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Infected Foot

Monika Baer, Thomas Bayrle, Tony Conrad, Michaela Eichwald, Jana Euler, Genoveva Filipovic, Andrea Fourchy / Sergej Jensen, Michael Krebber, Mathieu Malouf, Laura Owens, Paul Sharits, Reena Spaulings, Josef Strau, Stefan Tcherepnin , Amelie von Wulffen

Ground Floor

JANUARY 17 - FEBRUARY 25, 2017

Infected Foot

January 17th – February 25th, 2017

Ground Floor


Monika Baer                                                                Mathieu Malouf

Thomas Bayrle                                                             Laura Owens

Tony Conrad                                                                 Paul Sharits

Michaela Eichwald                                                     Reena Spaulings

Jana Euler                                                                     Josef Strau

Genoveva Filipovic                                                     Stefan Tcherepnin

Andrea Fourchy / Sergej Jensen                             Amelie von Wulffen

Michael Krebber                                 


Greene Naftali is pleased to announce Infected Foot, a cross-generational group show of artists who disrupt the formal and conceptual parameters of painting. Taking its title from Paul Sharits’s 1982 mixed media work, Foot Infection III—in which the obsessive rendering of a foot infection radially consumes and ultimately exceeds its rectangular borders—the exhibition focuses on artists for whom disruption breeds dissemination. Stemming from a common social network—many affiliated with Frankfurt’s Städelschule—the artists in Infected Foot assume an antagonistic posture to address specific art world operations and legacies. The works on view represent various strategies of negation, revision, and at times perversion. Certain canvases show the expressionist hallmark of gesture evacuated by way of mechanical simulation or trenchant ventriloquism. Others contain limited marks incongruous with the monumental scale to which they are applied. Authorship is blurred or relinquished entirely; figures are excavated from art history to reappear in contemporary drag; and portraiture is directed away from the pathos of the human face and onto the absurdity of an animal visage. 


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