Jana Euler’s paintings have been described in relation to a contemporary discourse on network reflexivity. The artist’s oil oncanvas paintings logically depict people quite often, since social relations are nothing without human agents. Recently, shehas installed exhibition spaces with sheets of translucent plastic stretched onto frames and positioned so they obstruct theviewer’s line of sight to the paintings. This has the effect of emphasizing vision – and thematizing visibility, a primary concernin the field of networks, where meaning is constructed from connections that must be perceived in some way.For her edition for “Texte zur Kunst”, Euler has created an offset print reproducing a composition that the artist made byspraying ink onto paper. The motif arising from that process depicts facial features that have been fragmented and rearranged.Two pairs of lips instead of eyes, an ear forms the nose, an eye opens to be a mouth. Set prominently slightly below the centerof the work, it peers out, revealing, through the hole where its iris should be, a section of a full-color map adhered behind it.Like several of the artist’s recent works, but especially the series “The Body of the Exhibition” (2012), Euler’s edition sets thisimage within slight hints of a geometric, architectural framework. The detail of the map, differing in each edition, and the latter’sairbrushed number are added by hand. Visiting a fictitious exhibition, the number in the foreground looks through theimage of shifted senses and proportions onto its very own province.
Offset print, collage, airbrush, 110 × 75 cm, Edition: 50 + 20 A. P., numbered by hand with acrylic on the front and signed on the back.