The door to the horizon is a fiction, nobody needs it and it doesn’t exist in reality.But as the great Albert Einstein said:The most beautiful thing we can experience is the mysterious. It is the source of all true art and science.”  

Participatory arts are increasingly applied as tools for social change in international development contexts around the world. Programs in which community members engage in the making of art for some intentional benefit are being initiated by individuals and a diverse range of government, non-government, cultural, art and civil society organisations.

In the circle of activities of KRUG Art Movement the participatory arts initiatives are being used to address many salient concerns, including disconnection from traditional culture, social disharmony, resistance to change, discrimination of minorities and lack of opportunities for young people.

A door to the horizonwhy?

Arts are looking for new ideas by bringing young people together to be involved in active and participatory arts activities.

A door to the horizon what is that?

A challenge which will send you to unexpected location in the Eastern Rhodope Mountain (Bulgaria) to create performance, installation, exhibition, activity. You are free to intervene the architectural environment in order to stimulate maximum number of people for a minimum period of time to participate in the creation of a shared vision in collaboration with the local community of Dazhdovnitsa village, populated by only 100 people nowadays. This is the fate of hundreds of Bulgarian villages.

Step 1.

At this photograph you can see a handmade „door” in a self-deconstructing house in Dazhdovnitsa village. Each year the international plain air „Art horizons” is held in the village aiming to gather artists ready to transform the social space into an art space. So here – imagine that now you are a part of this artistic society.


The horizon stretches behind the house. In front and behind that „door” there is nothing but stones. The house – with the permission of the 80 years old heirs of the house owners – is at your disposal. You can examine it; try to restore the memories of the happy days lived there once; transform it into an art innovation challenge, sharing it with us. We challenge you to show us how art can become a means of change and communication.

Step 2.

Define your „work space” – a place where you can intervene the surrounding, become an emotional part of it and by your activity/installation/performance you can create your own pattern for development of the space and community which will stimulate a new perception about them.

Task: Your „work space” is in the abandoned space of this house with no occupants. Let’s take one more look, let’s touch its memories and try to understand the „language” of the house.


It’s truly not beautiful here! But our task is not to examine beauty but the opportunities for communication with a new and unexplored space where art can become an art innovation challenge.


Step 3.

Let’s stay together (we may not even talk) with the 80 years old heiress of that once wealthy and happy house built 100 years ago with 4 floors and more than 10 rooms for several families to live happy together, all generations – grandparents, children, newlyweds, babies and even the grownup children of the babies who grew up before them.

How does this sole heiress see the world „through” the remains of memories and where to does her gaze at the horizon reach… Ask her. In our particular case you will need a multilingual youth or child who knows both Bulgarian and Turkish because she can speak only her maternal Turkish. If you are English speaking you will need an extra mediator.


Step 4.

Now you can decide how to become a part of this new social space searching for your own art horizon. How your performance/activity/installation, how the encounter with the otherness and differences may become an instrument for communication and rethinking of the social environment, independently of all possible disparities (age, ethnicity, religion, cultural traditions, profession, values, education, etc.).



The opportunities for art interpretation are practically unlimited. You can use all the means of photography, illumination, performance, sculpture, painting and in the end to contribute to social change by the means of participatory arts.



This presentation will introduce and discuss practices for the elaboration of different socially engaged art projects. It is addressed to curators, artists and cultural workers, who wish to create, organise or develop projects that involve forms of social engagement, where the participants are involved directly in the creative process. Furthermore this course is for those who wish to generate better tools to work in collaborative situations with social groups, communities and publics “in situ” and have been based on the practices of KRUG Art Movement to work in the open air with young people and young artists.

/In this experience took part: Magdalena Masheva and Ivan Kozaliev, students on History and Theory of Architecture (Sofia, Bulgaria) and the artists from Bordeaux, France: Leïla Sadel, Babeth Rambault, Guillaume Hillairet and Anne Xiradakis/


Text and photos: KRUG Art Movement, Bulgaria


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