The new exhibition presents over 20 works by Belovski from the past year and a half, featuring both his signature large formats and series, as well as more intimate-scale pieces. His technique includes analog collage, drawing, and acrylic on canvas, while the materials used also include cement, 1970s ceramic tiles, and vintage sewing pattern magazines.
Much like in his 2022 project Nostalgic Dystopia, the artist explores the fabric of the urban environment beyond reality—within another time and space. However, in this exhibition, he chooses to populate his imaginary urban landscapes with human figures—emblematic fashion silhouettes from the 1970s and 1980s—while constructing the cityscapes and architectural blueprints from sewing patterns.
The works do not seek to recreate the past but rather to rearrange it—like a montage that generates tension between images rather than fixing them in a nostalgic order. They suggest a journey inward—toward the personal, toward memory. Built as if framing history in a film, the artworks guide the viewer through shared visual codes to their own space and time.
“This exhibition stems from my personal desire to escape—from the current urban environment, not just to another place, but to another time. It turns out that this feeling is shared by people of different ages and cities, along with a common concern about humanity’s place in the near future,” says Belovski.
The House of the Setting Sun does not portray memory as something stable—it exists in motion, in uncertainty. Belovski offers neither comfort nor certainty; he does not reconstruct images but makes visible the symmetries, proportions, and silhouettes.
What remains? What are we allowed to remember?
The exhibition leaves us standing at the threshold of this uncertainty, questioning not just what we remember, but why we remember what we are left to see.
The exhibition is realized with the financial support of the Sofia Culture Program.
