You Should Come Again
In the “You Should Come Again” project, Stanimir Genov, known mostly for his paintings, challenges himself and the viewers with an experiment. On the one hand, he “paints” on a computer using only a code, completely excluding the motor habits of the hand. The way the image is presented is also changing. On the other hand, the viewer receives part of the picture and has to read it himself. This is done by moving and expanding his field of view, as each image has dimensions that exceed the screen size of the device by which it is viewed.
The picture is presented and created in the form of a website that is both media and exhibition space. In this way, the painting is not revealed through reproduction on the Internet, but uses the language of this platform to generate visual content.
“The most curious part of the project for me is hiding in the process. The physical body of painting is decomposed in the code rows. The instruments and the algorithm through which image crystallizes imply a completely different mental approach. I recognize it as being close to the way I associate the images with the stories they tell, at least as a sort of encoding and romanticizing the image of an event. They are the content that remains hidden behind the images and the titles.” St. Genov.
The transition from one image to another takes place by means of hidden links. Thus, the process of viewing the work develops over time, as well as in the space of the browser window, which is the viewer’s perspective. Its conditions add extra life to images. Different browsers read the code used to create the visible part of a website differently. This, together with the indirect process of “creation” of images, provides a bailiwick for happy coincidences and maintains the vitality of the process.
You can see the artwork HERE.
Stanimir Genov is an artist focused on his personal experiences, which – in his own words – he wants to relive through the painting process rather than describe. This “repetition” of experience enables him to disrupt the familiar course of things and enter new territories. It is this process of letting go of accumulated thoughts and emotions that turn into other thoughts and emotions that is the basis of Stanimir Genov’s amusing “play” with the matter of painting.
In the current exhibition “There are much nicer planets in the universe than Earth”, prepared in the period 2021-2022 especially for Structura Gallery, he again focuses on a particular theme that preoccupies him – the increasingly frequent speculation about life on other planets as a possible escape from our failed mission on Earth.
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Plain / 2019
Stanimir Genov’s new exhibition, especially created for Contemporary Space, is entitled Plain. The exhibition consists of five canvases, which embody the material expression of the works, at the same time they are 5 squared, minus 5 x 2 = 15 compositional variations. The modular system of the plane is recreated in perfect decorative forms, which, however, vibrate under the tension of their inner intersected or unreached color denouement. It was left under the stencil, erased or unpainted, invisible anyway. The situation, in which Genov sets things in his characteristic style, is tense as an emotion and powerful as a phenomenon that opens up references to several current problems in art that are mutually derivative as before. Functions of his diverse experience not only in art.
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Some thoughts doesn’t move / 2018
In the space of Cu29 you will be able to see seven canvases, a wall and to lean your head оn а picture over a sofa.
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Bouquet / 2018
Stanimir Genov works mostly with painting but he simultaneously experiments vastly with various media, materials and techniques. In his paintings, frames sometimes transform into details of the work of art itself. Or the paintings are connected as parts of an installation. He developed this project using oil paints, watercolours and colour chalk, as well as employing different techniques of building abstract images and applying paint. He also chooses carefully the titles of his works and thus they are given an important role as part of the work of art. The title “Bouquet” is expressive of the artist’s wish to use the word both literally and figuratively, and to expand its possible interpretations.
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It’s gone / 2013
“It’s Gone” is an interactive animation. The represented situation is a memory of a deer in the mountain. A video of a slightly moving deer in a fog loops till there is no presence in the space where the video is screened. The video loop is controlled by a PIR sensor. If the PIR sensor detects a moving person/ object in the space, the deer calmly leaves and hides in the fog and the mountain.
The deer is not afraid, it is not running for its life. It just concedes the mountain for you.
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Innocent / 2012
2012, 386 holes drilled in 20 days , impact drill , Sofia, block of flats #711
Innocent is a work in which the “self excusing man” from my previous piece “Excuse me”, 2008, acquires a new evolutionary form – “the guilty person”. The guilty one runs through the dark and comes into sight to generate guilt, and to reveal the essence of part of our pathological relations in society. He materializes and “rationalizes” his existence in a vicious circle of action and regret. In a manner racking both to him and to the others around, he writes on the wall with an impact drill the word “(I’M) SORRY”.
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Avalanche / 2016
The exhibition by Stanimir Genov presented at Contemporary Space, Varna is entitled “Avalanche”, something that is not typical for the region. The paintings exhibited in this “show” invoke another avalanche – a dense, total, at times psychedelic, colorful territory – neither a landscape, nor an abstract composition. Undefined inner state, which finds its visual expression in avalanche of forms, pre-images, almost-figures, quasi-spaces, half-gestures, etc.
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Exhibition / 2015
The Exhibition, created especially for the leading Bulgarian gallery in showing ainting. It features three series of works, Outside, I Want You in My Place and Other.
As a “universal artistic model”, it offers an extensive view of the artist’s internal landscape. The works, as in previous projects by Genov, lead a classical technique of high art use to the borderline territory of aesthetic excess. Without leaving, just the contrary, emphasizing the fineness as characterizing art, the author offers a new hierarchy in the traditional realia, coming from the cataclysms of contemporary society.
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Paintings / 2012
„PAINTINGS“ The story that always unfolds around oeuvres of painting, the so called „paintings” has always been limited or rather restrained to the use of language. Whenever it has succeeded to escape from the descriptiveness of imagery, at the intersection with art, a piece degrades to a semantic phrase the moment it faces the viewer-interpreter. The problem of language, however, is that it is incapable of reaching directly those layers of the human psyche, that are accessible through the use of metaphor, myth, allegory and other trespassing-further forms. Here, the poetics of the anthropomorphic shapes of these flesh-thick creatures, organs and members are tied up in compositionally impossible knots. Stanimir Genov attacks the layers of the psyche literally with thick paint, untouchable by other means. On them, he uses the conventional canvas as a hellish representational screen where the signs of struggle are left, exposing or illuminating numbers of pathological silhouettes hiding in the white. These are silhouettes of autonomous organs „organically” clenched into each other. A knot that can describe or refer, but moreover acts pre (and post) verbally, outside the realm of language, beyond and beside the system. So, around the so called „paintings” a story develops and begins unfolding. A story about the system and its inconsistence, of the horribly defective life forms stacked within it. The story goes on about a hellish congregation of autonomous organs, but should not continue in order to preserve the „painting”.
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