Under der linden

Under der linden

A cypress tree, that looks like an antique pillar, a pool set in granite: the scene would resemble romantic Italian garden design, were it not for this darkness covering the edges. Or perhaps it is this sculpture, with its grim expression and raised hand, that troubles the idyll. What is wrong here? Could it be that the sculpture, with its traces of classic antiquity, seems far too animate? Or is it the contrasts that define this image? From the two-dimensional cypress, to the angular and pixelated flora, the distorted perspectives, right through to the granite which appears so real that one feels compelled to touch it.

The paintings of Julius Hofmann offer a transcendental experience: they reflect the aesthetic of a different medium – the digital aesthetic of computers. Hofmann has appropriated the audiovisual surfaces of 1990s computer game graphics and integrates these visuals and structures into the medium of painting and film.

According to Hofmann, painting has paved the way for computer graphics. From his point of view the field has always profited from the achievements in painting. While he makes use of computer game aesthetics in his painterly work, he in turn integrates elements from painting and sculpture in his digitally produced flms and quotes artists associated with New Objectivity such as Anton Räderscheidt or the precursor of surrealism Giorgio de Chirico, alongside cinematic works like Michelangelo Antonioni’s “Blow Up’” and Jean-Luc Godard’s “Le Mépris” – thus expanding his 3D animated films with a painterly element. The result is a continuous transfer from one medium to another, their boundaries steadily dissolving. This “re-import” opens up a dialogue between his paintings and 3D animations. Each of his works is embedded in a larger process and narrative that relates them to each other.

Under der linden

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