersection with art, a piece degrades to a semantic phrase the moment it faces the viewer-interpreter. The problem of language, however, is that it is incapable of reaching directly those layers of the human psyche, that are accessible through the use of metaphor, myth, allegory and other trespassing-further forms. Here, the poetics of the anthropomorphic shapes of these flesh-thick creatures, organs and members are tied up in compositionally impossible knots. Stanimir Genov attacks the layers of the psyche literally with thick paint, untouchable by other means. On them, he uses the conventional canvas as a hellish representational screen where the signs of struggle are left, exposing or illuminating numbers of pathological silhouettes hiding in the white. These are silhouettes of autonomous organs „organically” clenched into each other. A knot that can describe or refer, but moreover acts pre (and post) verbally, outside the realm of language, beyond and beside the system. So, around the so called „paintings” a story develops and begins unfolding. A story about the system and its inconsistence, of the horribly defective life forms stacked within it. The story goes on about a hellish congregation of autonomous organs, but should not continue in order to preserve the „painting”.
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