Conceptualization of the Manifestable

The meaning is an abstraction that is always presented with a priority status in all kinds of cognitive researches. The referential systems lighten the space from the inside, allowing the discourse to conceptualize both the aspects of the Manifestation as an implementation of the recognition and the developing manifests of the intellectual - creative attitude towards the manifestable. It is from these positions that Atanas Botev (in his latest works) builds his esthetic strategy. He is primarily conducting a multimedia experiment, offering a detailed description of the seemingly disjunctive narratives - the History and the Art History.
In that context Atanas Botev takes us into a hypnotic world where the great narratives - the history of the political an the history of the esthetic - become immanent. That hallucination blow upon the academic structure building acquires revolutionary features within the expert doctrine, but in the domains of the poetic it glows with a perceptive amazement and a psychedelic shock - a game where the interested and the active recipient finds the way out towards the domains of free associations..
Setting the scientific power as an operative network for his poetic - intellectual practice, Atanas Botev introduces a dialogue potential (assuming the incidental recipient is capable of decoding the gnostic codes set at particular virtual positions in the work). That dialogue is the true spiritual entirety (the artist seems to be telling us). The artwork is the epicenter of our enlightening escapism, it is the evidence of the actuality and the influence of the magical...
Mondrian's structural visual becomes a kind of a framework (both as a style reference and as an ambient scenography) of that imaginary world the artist is so scrupulously creating in the direction of curiosity, always leaving the convenience to remind us of the cynical note of reality. Van Gogh's colonization - as a retroactive deconstruction of Mondrian's artistic intellectuality - from the positions of an expressive poetic catharsis (there is an evident inherited esthetic factor between these two Dutch artists belonging to two different stylistic - historic periods). Their interrelation is achieved through the alchemy of the pop-art that in Atanas Botev's creative efforts acquires almost ritual features. So, humor emanates even in the context of the most delicate contents: the character of Dr. Gachet is replaced with the character of Sigmund Freud, and from behind emerges Boris Karlof, touching his shoulder in the role of Frankenstein's monster. Mondrian's post-cubistic facets hypertrophy (through the experience of the Bauhaus) into commercial billboards with the logo of the most prominent brand on the planet - Coca Cola. In the process of the stylistic evolution the organic structures acquire geometric aura... Osama Bin Laden levitates in the apocalyptic smoke clouds hanging over the twin towers in Manhattan in their film simulacrum - a poster or a dream, and, of course, the flock of penguins alluding to the oppressive sariat treatment of women in the Islamic religion... Vermeer and Picasso... Supermen and Nitzsche... comics and paintings, trance and speculation, beauty and cognizance... All narratives and experiences melt into a great and inconceivable, yet eternally potent for interaction, outcome... with all its modalities and tactics, with its furious power and subtle suggestiveness, with all its absurdity and necessity...

Aleksandar Stankovski