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Lia and Dan Perjovschi: knowledge Museum / Time

The artistic voice Perjovschi Lia and Dan has been evolving and growing with events that have plagued Romania-from Ceausescu regime to inclusion of Romania in the EU in 2007 -. Their voices remain in the footsteps of an austerity policy and censorship that have been transmuted into a working method simple and straightforward. His social commitment forced to leave intact the idea against of the media leading the era of globalization.

scathing By actively seeking and educate humanity into the performance space of this artistic couple.

The means of expression par excellence of Dan Perjovski is drawing. Your "canvas" as a graffiti artist, is the wall closest and geographically marginalized or preferably, in his words, "surplus." And their are other tools that would be used in a classroom at the school: markers, pencils, pens, chalks, etc.

While undoubtedly, the preferred tool is the irony that Dan uses in all its images, analyzes and criticizes his drawings that surrounds it, which is concerned, I do not understand. Because of the austerity and harshness of the dictatorship that the country suffered its artistic language became honest and straightforward with a burlesque.

Lia contrast blasts all those years of isolation with the information, ie, attempts to inventory and retrieve all information that has been lost, which has been censored and retrieve historical data is of interest. If Dan Perjovschi is expressed by the graphic drawing cartoon comic mode does Lia Perjovschi with timelines, mind maps, in short, calls for the Knowledge Museum. claims that the museum is an information base and that turn it stimulating and improving the knowledge of every visitor regardless of their location, condition and profession.

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Jordi Abelló specific: Dehumanization blurred Marja

The Catalan artist Jordi Abelló (Reus, 1970) presents in Castellón a compilation of his past jobs.

This time next to their paintings, we find a proposal that contextualizes and videographic allows theorizing of his work. The video, first of all, try to clarify the meaning of the room almost cinematic. It present the metaphysical character of the human and the atmosphere that surrounds our daily, in short, an atmosphere that may be destroyed at any time.

The main series of the sample being the title of the exhibition is Crim / Crime , is a small group of paintings format with which our artist tries to recreate the necessary investigations in relation to murder. Thus, we see little compositions in which the suspects are the players, giving free rein to speculation and conjecture, thus freeing an air of mystery in the room in search of the possible culprit. Similarly, the series Faces presented as a frieze shows her last portraits, such as close-ups of the series Crim / Crime , loaded with a great psychological and introspective, in which emulates the posters JA the police issued search and arrest.

addition part of the recent conflict in Baghdad prompted Jordi Abelló to capture on paper all the feelings that produced the situation that existed in Middle East. JA drawn to remember and record the facts, that many media presented to the viewer as a mere spectacle, so banal and totally without mercy. The artist intends, through about 1,300 pictures collected in thirteen books, highlight the plight of thousands of people terrorized by the fear and misery that brings all conflict.

On the other hand due to the genocide in Darfur, western Sudan set to work on the series From Leonardo to Darfur, which aims to show the connection between physical suffering of the paint surface and the earth as human habitat. Abelló work in this case on the spatial and temporal displacement creates an overlap, ie synchronization through a video projection. In "The Last Supper" by Leonardo da Vinci offers an arid landscape that allows the paint craquelé chapped be an arid land and desert like Darfur. JA evokes so, the face of time and evoking the land wound sensitization hidden behind the unbeatable dehumanization.

Leaving all bloody conflict, the Van Gogh series is planned as a tribute to the painter of the Netherlands, but at the same time endorses his previous series, since under the self-portrait latent blood circulating .

Thus, the author, through his series, makes Darfur, Baghdad, and Van Gogh an area where industry all the feelings and the essence of humanity behind the tragedy and suffering of being.

Jordi Abelló thus faces the viewer in front of the mirror a reality that surrounds us. Undoubtedly, you wake up the passive observer, oblivious and unresponsive in an active individual, coherent and sensitized to the successful conquest of dehumanization experienced by the Earth.