Perjovschi’s international reputation was made when he represented Romania at the 1999 Venice Biennale, chalking over the floor with drawings depicting post-Communist life which visitors erased with their feet as they explored them. As Perchovsky puts it, “We all live in a drawing, and sometimes this drawing is erased.”
In Stockholm, he had drawn all over the museum’s entrance foyer: witty, sharp comments on culture, International and Swedish politics and the museum world. His work raised interesting questions for me regards the status of graffiti art in modern culture. It appears from what I can see Perjovschi operates exclusively within the confines of the modern art establishment. Banksy does too, occasionally, of course, but usually on his own initiative and without requiring an invitation from the Tate, British Museum, or Metropolitan Museum of Art, for example. And while it is not impossible to contemplate, I don’t somehow see Banksy being invited to represent the UK at the Venice Biennale anytime soon.
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