svetlana.mircheva@gmail.com

ABOUT

 
Svetlana Mircheva was born in 1976 in Kazanlak, Bulgaria, lives and works in Sofia. She graduated from the National Academy of Arts in Sofia. In 2003 she took Olafur Eliasson's summer class in IUAV, Venice, and in 2004 was awarded the International Media Art Award of SWR Baden Baden and ZKM, Karlsruhe, for her project Mistakes. In 2010 she was among the nominees for the BAZA award for young artists and in 2012 was the Bulgarian nomination for Henkel Art Award for East European Art. In 2015 she was one of the artists in Focus Bulgaria, Variofocus exhibition at Vienna Contemporary.

Her solo exhibitions are RANDOM SHOW at Vaska Emanouilova, Sofia (2011), POSSIBLE EXHIBITIONS at Nurture Art, New York (2012), 103 MISTAKES at Un Cabinet D'Amateur, Sofia (2012), IMAGES OF THE WORD at Un Cabinet D'Amateur, Sofia (2014).

She has participated in Radar Project, Extra 50, 50 Venice Biennale (2003). Her works have been exhibited in Blind Date, Temporary Contemporary, London (2004), Viper, Kunsthalle, Basel (2004), invisible, Medienkunstpreis, ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe (2004), 18 Stuttgarter Filmwinter (2005), Infrastructure, Studio Voltaire, London (2005), Mobile Spaces, Goethe Institute Sofia (2006), Time Place, Artnewscafe, Plovdiv (2009), BAZA Award for Young Contemporary Art, Sofia City Gallery (2010), Broadcast Media Sculptures, WUK, Vienna (2010), Moscow International Biennial for Yong Art, MMOMA, (2010), There has been no future, there will be no past, ISCP, New York (2010), You fail!, Periscope, Salzburg (2010), RE_001: First Communion of Anemic Young Girls In The Snow and other works, Interstate Projects, New York (2013), Focus Bulgaria, Variofocus curated exhibition at Vienna Contemporary (2015).
  download cv
  view catalog online - Svetlana Mircheva / Works
 

NEWS



Summer Summary
group exhibition
28 Jul - 31 Aug 2016
Gredo Bonum, Sofia
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Black on White exhibition
9 Jun - 9 Jul 2016
Red Dot Art Depot, Sofia
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Drunken Boat Magazine
Issue 23 - Bulgarian Literature
Spring 2016, New York
Drunken Boat - Bulgarian Literature Issue
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The #untaggablexhibition
Advertising Artists, Audi Art Lab
19 - 21 Apr 2016
Gallery Academy, National Academy of Art, Sofia
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Space - Audience exhibition
10 Mar - 17 Apr 2016
Sofia Arsenal-Museum of Contemporary Art
Space - Audience, SAMCA
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#‎LowTechLab‬ London2016
curated by Raul Marroquin, 15, 16, 17 Jan 2016
Saatchi Gallery, London
LowTech Lab London2016 Saatchi
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LowTech‬ Lab at Barcu‬ Art Fair
curated by Raul Marroquin, 29 Sept- 5 Oct 2015
Barcu‬ Art Fair, Bogota
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FOCUS BULGARIA at VIENNACONTEMPORARY
participating artist in Focus Bulgaria exhibition
Vienna contemporary, 24-27 September 2015
FOCUS BULGARIA at VIENNACONTEMPORARY
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VARIATIONS ON 3D PRINTING
group exhibition, June 2015
Plovediv gallery, One Design Week, Plovdiv
VARIATIONS ON 3D PRINTING
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MIRCHEVA, SERAPIONOV, VASILEVA
group exhibition, Jan - Apr 2015
Un Cabinet D'Amateur, Sofia
MIRCHEVA, SERAPIONOV, VASILEVA
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IMAGES OF THE WORD
solo exhibition, Nov 20 trough Jan 2015
Un Cabinet D'Amateur, Sofia
IMAGES OF THE WORD
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Taking part in RE_001:
exhibition of RICHARD PROJECT, Nov 5 - Dec 15 2013
Interstate Projects, Brooklyn, New York
RE_001
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USUAL SUSPECTS Group show
Jun 12, 2013 - Aug 31, 2013
UN CABINET D'AMATEUR Gallery, Sofia
UN CABINET D'AMATEUR
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Happy to be part of RICHARD PROJECT
A multi-authored, online catalog
of readymade objects, images, documents and ideas.
Ongoing, Worldwide
RICHARD PROJECT
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WINTER GROUP SHOW
Dec 15, 2012 - Jan 20, 2013
UN CABINET D'AMATEUR Gallery, Sofia
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MAGNET AND ANTIMAGNET,
Dec 20, 2012 - Jan 10, 2013
ICA Gallery, Sofia
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Svetlana Mircheva: 103 MISTAKES, solo exhibition
Oct 17, 2012 - Nov 25, 2012
UN CABINET D'AMATEUR Gallery, Sofia
103 MISTAKES, Ehxibition catalog
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Svetlana Mircheva: POSSIBLE EXHIBITIONS, solo exhibition
Jan 13, 2012 - Feb 10, 2012
NURTUREart Gallery, 56 Bogart Street, Brooklyn NY
POSSIBLE EXHIBITIONS at NurtureArt Gallery, New York
POSSIBLE EXHIBITIONS photos on Flickr
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Svetlana Mircheva: RANDOM SHOW, solo exhibition
20.05. – 12.06.2011
VASKA EMANOUILOVA Gallery, Sofia
RANDOM SHOW at Vaska Emanouilova Gallery, Sofia
RANDOM SHOW photos on Flickr  

CONTACT


svetlana.mircheva@gmail.com

 

EXHIBITIONS


The #untaggblexhibition |Gallery Academy, National Academy of Art, Sofia
Space Audience exhibition |Sofia Arsenal-Museum for Contemporary Art
Focus Bulgaria at Vienna Contemporary, Variofocus curated exhibition |Marx Halle, Vienna
Variations, 3d printing |Plovediv gallery, Plovdiv
Mircheva, Serapionov, Vasileva |Un Cabinet D'Amateur Gallery, Sofia
2 Years after |Un Cabinet D'Amateur Gallery, Sofia
RE_001|Interstate Projects, Brooklyn, New York
USUAL SUSPECTS |Un Cabinet D'Amateur Gallery, Sofia
RICHARD PROJECT |Ongoing, Worldwide
WINTER GROUP SHOW |Un Cabinet D'Amateur Gallery, Sofia
MAGNET AND ANTIMAGNET |ICA Gallery, Sofia
WHO LEFT WHAT BEHIND | Art Gallery Ilya Beshkov, Pleven
POSSIBLE EXHIBITIONS | presentation, Placette.de gallery, Berlin
A BEAUTIFUL SUMMER |Un Cabinet D'Amateur Gallery, Sofia
POSSIBLE EXHIBITIONS | Solo exhibition, NURTUREart gallery, Brooklyn, New York
RANDOM SHOW | Solo exhibition, Vaska Emanouilova Gallery, Sofia
AN ART NEWSPAPER | Berlin
YOU FAIL! | periscope, Salzburg
There has been no future, there will be no past | ISCP, New York
Broadcast Media Sculptures | WUK, Vienna
BAZA Award for Young Contemporary Art 2010 | Sofia City Gallery, Sofia
OTETS PAISIY STREET | Plovdiv
BORDER SITUATION, Drawing in contemporary art | Industrialna Gallery, Sofia
DA Fest | National Academy of Arts, Sofia
TIME PLACE Exhibition | artnewscafe, Plovdiv
Digital Games | Ivan Asen 22, Sofia
Interactive Animations | Petnoto, Plovdiv
Night of Museums and Galleries Plovdiv | Plovdiv
Sofia Underground Festival
Mobile Spaces | Goethe Institute, Sofia
Mobile Studios | Sofia
INFRASTRUCTURE | Studio Voltaire, London
inVISIBLE - ZKM Medienkunst Preis 2004 | ZKM, Karlsruhe
RADAR Infopoint | Venice
Blind Date Exhibition | temporary contemporary, London
RADAR, Contemporary Art for European Cities | Venice
The Fragment | A+A gallery, Venice
COSMOS, 11 Biennial of Young artists from Europe and Mediterranean | Athens
Project Vision 01 | National Art Gallery, Sofia
Videoarchaeology | Euro-Bulgarian Cultural Center, Sofia  

SOLO EXHIBITIONS


 

IMAGES OF THE WORD Solo exhibition, Un Cabinet D'Amateur, Sofia, 2014



Four series by Svetlana Mircheva based upon chance meetings with things and words From rebus to cosmic constellations, to twisted slogans and computer explorations a short sampling of possible intrusions of the visual arts in the infinite world of language.

Works in the exhibition:

4 Rebus collages on canvas, series
--Fly me to the moon
--At 11 o’clock put everything in the blue pot
--Cry me a river
--Menuetto in G major
For Laika with love, series, 9 calligrams, polymer clay biscuits
Ads for happy days, series, 3 twisted slogans, 2 Glagolitic sentences
--You've got questions, we've got mountain
--How many licks does it take to get to the center of a sun?
--Non stop cri ckets
--Me, knowing the letters, I speak / Glagolitic
--Speak the word strongly / Glagolitic
Make pages, 1-15, series, thesaurus for the word "make"
Make believe, thesaurus for the word "make"
Good morning, 1&2, ready made
Possible exhibitions, model 7



RANDOM, CHANCE, BLIND DATE, SERENDIPITY

“langage=jeu galant”. Marcel Duchamp

Once upon a time, there was a flâneur. Baudelaire followed him strolling the city leisurely both distracted and attentive to the new world (it would become brave later), looking for modernity. A viewer/voyeur, he would note the remarkable in the environment of his contemporaries, the spread of commercial activities as a consequence of the industrial revolution and the raise of consumerism. The flâneur attitude marked a significant shift in the points of views upon the world. Shop-windows became familiar scenes where artists would dig for inspiration. The cubist collage and Duchamp’s ready-made replaced the representation of the object by the object itself incorporated into assemblages exposed to language that would become the rule at mid-century. Walter Benjamin haunted the Paris “passages”, the Surrealists the flea market of Saint-Ouen looking for bizarre objects of undetermined functions and forms, craving for close encounters of the third kind , expecting surprise ( “soup-rice” as the Marx brothers had put it )

“One does not do poetry with ideas, one does poetry with words”1. Mallarmé said. He must have foreseen that poetry could become image by means of “a throw of the dice”. Freeing words from one another, dispersing them on the page opens new interpretations as well as a disconcerting design. Are they pure coincidence or an effect of the Zeitgeist? Mallarme’s poem might look as a prelude to the re-introduction of the word in visuals arts. From Picasso’s first cubic collages to Schwitters’ Merzbau, to Saul Steinberg’s rebus and Rauschenberg’s , then “Conceptual’ and Art language, Kossuth, Lawrence Wiener, then Bruuuuuuuce Nauman, Ed Ruscha et al, words, sentences, aphorisms did invade the art field. An art work could both express and enounce?

The computer age has generated a new version of the flâneur, the “geek” zooming and zapping on the freeways of information. Exit the street and the city. The world has turned global and the Net its cosmic echo. An all-over set of information both text and imagery has become available at fingertip distance. The somewhat naive first fans of cybernetics in the late 60s prophesized then the advent of some new Leonardo, Picasso or other artist genius who would take up the new medium and generate new masterworks. This has not happened (yet). But the amazing field of the Web providing for all kind of opportunities of criss- cross and short cuts is currently being explored. Wait and see…

Horace Walpole coined the name “serendipity”2 from an indo-arabian old legend where the three princes of Serendip described a lost camel that they had never seen through the traces and indexes which they had noticed on the road. Serendipity was defined as discovering by chance something that one was not looking for, or the art to take notice to the surprising and give it a pertinent interpretation. It was thus chance + sagacity. The word had a discreet carrier at first until it reached the scientific domain with the discovery of the penicillin (a fortuitous accident, according to Fleming) or Albert Hoffmann’s one of LSD. Even Isaac Newton and his apple were called in. It became an argument for free versus applied research. In the art field, it sounds like a fact, No usefulness is expected. Free imagination, innovation and fantasy are supposed to be the rules of the game. Serendipity is supposed to pop up without notice. “The stupid call these strikings of the thought “chance” without thinking that chance never occurs to the dunces.”3

Svetlana Mircheva is the heiress of all the above. She walks the city, collects abandoned objects, bits and pieces, sheets of left over papers, fragments of newspapers (preferably old) photographs of loves forgotten, rags of faded materials evocative of lives unknown, memories anonymous. The artist reinserts them in comic strips, little tales to be deciphered, telescoping images and words (image as text, text as image) in poetic collages in the form of rebus, those “compositions that operate this great marriage of letter and drawing which has always haunted the baroque artists.”4

Mircheva’s attention to shop windows might be triggered by petty trivial domains. Exploring pet shops she has spotted a variety of dog food, biscuits wearing unexpected words suggesting pet loves …She has used them to design candid canine calligrams, nursery rimes whistling little tunes, pretty constellations, as many tributes to Laika, Pschyolka, Mushka and other moon dogs heroes of the first Sputnik age. Ironic compassion? Love thy dog as thyself?

The interactive aspect of the computer can take (at least) two forms: communication with brothers/sisters internauts or direct dialog with the Machine, as it offers help/services to user/client. Mircheva contacted once by curiosity programs which given a name of your firm + keyword to your activity would deliver the right slogan for your advertising. The tests Mircheva did rapidly proved deceptive, either irrelevant or conventional. But a little twist on a sentence could make them funny on the verge of the absurd. So… Coincidently Mircheva landed on the glagolitic site. Cyril and Method had elaborated an alphabet before the Cyrillic. In their devotion, they had followed up with three sentences using each letter as a key to a word all to the glory of God. A sublime early use of sacred advertising!

Following up with her “mistakes” Mircheva has bumped into new intriguing incidents. A A4 found in a paper basket had all the visual seductions of the “conceptual” art of the 60s. The content, an exploration of the keyword “make” proved most serious and hilarious. A further research led (with the help of New York curator friend Eriola Pira) to a million words thesaurus accumulated by a very serious university department in Providence, RI, on the possibilities of computers in the field of language in the early 60s. With “Make” the viewer is invited to pursue with the game. Infinitely. “Language is a virus from the outer space.”5

Certainly serendipitous Svetlana Mircheva is not fooled by the process. She is well aware that the haphazard character of serendipity cannot ever constitute a method, only a state of mind. Told about the story of the three princes of Serendip, Mircheva had but a brief comment: “there is no normal camel” she said. Think of it.

Olivier Boissiere


1 Stephane Mallarmé “Un coup de dés jamais n’abolira le hasard” in Cosmopolis Paris 1897
2 Sylvie Catellin “Serendipité, du conte au concept” Seuil Paris 2014
3 Balzac “Theorie de la démarche” L’Europe litteraire 1833, La Pleiade 1981 tome XXII
4 Roland Barthes about Saul Steinberg in “All except you”. Repères. Galerie Maeght. 1983. See also Rosalind Krauss “Rauschenberg and the Materialized Image” in “The originality of the Avant Garde and other modernist myths” The MIT Press Cambridge Mass. 1985
5 William Burroughs


 

103 MISTAKES Solo exhibition, Un Cabinet D'Amateur Gallery, Sofia, 2012



103 MISTAKES are 103 different visualizations of one and the same jpf file - digital drawing of two legs. 103 color prints, ink-jet print on photo paper, 50x40 cm each, framed, edition of 3 + AP.



LEGS

- Legs? exclaimed Dany the junkie when opening in a public square at night a stolen suitcase and finding inside a pair of freshly cut woman's legs. (from "Junky Christmas" in "Spare Ass Annie and other tales" by William Burroughs)

Once upon a time there was a pair of legs. Or more precisely the sketch of them. Svetlana Mircheva had in mind to realize in her computer a short animated movie where these legs would walk, jump and dance. The sketch was in a Jpg file. When the artist pressed the enter key, the machine hiccupped and delivered an image featuring dots, lines, plans, colors, totally unlike the model.

To a simple rational mind, it is puzzling that one cause would produce a number of such different effects. A computer expert might explain it in simple terms. To the ignoramus, it belongs to magic. What is a "corrupted file" anyway? Does the term imply a moral notion? At that point, there would be a temptation to view Mircheva as an apprentice sorcerer who trigged some mysterious instinct in the machine. The spirit that she called did wander randomly (freely?) and generated those chatoyant forms. Had the system taken over Mircheva's intentions (Kunstwolle?) and interpreted her sketch in its own personal way? Is the viewer facing 103 versions of the computer's idea of a pair of legs? Did the machine anticipate the walk/jump/dance initial idea to elaborate scenarios for a ballet, whether inspired by Swanlake, Gisele or Ballet Mecanique? Merce Cunningham, Pina Bausch, or Busby Berkeley? the duets of Astaire/Rogers or Kelly/Charisse? Who knows?

Olivier Boissiere
UN CABINET D'AMATEUR Gallery, Sofia

103 MISTAKES, Ehxibition catalog

 

POSSIBLE EXHIBITIONS Solo exhibition, NurtureArt Gallery, Brooklyn, New York, 2012


10 plexiglass models of a gallery space;
plexiglas, pvc, glass, wood, rope, textile, stones;
53х30х15 cm each
+ additional set of 14 preparational drawings, size A4.



NURTUREart is very pleased to introduce Svetlana Mircheva in her first solo exhibition in the United States,
POSSIBLE EXHIBITIONS.

For this series, Mircheva strays from technology and automation to present a series of diminutive, some quite simple, other slightly inscrutable dioramas from an ongoing collection of imaginary gallery-size installations. With their quiet and unassuming presence, the models lead both artist and viewer to imagine an infinity of possible scenarios, suspended between past, present and future. Possible Exhibitions showcases Mircheva's signature sleek, highly-professionalized daydreaming at its most powerful. With this exhibition we are ready to transform our gallery in a temporary zone open to imagination, projection and reflection.

Marco Antonini
NurtureArt Gallery, Brooklyn, NY

POSSIBLE EXHIBITIONS at NURTUREart

POSSIBLE EXHIBITIONS photos on Flickr

POSSIBLE EXHIBITIONS Exhibition catalog
 

RANDOM SHOW Solo exhibition, Vaska Emanouilova Gallery, Sofia, 2011



Works in the exhibition:
SAVED IMAGES - 3 gif files, printed on buckram, 150 cm х240 cm each,
TIME PLACE - 2 transparent panels, size 60 cm x 130 cm each,
RIVERSIDE - 10 found in Sofia streets images and pages,
POSSIBLE EXHIBITIONS - 4 plexiglass models, size 53 х 29 х14 cm each.



The works of Svetlana Mircheva often present the specific features and particularly the mistakes in the use and operation of various technologies. The author seems to be constantly wishing to shake our trust in the accuracy, clarity, and reality of our perceptions of the world that are formed by contemporary digital culture. For that purpose she often uses the tools of design. Her works include prints, models, short videos, photography, and various digital images, in all of which there is keen interest to the graphic symbol and the visual characteristics of the image.

Random Show is once again related to the idea of uncertainty of perceptions, only this time referring to the random, accidental as a loss of frame, of context, and of the immediate environment of events and objects. The core words for the exhibition, TIME and PLACE, are represented as strange monuments that mark the space as a place of absence, but also of discovery, where the accidental is an open horizon of imagination. The four models of the gallery space represent undeveloped, unaccomplished ideas for exhibitions. In such a way Svetlana Mircheva overturns the very idea of how an exhibition is created, presenting the very action as random. The exhibition is an "open" space, which similar to a box serves as a receptacle for various "saved" images, found objects and symbols.

Vladiya Mihaylova
Vaska Emanouilova Gallery, Sofia

RANDOM SHOW photos on Flickr

RANDOM SHOW Exhibition catalog

 

WORKS


 

Space dogs  3 objects and stories in 1 image, laser cut plexiglass, 2016



3 objects and stories in 1 image
laser cut plexiglass
90 cm x 55 cm
2016

Tribute to Laika, Pschyolka, Mushka and other moon dogs heroes of the first Sputnik age.

 

Soundscape  installation, mirrors, color, sound, 2016



installation
40 mirrors, color, sound
460 cm x 140 cm
2016

Reflections upon sounds turned into image-object suspended in space.
2 copies of words spoken and recorded, turned into 2 parallel image-objects in space.
A cinetic view, a soundscape.

Sound by Angel Simitchiev.

 

Soundscape drawing  installation drawing, collage, 2016



installation drawing
collage
30 cm x 50 cm
2016

Two images of the two sounds of two words spoken.

 

Sound Green, Sound Pink  two sounds, collages, 2015




Sound Green, Sound Pink
collages
30 cm x 40 cm
2015

Two images of two sounds.

 

Untitled, Moose  photograph, ready made, collage, 2015




Untitled, Moose
photograph, ready made, collage
color print on Torchon paper
30 cm x 40 cm
2015

A moose and a sun
or
A walking moose towards a rising sun
or
Once a moose walked towards the rising sun
or

 

Object, Book  book, 3D printed in paper, 2015




Object, Book
3D printed in paper
entitled Corpus Lingua
The body of the language
16.5 x 22.5 x 4.5 cm
2015

A non-existing book, combining 4 texts on the 4 levels of reading; science astronomy text, love story in a forest, "a man enters a bar" story and a recipe about something delicious. From the space to the body, from the stars to your stomach, the universe of the language in the body of a book.

 

Make believe  poetic “to make” composition, laser cut clear plexiglass, 2014



poetic “to make” composition
print on laser cut plexiglass
117 cm x 128 cm
2014

With “Make believe” the viewer is invited to pursue with the game. Infinitely.

 

Make page, 1-15  thesaurus for the word "make", color prints on Torchon paper, 2014



thesaurus for the word "make"
color prints on Torchon paper
85 cm x 60 cm
2014

“MAKE PAGE, 1-15”, from a found A4 to a million words thesaurus, an exploration of the keyword “make”, both serious and hilarious.

 

Ads for happy days, series  twisted slogans, compositions in Latin and Glagolitic, laser cut plexiglass, 2014



Ads for happy days, series
twisted slogans
compositions in Latin and Glagolitic
laser cut plexiglass
2014

--You've got questions, we've got mountain, 81 cm x 176 cm
--How many licks does it take to get to the center of a sun?, Diameter 92 cm
--Non stop cri ckets, 48 cm x 180 cm
--Me, knowing the letters, I speak / Glagolitic, 134 cm x 34 cm
--Speak the word strongly / Glagolitic, 85 cm x 46 cm


Started with the use of curiosity programs which would deliver the right slogan for your advertising. The first tests did rapidly proved deceptive, either irrelevant or conventional. But a little twist on a sentence could make them funny on the verge of the absurd.

 

For Laika with love, series  9 caligrams, polymer clay biscuits, 2014



9 calligrams, polymer clay biscuits, dog food
each calligram, 16 biscuites: 70 cm x 60 cm
2014

“FOR LAIKA WITH LOVE”, dog food biscuits wearing unexpected words designed in constellations of calligrams, whistling rimes.
Love words combined with clear action commands; they can be seen, read, sung, played, danced, rapped or performed. This work may be presented both visually and in collaboration with musicians and performers who would interpret the score of words.

First calligram's words:
LOOK BACK
TAKE TIME
WHISPER
CRY

SIT
LEAVE IT
DIG
FIND

GIVE
LIFT
SING
SMILE

LIGHT
RUN
DANCE
DRIVE

 

Rebus collages, series  collages on canvas, found papers, 2014



4 Rebus collages on canvas, series, 39 x 159 cm
--Fly me to the moon
--At 11 o’clock put everything in the blue pot
--Cry me a river
--Menuetto in G major
2014

REBUS COLLAGES, collected from the streets papers, reinserted in comic strips, little tales to be deciphered.

 

Good morning, 1&2  2 ready mades, collages, 2012



2 ready mades, collages
30 x 40 cm
2012

Hot coffee maker on a pink napkin.  

103 Mistakes, series 103 color prints, 103 different visualizations of one and the same jpg file, 2012



103 color ink-jet prints on photo paper
size 50 cm x 40 cm each

2012
103 Mistakes are 103 different error visualizations of one and the same corrupted jpg file - digital drawing of two legs.
“Mistakes”, first presented in 2004 at ZKM in Karlsruhe, documented randomly generated screen-crashes. Triggered by faulty graphic files on her old computer, the screen-grabs presented in Mistakes are totally out of the artist’s control and yet resemble beautifully woven 8-bit tapestries suggestive of both Modernist and Vernacular art. Computers are for Mircheva living beings, bent into total submission and therefore incline to unexpected forms of rebellion. Every screen grab in Mistakes is a window open into the subconscious of a supposedly passive instrument. These fascinatingly fragmented images suggest the presence a creative potential, a glimpse offered by a supposed “malfunction” that the artist sees as a positive, creative moment.”
Nurture art Gallery, Brooklyn, New York

Shown at: 103 MISTAKES, solo exhibition, Un Cabinet D'Amateur, Sofia
 

Possible exhibitions, series 10 plexiglass models of the gallery space, 2011/2012/ ongoing project



10 plexiglass models of the gallery space
plexiglas, pvc, glass, wood, rope, textile, stones
53 х 29 х 14 cm each
2011/2012

Series of diminutive, some quite simple, other slightly inscrutable dioramas from an ongoing collection of imaginary gallery-size installations.

Shown at: POSSIBLE EXHIBITIONS, solo exhibition, NURTUREart Gallery, Brooklyn, New York
RANDOM SHOW, solo exhibition, Vaska Emanouilova Gallery, Sofia

 

Linear self portrait with colors and no shapes interactive animation, self portrait with colors and no shapes, 2013



interactive animation, "giving" the colors of my portrait photo line by line,
self portrait with colors and no shapes,
Processing application, using open source files
7:30 min
2013

Shown at: Goethe Institute ART UP database
 

Deconstructing Ivan Milev's Dragon's Bride video work, animation, deconstruction, based on the painting of Ivan Milev "Dragon's wedding" 1923, 2009



video work, animation, deconstruction
based on the painting of Ivan Milev "Dragon's wedding" 1923
PAL, mute
2:36 min
2009

Shown at: Magmart video festival, Italy, 2011
Goethe-Institut Bulgarien, Sofia, 2009  

Saved Images, series gif files of unknown origin and date of creation, 2011



gif files of unknown origin and date of creation
selection of mysteriously appeared folder with gif files
printed on buckram, 150 cm х 240 cm
2011

Shown at: RANDOM SHOW, solo exhibition, Vaska Emanouilova Gallery, Sofia  

Time Place two transparent panels with words, plexiglass, 2011



two transparent panels with words
plexiglas, laser cutting, 60 cm x 130 cm each
2011

Shown at: RANDOM SHOW, solo exhibition, Vaska Emanouilova Gallery, Sofia

 

A to B color print on art paper, 2009



color print on art paper
100 cm x 70 cm
2009

Published in: Sign Cafe Magazine, Kiril Zlatkov's selection  

2000-2010 SCREEN WORKS


 

Subtraction video work, showing gallery space after an exhibition, 2010



video work
showing gallery space after an exhibition
NTSC, stereo
01:47 min
2010

Shown at: There has been no future, there will be no past, ISCP, New York

 

Teleport Station video work, animation, about beeng at the same time in different places, 2009



video work, animation
about beeng at the same time in different places
PAL, mute
01:00 min
2009

Shown at: WHO LEFT WHAT BEHIND, exhibition, at Art Gallery Ilya Beshkov, Pleven
Moscow International Biennial for Young Art, Moscow, 2010
DA FEST, National Academy of Art, Sofia, 2009
artnewscafe, Night of Museums and Galleries, Plovdiv, 2009

 

Woodhouse Bowling Club video work, animation, reconstructing a memory of a bowling club, 2005, 2007



video work, animation
reconstructing a memory of a bowling club
1440 px x 900 px, mute
01:30 min
2005

Shown at: Larroque Film Festival, 2011
Digital Games Exhibition, Ivan Asen 22, Sofia, 2007
University of Leeds, 2005

 

Invisible places video work, animation, about time and movement, 2004



video work, animation
turning off perceptions hipnotic video
PAL, stereo
01:46 min
2004

"The space between two points, which people ignore, wishing to be at the same time in two different places, doesn't exist in their minds. These are the invisible places. The time of crossing is erased. An idea of movement is all that stays after they finish their journey."
Invisible Places is an eye-stressing and disbalancing animated 360° panoramic view from a certain place in Deptford, London, in which the movement is so fast and the images are so constantly changing and blurring that the feeling of zero-time train and totally missed landscapes is unavoidable. The work presents my vision for the city, its fast speed and erasing of time, and my personal perceiving of local movement and time.

Shown Infrastructure Exhibition, Studio Voltaire, London, 2005
Blind Date Exhibition, Temporary contemporary, London, 2004

 

Campiello San Vidal video work, observation, one-day-long-diary, Venice, 2004



video work, observation
one-day-long-diary
square San Vidal, Venice
10:20 min
2004

“Svetlana Mircheva based her work on the movement of the people in Venice, on the fluctuating crowds, on the sense of estrangement that comes from having to walk. Giving priority to space, time and movement, she wrote a simple diary of the city and the changes of the sight during the entire day. The work is shown as a video installation.”
Lorenzo Cinotti

The screen is devided horizontaly in two halfs, each showing the same place, but in different time, putting distant moments together. Sculptures, stones and houses standing still while shadows, people and dogs are moving in a constant flow to somewhere, from the morning till night.

Shown at: VVORK
BAZA Award for Young Contemporary Art, Sofia, 2010
TIME PLACE Exhibition, artnewscafe, Plovdiv, 2009
RADAR Project, RADAR Infopoint, Venice, 2004

 

Landscape video work, Venice city diary, 180˚ video landscape, 2003



video work
one-day-long-diary
San Marco square, Venice
180˚ video landscape
15 min
2003

“Svetlana Mircheva based her work on the movement of the people in Venice, on the fluctuating crowds, on the sense of estrangement that comes from having to walk. Giving priority to space, time and movement, she wrote a simple diary of the city, presenting the heart of Venice, Saint Mark's square, and the changes of the sight during the entire day. The work is shown as a video installation.”
Lorenzo Cinotti

Shown at: RADAR project, Contemporary Art for European Cities, Venice, 2003

 

Mistakes interactive video documentation, 2003



interactive video documentation
ZKM International Media Art Award 2004, best 50
2003


MISTAKES are 103 different error visualizations of one and the same corrupted jpg file - digital drawing of two legs.

“MISTAKES, first presented in 2004 at ZKM in Karlsruhe, documented randomly generated screen-crashes. Triggered by faulty graphic files on her old computer, the screen-grabs presented in Mistakes are totally out of the artist’s control and yet resemble beautifully woven 8-bit tapestries suggestive of both Modernist and Vernacular art. Computers are for Mircheva living beings, bent into total submission and therefore incline to unexpected forms of rebellion. Every screen grab in Mistakes is a window open into the subconscious of a supposedly passive instrument. These fascinatingly fragmented images suggest the presence a creative potential, a glimpse offered by a supposed “malfunction” that the artist sees as a positive, creative moment.”
Nurture art Gallery, Brooklyn, New York

Shown at: YOU FAIL! periscope:project:space, Salzburg, 2010
DA FEST, National Academy of Art, Sofia, 2009
Night of Museums and Galleries, Plovdiv, 2007
Mobile Spaces Exhibition, Goethe Institute, Sofia, 2006
18 Stuttgarter Filmwinter, Stuttgart, 2005
ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe, 2004

 

28 Pixel portraits animation, 28 portraits with personal face colors, 2003



video work, animation
2:15 min
2003


28 PIXEL PORTRAITS of artists friends from 5 nationalities (Radar project artists). Deconstructions of their real portrait photographs, showing their personal face colors. The small size of the portraits (9x9 pixels) and their ultimate brightness make the faces unrecognizable, but give other “sense” for the person, described only with his colors.
The faces appear animated, coming one from another, some very pink, some very green or blue, both abstract and very color sensitive, slowly shaping each portrait under a thin pixel sound.


Shown at: Night of Museums and Galleries, Plovdiv, 2008
Sofia Underground Festival, Sofia, 2007
RADAR, Contemporary Art for European Cities, Venice, 2003

 

Inside story video work, animation, 2002



video work, animation,
sound
14:00 min
2002


Deconstruction of an image, based on static photograph.

INSIDE STORY is a hypnotizing animation about the possible inner structure of an image. An artistic experiment where simple visual expression without any concrete analogue or content manipulates perceptions, creates mind images and invites thoughts in.

“Green and violet dots, like ants on the monitor. Something wrong with the film? But then the dots arrange themselves anew, over and over again. Sometimes they emerge like ribbons which soon disappear. Lines are coming into view like isobars. They are mixing, drying up, stand still, only to start moving again. Like water. A hypnotic artistic experiment without a specific content that leaves room for own thoughts.” VIPER Basel, 2004

Shown at: VIPER Basel Festival, 2004
COSMOS, 11 Biennial of Young artists - Athens, 2003

 

Reverse video work, animation, 2002



video work, animation
no sound, loop
1:00 min
2002


Deconstruction of an image, based on static photograph.

Deconstruction experiment, REVERSE is going backwards from the photo image to its digital representation and its color and structure origins. Large colorful square-shaped surfaces turn into bright moving lines and they turn into small shining dots, in a endless movement back and forth, like moving sands or running water.
REVERSE dives deep into the image body, discovering amazing underworld of bright screen colors and ordered computer shapes, continuously moving waves after waves in the infinite ocean of the visual image.

 

One and the same view video work, animation, 2001



video work, animation
no sound, loop
1:30 min
2001


Deconstruction of an image.
Overlapping invisible image that moves and endlessly subtracts the visual information from itself until there are only unrecognizable pixels left, the basic elements of a digital picture.

Repetitive and hypnotizing, “ONE AND THE SAME VIEW“ enters by deconstruction the inner world of a digital image, showing us its live body and skin, in squares, lines and pixels.

 

Endless video work, animation, 2000



video work, animation
sound, loop
01:46 min
2000


“ENDLESS” animation starts with Zeno’s paradox* and resorts to infinitesimal regression to prove that the movement does not exist. A simple action, like turning of the head, opens up to its prime element – the still moment, building and destructing а movie at the same time. The repetitive spinning, crickets sound and opposite bright colors hypnotize the viewer and the movement never ends. Or maybe it has never been started.
Based on sequences of static pictures.

*“Movement is impossible, because the moving body must pass trough the middle to reach the end, but before this it must reach the middle of the middle, but before it – the middle of the middle of the middle, but before it …”

Shown at: 5th International Sofia FIlm Festival, 2001
Videoarcheology, Sofia, 2000
 

LINKS


Un Cabinet D'Amateur Gallery
Richard.
NURTUREart Gallery
Vaska Emanouilova Gallery
ISCP
periscope
YVAA
broadcast media sculptures
Salto
Тherese Stowell / Infrastructure
temporary contemporary
Radar project
Studio Voltaire
Mobile Studios
artnewscafe
DA Fest
ZKM
Goethe Institute Sofia
Wenn werte form werden
Night of Museums and Galleries
A+A
Shtuttgarter Film Winter
Studio Dauhaus
Nagledna
nonsofia

 
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