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05/04/11 16.01
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Armin Boehm Chiffon Rouge
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April 2011
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December 2010
November 2010
March 15 - May 4, 2011
Francesca Minini - Via Massimiano, 25 - Milan
The fine line between existence and non-existence as well as the investigation of scientific and social
October 2010
September 2010
borderline areas form points of departure for Armin Boehm’s paintings. His visual concepts often refer to
August 2010
avant-garde literary movements from the early 20th century, he revives the question of the definition
July 2010
and contextualisation of mankind and human thought found therein, and brings it up to date using the
means of painting. In his compositional practise the artist creates sceneries in which the materiality of
the depicted motifs evolves in the layering of shape, colour and collaged elements – here Boehm
revokes, dissolves or prescinds the figurative character of an image immediately during the process of
painting it. Existence and disappearance take effect in the texture of the surfaces, as well as the pictorial
June 2010
May 2010
April 2010
space of Armin Boehm’s paintings. So, Boehm makes the question of the possibilities within a picture
March 2010
the subject of his painting.
February 2010
In his new exhibition Chiffon Rouge Armin Boehm continues the idea of a void surrounding the
culturalised human, which had already been a theme in his previous exhibition, now he has enhanced
January 2010
this idea with a concept of nihilistic character. The title of the show is derived from the 1939 novel On
December 2009
the Marble Cliffs by Ernst Jünger, which describes an upheaval in a fictive society. As it were, Jünger’s
November 2009
book describes the downfall of an intellectually and technically highly developed society, and it is the
discontinuity in a modern, ramified way of thinking and the vulnerability inherent to this which Boehm
October 2009
expresses alternately via figuration and symbolism in his painting. His sometimes graphical, yet
September 2009
abstracted visual language focuses on specific events, it is reminiscent of the vocabulary of modernism
but simultaneously causes its subjects to seem timeless in their alienation and indeterminateness.
August 2009
Armin Boehm describes space and human behaviour as a hybrid texture, and so contemplation occurs
July 2009
from different perspectives in the various unfolding spatial planes of his imagery, unifying introspection
June 2009
and a bird’s eye view of a scene. Much like the translucence of chiffon, Armin Boehm’s paintings
simultaneously reveal and conceal the subject they handle. Their motifs include the retreat into privacy,
but they expose the private by placing it on display. Boehm’s visual shapes of inner emigration are time
and again contrasted by the manner of their expression, by becoming increasingly sculptural and
protruding from the retreat of the image surface. Using the technique of collage, Boehm conjoins
May 2009
April 2009
March 2009
fragments of paint, cloth, paper or metal substances from which his subjects emerge, almost sculpturally
February 2009
materialising in concrete space. Armin Boehm’s visual articulation oscillates between emergence,
January 2009
presence and absence, much like the subjects of his paintings, which defy concrete tangibility.
Christina Irrgang
translation by Zoe Miller
December 2008
November 2008
October 2008
September 2008
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ARMIN BOEHM
AIN (Kairo Riot), 2011
Oil, lacquer, paper on canvas
210 x 190 cm
ARMIN BOEHM
ANDO SAN, 2011
Oil, lacquer, fabric, metal dust on board
100 x 110 cm
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ARMIN BOEHM
Racine, 2011
Oil, paper, metal dust on board
84 x 126 cm
ARMIN BOEHM
Xisai, 2011
Oil, paper, fabric, metal dust on board
120 x 110 cm
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05/04/11 16.01
ARMIN BOEHM
Komork, 2010
Oil, fabric on board
100 x 65 cm
ARMIN BOEHM
La Peste, 2010
Oil, metal, pigment on canvas
230 x 260 cm
Top image:
ARMIN BOEHM
Phosphorum III, 2008
Oil on board
56 x 72 cm
Images - Courtesy Francesca Minini, Milan
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Mi piace
05/04/11 16.01
Di' che ti piace questo elemento prima di tutti i tuoi amici.
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