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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.
