My Life My Life My Life in the Sunshine

Моят живот Моят живот Моят живот на слънчева светлина

OMAPA

Illustration and proof of the laws of motion

Илюстрация и доказателство на законите за движението

Building Affects, Body in/of the Archive

Изграждане на афекти, съдържание в/от архива

This is not America, ma’am

Това не е Америка, госпожо

Practices of Care

Практики на грижа

Radio Parazit

Радио Паразит

Debris

Oтломки

Sonic Knowing

Звуково Познание

DIASPORIC IMAGINARIES

ДИАСПОРИЧНИ ВЪОБРАЖЕНИЯ

Semilla (Balkan Piperita)

Семе (Балканска Пиперита)

Potential Choreography for Counterprompting

Потенциална хореография за контразадание

Physics of Entropy

Физика на ентропията

Eyes Closed

Затворени Очи

O rio corre mais rápido em direção ao fim 

evth that remains to be lived

всичко, което предстои да бъде изживяно

Liquid Ecologies

Течни Екологии

Always Middles

Винаги средни

The Cut 

Разрезът

Composite Sites

Съставни Места

Brick, Dust, Matter

Тухла, Прах, Материя

MATERIALITIES OF/FROM THE EDGE

МАТЕРИАЛНОСТИ НА/ОТ РЪБА

Swimming Pool

Artlab (coming soon...)

ECOLOGIES OF PREHOD

ЕКОЛОГИИ НА ПРЕХОДА


At Swimming Pool, five artists adopt a “thinking with matter” approach to conceive of a critical framework for working with unofficial heritage and archives through the notion of Prehod: Nicolas Kisic Aguirre, Katarina Burin, Sam Ghantous, Elitza Koeva, and Manar Moursi. Through a range of haptic, visual, and sensory modes of re-inscription, each artist transforms their prompt material through acts of translation, transmission, reinvention, and adaptation. Ingested both figuratively and literally, the mobile fragment enters and exits the body of the artist to find new life as an object, surface, moving-image or sonic piece. 

**Katerina Burin**, “Fake Holiday Series” A series of anti-monument sculptures made out of plaster, concrete, and faux tile that speak to a fragmented personal story of immigration, assimilation and return. Embedded within the materials are fragments of old postcards archived from travels taken in the former Eastern Bloc as attempts to escape Czechoslovakia under the pretense of a fake vacation. 

**Sam Ghantous**, “In between-inside” Digitally manipulated textures extracted from a series of 3D-scans of the prompt material (an off-cut from an abandoned factory in Sliven) wallpapers the gallery surfaces, recalling quotidian textile patterns and faux materialities influenced by Soviet- and Prehod-era domestic interiors. A digital game environment extends these material samples for order at www.middles.supply.

**Manar Moursi**, “Ev that remains to be lived” 
“German” “Summer, God, Rain” “The Fountain” “Rainbow Moon” “Between Heaven and Earth” 
Sculpture, video, and photographic work explores transitions to privatization and market economies in Egypt and Bulgaria since the 1990s, and the effects of these changes on cultural and natural heritage sites.

**Elitza Koeva**, “OMAPA” Multi-modal sound and video work explore the social imaginaries of Bulgaria’s transitional period following the fall of the Soviet Union in 1989 and how those memories continue to shape contemporary consciousness. Bratska Mogila monument and Regatta Venue in Plovdiv figure as points of departure to explore the role of ideology and infrastructure as manifested in material constructions, and how these actively cocreate social identities, subjectivities, and imaginaries during this unstable time, while also becoming sites of subversion.

**Nicolas Kisic Aguirre**, “Radio Parazit” A sound system comprising of six listening modules, each playing a singular stream from Radio Parazit: an experimental broadcast that reflects on diasporic experience by sharing experiences, thoughts, and hopes, with material derived from personal stories rendered in artistic and acoustic explorations. Visitors are invited to participate in moving the modules throughout the gallery space.

Off-Site.

ECOLOGIES OF PREHOD

prompt | Swimming Pool

Projects