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Might of young engines - Julius Hofmann

Galleries Ornis A. Gallery

Hazenstraat 11 
1016 SM Amsterdam
+31 (0)6 49812676

Open Wed - Fri / 12-18 hrs
Sat / 13-18 hrs
+ by appointment

5 Sep — 10 Oct

Time 5 Sep, 17-19 hrs


Ornis A. Gallery proudly presents the third solo exhibition of German artist Julius
Hofmann (1983).
The video ‘Might of Young Engines’ is as a garden of Eden, lost in architectural anatomies
that serve as traps and hiding places. It recalls the great science fiction writer J.B
Ballard’s (1930-2009) quote: “In a totally sane society, madness is the only freedom”. In
this 3-dimensional rendered ‘playing field’ of images and scenarios, ‘Might of Young
Engines’ takes us on a journey exploiting sexuality, violence and elements of mystery. You
will see some scenes which are looking like Tom Wesselmanns Pop Art Paintings. And the
distorted prospects reminds you to El Greco. The police characters is a homage to the
Tom of Finland Comics. Julius is also cited his own paintings in the film, like ‘das rote
Portrait’, ‘Winterlandschaft’, ‘Sphere’, ‘Hermits’ and of course all his new paintings. The
genre is not easy to describe, a bit of the ‘Rape and Revange’ Movies from the 70’s, also
you will see a link to the hero action films from the 80’s and 90’s. It is also a kind of
homage to the directors Dario Argento, David Lynch, Sam Peckinpah and Stanley Kubrick
and his films. The Lo-fi renderings and surreal concepts give the impression of helpless
characters in a world of corrupted gestures and symbols. Narratives are disrupted by
other images and narratives in a video where deviance is addressed, then abandoned;
rendered and then dissolved; violence erupts and then halts and get we get the feeling
that all these scenes congeal to form a world of infinite madness, or as J.B. Ballard
suggests, freedom.
It is no easy undertaking to assign works by the painter and filmmaker Julius Hofmann to
a particular genre, medium, or subject, as familiar definitions simply fall too short. While
playing with perspective, spatial illusion, and the relationship between figure and ground
can surely be associated with classic visual art, Julius Hofmann dismantles the
authoritarian system of painting by employing 3D graphics and their applications, such
as, for example, colour interpolation or texture and bump mapping. At the same time, he
imports painterly structures and surfaces into his animation films, whereby he lends the
cold digital medium an unusual vibrancy and thus creates individual visual impressions.
In doing so, Hofmann does not aspire to achieve high definition perfection. In countless
trials, he takes pleasure in precisely what delta debugging attempts to eliminate. Graphic
flaws and fragmentary renderings serve as idea generators of the first degree. While
motifs from the history of painting once constituted the boundless breeding ground for
photography, film, and computer graphics, Hofmann re-imports them into his works,
prompting a playful dialogue between the oldest and the most modern medium in art


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