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Thursday 04 June 2026
01 June 2026 - 07 June 2026
June 2026
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
02.06.2026
OFFICIAL CHANGE OF THE GUARD IN FRONT OF THE PRESIDENCY
In front of the Presidency
The ceremonial change of the guard in front of the Presidency marks the national and public holidays in Bulgaria. The officialchange of the guard takes place on the first Wednesday of every month at 12:00 o’clock.
Festivals
02.06.2026
The Rose meets Sakura
Chamber hall
Solоist/s
Viktor Dimchev
Emma Kioseva
Ensemble “Mickey Mouse”
Vocal Ensemble Classic Art
Solоist/s
Viktor Dimchev
Emma Kioseva
Ensemble “Mickey Mouse”
Vocal Ensemble Classic Art
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
04.06.2026
Kirill Petrenko
Conductor
Kirill Petrenko
Solоist/s
Ensemble
Sofia Philharmonic Orchestra
Program
Edward Elgar – “Enigma” Variations
Richard Strauss – Also sprach Zarathustra – Tone Poem, Op. 30
Kirill Petrenko
Solоist/s
Ensemble
Sofia Philharmonic Orchestra
Program
Edward Elgar – “Enigma” Variations
Richard Strauss – Also sprach Zarathustra – Tone Poem, Op. 30
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.06.2026
DER FLIEGENDE HOLLÄNDER
Opera by Richard Wagner /Online streaming/
Duration 2:40 Intermission 1
ONLINE STREAMING
Children under 6 are not admitted to adult performances!
Duration 2:40 Intermission 1
ONLINE STREAMING
Children under 6 are not admitted to adult performances!
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
06.06.2026
TRISTAN UND ISOLDE
Opera by Richard Wagner /Online streaming/
ONLINE STREAMING Children under 6 are not admitted to adult performances!
ONLINE STREAMING Children under 6 are not admitted to adult performances!
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
07.06.2026
Fortissimo Academy – Mozart
Conductor
Pavel Zlatarov
Solоist/s
Ensemble
Sofia Philharmonic Orchestra
Program
Wolfgang Amadeus Mozart – Symphony No.40
Pavel Zlatarov
Solоist/s
Ensemble
Sofia Philharmonic Orchestra
Program
Wolfgang Amadeus Mozart – Symphony No.40
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
10.06.2026
Concert of the National Philharmonic Choir
Conductor
Gancho Ganchev
Solоist/s
Ensemble
National Philharmonic Choir
Gancho Ganchev
Solоist/s
Ensemble
National Philharmonic Choir
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
11.06.2026
Ivo Pogorelić & Nayden Todorov
Conductor
Nayden Todorov
Solоist/s
Ivo Pogorelich
Ensemble
Sofia Philharmonic Orchestra
Program
Sergei Rachmaninoff – Concerto for Piano and Orchestra No.2, op.18
Veselin Stoyanov – Symphony No.2 “Great Preslav”
Nayden Todorov
Solоist/s
Ivo Pogorelich
Ensemble
Sofia Philharmonic Orchestra
Program
Sergei Rachmaninoff – Concerto for Piano and Orchestra No.2, op.18
Veselin Stoyanov – Symphony No.2 “Great Preslav”
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
21.01.2026 - 12.06.2026
Mirena Zlateva SHIFT IN FOCUS
Mirena Zlateva’s exhibition, ‘Shift in Focus’, continues the tradition of presenting contemporary artists in the cosy apartment of the Vera Nedkova House Museum. Launched in 2019, the programme titled ‘In the Home of Vera Nedkova’ brings together, and acquaints the public with artists inspired by the atmosphere of the place and by Vera Nedkova’s oeuvre.
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Mirena Zlateva presents a selected collection of bijoux and carvings, where the boundary between sculpture and jewellery gradually blurs and melts away. In her works, the artist explores, analyses and makes parts and volumes cohere through the prism of her personal lens and sensitivity. And, as she said: ‘I am inspired by the material itself. I love shifting the focal plane.’
In the exhibition, we discover more of a narrative about the impact of construction and form fashioned as an original sculpture on the human body. Displayed in this way, the works are not simply bijoux or visual accents, but sculptural forms, deliberately and outstandingly voluminous (rings, necklaces, brooches), which, from a functional point of view, arouse a sense of discomfort, but at the same time, a desire to feel and touch them.
The exhibited items include jewellery from the ‘Arrangement’ series, Ag925 (2023) and the latest collection, ‘White’, Ag925 (2025–26), as well as the ‘Grass’ sculpture (2014), and the ‘Home’ installation (2025–26).
Media partner: BTA / Bulgarian News Agency
Diana Draganova-Stier, exhibition curator
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
13.06.2026
Concert of Sofia Quartet
Chamber hall
Solоist/s
Demna Gigova
Kristiana Mihaylova
Ensemble
Sofia Quartet
Program
Alexander Borodin – String Sextet in d minor
Nikolai Rimsky-Korsakov – String Sextet in A major
Richard Strauss – String Sextet from the Opera “Capriccio”
Solоist/s
Demna Gigova
Kristiana Mihaylova
Ensemble
Sofia Quartet
Program
Alexander Borodin – String Sextet in d minor
Nikolai Rimsky-Korsakov – String Sextet in A major
Richard Strauss – String Sextet from the Opera “Capriccio”
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
14.06.2026
Music and Dance Events
14.06.2026
TANNHÄUSER
Opera by Richard Wagner
Main Hall
Children under 6 are not admitted to adult performances!
Performed in German, with Bulgarian and English subtitles
Main Hall
Children under 6 are not admitted to adult performances!
Performed in German, with Bulgarian and English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
18.06.2026
Ludmil Angelov & Michel Tabachnik
Conductor
Michel Tabachnik
Solоist/s
Ludmil Angelov
Ensemble
Sofia Philharmonic Orchestra
Program
Sergei Rachmaninoff – Rhapsody on a Theme of Paganini, Op.43
Gustav Mahler – Symphony No.5
Michel Tabachnik
Solоist/s
Ludmil Angelov
Ensemble
Sofia Philharmonic Orchestra
Program
Sergei Rachmaninoff – Rhapsody on a Theme of Paganini, Op.43
Gustav Mahler – Symphony No.5
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
20.06.2026
FROM THE FRONT ROW - BNT 2
Television show for Sofia Opera and Ballet
with author and presenter Miglena Stoycheva
BNT 2 - program "From the front row"
Children under 6 are not admitted to adult performances!
with author and presenter Miglena Stoycheva
BNT 2 - program "From the front row"
Children under 6 are not admitted to adult performances!
Music and Dance Events
20.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
21.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
23.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
24.06.2026
Concert of the National Philharmonic Choir
Conductor
Georgi Elenkov
Solоist/s
Ensemble
National Philharmonic Choir
Georgi Elenkov
Solоist/s
Ensemble
National Philharmonic Choir
Music and Dance Events
24.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
25.06.2026
Christoph Eschenbach
Conductor
Christoph Eschenbach
Solоist/s
Ensemble
Sofia Philharmonic Orchestra
Program
Franz Schubert – Songs
Franz Schubert – Symphony No.8 D. 759
Christoph Eschenbach
Solоist/s
Ensemble
Sofia Philharmonic Orchestra
Program
Franz Schubert – Songs
Franz Schubert – Symphony No.8 D. 759
Music and Dance Events
25.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
26.06.2026
Evening, dedicated to David Popper
Chamber hall
Solоist/s
Bogdan Ivanov
Avgust – Alexander Pavlov
Solоist/s
Bogdan Ivanov
Avgust – Alexander Pavlov
Music and Dance Events
26.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
27.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
28.06.2026
MAMMA MIA!
Musical by Benny Andersson, Björn Ulvaeus, Director Plamen Kartaloff
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Duration 3:00 with 1 intermission
Main Hall
Children under 6 are not admitted to adult performances!
Performed in Bulgarian, with English subtitles
Music and Dance Events
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions
05.05.2026 - 05.07.2026
GIRO D’ITALIA. A Brief History of Italy on Two Wheels
Kvadrat 500
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Patronage: Italian Embassy in Bulgaria.
Organization: Alessia Autuori, National Gallery, Sofia, and the Italian Cultural Institute, Sofia.
Curated by: Dominique Lora, Stefania Baldinotti, Maurizio Presutti.
In collaboration with: Ministry of Foreign Affairs and International Cooperation of the Italian Republic; Institute for the Intangible Heritage, Rome; MUCIV, Rome; Mimmo Cattarinich Foundation, Rome; Municipality of Gubbio; National Museum of the Salce Collection; Regional Directorate of National Museums of Veneto; Weber & Weber Modern and Contemporary Art, Turin.
On the occasion of the arrival of the 2026 Giro d’Italia in Bulgaria (the competition will start from Nessebar on the Black Sea on 8 May and finish in Sofia on 10 May, the Italian Embassy in Bulgaria and the Italian Cultural Institute in Sofia are pleased to present the exhibition GIRO D’ITALIA: A Brief History of Italy on Two Wheels, which will be held at the National Gallery / Kvadrat 500 in Sofia.
The bicycle has become part of our daily lives. We are accustomed to using it in various contexts and occasions, such as commuting to work, for sports, or simply for outdoor entertainment. Since the late 19th century, the bicycle has become a true inspiration, so much so that it has been featured prominently in contemporary art works and installations, film productions, as well as in scientific research on the territory and its ethnography. As an object and a means of transport, it has been – and still is – a rich subject for artists who celebrate its dynamism and modernity, generating representations that range from the Futurism of Boccioni, Dottori, and Depero, through the Pop Art of Mario Schifano, all the way to the present. For this special occasion, we are pleased to present to the Bulgarian public a selection of works by contemporary Italian masters, including Dario Ghibaudo, Francesca Pompei, Gaia Scaramella, Corrado Zeni, Marcovinicio, and Natino Chirico.
The exhibition will also feature cinematographic stills from the Mimmo Cattarinich Foundation in Rome, vintage posters from the Salce Collection Museum (courtesy of the Italian Ministry of Culture), and ethnographic photographs from the Palumbo Archive from the Sigismondo Castromediano Museum in Lecce.
The exhibition depicts an Italy on two wheels, from the late 1940s to the present day, illustrating the diffusion and development of the bicycle as a means of transportation, but above all as a symbol of individual and collective rebirth, characteristic of our country.
Media partner: BTA / Bulgarian News Agency.
Exhibitions
29.04.2026 - 05.09.2026
LIKA YANKO - Journey to the Image
National Gallery / The Palace
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
The National Gallery owns one of the most appreciable and representative collections of artworks by Lika Yanko (1928–2001). This became possible thanks to the donation gesture the artist made while still living. Whereas the two extensive exhibitions, held in 2002 and 2011, were based on the most comprehensive chronology possible, the current exhibition focuses attention on issues of her early oeuvre.
In choosing the title, ‘Journey to the Image’, we saw an opportunity to verbalise the two major threads in the exhibition. The first relates to the 1960s, the decade these artworks were produced. Lika Yanko was at the beginning of her career, and it was through the images of the object world that she sought her own truth about art. The second line traces the artist’s ‘journey’ into herself, where she was not alone. Spontaneously, rather like a playful act, or fully consciously as a quiet rebellion against the norms of official art, a small informal group of female artists launched into annual creative trips in the Rhodope Mountains, the environs of Melnik, Karlanovo, and other places. The party included Vanya Decheva, Dora Kancheva, Olga Valnarova, Mimi Veselinova, Kostadinka Tsvetkova, and Zheni Mehandzhiyska… We have no first-hand evidence of a common aesthetic platform of theirs, but, standing before their pictorial works, we may form, with a great deal of certainty, an impression of the moods that had overwhelmed them, and of the sources they followed.
We say all this clearly aware of the broadest outline of a problem in the history of Bulgarian art that has so far been only sketched out, without being supported by the necessary visualisation and professional commentary.
The exhibition does not claim to be exhaustive on this topic.
It only outlines the general silhouettes of names, events and artistic facts that have not been studied or analysed in detail. They inhabit those border or extreme zones removed from the official line, where absence, silence and insufficiency still dominate, but without them, the overall picture of Bulgarian art history will not be full and complete.
Curated by Nikolay Ushtavaliiski and Iva Veleva.
Exhibitions
10.12.2025 - 30.01.2027
Zahari Zograph Immersive Exhibition
The National Gallery presents one of the most iconic figures in the history of Bulgarian art – Zahari Zograph. This first immersive exhibition introduces a new way of experiencing the masterpieces of the the museum’s collection. Harnessing new technologies, the 20-minute project, created by Senzor Studio, brings his religious and secular masterpieces to life, revealing essential elements of his creative process.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
The initiative promotes Bulgarian Revival аrt, a period characterized by economic, social, and cultural growth, closely tied to the pursuit of ecclesiastical and national independence. The period traces its origins to the mid-18th century, when Paisius of Hilendar wrote Istoriya Slavyanobulgarskaya (History of the Slavs and Bulgarians) in 1762—which profoundly shaped the spiritual awakening of the population and contributed significantly to the development of national consciousness…
The exhibition features a selection of icons, drawings, copies, letters, documents, and secular portraits from the artist’s early period. It also showcases a substantive collection of murals, ranging from his earliest works—created in 1838 for the Chapel of St John the Baptist at the Church of the Holy Virgin—Annunciation in Asenovgrad—to what is considered as his “final masterpiece,” the murals adorning the narthex of the Great Lavra Monastery on Mount Athos, completed between 1851 and 1852.
Zahari Zograph emerged as a defining figure of Bulgarian Revival art. His relentlessly inquisitive artistic spirit was ahead of its era, and his extensive body of work reflects the vitality of the approaching modern age, the artistry of traditional imagery, the strength of line, and the emotive power of color.
The project is realised with the financial support of the National Culture Fund of Bulgaria under the Creation programme 2024.
Media partners: BTA / Bulgarian News Agency and SOF Connect.
Exhibitions