Formada como pintora, a finales de la década de 1990 Dimitrina Sevova surgió en el seno de una nueva generación de artistas conceptuales búlgaros que trabajaban con nuevos medios, vídeo e instalaciones y exponían a escala local e internacional. Tras unos años dedicados en gran parte al comisariado independiente y a la organización de exposiciones, recuperó su estudio artístico, centrándose principalmente en la escultura y la instalación.
Dimitrina Sevova experimenta con las distintas fases de la arcilla y la fragilidad del material, desde objetos y vasijas de cerámica o porcelana moldeados o construidos a mano hasta esculturas y entornos de pinturas murales efímeras de arcilla sin cocer. Como en la alquimia, el trabajo con este material necesita una afinidad mutua entre el artista y el material. Su obra se exhibe a menudo en instalaciones específicas para un lugar y orientadas a un contexto, empleando diversos medios adicionales, desde objetos encontrados, dibujos, fotografía o vídeo, hasta el espacio y el tiempo informados por el juego y reflejando las disposiciones tecnológicas actuales. La investigación es un método y una forma de hacer, que se inspira en el realismo científico con su realidad objetiva, que Sevova desplaza mediante la imaginación a estados ambiguos, performativos y subjetivos de los objetos. Sus obras navegan entre dos sistemas, por un lado, los modelos representacionales y su ficción, y por otro, las cualidades abstractas, inmateriales y performativas de la propia realidad. Entre lo micro y lo macro, una misteriosa manifestación de magia natural y tecnológica en la oscuridad subraya ecologías poéticas y lodos terrenales.
El lema de sus prácticas es: deskill craft, re-skill art to reconnect thinking with making.
Pigmented porcelain objects, Bodmer C40 slip cast in matrix made by the artist, unglazed, fired at 1230 °C; platform treated with raw clay slip and ceramic pigments added by the artist to the slip; the tree is a found object, dried, painted with raw stoneware slip of dehydrated clay, smashed, with painting pigments. Dimensions variable
Detail view. Pigmented porcelain objects, Bodmer C40 slip cast in matrix made by the artist, unglazed, fired at 1230 °C; platform treated with raw clay slip and ceramic pigments added by the artist to the slip; the tree is a found object, dried, painted with raw stoneware slip of dehydrated clay, smashed, with painting pigments. Dimensions variable
Pigmented porcelain objects, Bodmer C40 slip cast in matrix made by the artist, unglazed, fired at 1230 °C; platform treated with raw clay slip and ceramic pigments added by the artist to the slip; the tree is a found object, dried, painted with raw stoneware slip of dehydrated clay, smashed, with painting pigments. Dimensions variable
Birds and trees
2022
Ceramic, stoneware Bodmer B128CH, glazed, fired, process-based, hand-built unique piece. Approx. 45 cm × 50 cm × 4 cm
Ceramic, stoneware Bodmer B128CH, glazed, fired, process-based, hand-built unique piece. Approx. 45 cm × 50 cm × 4 cm
Maps I
2023
Ceramic, stoneware Bodmer B128CH, glazed, fired, process-based, hand-built unique piece. Approx. 45 cm × 50 cm × 4 cm
Ceramic, stoneware Bodmer B128CH, glazed, fired, process-based, hand-built unique piece. Approx. 45 cm × 50 cm × 4 cm
Hand-built of Bodmer GRX10 clay, engobe drawing, fired
Birdman, 2022
Hand-built of Bodmer GRX10 clay, engobe drawing, fired
Map II
2023
Human-Bird Head
2022
Porcelain, cast and hand-built elements with found objects attached (corals), glazed, fired to 1250 °C, partially treated with epoxy over the glaze. Set on a temporal body built of Terra 502 unfired clay, hand-built in the space
Porcelain, cast and hand-built elements with found objects attached (corals), glazed, fired to 1250 °C, partially treated with epoxy over the glaze. Set on a temporal body built of Terra 502 unfired clay, hand-built in the space
Speechless Act
2022
Ceramic, stoneware, glazed, fired, hand-built unique piece Truth is not good Truth is not abstract Truth is human Truth = Woman The philosopher desires the woman The woman is the sphinx
Ceramic, stoneware, glazed, fired, hand-built unique piece Truth is not good Truth is not abstract Truth is human Truth = Woman The philosopher desires the woman The woman is the sphinx
Nietzsche’s Truth
2023
Ming porcelain, cast, with hand-built elements, drawn with glazing pencil after bisque firing, overall transparent glaze, fired to 1220 °C, unique piece
Ming porcelain, cast, with hand-built elements, drawn with glazing pencil after bisque firing, overall transparent glaze, fired to 1220 °C, unique piece
Memento Mori
2022
Ceramic, stoneware and Ming porcelain, fired, hand-built unique piece
Ceramic, stoneware and Ming porcelain, fired, hand-built unique piece
Snake in the Garden
20232023
In the genealogy of Louise Charcoal and pigment drawing on 300g Arche paper, 76 cm × 56 cm
In the genealogy of Louise Charcoal and pigment drawing on 300g Arche paper, 76 cm × 56 cm
Every woman has her own spider(s)
2023
Charcoal and pigment drawing on 350 g Dorée paper, approx. 145 cm × 124 cm
Charcoal and pigment drawing on 350 g Dorée paper, approx. 145 cm × 124 cm
Charcoal and pigment drawing on 350 g Dorée paper, approx. 145 cm × 124 cm
Charcoal and pigment drawing on 350 g Dorée paper, approx. 145 cm × 124 cm
Forest at dusk (Investigation of Urpflanze)
2023
Other drawings and paintings
2023
Further works to be added
202x
Publicaciones
ImAtelier.ch, Dimitrina Sevova, 2023. Interview with Dimitrina Sevova.
Chris Regn and Ursula Scherrer for BANG BANG, Oral History –
Live Interviews with Performance Art Actors: Dimitrina Sevova, Museum
Tinguely, Basel, Switzerland, 30.06.2022
Rene Beekman, Net Art in Bulgaria. The first decade, OpenArtFiles, 2021
Book of Events 2019, Plovdiv 2019 – European Capital of Culture
(Plovdiv: Plovdiv 2019 Foundation, 2019).
Ivana Sremčević Matijević, 20 years of VideoMedeja, documentary film, 2019.
Krassimir Terziev, (Self-)Tracking Shot. Film and Video in the Visual Arts in Bulgaria, 2019.
Lina Morawetz (ed.), Kunsthalle Exnergasse 2012, Kunsthalle Exnergasse, 2013.
Text by Dimitrina Sevova, and documentation of her curatorial group show and
public theoretical symposium Reality Manifestos – Can Reality Break Bricks?
Sonja Eismann (ed.), Hot Topic. Popfeminismus heute, Ventil Verlag, 2007
Allan Siegel, Curatorship, Culture and the Public: Curatorial Practice in the
Post-Soviet Age, Part I & II. In: ARTMargins (Contemporary Central & East European
Visual Culture), 2007-01-17 & 2007-05-08. Interview with Dimitrina Sevova.
Svilen Stefanov, Transformations in Bulgarian Painting in the 1990s. Postmodern
Doubt in the “Traditional Matter”?, in Albena Vacheva, Georgi Chobanov (eds.),
Culture and Criticism. Part III: The End of Modernity? (Varna: LiterNet, 2003) (in Bulgarian)
Nina Czegledy, Chris Hill and Iliyana Nedkova, Crossing Over (Liverpool: Foundation
for Art & Creative Technology, 2001).
Iara Boubnova and Luchezar Boyadjiev, The State of Video Art in Bulgaria, ArtMargins
(Contemporary art across the evolving global peripheries), 2000-09-26.
Iliyana Nedkova, Catherine Williams, Mare Tralla, Virtual Revolutions: Act and Read,
1998-2000 (Liverpool: Audio-Visual Research Editions, 2000).
Maria Vassileva, catalog of the exhibition Obsession, Central Mineral Baths, Sofia,
Bulgaria, curated by Maria Vassileva, idea Alla Georgieva (2000).
Maria Vassileva, Iara Boubnova, catalog of the exhibition Erato’s Version, Gallery
Shipka 6, Sofia, Bulgaria (Sofia: Institute of Contemporary Art, 1998) (in Bulgarian)
Publicaciones
ImAtelier.ch, Dimitrina Sevova, 2023. Interview with Dimitrina Sevova.
Chris Regn and Ursula Scherrer for BANG BANG, Oral History –
Live Interviews with Performance Art Actors: Dimitrina Sevova, Museum
Tinguely, Basel, Switzerland, 30.06.2022
Rene Beekman, Net Art in Bulgaria. The first decade, OpenArtFiles, 2021
Book of Events 2019, Plovdiv 2019 – European Capital of Culture
(Plovdiv: Plovdiv 2019 Foundation, 2019).
Ivana Sremčević Matijević, 20 years of VideoMedeja, documentary film, 2019.
Krassimir Terziev, (Self-)Tracking Shot. Film and Video in the Visual Arts in Bulgaria, 2019.
Lina Morawetz (ed.), Kunsthalle Exnergasse 2012, Kunsthalle Exnergasse, 2013.
Text by Dimitrina Sevova, and documentation of her curatorial group show and
public theoretical symposium Reality Manifestos – Can Reality Break Bricks?
Sonja Eismann (ed.), Hot Topic. Popfeminismus heute, Ventil Verlag, 2007
Allan Siegel, Curatorship, Culture and the Public: Curatorial Practice in the
Post-Soviet Age, Part I & II. In: ARTMargins (Contemporary Central & East European
Visual Culture), 2007-01-17 & 2007-05-08. Interview with Dimitrina Sevova.
Svilen Stefanov, Transformations in Bulgarian Painting in the 1990s. Postmodern
Doubt in the “Traditional Matter”?, in Albena Vacheva, Georgi Chobanov (eds.),
Culture and Criticism. Part III: The End of Modernity? (Varna: LiterNet, 2003) (in Bulgarian)
Nina Czegledy, Chris Hill and Iliyana Nedkova, Crossing Over (Liverpool: Foundation
for Art & Creative Technology, 2001).
Iara Boubnova and Luchezar Boyadjiev, The State of Video Art in Bulgaria, ArtMargins
(Contemporary art across the evolving global peripheries), 2000-09-26.
Iliyana Nedkova, Catherine Williams, Mare Tralla, Virtual Revolutions: Act and Read,
1998-2000 (Liverpool: Audio-Visual Research Editions, 2000).
Maria Vassileva, catalog of the exhibition Obsession, Central Mineral Baths, Sofia,
Bulgaria, curated by Maria Vassileva, idea Alla Georgieva (2000).
Maria Vassileva, Iara Boubnova, catalog of the exhibition Erato’s Version, Gallery
Shipka 6, Sofia, Bulgaria (Sofia: Institute of Contemporary Art, 1998) (in Bulgarian)
Publicaciones
ImAtelier.ch, Dimitrina Sevova, 2023. Interview with Dimitrina Sevova.
Chris Regn and Ursula Scherrer for BANG BANG, Oral History –
Live Interviews with Performance Art Actors: Dimitrina Sevova, Museum
Tinguely, Basel, Switzerland, 30.06.2022
Rene Beekman, Net Art in Bulgaria. The first decade, OpenArtFiles, 2021
Book of Events 2019, Plovdiv 2019 – European Capital of Culture
(Plovdiv: Plovdiv 2019 Foundation, 2019).
Ivana Sremčević Matijević, 20 years of VideoMedeja, documentary film, 2019.
Krassimir Terziev, (Self-)Tracking Shot. Film and Video in the Visual Arts in Bulgaria, 2019.
Lina Morawetz (ed.), Kunsthalle Exnergasse 2012, Kunsthalle Exnergasse, 2013.
Text by Dimitrina Sevova, and documentation of her curatorial group show and
public theoretical symposium Reality Manifestos – Can Reality Break Bricks?
Sonja Eismann (ed.), Hot Topic. Popfeminismus heute, Ventil Verlag, 2007
Allan Siegel, Curatorship, Culture and the Public: Curatorial Practice in the
Post-Soviet Age, Part I & II. In: ARTMargins (Contemporary Central & East European
Visual Culture), 2007-01-17 & 2007-05-08. Interview with Dimitrina Sevova.
Svilen Stefanov, Transformations in Bulgarian Painting in the 1990s. Postmodern
Doubt in the “Traditional Matter”?, in Albena Vacheva, Georgi Chobanov (eds.),
Culture and Criticism. Part III: The End of Modernity? (Varna: LiterNet, 2003) (in Bulgarian)
Nina Czegledy, Chris Hill and Iliyana Nedkova, Crossing Over (Liverpool: Foundation
for Art & Creative Technology, 2001).
Iara Boubnova and Luchezar Boyadjiev, The State of Video Art in Bulgaria, ArtMargins
(Contemporary art across the evolving global peripheries), 2000-09-26.
Iliyana Nedkova, Catherine Williams, Mare Tralla, Virtual Revolutions: Act and Read,
1998-2000 (Liverpool: Audio-Visual Research Editions, 2000).
Maria Vassileva, catalog of the exhibition Obsession, Central Mineral Baths, Sofia,
Bulgaria, curated by Maria Vassileva, idea Alla Georgieva (2000).
Maria Vassileva, Iara Boubnova, catalog of the exhibition Erato’s Version, Gallery
Shipka 6, Sofia, Bulgaria (Sofia: Institute of Contemporary Art, 1998) (in Bulgarian)
Public Lectures, Screenings and Presentations
2022 Oral History – Live Interviews with Performance Art Actors, curated by
Chris Regn and Dorothea Rust as part of BANG BANG – translocal hi:
stories of performance art, Museum Tinguely, Basel, Switzerland, public
interview with Dimitrina Sevova by Chris Regn and Ursula Scherrer, 30.06.2022.
2018 Public lecture Spacing Love – Decolonising Eros: The Politics of Love,
Loss and Mourning of the Plural Performative, Tensta konsthall, Stockholm,
Sweden, and CuratorLab, Konstfack, Stockholm.
2012 Sinopale 4 (Sinop Biennale), Sinop, Turkey, public screening Production
and Subversion of Subjectivity: Questions of Authenticity, Authority and
Multiplicity, and public lecture Shadow and solar individual – multiple subjectivities,
and the question of visibility in the movies of Maya Deren, Eleonor Antin,
Yvonne Rainer and Kara Walker.
2011 Seminar Artist Selfmanagement organized by Julia Sheppard and Nicole
Biermaier in the Master of Fine Arts, Zurich University of the Arts, Zurich,
Switzerland; public lecture and workshop Self-organization and self-responsibility in art
– Collaborative strategies for visibility of independent positions in creative long-term processes.
2010 art + argument, Claudia Groeflin Galerie, Zurich, Switzerland, curated by
Aoife Rosenmeyer: (When it comes to art,) we are still painting on the walls of
caves. With Giovanni Carmine, Fabian Chiquet, Morgan Falconer and Dimitrina Sevova.
2009 This Human World human-rights film festival, Schikaneder cinema, Vienna,
Austria; public screening of Unbeschreiblich weiblich with presentation by the
artist as part of the official program of the festival.
2008 lost&found – Von Verlusten und Strategien der kulturellen Selbstermächtigung,
Lothringer 13 Laden in Munich, Germany, curated by Alice Cantaluppi,
Isabel Reiss and Anna Voswinckel; public screening of Unbeschreiblich
weiblich and presentation by the artist.
2007 11 VideoMedeja, Novi Sad, Serbia; public screening of Unbeschreiblich
weiblich as part of the official program of the festival.
2006 International symposium Art – Place – Technology, Liverpool School of Art
and Design / FACT, Liverpool, United Kingdom; lecture-performance Identifications
of curatorial practices in media space. The figure of the successful media curator in
the first decade of the 21st century, with code flow (Dimitrina Sevova and Alan Kessi).
2001 International symposium Never look back – Politics of Friendship, Shedhalle
in Zurich, curated by Renate Lorenz, Marion von Osten and Elke aus dem Moore;
public lecture Women’s exhibitions – alternative models in Bulgaria.
Conference “Understanding the Balkans” in Skopje, Macedonia, curated
by Melentie Pandilovski; public lecture Fragmented and Deterritorialized
– The Balkan Patient or the Balkan Client, in collaboration with Alain Kessi.
2000 Computer Space 2000, National Palace of Culture, Sofia, Bulgaria; public lecture Virtual Identity.
Bibliografía
ImAtelier.ch, Dimitrina Sevova, 2023. Interview with Dimitrina Sevova.
Chris Regn and Ursula Scherrer for BANG BANG, Oral History –
Live Interviews with Performance Art Actors: Dimitrina Sevova, Museum
Tinguely, Basel, Switzerland, 30.06.2022
Rene Beekman, Net Art in Bulgaria. The first decade, OpenArtFiles, 2021
Book of Events 2019, Plovdiv 2019 – European Capital of Culture
(Plovdiv: Plovdiv 2019 Foundation, 2019).
Ivana Sremčević Matijević, 20 years of VideoMedeja, documentary film, 2019.
Krassimir Terziev, (Self-)Tracking Shot. Film and Video in the Visual Arts in Bulgaria, 2019.
Lina Morawetz (ed.), Kunsthalle Exnergasse 2012, Kunsthalle Exnergasse, 2013.
Text by Dimitrina Sevova, and documentation of her curatorial group show and
public theoretical symposium Reality Manifestos – Can Reality Break Bricks?
Sonja Eismann (ed.), Hot Topic. Popfeminismus heute, Ventil Verlag, 2007
Allan Siegel, Curatorship, Culture and the Public: Curatorial Practice in the
Post-Soviet Age, Part I & II. In: ARTMargins (Contemporary Central & East European
Visual Culture), 2007-01-17 & 2007-05-08. Interview with Dimitrina Sevova.
Svilen Stefanov, Transformations in Bulgarian Painting in the 1990s. Postmodern
Doubt in the “Traditional Matter”?, in Albena Vacheva, Georgi Chobanov (eds.),
Culture and Criticism. Part III: The End of Modernity? (Varna: LiterNet, 2003) (in Bulgarian)
Nina Czegledy, Chris Hill and Iliyana Nedkova, Crossing Over (Liverpool: Foundation
for Art & Creative Technology, 2001).
Iara Boubnova and Luchezar Boyadjiev, The State of Video Art in Bulgaria, ArtMargins
(Contemporary art across the evolving global peripheries), 2000-09-26.
Iliyana Nedkova, Catherine Williams, Mare Tralla, Virtual Revolutions: Act and Read,
1998-2000 (Liverpool: Audio-Visual Research Editions, 2000).
Maria Vassileva, catalog of the exhibition Obsession, Central Mineral Baths, Sofia,
Bulgaria, curated by Maria Vassileva, idea Alla Georgieva (2000).
Maria Vassileva, Iara Boubnova, catalog of the exhibition Erato’s Version, Gallery
Shipka 6, Sofia, Bulgaria (Sofia: Institute of Contemporary Art, 1998) (in Bulgarian)
Publicaciones
ImAtelier.ch, Dimitrina Sevova, 2023. Interview with Dimitrina Sevova.
Chris Regn and Ursula Scherrer for BANG BANG, Oral History –
Live Interviews with Performance Art Actors: Dimitrina Sevova, Museum
Tinguely, Basel, Switzerland, 30.06.2022
Rene Beekman, Net Art in Bulgaria. The first decade, OpenArtFiles, 2021
Book of Events 2019, Plovdiv 2019 – European Capital of Culture
(Plovdiv: Plovdiv 2019 Foundation, 2019).
Ivana Sremčević Matijević, 20 years of VideoMedeja, documentary film, 2019.
Krassimir Terziev, (Self-)Tracking Shot. Film and Video in the Visual Arts in Bulgaria, 2019.
Lina Morawetz (ed.), Kunsthalle Exnergasse 2012, Kunsthalle Exnergasse, 2013.
Text by Dimitrina Sevova, and documentation of her curatorial group show and
public theoretical symposium Reality Manifestos – Can Reality Break Bricks?
Sonja Eismann (ed.), Hot Topic. Popfeminismus heute, Ventil Verlag, 2007
Allan Siegel, Curatorship, Culture and the Public: Curatorial Practice in the
Post-Soviet Age, Part I & II. In: ARTMargins (Contemporary Central & East European
Visual Culture), 2007-01-17 & 2007-05-08. Interview with Dimitrina Sevova.
Svilen Stefanov, Transformations in Bulgarian Painting in the 1990s. Postmodern
Doubt in the “Traditional Matter”?, in Albena Vacheva, Georgi Chobanov (eds.),
Culture and Criticism. Part III: The End of Modernity? (Varna: LiterNet, 2003) (in Bulgarian)
Nina Czegledy, Chris Hill and Iliyana Nedkova, Crossing Over (Liverpool: Foundation
for Art & Creative Technology, 2001).
Iara Boubnova and Luchezar Boyadjiev, The State of Video Art in Bulgaria, ArtMargins
(Contemporary art across the evolving global peripheries), 2000-09-26.
Iliyana Nedkova, Catherine Williams, Mare Tralla, Virtual Revolutions: Act and Read,
1998-2000 (Liverpool: Audio-Visual Research Editions, 2000).
Maria Vassileva, catalog of the exhibition Obsession, Central Mineral Baths, Sofia,
Bulgaria, curated by Maria Vassileva, idea Alla Georgieva (2000).
Maria Vassileva, Iara Boubnova, catalog of the exhibition Erato’s Version, Gallery
Shipka 6, Sofia, Bulgaria (Sofia: Institute of Contemporary Art, 1998) (in Bulgarian)
Premios y Becas
2021 One-year studio scholarship / residency, Kasernenareal Uster,
Akku Uster, with personal exhibition (2022)
2020 One-year studio scholarship, Mediacampus, Zurich, What’s
Next Studio / Z-Kubator ZHdK
1999 Grant for CD-ROM production “Adam & Eva” from SOKI
Students’ Society for Computer Art, Sofia, Bulgaria
1998 Grand Prix – 2nd International Triennial of Graphic Arts, Sofia,
Bulgaria (the award includes a personal exhibition in the frame
of the next edition of the Triennial)
1996 Drawing Award for Young Artist of the Union of Bulgarian Artists
1st Prize for Painting – 100 Years of the National Academy of Fine Arts, Sofia, Bulgaria
1994 1st Prize for Drawing of the Union of Bulgarian Artists in the competition
exhibition “Drawing” in memory of the artist Vasil Stoilov, Gallery Shipka 6, Sofia, Bulgaria
Premios y Becas
2021 One-year studio scholarship / residency, Kasernenareal Uster,
Akku Uster, with personal exhibition (2022)
2020 One-year studio scholarship, Mediacampus, Zurich, What’s
Next Studio / Z-Kubator ZHdK
1999 Grant for CD-ROM production “Adam & Eva” from SOKI
Students’ Society for Computer Art, Sofia, Bulgaria
1998 Grand Prix – 2nd International Triennial of Graphic Arts, Sofia,
Bulgaria (the award includes a personal exhibition in the frame
of the next edition of the Triennial)
1996 Drawing Award for Young Artist of the Union of Bulgarian Artists
1st Prize for Painting – 100 Years of the National Academy of Fine Arts, Sofia, Bulgaria
1994 1st Prize for Drawing of the Union of Bulgarian Artists in the competition
exhibition “Drawing” in memory of the artist Vasil Stoilov, Gallery Shipka 6, Sofia, Bulgaria