Last winter, Jana Euler presented a solo exhibition at Dépendance under the title “Form Follows Information Exchange”. The exhibition included paintings and sculptures that functioned as allegories of the information age and dealt with the cycles of added value and feedback that support it. Her friend Nicolas Ceccaldi reviewed the exhibition in a 1500 words article published in the Paris-based Artmagazine May (Issue Nr.6).
For ART-O-RAMA, Euler and Ceccaldi pick up from the high-connectivity encounter of artists/writers/friends and their own production. The art-ritual where a solo show gets followed by a written re-assessment becomes the uneasy ground from which this collaboration unfolds: the division of labour and pre-determined professional functions come back to haunt the virginal space of both art practices. On Dépendance’s booth, Jana Euler’s minimal sculptures echo Ceccaldi’s review and its musical adaptation played from a laptop. These Sol LeWitt-inspired sculptures are made of thin metal rods that fold back on themselves in a continuous geometric line so that if someone bumps into it, they starts wobbling back and forth in a weirdly suggestive way. The project speaks about the complex proximity of art objects to a discourse that supports them and questions the boundaries between caring, helping, working together, mis-communicating, exploiting and humiliating.