Банкеръ Weekly



An exhibition of 12 German artists entitled Fashions and Styles is taking place in the Sofia City Art Gallery by the end of October. The event is organized in collaboration with the Sofia Goethe Institut and exhibits part of the collection of the Stuttgart family of Ute and Rudolf Scharpf. The curator Nina Zimmer selected large-size pictures as well as much smaller series of drawings and aquarelles, providing balance and dynamics to the exposition. She stressed on the returning interest in more traditional painting which had been replaced by conceptual strategies and experiments with mainly technical means of expression in the past decades. Special accent is put on the business interest in the works of Franz Ackermann, Neo Rauch and other colleagues of theirs who enjoy an increased market demand in Western Europe, USA and Japan. People even talk about a kind of a boom in a world scale about which nothing is known in Bulgaria... The Scharpf family had the intuition and boldness to anticipate the world business interest deciding to collect the works of the then young artists.The Fashions and Styles exhibition cannot boast of any particular painting achievements and might even encourage Bulgarian people's self-confidence, because what the Germans expressed is not new to the Bulgarian artists. In fact, the visit of the Germans highlights a curious peculiarity of the starting cultural season. Accidentally or not, several private collections of foreign collectors were shown in public: the one of the Belgian Ugo Wutten in the Bulgarian Institute of Culture in Paris; the collection of the Italian Domenico Russi; the one of the German Scharpf family, etc. The only Bulgarian collections exhibited are the recently socialized collection of Svetlin Roussev and the already forgotten exhibition of paintings by Zlatyu Boyadzhiev which is owned by Grisha Ganchev. In the meantime, rumours continue about the collections of a number of Bulgarian parvenus that nobody has seen yet. The allegedly large and always precious collections are in permanent seek of asylum in private museums, ignoring other methods for public legalisation. It is known that many world collectors want their paintings to travel - either within their home country or around the world, so that they can be paid insurance guarantees and rents and can save preservation houses costs, etc. An intensive cultural exchange is thus carried out.

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