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Dreams Are Made Of This
Vikenti Komitski
& Aaron Roth


The exhibition serves as a powerful reminder that our perception of reality is shaped by technology, while simultaneously acknowledging that these very technologies can distract us from certain aspects of the world around us. By deconstructing the mechanisms that create this bias, we can transcend the dichotomy between the natural and the technological.

Vikenti Komitski's bodies of work showcased in this exhibition involve the skillful incorporation of found objects, including remnants of computer hard drives and mechanical components. These elements are combined with raw materials commonly used in electronic device production, such as pyrite, cobalt, and other raw metals and minerals. The resulting pieces evoke a sense of being both half-organic and half-alien technology, underscoring the interdependence of the digital realm on a physical structure comprised of earth-mined metals and minerals.

Aaron Roth's artistic practice delves deep into the exploration of found images and objects associated with Bulgarian Pop folk (Chalga), contemporary history, and socio-political issues. His work serves as a thought-provoking investigation into the intricate connections between these cultural artefacts and the relentless pursuit of capital accumulation, which finds expression in the realm of luxury goods entangled with resource extraction and political power.

Beneath the deceptive allure of counterfeit opulence lies a concealed residue woven into these digital images, unveiling the enduring repercussions of extractive practices. The artwork unveils a digital sludge, a tangible consequence and byproduct of such practices. An evocative example is portrayed through a painting depicting Kadyrov's Prada monolith combat boots, symbolizing the sacrifices made by soldiers. The truth behind this imagery is only revealed upon closer inspection, as if zooming in provides access to a hidden reality. Similarly, the choice of air conditioning units sourced from a land cruiser, adorned with leather upholstery reminiscent of casinos, stands as a symbol of technological advancements cleverly utilized as tools for the extraction of wealth.


Through this new body of work, both artists communicate the potential falsehoods associated with progress. Aaron Roth employs the contextual motif of automobiles, promising luxury and comfort through the latest technologies. In stark contrast, Vikenti Komitski utilizes the image of discarded electronic devices from a defunct EU project, destined for destruction, to extract their precious metals. These objects, despite their attempts to convey sophistication, ultimately reveal their obsolescence while remaining undeniably real.


Vikenti Komitski(b.1983) lives and works between Berlin and Sofia. He is working in a wide variety of media, including objects, videos, installations. He received his MFA at the Universität der Künste, Berlin. Past solo exhibitions includes That Moment The Coyote Falls From A Cliff, One Gallery, Sofia(2022), Urban Ecologies, E-Werk, Freiburg (2021), Sea Level, at Fabienne Levy gallery, Lausanne (2020), Never Mind The Gap, Joey Ramone, Rotterdam (2017); and Update, GalerieKrinzinger, Vienna (2015). Amongst Others.Group shows includes OSTRALE, Dresden Biennial of Contemporary Art , Gods and Monsters, Kunstverein Familie Montez, Frankfurt, Brittle Power, Kunsthal 44 Moen, (2021) “Places of Transition”,frei_raum Q21,Museumsquartier Wien(2014); “Balkon Zum Balkan”, Staatliche Kunsthalle Baden-Baden, (2014), amongst many others 



Aaron Roth (b.1998)  was born in Los Angeles. He currently works between Sofia and Plovdiv. He received his BFA at Slade school of Fine Art, London. Past solo exhibitions include бейж (beige), Sarieva gallery, Plovdiv (2023) The Golden Wire, Punta Posta, Sofia (2022) At liberty with the time frame, FLUCA Austrian cultural pavilion (2022), amongst others.Group shows include: Self-splaining (a Triumph of Empathy), ICA Sofia at Manifesta 14 Prishtina (2022) Beyond All reason. In the mirror of surreal times,curated by Gregor Jansen Structura gallery sofia (2023), Funny papers (2022) by Lexi Flures and little Marto, Wiesbaden-biennale,“BAZA 2022”, Sofia City Art Gallery.Memories of a social club that doesn’t exist, ZÉRUÌ, London (2022) Sofia queer forum Museum of Contemporary Art Sofia and Doza gallery, curated by Martina Stefanova(2021); amongst many others. 

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