{"id":698,"date":"2024-10-04T14:07:35","date_gmt":"2024-10-04T14:07:35","guid":{"rendered":"https:\/\/blogg.sh.se\/artspace\/?page_id=698"},"modified":"2024-11-08T10:40:33","modified_gmt":"2024-11-08T10:40:33","slug":"andrei-pandele-dan-perjovschi-witnessing-pre-post-revolution-in-romania","status":"publish","type":"page","link":"https:\/\/blogg.sh.se\/artspace\/andrei-pandele-dan-perjovschi-witnessing-pre-post-revolution-in-romania\/","title":{"rendered":"Andrei Pandele & Dan Perjovschi: Witnessing pre \/post Revolution in Romania"},"content":{"rendered":"\n

17 oktober – 13 december, 2024<\/h2>\n\n\n\n
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August 1982. Foto: Andrei Pandele<\/figcaption><\/figure>\n\n\n\n

The tenth exhibition at Art Space S\u00f6dert\u00f6rn presents yet another show addressing urgent issues evoked by the present geo-political situation in Europe. In the exhibition curated by the British curator and scholar Uschi Klein, two bodies of work are in dialogue with each other and the visitor. One consists of photographs by Andre Pandele (b. 1945), which he took during the 1970s and 1980s in Romania, and the other of wall drawings by Dan Perjovschi (b. 1961). Mixed with graffiti, this key artist of the global post-1989 art scene draws directly on the walls of art museums and galleries across the world. At S\u00f6dert\u00f6rn, he will create a site-specific work directly in the gallery.<\/p>\n\n\n\n

(Svensk text l\u00e4ngre ned p\u00e5 sidan.)<\/p>\n\n\n\n

The Romanian Revolution of 1989 was a violent key moment in the country\u2019s history that brought its people democracy after 42 years of communist rule, which resonated with the situation in the Post-soviet Europe as a whole. The 1980s had been particularly harsh in Romania: a severe austerity programme was implemented by Nicolae Ceau\u015fescu (head of state 1967-1989) to pay off foreign debt as fast as possible. As a result there was a drastic decline of living standards. It was also a time of destruction, especially in Bucharest, where whole neighbourhoods and areas were bulldozed to build the second largest government building in the world, ironically called the \u2018House of the People\u2019. Thus, the population suffered a major social crisis and unrests were increasingly mobilised across the country, triggering nation-wide protests in December of 1989, which culminated in the arrest and execution of Ceau\u015fescu and his wife Elena.<\/p>\n\n\n\n

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Foto: Andrei Pandele<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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1990 Press place Bucharest, Lenin as master of hell. Photo: Andrei Pandele<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

In Witnessing pre\/post Revolution in Romania<\/em>, the two Romanian artists, Andrei Pandele and Dan Perjovschi, reflect on what this exhibition proposes as a pre\/post juncture at that moment, by creating a dialogue that aims at engaging the audience both emotionally and critically through wit and humour. Pandele\u2019s photographs and Perjovschi\u2019s drawings should however, not primarily be seen as a political testimony and commentary of then and now, the past and present. Instead, by bringing Pandele and Perjovschi together, this exhibition intends to expose the audience not only to nuances of Romania\u2019s recent history, but also to contemporary issues that are inextricably linked to the past.<\/p>\n\n\n\n

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Foto: Andrei Pandele<\/figcaption><\/figure>\n\n\n\n

An architect with a keen eye for photography, Pandele took most of his photographs to record the country\u2019s changes during the 1970s and 1980s. His photographs are poignant reminders of what everyday life looked like for the majority of Romanians during that time: queuing was a daily necessity to buy basic food items like bread, cooking oil, eggs, flour, cheese and meat; doing \u2018patriotic work\u2019 like clearing snow-covered streets was expected; the weekly ration of petrol for private cars meant catching overcrowded trams and busses; and constructions of apartment blocks and large avenues were seen in cities and across the country. In capturing these different glimpses of life, Pandele created an impressive body of work that was fraught with danger: during communism, there was a penalty of six years of imprisonment for taking pictures of that nature.<\/p>\n\n\n

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Drawing by Dan Perjovschi. <\/figcaption><\/figure>\n<\/div>\n\n\n

Similarly critical of the regime was Perjovschi during the 1980s. A prominent member of Atelier 35 Oradea<\/em>, a network of spaces that were dedicated to experimental art and organised weekly exhibitions as an act of dissidence, Perjovschi has become famous for his site-specific drawings. Mixed with graffiti, he draws directly on the walls of art museums and galleries across the world, which gives his work an ephemeral nature. They contain layers of meanings and express a view of the world with political and contemporary commentaries.<\/p>\n\n\n\n

The exhibition is organised with support from the board of the Critical and Cultural Theory research area. <\/p>\n\n\n\n

Bios:<\/p>\n\n\n\n

Uschi Klein is a Senior Lecturer in the School of Art and Media at the University of Brighton, UK, and has previously been a Visiting Research Fellow in Media and Communication Studies at S\u00f6dert\u00f6rn University. Klein is also active as a photographer and exhibition curator. <\/p>\n\n\n\n

Andrei Pandele (b. 1945 in Romania) is a retired architect who developed an interest in photography in his adult life. This enabled him to secretly document everyday life in Romania in the 1970s and 1980s. His first major exhibition was called Forbidden Photos and Personal Images<\/em> (2007) at the National Museum of Contemporary Art.<\/p>\n\n\n\n

Dan Perjovschi (b. 1961 in Romania) made his breakthrough after the Romanian Revolution of 1989 and now works internationally. His expression is humorous, subversive, textual and comic, often working with text and drawings directly in the exhibition space. Perjovschi exhibited in the seminal exhibition After the Wall<\/em> (1999, Moderna Museet), and most recently participated in Documenta 15<\/em>, 2022.<\/p>\n\n\n\n

Art Space S\u00f6dert\u00f6rns tionde utst\u00e4llning kretsar kring angel\u00e4gna fr\u00e5gor i Europas aktuella geopolitiska situation. Tv\u00e5 konstn\u00e4rskap \u00e4r satta i dialog med varandra. Ett best\u00e5r av fotografier av Andrei Pandele (f. 1945), tagna under 1970- och 1980-talen i Rum\u00e4nien, och det andra av v\u00e4ggteckningar av Dan Perjovschi (f. 1961). Blandat med graffiti, ritar Perjovschi direkt p\u00e5 v\u00e4ggarna i konstmus\u00e9er och gallerier \u00f6ver hela v\u00e4rlden. P\u00e5 S\u00f6dert\u00f6rn kommer han att skapa ett platsspecifikt verk. Utst\u00e4llningen \u00e4r curerad av Uschi Klein, University of Brighton.<\/p>\n\n\n\n

Den rum\u00e4nska revolutionen 1989 var en v\u00e5ldsam h\u00e4ndelse i landets historia som gav folket demokrati efter 42 \u00e5r av kommunistiskt styre. 1980-talet hade varit s\u00e4rskilt h\u00e5rt i Rum\u00e4nien: ett str\u00e4ngt \u00e5tstramningsprogram genomf\u00f6rdes av Nicolae Ceau\u015fescu (vid makten 1967-1989) f\u00f6r att betala av utlandsskulder s\u00e5 snabbt som m\u00f6jligt. Resultatet blev en drastisk nedg\u00e5ng i levnadsstandarden. Det var ocks\u00e5 en tid av destruktion, s\u00e4rskilt i Bukarest, d\u00e4r hela kvarter och omr\u00e5den j\u00e4mnades med marken f\u00f6r att bygga den n\u00e4st st\u00f6rsta regeringsbyggnaden i v\u00e4rlden, ironiskt kallad \u2018Folkets hus\u2019. Befolkningen led och oroligheter mobiliserades alltmer \u00f6ver hela landet. Det utl\u00f6ste landsomfattande protester i december 1989, som kulminerade i arresteringen och avr\u00e4ttningen av Ceau\u015fescu och hans fru Elena.<\/p>\n\n\n\n

I Witnessing pre\/post Revolution in Romania<\/em> reflekterar de tv\u00e5 rum\u00e4nska konstn\u00e4rerna Andrei Pandele och Dan Perjovschi \u00f6ver det som denna utst\u00e4llning f\u00f6resl\u00e5r \u00e4r en pre\/post-skiljelinje f\u00f6r det \u00f6gonblicket. Syftet \u00e4r att med kvickhet och humor skapa en dialog, genom vilken publiken kan engageras b\u00e5de k\u00e4nslom\u00e4ssigt och kritiskt. Pandel\u00e9s fotografier och Perjovschis teckningar b\u00f6r dock inte fr\u00e4mst ses som ett politiskt vittnesm\u00e5l. Ist\u00e4llet, genom att f\u00f6ra samman Pandele och Perjovschi, avser utst\u00e4llningen att exponera publiken inte bara f\u00f6r nyanser av Rum\u00e4niens historia, utan ocks\u00e5 f\u00f6r samtida fr\u00e5gor som \u00e4r ouppl\u00f6sligt kopplade till det f\u00f6rflutna.<\/p>\n\n\n\n

Utst\u00e4llningen \u00e4r framtagen med st\u00f6d fr\u00e5n Kritisk kulturteori, ett forskningsomr\u00e5de vid S\u00f6dert\u00f6rns h\u00f6gskola. <\/p>\n\n\n\n

Bios:<\/p>\n\n\n\n

Uschi Klein<\/strong> \u00e4r universitetslektor vid School of Art and Media vid University of Brighton, Storbritannien, och har tidigare varit g\u00e4stforskare i medie- och kommunikationsvetenskap vid S\u00f6dert\u00f6rns h\u00f6gskola. Klein \u00e4r \u00e4ven verksam som fotograf och utst\u00e4llningskurator. <\/p>\n\n\n\n

Andrei Pandele<\/strong> (f. 1945 i Rum\u00e4nien) \u00e4r en arkitekt som i vuxen \u00e5lder b\u00f6rjade intressera sig f\u00f6r fotografi. Det gjorde det m\u00f6jligt f\u00f6r honom att i hemlighet dokumentera vardagslivet i Rum\u00e4nien p\u00e5 1970- och 1980-talen. Hans f\u00f6rsta stora utst\u00e4llning hette Forbidden Photos and Personal Images (2007) och visades p\u00e5 National Museum of Contemporary Art.<\/p>\n\n\n\n

Dan Perjovschi<\/strong> (f. 1961 i Rum\u00e4nien) fick sitt genombrott efter den rum\u00e4nska revolutionen 1989 och arbetar nu internationellt. Hans uttryck \u00e4r humoristiskt, subversivt, textuellt och komiskt. Perjovschi st\u00e4llde ut i den banbrytande utst\u00e4llningen After the Wall (1999, Moderna Museet) och deltog i Documenta 15, 2022, bland m\u00e5nga andra utst\u00e4llningar.<\/p>\n","protected":false},"excerpt":{"rendered":"

17 oktober – 13 december, 2024 The tenth exhibition at Art Space S\u00f6dert\u00f6rn presents yet another show addressing urgent issues evoked by the present geo-political situation in Europe. In the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-698","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages\/698","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/comments?post=698"}],"version-history":[{"count":9,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages\/698\/revisions"}],"predecessor-version":[{"id":736,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages\/698\/revisions\/736"}],"wp:attachment":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/media?parent=698"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}