The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition from Gaudenz B. Ruf’s donation includes contemporary works of art from Bulgaria, Serbia and Montenegrо – painting, photography, objects and video — created between 1987 and 2019.
As the Ambassador of Switzerland to the country, and founder of the Gaudenz B. Ruf Award for New Bulgarian Art (2007–2019), Ruf has a long-standing bond with the Bulgarian art scene. The collection reflects his abiding interest in artists from different generations, selected for their sensitiveness to the social and political context in which they worked—from Kosta Bogdanović, Luchezar Boyadjiev, Mihael Milunović and Sasho Stoitzov to Leda Ekimova, Kosta Tonev and Nestor Kovachev.
The exhibition exemplifies not only the collector’s taste, but also a regional and long-term commitment to the cultural scene on the Balkans. This donation to the National Gallery is an important gesture for Bulgaria, transforming one person’s attitude towards contemporary art into part of the cultural memory.
Media partner: BTA / Bulgarian News Agency.
Martina Yordanova, National Gallery

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

In front of the Presidency

The ceremonial change of the guard in front of the Presidency marks the national and public holidays in Bulgaria. The officialchange of the guard takes place on the first Wednesday of every month at 12:00 o’clock.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition from Gaudenz B. Ruf’s donation includes contemporary works of art from Bulgaria, Serbia and Montenegrо – painting, photography, objects and video — created between 1987 and 2019.
As the Ambassador of Switzerland to the country, and founder of the Gaudenz B. Ruf Award for New Bulgarian Art (2007–2019), Ruf has a long-standing bond with the Bulgarian art scene. The collection reflects his abiding interest in artists from different generations, selected for their sensitiveness to the social and political context in which they worked—from Kosta Bogdanović, Luchezar Boyadjiev, Mihael Milunović and Sasho Stoitzov to Leda Ekimova, Kosta Tonev and Nestor Kovachev.
The exhibition exemplifies not only the collector’s taste, but also a regional and long-term commitment to the cultural scene on the Balkans. This donation to the National Gallery is an important gesture for Bulgaria, transforming one person’s attitude towards contemporary art into part of the cultural memory.
Media partner: BTA / Bulgarian News Agency.
Martina Yordanova, National Gallery

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Conductor
James Judd
Solоist/s
Ziyu He
Ensemble
Sofia Philharmonic Orchestra
Program
Felix Mendelssohn – Violin Concerto in E minor, Op.64
Anton Bruckner – Symphony No.1 in c minor, WAB 101

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition from Gaudenz B. Ruf’s donation includes contemporary works of art from Bulgaria, Serbia and Montenegrо – painting, photography, objects and video — created between 1987 and 2019.
As the Ambassador of Switzerland to the country, and founder of the Gaudenz B. Ruf Award for New Bulgarian Art (2007–2019), Ruf has a long-standing bond with the Bulgarian art scene. The collection reflects his abiding interest in artists from different generations, selected for their sensitiveness to the social and political context in which they worked—from Kosta Bogdanović, Luchezar Boyadjiev, Mihael Milunović and Sasho Stoitzov to Leda Ekimova, Kosta Tonev and Nestor Kovachev.
The exhibition exemplifies not only the collector’s taste, but also a regional and long-term commitment to the cultural scene on the Balkans. This donation to the National Gallery is an important gesture for Bulgaria, transforming one person’s attitude towards contemporary art into part of the cultural memory.
Media partner: BTA / Bulgarian News Agency.
Martina Yordanova, National Gallery

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Musical by Alexandar Raichev
Duration 1:00
Chamber hall
Performed in Bulgarian

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition from Gaudenz B. Ruf’s donation includes contemporary works of art from Bulgaria, Serbia and Montenegrо – painting, photography, objects and video — created between 1987 and 2019.
As the Ambassador of Switzerland to the country, and founder of the Gaudenz B. Ruf Award for New Bulgarian Art (2007–2019), Ruf has a long-standing bond with the Bulgarian art scene. The collection reflects his abiding interest in artists from different generations, selected for their sensitiveness to the social and political context in which they worked—from Kosta Bogdanović, Luchezar Boyadjiev, Mihael Milunović and Sasho Stoitzov to Leda Ekimova, Kosta Tonev and Nestor Kovachev.
The exhibition exemplifies not only the collector’s taste, but also a regional and long-term commitment to the cultural scene on the Balkans. This donation to the National Gallery is an important gesture for Bulgaria, transforming one person’s attitude towards contemporary art into part of the cultural memory.
Media partner: BTA / Bulgarian News Agency.
Martina Yordanova, National Gallery

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Chamber hall

Bulgaria Concert Hall
Solоist/s
David Krumov
Devora Krumova
Boris Papazov
Beloslava Staykova
Ensemble
“Bambini” Vocal Group
Sofia Quartet

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition from Gaudenz B. Ruf’s donation includes contemporary works of art from Bulgaria, Serbia and Montenegrо – painting, photography, objects and video — created between 1987 and 2019.
As the Ambassador of Switzerland to the country, and founder of the Gaudenz B. Ruf Award for New Bulgarian Art (2007–2019), Ruf has a long-standing bond with the Bulgarian art scene. The collection reflects his abiding interest in artists from different generations, selected for their sensitiveness to the social and political context in which they worked—from Kosta Bogdanović, Luchezar Boyadjiev, Mihael Milunović and Sasho Stoitzov to Leda Ekimova, Kosta Tonev and Nestor Kovachev.
The exhibition exemplifies not only the collector’s taste, but also a regional and long-term commitment to the cultural scene on the Balkans. This donation to the National Gallery is an important gesture for Bulgaria, transforming one person’s attitude towards contemporary art into part of the cultural memory.
Media partner: BTA / Bulgarian News Agency.
Martina Yordanova, National Gallery

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Musical by Andrey Drenikov
Chamber hall
It is performed in Bulgarian

A concert with songs from the musicals "Anastasia" and "The Sound of Music"
Chamber hall

October 5, 2025, 5:00 PM, Musical Theatre, Sofia
Arabesque Ballet, Bulgaria’s leading contemporary dance company, begins its new season under the artistic leadership of Angelina Gavrilova with the premiere of BarrocoLife – The Perfect Imperfection.
The evening features two brand-new works inspired by the elegance and drama of baroque music:
• The Four Seasons – choreography by Anna Doneva, set to Antonio Vivaldi’s timeless masterpiece.
• In the Shadow of Your Wings – choreography by Mila Iskrenova, with music by Bach, Handel, and Rameau.
Audiences are invited to immerse themselves in a baroque-inspired journey, where tradition meets contemporary dance, performed with virtuosity and passion by the Arabesque Ballet ensemble

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Conductor
Georgi Dimitrov
Solоist/s
Kirill Troussov
Ensemble
Sofia Philharmonic Orchestra
Program
Pyotr Ilyich Tchaikovsky – Concerto for Violin and Orchestra in D Major, Op.35
Arthur Honegger – Symphony No.3 – Liturgique

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Children's performance to the music of Camille Saint-Saëns
Duration 1:00
Chamber hall

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Children's performance to the music of Camille Saint-Saëns
Duration 1:00
Chamber hall

Musical by Alexandar Raichev
Duration 1:00
Chamber hall
Performed in Bulgarian

Operas by Pietro Mascagni and Ruggero Leoncavallo /Premiere/
Main Hall

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

Sofia Arsenal – Museum of Contemporary Art
Curator: Nadezhda Dzhakova, PhD
In the infinite multifariousness of images, Milko Pavlov discovers fragments: colourful segments, which he sticks together creating novel, different spaces. They do not belong to the present, nor do they tell the past. Pictorial dimensions have their own, singular time, added by the artist, unnamed, but certainly in the future. In Milko Pavlov’s case, the process of dating ‘in the future time’ has continued over the past twenty years.
Dating also appears in the titles of his works. It is not only inscribed on their reverse, but also on the walls of the gallery, infusing it in the same way as architecture is ‘present’ among the artist’s paintings. The artwork is no longer simply confined within its frame of a two-dimensional plane, but a pictorial field that emerges from the wall, blocks an intermediate door, and ‘climbs up’ a column. These small expositional teasers on the part of the curator are in response to the artist and his search for image/non-image, visible/invisible, or present/future.
This exhibition developed from several years of conversations between the artist and the curator from Sofia Arsenal. Milko Pavlov has lived and worked in Berlin for many years. He also travels frequently to Sofia. The artworks on display were produced especially for the museum, upon each of his returns to Bulgaria.
Nadezhda Dzhakova, PhD

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Chamber hall

Solоist/s
Veronika Todorova
Ensemble
Sofia Philharmonic Orchestra

Operas by Pietro Mascagni and Ruggero Leoncavallo /Premiere/
Main Hall

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Solоist/s
Ivan Penchev
Denitsa Dimitrova

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Solоist/s
Ensemble
Sofia Quartet
Program
Wolfgang Amadeus Mozart – String Quartet No.4 in E-flat major, K. 428 (421b)
Ludwig van Beethoven – String Quartet, Op. 95, “Serioso”

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

The performance brings together audience and artists on one stage, transforming the familiar space into an alternative one. The close contact with the performer brings a different type of perceptioon and emotion to the viewer.
Behind you is a solo performance about the connection between our conscious and unconscious experiences. Memories merge and separate, seeking their way to consciousness.
The human psyche's ability to "turn away" and erase memories and situations is not just a theme, but an essential element of the journey into the inner world of possibilities for awareness and self-discovery.
The choreographer explores the complexity and ever-changing concept of identity.
Behind you addresses the themes of conformity, self-acceptance, diversity and empowerment in the contemporary world, ultimately aiming to leave an impression and feeling of inclusion, unity and hope for a better future.
Originally created for YALTA ART ROOM and for one of the most expressive performers of Ballet Arabesque – Elizaveta Yakimova, the performance has been transformed for a big stage and will be presented by another brilliant soloist of the troupe – Petya Koleva Vuchov.
Idea and choreography: Filip Milanov
Performed by: Petya Koleva-Vuchov
Music: Stanislav Genadiev
Scenography: Yael Duev-Taig and Filip Milanov
Rehearsal: Teodora Stefanova
Photographer: Nikolay Raichev

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Conductor
Conrad van Alphen
Solоist/s
Anton Sorokow
Ensemble
Sofia Philharmonic Orchestra
Program
Ludwig van Beethoven – Concerto for Violin and Orchestra in D Major, Op.61
Johannes Brahms – Symphony No.1 in C minor, Op. 68

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Musical by Andrey Drenikov
Chamber hall
It is performed in Bulgarian

Operas by Pietro Mascagni and Ruggero Leoncavallo /Premiere/
Main Hall

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Chamber hall

Musical
Duration 1:45 without intermission
Chamber hall

Operas by Pietro Mascagni and Ruggero Leoncavallo /Premiere/
Main Hall

Conductor
Yordan Kamdzhalov
Solоist/s
Ivan Penchev
Ensemble
Quarto Chamber Orchestra
Program
John Corigliano – “Voyage”
Ralph Vaughan Williams – “Five Variants of Dives and Lazarus”
Ralph Vaughan Williams – “The Lark Ascending” for Violin and String Orchestra
Arnold Schönberg – Verklärte Nacht (Transfigured Night), Op. 4

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Solоist/s
Vencislava Asenova
Kamen Asenov
Ensemble
The Philharmonic Wind Quintet

Musical fairy-tale by Alexander Vladigerov
Runnig time: 01:00
Chamber hall
It is performed in Bulgarian

Operas by Pietro Mascagni and Ruggero Leoncavallo /Premiere/
Main Hall

Conductor
Nayden Todorov
Solоist/s
Mario Hossen
Ensemble
Sofia Philharmonic Orchestra
Program
Antonio Vivaldi – The Four Seasons (Le quattro stagioni)
Ástor Piazzolla – The Four Seasons of Buenos Aires

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

For the first time ever, Bulgaria hosts the most prestigious and important world competition for young opera singers who have the potential to become the next stars of opera.
An unprecedented number of participants from all over the globe have applied for Operalia 2025 in Sofia, co-organised by Sonya Yoncheva’s production company SY11 Events, the Sofia Philharmonic, the Operalia Foundation and Rolex.
The first part of the audition, for pre-selected candidates, will take place on 20 October from 3 pm. Approximate duration is 5 hours, with an intermission of 45 minutes. A limited number of viewers can witness live this exciting competition, which will take place in Bulgaria Hall. Ticket holders are asked to keep quiet and not leave the hall during the audition in order to avoid disrupting the process.
“Operalia” has been described as the opera Olympics.
Created by Plácido Domingo more than three decades ago, it has given a flying start to the careers of most of the great opera performers of our time, including Sonya Yoncheva herself, who won it in 2010 at the Teatro all Scala. To commemorate the rich tradition of Bulgarian opera singing, which has given the world a number of generations of star soloists, the competition chose Sofia as its host this year for a reason. Here the managers of the most elite international opera houses and the new generation of talented performers will meet.
Be with us! Experience live the birth of the new opera stars. “Operalia is the most-watched event in the world of classical music, comparable in its popularity with the famous New Year’s classical music concert from Vienna. The grand finale will be broadcast worldwide, but only a few will enjoy both the live performance and the phases leading up to it. Be among the first! We look forward to seeing you!
Tickets are available at the Bulgaria Hall box office and in the Eventim network.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

For the first time ever, Bulgaria hosts the most prestigious and important world competition for young opera singers who have the potential to become the next stars of opera.
An unprecedented number of participants from all over the globe have applied for Operalia 2025 in Sofia, co-organised by Sonya Yoncheva’s production company SY11 Events, the Sofia Philharmonic, the Operalia Foundation and Rolex.
The second part of the audition, for pre-selected candidates, will take place on 21 October from 2 pm. Approximate duration is 6 hours, with an intermission, jury deliberation and announcement of results. A limited number of viewers can witness live this exciting competition, which will take place in Bulgaria Hall. Ticket holders are asked to keep quiet and not leave the hall during the audition in order to avoid disrupting the process.
“Operalia” has been described as the opera Olympics.
Created by Plácido Domingo more than three decades ago, it has given a flying start to the careers of most of the great opera performers of our time, including Sonya Yoncheva herself, who won it in 2010 at the Teatro all Scala. To commemorate the rich tradition of Bulgarian opera singing, which has given the world a number of generations of star soloists, the competition chose Sofia as its host this year for a reason. Here the managers of the most elite international opera houses and the new generation of talented performers will meet.
Be with us! Experience live the birth of the new opera stars. “Operalia is the most-watched event in the world of classical music, comparable in its popularity with the famous New Year’s classical music concert from Vienna. The grand finale will be broadcast worldwide, but only a few will enjoy both the live performance and the phases leading up to it. Be among the first! We look forward to seeing you!
Tickets are available at the Bulgaria Hall box office and in the Eventim network.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

For the first time ever, Bulgaria hosts the most prestigious and important world competition for young opera singers who have the potential to become the next stars of opera.
An unprecedented number of participants from all over the globe have applied for Operalia 2025 in Sofia, co-organised by Sonya Yoncheva’s production company SY11 Events, the Sofia Philharmonic, the Operalia Foundation and Rolex.
The semi-final for contenders selected from the auditions the previous two days, will take place on 22 October from 4 pm. Approximate duration is 4 hours, with an intermission, jury deliberation and announcement of results. A limited number of viewers can witness live this exciting competition, which will take place in Bulgaria Hall. Ticket holders are asked to keep quiet and not leave the hall during the semi-final in order to avoid disrupting the process.
“Operalia” has been described as the opera Olympics.
Created by Plácido Domingo more than three decades ago, it has given a flying start to the careers of most of the great opera performers of our time, including Sonya Yoncheva herself, who won it in 2010 at the Teatro all Scala. To commemorate the rich tradition of Bulgarian opera singing, which has given the world a number of generations of star soloists, the competition chose Sofia as its host this year for a reason. Here the managers of the most elite international opera houses and the new generation of talented performers will meet.
Be with us! Experience live the birth of the new opera stars. “Operalia is the most-watched event in the world of classical music, comparable in its popularity with the famous New Year’s classical music concert from Vienna. The grand finale will be broadcast worldwide, but only a few will enjoy both the live performance and the phases leading up to it. Be among the first! We look forward to seeing you!
Tickets are available at the Bulgaria Hall box office and in the Eventim network.

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Musical Georgi Kostov
Duration: 60 minutes
Chamber hall
Performed in Bulgarian

Ballet by Pyotr Ilyich Tchaikovsky
Duration 3:20 Intermission 3
Main Hall

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Opera by Wolfgang Amadeus Mozart – version adapted for children
Runnig time: 01:00
Chamber hall
Performed in Bulgarian

Opera by Richard Wagner – adapted for children
Chamber hall

Ballet by Pyotr Ilyich Tchaikovsky
Duration 3:20 Intermission 3
Main Hall

THE PEACH THIEF
An opera by Blagovesta Konstantinova based on the short novel by Emilian Stanev
Duration 1:10
Chamber hall

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Chamber hall

THE PEACH THIEF
An opera by Blagovesta Konstantinova based on the short novel by Emilian Stanev
Duration 1:10
Chamber hall

For the first time ever, Bulgaria hosts the most prestigious and important world competition for young opera singers who have the potential to become the next stars of opera. An unprecedented number of participants from all over the globe have applied for Operalia 2025 in Sofia, co-organised by Sonya Yoncheva’s production company SY11 Events, the Sofia Philharmonic, the Operalia Foundation and Rolex.
The grand finale under the form of a gala concert will take place on 26 October from 6 pm. Approximate duration is 3,5 hours, with an intermission of 45 mins., followed by jury deliberation, announcement of results and awarding ceremony. A limited number of viewers can witness live this exciting competition, which will take place in Bulgaria Hall. Ticket holders are asked to keep quiet and not leave the hall during the concert in order to avoid disrupting the performances.
“Operalia” has been described as the opera Olympics.
Created by Plácido Domingo more than three decades ago, it has given a flying start to the careers of most of the great opera performers of our time, including Sonya Yoncheva herself, who won it in 2010 at the Teatro all Scala. To commemorate the rich tradition of Bulgarian opera singing, which has given the world a number of generations of star soloists, the competition chose Sofia as its host this year for a reason. Here the managers of the most elite international opera houses and the new generation of talented performers will meet.
Be with us! Experience live the birth of the new opera stars. “Operalia is the most-watched event in the world of classical music, comparable in its popularity with the famous New Year’s classical music concert from Vienna. The grand finale will be broadcast worldwide, but only a few will enjoy the live performance in the hall. Be among the first! We look forward to seeing you! Tickets are available at the Bulgaria Hall box office and in the Eventim network.

Ballet by Pyotr Ilyich Tchaikovsky
Duration 3:20 Intermission 3
Main Hall

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Solоist/s
Elena Mehandzhiyska
Marcho Apostolov

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Opera by Gaetano Donizetti
Duration - 2:30 with one intermission
Main Hall
It is performed in Italian, with Bulgarian and English subtitles

Solоist/s
Mia Elezović
Program
Dora Pejačević – From the cycle „The Life of Flowers“, Op.19
Robert Schumann – From “Scenes from Childhood“, Op.15
Davor Branimir Vincze – „Flucht“
Laura Čuperjani – ReMiniScenes
Davorin Kempf – “Soundscape”
Franz Liszt – Nocturne No.3 “Love’s Dreams”
Franz Liszt – “Vallée d’Obermann”

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Sofia Arsenal – Museum of Contemporary Art
Wind Forest is a collection of kinetic sculptures, inspired by nature. Here, art and environment meet, while movement and light transform the space into a living, breathing organism. It is a harmony between humanity and nature through art that is not merely observed, but experienced.
“The wind is the most elusive element in sculpture. In Wind Forest, it becomes life itself,” says the sculptor of the natural elements.
Todor Todorov is one of Bulgaria’s leading contemporary sculptors – an artist of international renown, whose work combines philosophical depth, engineering precision, and poetic sensitivity. With numerous monumental works installed in public spaces around the world, he explores the boundaries between form, movement, and energy.
As a theoretician, Todorov is the creator and developer of the concept of Elemental Sculpture – a new, distinct trend in contemporary art in which the natural forces of air, water, fire, and earth become active participants in the final result.
They not only inspire but also generate the artistic expression itself – wind sets things in motion, water reflects, fire (light) animates, and earth lends stability and presence. His book Elemental Sculpture: Theory and Practice was published in 2013 by Cambridge Scholars Publishing and in Bulgarian in 2014 by Altera Publishing House. In it, Todorov elaborates on the idea of “sculpture-nature” – a new form of interaction between art and environment, where natural elements are not merely a background, but equal participants in the artwork.
For Todorov, sculpture is a living system – a synthesis of art, science, and nature. His works seek not images, but states of movement, light, and harmony. They radiate a simultaneous sense of life and tranquility, reflecting the rhythm of nature and its eternal transformation.
The project Wind Forest embodies this philosophy in its purest form. Todorov’s wind sculptures transform the exhibition space into a living organism—a place where art and nature coexist in harmony. It is an invitation for the viewer to reconsider the role of art not as an addition, but as a living presence within the shared world between humans and their environment.
Media partner: BTA / Bulgarian News Agency
Dr. Nadezhda Dzhakova, Head of SAMCA Branch

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Conductor
Rossen Gergov
Solоist/s
Sergey Malov
Ensemble
Sofia Philharmonic Orchestra
National Philharmonic Choir
Program
Aram Khachaturian – Concerto for Violin and Orchestra
Claude Debussy – “Nocturnes” for Symphony Orchestra (“Nuages”, “Fetes”, “Sirenes”)

The Palace The National Gallery in Sofia is pleased to present Облъчване (Irradiation), a solo exhibition by Anton Vidokle, curated by Martina Yordanova and Vasil Vladimirov.
Installed in the historic Royal Palace, the exhibition brings together six of Vidokle’s films made over the past decade in dialogue with a special installation of twenty-four Himalayan landscapes by Nicholas Roerich, created between the early and mid-20th century.
The exhibition includes Immortality for All! (2012–2017), a trilogy that introduces the central themes of Cosmism through a polyphonic montage of voices and images. Citizens of the Cosmos (2018), filmed in Tokyo, enacts a manifesto by the anarchist-cosmist poet Alexander Svyatogor. Autotrofia (2019), filmed in southern Italy, interlaces a prose poem by artist Vassily Chekrygin with a scientific treatise by Vladimir Vernadsky. Gilgamesh: She Who Saw the Deep (2021), co-directed with Pelin Tan in Kurdish in southeastern Turkey, revisits humanity’s earliest tale of the quest for eternal life.
Scored with fragments of music by John Cale, Alva Noto (Carsten Nicolai), Laurie Spiegel, Éliane Radigue, Else Marie Pade, and Vidokle’s own voice and field recordings, the films resonate with hypnotic sonic intensity.
Presented alongside Roerich’s radiant Himalayan landscapes—long revered for their spiritual and healing qualities—the exhibition proposes an encounter between moving image, sound, historic collection, and the museum itself as a site of memory, preservation, and potential resurrection. Installed as a therapeutic array, Roerich’s paintings are conceived as more than images to be viewed: their vibrational color fields are believed to irradiate the body, fostering psychological and physical healing simply through presence and exposure. The dialogue between Roerich’s luminous visions and Vidokle’s cinematic meditations opens a speculative space where earthly and cosmic time converge.

The Vera Nedkova House Museum
The programme, ‘In the Home of Vera Nedkova’, continues to present contemporary female artists in the cosy atmosphere of the artist’s apartment, marked by her intellectual and creative presence.
Denitsa Todorova was born in Plovdiv but has lived and worked in Antwerp for many years. Impressed by the museum in the centre of Sofia, she has prepared an exhibition titled ‘Metaphor for Memory’, an emotional return to and reflectiveness on memories and the past. The works offer a nuanced and symbolic exploration of the imaginary space where the sensitivity of women and their fragility and transformation are mirrored.
The project fills the Vera Nedkova House Museum with a fine, delicate energy that blends into the artist’s creative imagery. Her interpretive vision propounds the issue of underrepresented ‘stories’ of women in the history of art.
The focus in the artist’s oeuvre is on the hidden, intangible gestures and the ephemeral presence of subtle metaphorical scars.
Some of the abstract drawings were inspired by the museum itself and specifically created for the exhibition. They are executed on fine paper with layers of graphic powder.
Denitsa Todorova gradually removes part of it, exposing individual details in the completed work.
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator

The International Biennale of Glass celebrates its fifth edition, reaffirming its role as a leading showcase for contemporary glass art in Bulgaria and around the world.
Since its launch in 2017, it has increasingly attracted artists and spectators, becoming a forum for the exchange of ideas and cultural encounters.
Under its traditional slogan, ‘Together’, this year at the National Gallery / Kvadrat 500 the biennale presents some 200 works by artists from 50 countries – an impressive selection, uniting established and emerging creators, different generations and a diversity of techniques.
Highlights of the exhibition include works by Václav Cigler (Czech Republic), one of the most influential figures in the development of optical glass and conceptual sculpture; a blown glass artwork by the world-famous Dale Chihuly (USA); a vase with applied elements of mythological symbolism by the Murano master Lucio Bubacco (Italy), and a spatial analytical work by artist and architect Han de Kluijver (The Netherlands).
This edition includes several key collaborations, including the Franco-Bulgarian residency of artists Clara Rivault and Plamen Kondov held at CIRVA (Marseille), the New Bulgarian University and the National Academy of Arts, the visiting exhibition of the Eugeniusz Geppert Academy of Art and Design in Wrocław, and the participation of finalists from the Glass Cutting World Cup in Světlá nad Sázavou.
The Art Real K.L.M. Association organises the event in collaboration with the National Gallery and with the support of the Tianaderrah Foundation (USA), the New Bulgarian University, the French Institute in Bulgaria, the Italian Cultural Institute in Sofia, the ‘13 Centuries of Bulgaria’ National Endowment Fund, the Czech Centre in Sofia, Chihuly Studio and Charles Parriott, and a number of galleries, institutions and individuals engaged in the development of contemporary art of glass.
Media partner: BTA / Bulgarian News Agency.

The National Gallery presents its unique collection of Western European textile panels (tapestries) for the first time. The tapestries dating from the 16th to 18th centuries—the golden period of the two most significant schools, the Flemish and the French—were added to the collection in the 1960s through the Bulgarian National Bank, in the depository of the then National Gallery of Decorative and Applied Arts. The exhibition in Hall 19, Kvadrat 500 is the result of several years of iconographic and attributional research of the artworks, along with restoration and conservation procedures.
Tapestries, these handwoven panels, extremely expensive to produce, with their colourful images, were used as both decoration and wall insulation in palaces and castles. In their splendour and as trappings of power and prestige, they adorned private and public spaces and became the exclusive property of the elite. The 16th century was the golden age of Flemish art, and Brussels emerged as the leading centre for tapestry manufacture. Series of frieze-like monumental thematic compositions with scenes from the Old Testament and Christian doctrine, as well as landscapes and allegorical images, were produced. The use of sources from ancient mythology was frequent, as exemplified in the exhibition by the ‘Romans and the Sabines’ set. By the middle of the century, tapestries were to become true woven paintings.
The 17th and 18th centuries saw the rise of the French tradition. During the reigns of Henri IV and Louis XIV, and by virtue of the initiative of the Minister of Finance, Jean-Baptiste Colbert, the Royal Manufactories of Tapestry of Gobelins, Aubusson and Beauvais were founded. At that time, the best representatives of all the arts and crafts were recruited to glorify the absolute monarchy and to fulfil assignments for aristocrats, taking as their models works by artists such as Rubens, Simon Vouët, Charles Lebrun, Jean-Baptiste Oudry, François Boucher and Charles-Joseph Natoire. The themes were inspired by religion, history, and mythology. One example of this is the tapestry titled ‘The Race of Atalanta and Hippomenes’, based on a tale from Ovid’s ‘Metamorphoses’. The fashion of the time shaped entire salon furnishings with armchairs with woven upholstery depicting anthropomorphic animals based on the moralistic fables of Jean de La Fontaine, conveying timeless lessons on human nature and society. The taste for Orientalism was also apparent in the art of weaving, as illustrated here by two of Claude-Joseph Vernet’s tapestries.
The exhibition programme includes lectures, specialist tours and workshops dedicated to the technique of making tapestries, the restoration and conservation of ancient textiles, as well as activities targeted mainly at children and young people. A mobile digitised version of the exhibition is envisaged, to be presented by the State Cultural Institute of the Minister of Foreign Affairs to Bulgarian diplomatic missions, to the Bulgarian Cultural Association in Brussels, as well as to the Museum of Textile Industry in Sliven, a branch of the National Polytechnic Museum, and to the history museums in Panagyurishte and Strelcha.
The study and preparation of the tapestries for this exhibition took more than a year in the Conservation and Restoration Laboratory of the National Gallery, through funding from the Ministry of Culture and in partnership with the French Institute in Bulgaria and the National Academy of Arts.
Curator: Yoana Tavitian

The exhibition is dedicated to Prof. Valentin Startchev’s 90th anniversary and, albeit retrospective, presents only a portion of his impressive and multilayered output. The carefully selected artworks follow the sequence and progress of his formal and conceptual searches over the years: from small sculptures, through sculptural compositions and monuments at key locations in the urban and cultural topography of Bulgaria and beyond, to the latest works specifically conceived and produced for the Kvadrat 500 galleries. They not only develop those themes that have preoccupied the sculptor, but prove that artistic energy can be vital and explorative, while independent of the changing spirit of the times. His oeuvre is marked by exceptional plastic might, aesthetic insight and uncompromising inner discipline, assigning him a permanent place in the historical context of Bulgarian sculptural and monumental art.
‘Through Time’ is a journey—not only in the chronology of the years gone by, but also in the depths of the authorial artistic consciousness, which never ceases to explore the boundaries of matter, spirit and, above all, form. The exhibition is an invitation to meet an art that bears the marks of different eras, but never loses its voice. It documents part of the rich and multifaceted oeuvre of an emblematic artist, focuses on his luminous presence in our Bulgarian artistic life, and poses the question of the significance of Bulgarian art beyond time and transience.
Media partner: BTA / Bulgarian News Agency.
Boryana Valchanova, PhD, exhibition curator

Sofia Arsenal – Museum of Contemporary Art
Wind Forest is a collection of kinetic sculptures, inspired by nature. Here, art and environment meet, while movement and light transform the space into a living, breathing organism. It is a harmony between humanity and nature through art that is not merely observed, but experienced.
“The wind is the most elusive element in sculpture. In Wind Forest, it becomes life itself,” says the sculptor of the natural elements.
Todor Todorov is one of Bulgaria’s leading contemporary sculptors – an artist of international renown, whose work combines philosophical depth, engineering precision, and poetic sensitivity. With numerous monumental works installed in public spaces around the world, he explores the boundaries between form, movement, and energy.
As a theoretician, Todorov is the creator and developer of the concept of Elemental Sculpture – a new, distinct trend in contemporary art in which the natural forces of air, water, fire, and earth become active participants in the final result.
They not only inspire but also generate the artistic expression itself – wind sets things in motion, water reflects, fire (light) animates, and earth lends stability and presence. His book Elemental Sculpture: Theory and Practice was published in 2013 by Cambridge Scholars Publishing and in Bulgarian in 2014 by Altera Publishing House. In it, Todorov elaborates on the idea of “sculpture-nature” – a new form of interaction between art and environment, where natural elements are not merely a background, but equal participants in the artwork.
For Todorov, sculpture is a living system – a synthesis of art, science, and nature. His works seek not images, but states of movement, light, and harmony. They radiate a simultaneous sense of life and tranquility, reflecting the rhythm of nature and its eternal transformation.
The project Wind Forest embodies this philosophy in its purest form. Todorov’s wind sculptures transform the exhibition space into a living organism—a place where art and nature coexist in harmony. It is an invitation for the viewer to reconsider the role of art not as an addition, but as a living presence within the shared world between humans and their environment.
Media partner: BTA / Bulgarian News Agency
Dr. Nadezhda Dzhakova, Head of SAMCA Branch

Kvadrat 500
Opening on 19 June (Thursday), from 6:30 PM to 9:00 PM With the special participation of NASHTA.VERSIA – an audiovisual means of transport, probing the infinity of perceptions in risky impro acceleration
Having launched in 2020, the long-term project of the National Gallery ‘The Wall’ aims to present contemporary masters of mural painting and graffiti artists. On a specially designated wall in the atrium of Kvadrat 500 (with impressive dimensions of 2.40 x 27 m), the artists create monumental works in harmony with sculptural pieces by Alexander Dyakov, Pavel Koychev, Galin Malakchiev, and others, which are part of the representative museum exhibition.
Ivo Iliev Yeto is well known for a number of emblematic large-scale murals at key locations in Sofia. Through them, he creates stories in which nature, man and symbols interact in surreal situations, carrying multi-layered meaning and interpretation. With a pronounced interest in comics and graffiti since his childhood, Yeto still maintains his preference for magical subjects. His works have been realised far beyond the borders of the country – in Austria, Germany, Greece, France, etc.
In the space opposite the atrium, selection of small-format landscape compositions will also be displayed (June–August 2025), in which reality, magic and dream bring a special sense of timelessness. They are part of a larger series entitled ‘No Snooze Mornings’, in which the artist presents his searches and reflections on the fleeting moment between the end of dreaming and the moment of awakening – when human consciousness experiences a special kind of frustration at the inability to determine what is real and what is not.
Media partner: BTA / Bulgarian News Agency.
Martin Kostashki, curator of the exhibition

Musical fairy-tale by Alexander Vladigerov
Runnig time: 01:00
Chamber hall
It is performed in Bulgarian

Musical - Richard Rodgers and Oscar Hammerstein II
Duration 3:00 Intermission 1
Main Hall
Performed in Bulgarian, with English subtitles