article: Milla Tarabanova
The Vladimir Dimitrov – The Master Gallery is an incredible hybrid: a treasure trove of the Master’s works, a modern gallery, and one built atop ancient Roman ruins—ruins that, as they say, were not buried under concrete but were instead preserved with respect for history, carefully prepared to be displayed to the public once the gallery building was completed. Unfortunately, that moment has been long delayed.
I would travel all the way to Kyustendil just to see the paintings of Vladimir Dimitrov – The Master, and that alone would be enough for me. But here, I discovered a wonderful surprise. The current gallery building was completed in 1972, thanks to the efforts of a strong creative group that formed around Vladimir Dimitrov, led by Dragan Lozenski. During construction, Roman ruins were uncovered, and plans were made to exhibit them in an underground level. After opening in 1972, the gallery continued to expand, but by 1989, it was left in an unfinished state. Half of the gallery turned into a storage space that still required funding to be completed. It remained a storage area until 2012 when a tree had already started growing in its midst.
The gallery sought help from every possible source until Svetlin Rusev organized an event with Mincho Minchev and many other figures from the art world to draw public and municipal attention to the problem. The municipality stepped in to help clear out the space, and the halls began to be used for exhibitions during the warmer months.
This storage area, the unfinished part of the gallery, has now transformed into an exceptionally contemporary space. It is precisely the kind of space modern artists seek—either due to a lack of funding, the absence of traditional décor and makeup, or for a social cause, to bring the audience directly to the issue at hand. And of course, there are the magnificent spatial parameters—vast openness and impressive height—which make such a space so appealing. The impact is undeniable!
When I visited, there were several outstanding temporary exhibitions: Anton Goshev’s work was elegantly displayed in this very space, as well as in the more representative part of the building. Ivan Milev’s landscapes—stylized visions of mountains, forests, and fields—led visitors toward the gallery’s most contemporary space. Eight students (Galia Blagoeva, Elina Simeonova, Maria Malinova, Nikola Tsvetanov, Svetlin Demirev, Hristina Drenska-Tita, Hristo Antonov, and Yana Karamandzhukova), who had completed their master’s degrees in the Sculpture Department at the National Academy of Arts in Sofia in February, filled the space with a powerful creative energy.
The gallery feels like a living organism. It is evident that the strong artistic spirit and dedication continue to thrive there. It is truly inspiring and, unsurprisingly, stands as the face of the city.
