Vera Nedkova House Museum presents the exhibition LANDSCAPES. Vera Nedkova. Kaliya Kalacheva.
The exhibition will run from February 24 till July 24, 2022. Vera Nedkova House Museum is located at 2 “11 th August Str”, Sofia.
The current exhibition focuses on one of the most popular genres in painting—landscape. Works by Vera Nedkova from the National Gallery collection created in the 1960s and 1970s and paintings by Kaliya Kalacheva are on display.
Artists of different creative pursuits, styles and techniques, Vera Nedkova (1906–1996) and Kaliya Kalacheva (b. 1986) correspond in an unusual way in their search for a different perspective of communication and perception of contemporary art.
Text and image: official website of National Gallery

National Archeological Museum presents the exhibition THE PANOPLY OF THE THRACIAN WARRIORS. 21/4/2022 – 30/11/2022.
THE PANOPLY OF THE THRACIAN WARRIORS presents the development of the weaponry, warfare and the technological craftsmanship of Ancient Thrace. The exposition offers an analysis of the processes and mechanisms through which main shapes of Hellenic armament were adopted, as well as the typology and technology of these artifacts not only in Thrace, but in the Classical world in general.
THE PANOPLY OF THE THRACIAN WARRIORS consists of more than 120 artifacts – Thracian armament. Among them are composite scaled corset, swords, sheaths, helmets, parade neck-guard.
THE PANOPLY OF THE THRACIAN WARRIORS refers to the political history of Thrace in the second half of the 1 st Millennium BC and the development of two state formations on the territory of nowadays Bulgaria and Romania - the Odrysian kingdom and the Getaen state.
THE PANOPLY OF THE THRACIAN WARRIORS is a project of St Kliment Ohridski Sofia University, National Archeological Museum at The Bulgarian Academy of Science, in cooperation with 21 Bulgarian museums and 2 Romanian museums, including National Museum of History of Romania.
Image: National Archeological Museum at The Bulgarian Academy of Science.

The prestigious Palace venue of the National Palace of Bulgaria, Sofia will open Torture by American artist Andres Serrano. Notorious for the artwork Piss Christ (1987), a central focus of the culture wars in the late 80’s and early 90’s, Serrano continues to foreground uncomfortable subject matter. Presented in his largest scaled photographs, akin to Renaissance masterpieces, the exhibition Torture comprises twenty works from a monumental body of work that elucidates the decay at the heart of society. Torture captures the empty spaces of interrogation rooms, immigration detention centres and concentration camps, alongside historical torture devices from prominent museum collections and replica devices used as tourist attractions.
Serrano photographed preeminent Whistle-blowers on torture and the victims, who generously offered their testimonies. For just over a month, in the industrial town of Maubourguet, southwestern France, Serrano assumed the role of the torturer. Using The Foundry as his black site, he photographed more than 40 volunteers in improvised positions with devices produced on-site by local residents. Both physical and mental techniques were utilised with the participation of his subjects, under the guidance of a retired Commando from the French Special Forces.
“With this work I visualize the full spectrum of torture…In doing this, I assumed the roles of both the artist and the torturer. As the artist, I show the audience what I see. As the torturer, I have to think like a torturer and assume control.
It’s easy to torture people when you have power over them.” Andres Serrano.
Produced in 2015 by a/political, the series was initiated the week the Senate Intelligence Committee Report on Torture was released. As the US continued to stall the release of thousands of photographs showing U.S. military personnel torturing detainees, Andres Serrano began to visualise the reality the government was fighting to conceal.
The series has been presented as solo exhibitions at Collection Lambert, France; VOID, Northern Ireland; Station Museum of Contemporary Art, Houston and Stills Centre of Photography, Scotland. Masters of Photography is part of the Calendar of Cultural Events of Sofia Municipality for 2022 and is implemented by the MUSIZ Foundation in partnership with the National Gallery, with the assistance of Granda Hotel Sofia, and with the financial support of Lachezar Tsotsorkov Foundation and UniCredit Bulbank.

The exhibition presents 13 miniatures and 6 sculptures from the National Gallery collection.
The god of protection, compassion, tenderness and love, Krishna is central to Hindu philosophy, theology, and mythology. In literature, miniatures, and sculpture, he is represented in a variety of subjects and roles, recreating iconic moments from the narratives and beliefs about him.
The most popular are the representations of him as a baby endowed with special powers, holding a pot of butter; as a little boy dancing on the many heads of the naga, Kāliyā; as the seven-year-old Shrinathji, with his arm extended upwards, symbolising the rescue of his devotees from a disastrous storm.
Alongside the legends, his heroic battles, unfolding in a combination of different moments in time and place, have provided a wealth of material for the imagination of artists. His love adventures with the cowherd women, known as gopis, are richly illustrated. In one sculpture, he is represented as Krishna playing the flute, while in a miniature, in a moment of play or intimacy with Radha, the most beloved of all the gopis.
The exhibition was prepared by Zlatka Dimitrova and Alexandra Yaneva, curators at the National Gallery.

Museum of Art from the Socialist Period
Through the image of Todor Zhivkov in the works of Bulgarian and foreign artists, the exhibition aims to shed light on a complex aspect of the art of the totalitarian epoch, namely the relationship between art and power. Some 60 works of painting, sculpture, graphic and decorative arts, documents and original manuscripts, visualise the interdependence of the creative intelligentsia of Bulgaria and the personality of the longest-serving Communist leader among the nations of Eastern Europe. The names of Dechko Uzunov, Ivan Nenov, Vasil Barakov, Vasil Stoilov, Vera Nedkova, Nikolay Shmirgela, Alexander Poplilov, and Svetlin Rusev stand out among the artists.
With only a few exceptions, the works in this exhibition have never been shown to the public. This fully applies to the drawings by the People’s Artists (the highest honorary title in the field of figurative arts prior to 1989), compiled in a jubilee compendium as a representative gift from the Union of Bulgarian Artists for Todor Zhivkov’s 70th birthday.
Beyond the political act of attested gratitude to the Communist Party in the person of its leader, these works can also be seen as a curious and hitherto unknown page in the history of Bulgarian art.
A small but significant section of the exhibition presents several political posters created in 2018 by former students of the Poster and Visual Communication speciality at the National Academy of Arts. In them, the image of The First and the epoch he personified are perceived in hindsight and the evaluation of new generations.

XII Edition, September 28 - November 1, 2022
Venues: Bulgaria Hall, СГХГ
The poster of Piano Extravaganza, with 9 excepcional concerts! With the financial support of the Ministry of Culture and Sofia Municipality. Part of the Cultural calendar of SM for 2022. In partnership with Sofia Philharmonic, Sofia Municipal Art Gallery and Sofia National Opera & Ballet.
www.piano-extravaganza.com https://www.facebook.com/PianoExtravaganza.

In an interdisciplinary project, the artist Yona Tukuser, who works in the style of Metamodernism, interprets in her paintings the tragic consequences of hunger in the 20th century, while casting a troubled look at the present in the context of Russia’s war against Ukraine.
Yona Tukuser was born in 1986 to Bulgarian parents, in the village of Glavan in Ukraine, some 70 km from the Danube Delta. She is a descendant of a family that emigrated in 1832 from Glavan, Galabovo municipality, Stara Zagora district, Bulgaria.
For 13 years, the artist collected historical evidence of the famines in Ukraine and the Soviet Union in the periods 1921–23, 1932–33 and 1946–47, adopting an academic approach to the selection of archival sources of information.
Her personal interviews with people who survived the famine, quotations from which the exhibition’s visitors will have the opportunity to read, are particularly emotive. ‘The “Hunger” project reveals that the contemporary world has become hostage to the unpunished crimes of Soviet totalitarianism and, in particular, to the repressive, anti-peasant actions that contributed to the mass starvation of the population. Philosopher George Santayana’s aphorism that those who cannot remember the past are condemned to repeat it, should sound like an alarm, the power of which will be amplified by the historical paintings that are part of the project,’ commented Yona Tukuser.

The exhibition presents 13 miniatures and 6 sculptures from the National Gallery collection.
The god of protection, compassion, tenderness and love, Krishna is central to Hindu philosophy, theology, and mythology. In literature, miniatures, and sculpture, he is represented in a variety of subjects and roles, recreating iconic moments from the narratives and beliefs about him.
The most popular are the representations of him as a baby endowed with special powers, holding a pot of butter; as a little boy dancing on the many heads of the naga, Kāliyā; as the seven-year-old Shrinathji, with his arm extended upwards, symbolising the rescue of his devotees from a disastrous storm.
Alongside the legends, his heroic battles, unfolding in a combination of different moments in time and place, have provided a wealth of material for the imagination of artists.
His love adventures with the cowherd women, known as gopis, are richly illustrated. In one sculpture, he is represented as Krishna playing the flute, while in a miniature, in a moment of play or intimacy with Radha, the most beloved of all the gopis.
The exhibition was prepared by Zlatka Dimitrova and Alexandra Yaneva, curators at the National Gallery.

This exhibition and the accompanying eponymous documentary do not relate the history of automotive manufacturing in Socialist countries, nor are they retrospective in character. With their inherent sense of humour, unique visual language and obvious love for cars, Boris Missirkov and Georgi Bogdanov explore the phenomenon of sotz cars in Europe and their present owners. These cars appear in museum expositions or in private collections, or we may even see them being driven along the streets of major European cities.
Through the rich palette of images of their owners, united in their common passion for the Socialist car, past and present intertwine, complement and contrast across five distinct themes of the exhibition narrative. In the ‘Introduction’, we are greeted by Ronald Reagan’s holographic projection, accompanied by a composition of 80 model cars and a stele made of pressed tin sheets and parts from Socialist cars.
‘Slices of the Past’ are panels in the signature colours of the era with automotive paint combined with silver photo prints on transparent film accompanied by clippings from black-and-white negatives of old driving textbooks. ‘Phantasms’ is an installation of photos from the Instagram profiles of lady owners of sotz car marques in modern Russia. ‘Time Capsules’ is a series of portraits and personal stories of Bulgarian owners of Socialist cars, while ‘Epilogue’ concludes the narrative with an installation of five video portraits of the characters from the eponymous film and moving text.
Cars are an expression of the individuality of their owners, who breathe new life into them and preserve their history in our contemporary times, marked as they are by the highest technological achievements and innovative spirit. The theme of Socialist heritage is a leitmotif present throughout the work of the two artists. ‘The Cars We Drove to Capitalism’ is a form of exploration of our historical legacy of that epoch, a gauge of technological and scientific capacity. In the context of this polemics, several topics for reflection are sparked off: how valuable is our heritage; to what extent is it the reflection of a bygone reality; is there nostalgia for it?

Earth and Man National Museum presents the exhibition Zlati Zlatev - 40 years dedicated to the collection of Bulgarian minerals. From 01 April to 31 December.
Earth and Man National Museum is located at 4 Cherni Vrah Blvd, Sofia.
Image and text: official website of Earth and Man National Museum.