На 17 януари 1998 г. започна първият пленер на Леседра във филмовата къща в с. Лесидрен с участието на
44 съвременни български художници. Изложбата на 150 произведения заедно с каталога, посветени на 7-та годишнина на галерията,
се състоя в Националния дворец на културата от 5 до 17 юни 1998 г.
Успешната реализация на този пленер се превърна в сериозен двигател и стимулатор за развитието на Леседра. Настоящата колекция е израз на осъществените проекти и изложби през всичките 20 години след пленера. Присъстват няколко от знаковите автори и произведения от 1998 на Петър Дочев, Христо Стефанов, Димитър Лалев, Йордан Кисьов, Сули Сеферов.
Също така специално сътворените арте-факти Духът на ореха на Александър Иванов от 2011, АртХонда на Андрей Даниел от лятото на 2014, скулптурната композиция на Павел Койчев от 2017 с работно заглавие Българско семейство от средата на 20 век...
Фокусът в настоящето представяне на дейността на Леседра е към международните проекти, благодарение на които могат да се видят живопис, скулптура и инсталации на 50 автори от 20 държави от цял
свят – Япония, САЩ, Канада, Обединени арабски емирства, Испания, Холандия, Норвегия, Исландия, Судан, Бразилия, Мароко, Турция, Словения, Бангладеш, Швейцария, Мексико, Тайланд, Швеция, Финландия, Германия…
Творческата енергия и ентусиазмът от паметната зима на 1998 г. продължават да оказват своето ползотворно въздействие – още много неща предстоят…
Elvira Rodriguez Roura, Spain, Pelin Avsar, Turkey, Olga Grimsmo Nilsen, Norway, Maria Heed, Sweden, Amani Hassan, Sudan, Masahiko Hayashi, Japan, Chloe Dee Noble, USA, Katarzhyna Pyka, Poland, Gustavo Olivares Morales, Mexico and Joan Backes, USA
Rumen Skorchev, Bulgaria, Akira Kurosaki, Japan, Pavel Koychev, Bulgaria, Andrey Daniel and Alexander Ivanov, Bulgaria
Mihail Petkov, Bulgaria, Laila Adam, Sudan, Hannie Kortland, the Netherlands, JR Rapier, USA, Sirin Benugur, Turkey, Birna Matthiasdottir, Iceland, Rosangela Scheithauer, Brazil, Karen Oremus, Canada, Mariam Al Ali, UAE, Jacob Klein, the Netherlands
Werner Heinemann, Germany, Maria Stolarova and Lyuben Zidarov, Bulgaria, Enil Enchev, Ivan Ninov and Suli Seferov, Bulgaria
Yordan Kissiov, Christo Stefanov and Dimitar Lalev, Bulgaria
The Sculptural Installation Work of Carl Andre with works of Bulgarian artists in the background
Petar Dochev, Bulgaria
Petar Dochev, Bulgaria
Dobromir Ivan, Bulgaria, Harriet FeBland, USA and Heinz-Peter Kohler, Switzerland
Mariam Al Ali, UAE, Installation View and Jacob Klein, the Netherlands
Mariam Al Ali, UAE, Installation View, in the background – Gustavo Olivares Morales, Mexico and Masahiko Hayashi, Japan
Maria Duhteva, Christo Yotov and Christo Kardjilov, Bulgaria
Girl nose bleeding
The keeper of secrets
To collect rain
Official catalogue of the Exhibition (PDF)
Gustavo preparing work for installation
Gustavo with the work MI BANDERA
Snezhina and Krassi - good friends of Gustavo
Art critic Chavdar Popov
Gustavo with Enil Enchev, artist and owner of gallery a-cube
Gustavo looks satisfied with his Solo Show
Gustavo at the Art Village
Study for next MI BANDERA - Gustavo in studio 3 at the Art Village in construction
Selvihan Kilic is a technically accomplished printmaker, whose work has developed
and matured over the past decade. She is also an artist with a finely tuned imagination
whose images both comfort the eye and mind, and at the same time offer deeper and more
unsettling reflections. Like many contemporary artist/printmakers, she has travelled as
widely as possible, attending international conferences and exhibitions, absorbing something
of the extraordinary energy that characterises the contemporary printmaking world. In the past
twenty years printmaking as a visual arts discipline has expanded across borders and oceans,
developing in a wide range of ways in most of the countries of the world. To explore some of
the reasons why this expansion has come about would require a longer text than this, but suffice
it to say that the combination of the need to develop a profound understanding of the various
techniques and materials used in printmaking, and the need to engage with the collaborative approach
that is required in creating the edition of prints, offers artists a unique set of challenges,
and the consequent satisfaction of a job well done. It is little wonder that printmaking, more
than any other sector of the contemporary visual arts, is able to cross borders and cultures,
and to build lasting and deep relationships between artists in different countries.
The history of Turkey since the beginning of the 20th century, and up to the present time, presents an interwoven story in which ideologies and traditions have clashed more than once. At the same time Turkey is a fast-growing 21st century economy with a pivotal role in the complex geopolitical situations of the Middle East. This is, of course, nothing new, since the geographical position of the country has for centuries made it into a crossroads for influences from many sources to both the east and the west. All these factors combine to make the country one of absorbing fascination and increasing importance. Over the past five years or more printmaking has developed considerably and the level of achievement has continued to rise. Selvihan Kilic is one of the leading artist/printmakers of her generation, whose role as an educator at Balikesir University has introduced the delight of printmaking to a large number of students, who in their turn are making their mark on the Turkish art scene. Asked about her work as an artist and lecturer in a changing country she replied that what is being experienced in the country at the present time affects her as a woman and an artist, and also as a citizen. She added that she is aware of her responsibilities to express her reaction to, and alter, the negativities in life towards a more positive position. As experience has shown in other countries going through periods of considerable change, the visual arts have an important, and often subtle, role in bringing about such change. She admits that Turkey is going through a difficult and disturbing period, and that it is impossible not to be affected morally by this. However she also thinks that younger artists will be positively influenced by the recovery from social events, and that artistic expression in the country will become stronger, with artists presenting a clearer and stronger attitude.
The recent prints of Selvihan Kilic are, in visual essence, fairly straightforward, with a limited vocabulary – a bare-branched winter tree, a tangle of urban power lines, flights of birds, groups of figures engaged in some mysterious task, all of these shown in silhouette. What renders these elements more intriguing is the ways in which she combines elements from this vocabulary with areas of texture and colour from a limited palette, using a mixture of techniques, woodcut with serigraphy or stencil, lithography with woodcut, or linocut. The facility with which she makes such combinations of imagery and technique allows her to make prints with a profoundly poetic quality, riven with melancholy, provoking those who engage with them to interpret them as they will. The artist’s own intent in creating the prints is not necessarily clear, nor does it have to be. What is important is that her imaginative and technical skills produce images that allow those who encounter them to conceive their own interpretations. Her prints become the means by which an unwritten and unspoken dialogue between artist and viewer can be set up, a trans-national communication that requires no particular language, and that has a global relevance. In this way they are perhaps akin to poetry or music, or that rare combination of both that exists in the work of certain singer-songwriters who create their own evocative and imaginative worlds that transcend the immediate experience of their recordings. At first glance the prints may seem to offer a simple expression of the sky at sunset or dawn, those liminal and transient times between darkness and light, when the world is briefly held at a point of calm balance. A deeper engagement and consideration can allow the prints to be seen as symbolic, evoking a time of change in which, ‘like a bird on the wire… …I have tried in my way to be free.’
© Richard Noyce, Wales, Summer 2016
Author, “Printmaking at the Edge’, ‘Critical Mass: Printmaking Beyond the Edge’ and ‘Printmaking Off the Beaten Track’, all published by Bloomsbury, London.
Selvihan is proud to show the catalogue of the exhibition
Selvihan with Bulgarian artist Ivan Ninov
Selvihan talking with Yuksel Murvetov
Selvihan with Yulia Petrova, journalist from BNR
Georgi receiving personally signed catalogue from Selvihan
Synergy, comes from the Greek word sunergos, which means working together. It is defined as the interaction of two or more agents or forces so that their combined effect is greater than the sum of their individual effects. It is also described as cooperative interaction among groups that create an enhanced combined effect when working together.
AlAli and Oremus explore synergy in a variety of manifestations in this exhibition. Their symbiotic relationship, which began in the classroom with Oremus as AlAli’s teacher at Zayed University in the United Arab Emirates (UAE), brought to the surface the importance of the mentor and mentee relationship. Synergy is also reflected in the collaborative environment of the printmaking studio where each individual working there continuously nourishes and inspires one another. Moreover, the works being created in the studio are constantly moving and interacting with other artist’s works on international platforms in the form of exhibitions and printmaking exchanges. This is reflective in the International Lessedra World Art Print Annual where artists and their works from around the world come together to mingle and inspire each year. For those who cannot be there alongside their work, they learn about their international peers through the catalogue of works which is distributed to all participants.
In 2005, Oremus was awarded with the first prise at the Lessedra World Art Print Annual, and since then, she has been participating in the annual with her students. In 2014, AlAli was awarded with the first prise at the annual, symbolically bringing the symbiotic relationship of the mentor and mentee full circle. This was the initial inspiration for this exhibition.
Through their work, AlAli and Oremus explore relationships beyond that of the two artists themselves, individually expressing their own personal symbiotic relationship with a very close individual in their lives. Through their work they filter the poignant experience of watching these loved ones suffer through degenerative illness and their death.
AlAli’s work explores the cherished relationship with her grandmother, an inspirational figure and family mentor who suffered with diabetes and various other related ailments. Oremus explores the strong, close and spiritual relationship with her mother who suffered several years with Dementia. Both artists express how the synergism transforms during their illnesses, and how the spiritual union remains intact following their deaths.
Through Oremus’ work, she conceptually explores matter, energy, mind and spirit and their interplay immersed in the experience of the ephemeral. She takes a poignant look at the body as a vessel, and how disease can slowly decay the tangible and in turn release the intangible. Through this, she contemplates the infinite nature of energy (and its location) and the transformation of the spiritual traveller leaving their physical body into an astral one, in different realms, in different locations. The imagery is largely based on imagined maps and a palimpsest of text. Unconventional maps signify ‘place’ and ‘distance’ demonstrating both the physical and the mental distance experienced between the artist and her mother during her battle with Dementia. She portrays map imagery in an abstracted manner to convey how the direction we anticipate in life can be diverted at any given moment without notice. More recently map imagery is used metaphorically as an attempt to locate her mothers spiritual location since her death. The use of fragmented text in her work recalls haunting conversations she had with her mother during her illness. It is her intention to abstract these statements drawing parallels with her mother’s loss of writing and language skills.
The imagery in AlAli’s work is largely based on medical scans and cell imagery, which trace the various ailments and stages of illness progression. Text embedded into these large-scale prints are collective thoughts, emotions and prayers of the artist as she and her family live through the continuous poignant journey. While the human cells represent growth and disease progression, AlAli also represents the honeycomb, a mass of hexagonal cells built by bees as their home. The use of the hive represents the artists’ family unit. It signifies love within the family, domestic stability, harmony and synergy amongst its members. The hive is guided by the queen, who insures new life, and continuation of the colony. This is symbolic of her grandmother who was a strength and guide for her family.
The works of AlAli and Oremus both explore the synergy between traditional printmaking and the infusion of technology such as 3D printing, pigment printing, laser cut and laser engraved prints incorporating light, shadow and animation.
Sacred Geometry Series 1 by Karen Oremus
Sacred Geometry Series 1 by Karen Oremus
Sacred Geometry Series 1 by Karen Oremus
Sacred Geometry Series 2 by Karen Oremus
Sacred Geometry Series 2 by Karen Oremus
Mariam Al Ali Work 1
Mariam Al Ali Work 2
Mariam Al Ali Work 3
Какво обединява тези три художнички от различни държави?
Карен Оремус е професор и преподавател по изкуства в Университета Зеяд в Абу Даби.
Мариам Ал Али като студентка на проф. Оремус печели първата награда на 13-та Международна изложба графика на Леседра.
Виолета Апостолова печели наградата за млад /български/ автор на същата изложба.
Повече за авторите, произведенията, синергизма в изкуството: ще разберете на откриването.
*В природата синергизмът е много разпространен.
Такава е работата в екип на социално организирани групи, като пчелите например.
Official ceremony for the opening reception April 11th, Monday, from 5 to 7 p.m.
Bulgarian artists general view
Dutch artists general view