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In terms of formal aesthetics, Henning Bohl acts a tragicomic role, playing a forestalled painter whose works permanently relate to painting discourses and even take up painterly strategies themselves, while failing to conform to the deliberate constrictions of the panel and the brush. Instead, Bohl has developed an understanding of painting as an installation art involving disparate elements and materials perceived from a primarily painterly point of view. ‘The Gift’, Bohl's first solo exhibition after a long silence, weaves together various strands of form, content, and motif, and presents them under personal auspices.
There are the pointers, the gloved, stick-figure arms employing woodturned skeletons and foam flesh, reminiscent of home-made weapons constructed for Live Action Role Playing, or the processional poles of a pagan procession. As their reach into the void becomes a longing for contact, we entangle with the primordial anthropological gesture of the...More
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Press Release
In terms of formal aesthetics, Henning Bohl acts a tragicomic role, playing a forestalled painter whose works permanently relate to painting discourses and even take up painterly strategies themselves, while failing to conform to the deliberate constrictions of the panel and the brush. Instead, Bohl has developed an understanding of painting as an installation art involving disparate elements and materials perceived from a primarily painterly point of view. ‘The Gift’, Bohl's first solo exhibition after a long silence, weaves together various strands of form, content, and motif, and presents them under personal auspices.
There are the pointers, the gloved, stick-figure arms employing woodturned skeletons and foam flesh, reminiscent of home-made weapons constructed for Live Action Role Playing, or the processional poles of a pagan procession. As their reach into the void becomes a longing for contact, we entangle with the primordial anthropological gesture of the...More
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Artist
More Exhibitions at Neuer Essener Kunstverein
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