vector 2_1.cdr - Universitatea de Arte "George Enescu"

More documents

Recommendations

Info

A small democratic triumph Maeve Polkinhorn Dan Perjovschi, The Room Drawing, 2006 Tate Modern Members Room March 25 - June 23, 2006
exhibitional experiences 184 [1] Annual Tate membership starts at Ł49 giving members free access to all ticketed exhibitions across the four Tate sites, use of the Members Rooms and Tate ETC magazine and bi-monthy guide to what's on at Tate. Maeve Polkinhorn is assistant curator at Tate Modern, London and curated Dan Perjovschi's The Room Drawing. The Members Room crowns the sixth floor of Tate Modern with magnificent 0 360 views through floor to ceiling windows across the river to St Paul's Cathedral 1 and south over the borough of Southwark. For a reasonable annual subscription Tate Members can retreat here after an exhausting tussle with crowds and contemporary art in the galleries to enjoy the views over an exclusive cup of coffee or glass of wine. Perjovschi's project The Room Drawing, 2006, disrupted the atmosphere of the Members Room on several levels. Not only did it bring a humorous and critical edge to its normally serene atmosphere but also for the first time ever the Members Room was accessible to non-members who wished to view Perjovschi's work. A small democratic triumph. Despite the inevitable negative comments from a handful of members who saw the work as defacing their room with graffiti the majority of responses from Members have been positive and the staff who work in the room have also appreciated the energy that the project has brought to the space. Perjovschi will gladly step out of the rarefied walls of a white cube gallery space to make work in less 'precious' situations. Since 1991 his cartoon-drawings have appeared on the pages of the Romanian weekly newspaper Revista 22, commenting on the latest political and social events both local and global. In Kassel, in 2003, and Edinburgh, in 2004, he worked outside, drawing in chalk directly on the street. Representing Romania at the 1999 Venice Biennale Perjovschi's drawings covering the floor of the pavilion were literally worn away by the feet of visitors. Speed, performance and temporality are central to his practice. At Tate Modern the drawings he made on the windows gradually faded as the exhibition period waned. If his work is not deliberately worn away during the period of its exposure it is always painted over at the end of the exhibition, therefore ensuring the work does not enter the art market as a commodity. In the last year Perjovschi has realised several projects within non-gallery, public spaces in large museums. At Moderna Museet in Stockholm he recently completed a project drawing on the cloakroom walls, also hiding drawings within the cloakroom lockers. At the Van Abbemuseum he covered the stairwells walls with drawings. These public circulation spaces suit the informality and casualness of his work while also allowing him some critical distance from the white cube galleries of the museums. In his research for The Room Drawing he interviewed a number of museum staff and members of Tate Members Council in order to build up a picture of how Tate operates as an institution. Many of his drawings in the Members Room were made specifically in response to his observations of Tate and Londoners alongside commentary on the wider international political situation. For example in one drawing a group of museum visitors pay more attention to the label than to the art work itself while another drawing focuses on the inordinate amount of time Londoners seem to spend travelling on the tube. Other drawings refer to Tate Moderns plans for expansion as 'going MoMA' and to the internal rivalries between Tate Britain and Tate Modern. Perjovschi highlights the double edged sword of Tate Modern's success in attracting visitors, for example one drawing shows hordes of people lining up to see the view rather than the art. On the wall near the entrance to the Members Room Perjovschi writes: 'A very exclusive room for 73,000 members' referring to the latest count of Tate Members. Perjovschi states: 'I understand the world if I draw it. As simply and directly as possible. Intellectual graffiti, political cartoons, kids drawings. A language for st the 21 century.' It is remarkable that through the ancient medium of drawing Perjovschi is able not only to match the rapid response time of today's media society but also to form a cutting intellectual critique and analysis of that society. With refreshing clarity and honesty he cuts through the gloss of fashion, media hype and political rhetoric to expose the instruments of control and power at work in our contemporary global society. He has equipped himself with one of the best survival tactics, the ability to see the funny side of a dire situation.
Page 1 and 2:
vector v artă şi cultură în con
Page 3 and 4:
cuprins / contents construind conte
Page 5 and 6:
construind contexte_relaţionând c
Page 7 and 8:
12 3. organizarea proiectului cARTi
Page 9 and 10:
16 Platform Center for Contemporary
Page 11 and 12:
20 [4] Acesta este genul de proiect
Page 13 and 14:
24 [1] From the Curating Contempora
Page 15 and 16:
28 Center for Communication and Con
Page 17 and 18:
uilding contexts_networking context
Page 19 and 20:
36 Another problem in Ukrainian art
Page 21 and 22:
Periferic 7: Focussing Iaşi / Soci
Page 23 and 24:
44 Andrei Ujicã & Harun Farocki -
Page 25 and 26:
construind contexte_relaţionând c
Page 27 and 28:
Mircea Cantor - Images from the Pin
Page 29 and 30:
Luchezar Boyadjiev - Defragmenting
Page 31 and 32:
Bik van der Pol - Teach me Somethin
Page 33 and 34:
IS MODERNITY OUR ANTIQUITY? Dosarul
Page 35 and 36:
către un scop. Max Weber, care îi
Page 37 and 38:
THE MASKS OF MODERNITY AND THE DOUB
Page 39 and 40:
76 If we had a detached look on thi
Page 41 and 42: Henri IV - Paris Etienne Marcel - P
Page 43 and 44: King Johann I - Dresden Louis XIV -
Page 45 and 46: CASA MODEI Lucas HORVATH Lucas Horv
Page 47 and 48: The architect N. Porumbescu left Bu
Page 49 and 50: Iată-l, noul centru al oraşului S
Page 57 and 58: artişti în context / Bogdan Teodo
Page 59 and 60: date transferate Despre un model li
Page 61 and 62: 120 [21] [Holcombe 2005], p. 8. [22
Page 63 and 64: transferring data [1] The first to
Page 65 and 66: 128 [26] [Nozick 1997], p. 379-380.
Page 67 and 68: 132 [9] Pierre Bourdieu şi Pierre
Page 69 and 70: André Alves, Aunt Nell Gis, 2006 N
Page 71 and 72: critical condition: frontiers 140 T
Page 73 and 74: 144 [22] I refer to theatre public
Page 75 and 76: 148 [31] Paolo Virno, A Grammar of
Page 77 and 78: 152 [16] ibidem. [17] ibidem. estet
Page 79 and 80: 156 [10] ibidem, 211a, 1-3. [11] Se
Page 81 and 82: 160 printr-o camuflare tactică sub
Page 83: 164 of the public's willingness to
Page 86 and 87: 170 [13] vezi Peter Bürger, Theory
Page 88 and 89: 174 [5] Arthur C. Danto, op. cit..
Page 90 and 91: 178 thus photography as an essentia
Page 94 and 95: camera de lectură Oraşul şi fron
Page 96 and 97: The City and the Border: Common Sin
Page 98 and 99: Mulţumiri / Acknowledgements Danie
show all

vector 2_1.cdr - Universitatea de Arte "George Enescu"

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?