On 18.02.2005. a group exhibition by several most characteristic artist of the new Bulgarian conceptual art was open in Gevgelija, in the Art Gallery at hotel "Jugo" in 19.00.
The exhibition was already open in the Cultural centre "Tocka". This regional event is part of the Confluent Margins project of NGO Kontrapunkt supported by the Swiss Cultural Program - Macedonia.

The title of the exhibition Seven Wonders – Seven Sins refers to the seven world wonders and/or to the seven mortal sins. The inspiration for the exhibit comes from past times, from the Christian ethics, but it actually turns out to be directed towards the contemporary cultural situation, interpreted by a group of artists from a Balkan country, with the goal to be presented into another, neighbour Balkan country. Each of the artists, avoiding the illustrative one-sidedness the theme could suggest, has created works, which try to play the role of a peculiar key to the philosophical and concrete understanding of the human life, which is situated somewhere between the “wonders” and the “sins”. The title comes from Elena Panayotova’s series of objects bearing the same title but the title of the exhibit has not been chosen accidentally but as an answer to the question what is the Bulgarian artist doing nowadays? Do his works concern the religion, morality, everyday life, and the realization of big or small ideologies? Or perhaps he is interested in the beauty, or on the contrary – he strives for an impact by using extremely radical approaches and practices? To some extent it could be claimed that all this partially, eclectically and chaotically creates the image of an overall picture. The artist-interpreter keeps moving in the value scale between the wonderful and the terrible things looking at the cracks of their problematic social realization.

The participating artists are among the representatives of the generation that appeared in Bulgaria in the 90s. At present, this generation is situated between the first Bulgarian conceptual artists from the 80s and between the youngest artists that are being establishing their artistic ideas. In the 90s a critical pathos was typical of these authors and to some extent that explains why Ivan Kiuranov’s dolls were born out of soldiers, and Dimitar Yaranov’s canvases and Peter Tzanev’s posters show a personality split by its psychological fears. Thus, the “wonders” and the “sins” from the title are a metaphor of the socio-psychic pressure inherent to that “generation of the transition”. On the other hand, the exhibition has a relatively traditional visual code – most of the authors insist they make painting or other forms of material objectivism. In that sense, one of the main characteristics of that exhibition lies in the fact that its conceptual motivation has not been disclosed by its usual means of expression but has been implanted and decoded in a post-objective depiction.