For Amsterdam Art Week 2025, Galerie Fleur & Wouter presents work by artist Natalia Jordanova. Jordanova’s artistic practice is a quest for possible worlds. Through the deployment of various media and strategies, she explores the intersections and sculptural possibilities in the exchange of the digital and physical. The translated materiality redefines the distinction between the flat and the 3-dimensional. Her work engages with the shift of these realms, weaving narratives of past accumulations and future speculations.
Her work from the past few years integrates generative artificial intelligence. Her interests lie in AI’s conceptual potential to contribute to historical continuity, amplify silenced feminist histories, question the role of AI in evolution, and critique its role in the technological evolution of the creative process.
Hommages
The works in the exhibitions are images and gestures–some human, some machine-made–exploring the tensions between homage, reinterpretation and authorship. Through the use of AI, Jordanova challenges the concept of hommage itself, navigating the blurred lines between respect, imitation, and satire and probes AI’s ability to honour the original truly. She examines several Dutch digital art collections as her source, questioning the representation of marginalized groups within historical narratives and public archives.
The concept of homage in visual art has deep historical roots, evolving from classical traditions to contemporary practices. Hommage in art refers to the act of paying tribute to another artist, movement, or style, often through direct reference, reinterpretation, or adaptation. The artist’s realm is speculative fiction in which the collaboration is intergenerational and intercontinental, transcending class, societal status, time, and geography and embracing aspects of inclusivity.
For the exhibition, Jordanova creates speculative collaborations with the work of female artists from the 15th to 20th centuries. In doing so, she critically examines the role of AI in the reinterpretation of historical works, questioning how technology can honour and distort the notion of legacy.
Seed Series
Speculative Dialogues Between Artists Across Time
Seed is an ongoing series of AI-generated artworks that stage imagined visual dialogues between historical artists. By merging the distinctive styles, gestures, and symbolic languages of two creators, each piece acts as a speculative "seed"—a generative origin point where new aesthetic forms take root.
Rather than reproducing or imitating, these works cultivate unexpected affinities, tensions, and echoes between artists who may never have met but whose practices resonate across time. The term seed evokes both the technical process (referencing the random seeds used in generative algorithms) and the metaphor of growth—each image is a hybrid bloom grown from artistic DNA.
Seed invites viewers to consider how machine learning can become a tool for reimagining art history, feminist lineage, and creative kinship.
Phantom Blueprints
Reimagining Space Through Feminist Architectural Memory
Phantom Blueprints is a sculptural series that merges and reinterprets architectural maquettes originally conceived by pioneering Dutch female architects. Each piece begins as a digital fusion of two existing makers and is later reshaped through material experimentation and speculative transformation.
The resulting forms are not replicas but homages–phantom structures—ghosts of unbuilt spaces that carry traces of their original authors while being reimagined through the artist’s personal and technological imagination. These hybrid maquettes explore how architecture can hold emotional memory, radical gesture, and cultural absence, especially when seen through a feminist lens.
By merging precise geometry with subjective reinterpretation, Phantom Blueprints proposes architecture as a fluid, poetic language—one that reflects not only structure but possibility. Each sculpture evokes a distinct fictional or emotional architectural function.
Phantom Blueprint: The Theatre. A space where memory performs itself on loop, a space of performance, drama, ritual where visibility and masking coexist.
Phantom Blueprint: The Sanctuary. A soft container for withdrawal where silence becomes structure.
Phantom Blueprint: The Terminal. Suspended between arrival and departure, this zone holds the choreography of motion and waiting.
Phantom Blueprint: The Nest. An architecture grown, not built—where organic matter, shelter, and time co-evolve under a canopy of green.
Phantom Blueprint: The Playground. Here, logic bends and function dissolves, the architecture becomes a site of improvisation and embodied joy.
Phantom Blueprint: The Office. A fragmented relic of productivity, redesigned as a space for quiet resistance and post-capitalist imagination.
Signal Terrains
Landscapes of Memory, Scale, and Connection
Signal Terrains is a sculptural diptych composed of wall-mounted works built from refurbished phones and electronic components. These layered compositions form ambiguous terrains that move between the microscopic and the monumental: circuit boards begin to resemble blueprints and evoke city grids. By collapsing architectural scale—embedding urban logic into intimate technological debris—the works draw a fragile connection between personal devices and collective spatial systems.
These pieces stage a speculative dialogue between micro-architecture (the internal circuitry of smartphones) and macro-architecture (the design of buildings and cities). Both are systems born from schematics engineered for control, flow, and access. Phones, like cities, are constructed environments—only one fits in your hand, while the other surrounds your body.
In Signal Terrains, the phone is treated as a techno-ruin—a fragment of late capitalist infrastructure, fossilized yet still pulsing with conceptual voltage. Copper lines, once conduits of data and energy are repurposed into new visual blueprints.
Functioning as connective tissue within the exhibition, Signal Terrains links the algorithmic fusions of Seed with the speculative architectures of Phantom Blueprints. It invites viewers to consider how power is embedded in space—whether in a public square, a digital interface, or the silent pathways beneath a shattered phone screen.
Natalia Jordanova
1991, Sofia, Bulgaria, lives and works in Amsterdam
EDUCATION
Dirty Art (MA), Sandberg Institute/ Gerrit Rietveld Academie, Amsterdam 2018-2020
Fine Arts, Royal Academy of Art, The Hague 2014-2018
Central Saint Martins, UAL, London 2016-2017
BA of Photography, National Academy of Theatre and Film Arts, Sofia 2009-2013
AWARDS AND NOMINATIONS
BAZA Award for contemporary art, Bulgaria /upcoming/ 2025
Winner of Cultural Perspectives Foundation’s “Per Aspera ad Astra“
Fellowship Program 2022
Nominee for BAZA Award for contemporary art, Bulgaria 2020
Nominee for NN Art Award at Art Rotterdam 2020
Nominee for BAZA Award for contemporary art, Bulgaria 2018
The Secret Way, video, Trans – ideology Short Film Festival – Berlin, Short list 2012
Otec Paisii TEXT – Plovdiv, Bulgaria, Short list 2012
Best photography prize in the exhibition of Forum Honoris Causa,
National Academy of Theatre and Film Arts, Sofia 2011
Photosynthesis prize of FOTOAKADEMIKA, Sofia 2010
The Magic of Color, contest, First prize and scholarship, Sofia 2010
SELECTED EXHIBITIONS
BAZA Award for contemporary art, Bulgaria /upcoming/ 2025
Hommages, Galerie Fleur & Wouter, Amsterdam Art Week 2025
Unfair Amsterdam, Gashouder van Westergas 2024
De Brakke Grond, ADE, Amsterdam /solo/ 2024
The gods were tired when you fell, Saeva Dupka Cave, Bulgaria 2024
Colourless green ideas sleep furiously, Arosita Gallery, Sofia /solo/ 2024
To–Do List, 1m2 Tam, Veliko Turnovo, Bulgaria /solo/ 2024
The Nature of Relations, BUNA forum for contemporary art, Varna 2024
Aftermath: no humanity, no art, Cu29, Plovdiv /solo/ 2023
Something Else ||| Biennale, Cairo /solo/ 2023
Someone’s Utopia, Goethe-Institut, Cairo 2023
Needles in a Haystack, National Art Gallery, Sofia 2023
Present Myths or: Fifteen posters of nonexistent
people and donkeys, watching a film at a locksmith atelier,
Forum for Contemporary Visual Arts BUNA, Varna /solo/ 2023
Ludic Century, Kunstpodium T, Tilburg 2023
Deep daydream-reality: The Opening Scene,
Sofia City Art Gallery, Bulgaria /solo/ 2023
Process Anatomy, Project space Structura Gallery, Bulgaria /solo/ 2022
How Soon is Now, Structura Gallery, Bulgaria 2022
Market of desire: earthly/heavenly 2021
Visits to Other Possible Worlds, Sofia Art Week,
Goethe-Institut Bulgaria 2021
NO ARTIST CAN PREDICT THE FUTURE?, KO-OP, Sofia 2021
Symbiosis Series, POST, Arnhem 2021
Cold Sweat, Het Hem, Amsterdam 2020
The Console, Rosa Stern, Munich, Germany /solo/ 2020
Authentic Spaces, Zeitz, Germany 2020
BAZA Award for contemporary art, Sofia City Art Gallery, Bulgaria 2020
Unfair Temporary Museum, Amsterdam 2020
Art Rotterdam, New Art Section /solo/ 2020
RESIDENCIES
Halaqat project and Cairotronica at Goethe-Institut Cairo, Egypt 2023
Visual art residency at iMAL, Brussels, as part of the
Halaqat project part 1, BOZAR and Goethe-Institut Belgium 2022
‘Freispiel’, Rosa Stern Space, Munich, Germany 2020
THIS IS FAKE, Zeitz, Germany 2020
Galerie Fleur & Wouter
Van Ostadestraat 43A, Amsterdam
info@galeriefleurenwouter.com