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The Year of Our Discontent [when design generates debate]

Nagledna, Sofia

Nagledna was founded by Raycho Stanev together with Evgeni Bogdanov, Radomir Dankov and Penka Dincheva in 2007. We are based in Bulgaria and work with like-minded collaborators worldwide. We are passionate about design and art, ready for our next challenge, confident that our next piece of work will be our best. Our work includes various art installations, videos and illustrations presented in Sofia, London, Berlin, Zurich, Ankara and Havana. Nagledna’s projects are reflecting past and present, personal memories, heritage (communist) policies and urban cultures.

 

In 2008 we did Stories for 68 together with Diana Ivanova, and in June 2010 we arranged The Great Excursion Project with critical debate about DNA and migration in BASS Festival (Birmingham). The Studio participated in 12th Istanbul Biennial of contemporary art. In 2012 we had a presentation with debate about the Bulgarian communist heritage in BKC Berlin. The team accomplished the Bright Future Project as a part of Sofia Contemporary - a festival for contemporary art in Sofia.

 

Our work has been published by a variety of magazine and book publishers and was recognized by Novum, Chois Gallery, (More) Lovely Book Covers, Caustic Cover Critic.


Contact
Phone: +359 886 912 566
Email: info@nagledna.net
Web site: www.nagledna.net

 

 

 

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Nagledna

Photo: Maria Angelova

As artists we have always been interested in the relationship between text and graphics and how processing affects perception. The Year of Our Discontent presents 12 important political actions that generated a wave of public discontent among our peers. We started this series of posters after the recent protests against the adopted corrections to the Forestry Law that took place at Eagles Bridge (Sofia, 2012). 12 posters and 12 activists – each person is talking about a problem that is marked on the poster in a short video interview. The local problems presented in the series of posters are indeed global problems, each of them relevant outside Bulgaria as well. We used the direct visual language of pictograms without text. Seeing them all together at one place, we try to ignore them as a group of individual grievances and bring them out as organised „noise“. We believe that this visual perception of politically charged material places a focus on the events of last year. The lack of text provokes the audience to imagination and debate, thus creating a collective memory of what happened.