Orthogonal

conceived as an international biennial, orthogonal introduces a selection of non-objective artists and theoreticians to the bulgarian cultural public. apart from an exhibition of artifacts, the event offers a programme of open lectures and screenings which deal with contemporary and historical issues of this little known in bulgaria art movement. the event is organised by nonsofia whose ambition is to place this forum as a recognisable art festival, both in bulgaria and abroad.

exhibitions

orthogonal12

orthogonal12 poster by georgi dimitrov

18 october – 18 november 2012, the red house centre for culture and debate, sofia

participants

andrás wolsky (hu)
angela thomas (ch)
barna benedek (hu)
bruno haas (de)
dóra maurer (hu)
erich schmid (ch)
georgi dimitrov (bg)
georgi yanakiev (bg)
guido winkler (nl)
josé heerkens (nl)
maria chakarova (bg)
nikolay diulgheroff (bg/it)
richard van der aa (nz)
tibor gáyor (hu)

(Source)

orthogonal14

orthogonal14 poster by georgi dimitrov

9 october – 7 november 2014, the red house centre for culture and debate, sofia

participants

anna-maria bogner (at)
arjan janssen (nl)
bob bonies (nl)
bruno haas (de)
georgi dimitrov (bg)
guillaume millet (fr)
krasimira stikar (bg)
maria chakarova (bg)
max bill (ch)
simon ingram (nz)
theodore markoglou (gr)
yorgos vourlidas (gr)

(Source)

resources

• orthogonal.bg

publications

orthogonal12, 2013, ISBN 9786199008812 PDF (6 mb)

orthogonal14, 2015, ISBN 9786199008843, PDF (3 mb)

	Art exhibitions and events
Second Spring Exhibition of OBMOKhU (Moscow, 1920-21), Congress of International Progressive Artists (Düsseldorf, 1922), Congress of the Constructivists and Dadaists (Weimar, 1922), First Russian Art Exhibition (Berlin, 1922), New Art Exhibition (Vilnius, 1923), Zenit Exhibition (Belgrade, 1924), Contimporanul Exhibition (Bucharest, 1924), Machine-Age Exposition (New York, 1927), a.r. International Collection of Modern Art (Łódź, 1931), New Tendencies (Zagreb, 1961-73), The Responsive Eye (New York, 1965), 9 Evenings: Theatre and Engineering (New York, 1966), Cybernetic Serendipity (London, 1968), Live In Your Head: When Attitudes Become Form (Bern, 1969), Information (New York, 1970), Software - Information Technology: Its New Meaning for Art (New York, 1970), Documenta 5 (Kassel, 1972), Pictures (New York, 1977), Biennial of Dissent (Venice, 1977), Les Immatériaux (Paris, 1985), Magiciens de la Terre (Paris, 1989), Hybrid Workspace (Kassel, 1997)