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Brief History of Art in the Last 25 Years in Texts and Pictures (a book)

The 8th of March Group, Sofia

The 8th of March Group


The 8th of March is a group of women-artists, which was organizing exhibitions, discussions and conferences. For the first time in the history of Bulgarian art, through its actions, some of the taboo topics, which till then were considered to be priority only for men, were "pronounced aloud".


Its membership is not strictly appointed. It varies depending on the character of each action. This coincides with desires of the members to protect themselves against all sorts of restrictions. Through their mutual collaboration, members of the group are led by their wish to call society's attention to live problems in the artistic and social existence of the women in the present world. They do not try to fight, or to ridicule with the men's part of the society. Their main idea is to display by means of visual arts, the point of view of the woman, her feelings, sensations, ambitions and views, as well as her failings.

Website:  http://mart8.ica-sofia.org




Drawings by Nina Kovacheva and Adelina Popnedeleva, 2014.


Brief History of Art in the Last 25 Years in Texts and Pictures


This is an artist’s book with the contributions of: Adelina Popnedeleva, Alla Georgieva, Boryana Rossa, Daniela Kostova, Nadezhda Oleg Lyahova, Maria Vassileva, Nina Kovacheva and Silvia Lazarova.


In an attempt to analyze it, project participants look at the period constituting the last 25 years of the history of contemporary Bulgarian art in the form of questions and answers. They aim at highlighting the most important events and facts that have contributed to the development of our contemporary culture. Looking back at history, project contributors also seek to get a clearer perspective of future prospects for a more efficient development of the art scene.


The publication features various views and approaches, yet the total of those diverse voices and views amounts to a fairly comprehensive depiction of the period of time under consideration.

Participating women artists have used original drawings, photographs and collages of their own to illustrate the publication, which contributes to the originality of the book’s authorship.


Given the scarcity of research into the most recent developments in the history of Bulgarian art and the fact that most of the research done in this area is personal, and therefore insufficiently objective, it is a good idea to hear yet another chorus of diverse voices. The publication will certainly add new details and broader conclusions to the general picture, which will be useful both educationally and as a reference point for further discussion.