Jana euler. Jana Euler at Galerie Neu (Contemporary Art Daily)

Jana Euler at Stedelijk Museum Amsterdam

Jana euler

The pictures take literally the Oedipal-aggressive longing to supplant the father figure that is often said to drive ambitious young artists early in their careers. On each edge of the canvas is a visible handle, negating the notion of a correct orientation. The friends portrayed here likewise catered to their own desires—the painter captured one of them taking a drag on a cigarette, another slurping an oyster. On the occasion of her show at Real Fine Arts, for example, she set up two partitions made of cloudy translucent plastic sheeting stretched over wooden frames. First and foremost, Jutta Koether, for whom I have a quasi-religious awe. Malouf, on the other hand, has more of a scorched-earth approach. All three sockets have the function of distributing energy and clearly demonstrate disqualification of international regulation — an anachronistic form of non-standardised, non-canonised processes with consequences that most of us have already experienced — despite all the technical and political developments, no adaptor, no power: failure.

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Stedelijk Museum Amsterdam Jana Euler

Jana euler

The show at Portikus now features a series of new works—paintings and installations—the artist created in Marseille and Frankfurt for this occasion. The detail of the hand clutching a cigarette in a deliberately awkward pose identifies her as a member of the bohemian segment of the art world, the more so as it imitates a habitual gesture of her professor Michael Krebber. In an untitled self-portrait from 2008, she has wrapped her right arm over her head so that it reaches the left half of her face. The fish paintings are really tall things. Foucault stressed how this regulating power operates not primarily through subjugation or discipline but through stimulation. The presence or evocation of linguistic presence culminates in the painting Analysemonster 2013.

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Jana Euler Brings Her Phallic Sharks to New York's Artists Space

Jana euler

She inverts and twists themes from art history, reaffirming them with dry wit, or downright silliness. I kept thinking about a David Salle interview I read in the late 80s, where he compared his relationship to Morandi and de Chirico. The slug, an invertebrate, lacks structural coherence. His bathers wade and paddle quietly through the water, recalling scenes of bourgeois strolls from the history of modern painting. Having claimed a distinguished art-historical pedigree, then, Euler adulterates it with these astrological digressions. Moreover, these artists insisted that their practices encompassed an entire range of activities and outputs, from paintings to publicity materials to self-presentation. Characteristics, format, the application of paint, but also motifs, even whole painting styles — just think of Abstract Expressionism, for instance — are linked to an idea of masculinity.

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Stedelijk Museum Amsterdam Jana Euler

Jana euler

Every mark seemed to serve an analytical purpose. Zodiac signs notwithstanding, Euler is obviously less interested in personal motives or individual psychologies than in a structural analysis of social interaction and behavior, one that may turn us again toward the project of understanding how power works on and through bodies—yes, that old question, but wittily and incisively attuned to the contemporary factors that inflect it anew. Jana Euler is a Brussels-based German artist who works in paintings, sculptures and texts. The painterly variations that Euler goes through in the process become part of the argument. Men painted with no eyes projection , Men painted with one eye the confident man and Men painted with two eyes Leif 2014 differ in terms of the number of dimensions imagined, in person in the studio, or as an image in a book and the duration for which the model was present during the creation of the portrait — and thus mainly concern the relationship of the painter to the painting and the process of painting itself.

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Biography of Jana Euler

Jana euler

She graduated from Städelschule Frankfurt am Main. The female nude figure shown climbing the stairs is a self-portrait. Clearly, they are sparing no effort to get a good close look at their screens. We need to tackle systemic behaviours of oppression. Similarly extreme positions are adopted by the faceless clay figurines Euler presented as part of a 2010 solo show at Dépendance, Brussels Form Follows Information Exchange 1, 2, and 3, all 2010. Academicism versus freedom, seriousness versus intensity, readability versus expression, feeling versus knowledgeable reading and title versus image are developed as tension in this space — the visitors experience these images in a tense sitting pose on a bench that prevents them from sitting in a relaxed way.

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Jana Euler: High in Amsterdam. The sky of Amsterdam

Jana euler

«Where the energy comes from» interweaves and activates the themes of corporeality, sensory and cognitive perceptions, the physical and communicative exchange of energy, and expressiveness and reflexivity to form an arc of tension extending across four spaces: the artist presented as a nude running up a staircase a reference to Marcel Duchamp but also the reinvigoration of the old theme of the gaze onto the female body and, in this instance, the artist herself disappearing , a blushing ape, the large portrait of body-language trainer and expert Samy Molcho and additional male portraits, electric socket models from different European countries which firmly resist international standardisation, the Swiss mountains in fluorescent colouration and a group of works entitled Fuck you Goethe, which challenge the educated middle-class world view using adolescent language that recalls the German cinema box office hit of 2013 Fack yu Göthe. Unlike an actual penis that distributes fluids, they burst out of the water themselves. Installation view: Jana Euler: Unform, Artists Space, New York, 2020. Ich denke nicht, dass es in den Bildern etwas zu übersehen gibt. The young embody the established senior figures. The works as such defy stylistic classification, alternating between abstraction and figuration, text and form, gravitas and jocularity. We communicate more, assiduously accumulate the contacts that are now of such unprecedented value, and seize every opportunity to network that presents itself.

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SOCIAL REALISM: THE ART OF JANA EULER

Jana euler

Her humour opens up an array of interpretative possibilities. This excessive demand in terms of representation and the limits of the symbolical is continued in the works Talking about love in 3 different languages and Talking about love in 4 different languages 2014. Twisted with pain, carved by physical exhaustion and emotional isolation, their faces remind us of the way in which networks are everywhere inscribed on the body, articulating a near-complete and decisive instrumentalization of the subject. For her at Galerie Neu in Berlin, she presented eight tall paintings of sharks. Euler occupies the latter end of the spectrum. Her head, however, has been fused with a body identified as male by chest hair and broad shoulders.

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