Fortner Anderson, "Straight White Boys Texting: Boryana Rossa," October 10, 2015
"...Of course, Schneemann, who extolled women as goddesses, would never have considered the possibility using objectifying and bad and funny citations from « the worst love poetry written by men » or anything similar as the text for her scroll. With these multiple falsifications, Rossa’s replay of Schneemann’s original presents us with the extremely complex portrait of gender relations constructed within a context of hyper-alienation that lodges within alienation within alienation within alienation. "
This book covers my projects completed in 2013 and 2014, representing my thoughts on the body as an active political agent that constructs the attitude towards ourselves and the others. All works have been inspired by my double mastectomy and the changes in my physical and mental understanding of self after this radical body change.
Authors: Nadia Plungian, Oleg Mavromatti, Lisa Vinebaum, Boryana Rossa
Rossa, Boryana. “Amazon Armor.” Personal catalogue, edited by Boryana Rossa and Stanimir Panayotov. Sofia: KOI Books. 2015.
Art for Change - 1985-2015, Edited by Maria Massileva, Sofia: Sofia City Art Gallery, Maria Vassileva. 46, 94, 95,100, 106, 183, 190, 187.
"The objective of the "Art for Change Project" is to show at least part of the responses of Bulgarian artists to the social and political environment. It covers the period from the second half of the 1980s to the present, that is, from the nascent democratic changes during the perestroika and throughout the period of the transition, which is still ongoing."
A review of Post-Cold War Gender Performances: Cross-Cultural Examination of Gender Performances Viewed through Film Reenactments by Boryana Rossa. Joseph Schlegel, In Dissertation Reviews, April 6, 2015
Rossa successfully creates anxieties in the reader/viewer that effect a positive contribution towards the elaboration of gender performance in contemporary global society. The written dissertation and associated video installation renegotiate the history of Bulgarian, Czechoslovakian, Russian, and Soviet film through the lens of gender performance. Her perspective as both artist and researcher allows Rossa to investigate both the personal and political dynamics at work in film production.
Interview with Irina Nedeva, Bulgarian National Radio, "Horizont predi obed" ("Horizon before lunch") July 01, 2014, published 2:25 pm. In Bulgarian:
I have always believed that art has strong social and political impact, and this impact is what I’ve always wanted to achieve through my art. Performance specifically is the strongest media for immediate effect, in my opinion. I also believe that the difficulties, which the art system experiences to monetize performance art, keep this genre at the edge, fresh and strong as a political tool. The fact that performance art engages the body and in particular artist’s body, makes it one of the most risky, but also sincere mediums in art. The presence of the body with all its properties and performativities, such as class, gender, race, nationality, body shape, etc. make the political statement and the social engagement of the work almost inescapable. The “performance of the body,” and as I said, its very appearance immediately engage us with identity and personal and collective history, which instantly politicizes performance art.
Knaup Bettina and Beatrice Ellen Stammer. Re.act.feminism a Performing Archive. (Berlin: Verlag fur Modern Kunst and London: Live Art Development Agency) 2014.
8th of March: A brief History of Art in the Last 25 years in Texts abd Images. Edited by Maria Vassileva. Sofia: Gaudenz Ruf. 2014.
Common wisdom says that talking is a woman’s specialty. The “Erato’s Version” exhibition from 1997 was the first time female voices in Bulgarian art came together. 17 years later the women artists from the 8th of March Group do not stop talking in words and images. This book is a compilation of some of their thoughts, emotions, fears and hopes that have accumulated over the years. Questions asked by Maria Vassileva, the curator, are related to the current situation in Bulgarian art and the position of each group member there.
Наталия Абалакова, Тайна аппарата — «Тактильное кино» — и выбор Боряны: Художник Наталия Абалакова о Перформансе Боряны Росса в галерее «Соль», www.cnftm.ru., # 3/296 | 10—24 февраля 2014.
" Рук публики, вступившей в интерактивное действие, не будет видно под занавеской. Все действия будут восприниматься исключительно благодаря тактильным ощущениям, а не визуальным. Защищенные, таким образом, могут «трогать и надавливать» на проблемы женщин и не только женщин с иными телами, внутренне и социально».
Похоже, что сконструированный Боряной Росса, болгарской художницей, живущей в США, социо-культурный «аппарат» не сможет изменить материальный мир, в том числе и человеческое тело, и ее собственное тело, но он может изменить знак этого тела; и снова, переосмысляя и переинтерпретируя «тактильное кино» 1968 года в Москве 2013-го, создать напряженный диалог между художником и зрителем.
Shadkovska, Katya, "Boryana Rossa." Politicheskaia propaganda. St. Petersburg, 2013.
This is an online journal, which was supposed to be an exhibition in St. Petersburg. The show didn't happen because of the Russian state censorship practice to consider projects that have been funded from abroad as inappropriate intervention in the state's internal affairs. The following is my interview with Katya Shadkovska published in the journal and the work "Vitruvian Body" 2009, that was supposed to be exhibited:
Rossa, Boryana, A. Vaseva and M. Vakarelova. Gorgons in the storage room or Apocalypse Now. Sofia: Sofia City art Gallery, 2013.
Work on the creation of the third exhibition in The Other Eye series of the Sofia City Art Gallery (initiated by Maria Vassileva, to whom we are very grateful for inviting us) placed us in the unexpected and challenging situation of having to think/watch/display as a group. We alternated between uniting into a triple being, different-eyed and different-faced, and re-forming into smaller entities (and multiplicities). A triple monster with a revealing gaze, with six eyes or three bodies in a cave full of images.
Sofia Queer Forum 2012 (exhibition catalogue), Edited by Boryana Rossa and Stanimir Panayotov. (Sofia:Anares Books) 2013.
Full catalogue available for download will soon be available on Sofia Queer Forum 2012 webpage
Gender Check, (exhibition catalogue) Bojana Pejic ed. (Vienna, ERSTE Foundation) 2009. The catalogue has been published on the occasion of the exhibition Gender Check. Femininity and Masculinity in the Art of Eastern Europe. It contains a major part of the exhibition’s art works as well as theoretical approaches and perspectives. Gender Check tracks the transition of female or male role models within art against the background of socio-political framework and focuses on gender in the art and social history of Eastern and Southeastern Europe – a field that has been unjustifiably neglected to date and that, as a result, is almost completely unknown.
"Global Feminisms" is a celebration of contemporary feminist art that brings together works by over eighty women artists from around the world. Contributions by a multinational team of authors focus particular attention on socio-cultural, racial and gender identities.
Andrei Parshikov, "The Most Tricky Word," (newspaper-catalogue) Gallery Praktika. Moscow, 2006.
Abalakova, Natalia. "Prostyuie imena yazika." Tema. March 2013. 70-75.
Rossa, Boryana and Stanimir Panayotov. “Edvin glatni pastichka.” In Protestyt- analizi I pozitsii v balgarskata presa, edited by Daniel Smilov and Lea Vaisova, 109. Sofia-Iztok/Zapad, 2013.
Pavlova, Desislava. “Boryana Rossa.” In Bulgarian Nouvelle Vague (Sofia: Asen Asenov, Edno) 2012.
Nungesser, Michael. "re.act.feminism." Kunstforum International. 2009, 272-274.