Gruppalli, who has previously worked with other media such as performance and sculpture, proposes a kind of novelty as he reveals to a wide public his recent facet as a painter. The artist brings together portraits and still lifes with (not so) veiled references to the world of art and counterculture in a room with a café concert atmosphere that includes a stage. The audience of “Private Function” is invited to step onto a stage while the characters created by Gruppalli watch from their respective tables, each one decorated with flowers and objects that evoke the history of art.

Around a series of self-portraits and compositions with seated characters, the artist builds a café concert scene that puts into play the pose and the relationships we build with objects. Bananas, shoes, vases, small busts, and record covers create somewhat encrypted surfaces of pleasure, which indicate a world of references linked to the history of art and counterculture of the twentieth century, where Picasso, Buñuel, Brancusi or Andy Warhol cross with some local icons such as Virus, Los Redondos or Rosario Bléfari. According to the artist, the interesting thing is the dialogue between a countercultural record like “Oktubre” by Patricio Rey y sus Redonditos de Ricota, which is printed on many T-shirts, and the most canonized art.

In “Función Privada”, the painting has not been confined to the wall but is presented as part of the construction of a scene; essential to the meaningful articulation of the space where the bodies of the spectators can relate to the bodies represented in the territories of the night. They are spaces in which the penumbra counts at the time of constructing sensations and senses. Each character enigmatically represented in a corner or seated at a table is waiting for the beginning of the show in front of an empty stage. The atmosphere is very surreal, something that is affirmed by the sum of references that also operate as winks to the spectator. These are key to deciphering quotes from the history of art or popular music.

According to the curators, the Recoleta Cultural Center's 2024 program begins with four artists who explore in depth the representation of the body in contemporary times. The selection was based on a search for empathy with the bodies that have been present at the cultural center in recent times, through urban dance experiences, shared workspaces, and recreational activities. By allocating several rooms for the visual arts, these first exhibitions seek to generate a dialogue and an opening to the imagination between the bodies present and those represented.

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With large-scale installations, paintings, sculptures, videos, textual fragments, photographs, and even pieces of jewelry, each work offers a unique window into the complexity of love. Through the selected works, the exhibition seeks to capture the very essence of love and explore its different manifestations, from nostalgia to unbridled passion. According to the curator, “Love and art are two ways to release the death drive. They help to calm anguish and to transcend on the path of life.”

The exhibition is organized into three cores: life, death, and spirituality. That said, love can be soft like a giant ball of wool, according to Teresa Pereda's work. Love can also be light like the sound of openwork papers shaken by the breeze in the courtyard, by Manuel Ameztoy; or a hammock waiting to be used by Alexandra Kehayoglou. For his part, Vicente Grondona depicted lovers charred by a kiss; Edgardo Giménez painted a paradise, and Marta Minujín, everything that happens on a multicolored mattress. It can also be sad, like the work that shocked Yuliana, Mar de lágrimas, by Pablo Suárez.

Pablo Lehmann and Pablo Suaréz

Nicola Costantino represents motherly love as something visceral. Some of that is also present in Charly Herrera's work, a mega-installation that is a tribute to her father, a florist. You can enter and discover details such as stamps, mirrors, and bottles. Fabiana Larrea threads words on a mural ñandutí to understand what love means. Inspired by the death of her father in a pandemic, a simple kiss may be what love is all about.

Good love, yes, sometimes hurts. In a painting, Daniel Garcia bids farewell to his beloved Gilda Di Crosta: he hides her portrait in a vase of flowers. Worse is not to have known love. In Débora Pierpaoli's work, there are two portraits united: she picks up an Eastern tradition of marrying in the cemetery the dead who have no family so that the souls do not perpetuate their loneliness.

Nicolás García Uriburu

“How much does love weigh?” continues Daniel Fischer's curatorial proposal to explore universal but also contemporary themes through diverse languages and aesthetics, bringing together Argentine and international, contemporary and historical artists.

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Artists: 

"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.

Her works are represented in the permanent collections of art museums in Romania, Hungary, Slovakia and are part of private and public collections worldwide. She had been selected to represent the contemporary ceramic arts from Romania at the European Ceramic Context 2010 in Denmark and at the national exhibition “L`art céramique contemporaine roumaine”, 2010 in Paris. A retrospective exhibition, "Part of the Road Travelled", curated by Mălina Ionescu, was presented at the National Contemporay Art Museum in Bucharest (2021-2022). (https://www.jakobovits-marta.ro/)