art-e-conomy _ reader - marko stamenkovic

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27. Dan Perjovschi in an email to the author, February 2004. This of course only applies to
those artists eligible and lucky enough to get these kind of grants, as Perjovschi realizes, but he
also gives estimates of the honorarium for a lecture at a British institutions (GBP150 = 225 Euros)
or a residency at the artists program of Worpswede/Germany would be 1500 Euros per month
(including a studio)
28. special programs related to people suffering of HIV which seems to be a bigger problem in
Romania than in any other CEE country. Cosmin Gradinaru, a young Romanian artist has worekd
which HIV children and runs now his own business, a fashion company named “Biohazard“ (www.
toxic-clothing.ro) He has apparently stopped to be an artist in the traditional sense and turned this
company into “his artistic project“ as his colleague Dan Perjovschi remarks.
29. See Kristine Stiles, “Concerning Public Art and Messianic Time”, 1997 in Marius Babias and
Achim Koenneke, eds., Art & Public Spaces. Hamburg: Kulturbehörde; excerpted in Manifesta 2:
European Biennial of Contemporary Art. Luxembourg: Imprimerie Centrale S.A, 1998, no pages
http://www.duke.edu/~awe/messianic.html
“Based on the popularity of his images in that newspaper, and the brilliant, sardonic, and often
skeptical incisiveness of his social critique, Perjovschi was then invited to join the staff of 22 in 1991,
where he was employed to draw illustrations for the articles, and to design the general layout of the
newspaper. With the exception of a smattering of photographs, his drawings are the predominant
visual imagery in the newspaper.”
30. Stiles, ibid.
31. The example of Slovak artist Zuzana Hrušková Albertson seems to be somewhat out of place
since she lives and still studies in Newcastle. Not having the advantage of a considerable stipend,
she had to find a job to support herself – as so many art students do. But Zuzana Hrušková for two
years took a job as an interpreter for Slovak Roma and Sinti who came to the UK as asylum seekers.
Mostly she worked with mentally and emotionally disturbed persons, interpreting interviews with
psychotherapists whether at their practices or at the asylum seekers home. Zuzana Hrušková has
turned these experiences into a series of photographs named “Remains“ (2002/2003), a video/
conceptual piece named “Emigra“
32. Project description in an email to the author, March 2004
33. This sense for dark irony can be observed in another vitriolic comment of Stoyanov’s to the
absence of an art market in Bulgaria. When the “Grand Hotel” in Sofia called for 300 paintings
to upgrade the hotel facilities, they issued strict requirements for the artworks to be considered:
three different possible measures, oil on canvas, varnish (that is a glossy surface) desirable, not
on wood. Stoyanov obeyed and produced a shiny white canvas that met all the parameters asked
for precisely.
34. “Richard Fajnor. Kolko penazi je mozne dostat zobranim na slovenskej ulici za 100 minut v
prospech umenia“– “Poorperformance“1998–2002, publication by the artist
35. As a closing sequence he did the performance six times over in Bratislava.
There he appeared in prominent places such as in front of the main station or on one of the
most frequented place. Behind his back he had neatly assembled an image and the paper plate
used in the other 19 cities.