ДА ПОДДЪРЖАМЕ ТОПЛИНАТА МЕЖДУ НАС И МЛАДИТЕ

ДА ПОДДЪРЖАМЕ ТОПЛИНАТА МЕЖДУ НАС И МЛАДИТЕ

Интервю с проф. Станислав Памукчиев

Проф. Станислав Памукчиев е завършил Националната художествена академия през 1979 година. Работи в областта на живописта, рисунката, обекта и инсталацията. Направил е над 30 самостоятелни изложби, както у нас, така и в редица европейски страни – Германия, Холандия, Австрия, Франция – и САЩ. Участник е и в редица колективни изложби и селекции на международни форуми от рода на Арт–Цюрих и Арт-феър в Стокхолм. Последната му изложба се състоя в галерия Академията през октомври-ноември 2013 година.

Как повлия на оформянето Ви като художник изборът на специалност „Стенопис”?

Моят избор определено повлия в посока на относителна свобода в школовката. За разлика от академичния импресионизъм в руски стил, който доминираше тогава, стенописта ме учеше на условност, деформация, стилизация. Малко по-късно българската живопис беше обновена и преобразена от големите – Никола Петков, Светлин Русев, Иван Кирков.

Вие чететe и осмисляте много автори, свързани с изкуството, религията и митологията. Какво Ви даде един Бердяев, който сте прочели от начало до край?

Много ми е дал. Теоретична плътност и патос в откриването на други пространства. Не по-малко е въздействал на светоотношението ми Мирча Илиаде. И задължително трябва да спомена Джоузеф Кембъл ‑ друга звезда на небосклона на сравнителната митология и културология.

Кои от поетите обичахте да четете на млади години?

От чуждите – Торо и Уитман. От българските – Дебелянов и символистите. Всички тези влияния затвърждават едно интуитивно докосване до скрития смисъл и едновременно то върви и през усилието в рисуването, през мъчителните търсения да намериш себе си.

И как стигнахте до предпочитанието на пепелта като материал и като техника?

Всичко е дадено предварително. После – само се осмисля. Неповторимото себеизразяване на художника става с непрекъснато опипване на територии. Търсейки материала, който да изрази моите интуиции и прозрения, стигнах до пепелта. Тя носи голяма смислова дълбочина с културната си символика свързана с огъня. Огънят е в основата на нашата цивилизация и е символ на пречистване, трансформация, медиатор между тук и отвъд, преход от материално в духовно. Пепелта е следата от грандиозен акт на трансформация. Човечеството само от 150 години е на електричество, в предишните етапи на съществуването му всичко се е въртяло около огъня.

Има ли други български художници, които работят с алтернативни материали като пепелта?

Да, има, но смятам, че не е така концептуално осмислено. В абстрактната живопис има автори, които работят с пръст, слама, пясък, графит и други. В началото на 90-те години имаше опит за разширяване границите на картината, от който съществена част беше промяната на материала и техниката. При мен, пепелта беше осмислена като смисъл и съдържание, а не само като промяна на материала и визията.

Какви са основните тематични внушения във Вашето творчество?

Метаморфозата в човешкия смисъл. Вечното движение на пътища и смисъл. Голямата метафора на живота и смъртта. Диренето на морални и ценностни мотиви. Картината като пространство, ограничена от рамката, ме заведе до пластичните триизмерни пространства. Моята предишна изложба на Шипка 6 през май 2013 година беше посветена на инсталационната техника, която закономерно ми наложи своята условност и абсолют. Но устойчиво се запази тенденцията на моето интуитивно усещане за трансцендентно-мистичното, както и за големите опозиции: тяло – дух, свещенно – профанно, светлина – мрак, осветената и сенчестата страна на човешката психика.

Какво мислите за комерсиалната визуална култура, която ни атакува навсякъде?

Не мога да скрия моята съпротива срещу днешната употреба на културата като забава. С други думи, развлечение след като сме били употребени физически, морално и интелектуално. Културата е възникнала преди всичко като коректив и като духовно изкачване, а не като забава. Аз се съпротивлявам срещу тази подмяна в предназначението на изкуството. Масовата култура подбужда глад за зрелища и сетивни удоволствия. Това е част от програмата за обезличаване на човешкото у човека, превръщането му в удобен материал за манипулиране.

Говорите ли на тази тема с Вашите студенти, интересно е какво мислят за масовата култура?

Разбира се, че да. Разговарям с тях във всички посоки. Обаче през тях минава и друга информация и те реагират по различен начин. Особено през последните няколко години, разликата във възрастта между нас става все по-осезаема. Опитвам се да поддържам топлината между нас като живеене и реакции. Благодарен съм на професията на преподавател, че не ме затваря в моя бульон, че потъвам и се разтварям в други енергии. Опитвам се да си поддържам будно любопитствата към съвременното изкуство, независимо от моята лична програма на художник.

Има ли тенденции в съвременното изкуство, които Ви допадат, и такива ‑ които ни Ви допадат?

Разбира се – да. Това, което става в западната култура има свои исторически цивилизационен ход. Ние се намираме комплексирано в периферията на този ход. Мисля, че в момента траекторията на западната цивилизация е низходяща по-скоро, отколкото възходяща. На нас, като хора в провинцията не и остава нищо друго освен да имаме своята позиция, своята отговорност и достойнство. Да изберем своята позиция, вярна с нашата национална традиция, а не сляпо да копираме. Може да черпим вдъхновение и пример от високите постижения на западното изкуство, но не да преписваме. Трудно е, но задължително да запазим своята самобитност, въпреки диктата на медиите и обществената конюнктура. Потопени в информационния океан младите лесно могат да се удавят и да не намерят своята неповторима идентичност.

Според Вас човечеството, ако стигне до краен предел, ще тръгне ли в друга посока?

Много мислещи хора смятат, че това неизбежно ще стане. Аз се опитвам да върна човека към първичното усещане за мистичното. То се намира на границата на познаваемото, и пред бездната на неизвестното. Тогава се поражда търсенето на отговори, което е дало начало на всички религии. Ввъ ново време заменихме това чувство за мистичното с илюзията за икономическия и технологическия напредък и още повече с консуматорското задоволяване на желанията. Този постоянен стремеж у мен към трансцедентното е опит да спася нещо от себе си и да разговарям с другите за нещата от живота. В крайна сметка трябва да извличаме нещо стойностно и трайно.

Смятате ли, че въпреки изкушенията на новите технологии не трябва да се поддържат традиции в обучението на младите художници като изстраданато усилие да се научиш да рисуваш добре?

Лично аз мисля, че трябва да се мине през изстраданото усилие на научаването да рисуваш добре и аз застъпвам идеята за умерена, умна консервативност в Академията. На Запад беше загубена класическата традиция в обучението на младите, но сега отново се връщат към нея, към изискването да се изобразява и да се развива дарбата, заложена у родения художник. Само тогава той може да намери трайно своята неповторимо индивидуален почерк. 

Интервюто взе д-р Ксения Киселинчева
ноември 2013

THE PERSONAL TOUCH MAKES GUESTS FEEL AT HOME

THE PERSONAL TOUCH MAKES GUESTS FEEL 

AT HOME

Interviewed by Dr. Ksenia Kisselincheva

The General Manager of the Kempinsky hotel in Sofia has graduated from an elite hotel management school in Lausanne, he has had an impressive variety of experience in exclusive hotels the world over. The World Trade Center in Beijing, The Shangrila hotels in China and Malaysia are only a few of the highlights in his professional record. He has been all over European top-class hotels but he has a special preference for the Kempinsky brand in the hospitality business. He has great regard for venues which have a tradition and history behind them. The Kempinsky dates back to 1897 and has successfully combined the grand style of the past with the new image of an exclusive modern hotel with all the range of up-to-date services.

I’m really impressed with you high-profile professional experience in the hospitality business. Would you be kind to share some valuable instances from your practice?

What is most valuable for me, this my great love for the business. You won’t excel in anything unless you put your heart and soul into it. Another thing is to generate ideas, to be creative – that is to strive fervently to see things in a different way, from a different angle. But the most important instrument in the hospitality business are people. That’s why we are very particular about selecting and training our staff. We don’t work with machines which can be returned, repaired and sold again. We work with a special product which functions every second of the day-interaction of our staff with our guests.   And

thingswork smoothly, this is our moment of truth. We cannot recuperate any mstakes the way you can do in a factory.

What would advise managers of your rank?

I would stress the importance of selecting and training people.  The hiring procedures have to be very reliable and very accurate. But, for me, the most important criterion is the kind of attitude. The staff should be people with a positive attitude to life and people, they should show tact and patience and should be ready to solve any problems.

In what way hotels like Kempinsky distinguish themselves from other hotels of the same class?

First of all, Kempinsky is among the oldest hotels which are of world renown today. It was founded in 1897 and has maintained its high standard of service for over a century. What is distinctive about our strategy is that we try to adapt to local culture, the historical heritage and this gives an individualistic character to our hotels in different places the world over. Some places we have palaces or grand hotels, other places we have smaller hotels, depending on the specific local environment. Like in Fuerta Ventura, which is an expensive beach resort, we have a grand hotel which is done in classic style, we have emphasized the unique character of the place and we have made look special.

Do you think the idea people have of the modern type of hotel corresponds to the one you would like to promote?

 We have to listen to what people need and expect from us and at the same time we have to promote new ideas and try to persuade them that they contribute to their comfort and well-being while staying with us. For example, we organize national day celebrations where the respective national cuisine is served, combined with fashion shows and live music. We are also the venue for many important international and national events because we can offer all the high class standards, brilliant organization and all the facilities.

What is your strategy in attracting the audience of One World magazine, especially those who fly by business class of Lufthansa? As you know our magazine has been distributed to the respective airline for over a year?

Kempinsky is a German household name. We have a lot to offer in our hotel in Sofia. We have a multiple choice of restaurants, offering various national or international cuisine. The beautiful Japanese garden is a special asset of ours. You can sip your drink while enjoying the splendor of nature in the middle of a two million strong city. The recreation center offers all the range of services of a sporting center from fitness and bowling to swimming and massage. It is quite spacious and the ambience makes you feel relaxed and comfortable.

How do you envisage the hotel of the future?

Definitely, the hotel of the future is supposed to offer a greater number of services which will correspond to the changing needs and expectations f the customers. I think it will be a top priority to cater to the individual guest, to satisfy his specific requirements. I imagine there will be executive lounge clubs where guests can meet and even do business. This will be like your living room and private office away from home. There is nothing like meeting people directly, face to face. I don’t think video-conferencing and e-mails can substitute the live contact. And guests should feel the hotel like a second home where they are treated with a personal touch at every step.

                                                                                                     

One World Magazine, 2007

WHAT’S GOOD FOR THE GOOSE IS GOOD FOR THE GANDER

Prof. S. Jacobson is a graduate from the University of Oregon and is presently teaching law at Willamette College, the first university founded in the West. Her controversial book “Democracy Against Corruption” came out recently in over 2000 copies in the first round. It is a unique edition in itself, including both an English and a Bulgarian version and is published by the Council of Ministers. She was interviewed on the occasion by Dr. Ksenia Kisselincheva

 

The promotion of your book seems to be highly relevant to our country’s massive effort to deal with corruption in the final pre-accession months. Could you tell us what its particular objective is?

This book is trying to force an important change in the functioning of public administration. In the seven years after 1989 there wasn’t really a change in the way it worked. Now there are some positive things happening in this direction. That’s why we thought it would be helpful for everyone in government to have a template of what their goals really are. To look at it more globally there are all kinds of changes that are needed, so we have to look at the policies behind what we are trying to accomplish.

What is the idea of corruption that you put forward in your book?

The first portion of the book puts forward a definition of corruption. Corruption is broadly defined to include what most people consider to be corrupt, i.e. not only breaking thr law, but breaking ethical and moral norms. When you breach these norms for personal gain, we have a problem with corruption. The perception of corruption is very high in Bulgaria and for that reason the government can define it only in terms of an illegal act, while the public is defining it much more broadly.

What are the instruments of democracy in tackling corruption?

The second chapter of the book is discussing the democratic principles that are important in administering a government. There is a basic difference between the way an authoritarian and a democratic bureaucracy function. Unfortunately, most of the current bureaucracy in this country really falls under authoritarian. While a democratic bureaucracy offers multiple opportunities for public involvement and participation. The public acts as the most powerful check against abuses of power.

How do you see the complex relationship in a democratic society between government and those governed?

The government only exists in a democracy to serve the people. The      constitution expressly says the power is with the people. Since ther were no dramatic changes in the bureacracy here, it continued to function as before, that is in the authoritarian state. So, this is a point to fix in a democratic administration. There are a number of important mechanisms that should be in place. The most important mechanism is already in place, that is, the right to request government information, information which is not classified, is provided to the public. The access to information program, headed by Guergana Juleva does a wonderful job and shows how well the law is implemented. The compliance rate is greater than ever before. Most people don’t know how to use their rights, they are still afraid to complain or to stick out. As you know, in the past, to be noticed was the worst thing that could happen. So, there is still a lingering sense of being intimidated by the representatives of the authorities.

Are there any other procedures to be incorporated in the law?

Definitely, for example another important procedure that does not yet exist is public input in the development of laws. Laws, as they are passed by Parliament, are necessarily written generally. How they are implemented is all determined by one of the Ministry’s Resorts Departments. So, public input is really important there. Right now it is a closed circle situation. There is no public input that you find. There are aspects to problems the vested interests will not let you know about. You need information in order to have wise decision making. The effect on the public of this decision making is extremely important. So far the surveys indicate the public does not trust and does not have much faith in the government.

How could the public’s awareness of their rights to participate be raised?

By learning to speak out, by being aware that their voice is to be heard and taken into account. And the government has a responsibility to listen to that voice. Because the government is there just to represent the people and to work for the public good. The professionals have to prioritize and look at the long-term future on the basis of different points of view. There are two primary ways the people need to be involved. The public can control those in government by insisting the code of ethics be applied to everyone. Right now we have a law that applies to the lower level employees in government. What is good for the goose is good for the gander. It looks horrible the ministers cannot agree on an ethics plan for themselves! A conscious effort is needed to create a culture of integrity to avoid conflict of interest. Secrecy begets corruption, so there should be access to information for things like property ownership of high government officials, the way political parties are funded, transparency concerning funding of election campaigns etc. So, only in this way you can build a democratic society where the interests of the public come first and foremost and it is involved in the day-to-day functioning of the democratic principles.

Sofia Echo weekly, 2006

NOT ONLY BIRDS BUT HUMANS CAN ALSO FLY

Not only birds but humans can also fly

Dr. Ksenia Kisselincheva

Lachezar Boyadjiev is a Bulgarian sculptor who lives in the San Fransisco Bay area.  One of his works, called “Angels” has been appreciated by Hillary Clinton and has been installed in the White House. He has studied glass sculpture under the renowned Czech professor Stanislav Libensky, so he fell in love with glass as the only material to work with once for all. He defected to the US in 1986 and has since made San Francisco his home. It’s difficult to enumerate all the high awards he received, among them the Award of Excellence of the Habitat Galleries in Michigan. It is even more difficult to count his solo exhibitions - they range from Cleveland, Ohio to Toronto in Canada, from Hamburg in Germany to Amsterdam in Holland.

His works have traveled across the world in selected group exhibitions covering from much of Europe to China and Japan. Many of his works make part of permanent collections in reputable museums across the US and Canada, across Europe, South America, Asia and Australia.

We are sitting on a bench outside the Fine Arts Academy in the prime of spring with all the havoc of the heavy traffic which effectively muffled the twittering birds. Lachezar is a very spontaneous guy who does not put on airs and is very down-to-earth. I’m testing the ground cautiously, trying not to be too provocative or too indiscreet.

“What urged you to go back to the start of your creative journey, having in mind all your commissions in the US?”

“I did it for sentimental reasons, mainly because I started from here as a student in the Academy of Fine Arts. My father was a photographer and he was at the centre of the art scene of the time. So, I grew up in that atmosphere, which had a tremendous impact on my development as a would-be artist. When I returned here after I graduated in Prague in 1986, I realized there was no freedom of expression whatsoever. So, a Chech friend and colleague wrote to me “Why don’t you come to San Francisco?” And off I went with two suitcases and a bundle of dreams.”

“Was it much harder to assert yourself as an artist there just because you were a foreigner?”

“On the whole, Americans are very open. So, if you are persistent in pursuing your goals, you can make it. At first, I worked for three years at a studio just with my hands - cutting, grinding, polishing glass for art objects. But, after work, I could use the studio to do my own work.”

“Which are the best moments you experienced on coming back?”

“Oh, definitely meeting the people I haven’t seen for a long time. Svetlin Roussev, my teacher from the Academy, opened the exhibition and said some very insightful words about my work. My deep motivation in doing this exhibition in Sofia was to pay a tribute to my father, who helped me discover the artist within myself”.

“Are you planning to exhibit somewhere else round the world?”

“Yes, in China, during the Olympic year. I want to return to the Asian markets. I have already been in Japan twice.”

“It’s a challenge to face up to a completely different artistic sensibility and tradition. I think there is something very exquisite and spiritual about your work which will probably appeal to Asian cultures.”

“I can’t wait to go there. It’s an adventure I’m looking forward to.”

“There is a distinctive feature, uniting all your work - a dynamic energetic quality of spiraling upwards, as if striving to reach the skies. It provokes a peculiar sense of spiritual urge within the viewer, for an instant his soul seems to take to an exhilarating flight.”

“It’s God’s gift to be a kind of a mediator between earthly things and the parallel spiritual worlds, all around us. If I manage to make people feel a spiritual dimension to their existence, I have fulfilled my mission.”

“There is a luminosity, radiating from your sculptures. Does it have anything to do with your personal religious experience?

“It all comes from God and it takes root in my imagination. All my work is a celebration of God and the mystery of Creation. Sculpture is like music in space and for me the best expression of my voice is the combination of monochromatic color with shapes, molded in glass.”

“Lately you have been returning here more often. Every summer you and your family return to your cottage in Balchik on the Black sea. What drives you back to your native land?”

“With advancing age, this sense of belonging grows stronger and stronger. Bulgaria has changed a lot, in some respects for the better. You can express yourself freely, without being punished for it. It is much more part of the global cultural village.”

“Are you planning a show somewhere else in Europe?”

“Probably in Amsterdam again by the end of the year - I love it there because it is definitely one of the artistic capitals of Europe. But, actually I want to expand to more countries - like China, Indonesia, South Korea etc. I’m lucky to feel a citizen of the world.”

“Do you listen to music while you do your drawings in pencil and charcoal?”

“I listen to music all the time, from the moment I wake up to the moment I go to sleep. Especially while I’m at work. I listen mostly to classical music, but at times to jazz or Latino-it depends on what music agrees with my specific vision and mood.”

“How much do you devote to your family – you are a proud father of three boys and a girl.”

“I spend a substantial part of my time with my family. I try to pass on to my children the values I have grown up with. The values that come from my parents, especially my father. I try to teach them to work hard, to be honest and truthful. To do everything to the best of their abilities. And, not necessarily, to expect an immediate return. I’m telling them, “sooner or later, it will come back to you.” I think my personal example matters a lot. So, to be a parent involves a huge responsibility.”

“Are you optimistic about the future of mankind, minding the pile of global problems on the threshold of the 21^st century?”

“Yes, I’m fairly optimistic. There are no problems, only solutions. Solutions to be found with the help of science and technology. Mankind is to be around for much longer.”

Ending my working day on a bright note, I plunged into the traffic nightmare and headed home. All the time I had the feeling I was hovering above the fumes and horns, probably because I have been in touch with a truly creative spirit. A person who is genuine and level-headed and has none of the affectations of a particular breed of artists who seem to always pose for posterity.

Sofia Echo Weekly, 2010