Thomas Eggerer, Jochen Klein at CICCIO

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Always surprised when the US rolls troops or tanks into war zones since its greatest weapon is capitalist aspiration. Military's territory attrition is primitive compared to bourgeois comfort's assimilation. After all it was the sight of an American supermarket that ended communism. Why go to war with a neighboring tribe when given a battle to "keep up with the Jonses." Today new levels of tyranny creep over US politics and no one takes up arms because people have phone. Tools of capital welcomed inside your home. 

Thomas Eggerer at Friedrich Petzel

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Seurat's subjects were lost to method where the calculative replaced care, an artifact of style that Eggerer transmutes into a violence, draining the person from people under his aerial high-view out over his subjects. What makes Eggerer an even icier painter than the morbid bloodletting of photo-influenced Germans is Eggerer's return to moments before photography's explicit rigamortis, when then those were still dying.


See too: Thomas Eggerer at Richard Telles, Luc Tuymans at David Zwirner, Michaël Borremans at Dallas Museum of Art

Thomas Eggerer at Richard Telles



The painting’s tension exists in whether or not Eggerer cares about his subject matter. Richter may have shown care for his but then masochistically bled it, and as this cold blood trickled down, through Tuymans and Sasnal, it finally reaches the ambivalence of Eggerer’s young men as vessels. Richter painted abstractions and people to prove his violence toward each; Eggerer paints people within architectures of highly stylized abstractions to prove the artificiality of his vision.