International exhibition for medicine

International exhibition for dental equipment, technics, materials, consumables

International exhibition for dermatological and aesthetic medicine

Multimedia exposition dedicated to 150 years since the death of the Apostle of Freedom, Vasil Levski.
Using holographic technology on a large-scale video wall, a re-enactment of the trial of the Apostle of Freedom is displayed, and significant moments of his life are brought back to life. Veselin Plachkov portrays Vasil Levski. Actors Ivan Trenev, Lyubov Pavlova, Rumen Ivanov, Alexander Georgiev, Biser Marinov and Nikola Dodov are also participants. Nelly Dimitrova is the screenwriter; Dimitar Gochev, the director; Simeon Parashkevov and Dimitar Gochev, cinematographers; Atanas Gendov, composer; Pirina Veselinova, Evgeni Gospodinov and the Svetoglas Quartet, musical performers; sensor studio, animation and mapping; Hristo Karagyozov, audio mixing and post-production; Ivo Milev, creative producer; and Tsvetoslav Borisov, executive producer.
The National Gallery and the Vasil Levski All-Bulgarian Committee created the exposition, with the financial support of the Ministry of Culture and donations by the Lachezar Tsotsorkov Foundation, Kaufland Bulgaria EOOD, Aurubis Bulgaria JSC, Vazovski Machinery Works JSC – Sopot, and patriotic Bulgarians.
Kvadrat 500, entrance at 95, Vasil Levski Blvd., Sofia
Opening hours:
Tuesday–Sunday, 10 a.m.– 6 p.m.
The screenings are 30 minutes away, starting at 10 am
Bookings for groups of up to 20 people: +359 879 834 025
FREE ADMISSION

Curator: Dr. Szabolcs Süli-Zakar
Sofia Arsenal – Museum of Contemporary Art
‘What art is can neither be grasped nor determined—one can only feel it.’ Joseph Tasnádi
Joseph Tasnádi’s exhibition is a review of his post-2010 oeuvre, consisting of installations, interventions, and digital experiments, along with some earlier drawings. His uniquely resonant lyrical installations, as well as the intellectual and sensitively poeticised objects, enter a dialogue with each other and start weaving an associative network of additional meanings.
A version of the exhibition took place in 2022 at the MODEM Center for Modern and Contemporary Art, Debrecen, Hungary.
Tasnádi’s creative career incorporates an array of artistic disciplines and genres, yet his writings, drawings, digital experiments, installations, and interventions form an extraordinarily coherent and organic whole. They illustrate poetic and artistic aspects of a profound experience. Tasnádi seeks his inspiration, not inside but outside, art. He finds things. Things that spontaneously connect themselves with metacontents, such as hope, memory, death, the impossibility of communication, paradox, place, time, presence, or of their lack.
At the same time, he examines the relationships between technology and art. In recent years, his work has focused on the bonds between man and machine, the relationship of technology, metaphoric perspective, and poetic thinking.
He thematises important questions with hybrid contemporary artistic methods in which (scientific) research, (artistic) elaboration/reflection and the demand for poetic synthesis are deeply inter-connected.

The ‘Atlantis’ exhibition is an adventure of the senses, an open door to the notion of reality and the past, a bold and dreamy inducement to encounter the unknown or the non-existent, even if only in one pictorial world.
Nina Ruseva created most of these paintings specifically for the occasion. The extreme, exciting emotional experience physically separates us from the reality surrounding us and conveys us to distant worlds. Peru, the Antarctic, Perperikon, or the lost lands of Atlantis—all unfold before the eyes of the viewer, refracted through the personal emotion and sensibility of the artist, through the rich imagination and curiosity towards the unknown that she materialises in her painting.
Nina Ruseva’s landscapes occupy the boundary between abstraction and reality—effulgent and temperamental, creating a sense of dynamism and, at the same time, bringing tranquillity to a desolate space dominated by natural forms. The large formats allow for a bold handling of form, colour, and large strokes thickly applied to the canvas.
The bright palette and frequent use of dark contours are distinguishing features of Nina Ruseva’s figurative language, reinforcing the feeling of the illusoriness of natural scenes.

Nicholas Roerich (1874–1947) is widely known not only as an artist, but also as a writer, archaeologist, scientist, public figure, philosopher and enlightener. He spent decades of his life touring and exploring the Himalayas, which also became his home. In the 1930s and 1940s, the artist studied these mountains in a series of landscapes and, investing his spiritual insights, reflected the beauty and mysticism of the region, capturing the picturesque scenery in the changing seasons and at different times of the day.
The National Gallery owns some 250 works by the painter, which were donated to the Bulgarian state in the late 1970s by his son, Svetoslav Roerich. The present exhibition includes 30 landscapes that take us to places whose mystique and mysteriousness are visible to the spiritually enlightened.
Among Nicholas Roerich’s indisputable merits was the initiation of Pax Cultura—the Treaty on the Protection of Artistic and Scientific Institutions and Historic Monuments (The Roerich Pact). This Treaty for the protection of cultural monuments was signed in Washington, in the presence of US President Franklin Roosevelt, on 15 April 1935, by all the member-state plenipotentiaries of the Pan American Union.
It envisaged that all sites over which the Banner of Peace was flown—museums, universities, architectural monuments, among others—should be considered as neutral, international territory, and with the protection of cultural heritage both in time of war and in time of peace to be regulated.

The Palace
Artists: Boryana Petkova & Iskra Blagoeva, Boryana Rossa, Katya Dimova, Krasimira Butseva, Monika Popova, nada ree, Natalia Jordanova, Neda Milanova, Oksana Kazmina, Rayna Teneva, Sophia Grancharova, Zelikha Shoja.
Curator: Svetlana Kuyumdzhieva
Design: Viktoriya Staykova
The exhibition presents the results from the BFW’s open call for the Fund for art projects by women artists in 2022. The female authors and their concepts were chosen among over 200 candidates in the competition. The expert jury consists of the curators Svetlana Kuyumdzhieva, Daniela Radeva, Stefka Tsaneva, Margarita Dorovska, as well as Gergana Kutseva, Dobromira Terpesheva, and Rosena Ivanova from the BFW team. Invited to respond to the state of emergency, challenges, and urgency in this day and age, the women artists react with varied intensity, character, style, and a great amount of sincerity. Contrasts and similarities between them, in the choice of media, their candor, turning towards their inner selves, and sharing personal stories, experiences, and memories all create a common environment of empathy and reciprocation. What inevitably connects them is exposing stereotypes about women’s social role and position. They are also connected by the needle as a tool chosen by most of them, but also as a byword for that patriarchal image of the woman holding her needlework. An image rooted in the consciousness of generations on end, which all these women defy.
The story of the needle resembles a woman’s story, as confirmed by many feminist theorists. However, it does not follow a specific linearity, but is ambiguous and controversial, simultaneously a story about isolation, reassurance, and seclusion, but also about interacting with the world and opposition. The needle is the symbol of the skill passed on in the family, over generations, from grandmothers and mothers, knowing what it is to be a woman, the natural attraction towards the warmth of the fabric, and intimate interaction. The process of embroidery and sewing is story-telling. It encompasses the whole patience for bringing the threads together and passing on memories and messages. The needle as a means to create and to mend, as one of the symbols of coziness, of childhood memories, is fragile, but sharp.
The project of the Fund for Artistic Projects by Women was made possible thanks to the trust and financial support of Veronika Puncheva, Lachezar Tsotzorkov Foundation, Legrand, Ubisoft, ALD Automative, as well as with the logistical support of the Institute for Contemporary Art – Sofia and Credo Bonum Gallery. The opening event is hosted by Freixenet.

Music - Peter Stupel, Konstantin Dragnev
Duration - 1:10 No intermission
Main Hall
It is performed in Bulgarian