On Wednesday, August 12, 2009, at 16.00, the fifth exhibition from the Young Romanian Art series will be opened in the New Gallery of the Romanian Cultural Institute in Venice, Italy. The exhibition is entitled 'freising sings', and it is a solo exhibition by Lea Rasovszky.
With these drawings I am trying to define a frame, a kind of self-explanation for the context in which I am situated. The major differences between the deep strata of Romanian and German ‘specificity’ are not something I want to ponder upon. I am neither interested in the quality of differences, or in the positive or negative conclusions. The most important thing is change, in itself. The spirit is shaped together with the environment. It grows in the rhythm of grass around the house and deepens itself in the pattern or the rings that are being formed in the nearby forest.
Here everything is wooden, held together by powerful metal screws. Politeness is the metal screw binding together in a perfect manner all the complex and visceral wooden structures. The slices of fibrous muscle, with great distances between the two inclines of the coleric spirit, placed between the melancholic and the sanguine. Its seems that it is this very discrepancy that is the base of the German destiny, of that destiny that will forever be tabu.
The incompatibility within the emotional build-up leads to a form of hysteria. It most probably bursts out inside the dreams, where it is similar to the effect of the scream from the top of the lungs, suffocated in a pillow. It is muted, but it takes place. The lungs get emptied, they are violently squeezed in the soft interior made for sleep. This is what the German spirit is like. The sleep membrane always hides a slug inside of it. The spirit is liberated in the dream. In strange and inexplicable dreams that are either forgotten with the first glance out the window, or remain and become the little ghosts of the day.
One never speaks about such things. What could ever be said?
Dreams are complex, they are beings in themselves, they are heavy and watery, or dry and dusty, they stay under your tongue and on the tips of the fingers long after waking up. They are all about a different kingdom. The animal kingdom of bloodline type, in which you feel a certain kind of blush in some parts of your body because you can see your progenitors, your neighbors, the day to day people, in their pure, unaltered shape, innocent as during childhood, of which they are not aware.
These are not beautiful dreams. These are not ugly dreams either.
They just get that layer of unspoken strangeness to the surface, and then let it sink into a surreal river bank. The man with buck horns, the man in the cage, the crow-sun. Projections of the subconscious on a ground of silence which waits for a perturbation only to continue being silent after the climax.
Gunther, Carl, Matthias, Christian, Hans, Friedrich, Adalbrecht, Bruno, Dieter, Dietmar, Ekhard, Franz, Gomeric, Haimo, Horst, Martin, Owe, Wilhelm, Wolfgang. Names of wooden resonance. Not crystallized, raw and unfinished. This would be the essence. I doubt that the rest matters. In fact it does, insomuch as the surface is always important.
Lea Rasovszky
Young Romanian Art is Mircea Nicolae's residency project at the Romanian Cultural Institute in Venice, during which the artist functions as an organizer and a curator. This series of one-week exhibitions aims at promoting young Romanian art during the Venice Art Biennial 2009.
