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Bearing in mind the balance between those three directions, I believed it was very important that, for example, series of photographs such as Still Life (2000) by Dessislava Dimova and Ivan Moudov or my The Good Woman, the Bad Woman and the Ugly Man (2001) be shown in their entirety. Those series are very often displayed in part for various conceptual and logistic reasons that are quite legitimate. Still, it is important to display the entirety of the intention determined by the authors’ choice of photographs of the original material so that the original idea can be expressed. The interaction between a curator and an artist, between “Dessy” and “Ivo” as people working together professionally and having a personal relationship is balanced only in a full display of the works they have created. In this series there is no dominator and dominated; there is a dominator in some cases and a dominated in others. The means of domination are determined by the personality and the professional role of the two protagonists, and it is obvious that the violence sometimes turns into reciprocity. An emblem or a logical final chord of the photo series is the video in which a shiny stainless steel vibrator (a symbol of the two as a couple)drums for a long time on the top of an antique cupboard (a symbol of the parents/mentors who, as Moudov says in the text to this series, are its sponsors) before dropping out of the viewer-voyeur’s sight, out of the video frame, out of the framework of art. The actual process of creation in which the two worked with their bodies was probably also a process of mutual negotiation, of exercise of directorial violence upon each other – the choice of clothes, make-up, postures, and the consensual decision as to “What do we want to say by this?” cannot have been painless but, on the other hand, they certainly cannot have been totallydeprived of pleasure.
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