https://kostatonev.com Kosta Tonev Mon, 26 Apr 2021 11:42:44 +0000 https://kostatonev.com en https://kostatonev.com/Home Thu, 07 Jan 2021 11:28:13 +0000 Kosta Tonev https://kostatonev.com/Home https://kostatonev.com/The-Heavenly-Bodies-Once-Thrown-into-a-Certain-Definite-Motion-Always Thu, 07 Jan 2021 11:28:16 +0000 Kosta Tonev https://kostatonev.com/The-Heavenly-Bodies-Once-Thrown-into-a-Certain-Definite-Motion-Always <img width="1500" height="638" width_o="1500" height_o="638" data-src="https://freight.cargo.site/t/original/i/42243017415a44c3c0d0dce8b1d19ce1ffb9a6fa822833638ef4a4f5d8b56e09/Cover-1.jpg" data-mid="113833465" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/42243017415a44c3c0d0dce8b1d19ce1ffb9a6fa822833638ef4a4f5d8b56e09/Cover-1.jpg" /> The project examines cycling as a metaphor for the cyclical nature of world economy. Economic cycles (or waves) are characterized by periodic crises, followed by shifts in the modes of production. Born amid the recession of the 1970s the bicycle messenger embodies the core principals, which are to define labor in the current techno-economic paradigm. The artist takes on the role of a real-life courier, and intervenes in the relations of production. The project marks the 40-year anniversary of the recession of 1973-75, and implicitly raises questions about its resonance for the present moment. The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat 2013, 3 lightboxes, 16x10,5x518 cm (overall dimensions). The lightboxes contain 67 photographs of packages and letters I delivered as a bicycle messenger. One alphabetical character was added in the lower right corner of each of the packages before they were delivered to the recipients. Put together in a chronological order, the 67 letters spell the sentence «The heavenly bodies, once thrown into a certain definite motion, always repeat.» It is quotation from the Capital by Karl Marx who made it metaphor for his theory of the business cycle. <img width="1346" height="2020" width_o="1346" height_o="2020" data-src="https://freight.cargo.site/t/original/i/f11de4a7a25944a873f37bff2b5a3aa87f29efb21437fa47381bb9bb174aa55a/THBOTIACDMAR_1_web.jpg" data-mid="94267638" border="0" alt="The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat (installation view at Generator Projects, Dundee, UK)" data-caption="The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat (installation view at Generator Projects, Dundee, UK)" src="https://freight.cargo.site/w/1000/i/f11de4a7a25944a873f37bff2b5a3aa87f29efb21437fa47381bb9bb174aa55a/THBOTIACDMAR_1_web.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/a726a0ecfdadb346a03e8472163172f2236dc869728ff741d605defdbcafbca0/THBOTIACDMAR-14.jpg" data-mid="113812751" border="0" alt="The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat (detail view)" data-caption="The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat (detail view)" src="https://freight.cargo.site/w/1000/i/a726a0ecfdadb346a03e8472163172f2236dc869728ff741d605defdbcafbca0/THBOTIACDMAR-14.jpg" /> Death of a Cyclist 2013, video, 3 min 5 sec. The video contains a reference to the 1955 Spanish film noir »Death of a Cyclist,« in which the two main characters strike a bicyclist with their car, and are left to deal with the consequences of the murder. Here, the camera lens slowly approaches the rotating wheel of the thrown down bicycle, ultimately capturing a close-up of its cyclometer, which keeps counting. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/92b0233bc96905539552fefd48ca930b8284845a63af6f4cf583ea3c98a51202/THBOTIACDMAR-12.jpg" data-mid="113812749" border="0" alt="Death of a Cyclist (installation view at Generator Projects, Dundee, UK)" data-caption="Death of a Cyclist (installation view at Generator Projects, Dundee, UK)" src="https://freight.cargo.site/w/1000/i/92b0233bc96905539552fefd48ca930b8284845a63af6f4cf583ea3c98a51202/THBOTIACDMAR-12.jpg" /> The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat2013, 6 pencil drawings The drawings display a collection of objects and facts. Each drawing deals with different understandings of time and history, exchange and labor. <img width="1020" height="734" width_o="1020" height_o="734" data-src="https://freight.cargo.site/t/original/i/1bd335ff584c98bbcafb07b54506133205b5199f00e999b574983fa8ceed34b3/THBOTIACDMAR-9.jpg" data-mid="94281698" border="0" alt="The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat (installation view at Kuandu Museum of Fine Arts, Taipei)" data-caption="The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat (installation view at Kuandu Museum of Fine Arts, Taipei)" src="https://freight.cargo.site/w/1000/i/1bd335ff584c98bbcafb07b54506133205b5199f00e999b574983fa8ceed34b3/THBOTIACDMAR-9.jpg" /> <img width="1344" height="1777" width_o="1344" height_o="1777" data-src="https://freight.cargo.site/t/original/i/e66e7b44dbc74a62fbc69c537b5138decd5f32d9642c419e231511204d71f084/THBOTIACDMAR-3.jpg" data-mid="94281690" border="0" alt="Pleasure Wheel (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" data-caption="Pleasure Wheel (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" src="https://freight.cargo.site/w/1000/i/e66e7b44dbc74a62fbc69c537b5138decd5f32d9642c419e231511204d71f084/THBOTIACDMAR-3.jpg" />Pleasure Wheel 2013, pencil on paper, 100x75 cm «‚Pleasure wheels‘, whose passengers rode in chairs suspended from large wooden rings turned by strong men, are the predecessors of the modern Ferris Wheel. Pleasure wheels are believed to have originated in 17th century Bulgaria. In his book, The Travels of Peter Mundy in Europe and Asia (1608-1667), the English traveler describes and illustrates ‘severall Sorts of Swinginge used in their Publique rejoyceings att their Feast of Biram’ on May 17th 1620 at Philippopolis in the Ottoman Balkans. What he saw there, was as he describes ‘...like a Craine wheele att Customhowse Key and turned in that Manner, whereon Children sitt on little seats hunge round about in severall parts thereof, And though it turne right upp and downe, and that the Children are sometymes on the upper part of the wheele, and sometymes on the lower, yett they alwaies sitt upright.’» <img width="1344" height="1777" width_o="1344" height_o="1777" data-src="https://freight.cargo.site/t/original/i/fe16b38c4b29789362d95a64fb0eaca41c83e6863672441d2b7e302fa6fd46b7/THBOTIACDMAR-4.jpg" data-mid="94281691" border="0" alt="Wheelless Car (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" data-caption="Wheelless Car (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" src="https://freight.cargo.site/w/1000/i/fe16b38c4b29789362d95a64fb0eaca41c83e6863672441d2b7e302fa6fd46b7/THBOTIACDMAR-4.jpg" />Wheelless Car 2013, pencil on paper, 100x75 cm «In the 1950s Ford Motor Company unveiled a new revolutionary form of travel called “Glideair” – a wheelless vehicle that rides on a film of air above the road. Andrew A. Kucher, Ford’s vice president in charge of Engineering and Research, looked upon it as a new form of high-speed land transportation. A gas turbine or turbojet engine would supply the power to both levitate and propel the vehicle. Instead of wheels, “Glideair” would employ “levapads”, a Kucher-coined word. In a 1958 interview with the Associated Press he explained that the car without wheels would be in use in the foreseeable future. Riding on a cushion of air, he described how the “Glideair” car could one day achieve 200-500 miles per hour since it didn‘t have tires that would burn up.» <img width="1512" height="2020" width_o="1512" height_o="2020" data-src="https://freight.cargo.site/t/original/i/71b267a8df7214c173ff85c0e2e35136a850294645200b462e5fd80d1c7b544f/THBOTIACDMAR-5.jpg" data-mid="94281692" border="0" alt="Soviet Eternal Calendar (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" data-caption="Soviet Eternal Calendar (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" src="https://freight.cargo.site/w/1000/i/71b267a8df7214c173ff85c0e2e35136a850294645200b462e5fd80d1c7b544f/THBOTIACDMAR-5.jpg" /> Soviet Eternal Calendar 2013, pencil on paper, 100x75cm «In the autumn of 1929 the Soviet Union changed from the seven-day week to a five-day week. In the new system known as the “Soviet Eternal Calendar“ there were 72 weeks and additional five national holidays totaling a year of 365 days. The week consisted of four days of work and one day off. Each weekday was labeled by either one of five colors and each worker was assigned a color to identify with their day of rest. In the summer of 1931, after this brief experiment, the Soviet Union changed to a six-day week, in which every sixth day was a state rest day. The five national holidays remained, but as certain months have 31 days, the week after the state rest day of the 30th had seven days, and as February has 28 or 29 days, the week after the state rest day on the 24th was five or six days long. The calendar was abandoned on June 26th 1940 and the seven-day week reintroduced on the next day.» <img width="1528" height="2020" width_o="1528" height_o="2020" data-src="https://freight.cargo.site/t/original/i/4d66f2e5f6ea67252c864a0ed0bcb2e5abe117be0bb604e285a1a9accd79a508/THBOTIACDMAR-6.jpg" data-mid="94281695" border="0" alt="Tulip Bulb (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" data-caption="Tulip Bulb (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" src="https://freight.cargo.site/w/1000/i/4d66f2e5f6ea67252c864a0ed0bcb2e5abe117be0bb604e285a1a9accd79a508/THBOTIACDMAR-6.jpg" />Tulip Bulb 2013, pencil on paper, 100x75 cm «The first tulip bulbs were sent from the Ottoman Empire to Vienna in 1554 and subsequently to the Low Countries, where they soon began to grow in popularity. The prices of flowers that grow only in summer could fluctuate wildly in winter;in the early 17th century Dutch merchants willingly paid more than an annual salary for a single bulb. In February 1637, tulip bulbs contract prices collapsed abruptly, and as a result Dutch commerce suffered a severe shock. It is now known that the multicolored effect of the most expensive varieties of tulips is due to the bulbs being infected with a type of virus, know as the “tulip breaking virus.” “Broken” exotics were an extremely limited commodity, as they can only be obtained through offsets, not seeds. The virus persisted, making it possible to preserve the varieties, due to the bulb’s self-replicating capacity.» <img width="1195" height="1580" width_o="1195" height_o="1580" data-src="https://freight.cargo.site/t/original/i/3b1aee251df403b379a248068dec88a9cc17e237e852bbc67084c8e853388fd1/THBOTIACDMAR-7.jpg" data-mid="94281696" border="0" alt="100 Leva Bill (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" data-caption="100 Leva Bill (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" src="https://freight.cargo.site/w/1000/i/3b1aee251df403b379a248068dec88a9cc17e237e852bbc67084c8e853388fd1/THBOTIACDMAR-7.jpg" />100 Leva Bill 2013, pencil on paper, 100x75 cm «In 1990, after the fall of the communist regime, the Bulgarian National Bank introduced several new banknotes in an effort to reform the currency’s visual appearance and eliminate political and ideological imagery relating to the country’s past. The new, politically neutral symbols often related to distant times and were charged with broadly accessible meanings. Among the new notes was the 100 leva. On its reverse side it depicted a mural known as the “The Wheel of Life” by the 19th-century painter Zahariy Zograf. His fresco represents the different stages of life as a circular path with inner circles divided into seasons and months. At the time of its introduction, the 100 leva was the highest value note available; it was worth almost a month’s salary. With the transition to a free-market economy, high inflation rates led to the rapid devaluation of Bulgarian currency. This was followed by the introduction of higher denominations, which culminated in 1997 when the National Bank issued a 50 000 leva note. The 100 leva bill was pulled out of circulation in 1999 <img width="1059" height="1400" width_o="1059" height_o="1400" data-src="https://freight.cargo.site/t/original/i/f7357d1bbfc7f2eb1c63bb27ffb37a3f1b3ae9ee5c694540714e0be9a802d920/THBOTIACDMAR-8.jpg" data-mid="94281697" border="0" alt="Can of Film (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" data-caption="Can of Film (from The Heavenly Bodies, Once Thrown into a Certain Definite Motion, Always Repeat)" src="https://freight.cargo.site/w/1000/i/f7357d1bbfc7f2eb1c63bb27ffb37a3f1b3ae9ee5c694540714e0be9a802d920/THBOTIACDMAR-8.jpg" /> Can of Film 2013, pencil on paper, 100x75cm «George E. Cooper came to New York with his motorcycle, which soon gained him employment as a messenger. Making almost instantaneous deliveries brought him to the attention of Bill Blake, who headed a firm called Sound Transfers – film recording and the like. Blake told the motorcyclist he wanted to start a messenger service relying mainly on bicycles, specializing in work for the film and television industries. Cooper agreed and named the company Can Carriers, referring to cans of film. The first bicycle messenger service in New York started in 1970, and in the early years of its existence it dealt mainly with canisters for the movie industry.» ⌃Top https://kostatonev.com/Tales-from-the-Dustbin-of-History Mon, 26 Apr 2021 11:42:44 +0000 Kosta Tonev https://kostatonev.com/Tales-from-the-Dustbin-of-History <img width="2000" height="851" width_o="2000" height_o="851" data-src="https://freight.cargo.site/t/original/i/0681744784373913722a24c4b39b1689099ec3f2855e4bb7f97754c7e4877e93/TFTDOH-1.jpg" data-mid="184200806" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/0681744784373913722a24c4b39b1689099ec3f2855e4bb7f97754c7e4877e93/TFTDOH-1.jpg" /> The series explores failed utopias, political experiments, and figures who found themselves on the perceived wrong side of history. It reminds of a time, approximately 30 years ago, when history allegedly ended, all antagonisms were resolved and mankind reached the final stage of its ideological evolution. It is within this context that Bill Clinton‘s iconic campaign slogan from 1992, »It‘s the economy, stupid,« came to symbolize the dawn of a new era. His triumphant proclamation reflected the prevailing belief at the time that the free market, with its self-regulating capacity, held a straightforward solution to the troubles of the 20th century. Dolls I 2020, single-channel video installation,* 15 min. »Dolls I« stages a surreal encounter in the afterlife where former political figures such as Mao Zedong and Muammar Gaddafi are brought back to life as mass-produced action figures. The ghosts of a bygone era and their ideologies, declared obsolete in today’s hegemonic mass culture, seem to have become part of the very system they once opposed. &nbsp; &nbsp; In a humorous conversation filled with pop-cultural and historical references, the defeated Cold War actors come to terms, each in his own way, with the current post-historical reality to which »there is no alternative.« *scroll down to watch. <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/19ef469b04eed72aed1ef4c7041d807e10650de53434c72f1ef115d40da60667/dolls_1_taipei-1.jpg" data-mid="183606949" border="0" data-scale="100" alt="Dolls I (installation view at Museum of Contemporary Art, Taipei, 2022)" data-caption="Dolls I (installation view at Museum of Contemporary Art, Taipei, 2022)" src="https://freight.cargo.site/w/1000/i/19ef469b04eed72aed1ef4c7041d807e10650de53434c72f1ef115d40da60667/dolls_1_taipei-1.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0d94d6958d4211f9ac1d571a2214c35fb0f64ee332d71f1efa1c02c0bb3847e8/dolls_1_vienna-1.jpg" data-mid="184163227" border="0" alt="Dolls I (installation view at Bildraum 01, Vienna, 2023)" data-caption="Dolls I (installation view at Bildraum 01, Vienna, 2023)" src="https://freight.cargo.site/w/1000/i/0d94d6958d4211f9ac1d571a2214c35fb0f64ee332d71f1efa1c02c0bb3847e8/dolls_1_vienna-1.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/f3dad35dce866b338ef473fa0a9c29b877d30013e4d083ec0ee55498964267e8/Dolls_filmstill-10.jpg" data-mid="113742111" border="0" alt="Dolls I (video still)" data-caption="Dolls I (video still)" src="https://freight.cargo.site/w/1000/i/f3dad35dce866b338ef473fa0a9c29b877d30013e4d083ec0ee55498964267e8/Dolls_filmstill-10.jpg" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/999a4ddfdb187dd92d7de6fed5922bf565e087303038f70d458d83d7916b05db/Dolls-2.png" data-mid="106588131" border="0" alt="Dolls I (video still)" data-caption="Dolls I (video still)" src="https://freight.cargo.site/w/1000/i/999a4ddfdb187dd92d7de6fed5922bf565e087303038f70d458d83d7916b05db/Dolls-2.png" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/aeb61748c7f8b4d0e5f2982affc3f268fa07699d37e0c8516c325be54eeaf258/Dolls-3.png" data-mid="106588134" border="0" alt="Dolls I (video still)" data-caption="Dolls I (video still)" src="https://freight.cargo.site/w/1000/i/aeb61748c7f8b4d0e5f2982affc3f268fa07699d37e0c8516c325be54eeaf258/Dolls-3.png" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/d5c2dcb69fefcc4736f5bcc246be839c0d5ae496a058cb97951d608701207cb0/Dolls-5.png" data-mid="106588136" border="0" alt="Dolls I (video still)" data-caption="Dolls I (video still)" src="https://freight.cargo.site/w/1000/i/d5c2dcb69fefcc4736f5bcc246be839c0d5ae496a058cb97951d608701207cb0/Dolls-5.png" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/3f98a22b1b6d6a73ff9331025d4ae51c16a11bff3901313adb417ef6f50bc946/Dolls-4.png" data-mid="106588135" border="0" alt="Dolls I (video still)" data-caption="Dolls I (video still)" src="https://freight.cargo.site/w/1000/i/3f98a22b1b6d6a73ff9331025d4ae51c16a11bff3901313adb417ef6f50bc946/Dolls-4.png" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/2bc163d5498218e5f15ca1d24461127805324977a24026e258bf2a9d6473845a/Dolls_filmstill-11.jpg" data-mid="113742113" border="0" alt="Dolls I (video still)" data-caption="Dolls I (video still)" src="https://freight.cargo.site/w/1000/i/2bc163d5498218e5f15ca1d24461127805324977a24026e258bf2a9d6473845a/Dolls_filmstill-11.jpg" /> Dolls II 2022, single-channel video installation,* 17 min. In a tragicomic tale, Joseph Stalin and Ernesto Che Guevara, represented as action figures, cross paths with a Frida Kahlo Barbie doll. The irony of their encounter lies in the realization that plastic is unable to decay, and therefore remains eternal. This forces the mass-produced commodities to accept their powerless state in a world devoid of geography and dedicated power centers. Trapped in this eternal post-historical void, they‘re left to ponder the bitter truth that their grand ideologies have fallen short. *scroll down to watch.&nbsp; <img width="2000" height="1331" width_o="2000" height_o="1331" data-src="https://freight.cargo.site/t/original/i/434815879c861cc4e11f48317523b0d31fb5eedc4d65a5481ca7757ab8ecb12b/dolls_2_taipei-1.jpg" data-mid="183608197" border="0" alt="Dolls II (installation view at Museum of Contemporary Art, Taipei, 2022)" data-caption="Dolls II (installation view at Museum of Contemporary Art, Taipei, 2022)" src="https://freight.cargo.site/w/1000/i/434815879c861cc4e11f48317523b0d31fb5eedc4d65a5481ca7757ab8ecb12b/dolls_2_taipei-1.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/c520a9821a6f95fe41ef5a6dc9b68b239ecd36a94681e7e10851796bf0be9841/dolls_2_stills-1.jpg" data-mid="183608770" border="0" alt="Dolls II (video still)" data-caption="Dolls II (video still)" src="https://freight.cargo.site/w/1000/i/c520a9821a6f95fe41ef5a6dc9b68b239ecd36a94681e7e10851796bf0be9841/dolls_2_stills-1.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/4eb2bbfccdb22a85fa1b21c2b1f355e4cd22ba18454183679ec11f8926ec5335/dolls_2_stills-2.jpg" data-mid="183608771" border="0" alt="Dolls II (video still)" data-caption="Dolls II (video still)" src="https://freight.cargo.site/w/1000/i/4eb2bbfccdb22a85fa1b21c2b1f355e4cd22ba18454183679ec11f8926ec5335/dolls_2_stills-2.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/32c055cf2c0568573f2f28382820d5b8a39c6764f3d02ef1edb75806daf0dfe0/dolls_2_stills-3.jpg" data-mid="183608772" border="0" alt="Dolls II (video still)" data-caption="Dolls II (video still)" src="https://freight.cargo.site/w/1000/i/32c055cf2c0568573f2f28382820d5b8a39c6764f3d02ef1edb75806daf0dfe0/dolls_2_stills-3.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/6404cad7354d1bbe2db55c157d058b36d73f69b807c686886e47d4940df0d8f7/dolls_2_stills-4.jpg" data-mid="183608773" border="0" alt="Dolls II (video still)" data-caption="Dolls II (video still)" src="https://freight.cargo.site/w/1000/i/6404cad7354d1bbe2db55c157d058b36d73f69b807c686886e47d4940df0d8f7/dolls_2_stills-4.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/94a68f5a5b00ba7a81c08aaf774203794979a5f4eb0ff444a2cef932f2b260ec/dolls_2_stills-5.jpg" data-mid="183608774" border="0" alt="Dolls II (video still)" data-caption="Dolls II (video still)" src="https://freight.cargo.site/w/1000/i/94a68f5a5b00ba7a81c08aaf774203794979a5f4eb0ff444a2cef932f2b260ec/dolls_2_stills-5.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/394e8f7da4b81fe659124638abcf2f641d2a2b5da73f5a819b5973f591fa33aa/dolls_2_stills-6.jpg" data-mid="183608775" border="0" alt="Dolls II (video still)" data-caption="Dolls II (video still)" src="https://freight.cargo.site/w/1000/i/394e8f7da4b81fe659124638abcf2f641d2a2b5da73f5a819b5973f591fa33aa/dolls_2_stills-6.jpg" /> It’s the economy, stupid 2023, 70 letterpress prints (ink on paper), each 43x61 cm. The work references Bill Clinton’s 1992 campaign slogan, »It’s the economy, stupid.« The statement reflected the spirit of the ideology that took hold around the world after the Cold War. It promised an elegant and straightforward solution to the problems of the past century, founded on the belief in the democratizing and emancipatory power of the free market‘s self-regulating capacity. &nbsp; &nbsp; The installation consists of 70 letterpress posters displaying anagrams of Clinton‘s slogan. By transforming it into a multitude of accidental jokes, obscene phrases and absurdities, the installation points to the difficulty of finding a universal formula. <img width="2000" height="1337" width_o="2000" height_o="1337" data-src="https://freight.cargo.site/t/original/i/6f78b3e972ee1a17817d422e477b250539c5785850108506765cc5e3d491abca/its_the_economy_stupid-5.jpg" data-mid="184162603" border="0" alt="It&rsquo;s the economy, stupid (installation view at Bildraum 01, Vienna, 2023)" data-caption="It’s the economy, stupid (installation view at Bildraum 01, Vienna, 2023)" src="https://freight.cargo.site/w/1000/i/6f78b3e972ee1a17817d422e477b250539c5785850108506765cc5e3d491abca/its_the_economy_stupid-5.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/88b5515a163f82ac50d59b14b9a02ff12e2a9337822df27022ba28fdf3261195/its_the_economy_stupid-4.jpg" data-mid="184162602" border="0" alt="It&rsquo;s the economy, stupid (detail view) " data-caption="It’s the economy, stupid (detail view) " src="https://freight.cargo.site/w/1000/i/88b5515a163f82ac50d59b14b9a02ff12e2a9337822df27022ba28fdf3261195/its_the_economy_stupid-4.jpg" /> Tales from the Dustbin of History: Footnotes 2023, performance. The performative artist talk "Tales from the Dustbin of History: Footnotes" aims to guide the audience through the references found in the works "Dolls" (2020, 2022) and "It's the economy, stupid" (2023). During the talk, artist Kosta Tonev and curator Aline Lenzhofer engage in a lively conversation, exploring the theoretical and pop-cultural themes present in Tonev's works through a playful game using a deck of trump cards. Each card features a character from the works or someone quoted in them. Throughout the game, these characters are played against each other, sparking discussion and highlighting the deeper themes of the project "Tales from the Dustbin of History." <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b63789dddb4f3580f4ae8246ce3c0eeb50bb8473eb037f6fb99e32705fb3f651/TFTDOH-3.jpg" data-mid="210668548" border="0" src="https://freight.cargo.site/w/1000/i/b63789dddb4f3580f4ae8246ce3c0eeb50bb8473eb037f6fb99e32705fb3f651/TFTDOH-3.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/cfeb59ce18ee2c8a7879892017ebddf1cd2cc879ebfbce6ff1875b8ac382b86a/TFTDOH-4.jpg" data-mid="210663531" border="0" src="https://freight.cargo.site/w/1000/i/cfeb59ce18ee2c8a7879892017ebddf1cd2cc879ebfbce6ff1875b8ac382b86a/TFTDOH-4.jpg" /> Late Night in Sorrento 2020, web-based project. The project is an attempt to reconstruct all major terrorist attacks carried out in Moscow since the collapse of the Soviet Union using the language of modern consumer technologies. A series of selfie videos shot at the sites of the events were edited with video filters and sound effects. The short clips play in sequential order, thus mimicking the appearance of posts on social media. The title comes from the Russian song »Поздний вечер в Сорренто« (»Late Night in Sorrento«) performed by a street musician inside the Moscow metro—a recurrent theme in the video. The project is developed with the support of Web Residencies by Akademie Schloss Solitude &amp; ZKM | Center for Art and Media.&nbsp; Visit project at: latenightinsorrento.schloss-post.com <img width="1500" height="915" width_o="1500" height_o="915" data-src="https://freight.cargo.site/t/original/i/48a42232a52e301b8d3f93245725eca5083e67260a7f928ab16fcd0704172275/website_lnis-3.jpg" data-mid="210668908" border="0" src="https://freight.cargo.site/w/1000/i/48a42232a52e301b8d3f93245725eca5083e67260a7f928ab16fcd0704172275/website_lnis-3.jpg" /> <img width="1500" height="915" width_o="1500" height_o="915" data-src="https://freight.cargo.site/t/original/i/d16964daca1cb61d374374be18cd5d9b929ab517d47257d9e2d168d5f6f99968/website_lnis-1.jpg" data-mid="210668894" border="0" src="https://freight.cargo.site/w/1000/i/d16964daca1cb61d374374be18cd5d9b929ab517d47257d9e2d168d5f6f99968/website_lnis-1.jpg" /> <img width="1500" height="915" width_o="1500" height_o="915" data-src="https://freight.cargo.site/t/original/i/e322ce14705d7843c6842f03228d7762ff075c00bbb7c47478d1f14e9928c14f/website_lnis-5.jpg" data-mid="210668956" border="0" src="https://freight.cargo.site/w/1000/i/e322ce14705d7843c6842f03228d7762ff075c00bbb7c47478d1f14e9928c14f/website_lnis-5.jpg" /> <img width="1500" height="915" width_o="1500" height_o="915" data-src="https://freight.cargo.site/t/original/i/8bae1bc8bc81c4e386a5f8becd6e57d2ba221b52f4a09fe0cb985f30356fd5d0/website_lnis-2.jpg" data-mid="210668977" border="0" src="https://freight.cargo.site/w/1000/i/8bae1bc8bc81c4e386a5f8becd6e57d2ba221b52f4a09fe0cb985f30356fd5d0/website_lnis-2.jpg" /> <img width="1500" height="915" width_o="1500" height_o="915" data-src="https://freight.cargo.site/t/original/i/36148612afea352f91146d4363384d0fab8f23ab933f6f95f054f5081e00a823/website_lnis-4.jpg" data-mid="210668993" border="0" src="https://freight.cargo.site/w/1000/i/36148612afea352f91146d4363384d0fab8f23ab933f6f95f054f5081e00a823/website_lnis-4.jpg" /> <img width="1500" height="915" width_o="1500" height_o="915" data-src="https://freight.cargo.site/t/original/i/154372d7e5dbd57ad1d6fd3035676390ca281edfa733e9cde1042d3259354d99/website_lnis-6.jpg" data-mid="210668995" border="0" src="https://freight.cargo.site/w/1000/i/154372d7e5dbd57ad1d6fd3035676390ca281edfa733e9cde1042d3259354d99/website_lnis-6.jpg" /> ⌃Top https://kostatonev.com/This-Land-is-Your-Land Tue, 09 Feb 2021 09:27:29 +0000 Kosta Tonev https://kostatonev.com/This-Land-is-Your-Land <img width="2000" height="851" width_o="2000" height_o="851" data-src="https://freight.cargo.site/t/original/i/125ec63ff84bac6f8977df8c4584544474185c3784bafa51e92037f26aa2076c/TLIYL_Prague-3.jpg" data-mid="157654755" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/125ec63ff84bac6f8977df8c4584544474185c3784bafa51e92037f26aa2076c/TLIYL_Prague-3.jpg" /> Inspired by the song »This Land Is Your Land,« written and first performed by American folk singer Woody Guthrie, the artist explores different political ideologies regarding property. The project traces the transition to market economy in Bulgaria and the countries of former Eastern Europe thirty years since the start of the political reforms. Looking back on the ruins of the 1990s, it examines the fundamental&nbsp;role of primitive accumulation. 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.«&nbsp; &nbsp; The two seemingly identical texts on both sides of the light box replace the word »land« with its synonyms. <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/1127a3b9aa26a308c3515f967de1f05a2e225ed653ccb3cba5b7f1f0b0815c25/TLIYL-12.jpg" data-mid="113817612" border="0" alt="This Land (installation view at CU29, Plovdiv)" data-caption="This Land (installation view at CU29, Plovdiv)" src="https://freight.cargo.site/w/1000/i/1127a3b9aa26a308c3515f967de1f05a2e225ed653ccb3cba5b7f1f0b0815c25/TLIYL-12.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/5ba8d37180bd6801821a0ca6824b33d84e9b2447099676e82ae14dc9d6bf7e9c/TLIYL-11.jpg" data-mid="113817726" border="0" alt="This Land (installation view at CU29, Plovdiv)" data-caption="This Land (installation view at CU29, Plovdiv)" src="https://freight.cargo.site/w/1000/i/5ba8d37180bd6801821a0ca6824b33d84e9b2447099676e82ae14dc9d6bf7e9c/TLIYL-11.jpg" /> Ruin Is the DestinationToward Which All Men Rush 2019, single-channel video, 8 min 43 sec. In the early 1990s Bulgaria saw a proliferation of small shops and kiosks, as patches of pedestrian space were channelled into private hands. Today, many of these structures have been obliterated by subsequent transfers of ownership. &nbsp; &nbsp; Four mimes 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. &nbsp; &nbsp; The title »Ruin Is the Destination Toward Which All Men Rush« is a quote from the book »Tragedy of the Commons« by biologist Garrett Hardin, which over the past several decades has been used in defence of neoliberal policies aimed at privatizing state-held assets. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/5ff01e842068c87e3cee49f9dbc863877345e7f9cc34ce16444f11caac343034/TLIYL-13.jpg" data-mid="113817613" border="0" alt="Ruin Is the Destination Toward Which All Men Rush (installation view at CU29, Plovdiv)" data-caption="Ruin Is the Destination Toward Which All Men Rush (installation view at CU29, Plovdiv)" src="https://freight.cargo.site/w/1000/i/5ff01e842068c87e3cee49f9dbc863877345e7f9cc34ce16444f11caac343034/TLIYL-13.jpg" /> Ruin Is the DestinationToward Which All Men Rush2019, 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 treadmill 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. <img width="1139" height="1500" width_o="1139" height_o="1500" data-src="https://freight.cargo.site/t/original/i/02920c84f053334ebb41ebf21acce2d418893a8e60ef47f6f7f147b0c008a46c/TLIYL-15.jpg" data-mid="113817615" border="0" alt="Ruin Is the Destination Toward Which All Men Rush (installation view at Display, Prague)" data-caption="Ruin Is the Destination Toward Which All Men Rush (installation view at Display, Prague)" src="https://freight.cargo.site/w/1000/i/02920c84f053334ebb41ebf21acce2d418893a8e60ef47f6f7f147b0c008a46c/TLIYL-15.jpg" /> <img width="1139" height="1500" width_o="1139" height_o="1500" data-src="https://freight.cargo.site/t/original/i/196b574577d958e1ec6c0c5dafe4357cafba872109e51f07cae92c61ae106afe/TLIYL-14.jpg" data-mid="113819310" border="0" alt="Ruin Is the Destination Toward Which All Men Rush (detail view)" data-caption="Ruin Is the Destination Toward Which All Men Rush (detail view)" src="https://freight.cargo.site/w/1000/i/196b574577d958e1ec6c0c5dafe4357cafba872109e51f07cae92c61ae106afe/TLIYL-14.jpg" /> 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. <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/6f8f20344ef02bca8b155a3444882f27c0f4dc6e06be83da6644c3953109d75d/TLIYL-16.jpg" data-mid="113819599" border="0" alt="Untitled (from This Land Is Your Land)" data-caption="Untitled (from This Land Is Your Land)" src="https://freight.cargo.site/w/1000/i/6f8f20344ef02bca8b155a3444882f27c0f4dc6e06be83da6644c3953109d75d/TLIYL-16.jpg" /> ⌃Top https://kostatonev.com/Wilfred-Wyman Wed, 10 Feb 2021 20:03:17 +0000 Kosta Tonev https://kostatonev.com/Wilfred-Wyman <img width="1500" height="638" width_o="1500" height_o="638" data-src="https://freight.cargo.site/t/original/i/4f29b6cdfb18f6b485cc59684fabd2b7232b749e0482bc966e78194a47cd715b/Cover-3.jpg" data-mid="113834112" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/4f29b6cdfb18f6b485cc59684fabd2b7232b749e0482bc966e78194a47cd715b/Cover-3.jpg" /> Wilfred Wyman is an object and sound installation, which constructs and narrates the life story of the fictional, late-Victorian artist Wilfred Wyman (1859-1939). Set against the backdrop of actual, historical events, Wyman’s life witnessed the scientific developments following the breakthroughs of Darwinian biology. Connecting multiple layers of time the character’s viewpoint puts into perspective the decades-long political and biopolitical concern for the human subject to trace its social impact throughout the first half of the 20th century and beyond. Wilfred Wyman 2014-2017, object and sound* installation, duration: 23 min. The work combines a collection of physical objects, both fictional and authentic, with a sound piece, narrated by Andrew Golder with music by Carlo Costa. Follow the link bellow to listen to the audio (duration: 23 min): *scroll down to listen (audio only) <img width="1500" height="1018" width_o="1500" height_o="1018" data-src="https://freight.cargo.site/t/original/i/7324505c00d8c89690f704edc9669dde6773767986faf6572c2d5c34df294365/WW-11.jpg" data-mid="113816903" border="0" alt="Wilfred Wyman (installation view at Corner College, Zurich)" data-caption="Wilfred Wyman (installation view at Corner College, Zurich)" src="https://freight.cargo.site/w/1000/i/7324505c00d8c89690f704edc9669dde6773767986faf6572c2d5c34df294365/WW-11.jpg" /> <img width="1500" height="1061" width_o="1500" height_o="1061" data-src="https://freight.cargo.site/t/original/i/cdd584eafe9c1ea8a1396edfa5d913a608b286057e17b4fbefa1af77de7f7e6a/WW-12.jpg" data-mid="113816904" border="0" alt="Wilfred Wyman (installation view at Kluckyland, Vienna)" data-caption="Wilfred Wyman (installation view at Kluckyland, Vienna)" src="https://freight.cargo.site/w/1000/i/cdd584eafe9c1ea8a1396edfa5d913a608b286057e17b4fbefa1af77de7f7e6a/WW-12.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/72a39ffd9f50ab2d3ac4c9e578d8fdad584b67cade22e92c55c29f5f011b1f6d/WW-15.jpg" data-mid="113816907" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/72a39ffd9f50ab2d3ac4c9e578d8fdad584b67cade22e92c55c29f5f011b1f6d/WW-15.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/dc8be6be76bd75f89cf75764d531490676075a1fba899adf09fa20ce2f3a0a0f/WW-16.jpg" data-mid="113816908" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/dc8be6be76bd75f89cf75764d531490676075a1fba899adf09fa20ce2f3a0a0f/WW-16.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3f1b1dfb6256508a0fdeda319ace2c579a1cc9ea53093851afe42cace11bdd51/WW-19.jpg" data-mid="113816911" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/3f1b1dfb6256508a0fdeda319ace2c579a1cc9ea53093851afe42cace11bdd51/WW-19.jpg" /> <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/6cc0fd7d5eee231d685547db13df816e7c1c8d023fd0051aa245a47948612b13/WW-9.png" data-mid="98494852" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/6cc0fd7d5eee231d685547db13df816e7c1c8d023fd0051aa245a47948612b13/WW-9.png" /> <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/031c2322b87877dac21d78c1f71edc3bcd9782a1bccaa817a45aea081728ac37/WW-10.png" data-mid="98494885" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/031c2322b87877dac21d78c1f71edc3bcd9782a1bccaa817a45aea081728ac37/WW-10.png" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/23b063d44f262e4c2719b11cb4491af050164605d8f27f8cd99c45e093e5176e/WW-14.jpg" data-mid="113816906" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/23b063d44f262e4c2719b11cb4491af050164605d8f27f8cd99c45e093e5176e/WW-14.jpg" /> <img width="999" height="1500" width_o="999" height_o="1500" data-src="https://freight.cargo.site/t/original/i/46ce544ce559cacb045449d82fcc656aabbdb966a2de9e534018a6658ddebb19/WW-17.jpg" data-mid="113816909" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/999/i/46ce544ce559cacb045449d82fcc656aabbdb966a2de9e534018a6658ddebb19/WW-17.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3f1b1dfb6256508a0fdeda319ace2c579a1cc9ea53093851afe42cace11bdd51/WW-19.jpg" data-mid="113816911" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/3f1b1dfb6256508a0fdeda319ace2c579a1cc9ea53093851afe42cace11bdd51/WW-19.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/27ac7f196865b8274c44b07c5de904ec7836023dcb6f9d34a25b1d445532d480/WW-20.jpg" data-mid="113816912" border="0" alt="Wilfred Wyman (detail view)" data-caption="Wilfred Wyman (detail view)" src="https://freight.cargo.site/w/1000/i/27ac7f196865b8274c44b07c5de904ec7836023dcb6f9d34a25b1d445532d480/WW-20.jpg" /> ⌃Top https://kostatonev.com/K Thu, 07 Jan 2021 11:28:15 +0000 Kosta Tonev https://kostatonev.com/K <img width="1500" height="638" width_o="1500" height_o="638" data-src="https://freight.cargo.site/t/original/i/253d69ceeb47fff6bc0776f752aa10b9609c1ba0c163ee8e471ab73bc60c744a/Cover-2.jpg" data-mid="113833888" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/253d69ceeb47fff6bc0776f752aa10b9609c1ba0c163ee8e471ab73bc60c744a/Cover-2.jpg" /> In K. the artist’s body serves as a departure point for a series of playful interventions directed at the institutional gaze. Formed within 19th-century criminology, the concept of the individual is a product of the system, which today organizes individual existence. The resulting documents present a reductive take on the subject, and despite their seeming exactitude, accommodate a multitude of loopholes and areas of fuzziness. With this in mind, the artist appropriates the techniques of intelligibility and their attributes of identity as instruments of artistic production. The project’s title bears reference to Franz Kafka’s character Josef K. whose opposition to the Law makes him an unwitting participant in his disciplinary subjection. Costa 2007–2008, installation: video*, 7 min;photograph, 28x21 cm;wall drawing: acrylic on latex paint, 105x270 cm. Kosta does not only exist as a given name; spelled with a C it could often be found as a name of various brands typically related to the tourist industry. Both varieties however do not share the same origin and significance— one of them represents a nickname descending from the name Constantine, while the other one refers to the Spanish or Italian words for »coast.« The work documents the process of modifying the Roman spelling of the artist’s name (transliterated from the Cyrillic »Коста«) into »Costa.« <img width="1500" height="976" width_o="1500" height_o="976" data-src="https://freight.cargo.site/t/original/i/9aa2532a2252f3b5be50b1a15a0ec65fba09c3e11a9b20d2763cde32e1ecbb0d/K-1.jpg" data-mid="113813355" border="0" alt="Costa (installation view at Academy of Fine Arts, Vienna)" data-caption="Costa (installation view at Academy of Fine Arts, Vienna)" src="https://freight.cargo.site/w/1000/i/9aa2532a2252f3b5be50b1a15a0ec65fba09c3e11a9b20d2763cde32e1ecbb0d/K-1.jpg" /> Headshot 2012, 3 photographs, each:150x100 cm; 5x5 cm; 30x24 cm. This piece was initially developed for an exhibition in the United States. To be present at the opening the artist was required to obtain a US visa. The project relates to this process. The artist was photographed standing in front of a white photo background and holding a mirror in his hand. The photograph was subsequently cropped, and reduced to the surface of the mirror. In this form it was reproduced in his visa. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/979ea61a059836ab3e593ae9d47888f966664cffe1db68b79c5eeb50d537f4c0/K-2.jpg" data-mid="113813356" border="0" alt="Headshot (installation view at Pistolet Gallery, Sofia)" data-caption="Headshot (installation view at Pistolet Gallery, Sofia)" src="https://freight.cargo.site/w/1000/i/979ea61a059836ab3e593ae9d47888f966664cffe1db68b79c5eeb50d537f4c0/K-2.jpg" /> Midpoint 2013–2015,2 photographs, each 17x26 cm;height chart (print on paper), 110x250 cm;sculpture (silicone, textile, glass, human hair), 175x48x26 cm. The starting point for this work is an official ID card, which falsely states that the artist is 175 cm tall, i.e. the Bulgarian males’ average height. On the basis of this data he produced a realistic sculptural depiction that possesses the respective biometric features. As a result, the sculpture looks like him in every aspect, with the exception of height, which corresponds to the data featured in the ID document. <img width="2020" height="1347" width_o="2020" height_o="1347" data-src="https://freight.cargo.site/t/original/i/d2d9a092050f37fd067994ff870e1c362d5366bf479512c4c9f360eb2ef96eac/K3_w.jpg" data-mid="94262431" border="0" alt="Midpoint (installation view at Pistolet Gallery, Sofia)" data-caption="Midpoint (installation view at Pistolet Gallery, Sofia)" src="https://freight.cargo.site/w/1000/i/d2d9a092050f37fd067994ff870e1c362d5366bf479512c4c9f360eb2ef96eac/K3_w.jpg" /> <img width="1347" height="2020" width_o="1347" height_o="2020" data-src="https://freight.cargo.site/t/original/i/d404011c8feeea8d2b632d8549ea4f078ff43707b1b669546cdccb8f4a12fb97/K4_w.jpg" data-mid="94262432" border="0" alt="Midpoint (detail view)" data-caption="Midpoint (detail view)" src="https://freight.cargo.site/w/1000/i/d404011c8feeea8d2b632d8549ea4f078ff43707b1b669546cdccb8f4a12fb97/K4_w.jpg" /> <img width="1346" height="2020" width_o="1346" height_o="2020" data-src="https://freight.cargo.site/t/original/i/e26ebd0396c38752f9543ab261a37db2a90ac4e052f83e3baa7cff8eb2061c2a/K5_w.jpg" data-mid="94262433" border="0" alt="Midpoint (detail view)" data-caption="Midpoint (detail view)" src="https://freight.cargo.site/w/1000/i/e26ebd0396c38752f9543ab261a37db2a90ac4e052f83e3baa7cff8eb2061c2a/K5_w.jpg" /> <img width="1346" height="2020" width_o="1346" height_o="2020" data-src="https://freight.cargo.site/t/original/i/f04c25014b447dd493bd8ea6fe51a1704fe63d675b0954bb87308c400f9972bc/K6_w.jpg" data-mid="94262434" border="0" alt="Midpoint (detail view)" data-caption="Midpoint (detail view)" src="https://freight.cargo.site/w/1000/i/f04c25014b447dd493bd8ea6fe51a1704fe63d675b0954bb87308c400f9972bc/K6_w.jpg" /> ⌃Top