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  • Mark Garcia

    Architextiles

  • Susanne Küchler, Daniel Miller

    Clothing as Material Culture

  • Caryn Simonson

    Textile Volume 6 Issue 3. The Journal of Cloth and Culture…

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    Materiology. Handbuch für Kreative. Materialien und…

  • Luis Fernandez-Galiano

    AV 115. Materiales de Construccion. Building Materials

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    Nanomaterialien

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    Stoffe. Zur Geschichte der Materialität in Künsten und…

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    Materiality

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    Smart Materials. In Architektur, Innenarchitektur und Design

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    Politics of Scale. Räume der Globalisierung und…

  • David Cay Johnston

    Free Lunch. How the Wealthiest Americans Enrich Themselves…

  • Edward Denison, Guang Yu Ren

    Modernism in China. Architectural Visions and Revolutions

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    Wer sagt denn, dass Beton nicht brennt, hast Du’s probiert?

  • Henri Lefebvre

    Writings on Cities

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    Von der Stadt zur urbanen Gesellschaft: Jacob Burckardt und…

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    Millionenstädte Chinas. Bilder und Reisetagebuch einer…

  • Diana Mitlin, David Satterthwaite (Hg.)

    Empowering Squatter Citizen. Local Government, Civil…

  • Henri Lefebvre

    The Production of Space

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    Die Revolution ist auch nicht mehr, was sie mal war

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    The Concrete Dragon. China's Urban Revolution and What…

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    Beijing. The New City

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    Folk Archive. Contemporary Popular Art from the UK

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    Revolution als Prozess. Selbstorganisierung und…

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    Housing by People. Towards Autonomy in Building…

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    Utopia Deferred. Writings from Utopie (1967-1978)

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    Dreamworld and Catastrophe. The Passing of Mass Utopia in…

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    Limits to Capital

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    Kapitalismus, Regulation, Staat. Ausgewählte Schriften

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    Rogue Economics. Capitalism's New Reality

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Nedko Solakov. 99 Fears

Bulgarian artist Nedko Solakov (b. 1957) understands fear. While living for three decades under a dictatorship he was no stranger to the secret police. In his art, however, he has maintained a level of humour and sincerity that's as remarkable as it is touching.First exhibited last summer at Documenta 12, "Fears" consists of 99 drawings on paper, each 19 x 28 cm, and each bearing a handwritten caption. Together they represent a catalogue of worries, apprehensions and phobias that veer from the hilarious to the arresting. Some are personal (no. 27 shows an abstract shape bearing the word 'AIDS', with a caption that reads, 'One of my biggest fears (sometimes the biggest), and I am not really screwing around.'). Others resemble timeless fables (no. 2: 'A mightly devil is listening to the problems of a little sinner. It seems that the devil will help the little sinner solve his problems. However, he wants something in return - one the sinner's daily fears. The devil is curious what the feeling of having a fear is like. ').Others are snapshots of existential despair (no. 78 shows a figure pausing at the edge of a cliff: 'A desperate man wants to commit suicide by jumping from a cliff.
Here comes an unexpected obstacle - there is no water down there, only stones, very hard and ominously looking stones.'). Even at its darkest, "Fears" still radiates Solakov's whimsical humour. Solakov's work has been shown in the world's top museums, including Kunsthaus Zurich, the Centre for Contemporary Art in Kitakushu and the Museum of Modern Art in New York. It has also been included in major international exhibitions, including the Venice Biennale (2007 and 2001), Documenta 12 (2007) and biennials in Sydney (2008), Istanbul (2005), Gwangju (2002), Havana (2001) and Lyon (2000), among others.


Suzaan Boettger (Hg.)
Nedko Solakov. 99 Fears
Phaidon, 2008, 978-0714848884