Dimitrina Sevova in front of a Facebook server farm in Luleå, Sweden. Selfie: Dimitrina Sevova


Dimitrina Sevova completed a Master of Fine Arts from the National Academy of Art, Sofia, in the painting class of Prof. Andrey Daniel, the MAS Curating at the Institute for Cultural Studies in the Arts of the University of the Arts ZHdK, Zurich, with Prof. Dorothee Richter, and CuratorLab at Konstfack - University of Arts, Crafts and Design in Stockholm, Sweden, with Joanna Warsza, Michele Masucci and Maria Lind.

Independent curator, researcher, and artist born in Bulgaria, living in Zurich. Her approach as a curator is research-oriented and involves a-disciplinary references and interventions across contexts, spaces and media, with a specific focus on group and collective exhibition-making that operates as an ecology of re-singularization in practices of dis-play. Her main interests lie in the relation between representational and non-representational aesthetic forms, between language, image and text in translation processes, material and immaterial traits of the spectacle in late capitalism, and how technological dispositifs and their apparatuses relate to the politics of difference.

Runs, with Alan Roth, the experimental platform for contemporary art Corner College in Zurich (2015-). Sinopale 5 (Sinop Biennale) under the title, Clusters and Crystals: Observing at Point Zero, co-curated with T. Melih Görgün, Emre Zeytinoğlu, Aslı Çetinkaya, Işın Önol, Elke Falat, in Sinop, Turkey in 2014 (several issues of Sinopsis newspaper in Turkish and English); as a guest lecturer in the Bachelor program of Fine Arts she curated Kunsthof Zürich in 2013, where she developed an trans-disciplinary project consisting of a platform of irregular non-serial events, screenings, public readings, performances, talks, urban interventions and other ephemera, on the theme of Opportunities for Outdoor Play? Playgrounds – New Spaces of Liberty (The Question of Form), and curated, in cooperation with Christoph Brunner, the international public symposium The Diagrammatic Practice of the Micropolitical – the Spatio‐temporal Expression of Play between Power, Knowledge and the Aesthetics of Existence at ZHdK; Sinopale 4 (Sinop Biennale) under the title, Wisdom of Shadow: Art in the Era of Corrupted Information, co-curated with Işın Önol, Aslı Çetinkaya and Elke Falat in Sinop, Turkey in 2012; Reality Manifestos – Can Reality Break Bricks?, a group show and public theoretical symposium at Kunsthalle Exnergasse, Vienna in 2012; among many other curatorial projects.

My curatorial practices are research-oriented and involve trans-disciplinary references and interventions across contexts, spaces and media, giving priority to collective exhibition making. Curating supposes a relation between at least two perspectives, which is already quite a crowd, the multiplicity of an affirmative practice that brings sociality in the field of art. It requires ecologies of co-existence, an immediate engagement with care politics that calls forth a dynamic of I-Other. Curating is a social and aesthetic process of becoming-together in which humans and non-humans act collectively. I am interested in all minor aesthetic forms with heterogeneous elements and phenomena of positive estrangement that evoke a direct relation and inevitably demand participation even in its most passive forms of contemplative spectatorship and unfolds the potentiality of bringing politics there.

For me, curatorial practice resembles the bricoleur who is a kind of a jack of all trades, and yet not subordinate to any of them, as the bricoleur adapts a finite stock of materials and tools, or works with secondary quality, that is, in-between the limited positions, always at the limit, taking into account the precarious character of both the art landscape and the practical plane of the curatorial. The bricoleur builds up durational constructions by fitting together events, or by means of events. The bricoleur collects not only objects, but these vivid moments of appointed time, by chance and by encounter, a practice that somehow has the destiny to dissolve itself into a complex system of relations and to become an impersonal refrain. By bricoleur, I do not mean just a collagist of do-it-yourself, or a selector and collector, but think rather of the roots of the word, the old French verb bricoler that refers to extraneous movements like the balls in a billiard game, or the shuffling of cards, movements irrelevant or unrelated to the subject being dealt with. With this, I am trying to say that the curatorial has to be distinguished from the position of the curator and her practices, to think the technology of exhibition making as a process of producing an apparatus or assemblage of individuation and displaced techniques.




Dimitrina Sevova at academia.edu