Mariana Vassileva

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Mariana Vassileva

Mariana Vassileva ( Bulgarian Марияна Василева , German transcription Marijana Wassilewa , scientific transliteration Marijana Vasileva ; born October 24, 1964 in Tarnowo / Bulgaria ) is a German-Bulgarian artist . She is a prominent representative of conceptual art and works in the fields of sculpture , photography , video , drawing, and installation art .

Life

Vassileva studied psychology and education at the University of Veliko Tarnovo . Around 1989 she moved to Germany, where she studied theater studies for four semesters in Leipzig. From 1994 to 2000 he studied art at the Berlin University of the Arts . Artistic work stays led her a. a. to Ushuaia (Argentina), Mexico City, Bogota, Santiago de Chile, Montreal, Toronto, Saint Petersburg, Sydney, São Paulo, Auckland and Shanghai. Mariana Vassileva lives and works in Berlin.

Her first publicly known work was a bus stop with a metal bench and headrest in 2000. The work Rasender Standstill deals with our relationship to speed, a frequent theme of her work; the title is a reference to Paul Virilio's essay from 1990. Mariana Vassileva presents her work in clear visual language, which is characterized by aesthetics and harmony - on closer inspection it becomes clear however, the subtle irony behind much of her work.

Based on art history, she makes use of images from collective memory, which she presents as detached from space and time and thus scrutinizes from the ground up. When the context changes, transformation processes occur and the experience of total presence arises. With a distant gaze, she playfully exposes everyday stereotypes and deals with interpersonal relationships and communication.

At the 2010 Sydney Biennale, curated by David Eliott, with the theme The Beauty of Distance: Songs of Survival in a Precarious Age , her work Just a game and The Milkmaid were shown. Just a game is an oversized, bright white hand that protrudes from the wall like a slingshot and threatens to catapult the lead fingertips. The video The Milkmaid was inspired by a painting by Jan Vermeer , The Milkmaid 1658–60. The motif is transformed, not only in our present, but also in a virtual space-free and timeless sphere. The clothes and appearance of the young woman appear untouched like the light that plays on them - as if it were an eternal sculpture. However, because of her posture, she is completely in the present. It remains motionless and only the milk flows as if time had stood still - you could say that photography, video and sculpture are combined in one medium in this work.

In 2011, as part of the 4th International Biennale of Contemporary Art curated by Peter Weibel, with the theme Rewriting Worlds in Moscow, her two sculptures Self-made and Communication were presented.

For the exhibition Macht 2011, curated by Mark Gisbourne, she realized the work Acceleration . A light and barbed wire mesh moves above a Bugatti Veyron engine in the loud sound of the engine. The louder the engine, the more invisible the barbed wire becomes and the negative part becomes context. ( Rohkunstbau 2011).

In 2015, the city's leading gallery for contemporary art in the capital Sofia dedicated a solo exhibition to the artist under the title Balance , in which 26 works were on view.

For a while Vassileva lived in Istanbul directly on the Bosporus in a property that the Ottoman Sultan Abdülhamid II had donated to the German Empire in 1880. There works such as burned wood were created (catalog of works, p. 32).

Commuting between Berlin and Bulgaria, the artist has been working on her first full-length feature film Far away and next to us since 2017 , which she hopes to finish by 2021. The film project is described in the Fragile Power catalog of works published in 2020 on pages 166–167, including the ROBYN 2040 robot, which plays an important role in the film (pages 84–85).

Exhibitions

Solo exhibitions
  • 2015 Balance - Sofia City Art Gallery, Sofia
  • 2013 Kunstverein Ruhr eV, Essen
  • 2012 Casal Solleric, Palma de Mallorca
  • 2011 The Gentle Brutality Of Simultaneity - Starkwhite, Auckland
  • 2010 Because I Dream, I Am Not - Dominik Mersch Gallery, Sydney, NSW
  • 2009 Olga Korper Gallery, Toronto, ON
  • 2008 Musée d´art contemporain de Montréal, Montreal, QC
  • 2008 INDEX GLASS - Galleri Image, Aarhus
  • 2007 Blackbox Art Foundation, San Juan
  • 2006 Gallery Art & Food, Gijón
  • 2003 Breaking standstill - DNA, Berlin
Group exhibitions
  • 2020 Win / Loose , Goethe-Institut Sofia
  • 2019 Now is The Time, 25 years collection - Wolfsburg Museum, Wolfsburg
  • 2019 As We Are 1.0 - Weserburg Museum for Modern Art, Bremen
  • 2019 The Wall And Other Stories - Total Museum, Seoul
  • 2019 Bonum & Malum - Villa Erxleben, Berlin
  • 2017 New permanent exhibition of the Lidice Collection, Lidice
  • 2017 Forms of coexistence, STRUCTURA Gallery, Sofia
  • 2017 Moonlight Sonata - Kunsthalle 44, Möen, Denmark
  • 2017 There is always a light to turn off - REM Project, Puerto Rico
  • 2017 Video Art Portrait, Total Museum, Seoul
  • 2017 Forms of coexistence, STRUCTURA Gallery, Sofia
  • 2017 STARS - Kunsthalle 44 Möen, Denmark
  • 2016 Love Actually ... - Momentum, Berlin
  • 2016 The 56th October Salon - The Pleasure of Love - Belgrade Cultural Center, Belgrade
  • 2016 From the Shores of the Black Sea - Georgian National Museum Shalva Amiranashvili
  • 2016 Museum of Fine Arts, Tbilisi
  • 2016 Halberstadt Biennale 2016
  • 2016 Beyond Balagan, Hero Mother, Contemporary Art by Post-Communist Women Rethinking Heroism - MOMENTUM, Berlin
  • 2016 I don't know a weekend - René Block's archive and collection - Neuer Berliner Kunstverein (nbk) and LENTOS Kunstmuseum Linz
  • 2016 Remember Lidice - Städtische Galerie Nordhorn, Nordhorn
  • 2016 My Father Avoids the Sirens' Song - Josee Bienvenu Gallery, New York City, NY
  • 2015 Walk the Line , Wolfsburg Museum, Wolfsburg
  • 2014 What is the smell of an exhibition? Laboral, Centro de Arte y Creación Industrial, Gijón
  • 2013 Painting and Contemporary Media , Paco das Artes, Sao Paulo
  • 2012 4th Moscow Biennale of Contemporary Art (MNAC) ', Moscow
  • 2012 Smell color, chemestry, art and education , Arts Santa Monica, Barcelona
  • 2010 Menos Tiempo que lugar , Museo National de Bellas Artes, Santiago de Chile, Museu de Arte Contemporanea do Parana, Curitiba, Palacio Nacional de las artes - Palais de Glace, Buenos Aires, Centro municipal de Exposiciones, Subte, Montevideo, Goethe-Institut , Lima, Centro de Arte Contemporáneo, Quito
  • 2010 17th Sydney Biennale , location: Museum of Contemporary Art Sydney
  • 2009 Remote Viewing , Pacific Design Center, Los Angeles
  • 2008 Brilliant Noise . Late at Tate, Tate Britain, London
  • 2007 Cine y Casi Cine , Museo Reina Sofía, Madrid
  • 2006 2nd International Biennial of Contemporary Art, Shumen
  • 2004 Neither In the Sky, Nor On the Earth , Museum of Contemporary Art, Skopje
  • 2003 Up and Coming , ARCO, curated by Rosa Martinez, Madrid
  • 2000 Festival of Vision, curated by Johann Nowak / Hong Kong

Catalogs

Web links

Individual evidence

  1. ^ Heinrich Böll Foundation, Rohkunstbau: Mariana Vassileva. Retrieved August 4, 2015.
  2. ^ Sofia City Art Galerie, Mariana Vassileva –BALANCE– , accessed on June 24, 2015 (Bulgarian).
  3. Vassileva in Tarabya ( Memento of the original from April 27, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved April 26, 2017 @1@ 2Template: Webachiv / IABot / www.tarabya.diplo.de
  4. Goethe-Institut Sofia: [1]
  5. NBK: [2]
  6. LENTOS Art Museum Linz: [3]
  7. REMEMBER LIDICE.
  8. ^ Andrew Taylor: The hair's not real but it carries weight. In: Sydney Morning Herald, September 26, 2010. Retrieved June 24, 2015.