Alex Freedman
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Wed Jun 13th, 2012 10:52 a.m.

Identity Forming Processes Overpainted (2012)
The German Brussels-based
Jana Euler presents four new paintings developed over the last year in her
eponymous, first American solo show at Real Fine Arts’ storefront. These new works strike a more
personal, and immersive chord than her previous solo at Dependance, "Form
Follows Information Exchange." The Dependance solo presented ecosystems of
a common self caught in postmodern standards of emotion, figuring in as
vignettes — press conferences,
mating animals, sculpted bodies with screen posteriors, and office workers
discussing themselves into bobble heads. While Euler's latest solo orients from
this critical form, it coalesces as the maze that is female post-adolescence,
paraphrased in space with sophisticated timing.
Incised onto the surface
of a female figure, cramped into a question mark, nine eyes form a path across
"The Body of the Exhibition." The stream of eyes rounding up the body
are reminiscent of a jelly-bean path left to reflect on what was, amalgamated
with the apparition of vinyl department store footprints directing us to a next
weigh station. The body's primitivist-esque contorted limbs are apportioned by
two lines standing in for the exhibition's two half-transparent screens, which
bisect the space into four quadrants. Orienting the four paintings to be viewed
in an individual progression, the two half-transparent walls manifest as a
literal screen memory, bringing into physical fruition the kind of layers that
conjoin between the liminal internal time zones etched into our psychic and
corporeal selves. Wandering between the three paintings with the press
release/facsimile of "The Body of the Exhibition" in hand is to be
absorbed into a psychodrama, directed by the skeins of social and biological
expectation.

Social Expectations Overpainted (2012)
The trio begins eyes closed with social expectations, winding into instincts, and ending on the open eyed identity forming ...
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Yamil Orlando