The Return of Bas Jan Ader

The only contemporary Romanian artist of posthumous descent, embodied from the parliamentary spectres of the 19th C, von blaremberg, just like his master Eugen Sebastian Apostolache (from the Târgu Mureș sect), returns with an exercise in spiritism: The Return of Bas Jan Ader materializes shadows of objects ectoplasmically densified, collateral to an insignifiance du politique.

Short telepathic guide

Lied ohne Worte. Found in a private photo album, the letter evokes a holiday rendez-vous on a melancholic tone.

A gentleman writes to a married lady, recalling an image he would have liked to include in the album of the trip made in the old Pirkenhammer wood.

Remembering nevertheless the raspberry bushes in the wood, he considered that die Rosl – the little rose, but also her first name – would have preferred not to part from the raspberry.

The erotic underlayer of the comment is both allusive and obvious, melancholy alternating with work phases is heartbreaking.

If L’insignificance du politique looks like garage junk, this does not make us less sensitive to the hallucinating production attempt of the political man (but also to the delicacy of personal destiny, hidden behind).

lücksobjekte 1&2 are two small objects meant to bring happiness and wealth, miraculous objects.

Tarot&Kabbala is a centering on extasy, sacred letter, master key pressed into egg yolk.

Anima (the small card hanging from the ceiling, left untitled) is the Jungian anima itself, the feminine side of the universal Shaktilian soul, in a pubertal representation.

The girl who never forgot anything, ever and the Anarchist – inflated postphotographic images recalling extracting approaches (raster aesthetics and re-photographing), somewhere between Roy Lichtenstein and Richard Prince.

Cards and objets trouvés reconfigure in a spectral-carnal manner a telepathic destiny within the folds of a post-diurnal realm.

The Portrait of An Artist Before He Was An Artist and After and Before Cădere indicate the inscribed condition of the anonymous creative power as a poweragent between pre-art and the post-artistic (treaty of minisophia).

Preparatio and Sono un artisto, mamma, scores of scholastic projection of the determination of the artist’s will, announce a huge sound production of von blaremberg in the future.

Found Page (a page from Cesare Pavese’s diary, The Business of Living) throws everything beyond the narrow exhibition space, into the gravitational space where life’s twists occur.