Anton Terziev was born in 1977 in Sofia.
He graduated the National Academy, Sofia in 2004, major Ceramics.
He makes paintings, graffiti, films, performances, actions and bio art projects, writes poetry and short stories, and combinations of all these.
Author of “No Portarait for the Artist”, poetry book published by “Janet”45 2007
And “Urban Yogi For Beginners”, short tales published by “Ciela” 2008
Performances and actions
“PERFECT PAINTER” – a performance with Ultrafuturo group, Dauhaus club, Sofia, 05.02.2007
“RED CROSS” – a solo performance, Sofia, 2007
“HAPPY NEW ORDER” - a solo performance, Sofia, 31.12.2007
"A DAY WILL COME ..." – a performance with Ultrafuturo group, Sofia, 2006
"CODED STRING" –an action with Ultrafuturo group, National Art Gallery, Sofia,01.03. 2006
"ROA EASTER" - an action, 2006
"I WANTED TO BE A HUMAN"- performance with Ultrafuturo group, 2006
"ICE MUSCLE" -solo performance, 2005
"LIE DETECTOR 2 "- a solo performance, 2005
"LIE DETECTOR 1 "- a solo performance, 2005
" BEAUTY-FULL ART" -a performance with Ultrafuturo group, 2005
"WITHIN THE FRAMEWORK OF THE CIRCLE"- an action with Ultrafuturo group Out of low, 2005
"NOR WAR NOR PEACE" -an action with Ultrafuturo group, 2005
"ESTABLISHING OF A NATIONAL MOVEMENT ULTRAFUTURO" - an action with Ultrafuturo group, 2005
"PIGMALION" - a bioart project with Ultrafuturo group, 2005
"FIRE STEPS"- a solo performance, 2005
"FIRE BALL"- a performance with Ultrafuturo group, 2004
"FIRE WORDS "-a performance with Ultrafuturo group, 2004
"ROBORIADA"- a performance with Ultrafuturo group, 2004
“SELECTED NATURE” - an exhibition and presentation with Katya Damyanova, Bulgarian Culture Centre in Bratislava, Slovakia, 12.12.2008
“IMAGINE”- paintings, video and objects, Art Center 12, Sofia, 2008
“ PSHYCHOTHERAPY” –a video installation, SGHG, Sofia, 2004
“ PORTRAITS”- paintings,Gallery Bovjel, Plovdiv, 2004
“ LIQUIDATION” –paintings, French Institute, Sofia, 2003
“ EVERYTHING IS UNDER CONTROL”- paintings, XXL Gallery, Sofia, 2002
Anton Terziev is one of the youngest generation of Bulgarian artists presently making its mark on the Sofia art scene. Terziev graduated from the Notional Art Academy of Sofia , specializing in ceramics, but has since developed a practice that includes painting, performance and video. His work derives from television and commercials and the neo-conceptual art of the 19905. Terziev's pointing IS figurative, but he intervenes with additional text and pop elements; it might reference politics, sports or computer games! as well as religious or social realities or metaphors.
Terzlev's sports paintings are directly related 10 the policies and attitudes of contemporary nationalism, depicting a game that is overly serious and aggressive. One image illustrates the contrast between the bright, calm world of people playing and the shock of a recently detonated bomb, Its smoke spiraling aver the tops of the buildings. Terziev also considers consumerism, borrowing commercial slogans to highlight their use of sex and violence.
All of this goes far beyond traditional Pop art, which purloined the aesthetic dimensions of consumer culture - Terziev's attitude is rather more critical. He paints rationally, often borrowing from photorealism, while at the same lime applying painl expressively. The result is a multi-layered visual experience, serious despite deriving from mass culture.
Lately Terziev has focused his attention on performance and video, often collaborating with the group Ultrafuturo, which comprises Oleg Mavromatti, Boryana Rossa, Katia Damjanova and others. The group's work is utopian in outlook, with body ort as its means of expression. One of Terziev's actions took place inside a small 16th-century church near Sofia . Kneeling at the site of its missing altar, the artist wears on eyeless and mouthless popeI' mask vv'ith a long nose to symbolize Pinocchio the liar. The mask - which was actually stitched onto his face with surgical thread - is covered with texts from
New Testament. Intuitively Terziev finds his \Nay out of the temple! where
the mask is removed. At first the performance seems simple and naive, but
the pain that must have been endured bears authentic value:. This farcical, grotesque performance among the orthodox frescoes fells between the seriousness of religion and the parodic potentia! of theatre. Similorly! in the performance Fire Ball (2004) Terziev end the members of Ultrafutufo throw and catch, with unprotected hands, a flaming ball in front of one of the bi9gest orthodox churches in Sofia . This beautiful and destructive comet brings play and pain tcogether, hinting at serious implications for art, religion and society.
TEXT :SVILEN STEFANOV. HE IS AN ART CRITIC AND PROFESSOR IN HISTORY OF CONTEM.PORARY ART AT THE NATIONAL ART ACADEMY IN SOFIA