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Facade(detail), 2018, wood, glass, cardboard, 100 x 100 x 5 cm
photo: Elena Nenkova

photo:Kosara Stefanova

Facade, 2018, wood, glass, cardboard, frame, 100 x 100 x 5 cm
photo: Elena Nenkova

The project of Stela Vasileva, Signs of Sound is a multimedia installation that functions in-line with the architectural environment where it is exhibited. The first part of the project was created for the concert Stone Hall in the Balchik Palace for the Music Campus Balchik event. The installation consists of nine mirror double-sided panels, bent in the form of various sound waves. Besides being a plastic object, when placed near the musicians, they capture and reflect the vibrations of their instruments, and the mirror panels materialize not only the sound but also the play of light in the architectural environment of display. The second part of Signs of Sound will be developed for the space of the Water Tower in Lozenets /Gallery + 359/. Music specially created for the site will sound within this project and the three-dimensional ‘sound waves’ will be displayed and illuminated in a new way corresponding to the cylindrical spiral movement of spectators in the tower.
The possibility of encoding the features of today’s world in sound and producing unknown harmony was one of the highlights of Dokumenta 14. They varied from an attempt to recreate the modern technocratic development of the socium in a musical work by reading drawings and other visual data with electromagnetic pen, creating musical instruments or sound devices from discarded objects that had sealed in sounds the stories of the objects to analysis of the noise in its multitude of forms destroying established codes, discourses, habits, aesthetics and morality. Projects that had made their mark on modern art history could also be seen in the Athens Conservatoire. One such project was that of Pauline Oliveros who in the 1970s explored the essence of hardware and software related to musical technology in order to address the nature of the time factor in a musical work through the natural characteristics of the technical equipment and its configuration.

In Signs of Sound, the visual artist Stella Vassileva in collaboration with Stefan Hadzhiev /violoncello/, Milen Apostolov /composer, conductor, musician/, Dobrin Petkov /architect, dj/, Elena Ganova /viola/, Ivan Staykov /violin/, Atanas Iliev /clarinet/, Juliana Voykova-Nieman /set designer, lighting / and Iri Nieman /lighting/ work with three-dimensional mirror sculptures, music and light on the idea of wave as an information medium. The basic physical property of the various types of waves is that they most often transfer energy, but there are occasions when the wave itself is the transfer of matter through a perfect vacuum. The elegant philosophy of this scientific definition is at the heart of the aesthetics of the Signs of Sound project. Its essence is not merely to present visually a reflection of a chart from physics accompanied by music and light, which in itself is a simple description of different types of waves, but to reason on the hidden connection of the elements of the world, on how they can become one sculptural object, light and music installed within a particular architectural environment.

In Philosophy of New Music, published in 1949, Theodor Adorno connects music and painting marking the continuity between Debussy and Stravinsky: “the separate colourful complexes of Debussy are still connected to each other … the sound is not interrupted but continues to vibrate beyond its boundary. Through such infusion, something like tangible infinity is formed …” Likewise, in impressionistic paintings, whose technique music has adopted dynamic impact and light effects are achieved through collocated patches of colour. “… Stravinsky embraced Debussy’s concept of spatial two-dimensional music, and “giving space to music is more of a testimony to a pseudomorphosis of music with painting in the deepest essence of its abdication.” “Stravinsky sharply juxtaposes the spatial complexes of the individual parts, and the final product of the dynamics is layered like marble blocks.” These are just some of the characteristics of Stravinsky’s revolutionary contribution to music, which is comparable to the transition from impressionism to cubism in painting.

The concept of the Signs of Sound team in the Water Tower in Lozenets is every musician to play their part at a different level in the building. This separation of performers who have no visual contact with each other corresponds to the division and presentation of the sculpted ‘wave’ as individual segments that will not be conceivable as a whole, as the human eye cannot penetrate the architectural barriers, but will be united by the sounds of the individual instruments and the play of light. The ultimate result is an integrated multimedia installation that follows its own rhythm, evolving in time and space without a beginning and an end encoded in the harmony of music.
text: Irina Batkova

The multimedia installation follows its own rhythm, evolving in time and space without a beginning and an end encoded in the harmony of music.
Stela Vasileva in collaboration with :
Milen Apostolov /composer, conductor, musician/
Stefan Hadjiev /violoncello/
Dobrin Petkov /architect, dj/
Elena Ganova /viola/
Ivan Staykov /violin/
Svetlin Krachev /violin/
Atanas Iliev /clarinet/
Youliana Voikova-Najman /set designer, lighting/
Jiri Najman /lighting/

Signs of Sound, 2018, installation view, 9 pieces plastic panels with mirror coating, plexiglas, dimensions variable, +359 Gallery (WaterTower), Sofia
Photos by Yana Lozeva and Stela Vasileva
With courtesy of +359 Gallery

UNTITLED (space and waste), series of photographs, large-scale installation, styrofoam

Waste from human activity, more justly put labour human activity, stored in a basement for future usage, probably. The styrofoam is naturally beautiful in the natural darkness – a pragmatic combination, artificial as genesis and economical as quality (people store waste in basement for probable benefit). But anyway, the racionality of the situation can not destroy the darkness as internally natural quality of the basement, neither the geometrical perfection as internally natural quality of the styrophoam waste (or the ethical beauty of sadness from the chaotic piling of unneeded elements as internally natural quality of the styrophoam waste). On the contrary, this internal naturality conquers casuality, and everything one could see is just a good material for contemplation – nothing less and nothing more – good enough to fill many man-hours. This is the beginning of the work. From here on it develops in two general directions – function and space.
The styrofoam elements, for whom until now we’ve been aware to be a functional waste, cease to be such. Put out of the economical logics (people store waste in basement for probable benefit), the styrofoam elements unfold a completely abstract, perfect, unfunctional, unhuman geometry of the circle. Human function has been substituted for unhuman perfection.
The dimensional oppsition is also shocking as contrast – the densed clustering in a small, dark space, familiar as an element of everyday existence, has been substituted for a monumental spatiality. The enormousness of the installation, physically monumental by itself, creates through its form an additional, abstract monumentality – mentally continued, the open catenaries describe a progression of circles much larger than the physical form of the ordered styrofoam elements. The dense triviality has been substituted for a cogitative monumental abstraction.

UNTITLED (light and waste)
series of mirror coated boxes, styrofoam elements
Styrofoam elements, waste of human activity, have been aestheticised to abstraction. The work can once again be viewed as function and space. The functional qualities of the styrofoam elements have been removed through an aesthetical concentration on form. The lack of story-telling is synchronised with the abstractiveness of the constructed space. Apart of being visually abstract, it is also physically abstract, unreal, illusionary. The infinity of the kaleidoscope progression creates an unhuman perfection that opposes the finite, comprehensible dimensional clarity and prosiness of the styrofoam element.

The two presented works of Stela Vassileva continue her interest for aesthetisation of human living and labour – an artistic direction consecutively developed in several of her latest projects.

text: Leda Ekimova

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5 BOXES (space and shape)

/Legend/
The boxes, presented in this show are conceived before and apart from the texts and all of their knowledge and terms gathered from the internet. This actually bonds them even better and introduces the viewer to a particular state of predetermination, state where one remains a mere reflection of another self. These reflective voids retain the function of an inner light. As it slides over the form, this hidden light emerges from the deepest, endless darkness. It produces shape, and consequently image, one and the same and permanently different.
Several highlighted phrases from the text (based on Wikipedia), attached serve as a “legend”, which could serve, if necessary, for a more literal reading of the effects that can be monitored in the discrete objects of the exhibition.
The other text is an interview with Nicola Tesla, the Bulgarian translation of which was also recently published in the internet. The presentation of these two texts in reference to the work of Stela Vasileva can be interpreted widely. As it may seem, again, in a very eloquently gracious way things look the way you see them only because of the qualities of light listed here. But let’s stop using text explaining all that, when we don’t need to.
Text: Yovo Panchev

Installation View

Untitled (5 BOXES), 2015, solo exhibition, wood, glass, one-way mirror,
cardboard, LED light, 50 x 50 x 20 cm each, The Fridge, Sofia

Exercise I, 2019 (series of six drawings), color watercolor on photo paper, 70 х 90

Detail (Exercise I), 2019

Exercise II, 2019 (series of six drawings), color watercolor on photo paper, 70 х 90

Detail (Exercise II), 2019

Exercise III, 2019 (series of six drawings), color watercolor on photo paper, 70 х 90

Detail (Exercise III), 2019

Playing

Playing, 2014, colored markers, paper, 25×35 cm

Sports Celebration 01

Sports Celebration, 2013, (series of four works), colored markers, paper, each 58 x 83 cm
Sofia City Art Gallery Collection

Sport Celebration 02

Sports Celebration, 2013, (series of four works), colored markers, paper, each 58 x 83 cm
Sofia City Art Gallery Collection

Sports Celebration (view)
InterContinental Sofia Collection

Fans (01)

Fans, 2012, drawing, colored markers, paper, 45 x 60 cm
InterContinental Sofia Collection

Fans (02)

Fans, 2012, drawing, colored markers, paper, 45 x 60 cm
InterContinental Sofia Collection

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Working day, 2015, (installation view), series of works, colored markers, paper, 30 x 40 cm each,
Bäckerstrasse4 – plattform für junge kunst, Vienna, AT (photo by Borjana Ventzislavova)

Untitled 01/02, 2019, black watercolor on photo paper, 110 х 65 см

Details, Untitled 01/02, 2019

Pirin Mountain 02, 2018, black pencil on paper, 101 x 72 cm

Detail, Pirin Mountain 02, 2018

Detail, Pirin Mountain 02, 2018

Benches, 2014, colour markers on paper, 50x50cm
Privet collection

After

After, 2012, colored markers, paper, 40×50 cm

People Speaking

People Speaking, 2012, colored markers, paper, 50×60 cm
City Art Gallery Collection, Plovdiv

Untitled (01)

Untitled (01), 2012, colored markers, paper, 50×60 cm
InterContinental Sofia Collection

Untitled (02)

Untitled (02), 2012, colored markers, paper, 50×60 cm
Privet collection

Untitled (03)

Untitled (03), 2012, colored markers, paper, 50×60 cm
InterContinental Sofia Collection

The Elepfant and his friends

The Elephant And His Friends, 2010,(series of works), drawing, colored markers, paper, 80×54 cm

The Elephant and his friends

The Elephant And His Friends, 2010, drawing, colored markers, paper, 80×54 cm

The Elephant and his friend

The Elephant And His Friends, 2010, drawing, colored markers, paper, 80×54 cm

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Cutting, 2016, colored markers, paper, 40 x 60 cm
Privet collection

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Vacuuming, 2016, colored markers, paper, 40 x 60 cm
Privet collection

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Framing, 2016, colored markers, paper, 33 x 40 cm
Privet collection

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Measuring, 2016, colored markers, paper, 30 x 40 cm
Privet collection

Repair (1) 2014, colored markers, paper, 54 x 66 cm

Repair (2) 2014, colored markers, paper, 54 x 66 cm

Repair (2 detail) 2014, colored markers, paper

Cleaning, 2012, colored markers, paper, 50 x 60 cm
Privet collection

On the Roof

On the Roof, 2012, colored markers, paper, 40 x 50 cm

On the Roof

On the roof, 2012, (fragment), colored markers, paper, 30 x 40 cm

On the Wall

On the Wall, 2012, colored markers, paper, 40 x 50 cm

On the Wall

On the Wall, 2012, (fragment), colored markers, paper, 30 x 40 cm

Truck with a man on a white background

Truck with a man on a white background, 2012, drawing, felt-tip pen, paper, 8 x 24 cm
Collection of Sophie Calle

drawer at ICA

GROUP SHOW, Truck with a man on a white background, 2012, drawing, marker on paper, 8 x 24 cm drawer at ICA, Sofia,
Curators: Vladiya Mihaylova and Ivan Moudov

The question “What kind of a drawing would you put in a drawer” makes the artists participating in the exhibition face the task to
ransack their personal “storage” and work spaces.
What these spaces hold – their earliest sketches and drawings, the worthless ones or the most valuable ones, indecent or probably
forgotten by now – determines the different ways of approaching the task, from the choice to represent the action of reviewing the
drawings to the act of exhibiting a Police Registration Card of an individual. Part of the works have been created for the event,
others have been taken out of the rummaged drawers and shown for the first time. Sent by mail, faxed or delivered by hand, hastily made
or carefully prepared, the drawings allow the viewer to look inside the space of the drawer that in most cases remains hidden and closed.
The Group Show features artists working across a range of media including sculpture, painting, installation and video. Some of them, among whom
Vikenti Komitski, Stela Vasileva and Kiril Kuzmanov, have already presented their works in solo exhibitions in 0gms Gallery-Drawer.
The idea to set up the gallery in a drawer was initiated more than year ago with an exhibition of the young Austrian artist Adrien Tirtiaux,
one of the most recent events being the participation of 0gms in this year’s Jakarta Biennale with the video Self-sufficient Machine,
2009 by Kosta Tonev, presented by the artist Keijiro Suzuk.

Objects

Objects, 2009, series of works, marker on canvas, 20 x 25 each cm

Objects

Objects, 2009, series of works, marker on canvas, 20 x 25 each cm

Objects

Objects, 2009, series of works, marker on canvas, 20 x 25 each cm