The Viennese got all the floors in the Ropac gallery for her first exhibition – full of angry animals.
Sometimes you have to get very close to her, even the very far-sighted new painting by Martha Jungwirth, up to nine meters long, almost panorama-like. And you are always rewarded, because not only what she paints, but also how she handles the material – the heavy oil paint, the thin wrapping paper – is extremely delicate. In one place paint is piled up to the point of dry brittleness, in another it is only breathed in like a watercolor. One picture clearly shows animal elements, in the other only form squadrons. But this painting is always direct, as if it had just shone out of the Lascaux cave, delicate-nerved and sore, it lies in front of us, skeletons of our collective image memory.