Obruchenie 1923

Curator: "Obruchenie", made with mixed-media and tempera on a canvas; it comes to us from the prolific Symbolist period in Bulgaria, around 1923, courtesy of Ivan Milev. What springs to mind for you when you first encounter this composition? Editor: An icon! It possesses an almost unsettling power. The sharp geometric shapes juxtapose a strangely mystical atmosphere, yet it has a human quality to it. Are we witnessing a spiritual scene or some kind of a theatrical spectacle? Curator: It definitely invites the air of performance. Milev, ever the stage director, orchestrates history into spectacle, almost as a protest of public opinion, as the scene evokes an early Bulgarian marriage. There's something both theatrical and ancient happening simultaneously. Editor: Protest is an interesting way of framing it! What exactly was Milev taking a stand against in these ritualized scenes? Curator: Well, consider Bulgaria in the early 20th century – it’s undergoing profound transformations and the collective imaginary eye is searching for its own place within the broader context of modernity. Milev presents marriage, as something raw and unvarnished, set against geometric forms—almost brutal. It really stands in contrast to sentimentalized nationalist narratives being put forth during that time. Editor: Yes, I see the intent here—but the overall effect is, admittedly, rather stark. The colors—earthen, muted—contribute to that sense of tension, which feels…intentional? This isn’t about easy beauty or comfortable national myths, is it? Curator: Far from it. Milev grapples with the essence of nationhood, the core foundations that are frequently swept aside for more presentable stories. It's about looking directly into the symbolic foundations, even if they are sharp around the edges. He does it by combining local ethnographic motives with bright symbolism. Editor: So, stripping away the surface gloss, examining the building blocks of shared identity. As unsettling as that may be for some…I'm also seeing, now, how brave it must have been, offering this counter-narrative during a time of heightened national… self-mythologizing, shall we say. Curator: Absolutely, brave is a perfect description. It goes beyond pretty pictures and romantic notions. Editor: Well, I arrived initially with skepticism, and am now converted to an appreciator of Milev's direct, though unsettling, gaze. A nation is far more than grand, theatrical spectacle – its truths often lie in these kinds of awkward corners and unsung practices.