• Acessibilidade
      Fonte
    • A+
    • Aa


  • Agenda
  • Busca
  • pt
    • en
  • Bienal
  • fundação
  • bienal a bienal
  • Agenda
  • +bienal
  • biblioteca
  • Arquivo Histórico
  • 70 anos
  • Pavilhão
  • apoie
  • café bienal
  • transparência
  • relatório de gestão 2019-2021
  • Imprensa
  • contato
  • identidade visual
Home Notícias Wall, Work, Workshop. The São Paulo Drawing

11 set 2014

Wall, Work, Workshop. The São Paulo Drawing

2014

Dan Perjovschi


Just as characters are reduced to schematic lines, seemingly complex ideas find a simplified form in Dan Perjovschi’s drawings. Lacking the rhetorical or visual flourishes that often adorn political and artistic representations, his cartoons humorously unmask the hypocrisy that pervades all aspects of human interaction – from geo-politics to everyday life. Like the daily news, these drawings demand to be circulated rather than preserved in museum vaults. Although Perjovschi has become known for his ephemeral, large-scale installations, his work is also performed live and distributed via artist’s books, free newspapers and the Romanian magazine Revista 22, to which he has contributed weekly since 1991.



 


 


 


 


 


 


 


 


 


 


Perjovschi’s disavowal of traditional art forms is rooted in his experience of Romanian art academia in the 1970s and 80s. Frustrated by the constraints of official art, which, like the country, was then under the tight grip of Nicolae Ceauşescu’s regime, Perjovschi adopted drawing as a means of channelling social and political critique. Grids of sketched portraits hinting at the surveillance state began to populate his work in the late 1980s, culminating in the 5,000-ink-and-watercolour-drawing-wall Antropotheque (1992). Since then, he has given up on colour and draws directly on gallery walls, floors and windows. Using iconic images and few words, his sketches give an apparently transparent visual form to social and political taboos.



 


 


 


 


 


 


 


 


 


 


In recent years, Perjovschi’s accessible and direct language has earned him invitations to international biennials and museums alike. Such exposure has brought him close to some of the processes he critiques, such as the Westernisation that has followed the fall of communism, the art system’s exploitation of exotic identities, or the footprint of globetrotting lifestyles. Perjovschi critically addresses these contradictions in his drawings, for example by contrasting his ability to travel across the globe with the hindered mobility of migrant workers. In so doing, he complicates the relationship between the critical, international artist that he has come to embody with the neoliberal order that he endeavours to exorcise. – HV

Leia também


Acessar +bienal
30 anos de KW: fim de semana de aniversário, 2021Foto: Valerie Schmidt / Cortesia: KW Institute for Contemporary Art
Notícias14 mar 2023

Projeto da 35ª Bienal é apresentado em Berlim

KW Institute for Contemporary Art convida Grada Kilomba, parte do coletivo curatorial da 35ª Bienal, para conversa aberta

Saber mais
© Adrian Deweerdt / Cortesia: LUMA Arles
Notícias14 mar 2023

Projeto da 35ª Bienal é apresentado em Arles

LUMA Arles convida Diane Lima e Manuel Borja-Villel, parte do coletivo curatorial da 35ª Bienal, para conversa aberta

Saber mais
Notícias14 mar 2023

Grupo teatral As Malecuias estreia Monstro no Sesc Santo André

Peça é realizada pela Fundação Bienal de São Paulo em parceria com o Sesc

Saber mais

Newsletter

Receba a Newsletter da Bienal

Bienal

  • Fundação
  • Bienal a Bienal
  • Agenda
  • +bienal
  • Biblioteca
  • 70 anos
  • Arquivo Histórico
  • Pavilhão
  • Apoie
  • Café Bienal
  • Transparência
  • Relatório de Gestão 2019-2021

  • Contato
  • Identidade Visual

Fundação Bienal de São Paulo

Av. Pedro Álvares Cabral, s/n - Moema CEP 04094-050 / São Paulo - SP

Contato

+55 11 5576.7600 contato@bienal.org.br

Privacidade
•
Termos de uso
Copyright © 2023 Bienal de São Paulo