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Portfolio

Works

installation view
Large-scale installation, dimentions variable, 2016// LOOSE is a project exploring the culture of fear in the U.S. society. Specially designed for the exhibition space of A.I.R. Gallery it consists of a sculptural installation Tied, a photomural, series of photographs and found objects.
It's Delovely
Site specific installation: photographic print on vinyl 125x118", photographic print on canvas, 24x17", 2015 In my latest body of work, I photograph my young daughter Vega’s adventure and rest. The images are enlarged and outputted as vinyl film or wallpaper. These large-scale skins are adhered to vernacular architecture in a way that brings the images into an active connection to a site. The work jumps from the intimate scale of home and learning to the public scope of industry and commerce.
Installation view at the Ancient Bath (CCA), Plovdiv, Bulgaria
Photo installation, 2015, dimensions variable// New (Role) Models is a photo installation depicting a child and her babysitter. A closer examination of the work reveals the androgynous babysitter in a domestic setting, juxtaposed with another image of the same person as a fashion model. In fact her name is Rain Dove. She lives in NYC and works as both babysitter and a fashion model, mostly for male brands.
Installation view at Bäckerstrasse4 Gallery, Vienna, Austria, 2015
Site-specific installation: photographic print on wallpaper, 16’ x 18.5’, 2015 Fair Play is site-specific photomural mapped onto a gallery wall and bench. It critiques the American obsession with safety and shows a makeshift playground built inside artist’s home. A group of kids are depicted playing with materials considered “dangerous”: mud, fire, raw wood, and rope.  The installation presents an absurd image of "free-play" at home. This work was shown at bäckerstrasse4 Gallery, Vienna, Austria, 2015.
Adventure Playground, installation at geh8 Gallery, Dresden, 2014
Installation: photographic wallprint 1000x300 cm, wooden columns 200x10x10 cm, 2014// Adventure Playground depicts a scene of a family surviving a flood. The natural disaster referred to in the piece is real* but its use also serves as a metaphor for the current economic crisis in Bulgaria, and the unstable human condition globally.
Flip-House, Queens International 2013, Queens Museum
Mixed media installation, 8'x9x9', 2013// Flip-House (Queens) was specially designed for the exhibition Queens International 2013, in collaboration with Mario Mohan. The house was also home of the project Smuggle Tactics by the Bulgarian Collaborative*. Flip-House(Queens) was constructed out of materials collected from the museum’s renovation site and thus became its extension reaching out into the neighborhood. The house was designed as a semi-mobile structure with removable parts that traveled outside of the museum.
Lexicon
HD Video, 6.12 min. metal puzzle box, 2012//  Lexicon is a video of the artist and her child putting together a puzzle and thus deconstructing a particular time and place of importance. 

The puzzle depicts the artist herself with a friend in front of a building - Haus Wittgenstein. The image references an event from 1997, very important in her life as it marked her first trip to the “West” (Vienna, Austria) where she  participated in an interdisciplinary workshop that deeply influenced her art-practice.
Cosmonaut 1001
Archival print on paper 100x70 cm 2011// The photograph Cosmonaut 1001 is an ironic celebration of internationalism. A white dove has landed on the head of an infant child in a space suit, its sewn-on badges suggesting affiliation with countries previously on opposite sides of a divide, Capitalist and Communist. The image feels borrowed from a TV commercial designed to convince us of a dream which anyone’s money can buy: the Cold War is over, globalization of space is a reality and even infants can fly.
Immigrants Occupy
Inkjet print on Moleskin book, tape, 2011// Immigrants Occupy is a project that pays tribute to OWS and, more specifically, to the Immigrants Occupy March that took place on December 18th, 2011 in NYC. Images of protesters standing on platforms and holding signs are directly printed on the Moleskin pages. Thus they become living monuments of the movement. There are two stories running along the top and the bottom of the book: The first describes my personal experience as an immigrant in the U.S.
Unlimited, Sofia, 2011, curator Irina Batkova
Single-channel HD video, 2:05 min. loop, 2011// The video Mausoleum Stop addresses issues related to collective memory in Bulgaria, monumental architecture as an element of that memory, and public space. The viewers witness the erection of a large-scale building structure on Battenberg Square in Sofia at the empty location of the former mausoleum of Georgi Dimitrov.* The effect is achieved with the help of a digitally assembled giant scaffolding imprinted with the image of that controversial building in 1:1 scale.
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Performance, single-channel video, HD, 11:00, 2010// The project aims to explore the themes of mobile citizenship, hybridity, temporary occupation, surface architecture and (re)construction. It is a collaboration with Miryana Todorova, commissioned for the exhibition Dwelling-in-Travel at the Art Today Association in Plovdiv, Bulgaria, curators Katia Anguelova and Andrea Wiarda. We have produced eight large-format vinyl prints (based on photographs of building structures from Bulgaria) taking the form of mobile booths when put together.
Unorthodox Image, Daniela Kostova, Warsaw, 2010
Large scale video projection 1 min. loop, video monitor 10 min. loop, photography, 2010// Unorthodox Image is a site-specific project that brings back an area of repressed memory of Warsaw's architecture. It was commissioned for a solo exhibition in Warsaw and consists of two videos and an inkjet print. 
Flip-House, XAYC, Red House, Syracuse, curator Natalia Mount
Mixed media installation, dimension variable, 2009// Flip-House* is conceived in response to the current economic crisis in the US, changing living conditions globally and the state of emergency resulting from those processes. It utilizes survival strategies borrowing from communities in continuous crisis and takes the form of a house. One strategy is a form of social mimicry by which one temporarily adopts the texture of a specific place to pass for the other. Flip-House will move to different locations and will be altered each time. This process will be documented with photography and video.
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Inkjet print on canvas, mattress, tread, wooden blocks, 205 x 142 x 25 cm, 2009 Photography: Angel Kocev Design: Asen Iliev A combination of large-scale photographic print and found object, this installation focuses on the idea of cross-cultural pollution. Borrowing elements from both traditional Bulgarian and popular global cultures, the image depicts a domestic scene gone sour: a woman (the artist herself) and her children are simultaneously eclipsed by the detritus of western overabundance and crushed by the weight of their own culture’s traditions.
Talavera Graffiti, book project, Puebla, Mexico, 2009
Text and mosaic in collaboration with Mike De Seve, 2009 Talavera Graffiti is a site-specific project, outcome of a week long visit in Puebla, Mexico. It is documented and presented in Puebla Transbaroca, an alternative guide book curated by Katia Anguelova and Alessandra Poggianti, 2009. Monday Airport. The bus to Puebla cuts through the infinite slums of Mexico City’s edge. Then, in an eyeblink -- desert, no person in sight: just Nicholas Cage on the bus TV. Two men behind us are going to the Volkswagen factory in Puebla. “Perfect, perfect” one repeats, ”perfect.” Where are we?
XAYC, Red House, Syracuse, NY 2009
C-Print, 200 x 105 cm, 2008 Photography: Angel Kocev Design: Asen Iliev I Am Whatever You Want Me To Be is an opulent photographic self-portrait that shows four archetypical characters referring to my previous work. It combines Bulgarian tradition (the kukeri dancer wearing a “beast” like costume) and Bulgaria's struggle with the idea of tradition (the chalga singer) with quotes from American pop-culture (boom box, fast food, television). It is a freeze-frame of an implosion of space and time — the general relativity of the free market becomes a theory of culture. This work was commissioned for the show Moleculart, curator Boris Kostadinov, Rajko Alexiev Gallery, Sofia (2008).
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Video documentary, 28 min., 2006 Body Without Organs documentary video follows the "discovery" of the Bulgarian Bar through the eyes of a recent immigrant in New York City who has lost her sense of reality. Seeking traces of her old identity, she returns time and again to a Bulgarian Bar in Chinatown, ironically called the Bulgarian Cultural Center.
Negotiations, Boundaries, MAN Museum, Nuoro, Italy
Video performance in collaboration with Olivia Robinson
Made In, single channel video, 07:00, 2004-2005
You can see Made In on YouTube Single channel video, 7 min., 2004-2005 In this video I took a portable blue screen to a public square in Sofia, Bulgaria and keyed (a process of “hole cutting”, or subtracting part of the picture) an image of it by using the seamless effect of the blue screen. The image represented my background is later transformed to a dress and became a subject of intense debate with my Bulgarian friend. Shot in Bulgaria but edited in US, Made In video explores communication between distant places and different realities. It presents two points of view of the same subject and reveals the distortions of meaning resulting from the differing contexts of the viewers. It also draws a picture of a world with a limited choice of politics. A choice between a nationalistic ideology growing in a small post-communist country, and an Imperialistic one emerging from the world’s largest economy.
You can see Fixing Reality on YouTubeIn the video Fixing Reality I have documented my attempts to place a portable blue screen at a variety of public urban locations in the U.S. The blue, shapeless hole in the space created by the portable screen is later digitally “filled” with images from my native Bulgaria. I have utilized the blue screen as a tool for manipulating my background. The process is difficult: the screen is constantly falling down as I strive to adjust and stabilize it while talking to people who pass through it. I use the blue screen video technique as a metaphor of absence and subjectively perceived reality, and to address issues of cultural displacement and alienation as a psychological condition of the global subject. In the exhibition Don’t Touch The White Woman, Fondacione Sandretto Re Rebaudengo, Torino, Fixing Reality was presented as a video installation, the video projected on 3m x 4m translucent curtain, dividing the space into two parts. Visitors were...
 Frame, single-channel video, 09:47, 2000
Single-channel video, 09:47, 2000 This single-channel video is intended for a large-scale projection. It presents a snapshot of my private daily life. However, most of the screen is covered by a big black square placed in the center. This self-reflexive void remains black and empty until the end and forces the viewer’s attention towards the margins of the screen. Viewers have no choice but to interpret the actions according to the pieces of information that they receive from the “frame.” Frame examines mechanisms of viewing and understanding the other. It was part of the exhibition In & Out, Onufri 2000, National Gallery of Art, Tirana, Albania where it received First Prize. The work is courtesy of Lino Baldini (Italy) and is also a part of the Elizabeth A. Sackler Center for Feminist Art Base at Brooklyn Museum (USA) and Sofia City Video collection. Video link here.
 

Collaborations

Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Performance, single-channel video, HD, 11:00, 2010// The project aims to explore the themes of mobile citizenship, hybridity, temporary occupation, surface architecture and (re)construction. It is a collaboration with Miryana Todorova, commissioned for the exhibition Dwelling-in-Travel at the Art Today Association in Plovdiv, Bulgaria, curators Katia Anguelova and Andrea Wiarda. We have produced eight large-format vinyl prints (based on photographs of building structures from Bulgaria) taking the form of mobile booths when put together.
Talavera Graffiti, book project, Puebla, Mexico, 2009
Text and mosaic in collaboration with Mike De Seve, 2009 Talavera Graffiti is a site-specific project, outcome of a week long visit in Puebla, Mexico. It is documented and presented in Puebla Transbaroca, an alternative guide book curated by Katia Anguelova and Alessandra Poggianti, 2009. Monday Airport. The bus to Puebla cuts through the infinite slums of Mexico City’s edge. Then, in an eyeblink -- desert, no person in sight: just Nicholas Cage on the bus TV. Two men behind us are going to the Volkswagen factory in Puebla. “Perfect, perfect” one repeats, ”perfect.” Where are we?
Negotiations, Boundaries, MAN Museum, Nuoro, Italy
Video performance in collaboration with Olivia Robinson