Our tongues, on the landscape. Our language.
Fabric, pigments, colour-print on PVC
Our tongues, on the landscape. Our language. is an installation of painted fabrics hung on all four sides of the gallery. The fabrics have been through a series of gestures: rubbing, scrubbing and scraping pigments on their surface while using the rhythm of the sea, its waves and changing coastline.
The paintings have either been left raw or were sewn together to create yet another composition, proposing a way to frame the landscape that surrounds the gallery space. The installation's translucent surfaces invite the viewer to look at the surroundings of the Razklon Gallery through colourful gestures that were made in another place. Hence, both locations meet in simply one action. The foldable painted surfaces let other surfaces appear from in between. Multiple compositions may be made, become undone, and remade again by the movement of the body and eyes of the viewer.
A text printed on PVC is situated on the bottom of the showcase, visible through the translucent paintings. It attempts to translate the colours of these paintings into words and voices, inviting the landscape to speak, or rather to imagine what the voices of place are trying to say.
Olivia Funes Lastra
07/05/22 - 02/06/22
Fiesta del Sol
Photographic print on PVC, disco ball, solar panel, electromotor
A disco ball spins over the famous photograph of the Earth known as the Blue Marble, driven by a solar-powered motor. Fiesta del Sol was conceived to alleviate the lack of dancing, especially during the first stage of the pandemic. Indeed, in a very symbolic way: the sun ritualistically activates a disco ball every time it appears. As a result, the disco ball hovers over planet earth as if it were a vast alien mothership, which could well be saving the world — with a dance.
08/04/22 - 05/05/22
Found skull, gold leaf, velvet fabric, cotton wool, plywood
The work consists of a found ram's skull and gold leaf processed with the gilding technique for a polished high gloss effect. A square base that measures 45 by 45 by 7cm high is made of wood beams and a foam pad coated with black velvet. It is used as a cushion for the gilded skull.
Conceptually, the work aims to lend weight to animal life and its cycles and pay tribute to nature's unsung heroes. In addition, the work aspires to function as a memorial within the animal community. It serves as a monument in commemoration of the dead ram. The gold coating of the skull symbolizes immortality.
This work pursues to shift the axis of awareness away and beyond the monopoly of an anthropocentric standpoint. It seeks to stimulate further discussion on animal life in itself, devoid of any notions of human exploitation. As Bruno Latour said, learning new ways to inhabit the Earth is our biggest challenge.
11/03/22 - 06/04/22
Copper, string, rock, scissors, paper
A small rock, a sheet of paper and a pair of scissors orbit around each other in a standoff, never resolving the power struggle of who wins and who loses in this game. The paper always covers the rock; the scissors always cut the paper; the rock always breaks the scissors. Rock-Paper-Scissors is a universal hand game used for settling disputes or making unbiased choices. It can be a practical tool when coming to a fork in the road, like the one where Razklon gallery is situated.
Paper, rock, scissors. Like a list of first words, the subjects Imber employs are archetypal symbols one can associate within an instant. Roshambo is a metaphor for the uncertainty of whose hand holds the power. One must assume a position without knowing their rival’s stance. From assumption to conviction and back to suspicion. For the artist, this game-of-chance feels especially poignant in today’s political climate, where lies can prevail over truth, beliefs over reason and who rises to power can seem random.
28/01/22 - 08/03/22
A doorway, entrance or gate
Photographic prints on duraclear
When looking through these translucent photographic prints, you are able to be at several places at once. Here, you see a lava rock formation that forms a natural gateway in Dimmuborgir, Iceland. Here, you see the entrance of a cave in Pak Ou, Laos. And here, you see the hills in southern Bulgaria. Depending on your position, perspective, light and weather conditions, these landscapes can merge. Thus, this installation creates an imaginary voyage and a potential portal to travel through.
31/12/21 - 26/01/22
Something in the sky
Hypothermia blankets, cello tape, string, pinewood, ratchet straps, gallery, performer
The bright blue sky illuminates the golden landscape of Bulgaria. As something glides across it, a closer look shows a cube with a silhouette of white noise on top of it, a televisual signal. A crash land is about to commence as I surf the Razklon across the sky. The landing system has malfunctioned. What's that? In the distance, there seems to be some sort of primitive wind direction, navigation system, a windsock. I'll use it to direct the Razklon to a landing pad or flat ground. Ok I'm on target for the landing but travelling fast, I'll need to eject in 3... 2... 1... puff flap. The silhouette has separated from the cube and a gold parachute carries the white noise through the sky gently. Zip-ripp the parachute has split. I'm falling fast. I'll have to get ready for a hard landing. The chute flaps rigorously, the white noise plummeting towards the ground zip-twang-poffff-whack the chute gets caught wiping the silhouette back into some rocks, after a moment's dizziness the silhouette cuts itself free and darts off into the woods. In the sky another parachute opens, the falling speed of the cube slows dramatically, it floats and gently drops onto a stone landing pad clunk-ting it makes contact with the sound of stone hitting glass reverberating through the Razklon as it lands safely.
Lee McDonald | WATCH VIDEO
05/11/21 - 29/12/21
Domestic textiles, salvaged oak beams, metal
A windsock is a conical textile tube that resembles a giant sock. Windsocks can be used as a basic guide to wind direction and speed. This windsock erected at Razklon is hand-stitched using three domestic fabrics, two of which were found in Tsarino. The pole holding the windsock is made from two oak beams salvaged from one of the abandoned houses in the village of Tsarino.
Razklon means fork, in this case literally a fork in the road. It is the meeting place of three roads used by vehicles, pedestrians and animals. For the time that this windsock hangs at Razklon, people will know from which direction the wind is blowing without holding a wet finger in the air.
Lisa Smithson | WATCH VIDEO
05/11/21 - 29/12/21
Newspaper and water
Shaun’s project PLOT takes its starting point from the plotlanders, a radical DIY community that resided in Basildon, UK, the artists birth town. Many plotlanders were displaced when the area was designated as a New Town in 1949, with some remnants remaining in the form of bricks embedded in the ground.
Shaun has been producing paper briquettes as a point of entry and allegory to discuss this past community. For the Razklon Gallery, the briquettes have been formed cylindrically, reminiscent of a water well. For plotlanders, water wells were an ample supply of water and, furthermore, in Tsarino, roadside wells and taps have a deep rooted meaning in local culture. Individuals are encouraged to build them in dedication to family members and they also become meeting points, mirroring the location of the gallery at a crossroads between three villages.
At the end of the exhibition, the briquette well will be set alight for warmth facilitating group conversation and congregation.
Shaun C. Badham
08/10/21 - 03/11/21
Mixed Bulgarian and New Zealand stones from three locations
Sinite Kameni / Kısık kaya
Blackhead / Te Wai o Tinarau
Signal Hill / Te Pahure-o-te-Rangi-Pohika
Guide is a temporary marker, tethering the vitrine to the road to Tsarino. Its remote location is a distinctive feature of the Razklon Gallery, isolated and entirely unique. In contemplating this, place and objects from the land felt particularly poignant. This work is a cairn, a rock structure assembled by hand that traditionally holds many uses, from track marker to burial mound. Guide has been created out of a mix of stones from Ōtepoti/Dunedin, New Zealand, and locally sourced rocks from the area around the Razklon gallery space.
Through collaboratively creating the work and bringing together the two locations, the piece celebrates the remote nature of both the gallery and New Zealand. Cairns are constructed and altered, often inviting contributions from passers-by. Guide reflects this principle in both construction and impermanence as an exhibition — a poetic gesture marking the vitrine for the summer.
18/06/21 - 06/10/21
Държиш Хитра Вода (You Hold Smart Water)
Aquarium, water, red cabbage, smartwater bottles, words, pressure
It is decidedly so — The Waters are always making private messages. Never asking. Meeting us according to our densities.
Where are we when the language arrives.
How can translation reform a mouth and not taste like a poem?
We are dispersing, beetling over our brows, tucking into you with weight, with means!
A buoyant message - a different barge.
Surely a legible arrangement is evidence of you and water’s inference. Work on each other.
Who are you when the language arrives?
Wave to me in a cube with handmade edges — I’ll be the one facing up
You may rely on it.
Maya Simkin & Titus Wonsey
Distant view looking west
Distant view looking west
20/05/21 - 17/06/21
Wicked Weather Forecast
Lithography, fake snow
'The weather forecast you mention in your report must be for three or seven days. Do not forecast conditions for months because long-term forecasts are less accurate and therefore, less reliable. When writing a weather forecast, you need to state the general conditions such as sunny, cloudy, rainy, stormy, cloudy, low and high temperature and warnings like tornadoes, flooding, etc. The style of the weather forecast must be to the point; no fillers are required. You must choose your words and phrases correctly & arrange them in a way that the information looks precise and accurate.'1
Hi, I am your local weather girl now. Let's look at the weather! I promise I won't use any filler words. The weather is cool, isn't it? It will be like this, around the same temperature. Then it will be a bit different. Then it will be more different than it is now. Oh, and there's more crazy weather coming this week. It might. So I've heard. And then, there's a new week coming with totally different weather. Or with kind of the same weather. Or with slightly different weather. Who knows. I would like to wish you a very pleasant day (regardless of the weather). Goodbye! Stay tuned!
23/04/21 - 19/05/21
Hypothesis I (Painting in a Jar)
Oil, egg tempera and gesso in glass jar
In 2014, I made a work (oil and egg tempera on 2 x 2 m board) that just didn’t, well, work. I decided to scrape off the material and put it into a jar. The result: Hypothesis I (Painting In A Jar). It is what the label says – a painting in a jar. It is in stasis, a hypothesis, for anyone to take out and reassemble, possibly improve it – or leave it forever in its current state. It is materialised potential. A shorthand version of its former self, emptied of its vectors.
I had had it in storage for a while, but it shifted towards active memory again a few months ago when I was reading about Determinism and the Many-Worlds interpretation of Quantum Mechanics. My understanding was limited, but the degree to which the Many-Worlds interpretation seemed to facilitate a more robust degree of determinism (at least in my visual intuition) gelled with me. If provided with all the vectors of the work (now in a jar), someone could re-create the original (although the process would be more intriguing than the result). Perfect information would be the key to unlocking the current stasis.
26/03/21 - 21/04/21
The Golden Sign to Tsarino
Emergency blankets, tape
The road to the Tsarino Foundation should shine like gold. That is what Victoria Marchenkova, known for her hybrid paintings, installations, and abstract sculptures made of glass, light and metal, demonstrates with this site-specific installation. The cubed golden texture is designed to attract curious travellers and to be a solution for orientation on the road. As every new path taken in art is an exciting turn, we need bright signs on our way to be sure that we are going right.
As an artist, Victoria Marchenkova is deeply involved in the theme of gold. Several of her artworks starting from 2015 more or less directly appeal to this. She defines her interest: “My artistic theme is being on ruins of glamour and a contemporary definition of iconic — I work a lot with shine and illumination.”
Marchenkova’s shining structure corresponds to the natural landscape surrounding the foundation and looks especially well on sunny days. A good sign, for a good start!
26/02/21 - 24/03/21
The personification of non-existence
Lead, mineral wool, aluminium, rope, flexible rope, wax, ferromagnetic steel, valve, plexiglass, nylon cord
What is silence? Is it the sound of not-happening, a stop in air movement? When does it take place? The personification of non-existence is an attempt to widen people's perspective on how to approach others, the different and intangible. Sealed from the outside world, the multilayered box acts as a sanctuary. It does not allow one to either intrude or interfere. The empty vacuum constructed inside the sanctuary creates the possibility for silence to occur and appear. The sanctuary distances the phenomenon of silence from us, the listeners.
Eavesdropped silence does not exist. The nature of listening is an act that generates noise when the listener absorbs sound. Hence, silence cannot be where others are. Silence is emptiness, or: non-existence.
Asa Palenga is a conceptual artist with a background in philosophy, interested in new aesthetics and new ethics. In his investigations, he often aims at the artist and participant duo. He is intrigued by a wider understanding of who can be an art audience or creator.
With support of Instytut Adama Mickiewicza
Supported by Instytut Adama Mickiewicza
29/01/21 - 24/02/21
Days After Sight
Wood, sanded dichroic glass, metal, string
The reddish, float-like construction Days After Sight presented in the glass cube of the Razklon Gallery goes beyond our natural comprehension when it comes to solid surfaces. The dichroic glass of the discs connected to a wooden construction has a special micro-coating, allowing colours and transparency to shift depending on light conditions and point of view. Passing by, Days After Sight may seem a Fata Morgana in how it destabilises what we expect, what we can hold on to and what we see at that moment.
Navigation and the search for balance continuously shift my art practice. The dichroic glass discs mirror this perfectly, sandblasted with a drawing suggesting a change of view. Depicting an abstracted window, it references the connection of the inside/intimate and the outside/public. Doubled and reversed, the dichroic glass disc windows have become constantly changing rotors shifting the perspective: antithesis becomes thesis, inside becomes outside, personal becomes universal.
01/01/21 - 27/01/21
Indian ink on rice paper
I wrote a Dutch haiku in January 2020 and translated it into Japanese. A haiku is a short Japanese verse consisting of three lines of 5-7-5 syllables. I calligraphed the Japanese text with ink and brush; it reads from the top right to the bottom left. Because the seasons are traditionally the subject of haiku, the images evoked are often universal. I feel this haiku, written on a Dutch winter's day, fits in particularly well with the winter landscape around Tsarino. Despite bare branches and puddles of rain — in the Netherlands, Bulgaria or Japan — the blue winter sky holds the promise of a new spring.
みずたまりに mizutamari ni
くろい枝の反射や kuroi eda no hansya ya
След проливен дъжд,
клони се отразяват
във ясно небе.
After the rainstorm,
black branches reflect themselves
in a clear blue sky.
04/12/20 - 30/12/20
2019 - 2020
Fungi, lichens, acrylic, pastel and charcoal on wood-inhabiting
The installation Sanctuary by Kristina Zimbakova (Macedonia) comprises four symbolic and figurative mixed media paintings on paper from wood-inhabiting fungi handmade by the artist. The works on display Crucified Cliff, Yoked Tree, Sanctuary and Night has Donned Her Mantle of Black were created in 2019 and 2020. Fungi and lichens are the major media, applied for drawing figures or creating a mosaic, besides acrylic, pastel and charcoal. The fungi, some of them rare or endemic, have been obtained during personal forays in the Macedonian mountains, in collaboration with bio-scientists. Zimbakova’s art practice is transdisciplinary, blending visual art with natural science and poetry. Her opus is primarily lyrical but via prudent use of fungi specimens in an art context, she also aspires to raise awareness for the conservation of these fascinating but often overlooked organisms.
06/11/20 - 02/12/20
Tracing paper, black marker
In Buddhism, the Sanskrit word ‘ksana’ represents a tiny unit of time eluding our conscious awareness while within it, a lot happens. In each ksana of approximately 0.013 seconds, the ‘born, live, die’ cycle loops in human consciousness.
Setsuna 刹那 (Japanese for ‘ksana’) is an installation transforming individual drawings into a three-dimensional object. The drawings made on translucent paper show straight lines representing a time axis. Crumpled into a ball and folded open again, the paper shows a physical memory of the crumpling. Straight lines are reborn from curves.
The process of crumpling and straightening the paper is repeated until the showcase is completely filled up, allowing for the visual interweaving of individual drawings. The interlacing of lines represents the complex events in life happening during each setsuna. The clear glass of the showcase symbolises the perceptive human mind containing the accumulation of time, experience, knowledge, history and emotions.
10/10/20 - 04/11/20
Inkjet photographic prints
The command 'Stop, Drop, Roll' is a device of fire safety to self-extinguish when the body is in flames. It connotes a necessary and urgent change of course through a series of abrupt actions.
Influenced by such safety devices, this work seeks to address the human experience when altered by the hands of others, and aims to question the social safety mechanisms we use to ensure our personal welfare. Often learned in childhood, we memorize a set of cultural and shared cues that promise success. Yet, despite the daily, at times devotional, practice of them, they fail us.
The first diptych of the vitrine depicts a hand reaching for a flame followed by trails of smoke in the adjoining image, suggesting a sudden transition by an unidentifiable other. The interior view of the vitrine shows a figure on its side with contorted arms and feet barely grounded, signifying a state of uncertainty.
Closeup Ц view
Closeup В view
06/07/20 - 08/10/20
Cheapest trophy from the local trophy shop
2012 - 2020
Gilded plastic — purchased object
I bought the trophy in 2012 from a trophy shop in the neighbourhood where I live in Sofia, and asked a friend to make the sign on it. Since then it has stayed in my studio. It is dedicated to all who like to see and put art into national categories and contexts, and all the competitions and competitors in and out of art.
Close-up Ч view
07/06/20 - 03/07/20