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ALEXANDER BINDER TALISMAN
APRIL, 21ST - FEB, 22ND, 2018
The conviction of the mirror and its purpose hitherto unbeknownst to others as a portal to the heavens is least the worry of men who do not know the deed of sovereignty upon their lives. In the new age of Enoch, conversations at the table of Elizabeth did produce a rapturous and galvanizing soliloquy of possibility between these heavens and the rudiments of numbers governed by celestial orbs considered as outer and also the sphere of the feast. Rotations, vibrations and the candlelit accompaniment of illusory preface were subsumed by the grandeur of the mirror and yet, its dominant place at the table of earthly measure did give forth the prospective aura in which the conjurist noted with grave ability its force which marked those in its presence.
From the momentum of the oracle as delineated by the surface of the mirror was described and written in the heaven’s above as a language universal in nature in which each position of those seated could carry forth a future manifested from celestial past. The conjuring, deemed a brief interlude with necromancy, was not bereft of angelic aim and Adam’s tongue was burnished millennia later upon the surface of the mirror’s gaze, his cool saliva weaving an illuminated gossamer of stammer recalled the earthly of their position in which they found commune upon the floating sphere and this is what they kept. This is what they took just as centuries later our own earthly brethren take flight with his breath, cooled by spittle and a mathematical inclination to divine the spiritual language of the heavens.
John Dee is historically situated in the climbs of hidden knowledge. His work with mathematics and the occult use of mirrors gave birth to a procedure known as scrying. Scrying, or gazing into the mirror or crystal ball to commune with spirit and dead alike was used to unlock the language of the heavens deemed universal. He crisscrossed Europe in the age of alchemy bent on receiving ancient wisdom from the Enochian angels with the aid of Edward Kelley. The pair had fallen in and out of court favor at home and abroad in
particular with Rudolph the Second and Elizabeth in England and her predecessor Queen Mary during the time of sincere clashes between the fervor of Protestantism and Catholicism. The talisman that Dee and Kelley took was not a form-it stated no material value and though its aim was golden, what protected Dee from prison and execution was his status as an oracle for the divine. Kelley did not fair as well instead aspiring to use his talisman to conjure gold, a fallacy of the men of the times.
Talismans represent a key to unlocking the knowledge of protection. They are governed not by sword, but
by knowledge and in the work of Alexander Binder, they are implicated between light from the heavens and the photographic surface in which they are rendered through the sacred use of the mirror or in his case, the lens. What Binder accomplishes in his work is to tie the heavenly language of the stars and planets to his eye. In doing so, he receives the knowledge of their grace and takes from them the talisman as an understanding. He communicates and scrys his way from the clutch of imprisonment and like Dee before him, unlocks their potential through an alphabet universal, but that endeavor a key from an audience with which to unlock their gift. When you look into his alphabet, the stars stare back and if you look long enough, the answers manifest their meaning within you-thus challenging which is the mirror and which is the conjurer.
Brad Feuerhelm
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