Painting and the Expanded Object

The course is conceived to explore painting from traditional methods to all its expanded forms and open-ended possibilities and configurations to further develop the participants’ analytical and expressive means in their creative visual practice. The ones who enroll are encouraged to incorporate in their projects and independent work ideas of painting that go in and out of the conventional frame and push the boundaries of painting as the beginning of many things: from movable objects and installations to performative actions, video and film.


Experimentation, deconstruction of existing values and reconstruction of one’s own, relation to mark-making, intuition, pleasure, sensibility, and emotions mixed up with popular culture, theory, and many other possible fields of interest- architecture, design, science, technology, music, philosophy- will all be the focus of this class. The main topics to explore are among others: ‘Self as Body’, ‘Eccentric Abstraction’, ‘Looking for Narratives‘, Super-Subjectivity’, ‘Geometry and Structural Collapse’, ‘Utopia and the Prominence of Place’, ‘Painting as Social Sculpture’, ‘For and Against Method’, ‘Punk and Egocentricity’, ‘Pattern, Decoration and Optical Illusions’, ‘Beyond the Heroic Action’, ‘Instability and Alternative Ways of Living’.


Three main projects and a couple of secondary ones will be given. Some projects will have to be completed in periods of 1-2 weeks while others in a couple of hours or during class time only. A group critique will take place at the end of each main project. Participation, dedication and exchange of ideas with others is highly encouraged. 


Images of work by contemporary artists and art processes and experimental films and videos as well as interviews with artists and studio visits will be viewed during each class to expand one's perspective and help clarify possible directions. The given material sets and resets a variety of formal, conceptual, impulsive, technical, provocative approaches to painting and visual art making in general.

Visits to suggested shows at museums and art galleries, on your own and as a group during class, will inspire and stimulate the class dynamics. A list of galleries and museum exhibitions to visit or view and study online will be provided. It is your responsibility to research images of work, reviews and writings of artists suggested that back up your ideas and specific point of view. Taking notes and constructing diagrams during visits, reading of assigned texts, and profound research will be a very important part of the final evaluation and success in class, along with the presentation of the three main projects, attendance and active participation in group critiques.

Miryana graduated from the School of Visual Arts in New York. She is known to the Bulgarian public with some of her performances and installations, shown in various exhibitions, as well as as a winner of the Gaudenz B. Ruf Award for Young Author in 2011. Her projects combine painting, performance, video, moving architecture and public interventions. She has participated in numerous exhibitions in Europe and the United States, and her works are in the collections of Deutsche Bank 60 Wall St, the New York Art Foundation NYFA and the Eileen S. Kaminski Family Foundation ESKFF. She participated in publications such as Artforum, TimeOut NY, Blouin Artinfo and Le Monde Diplomatique. Miryana is a fellow at the Skowhegan School of Painting and Sculpture, Maine (2012), ZK / U- Center for Art and Urbanism, Berlin (2013) and the BRIC Residential Visual Arts Program, Brooklyn (2014).

Method of admission:

Participants are recruited through a competition without an age limit: students from art schools, artists, activists and others wishing to send their CV, projects (if they have) and a cover letter by e-mail:

Price: BGN 850 one course of three months

When enrolling in two courses, the second course has a 25% discount or BGN 680.

When enrolling in three courses, the third course has a 50% discount or BGN 425.

Course is lead by
Miryana Todorova

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