Current Programmes

This project is a continuation of Ivo Danchev's previous work, "Behind the Masks," where he explored the participation of different ethnic and social groups in Bulgaria's ancient masked traditions, with a particular emphasis on the Roma minority. He is committed to creating a visually compelling and socially relevant narrative that not only captures the essence of the Kukeri but also contributes to the ongoing dialogue around cultural heritage and inclusivity.

"Future City: Art, Utopian Architecture, and Critical Research" encapsulates an artistic project that delves into the realms of art, architecture, and urban development. This multidisciplinary endeavor seeks to reimagine our urban spaces with an imaginative blend of creativity and critical inquiry, ultimately envisioning a more sustainable and harmonious urban future.At its core, this project celebrates the transformative power of art. Through a diverse range of artistic mediums, including drawings, paintings, sculptures, digital art, and more, it aims to breathe life into the concept of a "Future City." The art created under this theme explores the interplay between human-made structures and the natural world, challenging conventional boundaries and inspiring viewers to see urban environments through a new lens.The term "utopian architecture" invites us to dream beyond the confines of practicality and imagine what our cities could be in an ideal world. This project delves into utopian architectural concepts, where buildings are not just functional but also serve as expressions of ecological harmony, innovation, and human well-being. It rethinks architectural design to prioritize sustainability, green spaces, and coexistence with nature.This project is firmly grounded in research and critical research and intellectual inquiry. It involves rigorous investigation into the historical, cultural, and environmental contexts of urban spaces. Through critical research, it aims to uncover the challenges and opportunities that shape our cities. By delving deep into the past and present, it informs the artistic creations with an understanding of the complex forces at play in urban development.Together, these three elements converge to create a holistic exploration of "Future City." It challenges us to think beyond the present and consider the possibilities that lie ahead. It prompts us to ask critical questions about the role of art and architecture in shaping our urban environments, particularly in the context of pressing environmental concerns."Future City: Art, Utopian Architecture, and Critical Research" extends its visionary exploration to Sofia, Bulgaria, a city rich in history and architectural diversity. In Sofia, this project takes on a unique character as it engages with the city's distinct architectural heritage, ranging from the Byzantine and Ottoman influences to modernist, post modern, and socialist-era structures. The project delves into Sofia's urban fabric, reimagining its iconic landmarks and urban spaces as potential canvases for utopian architecture."Future City" is an invitation to embark on a journey of imagination, discovery, and transformation. It encourages us to envision urban spaces where the boundaries between the built environment and nature blur, where architecture is a vessel for sustainability, and where research informs creative expression.

Има една брилянтна мисъл на Александър Дюма-баща „Историята е само сбор от сухи факти, всичко зависи от това кой я разказва и защо“. Тази мисъл до голяма степен илюстрира ролята на историята в живота на обществата и най-вече в зоните, където е имало продължителни конфликти и неразрешени спорове. Балканският полуостров е една такава територия, където между почти всички съседи е имало конфликти през XX и XXI в., неразрешени териториални спорове, случаи на етнически прочиствания и асимилации, незатворени рани от войните и спорни казуси до ден днешен. И всеки използва историята така, както му е изгодно на него самият.Идеята на проекта ми е провокирана от втория ми роман “Аbsolvo te” и третият, който разработвам в момента. “Absolvo te” се базира на две истински истории, едната от Втората световна война, Холокоста и концлагерите Аушвиц и Дахау, и една от арабо-израелския конфликт. И в двата случая народите имат огромна нужда от преработването на историята, за да намерят път към бъдещето. И докато при арабо-израелския конфликт генезиса е много дълбоко в историята, конфликтът е действащ и в момента и преработването на историята е много трудно, то за германския народ това е въпрос, който се разисква вече повече от седемдесет години.От края на Втората световна война са минали точно седемдесет и седем години, а немците продължават да преработват историята от ужасите и зверствата на Холокоста. Оказва се, че четири поколения преработват тази история и все още има неразрешени моменти, знаем, че непосредствено след войната над Германия ляга сянката на „страшното мълчание“, т.е за да могат да продължат напред, те не се обръщат въобще назад, не се говори, не се дискутира Холокоста, не се пишат книги, не се правят филми. Едва поколението, раждано след войната, когато достига зряла възраст, започва да задава въпроси на своите родители как са могли да бъдат част или дори само да са допуснали зверствата на нацизма и тогава разривът между поколенията е много дълбок.В романа си „Absolvo te” аз се занимавам точно с темата за чувството за вина на германския народ и с това как обикновените, нормални хора са увлечени от насилствената машина за смърт на нацизма и нацистката идеология. Историята на този период все още не е преработен напълно от немците и днешните поколения продължават да го преработват. И до ден днешен, когато се отбелязва Денят на Холокоста и жертвите на нацизма част от германците искат да говорят по темата, искат да се отърсят от чувството за вина и да измолят макар и символично прошка, докато останалата част не иска въобще да се говори по темата и се „затварят“ в това, че е минало, че те не са били част от този процес и няма как да носят отговорност за него.В новия си роман разглеждам една много болезнена тема за България и Балканите, темата за Македония през призмата на една много болезнена част от нейната история, периода 1902 - 1919 г. Според мен, големите противоречия, които днес има между България и Република Северна Македония са защото на Балканите, за разлика от Германия, не се опитваме дори да преработваме историята, нито заедно да я дискутираме, а всеки се е хванал за своята си истина и не иска да се пуска от нея.Сърцевината на проекта е да видим как немците преработват своят най-мъчителен етап от съвременната си история и как това може да ни помогне на нас, на Балканите, и в частност на българите и македонците. Това да бъде пречупено през призмата на историята, географията и литературата.

Mirjam's particular interest to explore here in Sofia, lies in Public Swimming Pools and Baths as places where people meet, where architecture tells us about the past and the present, and where the movements of the body and the behaviours tell us about the respective body cultures and (non)comfort zones.This is the starting point for her to investigate through swimming pools the importance of water, communities and rituals in an urban environment. For this, she wishes to dive into abandoned pools, still open ones, as well as into archives, and make and find images there to work with.

Cultural heritage is generally accepted as a universal good. It is key for the development of human civilization and is connected to primary values and basic human rights - the “right to heritage”. Yet there are cultural areas where we fail to reach mutual understanding on this “indisputable universal good”, on the contrary - neutral acceptance is non-existent and social unrest prevails. These are the areas where conflicts arise and the so-called “contested” (or “dissonant”) heritage claims its presence. The heritage of totalitarian regimes in general is contested heritage par excellence yet staying only there is simplifying the matter.This project will address various issues coded in its headline. Firstly, what qualifies as contested heritage today? Secondly, how can we place the heritage of postwar and post-Wall art and architecture within that context? What are the urgent questions to be asked when discussing such contested heritage sites in a post-2020 world, in present day Europe? Research will start from the field of architectural history and theory and will develop adding political, social and cultural factors, outlining social tensions, problems of evaluation, acceptance, diversity and appropriation and potential preservation issues. Contemporary cultural conflicts and different architectural examples will be used as illustrative case-studies.

In the past decades, Bulgarian artistic modernism has been a subject of profound historical research and reevaluation. However, there is still a considerable gap in the survey of the heritage of dance modernism. Modern dance was introduced on local ground in the interwar period by artists who gained their education in Germany, under the pioneer of German modern dance Mary Wigman. Two of them – choreographers-dancers Lidiya Valkova and Maria Dimova, are considered its major exponents. The solo works they presented independently in 1920s and 1930s manifested a new art of dance referred to as “artistic dance” in differentiation to classical ballet. The main objective of this research is to locate and evaluate their work within the genre of modern dance and within their historical cultural context in local and transnational perspective. Of special interest are issues such as the notion of “essence” of dance and the discourse on its autonomy as an art form; the relationship between tradition and modernity, between artistic experiment and folk dance; body imagery in dance and its political implications in relation to national identity building. The research will combine approaches coming from dance historiography, dance and performance studies and cultural studies.

The project looks at Bulgaria’s southern border, where Thomas will investigate how its history intertwines with contemporary issues, and how past and present media representation is shaping the collective memory. Thomas will conduct fieldwork in the border region by visiting and documenting sites, with both video and photography. He will also look at archival material, as well as the current conditions and limitations for reporting on the border zone. The result will be presented in an exhibition.www.thomaskneubuhler.com

The project focuses on musicians who perform as professional artists and examines the transition they have to make in order to master musical practices which are foreign to their classical training.