Four bronze figures look towards the sky as a plane flies over Sofia's City Garden. One holds his left hand above his eyes; another keeps her right hand around her ears. Aeroplanes 1943 is a strange, yet distinctive sculpture by Bulgarian artist Nikolay 'Shmirgela' Vladov (1911-1999). About 2,000 kilometres north of Sofia, in Belgium, an identical copy of this sculpture stands in the serene garden of a museum.
Official events, lineups of costumed politicians, protocol smiles and orchestrated crowds of children, workers, businesspeople - being the official photographer of an institution does not seem that exciting. But sometimes the person holding the camera has the power to transform the narrative, to discover hidden truths, to capture glimpses of unfiltered life. We saw it during Barack Obama's presidency with the moving, lively photographs of Pete Souza. Now, in Sofia, we see it in the philosophical photography of Frédéric de la Mure.
Мanufacturing building bricks and art hardly ever meet. But as you pass under the red clay arches leading to an assemblage of strange red and black creatures, deformed men and children, and labyrinths of bricks and broken moulds, you will find your disbelief suspended.
The premises are inconspicuous. You are in Cherven Bryag, a quiet industrial town of about 10,000 still reeling from the closure of its old industries, including a tank parts factory and the railway to Oryahovo on the Danube.
Built in 1903 and later transformed into a house on the water, the vessel’s name carries the deep Dutch understanding that perfection is God’s privilege and that everything created by human hands is imperfect by default. The exhibition builds a conceptual bridge between two centuries marked by global transformation. The boat is no longer just an object, but a time capsule preserving signs of adaptation and individual memory.
Any expat or visitor to Sofia will no longer have an excuse they did not know the name of any Bulgarian photographer. A major exhibition at the Sofia City Art Gallery, curated by a multi-person team of academics and art historians, is poised to rectify the historical injustice.
Where: Bulgarian Culture Institute - Berlin, 114-115 Leipziger Strasse
When: 16 December 2025 – 31 January 2026
Curator: Olympia Daniel
What happens when two experienced psychoanalysts with interest in film analysis decide to speculate about what really happened in the final hours of one of the 20th century's ultimate movie stars? The answer is one of the latest plays on Bulgaria's theatre stage, Marilyn Monroe's Final Hour. Dr Vivian Pramataroff-Hamburger and Prof Dr Andreas Hamburger have applied both their professional experience, imagination and sense for the dramatic to give their idea of what happened to Marilyn Monroe on 4 August 1962, just hours before she was found dead in her bed.
The throngs of tourists jostling for a better view of the Mona Lisa have become so overwhelming that the Louvre is already planning to exhibit it in a separate space. Such obstacles are not encountered when viewing Ahinora, a painting of a woman with eyes as enigmatic as Mona Lisa's smile, created by one of Bulgaria's most prominent painters.
Painted in 1925 by Ivan Milev (1897-1927), Ahinora mesmerises with her oversized, green eyes: feverish and fixed with fear, amazement or curiosity about something or someone beyond the frame.
Picasso's musing that every child is an artist is both true and exaggerated. Young children create art instinctively and with great enthusiasm – it is their way of exploring the world and the capabilities of their senses and fingers, to understand and express their emotions.
Since ancient times, the arts have been passed down from teacher to student – an established line of professionals who learned composition, themes and techniques from their elders, developed their own styles, made their own discoveries and then passed on their experience to the young. This practice nurtured traditions, spawned schools, inspired change and spawned new art forms.
An exciting exhibition, Thinking in Materials, at the Sofia Press Gallery, explores the idea of continuity through the influence of a master painter over a group of students he trained in the early 2000s.
The charity exhibition Buy Art, Give Future To a Child is a chance to buy top photography from some of Bulgaria's finest authors and to help disadvantaged children to realise their talents and potential. The proceeds from the exhibition at the Sofia Press Art Gallery will go to the Plyusheno Meche, or Teddy Bear, association which organises Bulgaria's Hidden Talents mentorship programme. It helps talented young people without parents or at risk to enlist in university or get a job.
The New Yorker is an institution; a magazine bought and read by generations for its captivating and meticulously researched, fact-checked and proofread texts, the dry witticism of its cartoons and the illustrated covers that offer a visual commentary on both local and global issues.
Aleksandrina Ivanova
Sinemorets, which name means "blue," is one of the most picturesque parts of the Bulgarian Black Sea cove: a rare combination of pristine beaches, impressive cliffs, a river and thick oak forests. You have probably seen it many times, in person or in photographs, including in this publication.
Andrei Rosetti, Veleka
We had visited Bulgaria briefly and loved the rich history of the country, the traditional culture still honored and close to the surface, the welcoming people we met, the Balkan cuisine and the wines of the countryside. It was clear to us that Sofia is a delightfully liveable city. We came for a year in Bulgaria – we’re now midway in our fourth year.
Through vivid and at times poignant images Communist Bulgaria shows what has remained of this country's Communist material heritage. Included are some would famous sites such as the Communist Party Memorial House on Mount Buzludzha, popularly referred to as The Flying Saucer of Communism, downtown Sofia with its Stalinist architecture, and many monuments of Second World War resistance fighters. Thirty years after the collapse of the Iron Curtain most have been abandoned and are in various stages of decay, exuding eerie, even otherworldly vibes.
Yambol, in southeastern Bulgaria, has been a hub for various folk traditions for many centuries. Nowadays, alongside Pernik in western Bulgaria, it is thought of as one of Bulgaria's capitals of Kukeri, or mummers. An annual folk festival takes place in downtown Yambol, usually at the end of February or beginning of March, with mummers not only from the surrounding villages but also from all parts of Bulgaria that retain the tradition arriving by busloads to participate in a three-day folk extravaganza of loud music and even louder clanking of mummers' bells.
The exhibition was organised with the support of the American Embassy in Sofia. Ambassador Eric Rubin opened the event, together with Amelia Gesheva, the deputy minister of culture. The guests included Bulgarian and American expats, representatives of the diplomatic community, artists and photographers, entrepreneurs, journalists, members of the NGO sector and others.
Frontiers: Photography from the American Southwest will travel around Bulgaria. Its next stop is in Varna, with opening at Varna City Art Gallery on 5 April.
"There are many such places," he continues. "Every man, every woman, carries in heart and mind the image of the ideal place, the right place, the one true home, known or unknown, actual or visionary… For myself I'll take Moab, Utah. I don't mean the town itself, of course, but the country which surrounds it – the canyonlands. The slickrock desert. The red dust and the burnt cliffs and the lonely sky – all that which lies beyond the end of the roads."
The exhibition covers some of the mesmerising and atmospheric remains of Jewish heritage in Bulgaria: from the mosaics of a 2nd century synagogue in Plovdiv, to abandoned and crumbling synagogues and cemeteries, the only reminders of the Jewish presence in a number of cities where the community left, in 1949-1951.
Before Sofia, the Jewish Bulgaria exhibition by Anthony Georgieff was on in Prague and in London. The exhibition was organised with the support of the America for Bulgaria Foundation and the Embassy of Israel in Bulgaria.
For over 10 years Yambol, the city in southeastern Bulgaria, has been the host of a major street festival attended by dozens of groups of mummers from all over Bulgaria. Usually, it is held at the end of February or the beginning of March, and from its beginning it has included an international photography exhibition of mummers and carnivals called Kukerlandia. In 2018, the Vagabond Magazine Special Prize went to Ekaterina Staromanova from Sofia.