Painting today is in a constant maneuver to define itself and its grounding in relation to other domains. It is in a permanent “variant” condition, in a complex state of being in itself and out of itself, in a ghost and mutant state.
Painting is on the side and defense of the rights to subjectivation and open to the multiple ways to relate to the real. It brings continuous, productive, and organic models at the heart, brain, and guts of human processes of subjectivation.
Painting today is a form of resistance, a form of labor, an alternative way of desiring and being in the world. Painting is a continuous and organic non-alienated labor. Its making follows a bottom-to-top logic from unity to totality. These characteristics make it a target of attacks from left, right, and center, rendering it too idiosyncratic, too human, too animal, too messy.
Painting is a resistance to the inertia of language-based and ready-made image-based art, to the culture of the “cut and capture” fragments disembodied from any domain of photo, video and movie. It is in opposition to top-to-bottom bureaucratic and monolithic data mining. It is an alternative to the parasitic logic of dematerialization and light projections. It is against the flimsy culture of the “interesting” and in favor of the “interested.”
Painting still brings sporadic innovations and triggers singular affection. Conceptual artists try to use it, painters in general misuse it, photographers use it as a default, digital arts constantly remake it, and the market loves this dark and slippery commodity. Perhaps painting can deal with its complex of inferiority in relation to other newer media by holding and exaggerating its own specificity while taking what is important from other mediums.
(Extract from: Heute. Malerei (cat.). Eds. Annegret Laabs, Uwe Gellner. Berlin, Jovis Verlag, 2013)