"Emergencies" is a research of the contemporary world in which two distinct but complementary artistic visions intertwine, separate or merge. The exhibition as a museum of knowledge and the exhibition as a newspaper. The bird view and the daily newspaper in the same space. – states Lia and Dan Perjovschi.

"The exhibition brings together two interconnected perspectives, highlighting knowledge, creativity and survival in a contemporary context. Under the concepts of 'Survival Kit' and 'Press Stress', Lia and Dan Perjovschi bring to the forefront deep visions of the realities and challenges of today's world:

In the 'Press Stress' section, Dan Perjovschi gathers the worlds-pages of the press into a puzzle of today's society. Here, the world is changing, the printed media is disappearing, but the stress remains constant. Through his creation, the artist offers a deep perspective on social changes and the impact of the information environment on everyday life.

The exhibition space, transformed into a huge mental map, is organized by Lia Perjovschi around some thematic cores that address specific topics of the 21st century. 'Survival kit' offers a bird's eye view of the current century, bringing into discussion humanity, alienation and various strategies of survival. In an inventory of the present time, themes such as climate change, globalization and technological developments become parts of a huge puzzle", explains Alexandra Ilnițchi-Ardelean (PR&Communication at Brașov Art Museum).

Dan Perjovschi offers a deep picture of social changes and the impact of the information environment on everyday life:

"Every day something happens. On the street where this museum is, in the city where this museum is, on this continent or somewhere in the Milky Way. Every day a butterfly flaps its wings. For me, the newspaper page is the whole world. "Press Stress" gathers the world-pages in a puzzle of contemporary society, with its tragedies, its heroisms and its barbarisms. The world is changing, print media is disappearing, stress remains. This 'remains' is the subject of my art. An art poor in means, but rich in meaning" - emphasizes the artist.

Lia and Dan Perjovschi were born in 1961 in Sibiu, Romania, attended the same School and Art High School (1970-1980) and got married in 1983. They live and work in Sibiu, but also in the rest of the world. Their artistic works have been exhibited in hundreds of exhibitions and festivals in Romania and internationally. They exhibited together at public cultural institutions such as: Total Museum Seoul, Rupert Vilnius, Kunstraum Innsbruck, Tranzit.ro Cluj, Espaivizor Valencia, IFA Berlin & Stuttgart and galleries such as Christine Koenig Wien, Michel Rein Paris, Kula Split. In 2007, the artists had a comprehensive retrospective exhibition at the Nasher Museum at Duke University.

With an artistic career spanning over 30 years, Dan Perjovschi has developed his own distinctive, stripped-down visual language that condenses intricate subjects without removing the complexity of reality. As an artist and journalist, his artistic practice developed as a form of "visual journalism". From the collaboration with Revista 22 since the 90s to the work "Ziarul Orizontal", a 30-meter public wall in Sibiu that he has been developing with new artistic content for over 10 years, the artist expresses his vision of contemporary society through drawings .

Lia Perjovschi, is the founder and coordinator of CAA CAA (Contemporary Art Archive and Center for Art Analysis) and KM (Knowledge Museum), an interdisciplinary research project. He has participated in more than 700 exhibitions, conferences and workshops worldwide. His diverse artistic practice reflects a journey from his physical body to the universal body of knowledge, characterized by a wide diversity of mediums of expression.

                                                                 The exhibition can be visited until April 30.

Museum of Modern Art

The exhibition proposes a counterpoint between tearing and repairing contained in Lamothe's large installation, called "suburban landscape", which dialogues with works by artists who investigate the possibilities of urban and playful art in a context of social and economic crisis. The exhibition's name comes from one of the songs of the cult album "Excursiones" by Rosario Bléfari, Argentinean singer and poet, with her band Suárez in 1999. The song is articulated between the idea of tearing and repairing, a product of the crisis, and shows a new generation of artists.

As for Lamothe's installation, it is a monumental suburban landscape made with a structure of pipes-like scaffolding that contains and envelops the works of other artists. Lamothe transforms and envelops the space of the room to house a group of artists of his generation who emerged on the contemporary art scene after the 2001 crisis. These works portray the memory of a city on the verge of collapse and transform violence into new ways of inhabiting the environment and giving it meaning.

The selected works range from installations, sculptures, videos, and paintings, either on loan, from the museum's collection or produced especially for the exhibition. Among the participating artists, Mariana exhibits a mural in situ on the only white wall, in contrast with the red of the rest of the hall and the access corridor, Facundo Belén with a video performance, the collective Belleza y Felicidad Fiorito exhibits its cartonero cart, and Diego Bianchi with recent sculptures made of silver exhaust pipes.

Irina Kirchuk participates for the first time at the Moderno with an installation of large reconverted objects, such as a refrigerator, which are associated with building profiles. In contrast, Clorindo Testa exhibits a more brutalist and expressive work from the 60s, which is enveloped by Lamothe's large device, where "the irruption of the degraded, the broken" poses one of the contrasts of the tour.