→Artists

Aaron Roth is born in Los Angles (1998). He currently works between Sofia and Plovdiv. In 2021 he received his Bachelors in Fine Arts (painting) at “Slade school of Fine Art”, London with a thesis on the visual culture of pop-folk. His first solo show was exhibited in 2021 in an abandoned supermarket near to Stochna Gara in Sofia “biznes (end) management”. His second solo show, “At liberty with the time frame”, was part of FLUCA, Austrian cultural pavilion in Plovdiv, organized by Open Arts Foundation. In 2022 he had his third solo show “The golden wire” in Sofia, “Punta” gallery.

Group shows that he has participated in include: “Memories of a social club that doesn’t exist”, London (2022), ZÉRUÌ gallery, curated by Jerry Goa; “Freedom”, Plovdiv (2022), Kapana City gallery; “The hanging show”, Sofia (2021) “Institute of Contemporary Art”, Sofia; “Sofia queer forum” (2021) Museum of contemporary art Sofia and Doza gallery, curated by Martina Stefanova; “Sofia Art Week” Sofia 2021 curated by Voin de Voin; “And The weird dreams/we have 3.0_back_to_postwhut” Venice (2020); “In the Calle” curated by Ludovica Elpidia.; “BAZA 2022”, Sofia City Art Gallery.

Aaron Roth works with found images interrogating them by the means of painting, installation, sculpture and photography. The installations straddle the place between the readymade and assemblage based upon the detritus in contrast to the painting having a mimetic and ironic relationship to advertising mostly coming from screenshots from chalga: Bulgarian pop-folk music videos. The pieces draw their inspirations from chalga, conspiracy theory and advertisements of luxury goods used to explore questions of desire, myths of nationalism and capital. Since 2020 he has been curating and organizing shows in off-spaces.

Otucha is a Polish word for an act of care between living beings - to give someone otucha is to lift their spirits and surround them with comfort and encouragement.

Otucha Collective is a Berlin-based vocal ensemble whose work explores the phenomenon of human voice and collective singing - their empowering, transformative and community-building qualities.

The collective's practice centres on the rural singing traditions of so-called Eastern Europe - historically rooted in community care and emotional expression - extended through somatic practice, deep listening, and experimental voice work. Otucha Collective creates performances, public interventions, workshops, and spaces in which deep connection can be experienced through collective sounding and listening.

Otucha Collective at BUNA vol. 4 in Varna is embodied by Agnieszka Kucharska, Dorota Michalak, Julia Legeżyńska, Kata Kwiatkowska, Liene Šilde, Mina Đordević. "

Albena Baeva is a Bulgarian digital and interactive artist working with artificial intelligence, machine learning, physical computing, creative coding, and extended reality. Her practice examines technology through feminist and environmental perspectives. She is also a co-founder and co-curator of Gallery Gallery, Bulgaria’s first gallery dedicated to digital art.

Aleksandar Spasoski, born July 20 in Tetovo, Macedonia, is a multimedia artist working in video, painting, sound, and conceptual art. He studied painting in Skopje and later graduated in New Media from the Academy of Fine Arts Munich, earning his MA in 2013 with a focus on synesthetic art. His award-winning video Voyeur (2008) was shown at international festivals including Oberhausen Kurzfilmtage, Kassel, and Split. In 2015, he created The Ship That Never Passed, a large-scale outdoor installation shown in Skopje and Munich.

Allegra Esclapon de Villeneuve (b. 1996, Vienna) is a multidisciplinary artist working across ceramics, sculpture, and live performance. Raised in Florence, Italy, her practice explores the human body and natural elements through abstracted forms. Drawing on movement, memory, and transformation, she investigates the relationship between the physical and emotional body, using clay as a medium for translating gesture and experience into material form. Alongside her sculptural practice, she develops live sculpting performances, responding to moving bodies in real time. Her work has been exhibited in Madrid, Barcelona, and New York. She lives and works in Madrid.

Ana Nance (Myrtle Beach, SC. 1969) is a North American-Spanish multidisciplinary artist and photographer based in Madrid, Spain. With over 35 years of experience, her practice spans photography, ceramics, drawing, and installation, exploring memory, identity, territory, and our relationship with the natural world. A graduate of Savannah College of Art and Design, she spent twelve years living and working in New York. Her work has been presented at PhotoEspaña, ICP New York, Paris Photo, Art Basel Miami, and Leica Gallery Madrid. A Leica Ambassador, Nance has received numerous awards and grants and is founder of La Tercera Nave in Madrid. She works with various galleries including Arias Rego Contemporary in Madrid, has held residencies in India, France and Miami. Her works are in numerous collections and is a professor that has directed IED Masters of Photography.

Ana Prvački draws inspiration from close observation of nature and contemporary culture. Her interdisciplinary approach encompasses video, augmented reality, sculpture, painting and immersive performances. Prvački strives to stimulate a sense of wonder and awe in the face of the familiar and the routine, employing materials as diverse as magnets, marble and honey to invoke reflection through humor, pleasure and play. She has presented her work at numerous international venues including Martin Gropius Bau, Berlin; de Young Museum, San Francisco; Hammer Museum, Los Angeles; the Isabella Stewart Gardner Museum, Boston; and commissioned work by Chatsworth House and the Los Angeles Philharmonic Orchestra. Selected group exhibitions include the 13th Gwangju Biennial, Sydney Biennial, Bangkok Arts Biennale, Chicago Architecture Biennial, 14th Istanbul Biennial and dOCUMENTA 13. She was short listed for the 2025 Gabriele Münter Prize.

Her work is in the collections of the Museum of Contemporary Art, Los Angeles, and the Los Angeles County Museum of Art, Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy, n.b.k Artothek in Berlin as well as numerous private collections in Europe, the United States, Mexico and Asia.

Her book of watercolors is published by Sternberg Press with an essay by Zadie Smith.

Ana-Cristina Irian is an artist and visual anthropologist whose practice develops through long-term social research, fieldwork, and archival investigation. Working with photographic archives, vernacular images, material culture, and memory, she examines how images, objects, and fragments persist, circulate, and acquire new meanings across time. Her principle, “No one left behind,” directs attention toward lives, histories, objects, and forms of everyday knowledge that remain overlooked, displaced, or outside dominant narratives. Photographic archives and photographic processes are central points of departure in her practice. She approaches them as active sites of circulation, transformation, absence, and reactivation rather than as fixed repositories of the past. Her work moves between photo-object, installation, archival intervention, writing, and experimental forms, with a particular interest in the social life of images - how images move through families, collections, institutions, places, and historical contexts, and how their meanings shift in the process. An archaeological attention to layers, traces, residues, and absences runs through long-term projects such as STRATA / B (2014–2020) and the decade-long Life at Ground Level. Irian studied Sociology at the Universities of Trento and Regensburg, Visual Anthropology in Bucharest and Perugia, and holds a PhD in Visual Arts from UNARTE Bucharest. This interdisciplinary formation underpins a practice in which artistic research, ethnographic inquiry, archival work, and material experimentation continuously intersect. Her recent projects move through family archives, domestic space, migration, ecological loss, and photographic afterlives. #mili-eu: Ileana, Mr. B’s Grandmother (2022–2026) works with family photographs and domestic objects to bring an overlooked female history back into view. The At Home Trilogy (2024–2026) -The Pantry, In the Kitchen, and The Oracle Room -approaches domestic space as an archive of care, labour, memory, absence, and loss. The Titans (2025–2026) connects personal memory with the disappearance of a familiar urban landscape and the experience of solastalgia. In The Social Life of Images / Migration and Memory (2025–2026), photographs and personal documents traverse borders, generations, and political ruptures, examining how presence can endure through fragments and acts of reframing. The Social Life of Images: Summer Exchange (2025) turns to tourism and informal trade on Romania’s Black Sea coast during socialism, combining archival and family photographs in transparent, rotatable photo-objects with sand and water to explore how memory is reshaped through circulation, exchange, movement, and repeated acts of looking. Alongside her visual and research practice, Irian develops poetic and material forms of knowledge production. She is the author of the photobook STRATA / B and of an experimental poetry trilogy, also published on the Versopolis platform, which explores technological poetry, treating digital language as archival material and artistic method. Over the past decade, her work has been presented in more than 50 exhibitions across Europe. Recent presentations include Chester Photo Festival, BUNA International Contemporary Art Festival, the Archaeology of Photography Foundation (FAF) in Warsaw, and PHOTOMINO Europe at FREELENS Gallery during the 2026 Triennial of Photography Hamburg. She is a member of the Romanian Fine Arts Union (UAP) and FUTURES Photography. Her scholarly research has appeared in Anthropology of East Europe Review, History of Communism in Europe, Studies and History Articles, and Revelar. She is also the author of Photographic Collections and Archives Today (2022) and The Production of Space and the Social Life of Artworks on the Streets (2024).

Antoni Rayzhekov (b. 1980, Sofia) is an interdisciplinary artist and educator based in Salzburg, working across sound art, electroacoustic performance and interactive audio-visual installation, frequently at the meeting point of art and science. He trained in theatre directing and acting (National Academy for Theatre and Film Arts, Sofia), jazz piano (Vienna Konservatorium) and vocational training in computer programming (LearningTree, London).

Since 2004 he has been developing performative instruments and generative compositions in which the artistic concept determines the technology, the technology shapes the material and the material defines the interaction. Objects, bodies, landscapes and data serve as compositional input, and their physical properties are translated into sound through custom-built technologie. By embedding artistic intent directly into the technological system, he seeks to uncover hidden processes and entanglements, letting the artwork unfold here and now.

A recurring method in his practice is the translation of non-musical structures, such as geographic data, news databases, biological signals or the contours of everyday objects, into sound through rigorous, self-imposed compositional constraints. In Pandemic Sound Map (2020), COVID-19 case data from 186 countries drove a corresponding number of virtual strings; in Fragile Perspectives (2021/22), 3D glass objects derived from clustered news articles were digitally scanned to excite tuned resonators. This approach treats data not as illustration but as material, much as a sculptor treats stone, where the constraints of the source generate musical form rather than merely representing information.

Recent works include the interactive sound installation Polit-Pong (2026); The Evasive Choir (2021), a 30-channel fixed-media installation drawing on processed political speech, shown at the Institute of Contemporary Art – Sofia and Kunsthaus Graz and acquired for the contemporary collection of the National Gallery of Bulgaria; Until the Last Drop: Trio (2022), a sculptural sound installation using water, IV systems and metal vessels, shown at Lothringer 13 Halle, Munich, and Gallery +359, Sofia; and The Distance Between Us Is Music (2023), an interactive 8-channel sound installation driven by computer vision, presented at Palatul Ștefania, Timișoara. His 5-channel installation Fragile Perspectives was named ISEA Artwork Laureate (Paris, 2023) and was nominated for the NTU Global Digital Arts Prize (Singapore, 2022).

He also creates audio-visual performances, among them ARTIKULAT (2023), commissioned by NAMES Ensemble Salzburg; 10VE (2014), for two amplified bodies and an audience under surveillance (Content Award Vienna 2016); and SOMAPHONY (2016). They use self-designed and self-built performance systems for biosensors, generative sound and visuals, and have been presented at the Ars Electronica Center Linz, the ACT Festival in Gwangju, South Korea, and Künstlerhaus Mousonturm, Frankfurt.

He is a Research Fellow at the Center for Human-Computer Interaction, University of Salzburg, and a guest lecturer in Sound Art at the National Academy of Arts, Sofia. He co-founded the DALAB Foundation and advises the DA Fest biennial for digital arts. In 2026 he received the Jahresstipendium für Medienkunst of the Land Salzburg. Previous fellowships include Akademie Schloss Solitude (2016–17), a WimmelResearch residency at the Bosch Research Center (2018) and STEIM, Amsterdam (2013). His work has been presented internationally at MANIFESTA 14, CAPC musée d'art contemporain de Bordeaux, the Museum of Contemporary Art of Vojvodina, Novi Sad, and the ACT Festival (South Korea), among many others.

Armando Lulaj (Tirana, 1980) is an artist, filmmaker, playwright, and producer of conflict images. Working across moving image, writing, performance, and research, his practice investigates the relationship between power, political fiction, and social inequality. His work engages with the structures of government, institutional violence, and the mechanisms through which economic and political power shape contemporary life.

In 2003, he founded the DebatikCenter of Contemporary Art (D.C.CA) (debatikcenter.net), the first independent, interdisciplinary platform of its kind in Albania. The center connects artists, filmmakers, academics, architects, critics, curators, journalists, translators, and both imaginary and real collectives. It explores the mechanisms shaping contemporary society while developing tools for imagining alternative futures and strategies of resistance to the status quo.

Lulaj represented Albania at the Venice Biennale on two occasions: in 2007, as part of a group exhibition, and in 2015, with the solo exhibition Albanian Trilogy: A Series of Devious Stratagems. From 2022 to 2025, he served as artistic director of the multiyear project Manifesto (debatikcenter.net/manifesto). In 2024, he served as a jury member at the DokuFest Film Festival. Since 2026, he has been one of the authors of ESCALATIONS and the curator of the Albanian chapter of Antifascism: Now.

His work is held in various significant public and private collections.

Axel MOREL, a french artist explores the boundaries between sculpture and volume embroidery, developing a singular artistic approach that fuses tradition and innovation. A graduate of the Métiers d'Art, he began his career as a costume designer in Paris, while continuing to explore sculpture in all its forms. He explores various mediums such as glass or bronze, and transcends conventional techniques by integrating embroidery into three-dimensional structures, whether figurative or abstract. This innovative approach gives rise to pieces in which the thread, traditionally associated with the surface, extends and rises, creating organic and dynamic forms.

Why do I use embroidery as a means of artistic expression?

I've always been fascinated by needlework, whether it's lace, pearl or gold embroidery. The first piece I embroidered was a heart in glass beads on a square of silk satin.

This experience immediately delighted me, and I really enjoyed bringing this object to life, trying to make the motif emerge, to compose with colors, to seek to tame volume, to struggle with the resistance of materials. I then threw myself frantically into the production of a series of embroidered hearts, each borrowing from a different period of art history.

As a costume designer, I've used embroidery extensively, notably for corset ornamentation, but also when creating painted canvases for theater sets, seeking to imitate the movements of embroidered lines on very large formats.

I had the great good fortune to be a student of Anne-Françoise Benhamou - playwright, Florence Delay - writer and academician, Véronique Simon - costume designer, and a close friend of costume designer Jacques Schmidt, the greatest in my eyes. Virginia Woolf, Louise Bourgeois, Louise Labbé and Christian Dior are among my greatest inspirations. Thanks to them, I've found an artistic path that combines extreme rigor, the desire to eliminate the unnecessary and the need for meaning.

In this way, I pursue a fairly personal line of work, using different techniques demanded by the works themselves. Experimenting, seeking to create complex pieces - whether realistic or imaginary - seeking simplification and sometimes opening a space towards abstraction.

It's work that's at once meditative, requiring withdrawal from the world, and nourished by the impact of the outside world. The physical intensity - sometimes the pain - produced by the engagement of the body, implies a number of pauses that I like to be contemplative, like phases of aggregation, which stretch out the time of creation.

The thread sums up my approach to this medium. Connecting things, marking distances from one point to another, and in this way building paths - symbolic, utilitarian, amorous - perhaps recreating a lost link ?

In Bulgaria, Axel Morel works with different galleries in Europe, and his art works are collected in prestigious collection in Bulgaria, China, France, USA, Belgium… He participates in several group show as : ""MBMC my body my choice "" Pride month Sofia - 2025, ""Power pussy"" in SEW 8 - 2025, ""Horizonta"" Non Sofia gallery - 2026, In form Doza gallery - 2026, solo shows as : ""Vestiges"" Triangular tower gallery - 2024, ""Cosmos"" Atelier 28 gallery - 2025, 4Hands I mirror #1 Little Bird Place gallery 2026, and participates at the Sofia Art Fair since 2025 with Atelier 28 and Little Bird Place.

BORJANA is an cross--disciplinary artist who works in the fields of film/video, installation, photography, performative and media art.

Her works have been exhibited internationally in solo and group shows as well as at media art and film festivals, including, National Gallery Sofia, Kunstforum Wien, Belvedere21, MAK Vienna, MAK Los Angeles, Lentos Linz, Museum of Modern Art Salzburg, Salzburger Kunstverein, Museum of Modern Art Carinthia, Museum of Modern Art - Esterházy Foundation, MUSA, Sofia Arsenal - Museum of Contemporary Art, Sofia City Art Gallery, Landesgalerie Linz, Essl Museum, k/haus, quartier21, Gallery bäckerstrasse4, Gallery Ostlicht, Thomas K. Lang Gallery, BCI “Wittgenstein House” in Vienna, Kunstraum Kreuzberg / Bethanien, Kurt-Kurt, LS43 in Berlin, Radiator Arts Gallery in NYC, Austrian Cultural Forum Washington DC and London, ICA London, Academia gallery, Sofia, ICA Sofia, Art Today Plovdiv, Hunt gallery, St. Louis, US, Cologne Conference, IDFA, Diagonale, Graz, EMAF, Osnabrück, transmediale, Berlin, filmwinter, Stuttgart, Rencontres Internationales, Berwick Film and Media Arts Fest., Moscow Int. Filmfest., Int. Short Film Fest. Istanbul, Split Film Fest., etc.

She received the promotion award by the City of Vienna 2017, the Austrian State Scholarship for Fine Art 2013, numerous grants and awards for projects, Start Scholarship for Fine Art 2009, winner of Top Ten Nonfiction Award at Cologne Conference 2006, Otto Prutscher Fonds Award 2006, Susmannstiftung Award 2005, recognitions at Art in Motion 2002, Los Angeles, Ars Electronica, 2002, Linz, CYNETart 2001, Dresden.

She was artist in residence in London (ACF), Rom (BKA), Newcastle (ISIS Arts), Berkeley (Kala Art/CEC Artslink), Los Angeles (MAK Schindler), Chicago (BKA), Athens (Snehta), Banff (Banff Center/BKA), NYC (ISCP/BMKOES), Andratx (CCA).

Her works are part of private and public colletions among Foto collection of BKA, Vienna, Collection of the city of Vienna, MUSA, Collection of National Art Gallery, Sofia, 21er Haus / Belvedere, Vienna, LENTOS Linz, Essl /Albertina, Estherhazy, Angerlehner Collections in Austria, a.o.

In her works Borjana analysis playfully stereotypical roles and models of representations and the impact of political and social structures and control mechanisms on our existence. Her work addresses issues of mobility and crossing of socio-geographical and cultural borders and deal with the complex process of communication and translation. Focusing on documentary and narrative structures and constructions, she mixes stages and situations, still and moving image, text and sound into cases and stories that test the line between personal and social, examine the interaction between individual and collective in the frame of current events and history. In her concern with the strategies of re-positioning, manipulation and perception, Ventzislavova’s work draws attention to the permeable borders between documentary and fiction and tries to reveal those structures of a society that are located below the representative surface.

She has been granted honorable Austrian citizenship for her achievements in visual arts.

ULTRAFUTURO group was founded in 2004 by artists Boryana Rossa and Oleg Mavromatti, together with Anton Terziev and Katia Damianova. Other members of the group were Miroslav Dimitrov and Stanislav Georgiev. The group addresses the issues arising from the application of technological and scientific advances, focusing on their social, political and ethical aspects.

The group makes performances, actions and public interventions as well as works in the spheres of biological and electronic arts and self-identifies its work as metaphysical hermetic actionism. The theme for the Other and the Alien is embodied in the image of the Robot, which is fundamental to the manifests and the performances of ULTRAFUTURO.

“Downey is one of those free spirits. He isn’t backward-looking, but slightly offbeat in these controlled times. He comes from the United States and therefore carries that weight, but with a lightness, as if it weren’t a burden as we know it. He possesses a kind of athletic mental agility. If he encounters a fence, a wall, or any kind of barrier, his impulse seems to be to punch a hole through it. He can then hang a work of art in that hole. But his ideas about what constitutes art are completely free, unhindered, and uncontrolled.” Jimmie Durham

Cannupa Hanska Luger is an award-winning artist and cultural innovator whose expansive creative and philosophical practice introduces new methodologies, ideas, and speculative technologies that reflect Indigenous innovation and shift collective thinking. Born on the Standing Rock Indian Reservation in North Dakota, Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara) and Lakota. His bold visual storytelling offers new ways of seeing our shared humanity while centering an Indigenous worldview.

With a socially engaged, interdisciplinary practice spanning public art, large-scale installation, ceramic sculpture, performance, time-based media, writing, and land-based actions of repair, Luger’s work blends critical cultural analysis with Indigenous advocacy and deep respect for the diverse materials, landscapes, and communities he engages. Luger has been featured on the cover of National Geographic and profiled in The New York Times Magazine and Art21. He was named a Grist climate leader for driving fresh solutions to our planet’s most pressing challenges and is the recipient of numerous honors recognizing his groundbreaking work.

Luger is the 2026 recipient of the prestigious PEN/Jean Stein Book Award for SURVIVA: A Future Ancestral Field Guide (Aora Press). In 2025, he received a National Geographic Society Wayfinder Award and was named a National Geographic Explorer. He was awarded an Honorary Doctorate of Fine Art from Maine College of Art & Design (2025), the New Mexico Governor’s Award for Excellence in the Arts (2025), the Eiteljorg Contemporary Art Fellowship (2025), and the Ourworlds Immersive Visual Arts Award (2025). Additional honors include the Herb Alpert Award in the Arts (2024), Monument Lab Fellowship (2024), Soros Arts Fellowship (2023), Guggenheim Fellowship (2022), United States Artists Fellowship (2021), Creative Capital Fellowship (2020), Smithsonian Artist Research Fellowship (2020), Joan Mitchell Foundation Painters & Sculptors Award (2019), and a he was the recipient of the Museum of Arts and Design’s inaugural Burke Prize (2018). His work has been exhibited nationally and internationally, including Times Square Arts Midnight Moment (New York, NY), the Sharjah Biennial 16 (Sharjah, United Arab Emirates), the 81st Whitney Biennial at the Whitney Museum of American Art (New York, NY), the 14th Shanghai Biennale at the Power Station of Art (Shanghai, China), the Metropolitan Museum of Art (New York, NY), the Gardiner Museum (Toronto, Canada), Kunsthal KAdE (Amersfoort, Netherlands), the Art Gallery of Alberta (Edmonton, Canada), Crystal Bridges Museum of American Art (Bentonville, AR), and the National Center for Civil and Human Rights (Atlanta, GA), among others.

Luger’s work is held in numerous public collections, including the National Gallery of Art (Washington, DC); the Detroit Institute of Arts (Detroit, MI); the Nordamerika Native Museum (Zürich, Switzerland); the San Francisco Museum of Modern Art (San Francisco, CA); and the Los Angeles County Museum of Art (Los Angeles, CA).

He is represented by Garth Greenan Gallery (New York, NY) and maintains a studio practice in Glorieta, New Mexico.

Born in France, Carole Mousset studied at the Beaux-Arts in Nantes and at the Royal Academy of Fine Arts in Brussels, where she currently lives and works as an artist-in-residence at Triphasé. Her practice unfolds primarily through painting, sometimes extended into dialogue with ceramics, and investigates the body as a site where intimacy, materiality, and representation intersect. Through a sensorial and embodied approach, her work engages with contemporary feminist concerns and the persistent unease surrounding the female body. Central to her recent work is the figure of a fantastical aquatic creature, developed alongside an evolving neo-mythological text that forms a parallel narrative space to the paintings. This speculative figure operates as both a poetic and political device, opening questions around bodily emancipation, sorority, and the ecological impact of human chemical pollution on aquatic environments. By weaving together fiction and material practice, her work constructs alternative imaginaries through which vulnerable and transformative bodies can be reconsidered. Carole Mousset was awarded the Novembre à Vitry Painting Prize in 2022 (FR). Her work has been presented at Ballroom Gallery in Brussels (BE), at DeStudio during Antwerp Art Weekend (BE), at Scroll Galerie in Nantes (FR), at Spiaggia Libera in Marseille (FR), at Sofia 22 for the Buna Festival in Varna (BGR), and in Paris at Chapelle XIV and Galerie Suzanne Tarasieve (FR), where she held a solo exhibition in the Project Room. She has also undertaken residencies at Le Confort Moderne in Poitiers (FR) and at KHmessen in the Hardangerfjord in Norway.

Center for Peripheries is a collective operating at the intersection of social research and space-based art. It was founded by three artists who stem from Europe’s different peripheries (the Middle East, the Caucasus, the Balkans), but reside and collaborate in Berlin—one of Europe’s most significant centers, and the EU’s (statistically) most populous city—which has throughout recent history embodied the dialectic of East and West. Aiming to explore the relations of power and the mechanisms of othering within and beyond the far ends of this dialectic, Center for Peripheries operates through interventions themed around different notions of everyday life, expanding them into analyses of wider political contexts. Amongst other exhibitions and projects, Center for Peripheries has recently exhibited at Ravnikar Gallery Ljubljana, Museum Angewandte Kunst Frankfurt, and Neue Galerie, Innsbruck. Currently, Center for Peripheries is a curating a group exhibition at Kunsthalle Exnergasse in Vienna.

Alin Bosnoyan is an Argentinian visual artist born with Armenian heritage. Her practice is concept-driven and operates between spatial installations, object design, and pop and advertising phenomena. Her work explores ways to unravel complexity through triviality. Spanning a variety of disciplines as well as outlets, her recent projects have been featured in multiple galleries and platforms in Europe and South America, including La Confiteria in Buenos Aires and Sand Journal.

Cevdet Erek is an artist and musician whose practice explores the relationships between sound, rhythm, architecture, and the experience of space. Moving fluidly between installations, performances, and site-responsive interventions, he creates environments in which listening becomes a physical and spatial encounter. His work has been presented at major international institutions and exhibitions, including the Secession in Vienna, Hamburger Bahnhof in Berlin, Museum Tinguely in Basel, Istanbul Modern, Arter, SALT Beyoğlu, and the Staatliche Kunsthalle Baden-Baden. He has also participated in the São Paulo, Liverpool, Mardin, and Thessaloniki biennials. Through these diverse contexts, Erek continues to develop a distinctive artistic language that brings together sonic experimentation, architectural awareness, and the rhythms of everyday life.

Clemens Behr (*1985, Koblenz, Germany) is a Berlin-based artist whose work moves between sculpture, installation, architecture, and painting. He studied graphic design at Dortmund University of Applied Sciences and Arts before completing his studies in sculpture at the Berlin University of the Arts. Behr lives and works in Berlin.

At the centre of his practice is an interest in the material, spatial, and social conditions of the built environment. Behr creates large-scale installations for both interior and exterior spaces, responding directly to the specific architecture, history, and use of a site. His works are often conceived as temporary interventions: structures that enter an existing space, alter its orientation, and make its overlooked characteristics newly visible. Rather than treating architecture as a neutral backdrop, Behr approaches it as an active material—one shaped by construction, repair, adaptation, neglect, and everyday use.

Working with wood, metal, found objects, recycled materials, and ordinary building supplies, Behr constructs spatial arrangements that appear at once precise and improvised. Beams, panels, supports, fragments, and surfaces are assembled into unstable-looking constellations that interrupt familiar paths of movement and perception. These constructions can resemble temporary repairs, unfinished building sites, makeshift shelters, or artificial ruins. They refer to the visual language of urban infrastructure and construction work, while simultaneously resisting straightforward functionality.

Although his installations strongly foreground physical material and construction, Behr also understands them as a form of painting. Colour, surface, composition, layering, and perspective play a central role in his work. His structures create painterly situations in space: they frame views, compress or extend depth, produce unexpected alignments, and turn architectural fragments into abstract compositions. In this sense, his work portrays fleeting moments found in transitional urban spaces—moments in which materials, repairs, and improvised solutions reveal their own visual and poetic logic.

Behr’s practice is characterised by a productive tension between order and disorder, stability and fragility, planning and accident. His works evoke what might be called a “time out of joint”: a condition in which temporary measures become permanent, construction remains visibly unresolved, and the built world appears both functional and precarious. Through this constructed fragility, Behr invites viewers to reconsider familiar environments and to notice the aesthetic, social, and historical traces embedded in their material fabric.

His work has been presented internationally, including at the Lyon Biennale (2022), as well as in solo exhibitions at Gallery Punta, Sofia (2024), Hidari Zingaro, Tokyo (2019), and Kanya Kage Artspace, Berlin (2023)

Constantine Zlatev (born 1974 in Ruse, Bulgaria) is a contemporary artist and industrial designer whose work confronts global issues through a lens of satire. Operating under his independent art and design studio, Made In Constantine, Zlatev investigates complex social, political, and cultural themes. His conceptual focus frequently centers on anti-war statements, peace, and the systemic impacts of gun violence.

Zlatev's practice is defined by a unique synthesis of material and technology. He pairs rigorous, traditional craftsmanship—working across glass, metal, wood, and stone—with interactive electronics and microprocessors, creating dynamic pieces that physically engage the viewer.

An internationally recognized artist, Zlatev has participated in numerous solo and group exhibitions across Europe and the United States. Notable solo exhibitions include Peace By Peace at Structura Gallery (Sofia), Trade Beads at TechShop Gallery (San Francisco), and Crossroads at 1Opera Gallery (Naples). His work has also been featured in institutional group exhibitions, such as Hunger 2.0 at the National Museum of Military History (Sofia), Up in Arms at Kunstraum Kreuzberg/Bethanien (Berlin), and Art of Peace at the Yerba Buena Center for the Arts (San Francisco).

Zlatev’s practice has been supported by several distinguished awards and international residencies. He was named the Sculpture & Installation Winner at the 7th International Arte Laguna Prize in Venice, won a glassmaking residency at the Abate Zanetti Glass School in Murano, Italy and has been a resident artist at TechShop San Francisco. He is also a multi-time recipient of creative grants from the National Cultural Fund of Bulgaria.

Dimitar Solakov is a Bulgarian multidisciplinary artist whose practice encompasses photography, video, drawing, painting, installation, sound, 3D printing, and digital technologies including AR and VR. He graduated in Photography from New Bulgarian University. His work examines the relationships between humans and their surroundings and the ways in which we understand, transform, and construct the world around us. Moving between nature and urbanisation, personal experience and collective histories, Solakov often questions humanity’s position at the centre of these relationships and the responsibility that comes with its capacity to alter the environment. Climate change and possible futures for humanity form an important strand of his practice. Rather than treating the future as a distant or purely speculative space, he uses it as a way of looking back at the present—examining contemporary choices, anxieties, contradictions, and failures through their possible consequences. Other works revisit the past, questioning how history, cultural heritage, and collective memory are reconstructed and reinterpreted in the present. His approach shifts between deeply personal perspectives and deliberately distanced or speculative positions. Solakov has presented his work internationally, including at the 21st Biennale of Sydney, Cosmopolis #2 at Centre Pompidou, the Art Encounters Biennial, the Gabrovo Biennial, Kunsthalle Bega, and other institutional and independent contexts.

Otucha is a Polish word for an act of care between living beings - to give someone otucha is to lift their spirits and surround them with comfort and encouragement.

Otucha Collective is a Berlin-based vocal ensemble whose work explores the phenomenon of human voice and collective singing - their empowering, transformative and community-building qualities.

The collective's practice centres on the rural singing traditions of so-called Eastern Europe - historically rooted in community care and emotional expression - extended through somatic practice, deep listening, and experimental voice work. Otucha Collective creates performances, public interventions, workshops, and spaces in which deep connection can be experienced through collective sounding and listening.

Otucha Collective at BUNA vol. 4 in Varna is embodied by Agnieszka Kucharska, Dorota Michalak, Julia Legeżyńska, Kata Kwiatkowska, Liene Šilde, Mina Đordević.

Residual Eerie is a collaborative installation bringing together works by Elvire Ménétrier and Valentin Vert. For Buna Vol.4 , this original project marks the second collaboration between the two artists.

Gaby Grigorova Born in Sofia, Bulgaria. She works primarily with photography, objects and installations.

Gabi Grigorova is a visual artist with many years of professional experience in the film and television industry, who is gradually shifting towards contemporary art. Her practice uses photography and everyday objects transformed into conceptual objects. Her work focuses on themes such as internal conflicts, the body as a carrier of memory and stories, as well as issues related to death, absence and time.

She is the founder of Gallery Blenda — an independent platform for contemporary art, whose activities continue and develop in a new format as Gallery 10m² . https://10m2gallery.com/

Solo exhibitions: Skin , January–February 2023 — Atelier Plastelin (with the support of the National Culture Fund)

Meet the Skin , May 2023 — Plastelin Atelier (talk with the artist and continuation of the Skin exhibition , with the support of the National Culture Fund)

All The Words I Didn't Send , September–October 2023 — A Cube Gallery

White Noise (site-specific), May 12–26, 2025 — Depoo Gallery (with the support of the National Culture Fund)

Group exhibitions: Finder , September 2023 — Atelier Plastelin

You Know My Name , 2023 — Doza Gallery, within the framework of "Assembly of Shame"

I Was , August–September 2024 — Plovdiv International Biennial (3rd place)

I Was , 28 April – 5 May 2025 — The Second 19, Muzeul de Artă Modernă și Contemporană Pavel Șușară, Bucharest, Romania

Song of Childhood , 2021 — online exhibition, Art Gallery 514

Gil Kuno has been challenging the boundaries of various media since the introduction of the Internet. Gil’s Unsound.com [1994] was an early crowd sourcing web experiment (which received a recommendation from Timothy Leary.) In 1996, he created Wiggle, the world’s first Internet band, then the guitar deconstruction project Six String Sonics, The (featured in the Fringe Festival in NYC) in 2004.

He has since created various sound sculptures/installations, including his most recent Noisemakers, which explores the composition possibilities of flip dot displays. Gil also articulates in other media (such as video, ceramics, acrylics, wood, etc.,) exploring the possibilities of each in innovative ways.

Gil has received awards and grants from: Japanese Ministry of Culture, US Embassy in Japan, Foundation for Contemporary Art. Ars Electronica, Canon Digital Creators Contest, Japan Media Arts Festival, etc.

He has exhibited with artists such as: John Cage, Yoko Ono, Marina Abramović, Valie Export, John Baldessari, Takashi Murakami, Jean-Michel Basquiat, Marcel Duchamp, Tadanori Yokoo, Keith Haring, etc.

He has collaborated with internationally renowned musicians such as: Eye Yamantaka (Boredoms,) Yoshimi (Boredoms, OOIOO,) Battles, Vincent Gallo, Ken Ishii, Tatsuya Yoshida (Ruins,) Carl Stone, Elliot Sharp, Alec Empire (Atari Teenage Riot,) Steve Albini (Big Black, Shellac,) Cristian Vogel, Zbigniew Karkowski, Merzbow, GX Jupitter-Larsen (The Haters,) Nissennenmondai, Christian Galarreta, Joseph Hammer, Jaap Blonk, Fuyuki Yamakawa, Tamio Shiraishi, among many others. Artist HP｜ https://www.unsound.com/ IG｜@gilkuno FB | @gilkuno TW | @gilkuno

Gloria Oyarzabal Lodge (London, 1971) is a Spanish visual artist and photographer based between Madrid and Asturias. Trained in Fine Arts, conservation, and photography, her practice examines colonial and postcolonial narratives, the construction of Otherness, African feminisms, and representations of women. Her work has been exhibited internationally at PhotoEspaña, LagosPhoto, FORMAT, Fotofestiwal Lodz, and other major festivals. Her photobook Woman Go No’Gree received the Images Vevey Photobook Award and Paris Photo–Aperture Best Photobook of the Year 2020. She has undertaken residencies across Africa and Europe and is represented by Rocío Santacruz Gallery, Barcelona.

Steeped in numerous Eastern and Western cultural references ranging from art history and theatre to cinema, music, and philosophy, Ho Tzu Nyen's works blend myth and history to generate new ways of understanding history, its writing, and its transmission. A central concern of his practice is the plurality of cultural identities in Southeast Asia—a region so diverse in its languages, religions, cultures, and histories that it resists reduction to any singular geographical, political, or historical framework.

In recent years, he has increasingly incorporated algorithmic systems, artificial intelligence, and real-time computational processes into his practice, bringing these technologies into dialogue with unfinished historical questions—particularly those concerning colonialism, memory, and power. By engaging their distinctive logics of sequencing, association, and generation, his works explore emerging ontologies of image-making in which images are no longer fixed representations of the past but dynamic processes of relation and transformation. Technology thus becomes not merely a medium for revisiting history, but a means of reconfiguring the conditions through which history can be perceived, narrated, and imagined.

Selected solo exhibitions held at: BOZAR, Belgium (2026); Hamburger Kunsthalle, Germany (2025); LUMA Arles, France (2025); Mudam Luxembourg (2025); Hessel Museum of Art, New York, USA (2024); Art Sonje Center, South Korea (2024); Museum of Contemporary Art Tokyo, Japan (2024); Singapore Art Museum (2023); Hammer Museum, Los Angeles, USA (2022); Toyota Municipal Museum of Art, Japan (2021); Yamaguchi Center for Arts and Media [YCAM], Japan (2021); Edith-Russ-Haus for Media Art, Germany (2019); Kunstverein in Hamburg, Germany (2018); Asia Art Archive, Hong Kong (2017); Guggenheim Bilbao, Spain (2015); Mori Art Museum, Japan (2012); The Substation, Singapore (2003). He represented Singapore at the 54th Venice Biennale in 2011.

Recent group exhibitions include Shéhérazade, at night, at Palais de Tokyo, Paris (2022), Rubiyat, at Mathaf, Qatar (2022); Nation, Narration, Narcosis: Collecting Entanglements and Embodied Histories, at Hamburger Bahnhof - Museum für Gegenwart – Berlin, Germany (2021) the Aichi Triennale (2019); 12th Gwangju Biennale (2018); 2 or 3 Tigers at the Haus der Kulturen der Welt, Berlin (2017), the 10th Shanghai Biennale (2014); the 2nd Kochi-Muziris Biennale (2014). His theatrical works have been presented at festivals such as TPAM (Yokohama, Japan, 2021, 2019, 2018); The Holland Festival (Amsterdam, 2020, 2018); Wiener Festwochen (2020, 2014); Theater der Welt (2010); the KunstenFestivaldesArts (2006, 2008, 2018). His films have been presented at the Berlin (2015); Sundance (2012); Cannes (2009) and Venice (2009) film Festivals. Together with Taiwanese artist Hsu Chia-wei, he also co-curated ‘The Strangers from Beyond the Mountain and the Sea’, the 7th Asian Art Biennale, at the National Taiwan Museum of Fine Arts. Some of the film festivals that have presented his work include the 41st Director’s Fortnight, Cannes International Film Festival (France, 2009), 66th Venice International Film Festival (Italy, 2009), 39th Rotterdam International Film Festival (The Netherlands, 2009), 14th Pusan International Film Festival (South Korea, 2009), 44th Karlovy Vary International Film Festival, 64th Locarno International Film Festival (Switzerland, 2011), 42nd Rotterdam International Film Festival (The Netherlands, 2012), Sundance Film Festival (USA, 2012).

Ho was named an Established Artist medalist at the Art Basel Awards in 2025, received the CHANEL Next Prize in 2024, and will receive the Grand Prize of the Fukuoka Prize in 2026. He was appointed Artistic Director of the 16th Gwangju Biennale, which will open in September 2026.

“Downey is one of those free spirits. He isn’t backward-looking, but slightly offbeat in these controlled times. He comes from the United States and therefore carries that weight, but with a lightness, as if it weren’t a burden as we know it. He possesses a kind of athletic mental agility. If he encounters a fence, a wall, or any kind of barrier, his impulse seems to be to punch a hole through it. He can then hang a work of art in that hole. But his ideas about what constitutes art are completely free, unhindered, and uncontrolled.” Jimmie Durham

Isadora Soares Belletti (born in Belo Horizonte in 1995) lives and works in Paris. She studied film at FAAP in São Paulo before moving to Paris, where she continued her studies at the Beaux-Arts de Paris, graduating with jury's honors in 2024. Working with film, installation, and text, Isadora thinks of her works as portraits of people or other beings, and the places they inhabit (in real life, or fictionally): a mother and a daughter who changed continents in the early 2000s; Isadora's grandmother, who applauds the sunset every day from her balcony in Belo Horizonte; or birds that have migrated and adapted to a much colder climate than their own.

She conceives film not only as a succession of moving images, but also as a sculptural and spatial medium, an entity that goes beyond the screen into physical space. This research extends to an exploration of materiality itself: light sensitive and time-reactive elements that are not just tools for projection, but poetic carriers of memory, loss and transformation.

Her work has been shown at Pivô, Galeria Galatea, the Museum of Brazilian Art (FAAP), among others, in Brazil; and at Frac Île-de-France, Air de Paris, Solar Galeria de Arte Cinemática, AWARE, Elsewhere - Paraguay Press, Espacio Temporal, le Palais des Beaux-Arts, among others, in Europe. In 2022, she was awarded the Diptyque Scholarship for her 3rd year diploma at the Beaux-Arts de Paris. In 2024, Isadora was awarded the FoRTE Île-de-France grant (Regional Fund for Emerging Talent) in the visual arts category, together with Persona Curada.

Born in Plovdiv, Bulgaria, in 1972, the artist has lived and worked in Berlin since 2015. His practice is grounded in a wide-ranging artistic education shaped by encounters with influential figures such as Klaus Vogelgesang, Hermann Nitsch, Simon Starling, and Christa Näher at the academies of fine arts in Mainz and Frankfurt. He later completed a PhD in Art History and Fine Arts at the National Academy of Art in Sofia, bringing together artistic practice and critical research. His work is represented in public and private collections worldwide, including state museums and cultural institutions.

Ivan Moudov (born 1975, Sofia, Bulgaria) is an artist who lives and works in Sofia. He holds an MA from the National Academy of Fine Arts in Sofia, completed in 2002, following his studies at the city’s High School of Applied Arts.

Moudov’s practice moves between conceptual gestures, institutional critique, sculpture, installation, performance and the subtle reconfiguration of public space. Often working with systems of value, authorship, visibility and exchange, he uses irony, displacement and carefully staged situations to question how artworks—and the institutions around them—acquire meaning. His projects frequently blur the boundary between artistic action and everyday reality, inviting viewers to reconsider the social, economic and symbolic frameworks that shape contemporary art.

His work has been presented widely in Bulgaria and internationally, including at Manifesta 14 in Pristina; the 52nd Venice Biennale; the Museum of Contemporary Art Metelkova in Ljubljana; MAXXI in Rome; Moderna Museet in Stockholm; MUMOK in Vienna; the Irish Museum of Modern Art; and the Museum of Contemporary Art Zagreb. Recent solo exhibitions include Border Flowers at ALL-U-RE, Sofia (2025); Studies on Hysteria at Punta Gallery and Posta Gallery, Sofia (2024); and Kitesurfing Injuries: Recasting Misfortune at ONE Gallery, Sofia (2023).

His work has appeared in exhibitions throughout Europe, Asia and North America, including projects at ICA–Sofia, Sariev Contemporary, Galerie Alberta Pane, prometeogallery, Kunstverein München, Kunsthalle Wien, the Garage Museum of Contemporary Art in Moscow, and the National Art Gallery in Sofia.

In his artistic work, he deals with forms of remembrance and collective memory as well as perspectives of resistance. Gierlinger examines in his films and installations the historical and social traces left behind by different political systems and eras. Thereby he focus on memory spaces, archive, forms of protest, transgenerationality, testimonies and gaps within historical narratives. Central to his work are processes of transformation, constellations between the past and the present, and questions of representation and its effects. In poetic form, Gierlinger examines how visual and narrative structures continue to have an effect and remain visible, interwoven, and experiential in the present, and, not least, raises questions about possible future spaces. His work has been shown at film festivals & institution, among others Visions Du Réel Nyon (CH), EMAF Osnabrück (DE), CPH:DOX (DK), IMPAKT Festival (NL), ZINEBI Bilbao (ESP), Belvedere21 (AT), Werkleitz Zentrum für Medienkunst (DE), Filmmakers Milano (IT), Museum der Moderne Salzburg (AT), Bienal de Artes Mediales de Santiago (CL), Edinburgh IFF (GB), Bergamo Film Meeting (IT), Dokufest (KOS), Antimatter [Media Art] (CA), Kassel Dokfest (DE), rotor Graz (AT), Salzburger Kunstverein (AT), Diagonale Graz (AT). Lives and works in Vienna.

Otucha is a Polish word for an act of care between living beings - to give someone otucha is to lift their spirits and surround them with comfort and encouragement.

Otucha Collective is a Berlin-based vocal ensemble whose work explores the phenomenon of human voice and collective singing - their empowering, transformative and community-building qualities.

The collective's practice centres on the rural singing traditions of so-called Eastern Europe - historically rooted in community care and emotional expression - extended through somatic practice, deep listening, and experimental voice work. Otucha Collective creates performances, public interventions, workshops, and spaces in which deep connection can be experienced through collective sounding and listening.

Otucha Collective at BUNA vol. 4 in Varna is embodied by Agnieszka Kucharska, Dorota Michalak, Julia Legeżyńska, Kata Kwiatkowska, Liene Šilde, Mina Đordević.

Otucha is a Polish word for an act of care between living beings - to give someone otucha is to lift their spirits and surround them with comfort and encouragement.

Otucha Collective is a Berlin-based vocal ensemble whose work explores the phenomenon of human voice and collective singing - their empowering, transformative and community-building qualities.

The collective's practice centres on the rural singing traditions of so-called Eastern Europe - historically rooted in community care and emotional expression - extended through somatic practice, deep listening, and experimental voice work. Otucha Collective creates performances, public interventions, workshops, and spaces in which deep connection can be experienced through collective sounding and listening.

Otucha Collective at BUNA vol. 4 in Varna is embodied by Agnieszka Kucharska, Dorota Michalak, Julia Legeżyńska, Kata Kwiatkowska, Liene Šilde, Mina Đordević.

Kiril Kirilov is an architectural designer working across architecture, contemporary art, and spatial research. His practice is concerned with the relationship between the physical conditions of space and the social structures that operate through them. Rather than understanding architecture solely as a question of form, construction or representation, he investigates how spaces organize bodies, behaviour, access, interaction, memory, and relationships between people.

His work develops through speculative and experimental processes that combine physical models, material investigations, installation, VR environments, video, drawing and archival research. These methods allow him to work simultaneously with the tangible and intangible dimensions of architecture: its materials and structures, but also the institutional, political, cultural, and social systems embedded within them. He is particularly interested in situations where these systems become unstable, disappear or are contested, and in what such conditions reveal about the role architecture plays in everyday life.

Kiril often begins with existing architectural or urban conditions - buildings, infrastructures, public spaces, historical archives, or informal forms of inhabitation - and treats them not as fixed subjects but as evidence from which alternative possibilities can emerge. His work explores the tension between what a space was intended to do and how it is actually inhabited, between institutional structures and informal practices, and between collective memory and contemporary needs.

Material experimentation is an important part of this process. Physical objects and architectural models are not simply representations of ideas but become ways of thinking through them. Materials are allowed to behave, deform, resist, or transform, producing forms that can reveal relationships that might remain abstract in conventional architectural drawings.

Across his practice, Kiril is interested in making visible the hidden scenarios contained within architecture and in proposing alternative ways of inhabiting and understanding space. His work ultimately treats architecture as a medium through which questions of memory, material, power, community, and social life can be negotiated.

Krasimira Butseva is a visual artist, researcher and Senior Lecturer in Photography at London College of Communication. Based between London and Sofia, her practice examines political violence, trauma and memory in post-communist Bulgaria. Working across photography, moving image, sound, archival material, text and installation, she draws on long-term fieldwork, oral histories and sustained collaboration with survivors of state violence and their families. Her research considers the relationship between official archives, institutionalised forgetting and vernacular forms of remembrance, while developing collaborative and counter-archival approaches to complex and contested histories. She is one-third of the artistic collective behind The Neighbours, a multimedia installation based on more than forty interviews with survivors of Bulgaria’s socialist-era camps and prisons. The project represented Bulgaria at the 60th Venice Biennale in 2024. Butseva received the BAZA Award for Contemporary Art in 2022 and has held fellowships at Akademie Schloss Solitude and Residency Unlimited, New York. She is currently an artist in residence at the Centre for Culture and the Mind at the University of Copenhagen. Her writing includes the article “Vernacular Memorial Museums: Memory, Trauma and Healing in Post-Communist Bulgaria,” published in Museums & Social Issues.

Красимира Буцева е визуална артистка, изследователка и преподавателка по фотография в London College of Communication. Живее и работи между Лондон и София, а практиката ѝ изследва политическото насилие, травмата и паметта в посткомунистическа България. Работи с фотография, видео, звук, архивни материали, текст и инсталация, като практиката ѝ се опира на дългогодишна теренна работа, устни истории и сътрудничество с общността от оцелелите от политическо насилие и техните семейства. Изследванията ѝ разглеждат връзката между официалните архиви, институционализираното забравяне и формите на памет на общности, като същевременно развиват съвместни контра-архивни подходи към сложни и фрагментирани истории. Тя е една от тримата автори на „Съседите“ — мултимедийна инсталация, основана на повече от четиридесет интервюта с хора, изпратени в лагери и затвори в социалистическа България. Проектът представи България на 60-ото Венецианско биенале през 2024 г. Буцева е носителка на наградата за съвременно изкуство БАЗА (2022) и е била стипендиантка на Akademie Schloss Solitude. В момента е на артистична резиденция в Centre for Culture and the Mind към Университета в Копенхаген. Сред публикациите ѝ е статията „Вернакуларни мемориални музеи: памет, травма и изцеление в посткомунистическа България“, публикувана в Museums & Social Issues.

Kyril Buhowski is an artist and author who works in the areas of painting, video, installation, performance, and creative writing. In his diverse practice he explores the subjects of memory, resilience, structures of power, identities, and the creation of narratives. After studying at the National School of Fine Arts and at the National Academy of Art in Sofia, he moved to London, where he did an MA in dramatic writing at the Royal Central School of Speech and Drama. He spent five years in the UK, directing plays in fringe theatres in London and working as an assistant to a contemporary artist. In 2023 he moved back to Bulgaria and became an active participant in the visual art scene. He was part of the school4artists 3 initiative of the ICA-Sofia and has participated in and organised multiple exhibitions.

Lana Stojićević (b. 1989, Šibenik, based in Split) is a visual artist working in the field of artistic research. She utilizes performative and staged photography, textile, costumes, and architectural models to explore themes, such as illegal construction, architectural and industrial heritage, environmental pollution, contemporary neo-style tendencies, devastation of cultural heritage, and the transformation of the landscape as a result of mass tourism. She graduated from the Department of Painting at the Arts Academy in Split in 2012. She works as an assistant professor at the Department of Visual Culture and Fine Arts of the Arts Academy in Split. She has taken part in several artist residencies, such as Residency Unlimited, New York; Cité Internationale des Arts, Paris. She has won numerous professional awards, such as the third Erste prize, Youth Salon, Croatian Association of Artists, Zagreb (2022); the Radoslav Putar Award, Institute of Contemporary Art, Zagreb (2021); the third Ivan Kožarić Award, Museum of Contemporary Art, Zagreb (2021); the Metro Imaging Award at the New East Photo Prize exhibition, Calvert 22 Foundation, London (2016); the Annual Award for Young Artists, Croatian Association of Artists, Zagreb (2015); the second prize of the exhibition Different Worlds: Young Contemporary Photography, Photon Gallery, Ljubljana (2015). Her works are included in public art collections, such as Museum of Contemporary Art, Zagreb; Prostor – Culture Hub Croatia, Split; Erste Bank, Zagreb; The State Museum; Exhibition Centre for Photography – ROSPHOTO, St. Petersburg, Gallery of Fine Arts, Split.

Otucha is a Polish word for an act of care between living beings - to give someone otucha is to lift their spirits and surround them with comfort and encouragement.

Otucha Collective is a Berlin-based vocal ensemble whose work explores the phenomenon of human voice and collective singing - their empowering, transformative and community-building qualities.

The collective's practice centres on the rural singing traditions of so-called Eastern Europe - historically rooted in community care and emotional expression - extended through somatic practice, deep listening, and experimental voice work. Otucha Collective creates performances, public interventions, workshops, and spaces in which deep connection can be experienced through collective sounding and listening.

Otucha Collective at BUNA vol. 4 in Varna is embodied by Agnieszka Kucharska, Dorota Michalak, Julia Legeżyńska, Kata Kwiatkowska, Liene Šilde, Mina Đordević.

Linarejos Moreno is an artist whose practice spans painting, photography, installation, publishing, and research. Working across industrial materials, photographic processes, and scientific and technological imaginaries, she explores the tensions between subjectivity, otherness, modernity, and the social structures that shape contemporary forms of knowledge. Represented by Inman Gallery (Houston) since 2012, Moreno has presented solo exhibitions at major institutions in Spain and the United States. Her work is held in major public and private collections, including the Museum of Fine Arts, Houston, the Bank of Spain, and Fundación MAPFRE. In 2024, her artist book On the Geography of Green [&] received the PHotoESPAÑA Best Photography Book Award and a Special Mention at Les Rencontres d'Arles. Moreno is Professor and Vice-Dean for Cultural Action at the Faculty of Fine Arts, Complutense University of Madrid.

Luca Cottier (born 1994, Fribourg, Switzerland) is an artist whose practice is grounded in sculpture and shaped by a sustained engagement with material, process and installation. From 2012 to 2016, he completed an apprenticeship in stone sculpture with Reto Steiner, stone sculptor and installation artist. He then worked independently before beginning his studies at the Karlsruhe Academy of Fine Arts in 2021, first under Professor Stephan Balkenhol, then Professor Rita Vitorelli, and since 2024 under Professor John Bock.

Cottier’s work has been presented in group exhibitions in Germany and Switzerland, including at Galerie Ebensperger in Berlin, Luis Leu in Karlsruhe, Galerie J. J. Hofstetter in Fribourg, Museum Xylon in Schwetzingen, Photobastei Zürich, and the Salon der Gegenwart in Schaffhausen. In 2024, he realised the public-space project In Zukunft jagen wir Silberne Kängurus for Kunstpfad Nieheim in collaboration with Maria Pfrommer.

His upcoming exhibitions include projects at Kunstverein Ludwigsburg, Kunst und Klimaraum Stuttgart, Q18 in Cologne, Museum Xylon in Schwetzingen, and BUNA Art Festival in Varna. In 2025, Cottier was nominated for the DAAD Prize.

Maria Gimeno: Born in Zamora, 1970. Lives and works in Madrid. BFA from Universidad Complutense de Madrid. PHD Student at UCM. A multidisciplinary artist, she works across media to concretely express the concepts that interest her, engaging with the situation of women in the 21st century and the commitment of being an artist. Her practice blurs boundaries between installation, performance, and video, and classical techniques like drawing, embroidery, and sculpture. Since 2014 she has developed the performative project Queridas Viejas, an uncensored, gender-conscious revision of art history, backed by institutions including the Prado, Reina Sofía, and Belvedere Vienna. She has exhibited widely since her formative years, with solo shows in Spain, Switzerland, Germany, Argentina, and Mexico, and group exhibitions across Europe, the Americas, and North Africa. Her work is held in collections including the Comunidad de Madrid, Museo de Teruel, Museo Kaluz, CAAAM, UBS, Fundación Coca-Cola, and Colección Diéresis. She works independently, and collaborates with Casa Amarilla and Guillermina Caicoya Art Projects (Spain) and Páramo Galería (Guadalajara, Mexico). She has taken workshops with Yannis Kounelis and Esther Ferrer, and residencies in Spain, Italy, and Mexico. In 1998 she founded the Madrid alternative art space "Espacio F."

Maria Pfrommer is an artist, curator and cultural mediator based in Karlsruhe, Germany. She studied Fine Arts at the Karlsruhe Academy of Fine Arts with Stephan Balkenhol, Corinne Wasmuht and Jeremy Shaw, and has continued there since 2025 as a Meisterschülerin in Jeremy Shaw’s class. She is also completing an MA in Cultural Mediation at the Pädagogische Hochschule Karlsruhe, following studies in Art History and Architectural History at the Karlsruhe Institute of Technology.

Pfrommer’s practice extends across exhibition-making, public art and collaborative projects. In 2024, she realised *In Zukunft werden wir silberne Kängurus jagen* for the Nieheimer Kunstpfad, following her first-prize award in the competition. Her work has been presented in group exhibitions at venues including Kunstakademie Karlsruhe, Badischer Kunstverein, Orgelfabrik Karlsruhe-Durlach, Luis Leu, Kunstverein Zehnthaus Jockgrim, Museum Xylon, and the Donaueschinger Regionale. Her solo exhibitions include *Dinge beim Namen nennen* at BBK Karlsruhe (2023), *Hmmm* at Schwarzwaldverein Altes Rathaus Neubulach (2023), and *Entmystifizierung eines Dino Chicken Nuggets des Firmherren „Ja“* in Karlsruhe (2025).

In 2026, Pfrommer’s work will be shown at BUNA Art Festival in Varna, as well as at Kunstverein Pforzheim, Q18 in Cologne, Kunst und Klima Raum in Stuttgart, and the Werner Brand Kunstpreis exhibition. She will also take on curatorial roles as curator of the Curatorial Program at Quartier am Hafen in Cologne and artistic director of PUTTE Projektraum in Neu-Ulm. Her forthcoming solo exhibition, *The Tomato Problem*, will open at Kunstverein Bad Aibling in 2027.

Pfrommer has received the GegenwART Grant from Kunstmuseum Stuttgart and the Akademiepreis from Kunstakademie Karlsruhe, and was nominated for the Werner Brand Kunstpreis in 2026. Her work has been published in exhibition catalogues and in *Monopol Magazin*, *Suboartmagazine* and *The System Magazine*.

Martian Tabakov is a multidisciplinary artist working mainly in the fields of sculpture, drawing and installation art. He creates interactive sound sculptures and site-specific sculptural installations that are shown in established art spaces but also in non-gallery ones. One of his main motives in his work is that of the living body as an everchanging substance in correspondence to its surrounding. Martian Tabakov has participated in numerous joint and independent exhibitions and projects in Bulgaria, as well as in countries such as: Austria, France, Turkey, Serbia, Belgium, Czech Republic, Slovakia. Martian is one of the founders of the independent artist shared space BELKA – Studio for Sound and Form in Sofia, Bulgaria which has participated in international programs and exchanges and is a place that hosts exhibitions, theatrical projects and musical concerts. He is part of the Sofia based experimental post-punk band KAKE?.

Solo exhibitions: 2026 – The Divine Being, Charta gallery, Sofia 2024 – Before the Musical Instruments, ReBonkers, Varna, Bulgaria 2024 – With Prescription, audio visual performance, Center Christo and Jean Claude, Gabrovo, Bulgaria 2023 - Inhabitant, Buisness Park Sofia 2023 - Inhabitants, travelling exhibition, Gallery Plus 359, different outdoor locations in Bulgaria 2022 - The Circumstances We Create Are the Ones That Change Us, Art Gallery Vaska Emanuilova, Sofia 2021 - CHECK IN, curatorial project of Marcus Graf, Collect Gallery, Istanbul 2021 - Architecture of sound, Gallery Plus 359, Sofia, Bulgaria 2021 - Habitat and Inhabitants, BELKA- Studio for Sound and Form 2018 - 1m2 of art , ТАМ, Veliko Tarnovo 2018 - Solo exhibition of drawings - Cité internationale des arts, Paris 2017 - Ideal Perspectives, Union of Bulgarian Artists, Sofia 2017 - Solo exhibition of paintings, A&G Art Meeting, Varna

Collective exhibitions: 2026 - Baza Art Award exhibition, Sofia City Art Gallery, Sofia 2026 – The Inevitable Future, Rayko Aleksiev Gallery, Sofia 2026 – Festival for Contemporary Art Ruse, Ruse City Art Gallery, Bulgaria 2026 – BLENDING, AYA estate, Harsovo, Bulgaria 2025 – Baza Art Award exhibition, Sofia City Art Gallery, Sofia 2024 – Belka in Stockholm, Gallery Studio 44, Stockholm 2025 – Sofia Art Fair, Selected Exhibition, Sofia 2025 - Disturbance/Lost World, Union of Bulgarian Artists, Sofia 2024 – Belka Open Studio, Belka – Studio for Sound and Form, Sofia 2024 – Belka in Sarajevo, Museum for Literature and Performance Arts, Sarajevo, Bosna and Hercegovina 2023 - Baza Art Award exhibition, Sofia City Art Gallery, Sofia 2023 – From the Storage 2, Charta Gallery, Sofia 2022 – Ruins and Empires, Sofia Largo, Sofia 2022 – To Collect Contemporary Art, Mühlviertel St. Oswald-Freistadt, Austria 2021 - Morphology of Space, Art Gallery Rayko Aleksiev, Sofia 2021 - The Price Is Right, curator Voin de Voin, Art Gallery U10, Belgrade 2021 - AURA, Rayko Aleksiev Gallery, Sofia 2018 - Beneath the Surface, National Autumn Exhibitions, Plovdiv 2018 – Reconsidering The Form, A&G Art meeting Gallery, Varna

Awards: 2026 – BAZA art award for contemporary art 2023 – Award for sculpture, national exhibition for sculpture, Union of Bulgarian Artist, Sofia 2023 – Young Bulgarian Artists – award for sculpture, Rayko Aleksiev Gallery, Sofia 2021 – Award for sculpture, national exhibition for sculpture, Union of Bulgarian Artists, Sofia 2017 – Best graduation project in the faculty of Fine Arts, National Academy of Arts, Sofia

Martin Atanasov is a visual artist and researcher working in the fields of visual anthropology and queer archives. His practice explores the queer body and the intersections between the poetic and the political.

Mihai Grecu is a Romanian-born, Paris-based artist and filmmaker. His work blends experimental cinema, animation, and new technologies to explore power, memory, and altered realities. A graduate of Le Fresnoy, his films have screened at major festivals like Rotterdam, Clermont-Ferrand, and CPH:DOX.

Mila Panić (b. 1991) is a Bosnian-born artist and stand-up comedian. Her artist's practice lies at the intersection of visual art and stand-up comedy. Fields that rarely speak with each other meet in my practice, showing that criticality can remain playful and accessible. From drawing to stand-up comedy, Mila became known for her dark humour and ironic twist, capturing audiences with her sharp wit and fearless commentary. In joking against the normalisation of fear and violence, Panić moves to liberate language from the individual despair that one cannot change the world. That change takes place every time she jokes, and every time the audience laughs in return.

She is the co-founder of the collective and association Fully Funded Residencies.eV., which provides an overview of paid opportunities for all cultural workers.

Her most recent exhibitions were: 13th Berlin Biennale for Contemporary Art, Art Encounters Biennale in Romania, GMK (Zagreb), eastcontemporary Gallery (Milan), Kuenstlerhaus Sootburn (Hamburg), POST (Arnhem), Autostrada Bienalle (Prizren) etc. Panic is the winner of ZVONO YVVA of Bosnia and Herzegovina, and recipient of a number of scholarships such as the NEUSTART Stiftung Kunstfond Bonn grant for 2023, Braunschweig Projects artist grant 2022/23, , Künstlerhaus Lukas, Ahrenshoop, Residency Unlimited, New York (US), etc. She is based in Berlin, Germany.

Otucha is a Polish word for an act of care between living beings - to give someone otucha is to lift their spirits and surround them with comfort and encouragement.

Otucha Collective is a Berlin-based vocal ensemble whose work explores the phenomenon of human voice and collective singing - their empowering, transformative and community-building qualities.

The collective's practice centres on the rural singing traditions of so-called Eastern Europe - historically rooted in community care and emotional expression - extended through somatic practice, deep listening, and experimental voice work. Otucha Collective creates performances, public interventions, workshops, and spaces in which deep connection can be experienced through collective sounding and listening.

Otucha Collective at BUNA vol. 4 in Varna is embodied by Agnieszka Kucharska, Dorota Michalak, Julia Legeżyńska, Kata Kwiatkowska, Liene Šilde, Mina Đordević.

Minà Minov (born 1982, Sofia, Bulgaria) lives and works in Sofia. He studied at the High School of Fine Arts “Iliya Petrov” in Sofia from 1996 to 2001, followed by BA and MA studies in Sculpture at the National Academy of Arts, Sofia, from 2001 to 2007. In 2004, he took part in the Erasmus Programme at HKU, Utrecht. He completed an MFA in Painting at the Frank Mohr Institute in Groningen from 2007 to 2009, including an exchange semester at Hunter College, New York, in 2008.

Minov was an artist-in-residence at Tsarino Art Residency, Bulgaria, in 2011; at the Lower Manhattan Cultural Council Workspace, New York, from 2012 to 2013; and at Marvin Gardens, Ridgewood, Queens, in 2016. His solo exhibitions and projects include Resting Reliefs at Kunstruimte Wagemans, Beetsterzwaag, and Exoticism at CBK, Groningen (2011); Over the Top of Kamen Del, a site-specific performance in Sofia (2012); Pretty People at The Fridge, Sofia (2014); I Flew, a site-specific installation and performance in Sofia (2015); American Elegance at Marvin Gardens, New York (2016); To Rest on a Rest Day at One Night Stand Gallery, Sofia (2017); Minà Minov, an online video show presented by Marvin Gardens, New York (2020); Anniversary (mostly sculptural) exhibition at Goethe-Institut Bulgaria, Sofia (2023); and Life-Specific at +359 Gallery, Sofia (2026).

His group exhibitions include presentations at Sofia City Art Gallery, Sariev Gallery, ICA–Sofia, Contemporary Space in Varna, Galleria Alberta Pane in Venice, Goethe-Institut Bulgaria, NADA New York, ZieherSmith in New York, and the Biennial of Young Artists in Bucharest. In 2014, he curated Same Standing /166 at Kreuzberg Pavillon, Berlin, and Same Standing /183 at Geh8, Dresden. He received the St. Cyril and Methodius Foundation Award in 2006, the George Verberg Stipendium in 2009 and the Szpilman Award in 2012, and was nominated for the BAZA Award in 2011.

Neno Belchev was born in 1971 in Varna, Bulgaria. Lives and works in Varna. He graduated in Mural Painting from the National Academy of Art in Sofia, Bulgaria. Belchev works as video artist and filmmaker as well as in the fields of performance, installation, sculpture, new media and independent curator. Neno has participated in a wide range of solo and group, national and international exhibitions. He has made one full-length movie (2016), four medium-length documentaries and numerous short narrative films and video art works, which won prizes, awards and nominations from international video and film festivals in Italy, Malaysia, India, Romania, the United States, Russia, the Netherlands, Spain and Austria, as well as artist-in-residency grants in España, the United States (2), Russia, China, Japan, France (2), Portugal and Bulgaria (2). Among his most important international participations are: EAT: International exhibition, ESMoA (El Segundo Museum of Art, Los Angeles, CA, USA / February-May 2019); INSOMNIA DYSLEXIA: 5th International Short Video Biennial, P74 Gallery, (Ljubljana, SLOVENIA / October 2015); EESA - Exhibition: Between democracies 1989- 2014: Memory and Commemoration, (Johannesburg, SOUTH AFRICA / September 2015); MONTAG MODUS I at CHB (Collegium Hunuarium Berlin), (Berlin, Germany / May 2015); XXVIIth CEC ARTSLINK FELLOWSHIP AWARD in KALA Art Institute (Berkeley, CA, USA / 2014);XXVIIth CEC ARTSLINK FELLOWSHIP AWARD in KALA Art Institute (Berkeley, CA, USA / 2014); IN-SONORA VIII: at Museo Nacional Centro de Arte REINA SOFIA (Madrid, SPAIN; 2014); EAST+EUROPE: Eastern European Contemporary Art Exhibition at Hong Kong City Hall (Hong Kong, HONG KONG / 2013); Solo exhibition MAYATNIK (PENDULUM) at National Centre for Contemporary Arts (Saint Petersburg, RUSSIA / 2011); SANCTIONED ARRAY – international video exhibition at White Box Gallery (New York, USA / 2010); "COMMERCIAL" ART VIDEO – international video exhibition at Apexart (New York, USA / 2010); WHAT DO YOU WANT FOR YOUR BODY? Solo exhibition during the International Art Residency 2009 at OCAT, He Xiangning Art Museum (Shenzhen, CHINA / 2009); Wichita Falls Museum (Texas, USA / 2009); DEPO Tutun Deposi (Istanbul, TURKEY / 2009); Today Art Museum (Beijing, CHINA / 2008); Moerenuma Koen Hidamari Museum (Sapporo, JAPAN / 2007) and many others. His works are possession of the He Xiangning Art Museum (Shenzhen, China), SAMCA – Sofia Museum for Contemporary Art (Sofia, Bulgaria), ESMoA (El Segundo Museum of Art, Los Angeles, USA); Varna City Gallery (Varna, Bulgaria), private collections in USA, the Netherlands, UK, Japan, Canada, Spain, Ukraine and more. Neno Belchev is one of the founders of the Videoholica International Video Art Festival in Varna, Bulgaria.

Nikola Stoyanov (b. 1994, Varna) is a Bulgarian visual artist, theorist, and translator living and working in Sofia. He studied Philosophy and Sociology at the University of Sussex, United Kingdom. His artistic and theoretical practice develops at the intersection of technology, visual culture, critical theory, and contemporary modes of knowledge production and dissemination.

Working across photography, moving image, installation, archival materials, and networked media, Stoyanov investigates infrastructure, technological mediation, propaganda, paranoia, conspiracy narratives, and the ways technical systems participate in shaping what becomes visible, credible, and knowable. He is particularly interested in post-socialist and post-Soviet histories and in the persistence of their images, infrastructures, and narratives in the present.

Selected exhibitions and presentations include the BAZA Award for Contemporary Art nominees’ exhibition at Sofia City Art Gallery (2026), where he presented The First Ten and The things we saw together; Black Market at PUNTA Gallery, Sofia (2026), with The Naphthalene Tapes; Her Poisonous Doubles: Watch Your Feed! at Goethe-Institut Sofia (2025), with Even trolls sleep sometimes; Postcards and Contraband at Charta Gallery and Posta Space, Sofia (2024), and ReBonkers, Varna (2023); Nature Morte at Goethe-Institut Sofia (2023); and Latent Space at Doza Gallery, Sofia (2022).

Alongside his artistic practice, Stoyanov publishes critical and theoretical writing on theory-fiction, technology, contemporary literature, and visual culture. His texts have appeared in Simulacrum: Journal for Art & Culture, Literary Newspaper, and Studia Litteraria Serdicensia at the Institute for Literature of the Bulgarian Academy of Sciences. His essay “Theoretical Fictions and Hyperstition: A Rough Introduction” was published in 2025.

In 2025, he co-founded Temporary Publishing with Hristo Kaloyanov and Philip Stoilov. The publishing house has produced Bulgarian editions of texts by Igor Zabel and Boris Groys, with Hito Steyerl forthcoming. Since 2025, Stoyanov has also worked in contemporary dance and performance as dramaturg of Xx-63 by Neda Ruzheva and Trevoga Collective, presented internationally across the Netherlands, Bulgaria, Germany, Hungary, and Slovenia. Since 2026, he has been a member of the Union of Bulgarian Artists, Section 13.

Niya Tsenkova (1999) is a multidisciplinary artist from Sofia, Bulgaria. After graduating from the Fine Arts bachelor programme at the Royal Academy of Art in The Hague (2022), she developed a fluid practice that moves between painting, ceramics, metalwork, and site-specific installation. Building on the classical training she received at the National High School of Fine Arts "Ilia Petrov" in Sofia, Tsenkova has developed a visual language that brings together the organic qualities of clay and the contemporary aesthetics of metal constructions. Growing up in a family of conservators and church fresco painters, she was introduced to religious art through direct experience. From an early age, she spent time on scaffolding in churches, mixing pigments, painting ornaments, and assisting in the preservation of sacred imagery and architectural decoration. This ongoing engagement with restoration practices continues to inform both her material choices and conceptual approach. Intuitive processes, the use of negative space, and the assembly of separate elements into larger entities are central to her methodology. Her works often emerge through an experimental dialogue between materials, where fragmentation, balance, and spatial relationships become tools for constructing meaning. Drawing inspiration from icons, idols, relics, and religious art, Tsenkova investigates how visual languages are transmitted, preserved, and transformed over time. She is particularly interested in the circulation of images and symbols, and in the ways cultural heritage is continually reinterpreted within contemporary society. Rather than approaching historical forms as fixed artefacts, she considers them living structures whose meanings shift according to context, perception, and use. Through the encounter between traditional craftsmanship and contemporary artistic approaches, her practice explores the relationship between preservation and transformation, questioning how inherited aesthetic systems continue to shape collective memory and contemporary ways of seeing. By bringing together materials and forms associated with different temporalities, Tsenkova creates works that reflect on the persistence of cultural narratives and the evolving relevance of historical imagery in the present.

Oliver Musovik (*1971, Skopje) is a visual artist working across multiple media, mostly photography and visual storytelling. His practice explores the intersection of nature, urban space, and social dynamics, with particular focus on adaptation and resilience in transitional environments. His work foregrounds the landscape as a socio-ecological construct shaped by humans and nonhumans, contributing to dialogues on ecological resilience, sustainability, and the role of art in fostering critical awareness. His work has been presented internationally, including at SAM – Singapore Art Museum (2025), the Museum of Contemporary Art Skopje, +MSUM Metelkova Ljubljana (2021, 2018), the Fridericianum Kassel (2003), Manifesta 4 (Frankfurt, 2002), and the Istanbul Biennial (1999). Musovik’s works are held in public collections such as n.b.k. Berlin, the MOCA Skopje, Fondazione Fotografia Modena, and +MSUM Ljubljana. He has also participated in residency programs across Europe, Asia, and the United States.

The Bureau of Botanical Compliance (BoBC) is a regulatory authority responsible for the observation, classification, adjudication, spatial governance, aesthetic evaluation, and symbolic oversight of plant life within managed and unmanaged environments. Its operations include the issuance of protocols, regulatory notices, and compliance guidelines related to the identity, conduct, placement, and visibility of vegetative growth. The Bureau does not seek approval for its operations. Its jurisdiction is assumed, and its procedures are ongoing. (Source: https://botanical-compliance.neocities.org/ )

Paulius Šliaupa (b. 1990, Vilnius, Lithuania) holds a BA in painting and an MFA in contemporary sculpture from Vilnius Academy of Arts, Vilnius, Lithuania, an MFA in media arts from KASK, and the HISK postgraduate residency program in Ghent, Belgium. He was awarded the grand prize of ArtContest22, Brussels, Belgium, the main prize of INPUT/OUTPUT 2023, Brugge, Belgium, and the Simultan Festival prize, Timișoara, Romania, in 2024. Paulius was a resident artist at Foundation Fiminco 2024-2025, Paris, France. Selected exhibitions would include personal exhibitions: Falling (2026), Kaunas picture gallery, Kaunas, Lithuania; Winterteller (2025), Bogardenkapel, Brugge, Belgium; A Snowfall of Salt (2024), Centre Intermondes, La Rochelle, France; After Nature (2024), Galerie Michèle Schoonjans, Brussels; Night Watch (2022), HuidenClub, Rotterdam; Neon Poems (2021), Casinot XXH, Malmö; and Dès Vu (2019), Meno Niša, Vilnius. His work has also been part of numerous group exhibitions, including ‘After Dusk‘ (2026), Fundacion Andreani, Buenos Aires, Argentina; Deep Fields (2026), CENTRE WALLONIE-BRUXELLES, Paris, France; Magical Realism: Imagining Natural Dis/order (2025), ARGOS, Brussels; Matrix-Ost (2025), Museum Kesselhaus Herzberge, Berlin; Habiter la faille (2025), Fondation Fiminco, Paris; And the Wind Will Take Us Away (2025), Stasys Museum, Panevėžys; as well as GOING PLACES, MOVING THINGS (2024), Mipec Longbien, Hanoi; KIN (2022), LT.art Vienna. His works have been acquired by private collectors in Lithuania, Berlin, Ghent, Rome, Brussels, Rotterdam, Paris, and Istanbul. Paulius’ works are in the collections of museums M HKA, Antwerp, Mu.ZEE, Ostend, IKOB, Eupen, and SMAK, Ghent. Vilnius city gallery Meno Niša, which represents P. Šliaupa, has successfully exhibited his works at international art fairs in Antwerp, Paris, Budapest, Berlin, Cologne, and Copenhagen.

Pavel Brăila (1971) is one of the most prominent and widely recognized artists originating from the Republic of Moldova, with a strong and consistent presence on the international contemporary art scene. His practice spans multiple media—film, photography, installation, and performance—and is distinguished by a particular sensitivity to the social, cultural, and political dynamics of Moldova and the broader region. Brăila transforms close observation of everyday reality into artistic forms that reveal paradoxes, tensions, and absurd situations often overlooked by global geopolitical discourse. The artist has participated twice in documenta (2002 and 2017) and was invited to Manifesta 10 (2014), two of the most influential platforms in contemporary art worldwide. In 2003, Phaidon included him in CREAM 3, a selection of the 100 most relevant artists globally, further confirming the international significance of his work. Brăila has presented his work in numerous international exhibitions, both solo and group, in leading institutions such as Neue Nationalgalerie (Berlin), Yvon Lambert (Paris), Museum Boijmans Van Beuningen (Rotterdam), Tate Gallery (Londra), Renaissance Society (Chicago), Kiasma (Helsinki), MIT LVAC Boston, Kölnischer Kunstverein, Moderna Museet (Stockholm). His film Definitively Unfinished received a major award at the International Short Film Festival Oberhausen (2009), while the performance Ink Ribbon Fingerprints was awarded the Celeste Prize (2013). His concept for the Pavilion of the Republic of Moldova at Expo Milano 2015 was also nominated for the Idea-Tops Award for Best Public Architecture. Through his work, the artist invites audiences into a space of cultural observation, where images, gestures, and seemingly minor details reveal complex phenomena related to identity, memory, mobility, and social transformation. Pavel Brăila lives and works in Chișinău and Berlin.

Pavlos Ioannides (b. 1995, Nicosia, Cyprus) is an artist based in Berlin. Drawing remains at the centre of his practice, extending into installation, photography, and text. His work explores how spaces are inhabited, remembered, and shared, often informed by personal and collective histories, domestic environments, and the divided landscape of Nicosia.

Working primarily with charcoal and cotton canvas, alongside found objects, textiles, steel, photographs, and other materials, Ioannides approaches drawing as something that can move beyond the surface and into physical space. His installations often take their dimensions from existing architectures and engage directly with the body and its movement. Borders, walls, shelters, domestic spaces, and the ways architecture can simultaneously protect, divide, and restrict recur throughout his work.

Personal and family histories form another important point of departure. Photographs, objects, materials, memories, and forms of knowledge passed between generations become ways of exploring how personal histories intersect with the broader histories of the places he encounters and works within. Recent projects have also involved collaborations with members of his family and materials connected to Cyprus, including charcoal collected from burned forests on the island.

Ioannides studied at Villa Arson in Nice, graduating with an MFA in 2022. His work has been presented, among others, at NiMAC (Nicosia), Zilberman (Berlin), AOA;87 (Berlin), Villa Arson (Nice), and POSTA Space (Sofia). Recent residencies include Kultur Ensemble in Palermo and the Iatrus Residency Programme in Veliko Tarnovo, Bulgaria.

Pia Post (b. 1965, Germany) is a visual artist and interior architect based in Madrid. Working across sculpture, installation, and photography, she explores how natural forms carry knowledge and reshape our relationship with the living world. Using seeds, bones, fish spines, and other overlooked organic fragments, Post isolates and arranges materials, revealing their inherent structures, beauty, and interconnectedness. Her practice investigates fragility and strength, individuality and interdependence, memory and transformation. Trained in cabinetmaking and interior architecture, she brings a precise understanding of material, structure, scale, and space to her work. She has been a member of La Tercera Nave since 2024.

Д-р изк. Правдолюб Иванов

Род. 1964 в гр. Пловдив

От 1996 г. до 2018 г. асистент на проф. Андрей Даниел в НХА, специалност “Живопис”. От 2019 до 2025 г. асистент в катедра “Психология на изкуството, художествено образование и общообразователни дисциплини”, НХА, при д-р изк. проф. Петер Цанев, където водих Арт студио на магистърската програма и Спец. курс по съвременно изкуство “Актуални визуални практики” на спец Живопис, 4 курс, както и “Аудио-визуални средства” на 2 к спец. Живопис във НХА - филиал Бургас.

Научна степен и година на получаване: Доктор на изкуствата, дисертация №1634/ 14.12. 2015 “Сайт-спесифик арт. Мястото и неговото произведение. Дали да преместиш работа означава да я разрушиш” Гост-лектор: 2018, Презентация на международна конференция “L’image sans qualités", организирана от Висше училище за изкуства и дизайн, Хавр-Руан, Франция, и включен в последвалото научно издание: https://esadhar.fr/sites/default/files/documents/final_colloque_depliant.pdf

2021, Университет “Otto-Friedrich”, департамент Didaktik der Kunst, гр. Бамберг, Германия. https://www.uni-bamberg.de/diversity/diversity-forschung/internationale-diversity-gastprofessuren/ Учебно-методична дейност: Асистент в спец. Живопис. Лекции за съвременно изкуство и актуални визуални практики, пробеми на аудио-визуалните средства, практически занимания, поставяне на теми и задачи и конферанси на изпълнението им. Консултации и практическа помощ на дипломници за защити на бакалаври и магистри.

Включен в Арт книги и научни публикации през последните 6 години: KUNZL, Julia, VIELI, Johanna, 2023, Im Sturz durch Raum und Zeit, 40 Jahre Stiftung BINZ39, Издателство: Sheidegger & Spiess AG, Zurich, ISBN: 978-3-03942-170-1 p. 191-192, Box for Banners, 1995

Dr. FÖRG, Bernhard G., WASSIBAUER, Rüdiger, W.A.R. 2022, Project by Antoni Rayzhekov Printed by Amazon Fulfilment, Wrozlav, Poland, ISBN: 978-3-9504841-4-4 p. 133-134

Edited by ROLON, Carlos, PETERSON, Dan, DENNIS, John, 2020 Common Practice, 2020, Издателство SKIRA, ISBN: 978-88-572-4397-9 p. 127, Pravdoliub Ivanov, Rise to Score, 2011

Klimczak, Anna, 2020, When an old concept comes full circle, in other words, the shock of the real. UMÁTICA. Revista sobre Creación y Análisis de la Imagen, 3, Umática. 2020; 3:191-218 p. 212-213

BRATOEVA-DARAKCHIEVA, Ingeborg, GENOVA, Irina, LEVY, Cler, SPASOVA-DIKOVA, Joanna, STOIKOVA-DONCHEVA, Teodora, TASHEVA, Stela, TRAYKOVA, Elka, 2019, BULGARIAN 20TH CENTURY IN ARTS AND CULTURE, Bulgarian Academy of Sciences, Institute of Art Studies, p. 551, 559, 560, 563 ISBN 978-954-8594-77-6 GOLESHEVSKA, Nora, 2020, Introduction to Bulgarian Contemporary Art (1982-2015) /book review/ Art Margins Online, Published 07/06/2020, p.4 VLADOVA, Tania, HYURARD, Colette, L’Image Sans Quallités, 2019 Publisher ESADHAR and the Art Academy, Rouen, France p. 166-184, text and images ЦАНЕВ, Петер, ПАМУКЧИЕВ, Станислав, ВАСИЛЕВ, Кирил, 2019, “Спорът за релаността”, Съвременна българска живопис и скулптура, СБХ и Издателство CIELA, с. 102, ISBN 978-954-28-2859-4 Произведения на Правдолюб Иванов включени в български и чуждестранни дисертации през последните 6 г.:

PITSIAVA, Evi - Maria, 2019, Museums, diversity & social needs: Contemporary exhibition practices & social struggles, University of the Aegean, Greece, (Thesis), p. 187

ИВАНОВ, Стефан, “Скулптура на готовите форми. Редимейд, асамблаж, намерен обект, отливка от натура, както и нови технологични подходи в скулптурата на ХХ век.” От стр. 74 до стр.87 вкл.

Участие в международни биналета: Manifesta 14, Прищина, (2022); 5 Mediale, Международно биенале, Познан, Полша (2016); 52ро Венецианско биенале (2007); 4то Берлинско биенале (2006); 14то биенале Сидни, Австралия (2004); 3та Манифеста, Любляна, Словения (2000); 4то Истанбулско биенале (1995).

Кураторски проекти на Правдолюб Иванов: “Оставете ги да рисуват-III”, 2021, групова изложба, Галерия Сариева, Пловдив, съвместно с Веселина Сариева “Нов Пловдивски Реализъм”, Част от Проект 3х5х7, 2022, групова изложба, Галерия Шипка 6 “Два стола”, самостоятелна изложба на Никос Хараламбидес (Гърция), 2021, Галерия ИСИ-София. Kураторски проект съвместно с Красимир Терзиев, “Как да станеш най-добрия художник на света”, 2021 самостоятелна изложба на Мич Брезунек (Франция / България), Галерия ИСИ-София Резиденции: 2007 - Artist to Artist, Newcastle, England, Visiting Arts, Initiative of Henry Moore Foundation - Artist talk in WorkPlace Gallery, Newcastle, England 2000 - Cite Internationale des Arts, Paris, France 1999 - Open Air Museum Drecht Banks Sculpture Park, The Netherlands 1998 - ArtsLink, Fellowship, Longwood Arts Project, New York, USA 1996 - KulturKontakt Fellowship, Horn, Austria 1994/95- Foundation ARTEST / BINZ’39 Fellowship, Zürich, Switzerland

Произведния в публичните колекции: Centre Pompidou, Париж; Национална галерия, София; Neues Museum, Nürnberg; Музей ARTER, Istanbul; Музей Arsenal, Bialystok; EIBank, Люксембург; Kontakt-Collection, Австрия; Art Collection Telekom, Германия; Art Collection Deutsche Bank; Колекция Ален Серве, Брюксел; Градска галерия, София.

Селектирани самостоятелни изложби: 2026 - Орнаменти на болката, галерия Куб, РЦСИ Топлоцентрала, София, куратор Владия Михайлова 2025 - Vehicles Dream and Other Dreams, Галерия Block Edition, куратори Анна и Рене Блок 2024 - Истината за Истината, Галерия Сариева-ДОТ, София, куратор Веселина Сариева 2023 - Не знам за какво говорите, Галерия Сариева, Пловдив, куратор Веселина Сариева 2019 - Животът на другите е някак си по-лесен, 2019, Музей за съвременно изкуство- Арсенал, Бялисток, Полша. Куратор Моника Шефчик - Роботите не се изпотяват, Галерия Сариева, Пловдив, куратор Веселина Сариева 2017 - Neglectable Incidents at the Level of the Eyes, Le Guern Gallery, Warsaw, Curator М. Jachula 2016 - On The Wrong Side, Sariev Contemporary, Plovdiv 2014 - Just Another Boring Day, Gallery Le Guern, Warsaw - Chamber of Uncertainty, Krinzinger Parterre Gallery, Vienna - Fragments of Demand, Alberta Pane Gallery, Paris 2013 - What you See, Sariev Contemporary Gallery, Plovdiv, (Curator Daniela Radeva) 2011 - Polprawda (Half-Truth), Gallery Le Guern, Warsaw, Poland, (curator Kamil Julian) 2010 - Works, Non-Works and Illusions, Sariev Gallery, Plovdiv 2008 - Thoughts Within Thoughts - dual show with Alec Finlay, ARC Projects Gallery, Sofia 2007 - Double Trouble - dual show with Valio Tchenkov, Gallery Steinle, Munich, Germany 200 - Pessimism No More, Musee des Beaux Arts, La Chaux-de-Fonds, Switzerland

Селектирани участия в групови изложби в България и чужбина: 2025 Частица от река, Есенни изложби Пловдив-2025, куратор Весела Ножарова, (каталог) Изплуване, Художествена галерия Казанлък, куратор Мария Василева

2024 Walk This Way, Kunstmuseum Ravensburg, Германия, куратор: Kristina Gross Dog Days, Галерия Структура, София, Куратор Марина Славова, (каталог) The View at the Loft, Brussels – exhibition space of the Servais Family Collection, куратор: Nicolaus Schafhausen Sounds Like a Whisper, Софийска градска галерия, куратори: Галина Димитрова-Димовa и Ариел Райхман United in Art, Center for Contemporary Art "Elektrownia", Radom, Poland, куратор Paweł Witkowski, (каталог) “По-добрата част от нас”, Галерия Структура, София, куратор: Мария Василева, (каталог) “Преносим Музей за Непокорно Изкуство”, Галерия Структура, куратор: Антони Райжеков (каталог) “Тухлата”, Галерия СБХ “Райко Алексиев”, куратор: Фондация “Процес-Пространство”, (каталог)

2023 “Отвъд всякакъв разум. В огледалото на сюррелаистичните времена”, Галерия Структура, Куратор: Грегор Янсен, (каталог)

2022 Don't Dream Dreams. A Selection from the Art Collection Telekom and Two Commissioned Works, Museum of Modern Art MG+MSUM, Ljubljana, Slovenia, куратори: Nathalie Hoyos, Rainald Schumacher Self-splaining (a Triumph of Empathy), artistic intervention, Manifesta 14, ICA-Sofia and friends, The University of Prishtina, Faculty of Arts Gallery, Kosovo, (каталог) Double UP!, Kunst und Design mit neuen Perspektiven, Neues Museum, Нюрнберг, Германия куратор: Thomas Heyden ThisPlay, Музей за съвременно изкуство АРТЕР, Истанбул, Турция, куратор: Emre Baykal Искри на въображението: На честотите на Бойс, Национална галерия, Квадрат-500, София Куратор: Вера Млечевска Rattling the Fences, Gallery Belleparais, Мюнхен, Германия, куратор: Вальо Ченков The Time Has Come to Talk of Many Things…, Art Collection Telekom, Национална галерия-Дворецът, София, Куратори: Боряна Вълчанова и Мартина Йорданова Belonging, Art from Collection EIB-Luxembourg, The Hunt Museum, Люмерик, Ирландия курато: Delphine Munro, (каталог)

2021 Porosity Playground, 2021, Kunstraum Kesselhaus, Бамберг, Германия, куратор: Notburga Karl Brittle Power, 2021, Kunsthal 44, Мьон, Дания, куратор: Rene Block See Me Moving Placeless, Exhibition with the artworks from the Art Collection Telekom, Museum of Contemporary Art Skopje, Скопие, Северна Македония куратори: Mira Gakina and Jovanka Popova. Mixed Zone. Dialoge Zwischen Kunst Und Design, Neues Museum – Staatliches Museum für Kunst und Design in Nürnberg, Germany,
Curator Thomas Heyden

2020 25 години и 5 по-късно, ИСИ-София, Ретроспектива, Национална галерия, Дворецът куратори: ИСИ-София и Мартина Йорданова Keeping the Balance, Works from the Art Collection Telekom, Музей за съвр. изкуство-Лудвиг, Будапеща, куратори: Krisztina Szipőcs, Nathalie Hoyos and Rainald Schumacher South! Let’s go south!, Nadežda Petrović Art gallery, Чачак, Сърбия, куратори: Sarita Vujkovićz, (каталог) The Danube - People, Treasures & Cultures, Renaissanceschloss Schallaburg, куратор: Martina Affenzeller, (каталог) After PASOLINI – visions of today. “Баня Старинна”, Пловдив, България куратори: Бетиан Щайнбруге и Бенжамин Фелман, (каталог) 2019 “Спорът за реалността, Съвременна българска живопис и скулптура”, Галерия СБХ, Шипка 6, куратори: Петер Цанев, Станислав Памукчиев (каталог) Gallery Arsenal-New Acquisitions, Museum of Contemporary art–Galeria Arsenal, Бялисток, Полша, куратор: Monika Szewczyk Open Art Files: Notes and Footnotes, Галерия Капана, Пловдив куратор Вера Млечевска, (каталог) Sequence Festival, Рейкявик, Исландия, в секцията курурана от Oliver Basciano

2018 Møenlight Sonata – A homage to the starry sky of Møn, Kunstahll 44 Мьон, Дания, куратор René Block On a Clear Day You Can See Forever, галерия Гьоте институт, Софи, куратор Carolina Lio Metaphorai, 24th Week of Contemporary Art, 
Център за съвременно изкуство, Баня Старинна, Пловдив, куратори: Катя Ангелова и Алесандра Погианти Arte e Umanità: Immagine Migrante, Spazio Elle , Piazza G. Pedrazzini 12, Локарно, Швейцария куратори: Nadia Bensbih, Riccardo Lisi, Marco Stoffel Confusion, Temple Contemporary gallery, Tyler School of Art, Temple University, Филаделфия, САЩ I am the Mouth, Works from Central and Eastern European Artists from Art Collection Telekom, Museum of Contemporary Art, Загреб, Хърватска, куратори: Nathalie Hoyos, Radmila Iva Jankovic and Rainald Schumacher

2017 Symptoms of Society, Zhejiang Art Museum, Hangzhou, China, curator Alenka Gregorič Półprawda | Half–Truth, Works by Central and Eastern European Contemporary Artists from Art Collection Telekom, Museum of Sculpture – Królikarnia Palace, Warsaw, Poland, curators: Rainald Schumacher and Nathalie Hoyos Scharstellen_1, ROTOR-Center for contemporary art, Graz, Austria, curators: Anton Lederer and Margarethe Makovec Symptoms of Society, The Guangdong Museum of Art, Guangzhou, China, group exhibition organized by City Art Gallery, Ljubljana, curator by Alenka Gregorič La Terra Inquieta / The Restless Earth, Organized by the Fondazione Nicola Trussardi and Fondazione Triennale di Milano, curator Massimiliano Gioni 14 x 14 – Survey of the Danube Region. – Individual Views. – Photographic Positions, Photon – Centre for Contemporary Photography, Ljubljana, Slovenia, curator: Regina Hellwig – Schmid

2016 5 Mediations Biennale – FUNDAMENTAL, Poznan, Poland, Curators: Drorit Gur Arie; Andrea Hilger; Harro Schmidt; Tomasz Wendland, Cocurators: Miriam Syowia Kyambi; Valentina Gioia Levy; Risa Takita; Juraj Čarný NEWROPE, Nitra Gallery, Nitra, Slovakia, Curated by Omar Mirza Art & Foot, La Chapelle art contemporain, Clairefontaine-en-Yvelines, France, Curators: Marion & Baudoin Lebon Interior, Gallery Le Guern, Warsaw, Curator: Michal Jachula The Travellers. Voyage and Migration in New Art from Central and Eastern Europe, Zachęta-National Gallery of Art, Warsaw Curated by Magdalena Moskalewicz,, collaboration on the part of Zachęta: Magdalena Komornicka (каталог) Magic and Power Of Magic Carpets and Drones, Marta Herford (Gehry Galleries), Herford, Germany, curated by Diane Hennebert and Christophe Dosogne (каталог) Remember Lidice Städtische Galerie Nordhorn, Germany, curator René Block Shape of Time – Future of Nostalgia. Works from the Art Collection Telekom, National Museum of Contemporary Art (MNAC), Bucharest, Romania. Curated by Adriana Oprea of NAC, in collaboration with the curators of Art Collection Telekom, curators: Nathalie Hoyos and Rainald Schumacher,

My objects draw on mythological narratives and old stories, often distorted, transformed or partially reshaped through collective memory. These stories and the imagery they have generated continue to influence the way we perceive and imagine the contemporary world.

I use this material as the basis for a combinatory practice—a kind of speculative science of bricolage, in which fragments, forms, techniques and references are brought together to create new configurations. From this process emerge a series of retro-futuristic phantasmagorias: strange objects that seem to belong simultaneously to an imagined past and an impossible future.

Their technologies appear advanced yet anachronistic, obsolete or deliberately used against their intended purpose. Through this playful misuse of technology, the objects take a slightly ironic look at our faith in technological progress as a promise of emancipation.

The toy and the game occupy an important place in this practice. They provide a space where imagination, symbolism and experimentation can coexist, allowing me to question the boundaries between the functional and the fictional, the familiar and the strange, the past and the future.

Solo exhibitions about his work, among them the Martin-Gropius-Bau, Berlin (2025); LUMA Arles, Arles (2024; 2018); MoMA PS1, New York (2024); STPI Singapore (2023); Haus der Kunst, Munich (2023); CC Strombeek, Strombeek (2022); Museum Dhondt Dhaenens, Deurle (2022); Hirshhorn Museum and Sculpture Garden, Washington D.C. (2019); Glenstone Museum, Potomac (2019); National Gallery, Singapor (2018); Creative Time, New York (2018); Stedelijk Museum, Amsterdam (2016); Tate Modern, London (2013); Kunsthalle Bielefeld (2010); Fridericianum, Kassel (2009); The Drawing Center, New York (2008); Musée d'Art Moderne de Paris, Paris (2005); Serpentine South Gallery, London (2005); Museum Boijmans van Beuningen, Rotterdam (2004); Los Angeles County Museum of Art, Los Angeles (1999); Philadelphia Museum of Art, Philadelphia (1998); Museum of Modern Art, New York (1997); Museo Nacional Centro de Arte Reina Sofia, Madrid (1994).

Collective exhibitions in the following institutions: MAXXI, Rome (2019); Traversées, Poitiers (2019); Villa Medici, Rome (2018); Walker Art Center, Minneapolis (2017); Stedelijk Museum, Amsterdam (2016); Museo Jumex, Mexico (2015); Garage museum of contemporary art, Moscow (2015); Tate Modern, London (2013); ) Musée national d'Art moderne, Centre Georges Pompidou, Paris (2012); Centro de Arte Contemporáneo de Málaga, Malaga (2009); Solomon R. Guggenheim Museum, New York (2008; 2005); São Paulo Biennial, São Paulo (2006); Whitney Biennial, New York (2005; 1995); Venice Biennale, Venice (1993; 1999; 2015); Liverpool Biennial, Liverpool (2004; 2002); Museum Boijmans van Beuningen, Rotterdam (2004); City Opera Gallery, Tokyo (2002); Portikus, Frankfurt (2001); Kunstverein, Wolfsburg (2000).

Rose B. Simpson (born, lives, and works in Santa Clara Pueblo, NM) is a mixed-media artist whose work explores the impact, both emotional and existential, of living in the postmodern and postcolonial world. Growing up in a multigenerational, matrilineal lineage of artists working with clay, her practice is informed by indigenous tradition.

Androgynist clay figures adorned with found and manufactured objects are often at the base of Simpson’s practice. The pieces are ruminations on family, gender, marginality, as well as the effects these aspects have on the understanding of self. While the choice to work in clay is a link to familial relationships, the inherited nature of the material also adds to the concepts being presented. Just as individuals are shaped by memory and experience, objects made of clay become a record of the process that shaped them. The resulting pieces are both powerful and vulnerable and offer intimate records of self-exploration.

Simpson has a BFA from the Institute of American Indian Art, an MFA from Rhode Island School of Design and an MA in Creative Writing from the Institute of American Indian Arts. She has had recent solo exhibitions at the de Young Museum (San Francisco, CA), San Francisco Museum of Modern Art (San Francisco, CA), Museum of Modern Art (New York, NY), Cleveland Museum of Art (Cleveland, OH), Norton Museum of Art (West Palm Beach, FL), The Fabric Workshop and Museum (Philadelphia, PA), ICA Boston (Boston, MA), the Wheelwright Museum (Santa Fe, NM), the Nevada Art Museum (Reno, NV), and SCAD Museum of Art (Savannah, GA). Museum collections include the Denver Art Museum, ICA Boston, The Metropolitan Museum of Art, Museum of Contemporary Art Chicago, Museum of Fine Arts Boston, Nevada Art Museum, Pomona College Museum of Art, Portland Art Museum, Princeton University Art Museum, and San Francisco Museum of Modern Art.

I'm a photographer and when I'm with my camera I see my shots in advanced like scene, color and arrangement! Enjoy shooting night club scenes, streert stories and sea colours though different seasons.

Sam Durant is a North American artist whose interdisciplinary work engages a variety of social, political, and cultural issues. Growing up near Boston, MA in the 1970’s he experienced the radical pedagogy of A.S. Neill, Maria Montessori, John Holt, anti-war demonstrations and the desegregation of the public school system. Exposure to an educational culture emphasising democratic ideals, racial equality and social justice created the foundation for Durant’s artistic perspective. Often taking up forgotten events from the past, his works make connections with present and ongoing social and cultural issues. Durant’s interest in monuments and memorials began with Proposal for Monument at Altamont Raceway (1999), continued notably with Proposal for White and Indian Dead Monument Transpositions (2005) that re-contextualises memorials to victims of the conquest of North America, and Proposal for Public Fountain (2015), a marble work depicting an anarchist statue being blasted by a police water canon. Earlier works have excavated subjects as diverse as modernism’s repressive energy, the death drive beneath 1960’s-70’s pop music and artist Robert Smithson’s theories of entropy. More recent work has encompassed Italian anarchism, cartographic histories of capitalism, gestures of everyday refusal and a decolonizing realignment of Surrealism through incorporating artists and writers from the former French colonial world, like Aimee Cesar and Joyce Mansour.

Durant’s methodology is research based but with an emphasis on social engagement, often working with communities and groups in collaborative and performative formations. He has done major participatory public art projects, Labyrinth (2015) in Philadelphia which addressed mass incarceration and The Meeting House (2016) in Concord, MA that took up the subject of race in colonial and contemporary New England. His most recent public work Untitled (drone) was the second commission for the High Line Plinth in New York. It raised the issues of drone warfare and surveillance in American society. In recent years Durant has done several projects about the nonaligned movement - begun in 1961- an unfulfilled idea that holds potential for the polarised present and need for global cooperation to deal with challenges like climate change and migration. The work Proposal for Nonaligned Monuments, Free Movement (2020) has been shown in Denmark and Belgium and Proposals for Monuments to the Nonaligned Collection, Petrovic Park, Podgorica (2024) shown in Podgorica, Montenegro and Ljubjana, Slovenia and will include a curated selection from the collection of the Museum of Nonaligned Art.

In 2007 Durant compiled and edited the monograph, Black Panther: The Revolutionary Art of Emory Douglas (Rizzoli Intl.) and curated the exhibition of the same name at MOCA, Los Angeles and the New Museum, New York. Durant’s interviews and writing have been featured in publications like Mousse, Artforum and Flash Art, he has contributed catalog essays to Marcos Ramirez ERRE (Instituto Nacional de Belles Artes, Mexico D.F. 2011), Siah Armajani: Follow the Line (Walker Art Center, MN. 2018) and Hans Haacke: All Connected (New Museum, NY 2019). From 2005 to 2010 he was a member of the collective Transforma Projects, a grassroots cultural re-building initiative in New Orleans. In 2012/13 Durant was an artist in residence at the Getty Museum in Los Angeles where he collaborated with the education department to produce a discursive social media project called What #is a museum? . Durant’s work has been included in numerous international exhibitions including Documenta 13, the Yokohama Triennial, the Venice, Sydney, Busan, Liverpool, Panama, and the Whitney Biennials.  His work can be found in many public collections including Walker Art Center, Fonds National d’Art Contemporain, Paris, France, UCLA Hammer Museum, Los Angeles, CA, Museum of Modern Art, New York, NY, The Museum of Contemporary Art, Los Angeles, CA, Project Row Houses, Houston, TX, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Tate Modern, London, England. Durant is based in Berlin and is a Professor at the Staatliche Akademie der Bildenden Künste in Stuttgart.

Sébastien Schnyder (b. 1990, Geneva) is an artist-researcher living and working between Lyon, Bassecourt, and Geneva. Trained in photography at the CEPV in Vevey and then in ceramic design at the School of Applied Arts in Geneva, he continued his studies in visual arts at Villa Arson in Nice, where he obtained a Bachelor’s degree and then a Master’s degree in 2023. He is currently a researcher within the ACTH unit at ENSBA Lyon.

His work examines the material and symbolic frameworks that organize our environments, not in order to offer a simple reading of them, but to reveal their tensions and contradictions. Through objects that he diverts or recomposes, he questions the logics of use, mechanisms of control, and implicit narratives that shape our everyday gestures. Each sculpture, each filmed sequence becomes a tool for displacement, a means of making visible what, in our spaces, presents itself as neutral but is in fact political.

By observing architectures of waiting, industrial infrastructures, or urban dispositifs, he brings to light the ways in which these systems guide our behaviours and organize our relationship to the world. His approach, informed by field research and collaboration with the social sciences, does not seek effect but understanding: understanding how an object acts, how a space imposes itself, how a fiction organizes reality. His works thus function as materialized hypotheses, possible scenarios that allow us to think about our environments differently. They open spaces for discussion and projection, where each person can reconsider what had seemed self-evident. In this displacement, his work reminds us that forms are never innocent and that questioning them always means questioning, in turn, the structures that surround us.

Selma Selman (b. 1991) is a visual and performance artist from Bosnia and Herzegovina of Romani origin. Her multidisciplinary practice includes performance, video, painting, and installation, often rooted in autobiographical narratives that confront social injustice, gender-based violence, and systemic discrimination. Her works have been exhibited at documenta fifteen, the Venice Biennale, Autostrada Biennale, Manifesta 14, Gropius Bau, Stedelijk Museum, Schirn Kunsthalle, MoMA PS1, Istanbul Biennial. Selman is also the founder of the foundation Get the Heck to School, which supports Roma girls facing poverty and marginalisation.

Stéphen Loye is a visual artist and filmmaker born in 1989 in Digne-les-Bains, France. He currently lives in Marseille. A graduate of the Cergy School of Fine Arts and holder of a DSRA (Advanced Diploma in Art Research), Stéphen Loye has exhibited his work and screened his films at numerous venues and festivals across Europe.

His work centers on the concepts of assemblage, collage, and montage. Warburg’s mnemonic approach and the cut-up technique play a fundamental role in his work. These influences enable him to create new perspectives by challenging established perceptions.

This approach based on listening and sensory immersion, combined with formal associations enables him to give voice to marginalized voices that go unheard in traditional media and mainstream cultural production, which tends to operate within an extractive framework.

Stiliana Alexieva is a Bulgarian multidisciplinary artist. Over the past 20 years, she has exhibited internationally, including four times at the Royal Academy of Arts Summer Exhibition, as well as at major art fairs in New York, Singapore, Hong Kong, Toronto, Istanbul, San Francisco, Palm Beach, Seattle and Chicago. Born into an artistic family, Alexieva was introduced to art from an early age through her father, Bulgarian painter and sculptor Jordan Alexiev. Growing up around his studio and sculptural practice gave her an early understanding of materials, form and the process of making art, which continues to inform her multidisciplinary approach today. Her collectors include the Royal Family of Qatar, the Ritz-Carlton Yacht Collection, Formula 1 Headquarters and leading private collectors worldwide. Alexieva’s practice spans several interconnected areas: public art sculpture, aluminium seascape paintings, book sculptures and bronze works. Each explores the relationship between form, material and perception, examining how an object is experienced through space, light and movement. Building on this extensive exhibition history, Alexieva is expanding her practice into large-scale public space sculptures.

Residual Eerie is a collaborative installation bringing together works by Elvire Ménétrier and Valentin Vert. For Buna Vol.4 , this original project marks the second collaboration between the two artists.

In a vibrant, jubilant and hybrid practice bringing together drawing, song, writing, dance, and sound sculpture, Traïanova transforms the voice into a material for sculpting. Reflecting on the passage from one artistic field to another, she developed the figure of the “singer-skater,” a moving and performative entity that combines vocal practice and skating across institutional and public spaces.
Her work has been presented in France and internationally in numerous art institutions as well as music and poetry festivals. In August 2023, she was an artist-in-residence at the Emily Harvey Foundation in Venice, where she developed the project I Am Sinking. Her performances have been presented at the Palais de Tokyo (Les Écritures bougées, Paris); Largo (Sofia Art Projects III, Sofia); Centre Pompidou (La Nuit de la Lecture, Paris); the Aperto project space at Fondation Ricard (Piste 3 (a host) / Too Many Records, Paris); the Château de Montsoreau – Museum of Contemporary Art (Nuit Blanche); Fondation Fiminco (Made Anywhere, Romainville); Treize (Rire pourquoi faire, Paris); and the International Poetry Center (À côté de la page, Marseille). Her work has also been presented at the Monnaie de Paris Museum, MAC/VAL Museum, Centre Pompidou-Metz, MUDAM (Luxembourg), MNAC (Bucharest), Schauspiel Cologne, S.M.A.K. Ghent, and in the 0GMS-cabinet at the Sofia City Art Gallery, where she presented the solo exhibition UOOOOooooOO (2018). One of her most recent performances, Lust, was presented at the symposium Tune In To Reality in conjunction with the exhibition Lily Greenham: An Art of Living at the Badischer Kunstverein (Karlsruhe), as well as at the Swimming Pool art center as part of Danser Chanter Aimer (Dance Sing Love), her most recent solo exhibition (Sofia).

Vanya Andreeva is a visual artist working across various media and techniques, such as screen printing, digital collage and painting. Her work focuses on social and cultural dynamics, explored and interpreted through the imagery of women, the concept of home, and the nature of human relationships. In her practice, she investigates diverse approaches, seeking new forms of expression and visual solutions that provoke reflection and engage the audience. Her work has been exhibited at the Buna forum (2024, 2025), in the exhibition “Spaces & Communities” at Mobius Gallery, Bucharest (2025) and at the International Print Biennial, Varna(2017) She was an artist-in-residence at ReBonkers in 2024.

Vasil Vladimirov is a curator based in Sofia, Bulgaria. His practice centers on exhibition-making, artistic research, and community-oriented, discursive models of curating, drawing on his background in sociology and politics.

He was the curator of the Bulgarian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia, where he developed the curatorial concept, texts, publication, and international coordination. The pavilion received wide international recognition and was accompanied by an extensive public programme presented in cities including Venice, New York, Berlin, London, Regensburg, and Bucharest. Vladimirov regularly works with major public institutions, including national museums and galleries, while maintaining a strong engagement with independent and experimental spaces.

Since 2021, he has been Artistic Director of KO-OP Art Space, overseeing its development into one of Sofia's leading independent art spaces, with a strong focus on emerging artists, education, publishing, and production. He is also the Founder and Artistic Director of FIG. – Festival for Illustration and Graphics, an international festival included in Sofia Municipality's Cultural Calendar, which commissions new work, hosts international practitioners, and publishes an annual artist book selected through an open call. He has also served as Guest Curator at Structura Gallery, developing a one-year research-based exhibition programme, and as Guest Curator for ETC magazine, curating its portfolio section alongside accompanying exhibitions and public programming.

Vasil Vladimirov holds an MSc in Political Sociology from the London School of Economics and Political Science and a BA in Modern History and Politics from Royal Holloway, University of London, and has participated in advanced curatorial programmes, including the Gwangju Biennale International Curator Course.

Yotaro Niwa (born 1973 on Awaji Island, Japan) is a Berlin-based artist whose practice has developed through sculpture, installation, drawing and collaborative forms. He completed his Master’s degree in Sculpture and Fine Art at Musashino Art University in Tokyo in 1998, where he subsequently worked as a research associate in the Sculpture Department until 2004. He continued his studies at the Braunschweig University of Art under Professor Raimund Kummer and later joined the Japanese Government’s Overseas Study Program for Artists, which brought him to Berlin between 2009 and 2011.

Niwa’s work has been presented internationally in solo and group exhibitions across Europe, Asia and North America. Recent projects include Soft Assembly at Art Space Oblong, Copenhagen (2025); the Larnaca Biennale (2025); Seven Seeds at Zou-no-hana Terrace, Yokohama (2024); and exhibitions at Stay Hungry and Studio Thomas & Renée Rapedius in Berlin. His earlier solo presentations include Equilibrium at UGM Maribor Art Gallery, In the Face of an Empty Mirror at Gallery Coexist in Tokyo, Discursive Digressions at 2P Contemporary Art Gallery in Hong Kong, and a project at the Irish Museum of Modern Art in Dublin.

His practice has also been shaped by numerous international residencies, including Fogo Island Arts in Newfoundland, Taipei Artist Village, Cité Internationale des Arts in Paris, the Irish Museum of Modern Art, Gyeonggi Creation Center in South Korea, and Pada International Residency in Barreiro, Portugal. Niwa has received support from the Agency for Cultural Affairs of the Japanese Government, the Asahi Shimbun Foundation, the Nomura Foundation and Fogo Island Arts.

Alongside his individual work, Niwa has developed collaborative projects with artists including Rebecca Salvadori under the name Zona Dynamic, producing installations and public-space interventions in Berlin, Marrakech, Taipei and beyond.

(2025–2026): Created and directed the audio-theatre piece "The Adventures of Mrs. Pandishpan and Many Other Things", which received a prestigious nomination for Author's Reading at the Drumev Theatre Festivals in 2026.Author of four books focusing on film and theatre analysis, including "Between Cinema and Theatre", "The Whole World is... Cinema!", "European Cinema for Non-Traditionalists", and "The Manifesto. Dogma 95. Reflections on the Newest Bulgarian Cinema".Debuted as a professional theatre director in 2004 with "Crisis in Paradise", followed by successful stage productions such as "Stereolove" (2005), "PLAY/BACK" (2007), and "SOS, Love" (2013). She is also the author of the photography exhibition "Backstage Like in the Movies" (2022) and served as the organizer of the Festival of Scandinavian Cinema and Literature in Varna (2014–2019).Head of the "Brothers Lumiere" Cinema School in Varna since 2018, where her students have won national awards and pursued professional education in arts academies.