VIVID [RADICAL] MEMORY

„Family moves to Romania after World War II. Attends Academy of Bucharest. Produces semi-folkloric op art. Arrives in France (1967), previous work becomes irrelevant in new context. Behaves like a squatter in the Western art world, sojourning around Europe and U.S. with his calling card, a wooden bar. Unveils his tool for the first time at Noele Toroni’s solo exhibition, Galerie Yvon Lambert, Paris, in 1970 for the last time on West Broadway, New York, in 1978, using it to enter the art world, making the story of his (its) insertion the true subject of his activity.”
(after Global Conceptualism: Points of Origin 1950s–1980s, ed. by Philomena Mariani, Queens Museum of Art, New York, 1999, 244 [catalogue of the exhibition organized by Luis Camnitzer, Jane Farver, Rachel Weiss])