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he exhibition is a try at a mirror reconsideration ofhistory. It is a “tete-a-tete” of two generations of ladyartists: the first “bunch” of graduates from art academiesin Bulgaria who advocated the right of the “fair sex” todeal seriously with art, and artists who in late 20th centuryunderstood art as an avenue to convey messages and toprovoke public opinion. The mirror approach in the construction of the exhibition isnot a haphazard choice. First, the mirror is an attribute,which is invariably associated with the female principle.Second, the mirror is a common motif in the pictures ofthe lady artists from the early 20th century whereas theseries of self-portraits from the end of the century justallude to it. Third, the mirror carries divine and magiccharacteristics that are typical of art and women alike.Fourth, speculum (the Latin word for mirror) is a gynoexamination instrument, which is interpreted by LuceIrigaray as a symbol of the male penetration into the oppo-site sex based on the idea of “nonexistence” and cavity.This is how feminism is incorporated into the subject. Fifth,the mirror refers to thinking because of the etymology ofthe word speculum - from speculor meaning “to specu-late” in the sense of “to think” or “to reflect”. This addsto the ambition of the provocative nature of the exhibition.Last but not least the speculum is associated with a spec-tacular performance (spectaculum), which is the quintes-sence of any exhibition.Probably the opposition (or juxtaposition) seems audaciousfrom the perspective of the tolerant theory of art. However,almost seventy years and many other lady artists are inter-vening between these two generations... The contrast isdeliberate as sometimes it best expresses the essenceand, moreover, the approach has its raison d’etre. The twogroups of artists have many things in common. The formerprotested and asked to attend the nude painting classes inthe Art Academy, to have their artworks displayed in gen-eral exhibitions side by side with the works of artists fromthe opposite sex, to organize their own exhibitions and tobe treated in a serious way. The latter tried to raise tabooquestions that for many years before them were unutteredin the guise of fear and inertia. The former were trainedabroad and brought home the trends of Impressionism andExpressionism. The latter experimented with media andmeans of expression that previously were not employed inBulgarian art. As regards the subject matter, the affinity isundeniable: both groups are definitely introspective. Self-portrait appears to be the commonest choice.Understandably, the reasons are far from being identical.In the early 20th century the self-portrait stood for growingself-confidence and self-consciousness. At the end of thecentury the self-portrait was the vehicle of inner dramaand anxiety and raised many questions. The exhibitionseeks to highlight the similarities and dissimilarities in theattitude to the still life, the male nude body and the por-trait. In fact the real mirror is the spectator who is the“looking glass” of destinies, ambitions and achievementsthat, while being distant from each other in time, are kin-dred in a deeply intrinsic way. Are reflections possible in this parade of mirrors? Will it bepossible to catch the image or will the image dissolve anddisappear into the infinity of variations? We count not onthe categoricalness achieved but on diversity. The purposeof the exhibition is to multiply the reflections and to makethe diversity, intricacy and even confusion of the reflec-tions provoke a discussion.Maria VassilevaExhibition Curator

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àçè èçëîæáà å îïèò çà îãëåäàëíî ïðåðàçãëåæäàíå íà èñòîðèÿòà. „Î÷è â î÷è“ ñå èçïðàâÿò äâå ïîêîëåíèÿõóäîæíè÷êè. Îò åäíàòà ñòðàíà çàñòàâàò ïúðâèòå æåíè ñ õóäîæåñòâåíî îáðàçîâàíèå â Áúëãàðèÿ, êîèòîçàùèòàâàò ïðàâîòî íà „íåæíèÿ ïîë“ ñåðèîçíî äà ñå çàíèìàâà ñ èçêóñòâî. Îò äðóãàòà - õóäîæíè÷êèòå, êîèòî âêðàÿ íà 20-òè âåê îñúçíàâàò òâîð÷åñòâîòî êàòî âúçìîæíîñò çà îòïðàâÿíå íà ïîñëàíèÿ è ïðîâîêèðàíå íàîáùåñòâåíîòî ìíåíèå. Îãëåäàëíèÿò ïîäõîä ïðè ñúñòàâÿíåòî íà èçëîæáàòà íå å èçáðàí ñëó÷àéíî. Ïúðâî, îãëåäàëîòî å àòðèáóò, êîéòîíåèçìåííî ñå ñâúðçâà ñ æåíñêîòî íà÷àëî. Âòîðî, òî å ÷åñò ìîòèâ â êàðòèíèòå íà õóäîæíè÷êèòå îò íà÷àëîòîíà 20-òè âåê, à â ïîðåäèöàòà àâòîïîðòðåòíè òâîðáè îò êðàÿ íà ñúùîòî ñòîëåòèå ñå ïîäðàçáèðà. Òðåòî,îãëåäàëîòî íîñè áîæåñòâåíè è ìàãè÷åñêè õàðàêòåðèñòèêè - ïðèñúùè êàêòî íà èçêóñòâîòî, òàêà è íà æåíèòå.×åòâúðòî, speculum (ëàòèíñêàòà äóìà çà îãëåäàëî) ñå íàðè÷à ïîïóëÿðåí ãèíåêîëîãè÷åí èíñòðóìåíò, êîéòî ñåòúëêóâà îò Ëþñ Èðèãàðå êàòî ñèìâîë íà ìúæêèÿ ïîäõîä êúì æåíàòà, îñíîâàí íà ïðåäñòàâàòà çà „ëèïñè“ èêóõèíè. Òàêà è ôåìèíèçìúò ñå âêëþ÷âà â òåìàòà. Ïåòî, îãëåäàëîòî îòïðàùà êúì ìèñëîâíîñòòà ïîðàäèåòèìîëîãèÿòà íà ñàìàòà äóìà speculum - îò speculor - íàáëþäàâàì, èçó÷àâàì. Òîâà äîáàâÿ êúìïðîâîêàòèâíîñòòà íà èçëîæáàòà è ïî-ãîëÿìà àìáèöèÿ. Íå íà ïîñëåäíî ìÿñòî speculum ñå îáâúðçâà è ñúñçðåëèùå, ñïåêòàêúë (spectaculum), êàêâàòî â ñúùíîñòòà ñè å âñÿêà èçëîæáà. Âåðîÿòíî ïîäîáíî ïðîòèâîïîñòàâÿíå (èëè ñúïîñòàâÿíå) èçãëåæäà äðúçêî îò ãëåäíà òî÷êà íà òîëåðàíòíîòîèçêóñòâîçíàíèå. Âñå ïàê ìåæäó òåçè äâå ïîêîëåíèÿ èìà ïî÷òè ñåäåì äåñåòèëåòèÿ è ìíîãî äðóãè æåíè-õóäîæíè÷êè... Êîíòðàñòúò îáà÷å å òúðñåí, çàùîòî èìåííî òîé ïîíÿêîãà íàé-äîáðå èçÿâÿâà ñúùíîñòòà, à èîñíîâàíèÿòà çà òàêúâ ïîäõîä íå ñà ìàëêî. Ìåæäó äâåòå ãðóïè àâòîðêè èìà ìíîãî îáùè íåùà. Ïúðâèòå ñå áîðÿòäà áúäàò äîïóñêàíè â ÷àñîâåòå ïî ãîëî òÿëî â Õóäîæåñòâåíàòà àêàäåìèÿ, äà ó÷àñòâàò â îáùè èçëîæáè íàðàâíîñ äðóãèÿ ïîë, ñàìè äà îðãàíèçèðàò èçëîæáè, äà áúäàò ïðèåìàíè íàñåðèîçíî. Âòîðèòå ñå îïèòâàò äà ïîâäèãíàòâúïðîñè-òàáó, îñòàíàëè äúëãè ãîäèíè íåèçêàçàíè, ïðèêðèòè îò ñòðàõ è èíåðòíîñò. Ïúðâèòå ó÷àò â ÷óæáèíà èäîíàñÿò â ñòðàíàòà ñè âåÿíèÿòà íà èìïðåñèîíèçìà è åêñïðåñèîíèçìà. Âòîðèòå åêñïåðèìåíòèðàò ñíåèçïîëçâàíè äî ìîìåíòà â áúëãàðñêàòà õóäîæåñòâåíà ïðàêòèêà ìåäèè è íà÷èíè íà èçðàçÿâàíå. Ïî îòíîøåíèå íàñþæåòèòå áåçóñëîâíî ñå íàëàãà åäíà ñúùåñòâåíà áëèçîñò - è åäíèòå, è äðóãèòå ñå âãëåæäàò ïðåäè âñè÷êî âñåáå ñè. Àâòîïîðòðåòúò å êàòî ÷å ëè íàé-ðàçïðîñòðàíåíèÿò æàíð. Ðàçáèðà ñå, îñíîâàíèÿòà äàëå÷ íå ñàåäíàêâè.  íà÷àëîòî íà âåêà àâòîïîðòðåòúò å èçðàç íà íàðàñíàëîòî ñàìî÷óâñòâèå è ñàìîñúçíàíèå.  íåãîâèÿêðàé - èçðàçÿâà âúòðåøíàòà äðàìà, áåçïîêîéñòâî è ïîñòàâÿ ìíîæåñòâî âúïðîñè. Èçëîæáàòà ñå îïèòâà äàçàäàäå ïàðàëåëè è ðàçëè÷èÿ è â îòíîøåíèåòî êúì íàòþðìîðòà, ãîëîòî ìúæêî òÿëî, ïîðòðåòà. Âñúùíîñòèñòèíñêîòî îãëåäàëî å çðèòåëÿò, à „ïðåç íåãî“ åäíè â äðóãè ñå îãëåæäàò äâå îòäàëå÷åíè âúâ âðåìåòî, íî ïîíÿêàêúâ äúëáîêî âúòðåøåí íà÷èí ñðîäíè - ñúäáè, àìáèöèè è ïîñòèæåíèÿ. Äàëè â òîçè ïàðàä íà îãëåäàëà îòðàæåíèÿòà ùå áúäàò âúçìîæíè? Ùå óñïååì ëè äà óëîâèì îáðàçà èëè òîé ùåñå ðàçïàäíå è èçãóáè â áåçêðàÿ íà âàðèàöèèòå? Íàäÿâàìå ñå íå íà ïîñòèãíàòà êàòåãîðè÷íîñò, à íàìíîãîîáðàçèå. Öåëòà íà òàçè èçëîæáà å óìíîæàâàíåòî íà îòðàæåíèÿòà äà ñå ñëó÷è è òÿõíîòî áîãàòñòâî,ñëîæíîñò è äîðè îáúðêàíîñò äà ïðîâîêèðàò ðàçãîâîð. Ìàðèÿ ÂàñèëåâàÊóðàòîð íà èçëîæáàòà

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8 ìàðò - 7 àïðèë 2006, Ñîôèéñêà ãðàäñêà õóäîæåñòâåíà ãàëåðèÿ

ÑÑÃÃÕÕÃÃ èè ããððóóïïàà 88--ììèè ììààððòò SSooffiiaa AArrtt GGaalllleerryy aanndd MMaarrcchh 88tthh GGrroouupp

ÓÓ÷÷ààññòòííèèööèè:: Òîäîðêà Áóðîâà, Íåâåíà Ãàí÷åâà, Ìàðèåëà Ãåìèøåâà, Àëëà Ãåîðãèåâà, Âåðà Èâàíîâà, Öàíà Èâàíîâà-Áîÿäæèåâà, Åëåíà Êàðàìèõàéëîâà, Åëèñàâåòà Êîíñóëîâà-Âàçîâà, Ñèëâèÿ Ëàçàðîâà, Íàäåæäà Îëåã Ëÿõîâà, Àäåëèíà Ïîïíåäåëåâà, Àííà Õåí-Éîñèôîâà ÊÊóóððààòòîîðð:: ÌÌààððèèÿÿ ÂÂààññèèëëååââàà

PPaarrttiicciippaannttss:: Adelina Popnedeleva, Alla Georgieva, Anna Hen-Yossifova, Elena Karamihailova, Elisaveta Konsoulova-Vazova, Mariela Gemisheva, Nadezhda Oleg Lyahova, Nevena Gancheva, Silvia Lazarova, Todorka Bourova, Tzana Ivanova-Boyadjieva, Vera Ivanova CCuurraattoorr ooff tthhee eexxhhiibbiittiioonn:: MMaarriiaa VVaassssiilleevvaa

ÒÐÀÆÅÍÈßÒÀ

Åëèñàâåòà Êîíñóëîâà-Âàçîâà. Àâòîïîðòðåò, 1925 (ÍÕÃ)Elisaveta Konsoulova-Vazova. Self-portrait, 1925 (National Art Gallery)

Àëëà Ãåîðãèåâà. ÀÃ - Çëàòíà êîëåêöèÿ, 2002Alla Georgieva. AG - Gold Collection, 2002

Íà áúëãàðñêàòà õóäîæåñòâåíà ñöåíà íà÷àëíèòå âèçóàëíèðàáîòè / àêöèè ñâúðçàâè ñ ôåìèíèñòêî ñàìîñúçíàíèå, áÿõàíàé-÷åñòî àâòîðåôåðåíòíè. Àâòîðêèòå ïðåäñòàâÿõà ñâîÿëè÷åí îïèò – èíòèìåí è ïóáëè÷åí, ñâîÿòà çàñåãíàòîñò îòñîöèàëíè ðîëè, ïðåäïèñâàíè íà æåíèòå â îïðåäåëåíè ñðåäè.Ìíîãî ÷åñòî õóäîæíè÷êèòå âêëþ÷âàõà ñâîè îáðàçè âðàáîòèòå ñè, ïîñðåäñòâîì ôîòîñíèìêè, äèàïîçèíèâè,îòïå÷àòúöè, âèäåîêëèïîâå.Îáùè âíóøåíèÿ â ðàáîòèòå íà ãðóïàòà „8 ìàðò“1, âúïðåêèðàçëè÷èÿòà â èíäèâèäóàëíèòå ðåãèñòðè, áÿõà èãðîâîñò –ðàçèãðàâàíå íà (íå)ñâîè ðîëè è íàðåä ñ òîâà ñêåïòèöèçúìñïðÿìî âúçìîæíîñòòà æåíàòà äà ïðèäîáèå âëàñò íàäïðåäïèñâàíèòå é àìïëîà,.Ñèìâîëíàòà äåéíîñò ïî îòíîøåíèå íà ñåáåâúçïðèÿòèåòîíåèçìåííî ñå ñâúðçâà ñ îáðàç â îãëåäàëîòî, îùå ïîâå÷åâúâ âèçóàëíèòå èçêóñòâà. Îáðàç â îãëåäàëîòî ìîæå äàáúäå îáîáùàâàù ñèìâîë íà àâòîðåôåðåíòíîñò, íî è íàíåïîçíàâàåìîñò / îòâúäíîñò, íà ñòðàñò êúìñàìîïîçíàíèå, íî è íà êîïíåæ ïî ñîáñòâåíèòå ñèîòðàæåíèÿ (íåèçáåæíîòî ïîçîâàâàíå íà ìèòà çà Íàðöèñ).Îãëåäàëíèÿò ïîãëåä êúì ñåáå ñè å ñúùî è íåñúâïàäàíå,ïðîïàäàíå äðóãàäå - îòðàçåíèÿò / óäâîåí îáðàç å ñúùèÿò,íî ðàçëè÷åí, äîðè ñàìî çàùîòî äÿñíîòî ñå âúçïðåìà êàòîëÿâî, à íå-âèäèìàòà îáëàñò „çàä“ íàñ ïðåìèíàâà âúââèäèìî „íàðåä ñ“ îáðàçà íè. Ñïîäåëÿíåòî íà òîçèíåñúâïàäàù îáðàç, çàòðóäíåíèÿòà, ïîíÿêîãàíåâúçìîæíîñòòà çà ñïîäåëÿíå, âúçïðèåìàì êàòî âàæíàòåìà â íàñòîÿùàòà èçëîæáà.* * *Õóäîæíè÷êèòå îò êðàÿ íà ÕIÕ âåê , ñúäåéêè ïî ðàáîòèòåèì, íå ñà ðàçî÷àðîâàíè è ñêåïòè÷íè – ñÿêàø ïðåäïèñâàíèòåðîëè íåäðàìàòè÷íî ñúâïàäàò ñúñ ñåáåâúçïðèÿòèåòî.Èíòèìíèÿò ñâÿò, êîéòî „ñå îãëåæäà“ â ðàáîòèòå èì, åæèçíåí.  íåãî ëèïñâàò „çíà÷èìèòå“ èñòîðè÷åñêè èîáùåñòâåíè ñþæåòè, ëèïñâàò ìåòàôîðèòå è ñèìâîëèòåíà ñòðàñòè è ñòðàäàíèÿ. Òåçè ëèïñè â ñðàâíåíèå ñ„ìúæêîòî“ òâîð÷åñòâî ñÿêàø íå ñå âúçïðèåìàò îòõóäîæíè÷êèòå êàòî íåäîñòèã è íåðàâåíñòâî.Ïîäîáíî íà õóäîæíè÷êèòå ëþáèòåëêè ïðåç XVIII è ðàííèÿ XIXâåê â Åâðîïà, ïúðâèòå õóäîæíè÷êè ñ ïðîôåñèîíàëíîîáðàçîâàíèå ó íàñ - Åëèñàâåòà Êîíñóëîâà – Âàçîâà, ÅëåíàÊàðàìèõàéëîâà – ïðåäñòàâÿò â êàðòèíèòå ñè ôàìèëíàòàñðåäà: ÷ëåíîâå íà ñåìåéñòâîòî, ïðèÿòåëè (íàé-÷åñòîïðèÿòåëêàòà, ñåñòðàòà), äîìà (èíòåðèîðè ñ ôèãóðè,íàòþðìîðòè). Ñúçäàâàò ñå ìíîãîáðîéíè äåòñêè ïîðòðåòè– èíòåðåñ, ïîòâúðæäàâàù è ñâðúõîñòîéíîñòÿâàíåòî íàìàé÷èíñòâîòî ïðåç XIX âåê â Åâðîïà, â îáùàòà èäåÿ çàïðîñïåðèòåò íà íàöèîíàëíàòà äúðæàâà. Òåìàòè÷íî èæàíðîâî òåçè ðàáîòè, êàêòî è æåíñêèòå ëþáèòåëñêèðàáîòè â ñàëîíèòå çà ãîñòè è â äîìàøíèòå õóäîæåñòâåíèàëáóìè, ñà äàëå÷ îò òðàäèöèÿòà íà àêàäåìè÷íîòî,„âèñîêî“ èçêóñòâî. Âúâ ôîðìàëíèòå è ñòèëîâèõàðàêòåðèñòèêè, îáà÷å, êàðòèíèòå íà òåçè ïúðâèáúëãàðñêè õóäîæíè÷êè ñå ðàçëè÷àâàò îò ëþáèòåëñêàòàîáëàñò – ïî èçïúëíåíèåòî â ìàñëåíà æèâîïèñ, ïî ãîëåìèòåôîðìàòè, êîèòî ñà ìèñëåíè è çà èçëîæáåíè (à íå ñàìî çàäîìàøíè) ïðîñòðàíñòâà, êàêòî è ïî ïðîôåñèîíàëíîòîóñèëèå êúì îïðåäåëåíîñò â ñòèëà.Êîíâåíöèîíàëíèòå „æåíñêè“ ñþæåòè åäâà ëèâúçïðåïÿòñòâóâàò æåëàíàòà õóäîæíè÷åñêà êàðèåðà.Îáùåñòâåíèÿò ïðîáëåì å ñ ó÷àñòèåòî íà æåíèòå ñïðîôåñèîíàëíî îáðàçîâàíèå â èíñòèòóöèèòå íàõóäîæåñòâåíèÿ æèâîò, â ðåøàâàíåòî íà ïóáëè÷íè âúïðîñè(õóäîæåñòâåíè æóðèòà, ïîðú÷êè, îòêóïêè, ñòèïåíäèè èò.í.). Òÿõíàòà ïðîôåñèîíàëíà õóäîæåñòâåíàêîìïåòåíòíîñò íå ìîæå äà ñå èçÿâè èçâúí ÷àñòíîòîïðîñòðàíñòâî.  êðàÿ íà ÕIÕ âåê, çà äà ñå çàíèìàâà ñèçêóñòâî, æåíàòà òðÿáâà äà å îò çàìîæíà è îáðàçîâàíàñðåäà. Äëúæíîñòèòå, îñèãóðàâàùè çàïëàòà è ïîñòîÿííèäîõîäè, ñà íåäîñòúïíè çà õóäîæíè÷êèòå. Åäíî îãëàñåíîêîìïåòåíòíî ìíåíèå, èçîáùî çà æåíèòå ñ îáðàçîâàíèå, å:„÷å ïðè òàÿ ïîäãîòîâêà è ïðè òèÿ óñëîâèÿ, â êîèòî ñå

ðàçâèâà áúëãàðñêàòà äåâèöà, òÿ íèòî ìîæå, íèòî èìàïðàâî äà ñå ÿâÿâà êàòî êîíêóðåíòêà íà þíîøàòà ïðèçàåìàíå íà ó÷èòåëñêè äëúæíîñòè.“2

 æèâîïèñòà, â êàðòèíàòà ïðåç ðàííèÿ ïåðèîä, îáà÷å, òàçèñèòóàöèÿ å òðóäíî ñïîäåëèìà, äîðè íåâúçìîæíà çàñïîäåëÿíå.* * *Êàê ñå ðåàëèçèðàò ñîöèàëíî, êàê ñå èçäúðæàòõóäîæíè÷êèòå âåê ïî-êúñíî?Äíåñ âå÷å íèêîé íå ñè ïîçâîëÿâà äà íàïèøå ïóáëè÷íîïîäîáíà íà öèòèðàíàòà „êîíñòàòàöèÿ“, íèòî ÷å: „Îíîâà,êîåòî â 99 íà ñòî ñëó÷àÿ êàðà æåíàòà äà „ëàìòè“ çàâèñøå îáðàçîâàíèå, å ñòðàõúò îò åâåíòóàëíîòîíåçàäîìÿâàíå.“3 Äàëè ïîðàäè ðåñïåêòèðàùàòà „ïîëèòè÷åñêàêîðåêòíîñò“, èëè çàùîòî ïðåäðàçñúäúöèòå èíåðàâíîñòîéíàòà êîíêóðåíöèÿ ñà èç÷åðïàíè ùå îñòàâèì íàñïåöèàëèñòè îò äðóãè îáëàñòè. Êàêòî è ôàêòè÷íèòåñúïîñòàâêè îòíîñíî çàåìàíè äëúæíîñòè è ïðèõîäèòå íààðòèñòêèòå è àðòèñòèòå äíåñ.* * *Èçëîæáèòå íà ãðóïàòà „8 ìàðò“ îò 1999 ãîäèíà íàñàìîòñòîÿâàò òâîð÷åñêàòà çíà÷èìîñò íà îïðåäåëåí êðúãàðòèñòêè. Çà ðàçëèêà îò èçëîæáèòå íà ïúðâèòåõóäîæíè÷êè, îáà÷å, „íåâúçìîæíèòå çà ñïîäåëÿíå“ ñîöèàëíèïðåïÿòñòâèÿ è ïðåäðàçñúäúöè, ïîðàæäàùè ñóáåêòèâíèñòðàõîâå è çàòðóäíåíèÿ, ñåãà çàïî÷âàò äà ñåàðòèêóëèðàò.Ïî÷òè âåê íî-êúñíî õóäîæíè÷êèòå îò „8 ìàðò“ âñå òàêà„îãëåæäàò“ â ðàáîòèòå ñè åäèí èíòèìåí ñâÿò. Òîçè ïúòòîé âíóøàâà óñåùàíå çà íå-æèçíåíîñò, àëèåíàöèÿ,ðàçäâîåíèå. Ïîÿâÿâàò ñå íå-æèçíåíè ìåòàëíè íàñàæäåíèÿ(Àäåëèíà Ïîïíåäåëåâà); åðîòè÷íè òåëà ñðåä êîíêóðèðàùèãè ìîðåòà îò ñàëàòà (Àëà Ãåîðãèåâà); áðóòàëíè ãëåäêè íàìåñî, íàïîìíÿùî êëàñè÷åñêèòå åêîðøåòà, íàðåä ñ íàáóëêàòà - îáåêò íà ìúæêîòî æåëàíèå (Ìàðèåëà Ãåìèøåâà).Äîðè öâåòíèòå ôðèçîâå íà Íàäÿ Ëÿõîâà („Äèãèòàëíèíàòþðìîðòè“), ðàçãúðíàëè ñå îò ãúðáîâåòå íà æåíñêèòåôèãóðè â áàñìåíè ðîêëè, ñà íÿêàê çàñòèíàëè, íåâèòàëíè(àâòîðêàòà óäà÷íî ãè íàçîâàâà „íàòþðìîðòè“). Òîçèèíòèìåí ñâÿò ïàðàäîêñàëíî óñúðäíî è ðàäîñòíîî(ò)ãëåæäà ñâîåòî ñàìîóíèùîæåíèå è ñìúðò.Ëþáîâòà, òðàäèöèîííî ñâúðçâàíà ñ „ìúæêèòå“ îáðàçè íàæåíàòà, â ñïîäåëåíèòå æåíñêè îòðàæåíèÿ îçàäà÷àâàùîëèïñâà (â êðàÿ íà XIX âåê èëè âåê ïî-êúñíî). Äà âÿðâàìå ëèòîãàâà, ÷å „Ëþáîâòà, êîÿòî â æèâîòà íà ìúæà å ñàìîïðèÿòåí (ïîíÿêîãà è ìíîãî íåïðèÿòåí) åïèçîä, â æèâîòà íàæåíàòà å åäíà âðàòîëîìíà ôàòàëíîñò (Verhaegniss áèðåêúë Íèò÷å), åäíî ñúáèòèå, ïî-ñúäáîíîñíî îò êîåòî çàíåÿ íå ñúùåñòâóâà.“4 È çàùî js fijdld â íå-âèäèìàòà îáëàñòíà íåñïîäåëåíîòî?* * *Ñåäåì ãîäèíè ñëåä ñúçäàâàíåòî íà ãðóïàòà „8 ìàðò“àðòèñòêèòå ñÿêàø ñà èç÷åðïàëè íåîáõîäèìîñòòà äà áúäàò÷åñòî çàåäíî, íåïðåìåííî ìåæäó æåíè, çà äà èçñëåäâàòñèòóàöèÿòà, ðîëèòå, æåëàíèÿòà íà æåíàòà.Èíòåðåñèòå íàäìèíàâàò âãëåæäàíåòî â ñîáñòâåíàòàñèòóàöèÿ. Óñèëèÿòà ñà çà îòâîðåíîñò êúì äðóãîñòòà,ñúùî è êàòî êóëòóðíà ñèòóàöèÿ è èñòîðèÿ (íàñòîÿùàòàèçëîæáà ãî ïîòâúðæäàâà). Òåçè àìáèöèè íàäõâúðëÿòôåìèíèñòêèÿ õîðèçîíò. Àðòèñòè÷íîòî ïðåôîðìóëèðàíå íààëèåíàöèÿòà â ïðîíèöàåìîñò è âúçìîæíîñò çà ñìÿíà íàìåñòàòà; ïðåîáðàçóâàíåòî íà ðàçëè÷èÿòà â òîëêîâàòðóäíàòà îòêðîâåíîñò ìåæäó ìúæà è æåíàòà, íî ñúùî èìåæäó õóäîæíèêà / õóäîæíè÷êàòà è çðèòåëÿ / çðèòåëêàòà,å çàëîã íà ñïîäåëåíèòå îòðàæåíèÿ.Èðèíà Ãåíîâà

1 Âäúõíîâèòåëêà íà ñúçäàâàíåòî è êóðàòîðêà íà èçëîæáèòå å ÌàðèÿÂàñèëåâà. Âæ.: www.8mart.cult.bg2 Ä-ð Ê. Êðúñòåâ. Äâå äóìè çà ñòóäåíòêàòà. Ñï. Ìèñúë, 1904, ãîä. XIV,êí. 7, ñ. 365-366.3 Ïàê òàì, ñ. 366.4 Ïàê òàì, ñ. 367.

(Íå)Ñïîäåëåíèîòðàæåíèÿ

�� 14 îêòîìâðè 1896 ã. ñå îòêðèâà Äúðæàâíîòî ðèñóâàëíî ó÷èëèùåâ Ñîôèÿ. Òîâà å ïúðâîòî âèñøå ó÷èëèùå â Áúëãàðèÿ, â êîåòî ìîãàòäà ó÷àò è æåíè. Ïðåç ïúðâàòà ãîäèíà ñà ïðèåòè 3, à ïðåç âòîðàòà4 ìîìè÷åòà ñïðÿìî ñúîòâåòíî 46 è 45 ìîì÷åòà. Çà 10 ãîäèíè îòòàì ìèíàâàò 56 ñòóäåíòêè. �� Ïúðâîíà÷àëíî æåíèòå íå ñà äîïóñêàíè äî âå÷åðíèÿ àêò ïî ðèñó-âàíå íà ãîëî òÿëî îò íàòóðà. Ñðåä ñòóäåíòêèòå âúçíèêâà íåäîâîë-ñòâî, èçðàçèòåë íà êîåòî ñòàâà Åëèñàâåòà Êîíñóëîâà. Òÿ ñå ñðåùà ñäèðåêòîðà ïðîô. Èâàí Ìúðêâè÷êà è ïðàâèëíèêúò å ïðîìåíåí.�� Îò 1904 ã. äàòèðàò ïúðâèòå ìåæäóíàðîäíè ó÷àñòèÿ íà áúëãàð-ñêè æåíè-õóäîæíè÷êè (Àíåòà Õîäèíà, Àííà Õåí-Éîñèôîâà, Ìàðà Ëà-çàðîâà, Åëåíà Êàðàìèõàéëîâà, Åëèñàâåòà Êîíñóëîâà-Âàçîâà) â èçÿâè-òå íà Þæíîñëàâÿíñêîòî äðóæåñòâî „Ëàäà“ (1904, 1906, 1908 è1912) è â Ìåæäóíàðîäíàòà õóäîæåñòâåíà èçëîæáà â Ðèì ïðåç 1911 ã.�� Èçëîæáàòà íà Åëèñàâåòà Êîíñóëîâà ïðåç 1919 ã. å ïúðâàòà ñà-ìîñòîÿòåëíà èçÿâà íà æåíà-õóäîæíè÷êà â Áúëãàðèÿ. Ñëåä íåÿ ñàìî-ñòîÿòåëíè èçëîæáè îðãàíèçèðàò: Äîíêà Êîíñòàíòèíîâà (1920), ÀíàÁàëñàìàäæèåâà (1923 è 1924), Íåâåíà Ãàí÷åâà (1927).  ðàìêèòå íàãîäèøíàòà èçëîæáà íà äðóæåñòâî „Ðîäíî èçêóñòâî“ ïðåç 1923 ã.Åëåíà Êàðàìèõàéëîâà å ïðåäñòàâåíà ñ ðåòðîñïåêòèâíà ñåêöèÿ.�� Åëåíà Êàðàìèõàéëîâà è Åëèñàâåòà Êîíñóëîâà-Âàçîâà ñà ñðåä ÷ëå-íîâåòå-îñíîâàòåëè íà Äðóæåñòâî „Ðîäíî èçêóñòâî“ íà 13 îêòîì-âðè 1919 ã. �� Ðóñêà Ìàðèíîâà å ñðåä ÷ëåíîâåòå-îñíîâàòåëè íà Äðóæåñòâîòîíà íåçàâèñèìèòå õóäîæíèöè â êðàÿ íà 1919 ã. �� Êîíêóðñúò ïî æèâîïèñ íà Õóäîæåñòâåíàòà àêàäåìèÿ çà ñïåöèà-ëèçàöèÿ â ÷óæáèíà ïðåç 1924 ã. å ñïå÷åëåí îò Íåâåíà Ãàí÷åâà.�� Ïðåç 1924 ã. ñå îñíîâàâà Äðóæåñòâî íà æåíèòå ñ âèñøå îáðàçî-âàíèå. Õóäîæíè÷êèòå (19,7%) ñà íà âòîðî ìÿñòî ïî ÷èñëåíîñò ñëåäôèëîëîæêèòå (40,9%) è ïðåäè çàíèìàâàùèòå ñå ñ õóìàíèòàðíè íàó-êè (12,7%), ïðèðîäíè íàóêè (11,3%), ïðàâî (9,9%), ìóçèêà (5,6%) è ìå-äèöèíà (5,6%). Ïðåç 1928 ã. êúì íåãî ñå îáîñîáÿâà Äðóæåñòâî íàæåíèòå-õóäîæíè÷êè, îãëàâÿâàíî ïîñëåäîâàòåëíî îò Îë. Øåõàíîâà-Øèøêîâà è Ð. Ïàøåâà-Êîçàðåâà. Ñåêöèÿòà å ìíîãî àêòèâíà è ñúñçíà÷èòåëíî ïðèñúñòâèå â îáùåñòâåíèÿ æèâîò.�� Ìåæäó 1 è 14 ÿíóàðè 1928 ã. â Äúðæàâíàòà õóäîæåñòâåíà àêàäå-ìèÿ ñå îðãàíèçèðà ïúðâàòà æåíñêà õóäîæåñòâåíà èçëîæáà, îðãàíè-çèðàíà îò äðóæåñòâîòî è ïîä ïàòðîíàæà íà êíÿãèíÿ Åâäîêèÿ.  íåÿó÷àñòâàò 29 õóäîæíè÷êè ñúñ 106 æèâîïèñíè ïëàòíà, 9 äåêîðàöèè,14 êåðàìèêè è 7 ìåòàëîïëàñòèêè. Ñðåä òÿõ ñà: Åëèñàâåòà Êîíñóëî-âà-Âàçîâà, Íåâåíà Ãàí÷åâà, Âåðà Èâàíîâà, Åêàòåðèíà Ñàâîâà, Íàòà-ëèÿ Ôóòåêîâà, Îëãà Øåõàíîâà è Âàñêà Åìàíóèëîâà. Ñëåäâàùèòå èç-ëîæáè ñà ïðåç 1930 è 1933 ã., ïîñëåäâàíè îò èçëîæáè â Áåëãðàä(1937) è Çàãðåá (1938). ��  ïåðèîäà 1896-1930 ã. â ÷óæáèíà ïîëó÷àâàò õóäîæåñòâåíî ñèîáðàçîâàíèå èëè ñïåöèàëèçèðàò: Åëåíà Êàðàìèõàéëîâà (Âèåíà, Ìþí-õåí), Åëèñàâåòà Êîíñóëîâà-Âàçîâà (Ìþíõåí), Àíåòà Õîäèíà (Ìþíõåí,Ïàðèæ), Öàíà Áîÿäæèåâà (Ïàðèæ), Çîÿ Ïàïðèêîâà (Ôëîðåíöèÿ), Åâäî-êèÿ Ïåòåâà (Ìþíõåí, Ïàðèæ), Òîäîðêà Áóðîâà (Äðåçäåí). 92,5% îòïðàêòèêóâàùèòå õóäîæíè÷êè ñà áúëãàðñêè âúçïèòàíè÷êè.

�� 14 October 1896: the State Painting School was opened in Sofia. Itwas the first higher educational institution open for female enrollment.Three girls enrolled in the first year and four in the second as against 46è 45 boys respectively. A total of 56 female students attended the schoolin the next ten years.�� Initially the girls were not allowed to paint nudes in the evening classes.They protested and Eilsaveta Konsoulova was the mouthpiece of their pro-test. She met with Prof. Ivan Mrkvicka, the headmaster, and the rules werechanged.�� 1904 saw the international debut of the Bulgarian women artists (AnetaHodina, Anna Hen-Yossifova, Mara Lazarova, Elena Karamihailova, Elisave-ta Konsoulova-Vazova) at the events of the Lada South Slav Society(1904, 1906, 1908 and 1912) and the International Art Exhibition in Romein 1911.�� Elisaveta Konsoulova’s exhibition in 1919 was the first solo exhibition ofa woman artist in Bulgaria. It was followed by the solo exhibitions of Don-ka Konstantinova (1920), Ana Balsamadjieva (1923 and 1924), NevenaGancheva (1927). A retrospection presented Elena Karamihailova at theannual exhibition of the Rodno Izkoustvo Society in 1923.�� Elena Karamihailova and Elisaveta Konsoulova-Vazova were among thefounding members of the Rodno Izkoustvo Society on 13 October 1919.�� Rouska Marinova was among the founding members of the IndependentArtists Society in the end of 1919.�� Nevena Gancheva was the winner of the Art Academy’s painting con-test for specializing abroad in 1924.�� 1928: the Women Artists Society was founded within the Society ofWomen with University Education that was established in 1924.�� 1-14 January 1928: the first exhibition of women artists was arrangedat the State Art Academy by the Society under the patronage of PrincessEvdokia. 29 women artists participated; among them: Elisaveta Konsoulo-va-Vazova, Nevena Gancheva, Vera Ivanova, Ekaterina Savova, NataliaFoutekova, Olga Shehanova and Vaska Emanouilova. Next were in 1930and 1933, followed by exhibitions in Belgrade (1937) and Zagreb (1938). �� 1896-1930: the following women artists received education or speciali-zation abroad: Elena Karamihailova (Vienna, Munich), Elisaveta Konsoulo-va-Vazova (Munich), Aneta Hodina (Munich, Paris), Tsana Boyadjieva (Pa-ris), Zolya Paprikova (Florence), Evdokia Peteva (Munich, Paris), TodorkaBourova (Dresden).

ÈÈççïïîîëëççââààííèè èèççòòîî÷÷ííèèööèè:: // RReeffeerreennccee::Àñåí Âàñèëèåâ, Èðèíà Ìèõàë÷åâà. Åëåíà Êàðàìèõàéëîâà, èçä. Áúëãàðñêèõóäîæíèê, Ñ. 1956 (Assen Vassiliev, Irina Mihalcheva. Elena Karamihailova,Bulgarski Houdozhnik Publishing House, Sofia, 1956)Èðèíà Ãåíîâà. Ìîäåðíèçìè è ìîäåðíîñò - (íå)âúçìîæíîñò çà èñòîðèçè-ðàíå. Èçêóñòâî â Áúëãàðèÿ è õóäîæåñòâåíèÿ îáìåí ñ áàëêàíñêèòåñòðàíè, Ñîôèÿ 2004 (Irina Genova. Modernisms and Modernity: the (Im)pos-sibility to Historicize. Art in Bulgaria and Artistic Exchange with the BalkanCountries, Sofia, 2004)Èðèíà Ãåíîâà, Òàòÿíà Äèìèòðîâà. Èçêóñòâîòî â Áúëãàðèÿ ïðåç 1920-òå ãîäèíè. Ìîäåðíèçúì è íàöèîíàëíà èäåÿ, Ñ. 2003 (Irina Genova, Tatya-na Dimitrova. Art in Bulgaria in the 1920s. Modernism and the National Idea,Sofia, 2003)Ìèëåíà Ãåîðãèåâà. Ñúþçúò íà þæíîñëàâÿíñêèòå õóäîæíèöè „Ëàäà“(1904-1912). Áúëãàðñêîòî èçêóñòâî íà þæíîñëàâÿíñêèòå èçëîæáè, Ñ.1994 (Milena Georgieva. The Lada Union of South Slav Artists (1904-1912).Bulgarian Art at the South Slav Exhibitions, Sofia, 1994)Äåíèöà Äàí÷åâà. Ùðèõè çà Òîäîðêà Áóðîâà (1902-1985), ñï. Ïðîáëåìè íàèçêóñòâîòî, 2002, êí. 4, ñ. 50-53 (Denitsa Dancheva. Profile: Todorka Bou-rova /1902-1985/, Problemi na Izkoustvoto magazine, No 4, pp. 50-53)Âåðà Äèíîâà-Ðóñåâà. Àííà Õåí-Éîñèôîâà. 1872-1931. Æèâîò è òâîð÷å-ñòâî, èçä. Ïèê, Âåëèêî Òúðíîâî, 2002 ã. (Vera Dinova-Rousseva. Anna Hen-Yossifova. 1872-1931. Lifework. Pik Publishing House, Veliko Turnovo, 2002)Àíåëèÿ Íèêîëàåâà. Åëèñàâåòà Êîíñóëîâà-Âàçîâà è ïðèñúñòâèåòî é â îá-ùåñòâåíîòî ïðîñòðàíñòâî ïðåç ïúðâàòà ïîëîâèíà íà XX âåê“, ñï. Ïðî-áëåìè íà èçêóñòâîòî, 2002, áð. 4, ñ. 54-59 (Anelia Nikolaeva. Elisaveta Kon-soulova-Vazova and Her Presence in the Public Domain in the First Half of the20th Century, Problemi na Izkoustvoto magazine, No 4, pp. 54-59)

Ìàðèåëà Ãåìèøåâà. Fish Party, 2004Mariela Gemisheva. Fish Party, 2004

Åëèñàâåòà Êîíñóëîâà-Âàçîâà. Ïðåä Îãëåäàëîòî (ÑÃÕÃ)Elisaveta Konsoulova-Vazova. In Front of the Mirror (Sofia Art Gallery)

In the realm of Bulgarian art the initial visual works/campaigns con-nected to the feminist consciousness were predominantly self-refer-ent. The authors presented their own intimate or public experienceand their commitment to the social roles assigned to women incertain circles. The women artists quite often incorporated theirown images in their works through photographs, slides, prints andvideo clips.Some of the common implications in the works of the 8th ofMarch1 group, despite the differences in their individual registers,was the playfulness or the acting out of (non)typical roles along-side with some skepticism towards the ability of a woman to gainpower over her imposed roles.The symbolic act of self-perception is invariably associated with animage in the mirror, which fully applies to visual arts in particular.An image in the mirror may be a unifying symbol of self-referenceand at the same time of non-recognition/transcendence, of passionfor self-cognition but also of longing for your own reflections (theinevitable evocation of the myth of Narcissus). The mirror look at yourself also means mismatching, vanishingsomewhere else – the reflected/doubled image is the same but dif-ferent even only because right is perceived as left and the invisiblespace “behind” us visualizes “alongside” our image. It is the shar-ing of this mismatching image, the difficulties and sometimes theimpossibility for sharing that I consider a significant topic of thecurrent exhibition. * * *

Judging from their works, the women artists of the end of the 19thcentury wee neither disappointed nor skeptical, as if their imposedroles coincide in a non-dramatic way with their self-perception. Theintimate world “mirrored” in their works is full of life. It lacks the“significant” historical and social story lines and the metaphorsand symbols of passion and suffering. In contrast with the “male”works of art it seems that those deficiencies are not perceived bytheir authors as insufficiency and inequality.Like the amateur artists in Europe of the 18th and the early 19thcentury, the first professional women artists in our country –Elissaveta Konsoulova-Vazova and Elena Karamihailova – depictedthe household environment in their paintings, i.e. family members,friends (girl friend or sister most often), home (interiors with fig-ures, still-life paintings). Numerous child portraits were created. Such an interest proves theover-appreciation of motherhood in Europe during the 19th centuryand the common idea of prosperity for the national state. Thoseworks together with the women’s amateur works in the drawing-rooms and the private artistic albums are thematically and stylisti-cally far from the tradition of the academic, “elite” art. Formallyand stylistically, however, the paintings of those women pioneerartists differ from the amateur ones in the implementation of theoils, the bigger formats meant for exhibition (and not only domestic)halls as well as in the professional effort in defining a particular style.The conventional “female” storylines were hardly in the way of adesired artistic career. What caused a social problem was the par-ticipation of the professionally educated women in the artistic insti-tutions and the making of public decisions (artistic hanging- com-mittees, commissions, purchases, grants etc.). It was impossible fortheir professional and artistic competence to manifest itself out-side the private world. For a woman of the late 19th century it wasvitally important that she came from a wealthy and educated familyin order to be able to take up art. The positions providing remuner-ation and stable incomes were inaccessible for a woman. A pub-lished commentary on educated women in general reads that: “…with the training and the circumstances under which the Bulgarianmaiden develops, she is neither able, nor in the right to competewith a young man in holding any teachers’ positions.”2

In the painting and the works of that early period, however, that sit-uation was hard, even impossible to share.* * *How do women artists fulfill their social functions and provide forthemselves a century later?Currently no one ever dares give publicity to a statement similar tothe quoted one, neither write that: “What makes a woman ”crave”for higher education in 99% of the cases is the fear of a possiblefailure in marrying.”3 We’ll leave it to the specialists in some other

fields to decide whether this is due to the respect for the “politicalcorrectness” or because prejudice and unequal competition havebeen exhausted.We’ll do the same about comparing facts concerning theincomes and the positions occupied by the male and female artistsnowadays.* * *Since 1999 onwards the exhibitions of the 8th of March grouphave expressed the artistic significance of a certain circle ofwomen artists. Unlike the exhibitions of the first artists, however,the “impossible to share” social impediments and prejudices gen-erating subjective fears and difficulties, are now being articulated. Almost a century later the works of the women artists from 8th ofMarch still “mirror” an intimate world. This time it conveys thesense of non-liveliness, alienation and splitting of the personality.What emerges is a non-living metal plantation (AdelinaPopnedeleva), erotic bodies among a dominating sea of salad (AllaGeorgieva), the brutal view of meat reminding of the classicecorches, right next to the bride as the object of a man’s desire(Mariela Gemisheva). Even the colourful frescos of Nadya Lyahova (Digital Still Lives)spreading from the backs of the female figures in cotton print dress-es look somehow still and non-living (the author successfully namesthem “still lives”). This intimate world is paradoxically zealous andcheerful in nurturing/reflecting its own self-destruction and death.Astonishingly, love, which is traditionally associated with the “male”images of the woman, is nowhere to be seen in the sharedwomen’s reflections (at the end of the 19th century or a centurylater). Shall we believe then that “Love, which in a man’s life isonly but a pleasant (yet sometimes quite unpleasant) episode, in awoman’s life is a fatal turning point (Verhaegniss as Nietzschewould say), an event she considers the most fateful one in herlife.”4 And why does it remain in the invisible area of the unshared?* * *Seven years after the creation of the 8th of March group theartists seem to have exhausted the necessity to be often together,among women for certain, in order to explore a woman’s situation,roles and wishes.The interests transcend the scrutinizing of one’s own situation. Thereis an attempt at opening towards the different both as a cultural situ-ation and history (the present exhibition proves it). Those ambitionsgo beyond the feminist horizon. The artistic re-defining of the alien-ation into perception and the opportunity for changing places, thetransforming of the differences in the so hard to find frankness in therelationship between a man and a woman, as well as between anartist and audience, is a guarantee for shared reflections. Irina Genova

1 Initiator and curator of the exhibition is Maria Vassileva. See:www.8mart.cult.bg2 Dr.K.Krustev. A Few Words About the female Student. Misul Magazine,1904, issue XIV, vol. 7, pp. 365-366.3 Also there, p.3664 Also there, p.367

(Un)Shared Reflections

„Íå ìîæå äà ñå îòðå÷å, ÷å íàøàòà æåíà, êàêòî â ëèòåðàòóðàòà òúé è âæèâîïèñòà è ñêóëïòóðàòà, ïðîÿâÿâà òàëàíòëèâîñò, êîÿòî îñâîáîæäàâàöåíèòåëÿ îò ñíèçõîäèòåëíî-ãàëàíòíî îòíîøåíèå êúì íåéíàòà ðàáîòà. Äîðèíÿêîè âíàñÿò ÷óâñòâà è èíäèâèäóàëíîñò â òâîð÷åñòâîòî ñè, íà êîèòî áèõàçàâèäåëè ìúæåòå.“Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå-õóäîæíè÷êè, â. Ñëîâî, 10 ÿíóàðè 1928 ã.

„Òå óðåæäàò âå÷å òðåòàòà ñè èçëîæáà. Ïàê ïî÷âàì ñ òîâà: ÷å ÷îâåê áè èñêàëäà íàìåðè â èçëîæáàòà íà æåíèòå õóäîæíè÷êè åäíî òâîð÷åñòâî, â êîåòîíåùàòà è ñâåòúò, àêî íå ñà âèäåíè äîñòàòú÷íî îðèãèíàëíî è ñàìîáèòíî, òîïîíå ïî-íåïîñðåäñòâåíî æåíñòâåíî.“Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå õóäîæíè÷êè, â. Ñëîâî, 3 þíè 1931 ã.

„Äàëè æåíàòà çà âúçïðèåìàíå íà ñâåòà „ïðèòåæàâà àïàðàò ñúâúðøåíîðàçëè÷åí îò òîçè íà ìúæà“, êàêòî ïèøå åäèí îñîáåíî ïðîÿâèë ñå òàçè ãîäèíàñ íåëåïèòå ñè ÷óäàòîñòè íàøåíñêè êðèòèê, íå çíàåì (ñòàâà äóìà çà ÑèðàêÑêèòíèê è ñòàòèÿòà ìó „Èçëîæáàòà íà æåíèòå õóäîæíè÷êè“ âúâ â. Ñëîâî îò3 þíè 1931 ã. – áåë. ðåä.). Ïîíå äî ñåãà íàóêàòà íå å îòêðèëà òàêîâà íåùî. Íîäà ñå ïèøå âúâ âðåìåòî, â êîåòî æèâååì, ÷å èçêóñòâîòî íà æåíàòà òîãàâàáè áèëî öåííî è îðèãèíàëíî, êîãàòî å „íåïîñðåäñòâåíî æåíñòâåíî“, åíàèñòèíà ïðàñòàð îñòàòúê îò õóáàâîòî èäèëè÷íî âðåìå íàñàíòèìåíòàëíîñòèòå è... íà àíàäîëñêèÿ âêóñ êúì æåíñêàòà ïîêîðíîñò è êúìñìåøíàòà çà äíåøíèÿ âåê ìúæêà ïîêðîâèòåëñòâóâàùà ñàìîóâåðåíîñò.“Ñòåôàí Ìèòîâ. Èçëîæáàòà íà æåíèòå õóäîæíèöè, â. Ëèòåðàòóðåí ãëàñ, 20þíè 1931 ã., áðîé 120

„Êàòî ïúðâà (ñòàâà äóìà çà ïúðâàòà èçëîæáà íà „Äðóæåñòâî íà æåíèòå ñâèñøå îáðàçîâàíèå“ ïðåç 1928 ã. – áåë. ðåä.), êàêòî âèíàãè ñòàâà â òàêèâàñëó÷àè, èçëîæáàòà íå áå äîñòàòú÷íî ïúëíà, òúé êàòî íÿêîè îò õóäîæíè÷êèòåíå âçåõà ó÷àñòèå. Âúïðåêè òîâà îáñòîÿòåëñòâî ïðèìåðúò îò íåÿ å äîáúð èöåëòà äîñòàòú÷íî ïîñòèãíàòà. Ïîñåòèòåëÿò ìîæà äà ñå óáåäè, ÷å æåíàòà èòóê å ñúñ ñèëåí äóõ è íàäåæäíà.“ Èç õóäîæåñòâåíèÿ ñâåò, ñï. Õóäîæåñòâåíà êóëòóðà, 1927-1928, áðîé 5-6, ñòð. 58

“It is indisputable that our [the Bulgarian] woman manifested talent in literature, paintingand sculpture alike and that this talent took away the connoisseur’s patronizing andchivalrous attitude to her work. The feeling and individual touch that some women putin their works could provoke the male jealousy.”Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå-õóäîæíè÷êè, â. Ñëîâî, 10 ÿíóàðè 1928 ã.(Sirak Skitnik. The Exhibition of Women Artists, Slovo newspaper, 10 January 1928)

“They are organizing their third exhibition. I repeat: what you would like to see at theexhibition of women artists is works where things and the world are interpreted at leastin a more intimate womanly way unless seen in a sufficiently original and peculiar per-spective.”Ñèðàê Ñêèòíèê. Èçëîæáàòà íà æåíèòå õóäîæíè÷êè, â. Ñëîâî, 3 þíè 1931 ã.(Sirak Skitnik. The Exhibition of Women Artists, Slovo newspaper, 3 June 1931)

“We do not know whether the female tool of perception of the world is totally differentfrom the male one, if I may quote a [Bulgarian] critic whose nonsensical and absurdobservations made him particularly notorious this year (the critic in question is SirakSkitnik and the quotation is from his article “The Exhibition of Women Artists” in Slovonewspaper of 3 June 1931 – editor’s note). At least science has not discovered that.However, to write today that the art produced by a woman would be valuable and sin-gular if it is “deeply womanly” is indeed a remote remnant from the good idyllic daysof sentimentality and … of the Anatolian predilection for female tameness and for themale patronizing self-conceit which is so ridiculous in this century.”Ñòåôàí Ìèòîâ. Èçëîæáàòà íà æåíèòå õóäîæíèöè, â. Ëèòåðàòóðåí ãëàñ, 20þíè 1931 ã., áðîé 120 (Stefan Mitov, The Exhibition of Women Artists, LiteratourenGlas newspaper, 20 June 1931, No 120)

“Òhat first exhibition [of the Society of Women with University Education in 1928 – edi-tor’s note], as usual, was unrepresentative as some women artists did not have theirworks displayed there. Nonetheless, its example is good and its achievement is sufficient.The visitor could see that the women here have a strong spirit and can be relied on.”Èç õóäîæåñòâåíèÿ ñâåò, ñï. Õóäîæåñòâåíà êóëòóðà, 1927-1928, áðîé 5-6, ñòð. 58(In the World of Art, Houdozhestevena Kultura magazine, 1927-1928, Nos 5-6, p. 58 Àäåëèíà Ïîïíåäåëåâà. Íèðâàíà, 1999

Adelina Popnedeleva. Nirvana, 1999

Åëåíà Êàðàìèõàéëîâà. Ïîðòðåò íà ñåñòðà ìè, 1909 (ÍÕÃ)Elena Karamihailova. Portrait of My Sister, 1909 (National Art Gallery)

Íàäåæäà Îëåã Ëÿõîâà. Vanitas, 1999Nadezhda Oleg Lyahova. Vanitas, 1999

Àííà Õåí-Éîñèôîâà. Ðîçè Anna Hen-Yossifova. Roses

Ã Ð Ó Ï À „ 8 - Ì È Ì À Ð Ò “11999977 – „Âåðñèÿòà íà Åðàòî. Æåíñêà åðîòè÷íà èçëîæáà“, ãàëåðèÿ„Øèïêà“6, Ñîôèÿ, êóðàòîðè: ßðà Áóáíîâà è Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè:Àäåëèíà Ïîïíåäåëåâà, Àëáåíà Ìèõàéëîâà, Àëëà Ãåîðãèåâà, ÀíæåëàÌèíêîâà, Äèìèòðèíà Ñåâîâà, Åëåíà Ïàíàéîòîâà, Æàíà Áåõàð,Ìàðãàðèòà Ðàäåâà, Ìàðèåëà Ãåìèøåâà, Ìèõàåëà Ïúäåâà, ÌîíèêàÐîìåíñêà, Ìîíèêà Ôèøåð (Øâåéöàðèÿ), Íåëè Ãàâðèëîâà, Íèíà Êîâà÷åâà,Îäèëèÿ ßíêîâà, Ñèëâà Áú÷âàðîâà, Ñëàâà Íàêîâñêà, Ñèëâèÿ Áîÿäæèåâà,Òàíÿ Àáàäæèåâà, ßâîðà Ïåòðîâà; êàòàëîã, êîíôåðåíöèÿ11999988 – „Êàïðèç“, Öåíòúð çà ñúâðåìåííî èçêóñòâî ÀÒÀ, Ñîôèÿ,ó÷àñòíèöè: Àëëà Ãåîðãèåâà, Àäåëèíà Ïîïíåäåëåâà, Åëåíà Ïàíàéîòîâà,Ìîíèêà Ðîìåíñêà, Ìîíèêà Ôèøåð (Øâåéöàðèÿ), Íàäåæäà Îëåã Ëÿõîâà,Íàäÿ Ãåíîâà, Ðåãóëà Ìèõåë (Øâåéöàðèÿ), Òàíÿ Àáàäæèåâà11999999 – „Îáñåáâàíå“, Öåíòðàëíà ìèíåðàëíà áàíÿ, Ñîôèÿ, êóðàòîð:Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè: Àëëà Ãåîðãèåâà, Àäåëèíà Ïîïíåäåëåâà,Äèìèòðèíà Ñåâîâà, Åëåíà Ïàíàéîòîâà, Èðà Äàíèëîâà (ÑÀÙ), ÌîíèêàÐîìåíñêà, Ìîíèêà Ôèøåð (Øâåéöàðèÿ), Íàäåæäà Îëåã Ëÿõîâà, ÍàäÿÃåíîâà, Ðåãóëà Ìèõåë (Øâåéöàðèÿ), Ñèëâèÿ Ëàçàðîâà, Òàíÿ Àáàäæèåâà;êàòàëîã11999999 – „Îáëè÷àíå / Ðàçñúáëè÷àíå“, Öåíòúð çà ñúâðåìåííî èçêóñòâî„Áàíÿ Ñòàðèííà“, Ïëîâäèâ, Áúëãàðèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà,ó÷àñòíèöè Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Áîðÿíà Äðàãîåâà,Äèìèòðèíà Ñåâîâà, Èëèàíà Íåäêîâà, Ìàðèåëà Ãåìèøåâà22000000,, ììààððòò – „Îãëåäàëöå, îãëåäàëöå…“, Õóäîæåñòâåíà ãàëåðèÿ, Ðóñå,êóðàòîð Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, ÀëëàÃåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Ñåðãèåâà, Äèìèòðèíà Ñåâîâà,Íàäÿ Ãåíîâà, Íàäåæäà Îëåã Ëÿõîâà, Ìîíèêà Ðîìåíñêà, Ñèëâèÿ Ëàçàðîâà,Åëåíà Ïàíàéîòîâà, Òàíÿ Àáàäæèåâà22000000,, þþëëèè – „Ñóáåêòè è Ñåíêè“, ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî,Ñîôèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà, ó÷àñòíèöè Àäåëèíà Ïîïíåäåëåâà, ÀëëàÃåîðãèåâà, Áîðÿíà Äðàãîåâà, Âåíöèñëàâ Çàíêîâ, Äàíèåëà Êîñòîâà,Äèìèòðèíà Ñåâîâà, Íàäÿ Ãåíîâà, Íàäåæäà Îëåã Ëÿõîâà, ÌîíèêàÐîìåíñêà, Ñèëâèÿ Ëàçàðîâà, Åëåíà Ïàíàéîòîâà, Òàíÿ Àáàäæèåâà,êàòàëîã22000000,, ííîîååììââððèè – „Áúëãàðèÿ, Íþ Éîðê“, Åëèçàáåò Ôàóíäåéøúí ôîð äèÀðòñ, Íþ Éîðê, êóðàòîðè: Èðèíà Äàíèëîâà è Ðåãèíà Êèäåêåë,ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Äèìèòðèíà Ñåâîâà,Íàäåæäà Îëåã Ëÿõîâà, Ìîíèêà Ðîìåíñêà, Ñèëâèÿ Ëàçàðîâà, ÅëåíàÏàíàéîòîâà, Òàíÿ Àáàäæèåâà, Ìèøåë Áåê, Èðèíà Äàíèëîâà, ÀêèêîÈøèêàâà, Áèðãèòà Ëúíä, Òåëìà Ìàòèàñ, Ñþ Ìóñêàò è Ñóçè Ñóðåê22000011,, ÿÿííóóààððèè – ïðåäñòàâÿíå íà èçëîæáàòà „Ìåìîðàìà“ íààâñòðèéñêàòà õóäîæíè÷êà Êàòàðèíà Ìàòèàçåê â ÀÒÀ öåíòúð çàñúâðåìåííî èçêóñòâî, Ñîôèÿ, êàòàëîã22000011,, þþííèè – „SHOP–ART. Æåíè íà ïàçàð(à)“, ïîäëåç „Ñâ.Ñîôèÿ“, êóðàòîðÌàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà,Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà, Íàäåæäà Îëåã Ëÿõîâà, ÑèëâèÿËàçàðîâà, Òàíÿ Àáàäæèåâà, êàòàëîã22000011,, ññååïïòòååììââððèè – ïðåäñòàâÿíå íà èçëîæáàòà „Íåïîäâèæíîñò“ íààìåðèêàíñêàòà õóäîæíè÷êà Ñþçúí Ïåéäæ, ÀÒÀ öåíòúð çà ñúâðåìåííîèçêóñòâî, Ñîôèÿ, êàòàëîã22000000 –– 22000011 – „Ñìÿíà íà ìåñòàòà“, ìåæäóíàðîäåí ïðîåêò è èçëîæáà âÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî, Ñîôèÿ, êóðàòîð Ìàðèÿ Âàñèëåâà,ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, Äèìèòðèíà Ñåâîâà,Íàäåæäà Îëåã Ëÿõîâà, Òàíÿ Àáàäæèåâà, Ñóçàíà Ïåðèí (Øâåéöàðèÿ),Ñàáèíå Áàóìàí (Øâåéöàðèÿ), Êàòàðèíà Ìàòèàçåê (Àâñòðèÿ), ÀíàÑòîéêîâè÷ (Ìàêåäîíèÿ), Ìàðèëåíà Ïðåäà-Ñúíê (Ðóìúíèÿ); ñúññúäåéñòâèåòî íà Pro Helvetia; êàòàëîã, êîíôåðåíöèÿ22000022,, ììààððòò – ïðåäñòàâÿíå íà èçëîæáàòà „SHESHOW. Ôîòîãðàôèÿ,äèãèòàëíè îòïå÷àòúöè è âèäåî îò Èñòàíáóë“, êóðàòîð Áåðàë Ìåäðà;ó÷àñòíèöè: Éåñèì Àãàîãëó, Éîñãþë Àðñëàí, Åëèô ×åëåáè, Èí÷è Åâèíåð,Ãþë Èëãàñ, Íåðèìàí Ïîëàò, Àíè Ñåòèÿí, Ñåðìèí Øåðèô, Ãîí÷à Ñåçåð,Õàíäàí Áüîðþòå÷åíå22000022,, ààââããóóññòò – „Ìîìè÷åòàòà è ìîðåòî“, ãàëåðèÿ Áóëàðò, Âàðíà,êóðàòîð: Ìàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, ÀëëàÃåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà, Èäà Äàíèåë, ÍèíàÊîâà÷åâà, Íàäåæäà Îëåã Ëÿõîâà, Ñèëâèÿ Ëàçàðîâà è Ëú÷åçàð Áîÿäæèåâ22000033 – „Æåíñêî âèäåî îò Áúëãàðèÿ“, ìóçåé ßíêî Äàäà, Åéí Õîä, Èçðàåë,êóðàòîð Ìàðèÿ Âàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, ÀëëàÃåîðãèåâà, Áîðÿíà Äðàãîåâà, Äàíèåëà Êîñòîâà, Íàäåæäà Îëåã Ëÿõîâà èÒàíÿ Àáàäæèåâà 22000044,, ììààððòò – „×åòèðè ñòàè“, ãàëåðèÿ ADS, Ñîôèÿ, êóðàòîð ÌàðèÿÂàñèëåâà; ó÷àñòíèöè: Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà, ÌàðèÿÂàñèëåâà, Íàäåæäà Îëåã Ëÿõîâà, êàòàëîã22000044,, ññååïïòòååììââððèè – ó÷àñòèå íà Àäåëèíà Ïîïíåäåëåâà, Àëëà Ãåîðãèåâà,Íàäåæäà Îëåã Ëÿõîâà è Ìàðèÿ Âàñèëåâà â Òðåòèÿ ñèìïîçèóì çàñúâðåìåííî èçêóñòâî „Â ñîáñòâåí êîíòåêñò“, Õóäîæåñòâåíà ãàëåðèÿ,Äèìèòðîâãðàä.

THE “8-TH OF MARCH”GROUP11999977 – “Erato’s Version”, Shipka 6 Gallery, Sofia, curators: Iara Boubnovaand Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva,Albena Mishailova (Bulgaria/Switzerland), Anjela Minkova, Margarita Radeva(Bulgaria/Greece), Dimitrina Sevova, Elena Panaiotova, Jana Behar, MarielaGemisheva, Mishaela Padeva, Monika Romenska, Monika Fisher(Switzerland), Neli Gavrilova, Nina Kovacheva (Bulgaria/France), OdiliaIankova, Silva Bachvarova, Slava Nakovska, Silvia Boyadjieva, TaniaAbadjieva, Iavora Petrova, catalogue, conference11999988 – “Caprice”, ATA Center for contemporary art, Sofia, participants:Adelina Popnedeleva, Alla Georgieva, Elena Panaiotova, Irina Danilova (USA),Monika Romenska, Monika Fisher (Switzerland), Nadezhda Oleg Lyahova,Nadia Genova, Regyla Michel (Switzerland), Tania Abadjieva11999999 – “Obsession”, Central Mineral Bath, Sofia, curator Maria Vassileva,participants: Adelina Popnedeleva, Alla Georgieva, Dimitrina Sevova, ElenaPanaiotova, Irina Danilova (USA), Monika Romenska, Monika Fisher(Switzerland), Nadezhda Oleg Lyahova, Nadia Genova, Regyla Michel(Switzerland), Silvia Lazarova, Tania Abadjieva, catalogue11999999 – “Dressing/Undressing“, Center for contemporary art “BaniaStarinna”, Plovdiv, Bulgaria, curator Maria Vassileva, participants: AdelinaPopnedeleva, Alla Georgieva, Boriana Dragoeva, Dimitrina Sevova, IlianaNedkova, Mariela Gemisheva22000000, MMaarrcchh – “Mirror, Mirror…”, City Art Gallery, Russe, Bulgaria, curatorMaria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, BorianaDragoeva, Daniela Sergieva, Dimitrina Sevova, Elena Panaiotova, MonikaRomenska, Nadezhda Oleg Lyahova, Nadia Genova, Silvia Lazarova, Tania Abadjieva22000000,, JJuullyy – “Subjects and Shadows”, ATA Center for Contemporary Art,Sofia, curator Maria Vassileva, participants: Adelina Popnedeleva, AllaGeorgieva, Boriana Dragoeva, Daniela Kostova, Dimitrina Sevova, ElenaPanaiotova, Monika Romenska, Nadezhda Oleg Lyahova, Nadia Genova,Silvia Lazarova, Tania Abadjieva, catalogue22000000,, NNoovveemmbbeerr – “Bulgaria, NY: Bulgarian and American Women ArtistsCollaborate”, Elizabeth Foundation for the Arts, New York, curators IrinaDanilova and Regina Khidekl, participants Adelina Popnedeleva, AllaGeorgieva, Dimitrina Sevova, Elena Panaiotova, Monika Romenska, NadezhdaOleg Lyahova, Tania Abadjieva, Irina Danilova, Sue Muskat, Birgitta Lund,Michele Beck, Akiko Ichikawa, Suzy Sureck, Thelma Mathias2001, January – presentation of the exhibition “Memorama” by Austrianartist Katarina Matiasek, ATA center for contemporary art, Sofia22000011,, JJuunnee – “SHOP-ART. Women on the market”, underpass “SaintSofia”, Sofia, curator Maria Vassileva, participants Adelina Popnedeleva, AllaGeorgieva, Boriana Dragoeva, Daniela Kostova, Daniela Sergieva, NadezhdaOleg Lyahova, Nadia Genova, Silvia Lazarova, Tania Abadjieva; sponsored byKulturKontakt, catalogue22000011,, SSeepptteemmbbeerr – presentation of the exhibition “Standing Still” byAmerican artist Susan Page, ATA center for contemporary art, Sofia22000000--22000011 - “Changing of Places”, international women exchange projectand exhibition at ATA center for contemporary art, Sofia, curator MariaVassileva, participants: Adelina Popnedeleva, Alla Georgieva, DimitrinaSevova, Nadezhda Oleg Lyahova, Tania Abadjieva, Susan Perin(Switzerland), Sabine Baumann (Switzerland), Katarina Matiasek (Austria),Ana Stoikovic (Macedonia), Marilena Preda-Sanc (Romania); sponsored byPro Helvetia; catalogue, conference22000022,, MMaarrcchh – presentation of the exhibition “SHESHOW. Photography, digitalprints and video from Istanbul”, ATA center for contemporary art, Sofia; curatorBeral Medra; participants: Yeþim Agaoglu, Özgül Arslan, Handan Börütecene,Elif Çelebi, Ýnci Eviner, Gül Ilgaz, Neriman Polat, Ani Setyan, Sermin Sherif22000022,, AAuugguusstt – “The Girls and the Sea”, Bulart Gallery, Varna, curatorMaria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva, BorianaDragoeva, Daniela Kostova, Ida Daniel, Nina Kovacheva, Nadezhda OlegLyahova, Silvia Lazarova, Luchezar Boyadjiev2003 – “Women’s video from Bulgaria”, Janko Dada Museum, Ein Hod, Israel,curator Maria Vassileva, participants: Adelina Popnedeleva, Alla Georgieva,Boriana Dragoeva, Daniela Kostova, Nadezhda Oleg Lyahova, Tania Abadjieva2004, March – “Four Rooms”, ADS Gallery, Sofia, curator Maria Vassileva,participants: Adelina Popnedeleva, Alla Georgieva, Maria Vassileva, NadezhdaOleg Lyahova, catalogue22000044,, SSeepptteemmbbeerr – participation of Adelina Popnedeleva, Alla Georgieva,Maria Vassileva and Nadezhda Oleg Lyahova at the Third symposium forcontemporary art, Art Gallery, Dimitrovgrad, Bulgaria

Ñèëâèÿ Ëàçàðîâà. Ñîôèÿ, Âÿðà, Íàäåæäà è Ëþáîâ, 2001Silvia Lazarova. Sophia, Faith, Hope and Love, 2001

Åëåíà Êàðàìèõàéëîâà. Ïðîëåò (ÕÃ - Øóìåí)Elena Karamihailova. Spring (Art Gallery - Shoumen)

Àëëà Ãåîðãèåâà. Íîâ õåäîíèçúì, 2004Alla Georgieva. New Hedonism, 2004

„Èçëîæáàòà („Îáñåáâàíå“, 1999 ã., Öåíòðàëíà ìèíåðàëíà áàíÿ,Ñîôèÿ – áåë. ðåä.) ñå çàïîìíè êàòî îïèò çà ïðåîäîëÿâàíå íàìàëöèíñòâåíîòî âúçïðèåìàíå íà æåíñêàòà êóëòóðà, êîåòî âìîìåíòà å ïîëèòè÷åñêè è èêîíîìè÷åñêè èçãîäíî, íî âñå ïàê åóíèçèòåëíî, îñîáåíî â ïîñòòîòàëèòàðíàòà äåéñòâèòåëíîñò.“ßðà Áóáíîâà, „Æåíè â áàíÿòà“, â. Êóëòóðà, 18 ôåâðóàðè, 2000 ã., ñ. 8

„Íàðåä ñ ôåìèíèñòêèòå ïðîáëÿñúöè è æåíñêèòå òåìè,õóäîæíè÷êèòå â ãðóïà „8-ìè ìàðò“ ñúçäàâàò è ðåäèöàïðîèçâåäåíèÿ ñ, äà êàæåì, îáùî÷îâåøêî çíà÷åíèå, ðåàãèðàò íàðàçëè÷íè ñèòóàöèè â îáùåñòâîòî, â ÷àñòíîñò áúëãàðñêîòî.“Äèàíà Ïîïîâà, „Áåëåæêè âúðõó ôåìèíèçìà è áúëãàðñêîòîèçêóñòâî“, ñï. Èçêóñòâî / Art in Bulgaria, 2003, þáèëååí áðîé

„...õóäîæíè÷êèòå ìíîãî áúðçî óñïÿõà äà èçáÿãàò îò íåìèíóåìèòåîãðàíè÷åíèÿ, êîèòî ôåìèíèñêèÿò êîíòåêñò ïîñòàâÿ. Ïðîáëåìà íàïîëà è ñàìîîïðåäåëåíèåòî, ñà ñàìî åäíè íî íå íåé-öåíòðàëíèòåòåìè â ðàáîòèòå èì. Õîðèçîíòà å äîñòàòú÷íî ðàçøèðåí, àæåíñêàòà ãëåäíà òî÷êà å ïðåìèíàëà ïðåç íàé-ðàçëè÷íè òåìè èïðîáëåìè îò æèâîòà“. Âåñåëà Íîæàðîâà, íåïóáëèêóâàí òåêñò çà ãðóïà „8-ìè ìàðò“

„Ïúðâàòà æåíñêà ãðóïà íà áúëãàðñêàòà õóäîæåñòâåíà ñöåíà ñåïîÿâÿâà â êðàÿ íà 90-òå ãîäèíè. Ñúñ ñâîÿòà äåéíîñò ãðóïà „8-ìèìàðò“ èçðàçÿâà ïîçèöèÿòà ñè ïî îòíîøåíèå íà ñîöèàëíèÿ èõóäîæåñòâåíèÿ êîíòåêñò è èìåííî òîâà îïðåäåëÿ çíà÷èìîñòòàé. ×ðåç åêñïåðèìåíòè ñ ðàçëè÷íè ìåäèè ãðóïà „8-ìè ìàðò“òâúðäî çàÿâÿâà îòíîøåíèåòî ñè êúì ìîäåðíàòà âèçóàëíàèçðàçíîñò è çàíèìàâàéêè ñå ñ îïèòà, ïîçèöèÿòà èïðåäñòàâÿíåòî íà æåíèòå â áúëãàðñêîòî îáùåñòâî, ïðåäàâà íàòåçè âúïðîñè îáùåñòâåíî çíà÷åíèå.“Danica Minic, “Art and Gender: The Positioning of a Women’s ArtGroup“, Balkan Umbrella, June 2002 (Äàíèöà Ìèíè÷, „Èçêóñòâî èÄæåíäúð: Ñúñòîÿíèå íà æåíñêèòå õóäîæåñòâåíè ãðóïè“, BalkanUmbrella, þíè 2002)

“The exhibition (“Obsession”, 1999, Central Mineral Bath, Sofia –editor’s note) is remembered as an attempt to surmount the minor-ity perception of female culture which while being politically andeconomically agreeable, is humiliating, especially in the post totali-tarian reality.”ßðà Áóáíîâà, „Æåíè â áàíÿòà“, â. Êóëòóðà, 18 ôåâðóàðè, 2000ã., ñ. 8 (Iara Bubnova, “Women in the Bath”, Kultura newspaper,18 February 2000, p. 8)

“Along with the feminist flashes and themes, the women artistsfrom the “8th of March” group created a number of works of uni-versal significance and responded to different situations in thesociety, in particular the Bulgarian society.”Äèàíà Ïîïîâà, „Áåëåæêè âúðõó ôåìèíèçìà è áúëãàðñêîòîèçêóñòâî“, ñï. Èçêóñòâî / Art in Bulgaria, 2003 (Diana Popova,Notes on Feminism and Bulgarian Art, Izkoustvo / Art in Bulgariamagazine, 2003, jubilee number)

“... very quickly the women artists managed to rid of the unavoid-able restrictions that the feminist context poses. The problem ofgender and self-identification are some of their themes but not thekey themes in their works. The horizon is broadened enough, thefemale perspective is crosscutting the diversity of themes and lifeproblems”. Âåñåëà Íîæàðîâà (Vessela Nozharova), unpublished text aboutthe “8th of March” group

“The late 1990s saw the creation of the first women’s art group onthe Bulgarian art scene. Through its activities, the “8th of March”group defined a stance towards a certain social and artistic con-text and its significance springs from that position. Through experi-ments in various media, the “8th of March” group was to becomepart of a bloc intent on affirming contemporary visual art forms onthe Bulgarian art scene, and by dealing with the experience, posi-tion and representation of women in Bulgarian society, it gavethese issues public relevance.”Danica Minic, “Art and Gender: The Positioning of a Women’s ArtGroup“, Balkan Umbrella, June 2002