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I remember drawing a big middle finger on the back of my t-shirt in primary school. I wanted my clothes to match the intensity of Mimmo Haraditiohadi’s wardrobe. The D.I.Y. aesthetics of the anti-globalization movement of the 90s had long entered popular culture by the 2000s. Mimmo had dressed in punk and metal band t-shirts ever since I met him, when we were six and seven years old. Hairy, alien-like monsters with animal features accompanied the band logos on those t-shirts. They were a recurring motif in Mimmo’s drawings at the time, and later, in his teens and early years at art school. Drawing monsters became an exercise of sorts.
Zu neuen Ufern, the title of his exhibition, translates directly as To new shores. In its German original, a dated undertone of imperial excitement towards the unexplored looms over the particular choice of words.
Like his early monsters, the works in the exhibition too are exercises. The painting of ships came up as a gestu…
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I remember drawing a big middle finger on the back of my t-shirt in primary school. I wanted my clothes to match the intensity of Mimmo Haraditiohadi’s wardrobe. The D.I.Y. aesthetics of the anti-globalization movement of the 90s had long entered popular culture by the 2000s. Mimmo had dressed in punk and metal band t-shirts ever since I met him, when we were six and seven years old. Hairy, alien-like monsters with animal features accompanied the band logos on those t-shirts. They were a recurring motif in Mimmo’s drawings at the time, and later, in his teens and early years at art school. Drawing monsters became an exercise of sorts.
Zu neuen Ufern, the title of his exhibition, translates directly as To new shores. In its German original, a dated undertone of imperial excitement towards the unexplored looms over the particular choice of words.
Like his early monsters, the works in the exhibition too are exercises. The painting of ships came up as a gestu…
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