EXHIBITIONS
2020 “MADE IN ЛЕЩЕН“, Little bird place. Group exhibition
2020 “Dualism“,ONE Gallery, group exhibition
2020 "(YOU)(BE)Like me" Arosita Gallery, Sofia
2020 "The Past. Method of use", Nuance Art Gallery, Sofia
2019 "HOMOSOC", PORT A , documentary exhibition, Sofia
2019 "FORMS" AETHER, group exhibition, part of Sofia Pride Events, Sofia
2019 "Art Start" Goethe Institut, group exhibition, Sofia
2018 "EXISTENCE MINIMUM", REPUBLICA , solo exhibition, Sofia
2017 "Open studio", Cite International Des Arts, Paris
2015 Prague Quadrennial of Performance Design and Space, Prague
2014 Via Pontica- International Youth Arts Festival, Balchik
2013 SOHO (Sofia Holistic Coworking Company), first solo exhibition, Sofia
EXHIBITIONS
2020 “MADE IN ЛЕЩЕН“, Little bird place. Group exhibition
2020 “Dualism“,ONE Gallery, group exhibition
2020 "(YOU)(BE)Like me" Arosita Gallery, Sofia
2020 "The Past. Method of use", Nuance Art Gallery, Sofia
2019 "HOMOSOC", PORT A , documentary exhibition, Sofia
2019 "FORMS" AETHER, group exhibition, part of Sofia Pride Events, Sofia
2019 "Art Start" Goethe Institut, group exhibition, Sofia
2018 "EXISTENCE MINIMUM", REPUBLICA , solo exhibition, Sofia
2017 "Open studio", Cite International Des Arts, Paris
2015 Prague Quadrennial of Performance Design and Space, Prague
2014 Via Pontica- International Youth Arts Festival, Balchik
2013 SOHO (Sofia Holistic Coworking Company), first solo exhibition, Sofia
A project by Iskra Blagoeva
A project by Iskra Blagoeva
Rumen Georgiev - photography
Rumen Georgiev - photography
Rumen Georgiev - photography



2018 Oil on canvas, 45x100 cm

Svilen Stefanov: Forever Lost
22.11.2018 - 19.01.2019
The art of Svilen Stefanov is, I believe, deliberately charged with a certain "duality" and has both literal and symbolic meaning. As a culturally "burdened" artist, the author respects some traditional conventions of the pictorial media. His paintings, as it is customary, are on canvas, painted with oil paint. As a rule, they are built in a distinctly horizontally positioned, panoramic-oriented compositional frame, in two contrasting planes.
The personal plastic worldview of the author leads us through the banal, the paradox and the parable. Beyond the triviality and absurdity of the texts and images, lies a significant associative and conceptual layer that points the more tempted viewer towards an ambivalent reading of the visual image. It is no coincidence that the English references relate to word games of the established clichés and conventions of the modern Art World.
We encounter an original depiction, that seems to deny itself, which is largely self-parodying. Why? Probably, in a sense, this is unavoidable in the expression of the strain of tension between the various, often hard-to-do, poles and pieces of our inner self, in the infinity of that world which, unsuccessfully and in all probability, we chimerically attempt to master and assemble.
Chavdar Popov