Galerie Wien
Seilerstätte 15/16

Galerie Salzburg
Gasse 2

Messen, etc.

Anfahrt, Presse, ...


NINA Kovacheva

* 1960 in Sofia, Bulgaria
Lives and works in Paris.
Awards, Public Collections:
2002    The 2002 UNESCO Prize for the Promotion of the Arts, Paris, France 
One person shows (selection):
2012 The Crying Game, Galerie Heike Curtze, Vienna, Autria
Physics and Metaphisics of the Dark Spot, Arosita Gallery, Sophia, Bulgaria 
2010    "Surplus Enjoyment", Museum of Contemporary Art, Taipei, Taiwan 
2008  "Au-delà du Visible", video installation, Pont Alma, Paris, France 
2007  "Play for Two Hands and Black", video installation on the facade of the National Academy of Fine Arts, Sofia, Bulgaria 
2005 "Au-delà de ce qui est Visible", National Museum of Contemporary Art, Bucharest, Romunia
  "Phases of Accumulation and Extracation in a Limited Space", National Art Gallery, Sofia, Bulgaria
2004 "Au-dèla de ce qui est Visible", outdoor video installation, Paris, France

Group Shows (selection):
2013 Der Mann- Nackt, Kulturstiftung Schloss Britz, Berlin, Germany
Seelenwäsche, Minoriten Culture Center, Graz, Ausria
Extension du Domaine de l'Assymetri, Centre d'art Conetemporain Annemasse, France
2012 The Naked Man, Lentos Kunstmuseum, Linz, Austria -       A Possible History. Bulgarian Art Through the Sofia City Art Gallery Collection, City Art Gallery, Sofia -       Love, Rayko Alexiev Gallery, Sofia, Bulgaria - Why Duchamp? From object to museum and back, Sofia Arsenal Museum of Conteporary Art / Sofia,  Bulgaria 
2011 Drawing in the Age of Fragility, cabinet de dessins, Solaris Fondatione delle Arti, Parma, Italy
Promenade Project- KogArt, Budapest, Hungary 
2010   "Close Encounter", Jeju Museum of Art, South Korea 
  "Central Europe Re-visited", Esterhazy Foundation, Eisenstadt, Austria 
2009  "Involvement", Galerie Heike Curtze, Berlin, Germany 
  "Shortlist 2009", nominated artist for The Gaudenz B. Ruf Award 
2008  "Shifting Identity", Li Space, Beijing, China 
  "Meditation Biennale", National Museum Poznan, Poland 
  "Micro-Narratives", Musée St. Etienne, France 
  "Biennial d’Art Contemporain de Québec", Canada 
  "European  Attitude", Zendai MoMA, Shanghai, China 
2007  "Micro-narratives", October Salon, Belgrade, Serbia 
  "Art Project", Gallery Yvon Lambert , Paris, France 
  "Desire and Resistance - Determine the Motion", Musée d’Art Modern et Contemporain, Strasbourg, France 
2006  "Important Announcement", Galerie Municipale d’Art, Sofia, Bulgaria 
  "Phases of Accumulation and Extraction in a Limited Space, Musée d’Art Modern et Contemporain, Strasbourg, France 
  "Voiler/Dévoiler", Villa de Parc, Contemporary Art Center, Annemasse, France 
2005  "Two Asias, Two Europes", Duolun MOMA, Shanghai, China  
2004  "Au-delà de ce qui est Visible", Nuit Blanche, Paris, France 
  "-0.039225, Cosmopolis", Macedonian Museum, Greece 
2003  "One, Several, Many Odyssey", video installation, The Museum of Cinema, Thessalonique, Greece 
2002  "In the Out", video installation, 4th Biennial for Contemporary Art, Cetinie, Montenegro  
2000  The National Museum of Women in the Arts, Washington DC, USA


NINA Kovacheva is a versatile artist. Her work goes beyond the confines of a single medium. She taps into, and often blends, the resources of video, video installations, photography and drawing, amongst others. What has also added complexity to her artistic career is a long and fruitful cooperation with Valentin Stefanoff, especially in a number of video installations in public spaces.

One of the most notable distinctive features of Nina’s art is her abiding interest in the body as an object whose wholeness will always slip out of the artist’s grasp. If we choose to pun on Deleuze and Guattari’s construct of the nonproductive “body without organs”, we should say that Nina is exhilarated by the production and re-production of “organs without bodies”. In many of her most powerful photos, for example, we are given strikingly profound vistas of body parts. Actually, most of these shots accommodate conflicting sides of existence which cannot possibly do without each other: male and female; nature and culture; life and death. A dainty female hand, with nails deliberately polished in bright red, has locked in its grip a helpless male organ. Male and female feet stand, as it were, at cross-purposes, and yet overlap in funny configurations. A cupped female hand has sheltered the dead body of a locust, while a tiny yet robust doll figure is intently walking towards the hand. We, the beholders, feel that these pictures have an awful lot to say, but the reconstruction of meaning(s) is left to us.

With her latest series of drawings, Nina seems to have struck out in a somewhat new direction. Without sacrificing the sophistication of the message, she seems eager to add a more direct social sting in the tail of her pictures. Take, for instance, the fragile young girl who would rather embrace a bomb than play with her ballerina toy. This figure stands as an absurdly beautiful admonition against a world in which the image of violence has been airbrushed to look like a children’s game. Such pictures tell us that while the artist still believes that “beauty is truth and truth – beauty”, she also wants her art to gently raise political awareness.