Dear Ladies and Gentlemen,

I am really happy that we were able to organize the Second International Ex-libris Biennial in Bulgaria. This was an occasion for rising discussions about the "written note" of ownership not only among connoisseurs, but also in public.

The ex-libris, as an ownership book-note, had evolved to a real phenomenon and had become a good reason for attracting the interest of hundreds of collectors throughout the globe. It is the contemporary message between different personalities, which spreads different identities, merging them. The ex-libris creates new aesthetics and brings together people who need nurture of the mind and mutual knowledge.

The uniqueness of the ex-libris comes form the fact that it is always being created by two people -the book owner, the one who loves the book, and the second one is the artist himself, who performs the request and also feels love towards the book.

The everyone's need to bind his own identity via images and symbols as well as the desire for personal identification has driven many people to seek out the help of good artists in order to create a personal ex-libris - an unique combination of applied and fine-art graphics.

With no doubt this meeting shows how rich and diverse the human fantasy and identity can be, even though confined in a single topic. We believe that the creating of an unique ex-libris collection in the National library "St.St. Cyril and Methodius" will provoke the attention of the Bulgarian society and its institutions towards the ex-libris as a bearer of a rich spiritual identity and ancestral memory.

I'm happy also with the fact that many talented painters and ex-libris researches from Bulgaria will participate and give their contribution to the world's exchange of bookplates.

I hope that the International Ex-libris Centre in Sofia has made the first step to establishing a deserving basis for the Bulgarian artists and ex-libris researchers to do their work in their own country and to provide the National Library with ex-librii in the future.

The exhibition from this first of that kind International Forum will be shown in different cities in Bulgaria and abroad.

In conclusion I'd like to express my gratitude and acknowledgement to everyone who helped us to make this event come true.

Please accept my best regards,

Lubomir NIKOLOV
President
International Ex-libris Center
Sofia

The jury was composed of:

Martin Baeyens, artist, director of the multimedia/graphics department of the Academy of Fine Arts of Ghent, Belgium, Armand Basmadjian, philologist, librarian, Secretary of the Association of Friends of Ex-libris in Bulgaria (AFEB), Benoit Junod, ex-libris collector and researcher, art critic, Switzerland, Onnik Karanfilian, artist and graphic designer, deputy Chairman of the International Ex-libris Centre, Sofia, Hasip Pektas, artist, graphic designer, Dean of the Faculty of Fine Arts of Hacettepe University, President of the Ankara Exlibris Society, Turkey, Prof.Todor Vardjiev, calligraphist, professor at the National Academy of Fine Arts, Sofia Petar Zmiycharov Ph. Dr., art critic, professor at the National Academy of Theatre and Film, Sofia

The secretary of the Jury was Nina Karanfilian, artist and designer, Sofia, and the Chairman of the Jury was Benoit Junod.

The Chairman of the jury had an easier task than in 2003, as all present had been members of the jury of the first biennial. A Grand Prix had to be awarded, as well as three awards for the best bookplates in intaglio, planographic and relief techniques, as well as a number of sponsors’ prizes and honorary mentions.

The jury started its work at 11 a.m. in the National Library of Sofia by noting with satisfaction that despite the absence of a number of Bulgarian artists whose work had been appreciated at the first biennial, and the lack of participation of artists from China - for example - there was still a substantial increase in the number of participating artists: 246, as opposed to just over 200 in 2003. The jury was also happy to note the nearly total absence of pseudo-exlibris, and that the average quality of the material sent was superior to what had been received two years ago.

The method of work of the jury was modified somewhat in comparison to 2003. Instead of making a first ‘general’ selection, the material submitted was divided according to the technique into planographic, relief and intaglio techniques and tackled in that order. This was done with a feeling that the number of intaglio plates being greater, and often of very high quality, it would be advisable to leave their examination until last, and give planographic and relief work pride of first place.

In the range of planographic techniques presented, it was noted that the majority of works submitted were computer generated ex-libris, which had not been admitted under the rules of the first biennial. Only a few items were lithographies, and silkscreen works were surprisingly uncommon. The jury in general was impressed with the number and quality of young Belgian participants, all of which had been students of Martin Baeyens. They commented on the fact that given appropriate training, combined with inherent talent and conceptual intelligence, youngsters are capable of producing with digital technology original, pleasing and attractive ex-libris. This was reflected in the prizes and mentions awarded:

The First Prize for planographic technique was awarded to Katinka Wuytack (Belgium), a 23-year old graphic artist who just finished her studies in Ghent and already obtained mentions in Sint Niklaas and a local competition, and was selected and given a mention in the First FISAE CGD competition of 2004. The jury considered her work very sensitive and marked by a personal style, using mulyi-layered techniques effectively combined with original designs. Her plate for her sister Tabitha delicately discourses on ecology by confronting an elephant’s trump and a gas mask, giving the plate meaning beyond its aesthetic attractiveness.

A Sponsor’s Prize was given to Julie Ruysschaert, Belgium, who submitted an ensemble of six plates for Blanche, all computer-generated designs based on well-combined original installations and photography. Mentions were also given to Stephanie Bos (Belgium) for her mixed computer and screen works which were considered an amusing narrative on observation, to Stefanie de Graef (Belgium) for her playful illustration-like ex-libris, to Daniela Heger (Germany) for her well-integrated torn-paper shapes with photographic elements and illustration, and to Jan Vandierendonck (Belgium) for his subtle layer composition of fruits and flowers, admirably suited to function as real bookplates.

The Jury then selected the prize-winners for the relief techniques. It was noted with regret that several of the wonderful Argentinian woodcut artists which had taken the prizes in 2003 were not present - though Mauricio Schwarzman, who had been awarded First prize two years ago has the subtle modesty of sending just one ex-libris - obviously good enough to be included for the exhibition, but not so striking as to vie for the awards. The First Prize was awarded by acclamation to Salomon Arpad (Slovenia). The 75-year old master submitted three linocuts which showed enormous strength and freshness, with simple forms giving rise to interesting symbolism. His recent three-block colour plate for Li Jia Xing was considered especially successful, as well as the ex-libris for his own books.

A Sponsor’s prize was awarded to Hristo Tsatsinov (Bulgaria), an artist who has exhibited only since 2001. His superb, strongly linear linocuts had been noted for their excellent composition in 2003, but had been rejected as pseudoexl ibris (Ex libris Europa, etc.) The jury was delighted to see that this had been corrected. One of the plates submitted is for the Lefkas competition, which is being held at the moment in Greece. A mention was also awarded to Takao Sano (Japan), whose colour woodcuts are a fine example of the art of his country. The jury however regretted that the plates were from 2002 and not more recent.

Although the prize-winners of flatbed and relief techniques were considered for the Grand Prix, the abundance of intaglio prints of very high quality rendered decisions difficult A cruel final selection of intaglio prints brought together bookplates by Kalinovych, Kassapian, Jakovenko, Jordanov, Luczak, Ovcharov and Tomura.

The First Prize for intaglio technique was awarded to Wojciech Luczak (Poland). Amidst the complex mixed techniques and subtle etching-and-aquatints, the strong, pure burin lines of Luczak’s ex-libris seduced the jury once again. The quintessential nature and intelligence of his work, even more evident today than with his earlier works, is ideally served by a technique, which admits no errors or imperfections.

Four Sponsor’s Prizes were awarded for intaglio techniques. Two of these went to relatively young artists, at least on the ex-libris scene: to Krikor Kassapian (Bulgaria), for his remarkable mastery of dry point, and to Todor Genkov Ovcharov (Bulgaria) for his bright, colourful etchings enriched with gold. One went to Julian Jordanov (Bulgaria), who had received the first prize for intaglio technique in 2003, for the magnificent composition of his ex-libris on the Apocalypse for Walter Humplstotter - although the jury was quite critical of the inscription, not quite as good as in his other plates. Finally, a Sponsor’s Prize was given to Shigeki Tomura (Japan), whose work already fascinated the jury of the World of Ex-libris in Belgrade ten years ago. Tomura is a master of subtle representation of landscapes and buildings - but in the work submitted, which shows a play on transparency between the foreground and background subjects, he surpassed himself. Finally a mention was given to Konstantin Kalinowych (Ukraine), whose ex-libris submitted were of extraordinary quality. The jury would have liked to see his most recent work.

Perhaps it was a sense of discovering a fascinating evolution in an already highly accomplished opus which led the Jury to award the Grand Prix to Juri Jakovenko (Belarus). He submitted two series of prints for the biennial, one of three large plates and one of six smaller ones, all of exceptional quality. He uses mixed techniques with great virtuosity, combining tonal grays with bright colours. The jury was unanimously impressed by the modernity of their imagery, combined with respect for the tradition of graphics.

The Jury was very pleased with the fact that no real voting was necessary during its deliberations. It gave parameters to the organizers as to which artists should be included in the catalogue, and the wider group which will have its work exhibited. It also took the opportunity to congratulate the International Ex-libris Centre in Sofia for the excellent catalogue of the First Biennial.

The Jury warmly thanked Onnik Karanfilian and his wife Nina for the excellent organization of the material for the jury, as well as Armand Basmadjian for his hospitality at the National Library. Finally, the Jury expressed its gratitude to Ljubomir Nikolov for making the Biennial possible - also on behalf of all the Bulgarian and foreign artists who took part in it.

Benoit Junod Chairman of the Jury