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Stahl's PR placing in it, in the lineage of a romanticism, darkly what we have come to. No longer the romantic era representing ourselves as fathomless depths, standing in front of nature's crashing; we are now better feared as plumbing: oils, flows, pumps, fluids directed, misunderstood as monsters. The human body is indistinguishable from any sufficiently complex sewer. And while the gothic has had a resurgence in style, [see: Digitalat Centre d’Art Contemporain La Synagogue Delme] there is an undercurrent of a few who find gothic horror in mere reflection of the world. [see: Morag Keil, Georgie Nettell, Gili Tal, Will Benedict, Merlin Carpenter] This is our modern not southern gothic. A world already dripping black nightmare, that we pump from the earth, have constructed our world out of; Stahl:"the fluid fruit of their labor allows us to express the feeling we got used to calling freedom." to which Henning Bohl states earlier: "Lucie Stahl has become the oil." That this all's apparent freedom may have only just come to feel like. A product pipe-capable. Art as fluids, pipes, same as any other product. We all are forced to become fluid, make a product for channels, be pumped. Morose in banality, yes.
See too: “Digital Gothic” at Centre d’Art Contemporain La Synagogue Delme, Quintessa Matranga at Freddy, Gili Tal at Cabinet, Morag Keil at Project Native Informant, Georgie Nettell at Lars Friedrich, Georgie Nettell at Reena Spaulings, Gili Tal at Jenny’s, Will Benedict at Overduin & Co., Merlin Carpenter at Overduin & Co.