646.484.0689       danykosto@hotmail.com
 

Works

Monuments of Incomplete Transition

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.

Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda
Dwelling-in-Travel, curated by Katia Anguelova & Andrea Wiarda

Unorthodox Image

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. 

Unorthodox Image, Daniela Kostova, Warsaw, 2010
Unorthodox Image, Daniela Kostova, Warsaw, 2010
Unorthodox Image, Daniela Kostova, Warsaw, 2010
Unorthodox Image, Daniela Kostova, Warsaw, 2010
Unorthodox Image, Daniela Kostova, Warsaw, 2010
Unorthodox Image, Daniela Kostova, Warsaw, 2010
Unorthodox Image, Daniela Kostova, Warsaw, 2010

Flip-House

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.

Flip-House, XAYC, Red House, Syracuse, curator Natalia Mount
Flip-House, XAYC, Red House, Syracuse, curator Natalia Mount
Flip-House, XAYC, Red House, Syracuse, curator Natalia Mount
Flip-House, XAYC, Red House, Syracuse, curator Natalia Mount
Flip-House, XAYC, Red House, Syracuse, curator Natalia Mount

Decadent Eclipse

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.

Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009
Decadent Eclipse, installation, KK Projects, New Orleans, LA, 2009

Talavera Graffiti

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?

Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009
Talavera Graffiti, book project, Puebla, Mexico, 2009

I Am Whatever You Want Me To Be

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).

XAYC, Red House, Syracuse, NY 2009
Raiko Alexiev Gallery, Sofia, 2008

Body Without Organs. Bulgarian Bar

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.

Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova
Made In, ASSAB One, Milano, Italy, curator Katia Anguelova

Made In

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.

Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005
Made In, single channel video, 07:00, 2004-2005

Fixing Reality

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 invited to pass through the image

Syndicate content