This Land
2019, double-sided light box, 55 x 55 x 10 cm.

Like an empty vessel, the well-known song "This Land is Your Land" can suit the purposes of both ends of the political spectrum. Some have called it an alternative national anthem of the United States—a symbol of American patriotism. Others say it is a Marxist critique of private property. The almost universal adaptability of the song derives from the ambivalent use of the word "land," which the Right interprets as »state« and the Left as "estate."
The two seemingly identical texts on both sides of the light box replace the word "land" with its synonyms.

Ruin Is the Destination
Toward Which All Men Rush

2019, single-channel video, 8 min 43 sec.

In an effort to privatize state-owned property during the 1990s, Bulgaria saw a proliferation of small shops and kiosks, as patches of pedestrian space were channelled into private hands. Today, most of these structures have been obliterated by the subsequent transfers of ownership.

On a terrain resembling an archaeological site, four mimes reconstruct the missing spaces based on the outlines of their foundations. They bring back to life the invisible shops by reenacting the rituals of market exchange that were once part of the everyday life of the place.

The work’s title is a quote from the book "Tragedy of the Commons" by biologist Gareth Hardin, which over the past several decades has been used in defence of neoliberal policies aimed at privatizing public property.

Ruin Is the Destination
Toward Which All Men Rush

2019, original page from 1874 Illustrated London News magazine, 40 x 27 cm; adhesive vinyl, variable dimensions.

Treadmills (or tread wheels) were a widespread form of forced labor in the penal code of early industrial societies such as Britain. An original 19th-century depiction of a treadmil is set against a perspective grid. Typically found in early video games, the geometric pattern represents an oversimplified representation of terrain, simulating movement through space. Similarly, the treadmill requires the user to step upwards, like walking up an endless staircase, yet in reality it deprives them of mobility.

Untitled
2019, pencil on paper, 65 x 50 cm.

The drawing juxtaposes two geometric patterns—a perspective grid and the now largely forgotten logo of the Center for Mass Privatization, established in Bulgaria in the mid-1990s. It is difficult to tell, whether the radial pattern looming above the horizon represents a sunrise or a sunset. The drawing alludes to the artist’s effort to put into perspective this period in recent history.