阿萨杜尔·马克洛夫

Assadour Markarov

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Assadour Markarov

About

Assadour Markarov, PhD, is a Bulgarian artist, educator, and curator, who has lectured worldwide in countries such as Japan, the UK, Ireland, China, and Finland. He is currently a full-time professor in the Fiber Art Department at the China Academy of Art in Hangzhou, China. Assadour received his artistic training in China, where he earned a degree in traditional Chinese calligraphy. He later expanded his expertise to contemporary art and textiles, conducting research in the UK and Japan. As an artist, he works across various visual art forms, including painting, printmaking, handmade paper, calligraphy, sculpture, and installations.

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Exhibitions

15th Lausanne Biennial for contemporary textile art in Switzerland

7th International Cairo Biennial of Contemporary Art

10th International Lodz Triennial of Tapestry in Poland

"Fascinatie Texstyle 2" in the Museum Van Bommel-van Dam, Venlo in Holland

“Estampa”, Madrid, Spain;

The 2nd Beijing Contemporary Art Biennale, Beijing, China;

“August of Art”, Contemporary Art Festival, Varna, Bulgaria;

In May 2018, he was invited as a member of Art Committee and an artist for the “Kaleidoscopic Light · 2018 Oin'huai River International Light and Shadow Art Exhibition” in Nanjing, and exhibited his artwork “A creation 5”.

In May, 2018, his art installation “Art and Weaving Culture” was presented for “Ingenious Calculation: World Looms and Weaving Art”, China National Silk Museum, Hangzhou.

In August 2019, he participated in “The Splendid Languages of Paper Contemporary Art on the Chinese Papermaking Culture”, an international exchange project on contemporary weaving and embroidery art, funded by the National Art Fund, Zhejiang Art Museum, Hangzhou.

In September 2020, his artworks participated in the 2020 "Maritime Silk Road" (China Ningbo) Cultural Tourism Expo, Ningbo, Zhejiang.

In October 2020, he participated in the exhibition “The New Classic of Mountains and Seas”, Zhejiang Art Museum, Hangzhou.

In October 2020, he was invited to participated in the exhibition “BOND - PUJIAN ART”, Pujian Art Museum, Hefei, Anhui.

In October 2020, his artworks participated in the 14th (2020) Cultural and Creative Industry Expo in Hangzhou, Zhejiang.

In November 2020, he held his solo exhibition "Living in the Garden" at Yongshang Xiling, Ningbo, Zhejiang.

In June 2022, his artwork "Walking on Water 1" participated in 2022 Qiandao Lake International Biennale of Light Art, Hangzhou, Zhejiang.

In October 2022, his artwork “Walking on Water 3” was exhibited at the 4th Hangzhou Triennial of Fiber Art, Zhejiang Art Museum, Hangzhou.

In December 2022, he participated in the 16th (2022) Cultural and Creative Industry Expo in Hangzhou, Zhejiang.

In May 2023, his artworks participated in the 2023 "Maritime Silk Road" (China Ningbo) Cultural Tourism Expo, Ningbo, Zhejiang.

In Novemberr 2023, he participated in the 18th (2023) Cultural and Creative Industry Expo in Hangzhou, Zhejiang.

In November 2023, he participated in the 8th "Maritime Silk Road" (Fuzhou) International Tourism Festival in Fuzhou, Fujian.

In October 2024, he participated in “SHIMMERING SHADOWS” – 2024 Louvre Art Salon in ALT+ GALLERY, Foshan, Guangzhou.

Curatorial Projects

In 1995, he was in charge of selecting Chinese participants for the 8th International Triennial of Tapestry – Lodz, Poland.

2000-2001年，策划由保加利亚艺术家参与的“ESTAMPA 2000”和“ESTAMPA 2001”西班牙；“第二届北京当代艺术双年展”，中国北京；

2001年，与Casa de Vacas，Madrid 和Santillana del Mar共同策划巡回展“东方之风”，西班牙；

2002年，与Keiko Kawashima共同策划“当代纺织艺术展”，邀请日本和保加利亚艺术家共同参展，保加利亚国家艺术画廊；

2013年，共同策划首届杭州纤维艺术三年展“纤维，作为一种眼光”，浙江杭州；

2014年5月，策划“偶像級的分析——保加利亚”，保加利亚当代艺术在杭州。总策划“艺术的纬度”项目，中保交流绘画展；6月，该项目在保加利亚国立艺术家协会画廊展出，索非亚；11月该项目在西湖美术馆展出，浙江杭州；

2016年，共同策划第二届杭州纤维艺术三年展“我织我在”，浙江杭州；

2017年9月，总策划“丝绸与传统”，中国丝绸博物馆；11月，总策划“万曼的耕耘“展与“万曼与纤维艺术教育”研讨会，中国美术学院美术馆，浙江杭州；

2018年4月，在寒山美术馆总策划“丝维越界”——当代中外织绣艺术交流展，第十一届中国刺绣文化艺术节，江苏苏州；

2019年，为杭州第三届杭州纤维艺术三年展做学术准备工作，共同策划研讨会活动，聘请学者和艺术家，开设讲座和工作坊，浙江杭州；

2019年4-5月，在寒山美术馆，总策划“平行交叉”当代织绣艺术国际交流项目展览和工作坊，江苏苏州；

2020年7月到2021年4月，总策划“中保创意彩灯”——中国和保加利亚交流项目，并开展工作坊和系列讲座，作品在索非亚中央大街展出，保加利亚索非亚；

2021年6月，总策划“从东到东——当代版画交流展”，宁波北仑文化中心，浙江宁波；

2022年10月，与Kate Egen共同组织策划“生长的房子”——中国美术学院纤维艺术系与曼彻斯特艺术学院艺术交流项目，组成艺术小组共同创作，小组作品在第四届杭州纤维艺术三年展和曼彻斯特艺术学院展出；

2022年7月-2023年5月，总策划“德信中心首届公共艺术装置创意大赛”项目，浙江杭州；

2023年6月，策划“大放’异’彩——绍兴风越里艺术展”，浙江绍兴；

2023年6月-2024年4月，策划“艺游味境”—— 柳林豆腐老街公共艺术项目，河南信阳；

2023年9月，在温州美术馆策划“花园化境——当代艺术展”，浙江温州；

2023年9月，总策划“远方的气息——从东到东”中保陶瓷艺术文化展，奥雷沙克国立工艺美术展览中心，保加利亚特罗扬；

2023年12月，在杭州博物馆策划“柔软迷宫”艺术项目，浙江杭州；

2024年4月，策划“丝巢”当代纤维艺术展，湖州含山未来合创谷青创中心，浙江湖州；

2024年5月，策划“泥火嬗变”– 中保陶瓷当代艺术交流展，陶溪川文创街区，江西景德镇；

2024年7月，策划“光合剧场”青年艺术家联展，临平银泰inPARK，浙江杭州；

2024年10月，策划“经纬论道”– 中国当代书法与纤维艺术展，保加利亚国立美术学院美术馆，保加利亚索非亚。

学术和演讲活动

2018年6月，在“2018武汉首届武汉纤维艺术展“研讨会和城市论坛上发表主题为“杭州纤维艺术三那年展发展”的演讲，武汉- 湖北省美术家协会。；

2018年9月到10月25日，参加“仰观俯察：2018国际民间艺术与设计邀请展”。在论坛：“仰观俯察”中的民间艺术与设计“上发表主题为“艺术与手工艺一些关系”的演讲；

2018年11月，在武汉，湖北美术学院服装艺术设计系，纤维艺术设计方向“立体纤维艺术作品实物将更重视在空间中的展示效果”的系列讲座；

2020年9月6日，在葡萄牙“Contextile”国际学术研讨会上发表题为“Textiles and place. Hangzhou – a city, a place, as a cultural hub for the development of fiber art”演讲；

2020年12月5日，参与国立美术学院，保加利亚“EDUCATION IN TEXTILE ART AND DESIGN”国际学术研讨会并发言；

2022年11月，参加“艺术与科技”新专业建设国际研讨会,在浙江树人学院艺术学院演讲；

2023年4月，参加“共织·新维——首届中国当代纤维艺术教学研讨会”，发表题为“教育作为经验——西方纤维艺术教学实践”讲座，浙江杭州；

2024年9月参加“Textile Talks – Art，第七届CONTEXTILE – 当代纺织艺术双年展”研讨会，葡萄牙吉马良斯；

2024年9月参加“雕刻与共生：雕塑展与上海记忆”研讨会对谈，上海静安国际雕塑展，中国上海；

2024年12月参加“策展五：物与身份”第五届策展研究与实践研讨活动并发表演讲，杭州博物馆，浙江杭州；

Assadour Markarov

| Sculpture and Installation Artworks

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Animals Series
Metal
90×560×380 cm
1991.04

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In the air 2008
Paper, string, wood, bamboo
Variable
2008.08

Net Series 151
Paper, string, wood
450×60×110 cm
2011.12

Animal Series 3
Polymer
130×150×100 cm
2014.11

Creatures 2017
Mirror stainless steel
135×500×350 cm
2017

Creatures 3
Mirror stainless steel, LED
130×80×80 cm / piece

The Animal Series is a theme that the artist has focused on since 1991.
Quiet and remote, a few abstract bear-like creatures crawled on the grass. From a distance, they looked round and clumsy, but closer, they had no heads, no facial features, no tails, no clear limbs, and even their skin was a hollow pattern. They were peaceful and quiet, and one with nature. What were they, where did they come from, and where were they going?
It seems that they have existed there since ancient times. "They have no head and no limbs, because they have no desire. Nature is desireless." It is precisely because of desire and greed that everything is out of control and the world is in chaos. Assadour shows the most harmonious state of unity between man and nature through these vague and abstract figures.