Jana Euler at Cabinet

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"a sort of conceptual abstraction for your walls." Against our wishes for clean aluminum concepts and graspable truths, a "conceptual abstraction" is like having mud in your mind - an ungraspable muck, inside your head. And Euler's feel loose, threaten spillage, a filth inside. Do not open them up in here. It will get everywhere. I am not the cleaner, I cannot keep up with this level of dust. They watch you now. They will see you get it on you, your projection, a woman turning horse.

Jana Euler at Galerie Neu

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Images a total malleability, and we revel in its mud. No longer Euler's symbolist nesting dolls, now paintings more like a mirage, shifting muck of material images, and so uncertain about whether that shark officially looks like a cock or if that's just you. Innuendo as resistance to stable images, a sort of conceptual abstraction for your walls. The latent phallus, that we see in every painting.


See too: Jana Euler at dépendance,  Jana Euler at Galerie Neu & Portikus, Jana Euler at Kunsthalle Zürich, Jana Euler at Bonner Kunstverein

“J A N U A R Y” at dépendance

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Paintings we bruise to reestablish some body, flesh, into the cartoon that has become pervasive, some hematoma between the lines inked to delineate ourselves. We don't want to be cartoons. Our bodies, paintings, can't take hammers like a liquid cat can.

Jana Euler at dépendance

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Has your consumption of news increased dramatically, nauseatingly, in the past year? Feeling bloated at its high volume low satisfaction? has the act of reading the new begun feeling like eating literal newspaper? If Euler "attempts mirroring our contemporary conditions" and " the figures in the paintings act as a metaphor to emphasize the failed power of an individual to accommodate the current rise of technology." it's because Euler's paintings feel like eating the news, both it and Euler's paintings like a just opened lid and staring into the bait to unpack the whole, pulling one referential string and the whole thing deluges like clowns out of cars, only guessing at the number of clowns in the office. How insane it all feels, how microtized to the wind. The thread pulls endlessly, and the sweater never comes. The images today will read different tomorrow. The pace of the snail, has it changed or is the view moving faster around it? How to contend with that.


See too: Jana Euler at Galerie Neu & Portikus, Jana Euler at Kunsthalle Zürich, Jana Euler at Bonner Kunstverein

“Sitting Bone” at MAVRA

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Hasn't this been like the third Giger chair we've seen in the past year? He's been mentioned in at least 2 press releases (Caroline Mesquita at T293 and Anna Uddenberg at Kraupa-Tuskany Zeidler) and there was for sure another chair at Lomex in their EAT CODE AND DIE. But the last Giger chair on CAD appears to be the Swiss Institute's exhibition of chairs, Fin de Siècle, in 2015.  Gigerian chairs simply feel present in the winds of art with its trends for examining bodies through the technologies that are built around them (Lupo, Reaves, Uddenberg, et al), so the skeleton melded  architecture fit for more cushioned parts feels apt.  Chairs are an innuendo for body, an allusive or oblique remark or hint towards the meat that you don't want to be forced say aloud as the gas bag of "human" so you politely place a chair, like those placed in the corners of hotels/lobbies not to be sat in but to politely declare the room capable of relieving your meat baggage, place a surface whose softness designates the degree of welcome to your reception, like you don't want to say butt so you say Sitting Bone.


See too: Caroline Mesquita at T293, Anna Uddenberg at Kraupa-Tuskany Zeidler, Jessi Reaves at Bridget Donahue

AR: Jana Euler at Portikus

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Originally Posted: January 20th, 2016

Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Jana Euler at Galerie Neu & Portikus

(Galerie Neu, Portikus)

Photoshop makes surrealism quaint, Magritte's entire practice premised on its most basic tools, transpose, cut, drag and drop; and today phone apps like magic mirrors to show you elderly, replace your face with your dog, barf rainbows at will in a world that is totally virtual.The image today is understood as a total malleability. Euler's images free themselves of the physical setting - the last vestige of the pre-virtual surrealist - floating free in hyperlink space in which images are links, expanding out ready outpour their content in a deluge to anyone ready to open them.


see too: Jana Euler at Kunsthalle Zürich, Jutta Koether at Bortolami

Jana Euler at Bonner Kunstverein

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Painters lagging behind the speed of digital distribution, the same paintings appear again, lapped in the circuit complete, back where began: CAD’s displaying them once again but different, an addition of a cruddy sculpture and sprinkled Emoticons intersecting icons into physical space, winking.
But so the same writ still applicable, Euler’s paintings set their content precariously, awaiting the avalanche of writers spewing to keep up with each’s “content”’s ostensible 10k words worth, a spring trap set of neurosis for writers afraid of images void of language, and requisite dealing with “content”’s representation as though it were a leak to be stuffed, holes to be filled in a system manically working to deluge reference in line, proboscises awaiting their aesthetic surgery at the hands of those who would wish to set everything straight, tasteful, and they instead wink, waiting to be dealt with.

See too : Jana Euler at Kunsthalle Zurich , Allison Katz at BFA Boatos , Annette Kelm at Gio Marconi

Jana Euler at Kunsthalle Zürich

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Unlike Kelm, or Cerletty whose expanding clue-board subjects serve towards conceptual opacity, Euler’s divergent subject maze, as the Press Release and Isabelle Graw’s breathless writing on the artist attest, is premised on the allure of its referential breadcrumbs baiting the viewer/reviewer down long winding paths of explication. We do not enter pictorial space so much as unpack its surface display. Self-awareness in symbiosis to the organs-without-body of art consecration -  subtly highlighted in Graw’s admission to her own place within Euler’s network - is clever, smart. But that though the game is sometimes fun, often the explication is berating.


See too: Annette Kelm at Gio Marconi, Matthew Cerletty at Office Baroque.