Kiril Prashkov. Further, 2008-2009.
A cycle of 8 photographs, 70 x 93.4 сm each
Installation View of the Exhibition “Techniques”,
ICA–Sofia Gallery, 2009
Curators: Iara Boubnova, Maria Vassileva
Photo: Kalin Serapionov

Photography, no matter if accepted in the art family or not, a technical skill or even a scientific endeavor, is producing images on a light sensitive surface. There was a time when it was seen as “better” then painting because of its objectivity (the lens=the objective) but then it was discredited by the practice of retouch. It’s digital stage of development reinstated her as the most-democratic means to make reality eternal. While unhappy with his lot, Kiril Prashkov not only made his photographic works but also described in detail his attitude when dealing with a number of notions such as “reality”, “object”, “abstraction” and “performance”. It is possible that his definition of the dependency of contemporary creation on the historical and artistic context is the most direct one.
Iara Boubnova

Somebody like me, who is using
photography only because the found/desired
object has presented itself (a first, “a
must” pre-condition) and there is no other
way to physically introduce this object into
my work (the second pre-condition), does
not look for sources of inspiration among
the “real” photographers. By the way,
there are two comments I overheard once
that bring me comfort and support in using
this technique as a tool for transfer: a/
“...there are no photographers left, only
artists who use (in whatever way...) the
photo camera”; and b/ “...the media has
gradually become friendly” – that is to say,
it has brushed against me as a friendly
dog and, though mindful of a bite, I have
delicately stroked it – for sure it does not
care either way and I will quickly wash up
my hand...
I would like to be able to paint like in my
cycle (of photographs!) titled “Responsible
Painting”; or to be able to draw as in the
other cycle “Further” (also of photographs!)
but it does not work, so I am
forced to do action where the context is
more friendly.
In fact, I have often wondered if the photograph
in the works of Joseph Kosuth, letʼs
say in “One and Three Pans” (1965), is all
that necessary – there is a real pan in
there as well as a text about a pan; the
image of a pan is needed but should it be
that objective...
Or take René Magritte – the apple and the
pipe (in Ceci nʼest pas une pomme/pipe)
make do without a photograph. After all, if
I had to sneak up to the greats I could title
my photographic cycle Ceci nʼest pas une
route ...
Glory to contemporaneity – if you ask
around there will always be some other
artist to whom you have likened the found
object – for instance, I was given the name
of Brice Marden. Abstraction is a marvelous
thing (here is another title that I
think I could appropriate – “Composition”...)
Finally, here are some photographs that
I contemplate from a distance: the
“Chicago Board of Trade” by Andreas
Gursky – isnʼt this work a replica of the
“Battle of Alexander at Issus” by Albrecht
Altdorfer; or the “Dead Troops Talk” by
Jeff Wall – shouldnʼt it be called a “performance”
anyway? However, if I have to go
back home I would mention the installation
“Wanted Category” where Kalin Serapionov
has used maybe the most difficult
quality of photography – to be a portrait.
K. P.