bora petkova and hr-stamenov

Bora Petkova and HR-Stamenov

visual narratives and suppositions

Bora Petkova and HR-Stamenov visual narratives and suppositions ©

Artist and Institution

Working with institutions and institutional spaces is a challenge and theme in Risk Capital (Bora Petkova, 2012) and Variable Physical Status (HR-Stamenov, 2011). At both approaches to the topic, the authors stage the play putting themselves in a seemingly official, almost protocol relations with the institutions for the visual authenticity of which, the original environments and settings take a major role. A closer reading of the works however, reveal a different reality behind the scenario in which this confidence is the result from the artistic tools management and is practically unenforceable in the actual relationship between the artist and the institution.


Bora Petkova

Risk Capital2012HD Video, PAL, 16:9, 00:03:29, with original audioView: UniCredit Studio, UniCredit Bulbank Sofia. BulgariaProduced by UniCredit Studio, Sofiahttps://vimeo.com/45009287

The nature of work of an Artist and a Bank is defiantly different at first glance. The regulation of this relation is to find the right language of communication and its docu-mentation by which the artistic ideas and tools and the corporate bank culture to collaborate creating new values. The work consists of two original safes, two pairs of original keys and a video. The safes (dating from 1906-10) are both requisite part of the work and operative safes, locked after years being out of standard for use. The keys to safes - a set of a bank and a client’s key, are set in frames, there visualizing the concept of shared ownership - the own-ership of the bank on the bank assets and my ownership on the work. The video documents a standard bank procedure - the visit of a tenant to the personal safe.

HR-Stamenov

Variable Physical Status2011

HD Video, PAL, 16:9, 00:01:51, without audioView: Ministry of Foreign Affairs Republic of Bulgaria

Produced by Art Project Depot, Sofia https://vimeo.com/45191467

Humans adopt space-time autonomy!One of them was a young but successful Bulgarian politician, who was too worried and a little nervous about himself and his “variable” status of existence and so he disappeared. In fact the person was engulfed by a sudden strong Light. From this moment that bio element was captured into a kind of a transport corridor or the “Zero Space” (a dimension parallel to the current time-space line) i.e. the dimension which the object enters when shifted through re-mote transport from point (A) to point (B). After its disappearance the element adopts space time autonomy and the capability to appear and reappear at different places but to never return to its normal stable physical status.


Bora Petkova Risk Capital original stills from video

HR-Stamenov Variable Physical Status original stills from video


Light, Space and Matter

The dynamic relationship between light, space and matter, and especially their origin, expression and perception are the themes of Light Spot (Bora Petkova, Biella (Italy) and Antakya (Turkey), 2010), Black hole VS light hole (HR-Stamenov, 2010) and Interference Between Light and Matter (HR-Stamenov, 2009-2010). The quasi-scientific theories and visual experiments of HR-Stamenov, are highlighted with a minimalist behavior and even laboratory hermetism in relation to space exposure. Monitoring of scientific hypotheses and theorized phenomena, is he main impression of the works. In addition, the work of Bora Petkova on human perception of objects and relationships in the visible man-made world, treats the reality of existence as a metaphysical matter, where the visual and semantic transformations determined and studied, obtaine the value of an artwork.


Bora Petkova

Light Spot2010Installation view: Cittadellarte-Fondazione Pistoletto, Biella. Italy

Light Spot began as site specific work in process regarding my space perceptionsand in general the correlation between the personal positioning and a given environment. I am interested in the individual transformations of the “common habitat”. While assembling an unique space and object setting one constructs his/her own am-bient. Working in a common space I found that the interior is rich with “in be-tween” places and spaces. Often these locations positioned between the large surfaces and big space volumes and thus hidden from the general view, reveal to be micro detailed. My intervention on these found “in between” common and individual places, aims to disconnect them from their subjective to the general space status. Using light and text as tools I turn them into autonomous light points. This extracts them from the surrouding space and focuses the attention on their unpopular, yet familiar side strangely arranged by the light.

My idea is that the personal presence and influence, loads the environment and the objects with Meta matter existence of a monument. The gazing and over fo-cusing at parts of the interior, unfolds the irrational status of the objects beyond their name, practical purpose and physical use. Based on found situations my light and text interventions with different scale of focus, connect the individual working areas and the vast, anonymous indoor “ambient landscapes”.HR-Stamenov

Black hole VS light hole2010

Installation view: Spinola Banna per Arte Foundation Turin, Italy

Light Hole is the opposite of Black Hole.The Light Hole phenomenon could appear sudden-ly on the ground level or in the Earth atmosphere. Light Holes can be seen at every part of the day for the observation of which a special equipment is not needed. The main quality of the Light Holes is that they can “swallow” objects from the reality by opening a Space-Time tunnel. The object captured by a Light Hole can disappear from its current location “A” and can appear again at unknown and unpredicted location “B”. During this transition the object falls into the Quantum Multiverse. Subsequently, obtaining the quality for Space-Time Autonomy, the object enters a Temporary Status of its existence which allows the uncon-trolled motion continuum of its appearances.


HR-Stamenov

Interference Between Light and Matter2009Site specific light installationPhoto print on duraclear, low consumption lamps, chalk and sugar crystals.Not specified dimensionsInstallation view: Green House, LaVersiliana Foundation Pietrasanta, ItalyProduced by: Vehicle Projects. Forte dei Marmi

In order to develop the theory of the quantum teleportation, the idea of this work is pre-sented through the indirect use of the electrical current of the lamps. The amount of matter increases proportionally to the progressive passage of light.

Bora Petkova

Light Spot2010Site specific light installation 11 spot lights, light bulbs 20 Watt each, extension plugs, cables, 2 wooden frames with text in Turkish and EnglishNot specified dimensionsInstallation view: 2nd International Antakya Biennial, Kurshunlu Han, Antakya. Turkey

Light Spot is site specific investigation on the architecture of human presence, space oc-cupation and abandonment, on site micro archeology, excavation in memory, flow and ac-cumulation of time. Depending on the circumstances I am using the media of photography, sound, found objects and situations, light, text etc. At Light Spot realized in Antakya (ancient Antioch), Turkey I conducted micro excavations in a room at a 16th century building. After a careful cleaning of the randomly and by negligence discarded debris and litter, under the abuse accumulated with time, I found the traces of peoples life and work. I pointed these places by installing light spots, there leading the visitor through a hidden and forgotten story of their past and present.


HR-Stamenov

Interference Between Light and Matter #2 /different increase stages of matter in relation with the light2010Installation views: Spinola Banna per Arte Foundation Turin, Italy

Bora Petkova

Light Spot2010Installation view: Cittadellarte-Fondazione Pistoletto, Biella. Italy

A second aspect of the work is the interpretation of the working processitself. Intervening on parts of the space with more common use, I triedto reveal a different notion for reality, transformed to extraordinary one, due to thepersonal resonance affecting the status quo. As a third part of the project, I tried tomake a narrative connecting the individual working areas and the larger scale indoor “ambi-ent landscapes”.The physical and mental change of distance and focus on these situations, resulted in change of perception. In a way, this attempt to reconsider the objective-subjective axis was telescopi-cally extendable, allowing me to develop the notion of the visible realm as an endless one. Placing myself in the role of a rope-player, looking forward or backward, there was no start or finish base, but the start and finish it was always me. So I had to be even more my self, mak-ing every focused step on the rope...or there is no rope?


Light, Man and Meaning


Bora Petkova

Light Spot in Sanremo2010Portable desk lamp, light bulb 20 Watt, found situations, audio and photo documentation Not specified dimensions- Different privet and public properties in Pigna di Sanremo. Italy

How to define the notion of light in all the aspects it assumes?In the beginning of my work in La Pigna, San Remo I noticed that the historical landmark plates are written also in Braille. I thought that being able to see is not enough to go beyond the “postcard” perception of a place. I came to the point to understand, that what is related to the idea of light is not just the ability of seeing the visible world, it is not the source of light itself and it is not the reflected light also...Maybe different kind of senses, approach and knowledge is needed to start to see.

HR-Stamenov

The Nightmare of Prometheus (a neo-romantic artwork)2011Stroboscopic lamps, light mixer, audio speakers, microphones, audio mixer, mirrors, lighting controller, wands, computers, audio players, infra red sensors.Light and sound experimental performance in collaboration with maestro Alzek MisheffViews: Palazzo Thea, Acqui Terme, Italyhttp://vimeo.com/27114755

An orchestra director with two sticks controlls a raging storm inside a baroque building. Ris-ing his right hand he would call for thunder, while his left hand would control the lightning. This performance is realized through the use of high tech equipment, such as the altering of electro-magnetic waves and interactive infra-red sensors.


Another aspect of the issue of nature of Light is the relation Ligh and Man seen in the works Light Spot (Bora Petkova, San Remo (Italy), 2010) and The Nightmare of Prometheus (a neo-romantic artwork), (HR-Stamenov, 2011). With references to ancient Greek mythology, ro-manticism and modern scientific achievements in the manipulation of natural forces, HR-Stamenov puts an experiment in which the man is playing a dominant on the nature role. In collaboration with maestro Alzek Misheff, from an authentic Italian Baroque building (the maes-tro’s residence), an orchestrated storm is induced. In this experiment the natural phenomenon and in particular its manifestation through light and sound is seen as a creation of human will and thought. On the other hand, the work Light Spot of Bora Petkova, interprets the light as a tool of man towards the achievement of divine and earthly knowledge. Light in this work should not be considered being directly controlled as in The Nightmare of Prometheus of HR-Stamenov, but still it is inserted in the role of a medium and allotted by rational, narrative and symbolic functions.



Bora Petkova

Light Spot in Sanremo2010

HR-Stamenov

The Nightmare of Prometheus (a neo-romantic artwork)2011

Natural processes and displacements

Displacement as a natural or social process, routine of everyday life, change at the focus of perception, migration or a hypothesis for travel be-tween realities. What happens in the starting and final point before, during and after the shift, what are the factors of a shift, how the object changes during the shift?

The links between architecture, geometry and natural processes and the testing of their visual and semantic perception, motivated by the im-pressive spatial presence is the basis on which the works To Full Evaporation (Bora Petkova, 2008-2010) and the Space 0 Space (HR-Stamenov , 2011-2012) are built. Through the synchronization of audio and lighting equipment, HR-Stamenov is directing storms in confined spaces. The work is considered for interior or exterior perception regarding to the building in which it is installed. Visible on the facade or inside into a separate room, however the storm always remains inaccessible to the viewer. Thus, HR-Stamenov achieves a certain dominance over nature and “taming” of the element, while at the same time preserving the mystery circumstances surrounding its occurrence. In To Full Evaporation, Bora Petkova is monitoring the processes of transformation of matter and consciousness. The stage design involved with the work underlies the relationship between aggregate states and their changing with time visual language, visible and invisible and hence conscious and unconscious dimensions and processes, and the factors for transition in the perceptions of the viewer.


Bora Petkova

To Full Evaporation200842 units 3/ 90/ 90 cm each: steel 2mm, flat black polymer finishing, waterInstallation views: Rayko Alexiev Gallery, Sofia. Bulgaria

To Full Evaporation is exploring the “self making” of an art work. The role of time and space organization here is related to static and dynamic levels of visual, physical and mental per-ception and categorization. The process of evaporation is adapted for visual identification, through the tools of physics, geometry and architecture. The change of the physical state of the matter, caused by certain conditions, is seen as an invisible dimension of the work, e.g. how the physical process of transformation is identified as a changing with time space dimension, completing the other linear two.


Bora Petkova

To Full Evaporation2008Installation view: Rayko Alexiev Gallery, Sofia. Bulgaria (details)

The installation To Full Evaporation is presented in 42 steel black units filled with water which evaporates completely during the period of the exhibition. During the evaporation, the chemi-cal compounds of the water remain as a colored in white residue on the bottom of the ele-ments. These deposits are delicate, yet visible lines unique for each unit, drawing repeatedly the outlines of the shrinking water areas.


Displacement may be the way one to define the quasi-scientific experiment carried out by HR-Stamenov. In the specific spaces assets of the European architectural tradition he has elected to use for his project, the artist has installed an incredibly simple mechanism that re-creates the perceptual conditions of a storm. One thinks of how theatre has always sought to re-stage reality through the combination of simple elements such as light and sound. The meteorological conditions usually reinforce the dramatic aspect of a narrative, which in that case is just reduced to a fragment. The rest of the drama will have to be imagined by the spectator.

Benjamin Weil

HR-Stamenov

Space 0 Space 2011-2012Stroboscopic lamps, light mixer, audio speakers, audio mixer, courtains, fans and mirrors.Variable dimensionsInstallation views:- Palazzetto Tito, Bevilacqua La Masa Foundation Venice, Italy- Likovni salon gallery, Center for Contemporary Arts Celje, Slovenia

HR-Stamenov / Space 0 Space /storm inside buildings/ outdoor and indoor experiments http://vimeo.com/37409105 http://vimeo.com/44989422


Routine daily displacements

The autonomy of an object can be barred due to unclaimed ownership or to be the result of an accident. The autonomy of man can be just a personal choice. Stop being a tourist. Start a revolution. Start feeling at home. (Bora Petkova, 2011) and The Ghost Metro Trains (HR-Stamenov, 2009-2012) ask questions about determining the membership and belongingness to a particular place, the circumstances of our relationship of commitment and the factors which may misbalance or terminate it.


Bora Petkova

“Stop being a tourist. Start a revolution. Start feeling at home.”2011-2012Series of small interventions, observations and deductionsin collaboration with: History Museum-Plovdiv and Department for Contemporary History, LichtenbergStudios, Stasi Museum, Goethe-institut and the city of BerlinPart from Bora Petkova / HR-Stamenov Time Geometry

HR-Stamenov

“The Phenomenon of W24°58’59,43” N42°07’55,29”2009

Dvd player, 3 screens 290x200 each , 3 HD media projectors , audio speakers.Installation view: Kistlerhofstrasse.70 / Haus 60 //3.Stock 81379 München.

Platform3 Räume für zeitgenössische KunstSupported by: Robert Bosch Stiftung, Stuttgart. Germany

Bora Petkova and HR-Stamenov video channel http://vimeo.com/user9417455/videos


Bora Petkova

Stop being a tourist. Start a revolution. Start feeling at home.Photo, video and text documentation from the processDifferent locations in Berlin, Germany

Stop being a tourist. Start a revolution. Start feeling at home., traces the relationship be-tween seemingly distanced in space and time situations, objects and actions. I constructed a narrative and statement for the notion of Home, combining an inscription from a billboard (1), series of found photographs of ikebana (2), attempts for urban levitation (3) and their documentation with video, photographs and text. Gravity and its absence, belonging, social and space arrangement, tolerance and tension together with the silent adjustment of the individual are some of the issues related to this work.

1. „Stop being a tourist. Start a revolution. Start feeling at home.” Inscription from a billboard of 9flats.com, found in Berlin, Germany.2. Ikebana (生け花 “living flowers”) is the Japanese art of flower arrangement, also known as kadō (花道 the “way of flowers”).”Ikebana” is from the Japanese ikeru (生ける “to place, to arrange, life, birth”) and hana (花 “flower”). Possible translations include “giving life to flowers” and “arranging flowers”.3. Levitation (from the Latin levis-light) is the process by which an object is suspended against gravity, in a stable position without any solid physical contact. Levitation is also a “magic” trick in which a person or object being lifted into space, without foreign or whatever interference. Most often it is done mechanically, using special lightning, etc.

HR-StamenovThe Ghost Metro Trains..2009-2012

A whole cycle of works is dedicated to teleportation, the old but as yet unfulfilled dream of generations of scientists, writers and sci-fi characters. The artist is using the word “teleporta-tion” while explaining the mysterious disappearance of a train in Bulgaria some years ago with some kind of a light hole (W24° 58’59,43” N42°07’55,29”. The unexplored qualities of this phenomenon are making it a multi-exit space/time portal that is the reason why this train is making appearances at differentplaces and in different times. Not without irony for the condition of the people’s minds of today that have been heavily brainwashed by the speculative mass media, HR-Stamenov is in fact “staging the conditions of possibility” for the phenomenon of this train’s appearance to be observed. He is choosing a moment and a situation to invite his audience to untraditional locations around Florence, Milan and Munich in order that they become eyewitnesses for the seemingly unexplainable occurrence (unlike going to an art exhibition with its predefined rituals).

Iara BoubnovaAFTERWORDHR-Stamenov -PRESENCE / Exhibitoon catalogue 2011Published by Studio Tommaseo per Trieste Contemporanea, Italy


Bora Petkova

Stop being a tourist. Start a revolution. Start feeling at home., 2011Still from HD.16:9.Color.00:03:48h video documentation from the processDifferent locations in Berlin, Germanyhttp://vimeo.com/32963573

HR-Stamenov

Ghost Train in Milan, 2009DvD players, audio speakers, media projector, screensInstallation views: Via Pepe 14 Milano. Produced by Isola Art Center Milano, Italyhttp://www.undo.net/it/videopool/1243518721


Bora Petkova

Stop being a tourist. Start a revolution. Start feeling at home.2011Photo credits HR-Stamenov


HR-Stamenov

Ticket InspectorGhost Train in Savona, 2012

View: Corso Italia 157r.Produced by Dietro le Quinte - Savona, italy

http://vimeo.com/43464707http://vimeo.com/38026092

HR-Stamenov

The Ghost Train in Celje, 2012Installation view:Trg celjskih knezov 9Produced by: 13 vsop prost 2012 and Center for Contemporary Arts Celje, Sloveniahttp://vimeo.com/44625096


Multiverse displacements

The assumption that human presence has a constant resonance in space and time and interfere with other presences is based behind the works Somewhere Else (Bora Petkova, 2009) and PRESENCE (HR-Stamenov, 2011). Realized in galleries, both installations hypothesize space and time as a single multilayered structure saturated with networks of passages in which tangible presences of other times and locations circulate and interact.


Somewhere Else Somewhere Else deals with dislocation, impossibility of isolation and the constant interaction between simultaneous realities. I transferred the respiratory functions of the individual to the architecture through the conceptualized use of air duct systems. Each closed space is connected to an external environment through its circulating ventilation sys-tem. At Somewhere Else air ducts are mounted in the gallery space, in order to simulate an operating ventilation system. Inside the ducts are installed MP3 players and PC sound speak-ers, so that the steel bodies of the air ducts amplify the sound adding an echo effect. I am using the media of sound to transmit external for the gallery space yet recognizable sound experiences and to provoke the idea for unexpected close presence, penetrating through the solid walls. With this I am implying the existence of alternative space-time passages through the architecture of the building or channels connecting the “here and now” from the gallery with “ some when / somewhere else”.

“PRESENCE” is an ambient interactive installation where visitors interfere with the gallery electrical system. When someone approaches the installation space, the house lights de-crease and increase in intensity according to the movements of the onlookers.

A shadow of someone behind the gallery’s side door keeps moving, shakes, attempts to en-ter, but is left outside for the whole time.

There’s an audio track with the sound of someone silently standing alone.

Three different levels of presence between the space itself and the visitors are thus experi-enced.

Bora Petkova Somewhere ElseHR-Stamenov PRESENCE


Bora Petkova

Somewhere Else2009Zinc plated steel air ducts, PC speakers-5 pears, MP3 players-5 piecesNot specified dimensionsPartial view: Credo Bonum Gallery, Sofia. Bulgaria

HR-Stamenov

PRESENCE2011DVD player, 2 projectors, infrared sensor,100-watt bulb, light controller.Not specified dimensionsPartial view: Studio Tommaseo per Trieste Contemporanea,Trieste, Italyhttp://vimeo.com/34294701


PRESENCEDifferent stages of interaction between the visitors and the gallery light

Somewhere ElsePartial view


Speaking of migration, dislocation and belongingness, the theme of identity follows logically in the works Ambiguous Activities (HR-Stamenov, 2011) and Next Move (Bora Petkova, 2009-2010). As the train from The Ghost Metro Trains (HR-Stamenov, 2009-2012) appears spontaneously at different places, the same way an unidentified ghost or spirit appears and disappears in Ambiguous Activities. Drawing the map of their appear-ances, disturbing the routine of passers with their unstable and erratic presence, both contacting and isolated, the ghost train and the phantom are in constant motion, even when we see them not. In Stop being a tourist. Start a revolution. Start feeling at home. (2011), Bora Petkova is look-ing for visualization of the concept of Home, apparently calmly balancing on elements of the urban environment, mimicking a state of levitation. In Next Move the traceability of uniqueness of the individual gesture, melts in the accumulation and repetition of the same action. Remains only the sole contemplation of the large-scale picture of the movement.


Bora Petkova

Next Move2010400 sheets of paper A4 with white self adhesive labels, 105.0 / 25.0 mm eachInstallation view: Indefinite Destinations, DEPO, Istanbul. Turkey

Next Move is an interactive installation, where the repeating of one action by different people, results in an expanding, not directed, expressive, yet delicate pattern. I am interested in the construction of a monumental non figurative picture referring to the images and models of historical mass migrations. The phenomenon of genes migration, migration due to climate changes, conquest of new lands and resources, political and economical reasons, the rights for free movement and work, is visualized through the different models of individual movement and gestures. The installation is a result of cooperation, where people fit with similarities, indi-cate their strong identity or are absorbed by the expanding presence of other individualities. For the installation are used only white labels to highlight the dramatic assimilation of the single gesture.

HR-Stamenov

Ambiguous Activities / Appearance 032011View: Schule an der Victoriastadt, Berlin, Germanyhttp://vimeo.com/32705409

HR-Stamenov

Ambiguous Activities / Appearance 042012View: History Museum-Plovdiv, Bulgariahttp://www.youtube.com/watch?v=X7bLppyqBEM


Bora Petkova

Next Move2009200 sheets of paper A4 with white self adhesive labels, 70.0 / 35.0 mm eachInstallation view: BAZA Award for Contemporary Bulgarian Art, Sofia Art Gallery, Sofia. Bulgaria

HR-Stamenov

Ambiguous Activities / Appearance 01 / 2011 / View: Museum LICHTENBERG im Stadthaus, Berlin, Germanyhttp://vimeo.com/37849648


Transit Through the Physical World

Collaboration project of HR–Stamenov and Bora Petkova

2010Light and sound installation at public spacePort of Varna. Bulgaria


The project Transit Through the Physical Worldis realized in a cargo container

Transit Through the Physical WorldPort of VarnaStills from documentary video https://vimeo.com/45789686


The use of the container as a space of the event, aims to compare the traditional and experimental ways to travel and transport and to pro-voke the perceptions and concentration limits of sound into a shape.

The idea for interactivity between multiple realities is presented through a sequence of overlapping sound tracks each one preceded from a flash light. This visualization roots in personal experiences and some mutations of the psycho-physical reality into transcendental one.

The audio-visual result consists of series of light flashes, which evoke appearance and accumulation of sound, presenting the different audi-bly recognizable sources.

The process goes ahead with a series of flash lights evoking the amass-ing multitude of sound tracks - the alternatives of the current space-time location.

The juxtaposition between the form and size of the container and the amassing sound signal volume, determines the course of the work. Through the last phase, the sound turns into noise, due to the multilay-ered construction of tracks.

Reaching a certain point of accumulation in the current space-time lo-cation which is dramatically confronting to the fixed shape and size of the container, the sound is being dislocated, preceded from one last light flash - the factor responsible for its appearance.

The operation reflects on the expanded concept for diversity and sim-ultaneity of physical existences and the connection between matter, form, energy and momentum.

Bora Petkova and HR-Stamenov

Transit Through the Physical WorldStills from documentary video https://vimeo.com/45789686


Temporary City Monuments

Thinking about sculpture in urban environment, most often the associations bring us to the decorative designs that arrange public spaces and on the other hand the monuments. There are permanent and temporary monuments. The works Delicate contact / Standing on my own feet (Bora Petkova, 2008) and 1:125 (HR-Stamenov, 2009) are temporary sculpture in urban environment. Their development in the direction of dynamic transformations between form and environment and even the physical autonomy of the sculpture in urban environments, have been hypothesized and realized respectively in the works Beyond the borders (Bora Petkova, 2008, In collaboration with architectural studio CONVEYER), Flying Ur-ban Decorations (HR -Stamenov, 2012) and Autonomous Sanctity (HR-Stamenov, 2012, From the series: Independent Monuments).


The object recalls the shape of an airplane, lightly touching the ground.

The main intention was to evoke the sense of freedom creating a simple, logic and readable form. The most ambitious part of the project, the orientation of the form at the particular square, needed respect and understanding while working in public spaces.

Bora Petkova

Delicate contact / Standing on my own feet2008250x300x400, aluminum 10 mm.Installation view: HOFER PODIUM, Hof, Germany

HR-Stamenov

1:1252009120x96x80 black colored wood box , 2x1000w par projectors, ribbon.Installation view: Piazza Poggi Florence, Italy

1:125 is dedicated to the life activity of the Dutch islamist Christiaan Snouck Hurgronje. The work is probably the first terro-artistic intervention in Florence.

Installed at the city center, the artwork is a reproduction of Kaaba in Mecca in a scale of 1:125 with addition of a powerfull and blinding light coming from inside.


The idea for this performance, starts with my intention to present the HOFER PODIUM, Bul-garian Object 2008, on Bulgarian scene. The goal is the decentralization of the Art events, enlarging the perimeter of places with interesting history, status and perspective for develop-ment and to rise some interest towards their potential as alternative Art spaces.The current situation of the Bulgarian sculpture in public space, led me to the idea that the presentation of the object as an echo of the realization in Hof, Germany doesn’t make a critical comment on the subject. The choice of location for the performance fell on an ex-factory, now function-ing as an office building. “Beyond the borders”, exercises the temporary situations, the power of impact with the current creative act - capturing the moment, the facts and stages from a long process for both place and object are parts from this unique situation. The point of this event is not the cloning of an all ready existing object, but the development of process based connections between the situation, the object and the action.

Bora Petkova

Beyond the borders2008In collaboration with architectural studio CONVEYER

HR-Stamenov

Flying Urban Decorations2012-ongoing From the series: Independent Monuments


The stage of transformation for the old factory, corresponds with the temporary status of the sculpture object. The event happens on a playground where the traces of the past and the all ready showing signs of reconstruction and renovation of the location exist simultaneously. The audience witnesses the ongoing changes for both, sight and object. The act of transforma-tion and its interpretation gives the event it’s conceptual frame. It is applied to the object and the site - the burning of the object is interpreted as deconstruction and the renovation of the building as recreation.

Bora Petkova

Beyond the borders2008250x300x300 ,XPS, nylon, sand, gas and gasoline controlled burning processViews: Liliana Dimitrova Factory (yard), Sofia, Bulgaria


HR-Stamenov

Autonomous Sanctity2012-ongoingFrom the series: Independent Monuments


bora petkova and hr-stamenov

Documents

hrstamenov visual narratives

original safes

risk capital bora petkova

videobora petkova

suppositionsbora petkova

suppositions light

original audioview

visual authenticity