Frames of Reference

Exhibition of frames and belonging to them artworks by the artists:


Alexander Valchev || Alexander Lazarkov || Antonin Strantsouzin || Vasko Slavkov || Voin de Voin || Georgi Ruzhev || Gergana Ivanova || Deyan Yanev || Iskra Blagoeva || Kalina Hristova || Kaliya Kalacheva || Kamen Startchev || Lyuben Domozetski || Nadezhda Oleg Lyahova || Peter Chinovsky || Rositsa Getsova || Rumen Panayotov || Sasho Stoitsov || Svetli Evgeniev || Tihomir Stoyanov || Artoaneta


  • Author of the project, curator, text and image: Antoaneta Quick
  • Frame collection: Boris Ivanov
  • 25 November – 12.December, 2021
  • Opening: 25.November, 2021, 5-9 p.m.


See the exhibition artworks here!


Take 3D Tour by clicking the image below:


The newly established tradition of Little Bird Place dictates that we send the year off with a group concept exhibition. So, at the end of the 21st year of the 21st century, 21 artists were invited by Antoaneta Quick to create in antique frames from the private collection of Boris Ivanov, without, however, expecting the authors to ‘fit’ in them.


What is the significance of the frame for our experience with the artwork that it surrounds, encloses and carries? Do we perceive the frame only as a supporting structure, scaffolding or addition to the painting? Does it affect our reaction and relation to the artwork and its value? Does the painting need a frame in order to focus the viewer’s attention, to distinguish its qualities, to differentiate its completeness? And does the frame need a painting, a photograph or an appurtenant object to justify its existence?

Often overlooked and rarely in the focus of the exhibition, it is the frames, not the paintings, that play a major role in Antoaneta Quick’s curatorial project, Frames of Reference. Without belittling the artworks in them, the project raises the question of their significance in the art world, while exploring the unconventional process of creating  art to а frame, set experimentally to the participating artists.

The frame as a fence and a restriction, but also as a basis and direction for the artist. The frame that separates the artwork and at the same time integrates it aesthetically into the surrounding environment.

Each frame comes with its own history, which after its meeting with the artist will be told differently. Each author is called personally by the frame they’ve chosen, and in the communication between them a new eclectic creation is born, bearing the depth of the classic and the disobedience of contemporaneity.

In the theory of relativity, the term ‘frame of reference’ is a reference system denoting the point of view of the observer. The eponymous exhibition similarly raises the question of the relativity and conditionality of our perceptions. The frame replaces the supporting role with a major one to provoke and transform the way we see and look at the art in it.

Antoaneta Quick

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