On 13 December everyone can make a visit OFF THE RECORD to the eponymous exhibition of Krassimir Terziev at the One Night Stand Gallery in Hristo Belchev Street in Sofia; only from 7.00 to 10 pm. The exhibition includes selected works by the artist from the period 2008 to 2014, some of which are to be published in a catalogue.
Ever since Marcel Duchamp’s museum cases, artists have been facing the questions how to preserve and display art; where the exhibition space ends and the depot begins; whether the artist is compelled to be also a hawker, and how works of art are realised (in the market). All this leads to the big question, which contemporary art still discusses – how important are the conditions of the art production? Krassimir Terziev reconsiders this question by presenting an exhibition of fragments. His works from the recent years, displayed at various exhibitions and events, together with a series of new drawings, will fill the underground space of the gallery. It, however, is not only the artist’s personal warehouse, which is open to the public, but is also an extraordinary logical composition. It includes the topics that have been provoking the artist for years: the processes of globalisation and market expansion, the virtualisation of spaces and the changed limits of reality, the influence of the new media on the perception and sharing of the world, etc. They go through different works, such as “Just like water, gas and electricity are brought in our houses from far off ...” (2011); “Missing scenes”, 2007/2008; “Markets are...”, 2013; “Domestication. The First Five Thousand Years.”, 2014, etc. In the contemporary post-Duchamp new media culture Krassimir Terziev is interested in the production of images and the exchange of information, in their perception and economy. Regardless of whether they are paintings, photographs, videos or drawings, his works synthesise opposites, treat antitheses and create paradoxes, and in this way discover new meanings and viewpoints.
The exhibition extraordinaire is connected in an extraordinary way with Duchamp’s old question and the market of contemporary art as a system, in which the works circulate in accordance with clear production schemes. Similarly to the gallery One Night Stand itself, which is at the borderline between an ordinary gallery and an art project due to its extraordinary format and working time, Krassimir Terziev’s exhibition is at the borderline between a logical collage of images / information and an archive of works of art. Therefore, just like in a commercial gallery, visitors will be able to buy works of art and in this way will sponsor the publishing of the catalogue. The format chosen by Krassimir Terziev for that purpose is also a commentary on the conditions for the creation of contemporary art in the country that have been for years between the shortages in the art system and the individual models of adaptation.

text: Vladya Michaylova