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Wednesday, September 26, 2018

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Monday, July 17, 2017

Saturday, April 22, 2017

orthogonal16: international forum for non-objective art

4 may - 4 june, 2017
red house centre for culture and debate
15, lyuben karavelov st., sofia, bulgaria
opening: 4 may, 18.00 h

erdem küçükköroğlu (tr), esther hagenmaier (de), eugen gomringer (ch), georgi dimitrov (bg), gisela hoffmann (de), hanz hancock (uk), ingo glass (ro/de), ivan shumanov (bg), judith duquemin (aus/uk) nikolay petkov (bg), petar dochev (bg), patrick morrissey (uk)

Tuesday, September 27, 2016

Wednesday, October 08, 2014

orthogonal14: international forum for non-objective art


orthogonal14: international forum for non-objective art

9 october - 7 november, 2014
the red house centre for culture and debate
15, lyuben karavelov st., sofia, bulgaria
opening: 9 october, 18.00 h

anna-maria bogner (at), arjan janssen (nl), bob bonies (nl), bruno haas (de), georgi dimitrov (bg), guillaume millet (fr), krasimira stikar (at), maria chakarova (bg), max bill (ch), simon ingram (nz), theodore markoglou (gr), yorgos vourlidas (gr)

Tuesday, July 29, 2014

ccnoa: 30/30 iap | saint chamas


26 july - 20 september 2014
l'ancien poudrerie
saint chamas
13250 france

curated by tilman

30/30 is a growing collective collection of unique small-scale artworks by invited artists from around the globe. 30/30 simply refers to the exact size of the commissioned artworks, which is set at 30 x 30 cm with a maximum depth of 5 cm.

the first edition of 30/30 iap was presented at minusspace, brooklyn, nyc. following venues include ps projects (amsterdam/nl), moins-un (paris/fr), abcontemporary gallery (zuerich/ch), noi (dolceacqua/it).

space as space | vasarely museum

14 may - 28 september 2014
vasarely museum, budapest

curated by dóra maurer, barna benedek and andrás wolsky

most of the international exhibitions that have been organized by osas since 2006 at the vasarely museum budapest have focused on a particular theme. word and image, transparency, and chance as strategy, for instance, were all such shows. rather than centring on a predetermined theme, the current exhibition simply recognizes and explores a few fresh positions within constructive-concrete art, which has once again become universally timely and relevant. it brings to life the idea of two young osas members: barna benedek and andrás wolsky. both artists participated in the international symposium orthogonal, which was held in sofia in 2012 and directed by painter georgi dimitrov. through this project they seek to expand on the positive experiences and connections they acquired there. as also expressed by the exhibition title, a common denominator between the displayed artworks has nevertheless evolved: space as space – analytical engagement of the perception and shaping of space, treating the concept of space in an autonomous, unique manner.
                                                                      – dóra maurer

Wednesday, April 16, 2014

systematic reduction

if we stop for a while, we will notice that there are plenty of objects in our closest vicinity whose dismission will optimise our consumption. the material periphery which we industriously build around us completely occupies our thoughts and actions. it becomes our essential cause of life as it creates an illusionary sense for security and comfort. the truth, however, is that the more we rely on this system of artificial extensions, the farther away we stand from our real selves. we constantly lose contact with our inner world and perish due to the distractive noise that this system produces. all virtues of mankind disappear into a man-made void of vanity.

the blind adoption of neoliberal values throughout the years of the so called transition has led to a striking and sometimes frustrating absence of consumer culture in the bulgarian society. this absence could be compensated only through the regular materialisation of diverse educational projects. it is necessary to develop a long-term strategy for education and culture. our society will start taking adequate decisions, only when it achieves the required level of cultural maturity. therefore, the people involved in art production and distribution hold a unique social responsibility. art should not only reflect on current social trends, but must also act as a sustainable corrective to these trends when it is needed.

*  *  *

георги димитров: систематична редукция

поспрем ли за миг, ще забележим, че в близкото ни обркъжение съществуват редица обекти, с които лесно може да се разделим и така да оптимизираме потреблението си. материалната периферия, която усърдно трупаме около себе си изцяло ангажира мисълта и действията ни. превръща се в наша основна житейска кауза, тъй като илюзорно създава усещане за сигурност и удобство. истината обаче е, че колкото повече разчитаме на тази система от изкуствени екстензии, толкова повече се отдалечаваме от самите нас. шумът, който тя произвежда ни разсейва и заличава - изолира ни от нашето вътрешно аз. човешките ни добродетели изчезват в сътворения вече вакуум на суетата.

невежото приемане на неолибералните ценности в годините на т. нар. преход доведоха до очевидна и на моменти отчайваща липса на култура на потребление у българското общество. тази липса би могла да се компенсира единствено чрез регулярно осъществяване на разнообразни по рода си просветни проекти. необходимо е изготвянето на стратегия за образование и култура. обществото ни ще започне да взима адекватни решения, едва когато постигне нужната степен на културна зрялост. ето защо, хората, които се занимават с творчество и дистрибуция на изкуство носят основна отговорност. изкуството трябва не само да отразява актуалните обществени тенденции, но и да ги коригира в устойчива посока, когато се налага.

Tuesday, July 30, 2013

quadrilateral 2013

квадрилатерал 2013 е изложба-честване на стогодишнината от първата поява на „четиристранника“ на казимир малевич в сценографията към футуристичната опера „победа над слънцето“, представена в санкт петербург. по-късно творбата става известна под наименованието „черен квадрат“ и се превръща във визуален манифест не само на нейния автор, но и на цяла една епоха в модерното изкуство. показана е като самостоятелно художествено произведение в „последната футуристична изложба 0,10” в петербург през 1915 г. днес картината е безценна част от колекцията на третяковската галерия в москва.

през този период малевич е създател и водеща фигура на течението супрематизъм. неговите представители поставят духа във върховенство над материята и се опитват да достигнат незримата образност на нещата посредством геометрични и нефигуративни (безпредметни) композиции - известно е, че в природата не съществува права линия, както и т. нар. „чисти цветове“. убежденията на малевич за изкуство, което не наподобява природата и борави само с правилни геометрични форми, стои в основата на по-късно развилото се абстрактно изкуство. наред с кандински, купка и делоне той е сочен за един от неговите основоположници.

квадрилатерал 2013 има за цел да отдаде заслужената почит към цивилизационния принос на малевич и да демонстрира съхранението на супрематичните ценности в днешно време. освен това, проектът се стреми да отрази някои последвали развития в безпредметното изкуство, засягащи редукцията на изразните средства и решенията за култивиране на физическото пространство.

георги димитров (р. 1980) е художник, чиято работа е основана на принципите на безпредметното и конструктивното изкуство. през 2012 г. той организира международния форум за безпредметно изкуство ортогонал, който освен изложба представи прожекции на филми и лекции на участниците в него. като автор се изразява най-вече със средствата на живописта. настоящата изложба е във вид на инсталация за определено място. с начина на изпълнение художникът внушава идеята за двуизмерно изображение, разположено в триизмерното пространство.

*   *   *

quadrilateral 2013 is a site-specific project conceived to commemorate the 100th anniversary of kazimierz malewicz’s quadrilateral, commonly known as the black square. the piece appeared intuitively for the first time as part of the stage design for the opera victory over the cun in 1913. later, in 1915, it was displayed at the last futurist exhibition 0,10 in saint petersburg. the painting which heralded all other suprematist forms, titled black suprematic square, is now an invaluable exhibit of the state tretyakov gallery’s collection in moscow.

referring to one of the very first non-figurative concepts which brought the essence of a whole new painterly and philosophical world, the installation attempts on comprising the developments of non-objective art for the past century by reducing the physical space to a two-dimensional image. ca. 100 sq. metres of adhesive black folio sheet is applied on the floor, walls and ceilings to recreate the notorious masterpiece.

georgi dimitrov (b. 1980) is an artist whose work is based on the principles of non-objective and constructive art. in 2010 he founded the nonsofia association - a non-profit entity that offers institutional support for non-objective art in bulgaria. last year he organised orthogonal: international forum for non-objective art. apart from an exhibition, the event included a number of documentary screenings and lectures which aimed at increasing the popularity of non-objective art in bulgaria.

Tuesday, March 26, 2013

orthogonal, burgas city art gallery, 29 january - 5 march, 2013


orthogonal: international forum for non-objective art, 18 october - 18 november 2012, the red house centre for culture and debate, sofia


poster for the debut edition of orthogonal

due to a complex of historical and cultural factors, the absolute and pure visual forms reached by malewicz and mondrian in the early 1910s have almost no influence on bulgarian modern art. should we exclude the achievements of georges papazoff and nikolay diulgheroff, who left the country in their twenties, and also the apocryphal stylisations of peter dochev and georgi yanakiev, one may well argue that bulgarian modernism is deprived of its natural integrity without a consciously held non-objective period.

a prerequisite for the emergence of non-objective tendencies within the local art context can be found in the maturation of contemporary bulgarian civil society. on the other hand, this is a mutual process in which civil society is the principal beneficiary of the promotion of non-objective art forms. examples of such successful collaboration between society and non-objective aesthetics can be observed in countries like the netherlands, germany, france and switzerland, as well as in societies much closer to our political fate like poland, hungary, the czech republic and romania, where constructive and conceptual traditions date back to several decades ago. 

conceived as an international forum in 2011, orthogonal will introduce the bulgarian cultural public to a number of leading contemporary artists and theoreticians, who work in the field of non-objective art. apart from an exhibition of a variety of artifacts the event will offer a programme of open lectures and screenings which deal with contemporary and historical issues of this yet little known here art movement. nonsofia's ambition is that this forum becomes a regular art festival which will expand in the future and remain permanently on the bulgarian cultural agenda.

orthogonal's debut edition took place between 18 october and 18 november 2012 at the red house centre for culture and debate, sofia. the forum's opening was followed by a screening of max bill: the master's vision. more screenings as well as a number of presentations were held during the following days. the show visited the burgas city art gallery from 29 january to 5 march 2013. further information could be inquired at

Thursday, November 29, 2012

ccnoa: 30/30 iap paris 2012


30/30 image archive project: a collective collection
curated by petra bungert at gallery -1

Tuesday, August 21, 2012

zero growth

constructive painting by georgi dimitrov. 22 aug - 10 sep, vladimir dimitrov - the master art gallery kyustendil

Thursday, October 06, 2011

Monday, July 04, 2011

proedit | 2011

b/w installation view from the 2011 baza award show edited by proyko proykov

Tuesday, June 07, 2011

Saturday, March 05, 2011

a booklet | 2011

georgi dimitrov: selected oil works 2006 - 2011
published by
20 pages, en/bg, 29 illustrations, 21 x 21 cm, 100 copies
isbn 978-954-92280-6-9

Friday, February 18, 2011

probalance | 2010 - 2011

fragment I | oil/canvas: 62.5 x 62.5 cm

fragment II | oil/canvas: 62.5 x 62.5 cm

Tuesday, February 01, 2011

arcs and straight lines | 2010

arcline detail | oil/canvas: 40 x 40 cm

arcline detail | oil/canvas: 40 x 40 cm

Monday, January 31, 2011

outside-in | 2009 - 2010

counter-circle | oil/canvas: 42 x 42 cm

Saturday, September 25, 2010

more 2010 vintage

self-tribute | oil/canvas: 86 x 85.5 cm

tribute to r.p.l. | oil/canvas: 86 x 86 cm

circles in a spiral | oil/canvas: 78.5 x 78.5 cm

b : w = 21 : 15 | oil/canvas: 78.5 x 78.5 cm

geometric landscape of four circles and four spheres | oil/canvas: 85 x 85 cm

geometric landscape of two circles and four spheres | oil/canvas: 85 x 85 cm