The paintings of the Argentinian artist Laura Langer combine virtual images with analog procedures, and she interweaves them with poetry and performance. Her recent exhibition “More” included a group of six pictures titled God’s Speed (all works 2017), based on enlarged cell-phone photographs printed on paper and coated with acrylic medium before being transferred onto canvas. When the paper sheet is peeled off the canvas, some dried pieces of clear acrylic may be left behind along with the image, as if not only these leftovers but also the image itself were an accident, a mere unintended residue of the transfer process. Langer then works over the canvas with a paintbrush. For example, on one of these pictures she painted small white dots that turn three small nocturnal street scenes into luminescent snowstorms. In another, the viewer might have read a single circle in the middle
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