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Nadezhda Oleg Lyahova | PRESERVATION
Vera Nedkova House Museum
‘In the Home of Vera Nedkova’, the programme launched in 2019, continues to present contemporary artists in an atmosphere filled with a myriad memories and marked by the artist’s intellectual and creative presence. Nadezhda Oleg Lyahova’s exhibition re-evaluates the significance and meaning of the times and memory of events and facts, refracted through the artist’s distinctive lens. Nadezhda Oleg Lyahova conveys the memory and emotion of ‘Obsession’, an exhibition by ‘The 8th March’ group shown back in 1999 at the Sofia Central Mineral Baths, when the building was dilapidated, abandoned to the vagaries of time, with its fate still unclear. Through the installations, ‘Obsession—25 Years Later’ (2024), a 14-minute video, and ‘Testimony’ (1999), Lyahova takes us back to the pathos of the time. Based on the installation from that exhibition and works produced in 2019, she has created a small pencil drawing. Her attempt to rethink and superimpose a system of images and facts reveals a curiosity that the artist shares with the viewer.
The basis of the present exhibition is the opportunity for personal perusal of, and extensive research into, the issue of preserving the museum as an institution and, simultaneously, transferring memory. Nadezhda Oleg Lyahova sets out the idea of the transition and essence of the image, its presence in the domain of feelings, and the inherent associations evoked in the mind. Diana Draganova-Stier, exhibition curator
‘In the Home of Vera Nedkova’, the programme launched in 2019, continues to present contemporary artists in an atmosphere filled with a myriad memories and marked by the artist’s intellectual and creative presence. Nadezhda Oleg Lyahova’s exhibition re-evaluates the significance and meaning of the times and memory of events and facts, refracted through the artist’s distinctive lens. Nadezhda Oleg Lyahova conveys the memory and emotion of ‘Obsession’, an exhibition by ‘The 8th March’ group shown back in 1999 at the Sofia Central Mineral Baths, when the building was dilapidated, abandoned to the vagaries of time, with its fate still unclear. Through the installations, ‘Obsession—25 Years Later’ (2024), a 14-minute video, and ‘Testimony’ (1999), Lyahova takes us back to the pathos of the time. Based on the installation from that exhibition and works produced in 2019, she has created a small pencil drawing. Her attempt to rethink and superimpose a system of images and facts reveals a curiosity that the artist shares with the viewer.
The basis of the present exhibition is the opportunity for personal perusal of, and extensive research into, the issue of preserving the museum as an institution and, simultaneously, transferring memory. Nadezhda Oleg Lyahova sets out the idea of the transition and essence of the image, its presence in the domain of feelings, and the inherent associations evoked in the mind. Diana Draganova-Stier, exhibition curator