Julius Hofmann

Painting
Works on Paper
Video
Prints

Text

Bogus cyber
(de)mise — en — scènes
by Saša Bogojev

 

To portray reality via only its polished ­surface and not its crumbling core can’t be the best way to approach representational painting. Not, at least, in the 21st century, when we are keenly aware of the shipwreck that humanity has been steadily navigating toward. When depicting contemporary life, it would only be accurate to include its grotesque, permeating defects. And this is precisely the idea behind Julius Hofmann’s glitchy, jittering scenes of an absurd, digital­ized existence verging on post-apocalypse.

Hofmann anchors this idea in simple, often garish, symbols of present-day experience, channeled through a visually pleasing amalgam of traditional western classical painting and 90s computer graphics aesthetics. Take high-end fashion brands or the electric scooter craze. In » Prada Milano « (2022), modish figures dressed in purple and yellow stroll and scooter through the austere urban environment, fragmented by the polished windows of the Prada store. The skewed perspective and anatomical absurdity add to their clumsiness and mediocrity, with ­Hofmann employing outdated means of simulating reality as a perfect language to ­deconstruct and caricature the cracked ­contemporary life. Hofmann’s aesthetic carries a sense of urgency. By reducing the scene to vague metaphors, his distilled, ironic, and sarcastic visuals aren’t providing or suggesting a full narrative. Instead, they simply present evocative elements as recognizable anchors for ideas and themes. ­Simultaneously, the consistency in the construction, rendering, and color palette of his images places all his works in the same time and space continuum, establishing connections between otherwise unrelated scenes. As shades of sunshine yellow and luxurious purple tear through an abundance of devitalizing grays, disparate figures are united in a common atmosphere of alienation. Although tiptoeing around abstraction with textures and surfaces that merely suggest brick walls, cobblestones, wire fencing, concrete blocks, etc., the subject, motif, and narrative are still at the core of his work.

» Western Philosophies « is only one episode in Hofmann’s ongoing confrontation with consumerist society — a way to express concern about his own contribution to the system, or a fear of apathy. In working towards a » good painting « – one that would help deal with his anxiety, frustration, and anger about our predicament – his practice gives the painting process a cathartic ­purpose. Simultaneously, the resulting visuals can hopefully be experienced as light, fun ­images – relatable scenes comprising cleverly rendered details that appeal to painting nerds. The clash of creative energy and emotional charge that fuels Hofmann’s practice culminates in the collage-like approach to building pictures. By patching each image up from individual, seemingly self-contained, elements, and bringing harmony into the chaos, the paintings accrue a decorative value, alongside a range of conflicting emotions. Landscapes, structures, or entire scene designs are presented as mocking monoliths of human megalomania, while the characters that populate these settings are crumpled into banal parodies, embodiments of all the hypocrisies of society.
Through imprecise representation – one that merely suggests the scene and drafts the traces of what’s to be experienced – Hofmann transforms the work from being a one-sided object for observation into a mental playground which engages the viewer regardless of their preexisting knowledge. When composing his work, Hofmann often seems to be concerned about surroundings, architecture, and ambience before characters. Even when it comes to the depiction of figures, he tends to focus attention on the patterns or surfaces of clothing, the distinctive features of gadgets or nearby machines, and even the occasional bird, dog, and other members of the animal kingdom.

Works like » Foxey « (2022) or » Trekking Teen « (2022) are, on the other hand, entirely focused on accentuating the facial features of their female subjects – but only to ­underline their numb, clichéd appearance. ­Exaggerated make-up and styling plays to stereotypes of mainstream beauty, while a hyperbolized and sometimes disproportioned perspective further diminishes the relevance of the characters, shifting the focus from individual figure to a societal portrait. Perhaps the most obvious example is » Die Tennis­spielerin « (2022), a nod to Anton Räder­scheidt’s homonymous work which sarcastically takes the stereotyped artistic objectification of the female body to new heights – or better, lows. Where the original work features a clothed man looking at a nude, doll-like tennis player behind the fence, Hofmann’s version removes the male character and places her in a grimy, urban setting. The figure dominates the canvas in her size, and in the start contrast of her polished complexion against her city surroundings. Her satin skin clashes with the gritty surface of the walls, asphalt, and the plastic garbage bag resting on the side. The Nike logo shaved into her pubic hair gives her the same branded presence as the Audi in the background while subordinating the viewer into a pervy creep. Situating these zeitgeist details within the long history of painting, Hofmann lends his work a sense of timelessness with a contemporary edge – a finger-pointing critique of the fuckedupness around us.

Hofmann is learned in the formal aspects of classical painting and equipped with a repertoire of traditional techniques to create conventional effect, but he persistently prefers the simplicity of 90s computer graphics over laborious and perfectionist mimesis. He draws, too, on pop art’s mass production and multiplication of ideas, with multiple depictions of the same scene in different sizes, or transportation of the same scene into a different setting. Again borrowing from outdated computer graphic exploits, the change of the image definition in regard to its size or focus challenges the traditional language of painting and questions the customary need for refinement. Such work promotes the idea that established definitions or distinctions of movements or styles have become obsolete amid our visual and informational overload. Instead of building on the foundations of respected artistic movements, Hofmann seems to cultivate the accidental and incorrigible mistakes of digital imagery into the arsenal of more traditional artistic tools. This also shifts the source of inspiration from traditional painting to ­computer graphics, movies, music, and other media — especially disturbing, shocking, and surreal material. In that light, the glitched and imperfect computer graphics give the visuals a new, unexpected value and a hidden meaning. Just as constructivism rejected decorative stylization in favor of the industrial assemblage of materials, Hofmann’s misplaced light sources, nonexistent shadows, disproportionate or detached body parts, skewed perspectives, and simplified patterns revamp the gloomy ambiance and propose a new way of experiencing the scene. In the end, these paintings utilize years of dedicated studio practice while creating a jazzy ­assemblage of dissimilar elements from art history and contemporary media, converting the experience of 21st-century life into bogus cyber (de)mise-en-scènes.

 

Biography

1983 born in Göttingen (Germany)
2005-2011 Studies of Painting at the Academy of Visual Arts Leipzig
2007 - 2009 in the class of Prof. Neo Rauch
2009 - 2011 in the class of Prof. Heribert C. Ottersbach
2011 Diploma
lives and works near Göttingen

Solo shows

  • 2023 Western Philosophies, Galerie Droste, Düsseldorf
    This, killing emptiness, Galerie Kleindienst, Leipzig
    2022     Purple Haze, Plan X, Milan
    2021     Brick & Mortar, Althuis Hofland, Amsterdam
    Gardener of Solitude, Künstlerhaus Göttingen (Germany)
    2020     Chimaera, Galerie am Ratswall, Bitterfeld (Germany)
  • The Will of The Gods is Great Power, Galerie Kleindienst, Leipzig
  • 2018 Cinematic Cybernetics, Museum of Visual Arts, Leipzig
  • under der linden, Galerie Kleindienst, Leipzig
    under der linden II, Ornis A. Gallery, Amsterdam
    ART COLOGNE New Positions
  • 2016 Might of Young Engines, SSZ Sued, Cologne
  • 2015 Might of Young Engines, Ornis A. Gallery, Amsterdam
    Ecstatic Solitude (with Michael Kirkham), Gallery Kleindienst, Leipzig
    2013 Mustang, Villa Katzorke, Essen
    Stony Fields, Ornis A. Gallery, Amsterdam
    Regulator, galerie baer, Dresden
    Initiative and Surrender, Gallery Kleindienst, Leipzig
    2011 The harvest of live, Gallery Kleindienst, Leipzig
    Aurora, Ornis A Gallery, Utrecht (The Netherlands)
    "Nemesis", UNC Gallery, Seoul (South Korea)

Group shows

  • 2024 Greetings from LE, Jari Lager Gallery, Cologne
    Hunger nach Bildern, Museum No Hero, Delden (Netherlands)
    Metalmorph, Schaufenster, Berlin
    Dissonance, National Museum of Arts, Bucharest (Romania)
    That's what's up, Gallerija Trotoar, Zagreb (Croatia)
    2023 Title IX, The Hole, New York
    Chromatic, dynamic... stress!, Galeria Fran Reus, Palma de Mallorca
    Celesticore, Breach, Miami
    Chronicles 7, Galerie Droste x KPM, Berlin
    2022     XY, Rundgänger, Frankfurt am Main
    Chronicles 4, Galerie Droste KPM, Berlin
    Bilderkosmos Leipzig. 1905-2022, Museum of Fine Arts, Leipzig
    2021     the_orgre.net, Suzanne Tarasieve, Paris
    Laying under the Hot Shade of a Mad Song, Shai Yehezkelli, Kopenhagen
    NEW, Galerie Kleindienst, Leipzig
  • 2020 We are open, Galerie Kleindienst, Leipzig
    2019     Contemporary Visions IX, Beers Gallery, London
  • The Leipzig Connection, Croatian Association of Artists (HDLU), Zagreb (Croatia)
  • Dark and Stormy, Espronceda Center for Art and Culture, Barcelona
  • 2018 MdbK meets G2. Painting from Leipzig since 2000, Museum of Visual Arts, Leipzig
  • 2017 Colors of Descent, G2 Kunsthalle, Leipzig
  • Artists of the Gallery, Galerie Kleindienst, Leipzig
  • 2016 Your Light Is My Darkness (part III), Gerhard Hofland, Amsterdam
  • Your Light is my Darkness (part II), Feinkunst Krüger, Hamburg
    Kunsthochschulen zu Gast. HGB-Fachklasse Prof. Ottersbach, Bayer Kultur, Leverkusen
    Storyteller. Contemporary Art from Leipzig, National Art Museum & Goethe Institut Hanoi (Vietnam)
  • Immer und Ewig. 23th Leipziger Jahresausstellung, Westwerk Leipzig
  • Tiere sehen dich an, Zionskirche, Berlin
  • 2015 Nocturne. Ahnung, Abgrund und Apokalypse in der zeitgenössischen Kunst, Kunsthalle der Sparkasse, Leipzig
    Personalities on Paper, Ornis A. Gallery, Amsterdam
    Gute Kunst? Wollen! SOER-Rusche Collection, Auf AEG, Nürnberg
    Wahrheiten, Museum Abtei Liesborn, Liesborn (Germany)
    Your Light is my Darkness (I), Re:Surgo, Berlin
    2014 bb, Galerie Kleindienst, Leipzig
    Wahrheiten - works from SØR Rusche Collection oelde/Berlin, Bayer Kulturhaus, Leverkusen
    BGL#1, Kesselhaus, Bergisch Gladbach / Cologne
    Mensch werde wesentlich, Art association FAK, Zwickau
    Class Ottersbach - The horses are dead, Forum Kunst, Rottweil
    2013 Un été spectaculaire, Ornis A. Gallery, Amsterdam
    WIN /WIN - Purchases by the Cultural Foundation of Saxony 2013, Baumwollspinnerei HALLE 14, Leipzig
    Blumen, Flowers, Blomster, Galerie Mikale Andersen, Berlin
    Tierstücke - Dutch animal painting of the 17th century in dialogue with contemporary painting, SØR Rusche Collection Oelde/Berlin, Museum Abtei Liesborn, Liesborn
    2012 German now - from Leipzig, Seongnam Art Center, South Korea
    New Smokes from Old Fires, Frappant, Hamburg
    Eros und Thanatos (SØR Rusche Collection), Werkschauhalle Leipzig
    A:B:C: Mooning, Gallery FIST, Hamburg
    2011 18. Leipziger Jahresausstellung
    After the Goldrush, art association Speyer
    Gallery Genscher, Hamburg
    Chamber of wonders, Amsterdam
    Convoy Leipzig, Biksady Gallery, Budapest
    Saxonia Paper, Kunsthalle of Sparkasse Leipzig
    2009 Curse of akribic, art association Bad Sulzfeld
    Black swans, Junges Forum, Wiesbaden
    2008 Young Art 13 - Christoph Freidhöfer, Sonja Kälberer, Julius Hofmann, Albrecht Pischel, Danny Schulz | Paintings, Photography, Installation, Video, Gallery Kleindienst, Leipzig

Bibliography

  • 2015 Julius Hofmann - REimport (catalog), MMKoehn, Leipzig/Berlin
    Nocture. Ahnung, Abgrund und Apokalypse in der zeitgenössischen Kunst (catalog), Sparkasse Leipzig
  • 2012 German Now. From Leipzig (catalog), Seongnam Arts Center and UNC Gallery, Seoul (South Korea)
  • 2011 Convoy Leipzig (catalog), Biksady Galerie, Budapest
    Julius Hofmann: Die Ernte des Lebens (catalog), LUBOK / Gallery Kleindienst, Leipzig
    "Julius Hofmann", in: Salié, Olaf: Rising. Young artists to keep an eye on. Köln: daab.
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