Other Stories Dan
PERJOVSCHI 9
LiaDan
Other Stories
Kristine Stiles (Szemelvények a Dan és Lia Perjovschi Lelkiállapotok címû retrospektív kiállításához - Nasher Museum, Art Duke University, NC - írt rövid bevezetõ szövegbõl)
LELKIÁLLAPOTOK: DAN ÉS LIA PERJOVSCHI Dan és Lia Perjovschi mûvészete egyedi a nyolcvanas évektõl a kelet-európai experimentális mûvészet fejlõdésében. Mindkét mûvész eredeti és kihívásokkal teli vizuális kifejezési formákat alakított ki a rajz, a performansz, az installáció és a konceptuális gyakorlatok területén, valamint a tömegkommunikációs eszközök, különösen a televízió és az újságok elemzésében és használatában. Alkotói tevékenységük a szocializmus és a globalizmus kettõs nyomása alatt érlelõdött, amely két, egymást kölcsönösen erõsítõ szakaszra osztotta munkásságukat: az elsõ, a romániai forradalmat megelõzõ szakaszt nagyvonalakban magánjellegûbb, bensõségesebb alkotói tevékenység, míg a másodikat a globális problémákkal foglalkozó nyilvános mûvészet jellemzi. (...) Dan Romániában az 1991 óta a Revista 22 címû vezetõ romániai lapnak készített rajzai és politikai karikatúrái révén vált ismertté; a lapot a Társadalmi Dialógusért Csoport alapította, amelynek õ maga is tagja. Ma nagyszabású rajzinstallációiról ismert világszerte, amelyekben a nevetés lélektanát hasznosítja, miközben helyi, nemzeti és globális témák társadalmi, politikai és kulturális viszonyaira reflektál. Liát Románia vezetõ performansz-mûvészeinek egyikeként tartják számon, szokatlan tárgyairól is ismert. A kilencvenes évek eleje óta egyre inkább olyan konceptuális projektekre összpontosít, mint a Kronológiák, a Mind Maps és a Tudás Múzeuma, amelyek történelmi és intellektuális eseményeket és elgondolásokat térképeznek fel, valamint olyan gyûjteményekre, mint például a Globe Collection, amelyek a tömegkommunikációs eszközökre és a fogyasztásra reflektálnak. Közel harminc éve Lia és Dan Perjovschi a történelemhez, a nemzethez és az énhez hû mûvészetet képviselnek. Nagyon eltérõ életmûveket hoztak létre, LiaDan együttesként pedig megvilágítják egymás munkáinak jelentését, más mûvészek és a román társadalom nevében mûködnek együtt, arra törekedve, hogy mûvészetük által áttetszõbbé tegyék a globális kérdéseket. Esztétikai és politikai töltetû mûvészetük arra ösztönzi a nézõket, hogy gondolkodjanak, érezzenek és nevessenek, ezek együttese létfontosságú egy olyan politikai és kulturális környezetben, amelyben a szabadság és autonómia kérdései, a tudás szerkezete, valamint a tényleges tapasztalattal való õszinte szembenézés szükségessége egyre nagyobb kihívást jelentenek. Dan és Lia Perjovschi mûvészete a krízisrõl szól, a változásról és a személyes szférán túlmutató kitartásról, részvételre sarkallva az emberiséget, a nézõket pedig arra inspirálva, hogy bátran éljenek.
Kristine Stiles (extrase din textul introductiv scurt la expoziþia retrospectivã a lui Dan ºi Lia Perjovschi, intitulatã Stãri de Spirit, de la Nasher Museum, Art Duke University, NC)
STÃRI DE SPIRIT: DAN ªI LIA PERJOVSCHI Arta lui Dan ºi Lia Perjovschi este unicã în evoluþia artei experimentale în Europa de Est din anii 1980 încoace. Amândoi artiºti ºi-au forjat forme originale ºi provocatoare de exprimare vizualã în desen, performance, instalaþie ºi practici conceptuale, precum ºi în analiza ºi utilizarea mass-mediei, în special a televiziunii ºi a ziarelor. Activitatea lor artisticã s-a maturizat sub dubla presiune a socialismului ºi a globalismului, ceea ce a împãrþit activitatea lor în douã faze ce s-au intensificat reciproc: prima fazã, cea care precede revoluþia românã, se caracterizeazã în linii mari printr-o activitate mai privatã, mai intimã, iar a doua prin arta publicã dedicatã problemelor globale. (...) Reputaþia lui Dan în România a început cu desenele ºi caricaturile politice pe care le-a creat din 1991 pentru Revista 22, ziar de mare importanþã din România, fondat de cãtre Grupul pentru Dialog Social, din care face ºi el parte. Astãzi el este cunoscut în întreaga lume datoritã instalaþiilor-desen la scarã mare, în care artistul recurge la psihologia râsului, în timp ce reflectã asupra condiþiilor sociale, politice ºi culturale ale temelor locale, naþionale ºi globale.Lia este recunoscutã ca una dintre cele mai importante artiste de performance în România, este cunoscutã ºi datoritã obiectelor sale neobiºnuite. De la începutul anilor 1990, în mod treptat s-a concentrat pe proiecte conceptuale ca Cronologii, Mind Maps ºi Muzeul Cunoaºterii, care exploreazã evenimente ºi idei istorice ºi intelectuale, precum ºi pe colecþii ca Globe Collection, care reflectã asupra mass-mediei ºi a consumului.De aproape treizeci de ani Lia ºi Dan Perjovschi creeazã o artã care este fidelã istoriei, naþiunii ºi sinelui. Cei doi au produs opere de artã foarte diferite, iar în combinaþia LiaDan au iluminat sensul operelor celuilalt, au colaborat în numele celorlalþi artiºti ºi al societãþii române, strãduindu-se sã facã mai translucide prin arta lor problemele globale. Arta lor cu încãrcãturã esteticã ºi politicã îi încurajeazã pe spectatori sã se gândeascã, sã simtã ºi sã râdã, aceastã combinaþie fiind vitalã într-un mediu politic ºi cultural în care problemele libertãþii ºi ale autonomiei, structura cunoaºterii, precum ºi necesitatea confruntãrii sincere cu experienþa realã reprezintã o provocare din ce în ce mai mare. Arta lui Dan ºi Lia Perjovschi vorbeºte despre crizã, despre schimbare ºi despre perseverenþa de dincolo de sfera personalã, mobilizând lumea la participare, ºi inspirându-i pe spectatori sã-ºi trãiascã viaþa cu curaj.
Kristine Stiles
STATES OF MIND: DAN AND LIA PERJOVSCHI Dan and Lia Perjovschis' art is unique in the development of experimental art in Eastern Europe since the 1980s. Both artists forged original and challenging forms of visual expression in drawing, performance, installation, and conceptual practices, as well as in the analysis and use of mass media, especially television and newspapers. Their work matured under the double pressures of socialism and globalism, dividing their work into two mutually enhancing phases: the first loosely characterized by more private, intimate work before the Romanian Revolution, and the second by public art addressed to global concerns. (…) Dan's reputation in Romania began with the drawings and political cartoons he created since 1991 for Revista 22, the leading Romanian newspaper, founded by the Group for Social Dialogue to which he belongs. Today he is known throughout the world from large-scale drawing installations, utilizing the psychology of laughter to comment on social, political, and cultural conditions from local and national to global topics. Lia has been recognized as one of the leading performance artists in Romania, and was also known for her unusual objects. Since the early-1990s, she has gradually focused more on such conceptual projects as Timelines, Mind Maps, and Knowledge Museum, which chart historical and intellectual events and ideas, and on collections, such as the Globe Collection, that comment on mass media and consumption. For nearly thirty years, Lia and Dan Perjovschi have made art that is true to history, nation, and self. They have produced very different oeuvres, and as the composite LiaDan, they have illuminated the meaning of each other's work, collaborated on behalf of other artists and Romanian society, and sought through art to make global issues more transparent. Their aesthetically and politically charged art assists viewers to think, feel, and laugh, a combination that is vital in a political and cultural environment where questions of freedom and autonomy, the construction of knowledge, and the need to confront actual experience with candor are increasingly more demanding. Dan and Lia Perjovschi's art is about crisis, change, and endurance that reaches beyond the personal to engage the world and inspire viewers to live with courage.
(excerpts from short introduction text for Dan and Lia Perjosvchi States of Mind retrospective exhibition at Nasher Museum of Art Duke University NC)
Translation / fordítás / traducerea: Judit & Martin Pieldner
2009 Dan Perjovschi blackboard and postcard drawings “Lia & Dan Perjovschi, Kit” B5 Studio, Tg Mures
2005 Lia Perjovschi Endless Collection Generali Foundation, Wien
2011 Lia Perjovschi Science “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
2011 Dan Perjovschi drawings “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
2007 Lia & Dan Perjovschi at Pompidou Center Paris 2007 “States of Mind. Lia & Dan Perjovschi”, Nasher Museum of Art at Duke University
2007 “Perjovschi-Perjovschi” Christine Koenig Galerie Wien
1999 “Martor/Witness” Galeria Sylvie Moreau 2005 austrian, german and romanian curators at CAA
2010 “Lia Perjovschi Knowledge Museum and Dan Perjovschi Time Specific”, Espai d'Arte Contemporani Castello Spain
2003 “Lia Perjovschi&Dan Perjovschi Endless Collection” Kunsthalle Goppingen
D.P., L.P. Dan Perjovschi és Lia Perjovschi alkotói magatartásából olyan mûvészeti gyakorlat született, amely több ponton kapcsolódik a szélesebb társadalmi közeghez. Elõször is, a két mûvész, bár különbözõképpen, de hasonló intenzitással tematizálja, kategorizálja, kritizálja mindazon politikai, gazdasági és kultúrtörténeti folyamatokat, amelyek kihatnak életterükre. Olyan kérdéseket feszegetnek, hoznak viszonyba, helyeznek egymás mellé vagy egymással szembe, amelyek nagymértékben meghatározzák a kortárs társadalmi szemléletet, alakítják a domináns diskurzusokat, befolyásolják az intézményrendszerek kialakulását és mûködését vagy éppenséggel rávilágítanak a döntéshozó szervek ideológiai harcára. Alkotói magatartásuk másik erõs jellemvonása az alulról való építkezés, az alternatív struktúrákban való gondolkodás, a dialógus és általában az ismeretek megosztásának gyakorlata. Nem is lehet munkásságukat értelmezni mindezek mellõzésével. A sepsiszentgyörgyi Magmában bemutatott munkák: a Tudás Múzeuma (annak kiállított részei), Dan rajzai, melyek ezúttal a kiállítótér utcára nézõ ablakaira kerültek, a T-shirt kollekció, valamint a közösen készített videó, amely az 1987-2007 közötti performanszokat mutatja be kronológiai sorrendben, jól példázzák éveken át alkalmazott munkamódszerüket. Lia Perjovschi Tudás Múzeuma értelemszerûen nem egyik napról a másikra jött létre. Hátterében Lia kilencvenes években elkezdett gyûjtései állnak (Glob, stb.), az AAC (Arhiva de Arta Contemporana), majd az AAC (Analiza Artei Contemporane) anyagai, utazásaik során beszerzett dokumentumok, reprodukciók, fotók, tárgyak, újságkivágások, és nem utolsó sorban mindazon mûhelybeszélgetések vagy egy-egy kávé mellett megejtett eszmecserék, amelyeket õk maguk vagy kortársaik generáltak. Ha közelebbrõl megnézzük a Tudás Múzeumának anyagát, azt látjuk, Lia Perjovschi tudományos cikkeket olvas az univerzum felfedezésérõl, a Föld keletkezésérõl, az emberi testrõl, a kultúráról, a gazdaságról - benne a szegénységrõl és gazdagságról-, értelmezi és idõvonalba helyezi az akkumulált tudást, elõször saját magának, aztán mindenkinek. Lia mindennapi tevékenységébõl látunk tehát itt valamennyit, lenyomatát annak, hogy alkotóként miként áll hozzá a világhoz, melyben él. Dan Perjovschi leegyszerûsített, lényegre törõ rajzai mögött is hosszú, ugyanakkor mindennapi tevékenység áll. Bevallása szerint ha egy városban leledzik, megveszi a helyi újságot, a reggeli napilapot, és ahogy azt rendeltetésszerûen mi is tennénk, böngészi õket. Ez indítja véleményformálásra, rajzolásra, megfogalmazódik a kérdés és a kétely, az olvasó ember keserûsége, iróniája, végsõ soron a szabad szemlélet kibontakozása. Dan Perjovschi rajzai nem mostanság bukkantak fel, ráadásul nem csupán a szûk szakmai közönség, hanem mindazok számára ismertek, akik olvasták vagy olvassák a bukaresti Revista 22 címû országos hetilap számait. Nem kellett múzeumba menni ahhoz, hogy Dan Perjovschi rajzaival találkozzunk. És nem kell szakavatott mûértõnek sem lenni ahhoz, hogy megértsük, mirõl szólnak vizuális kommentjei.
A közérthetõségre és a kommunikációra irányuló törekvésben tehát hasonlóságot mutat a két mûvész. Dan Perjovschi és Lia Perjovschi azáltal, hogy leegyszerûsítik a mûvészeti formanyelvet, valamint a mûvészeti technikákat háttérbe szorították, olyan alkotói gyakorlatra tettek szert, amely révén a tartalom közvetítése és annak direktsége került elõtérbe. Természetesen erõs és letisztult formanyelvvel rendelkezik mindkét mûvész, azonban be kell látnunk, sem az írás, sem a fotók és újságcikkek kiollózása, ahogy az egyszerû pálcikaemberszerû rajzok sem igényelnek magas szintû képzõmûvészeti tanulmányokat. Hogy munkáik mégis sajátosan az övéik, az kritikus és önazonos szellemi hozzájárulásuknak köszönhetõ. Ez az, ami nehezen másolható. És mégis, ennél a pontnál jelentkezik mûvészeti gyakorlatuk harmadik kapcsolodási pontja a társadalmi közeghez. Azáltal, hogy leredukálták alkotói gyakorlatukat azokra a kompetenciákra, amelyekkel szinte minden ember rendelkezik, egy felszólítást szegeznek nekünk, amely valahogy így hangzik: mi olvasunk, írunk, fotózunk, rajzolunk, élünk, dolgozunk, viselkedünk ugyanúgy mint ti, nem-szakember-mûvészek, s ezért ti, ha nem is kívántok mûvészek lenni, idõnként dolgozzatok és gondolkodjatok úgy, mintha azok lennétek. Szabadon, kritikusan, önazonos módon. (Tordai S. Attila)
2011 Lia Perjovschi Timeline General “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
D.P., L.P. Din atitudinea creativã a lui Dan Perjovschi ºi a lui Lia Perjovschi a rezultat o practicã artisticã, care se leagã în mai multe puncte de mediul social mai larg. În primul rând, cei doi artiºti tematizeazã, categorizeazã ºi criticã, chiar dacã în mod diferit, dar cu o intensitate similarã, toate acele procese politice, economice ºi de istorie a culturii, care îi afecteazã spaþiul vital. Ei insistã asupra, alãturã sau contrasteazã probleme, care determinã în mare mãsurã viziunea socialã contemporanã, formeazã discursurile dominante, influenþeazã formarea ºi funcþionarea sistemelor instituþionale, ori chiar dezvãluie lupta ideologicã a organelor de decizie. O altã caracteristicã dominantã a atitudinii lor creative este construirea de jos, gândirea în structuri alternative, dialogul ºi, în general, practica împãrtãºirii cunoºtinþelor. Nici nu se poate interpreta activitatea lor fãrã acestea. Lucrãrile prezentate la Spaþiul Expoziþional Magma din Sfântu Gheorghe, ºi anume Muzeul Cunoaºterii (pãrþile expuse ale acesteia), desenele lui Dan, care de aceastã datã au fost amplasate pe geamurile cãtre stradã a spaþiului expoziþional, colecþia de tricouri, precum ºi video-ul creat împreunã, care prezintã performance-urile din perioada 19872007 în ordine cronologicã, ilustreazã perfect metoda lor de lucru aplicatã de-a lungul anilor. În mod logic, Muzeul Cunoaºterii al lui Lia Perjovschi, nu s-a creat de la o zi la alta. La originea acestuia stau colecþiile lui Lia începute în anii nouãzeci (Glob, etc.), materialele ale AAC (Arhiva de Artã Contemporanã), dupã aceea cele ale AAC (Analiza Artei Contemporane), documente, reproducþii, fotografii, obiecte, decupaje din ziare adunate în cursul cãlãtoriilor lor, ºi nu în ultimul rând toate acele discuþii de atelier sau schimburi de idei la o cafea, pe care le-au generat ei sau contemporanii lor. Dacã ne uitãm de mai aproape la materialele Muzeului Cunoaºterii, putem vedea, cã Lia Perjovschi citeºte articole despre descoperirea universului, despre formarea Pãmântului, despre corpul uman, despre culturã, despre economie inclusiv despre sãrãcie ºi bogãþie , interpreteazã ºi aºeazã în ºir cronologic cunoºtinþele acumulate, în primul rând pentru sine însãºi, iar apoi, pentru toatã lumea. Deci aici putem vedea câte ceva din activitatea de toate zilele a lui Lia, ca amprentã a atitudinii sale artistice faþã de lumea în care trãieºte. De asemenea, la baza desenelor simplificate, concise ale lui Dan Perjovschi stã o lungã activitate, de toate zilele în acelaºi timp. Conform propriei confesiuni, dacã se aflã într-un oraº, cumpãrã ziarul local, cotidianul de dimineaþã, ºi spicuieºte din ele, cum am face ºi noi în mod normal. Aceasta îl îndeamnã sã-ºi formeze o opinie, sã deseneze, sã-ºi formuleze întrebãrile ºi îndoiala, dezamãgirea ºi ironia omului-cititor, ºi în ultimã instanþã, realizarea unei viziuni libere.
Desenele lui Dan Perjovschi nu au apãrut recent, pe deasupra, acestea sunt cunoscute nu numai de publicul profesional restrâns, ci de toþi cei care au citit ºi citesc numerele sãptãmânalului naþional Revista 22 din Bucureºti. Nu trebuia sã ne ducem la muzeu pentru a ne întâlni cu desenele lui Dan Perjovschi. De asemenea, nu trebuie sã fim nici experþi în artã pentru a înþelege, despre ce vorbesc comentariile sale vizuale. Cei doi artiºti au similitudini în privinþa strãduinþei de a se exprima pe înþelesul tuturor ºi de a comunica. Prin simplificarea modalitãþilor de expresie artisticã, respectiv prin plasarea pe planul secund a tehnicilor artistice, Dan Perjovschi ºi Lia Perjovschi ºi-au dobândit o practicã artisticã, prin care transmiterea conþinutului ºi modul direct al acestuia a ajuns în prim plan. În mod cert, amândoi artiºti dispun de o modalitate de expresie artisticã puternicã ºi clarã, totuºi trebuie sã admitem, cã nici scrisul, nici decuparea fotografiilor sau a articolelor din ziare, ºi nici desenele simple, asemãnãtoare figurilor de beþiºoare nu necesitã studii de arte plastice de nivel înalt. Faptul cã, în ciuda acestora, aceste lucrãri sunt caracteristice lor, este datoritã contribuþiei lor critice. Aceasta este ceea ce este greu de imitat. Totuºi, la acest aspect apare al treilea punct de legãturã a practicii lor artistice cu mediul social. Prin reducerea practicii lor creatoare la competenþe de care dispune aproape fiecare dintre noi, ne adreseazã un îndemn, care sunã cam aºa: noi citim, scriem, facem fotografii, desenãm, trãim, muncim, ne comportãm la fel ca voi, artiºti neprofesionali, ºi de aceea voi, chiar dacã nu doriþi sã deveniþi artiºti, sã munciþi ºi sã gândiþi din când în când, de parcã aþi fi artiºti. În mod liber, critic ºi unic. (Attila Tordai S.)
2011 Dan Perjovschi drawings “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
D.P., L.P. Dan Perjovschi and Lia Perjovschi's creative attitude resulted in an artistic practice connected with several threads to the wider social medium. Firstly, the two artists bring into discussion, categorise and criticise, though in different ways, but with similar intensity, all those political, economic and culture-historical processes that affect their living space. They insist on, relate, juxtapose or contrast issues that determine to a great extent the contemporary social view, shape the dominant discourses, influence the formation and functioning of institutional systems or throw light upon the ideological fights of decisionmaking organs. Another powerful feature of their creative attitude is building from the bottom up, thinking in alternative structures, dialogue and in general, the practice of sharing knowledge. Their artistic achievement cannot be interpreted without these aspects. The works presented in the Magma exhibition space from Sfântu Gheorghe, namely the Knowledge Museum (its exhibited parts), Dan's drawings, exhibited in the windows looking onto the street this time, the T-shirt collection as well as their common work, the video presenting the performances between 1991 and 2011 in a chronological order, well illustrate the working method having been applied by them for years. As a matter of course, Lia Perjovschi's Knowledge Museum was not born overnight. Its background is represented by Lia's collections started in the nineties (Globe, etc.), the materials of the CAA (Contemporary Art Archives), then of the CAA (Contemporary Art Analysis), acquired during their journeys, documents, reproductions, photos, objects, newspaper cuttings and, last but not least, all those workshop discussions or exchanges of views over coffee, generated by them or by their contemporaries. If we throw a closer look at the material of the Knowledge Museum, we can see that Lia Perjovschi reads scientific articles on the discovery of the universe, on the formation of the Earth, on the human body, on culture, on economy including povery and wealth , she interprets and places on a timeline the accumulated knowledge, first for herself, then for everybody. In this way, we can see some aspects of Lia's everyday activity, as an imprint of her artistic attitude to the world she lives in. Behind Dan Perjovschi's simplified, straightforward drawings there is also a long, but at the same time everyday activity. According to his own confession, if he finds himself in a city, he buys the local newspaper, the morning daily, and as we would normally do, he browses them. This urges him to form his opinion, to draw, in this way questions and doubts, the bitterness and irony of the reader are formulated and, after all, the free view blossoms out. It is not recently that Dan Perjovschi's drawings have been created; what is more, they are well-known not only to a restricted professional public, but to all those who have read or read the issues of the national weekly, Revista 22 from Bucharest. We did not have to go to the museum to meet Dan Perjovschi's drawings. And we do not have to be skilled art experts to understand what his visual comments are about.
Thus, the two artists show resemblance in their endeavour to be easily intelligible and to communicate. By simplifying the artistic ways of expression as well as by pushing into the background the artistic techniques, Dan Perjovschi and Lia Perjovschi have elaborated such a creative practice by means of which the mediation of content and its directness have come to the front. Certainly, both artists have a powerful and clear way of expression, however, we have to admit that neither the writing nor the cutting of photos and newspaper articles and nor the simple, small stick figure-like drawings demand high-level artistic studies. Still, the fact that their works are characteristic of them is thanks to their critical contribution. This is what is difficult to imitate. However, at this point there occurs the third aspect of their connection to the social medium. By reducing their artistic practice to competences that almost everybody possesses, they address us an invitation which sounds somehow like this: we read, write, take photos, draw, live, work and behave just like you, non-professional artists, and this is why, even if you do not wish to become artists, you should work and think from time to time as if you were artists. Freely, critically, in a unique way. (Attila Tordai S.)
Dan Perjovschi Citizen/Consumer drawing
2011 “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
2011 Dan Perjovschi drawings “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
2010 “Lia Perjovschi Knowledge Museum and Dan Perjovschi Time Specific” Espai d'Arte Contemporani Castello Spain
Dan Perjovschi Revolutions drawing
2000 “Everything on view. About Contemporary Culture and Politics" moderators of a Saturday live show on Romanian National TV Channel 1, oct/dec 2000 (producer Ruxandra Garofeanu)
TOTUL LA VEDERE
2011 “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
2011 LiaDan, SPAC Cluj - Artist Talk “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
2011 “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” MAGMA Sf. Gheorghe
Dan and Lia Perjovschi born 1961 Sibiu Romania, did the same General School and High School of Art (1970-1980) and married in 1983. Living in Sibiu, Bucharest and the rest of the world. Exhibition and projects as Lia & Dan Perjovschi 2012 “Lia Perjovschi Knowledge Museum & Dan Perjovschi Daily, Weekly, Monthly” IFA Gallery Berlin, IFA Gallery Stuttgart / “Lia Perjovschi Knowledge Museum & Dan Perjovschi PostOlimpic” Peninsula Art Space Plymouth University 2011 “Lia Perjovschi Knowledge Museum, Dan Perjovschi Other stories” Club Electroputere Craiova si MAGMA Sf. Gheorghe / “Performance. Lia & Dan Perjovschi” Gallery 47 Parasite Lublijana 2010 “Lia Perjovschi Knowledge Museum and Dan Perjovschi Time Specific”, Espai d'Arte Contemporani Castello Spain 2009 “Lia & Dan Perjovschi, Kit” B5 Studio, Tg Mures 2007 “States of Mind. Lia & Dan Perjovschi”, Nasher Museum of Art at Duke University / “PerjovschiPerjovschi” Christine Koenig Galerie Wien 2006 “Dan Perjovschi Not me but you, not now but later” and “Lia Perjovschi CAA” Kunstraum, Innsbruck 2003 “Lia Perjovschi&Dan Perjovschi Endless Collection” Kunsthalle Goppingen 2002 “Lia & Dan Perjovschi. Working Title” KulturKontakt Space, Quartier 21, Museumsquartier Wien 2000 “Everything on view. About Contemporary Culture and Politics" moderators of a Saturday live show on Romanian National TV Channel 1, oct-dec 2000 (producer Ruxandra Garofeanu) / “Contemporary Art Archive in Tranzit” Public discussion and display, Tranzit House Cluj 1997 “Dan and Lia Perjovschi. Contemporary Art from Romania” Institute for The Arts Gallery East Campus, Duke University 1999 “Martor/Witness” Sylvie Moreau Home-Gallery, Cluj 1994 “It's Your Turn” Photo Gallery etaj ¾ National Theatre Bucharest 1992 “Perjovschi-Perjovschi” Simeza Gallery Bucharest 1991-today Open studio (exhibition, meetings, debates, lectures, slides/video presentation, conferences/workshop/lectures, art coaching) Teaching
2008-2010 “Expanded Drawing” at International Summer Academy Salzburg 1997 Visiting Professors at Duke University Art and Art History department Lectures & talks & workshops 2011 Club Electroputere Craiova, MAGMA Sf. Gheorghe 2010 Cluj, Scoala Populara de Arta Contemporana, Sighet Memorial summer school; Center for Russian, East European and Eurasian Studies at Kansas University; City Public Library Kansas 2009 Research Center for Artists Publications Waserburg Museum Bremen; Munchen Art Academy; Shortness seminar at Tate Modern London; B5 Studio Tg.Mures; Akademie der Kunste Munchen 2008 Salzburg Kunstverein 2007 Nasher Museum of Art at Duke University, Mineapolis College of Art and Design, Ludwig Museum Budapest 2006 CIMAM Annual Conference Tate Modern London 2005 After the Happy Nineties, Goethe Institute Bucharest Wurtenbergishe Kunstverein Stuttgart 2003 Northwestern University Department of Art Theory and Practice visiting studios; Columbia University Chicago; Barat College Chicago; Lipa Gallery Chicago; Art / Architecture and Design Institute Kiel Germany; Architecture Institute Bucharest; 1999 IASPIS Stockholm; Art Institute Bergen Norway; Norwich Art Institute 1998 Art Museum Braila, Oradea Art Faculty, Brasov University 1997 Ludwig Museum/Forum for Interantional art Aachen, Duma Art Museum at Duke University, University of North Carolina at Chapel Hill 1996-99 Conferences for the students of Ecumest Art management course Bucharest 1993 Art Institute for Decorative Art Besancon France
Artist In Residence / Fellowship 2002 KunstlerHaus Worpswede Germany 2001 Schloss Pluschow, Germany / Institute Claude Nicolas Ledoux Arc-et-Senans, France 1999 IASPIS Stockholm Sweden 1997 Artist in Residency / Visiting Professors Duke University, Durham, NC Catalogue / Publications 2012 “Lia Perjovschi Knowledge Museum & Dan Perjovschi Daily, Weekly, Monthly” Edito Barbara Barsch IFA Berlin / “Lia and Dan Perjovschi. The Art of Marginalia” Editor Sarah Chapman, Plymouth University Press / “Lia Perjovschi Knowledge Museum & Dan Perjovschi Other stories” Editor MAGMA Sf. Gheorghe 2010 “Lia Perjovschi Knowledge Museum & Dan Perjovschi Time Specifis” Editor Lorenza Barboni, Conemporary Art Space Castellon ICR Madrid 2009 “The Cologne Crime” (Kunst und Theorie volume 11) Editor Bernd Milla, Kunstlerhauser Worpswede&Argobooks Berlin 2009. 2007 “States of Mind. Dan and Lia Perjovschi” Editor Kristine Stiles, Nasher Museum of Art. Duke University Press 2007. 2003 Lia Perjovschi: Endless Collection and Dan Perjovschi: Autodrawings. Editor Werner Meyer Göppingen Kunsthalle, 2003. 1992 “Perjovschi-Perjovschi”, artist newspaper for solo exhibition, Simeza Gallery Bucharest Bibliography Angel Judit. "Quartier 21, Pirochka rev, Lia and Dan Perjovschi.” Praesens: Central European Art Review [Budapest] (2003): 86-87. / Briers, Anna. “Sydney Biennial” New Zealand Monthly (September 2008) Canavan Gerry. “Dan and Lia Perjovschi. From Ceusescu's Romania to Nasher Museum” The Independent Weekly [Raleigh-Durham-Chapell Hill] (august 29, 2007) / Costinas, Cosmin. “The Romanian Independent Art Scene.” Paradoxes. The Embod ied City. Exhibition catalogue. Lisbon: Gulbenkian Foundation, 2005 Craciun, Gheorghe. “Hard&Soft.” Observator Cultural [Bucharest] 33 (10-16 October 2000) / Dent Nick. “Chalk and Frieze”Time Out Sidney (September 2008) / Egger, Christian. “Das Neue Europa. Kultur des Vermischens und Politik der Reprasentation.” Springerin [Vienna] XI: 1 (2005): 69. Fabra, Maria. “Resistencia con arte precario” El pais. C Valenciana 16 oct 2010 / Hou Hanrou. Interview with Lia and Dan Perjovschi in ArtPractical no 19, 2010 / Pintilie, Ileana The Public and the Private Body in the Romanian Contemporary Art.” In Zdenka Badovinac, ed., Body and the East: From the 1960s to the Present. Exhibition catalogue. Lublijana: Museum of Modern Art, 1998. / “Problems in Transit: Performance in Romania.” ARTMargins (February 2000): www.artmargins.com / “Starea fara titlu a artelor vizuale romanesti”, Dilema no 207, (Bucuresti) 02 februarie 2008 / Stiles, Kristine. “Shaved Heads and Marked Bodies: Representations from Cultures of Trauma.” Strategie II: Peuples Med iterraneens [Paris] 64-65 (1993): 95-117; reprinted with a new Afterword in Jean O'Barr, Nancy Hewitt, Nancy Rosebaugh, eds., Talking Gender: Public Images, Personal Journeys, and Political Critiques (Chapel Hill: University of North Carolina Press, 1996) / “Remembrance, Resistance, Reconstruction, The Social Value of Lia and Dan Perjovschi's Art.” IDEA [Cluj, Romania] 19 (March 2005); reprinted in Marius Babias, ed., European Influenza (Venice: Romanian Pavillon, La Biennale de Venezia, 51, 2005): 574-612; excerpted in Lia Perjovschi, Detective Draft (Bucharest 2005); excerpted in Iris Dressler, ed., On Difference. Stuttgart, Germany: Kunstverein, 2007. / Susara, Pavel. “Despre artisti, institutii si critici.” Romania Literara [Bucharest] 7 (1998). / Tordai, Attila S. “Working Title.” Balkon [Cluj] 12 (2002). White Ami. “Artists Dan and Lia Perjovschi mediate on Romanian repression” The Independent weekly. [Raleigh-Durham-Chapell Hill] (September 5) 2007
Lia Perjovschi Knowledge Museum Dan Perjovschi Other Stories 7th of December 2011 - 13th of January 2012 MAGMA Contemporary Art Exhibition Space, Saint George, RO Kurátorok / Curatori / Curators Perjo & MAGMA Meghívott vendég / Oaspete de onoare / Special guest
Attila Tordai S.
Fordítások / Traduceri / Translations Judit & Martin Pieldner Korrektúra / Corectura / Proof reading Ágnes Ördög-Gyárfás Fotók / Fotografii / Photos CAA, Attila Kispál, Attila Toró, Ágota Ördög-Gyárfás, Barnabás Vetró-Bodoni, Christine Koenig Galerie, Jeremy Lange Katalógus terv, szerkesztés / Design, redactare catalog / Design, catalogue editing Barnabás Vetró-Bodoni Printed in 600 copies in February, 2012 by the IDEA Design&Print Ltd., Cluj Szervezô / Organizator / Organizer Magma contemporary medium association
Partnerek / Parteneri / Partners Székely Nemzeti Múzeum, Kovászna Megye Tanácsa Támogatók / Cu sprijinul / With the support of Sepsiszentgyörgy Megyei Jogú Város Tanácsa Kézdivásárhely Polgármesteri Hivatala Hotel Park, Agora Panzió, SONAR, Habitat Romania Médiapartnerek / Parteneri media / Media partners Háromszék, Székely Hírmondó, transindex.ro, sepsiszentgyorgy.info, modernism.ro kezdi.info
A NAPOS OLDAL
