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In the exhibition there are nine big paintings that display the artist’s poetic universe, a path in a mysterious and nocturnal reality where landscape is the only protagonist. Bird’s eye views on the city, starlit places or lightened by lamplights, charming sites and in the meantime sinister are the main topic of the works.

The visitors can see alluring landscapes with a disturbing touch, a sort of cunning tension that occurs in every work. These are apparently anonymous places, which indeed have been attentively selected by the artist.
In fact, Boehm wants to reproduce strongly connoted places, settings where news items took place, which are emblematic in some way.
Untitled (Genua Riot), Untitled (Qandahar) or Untiled (Zhwar Kili Base) are some of the works in the exhibition that witness how reality, the news, are the artist’s starting point. From the places of revolt during G8 in Genoa to terrorists’ training camps, from nuclear laboratories to the jail’s series, these are places that we cannot precisely identify but that populate the contemporary imagination.

A suspended atmosphere pervades Boehm’s work, a mysterious, magical feel on the borderline between memory and stage pretence created through exact overlapping colours. The scrupulous use of light emphasizes the mysterious character of the works, transfiguring the real data into something between dream and memory.

Armin Boehm paints stories, the landscape is the starting point of an evocative narration that progresses following a series of suggestions. A tale that never becomes explicit but remains a suggestion, a whisper.

In the exhibition there are nine big paintings that display the artist’s poetic universe, a path in a mysterious and nocturnal reality where landscape is the only protagonist. Bird’s eye views on the city, starlit places or lightened by lamplights, charming sites and in the meantime sinister are the main topic of the works.

The visitors can see alluring landscapes with a disturbing touch, a sort of cunning tension that occurs in every work. These are apparently anonymous places, which indeed have been attentively selected by the artist.
In fact, Boehm wants to reproduce strongly connoted places, settings where news items took place, which are emblematic in some way.
Untitled (Genua Riot), Untitled (Qandahar) or Untiled (Zhwar Kili Base) are some of the works in the exhibition that witness how reality, the news, are the artist’s starting point. From the places of revolt during G8 in Genoa to terrorists’ training camps, from nuclear laboratories to the jail’s series, these are places that we cannot precisely identify but that populate the contemporary imagination.

A suspended atmosphere pervades Boehm’s work, a mysterious, magical feel on the borderline between memory and stage pretence created through exact overlapping colours. The scrupulous use of light emphasizes the mysterious character of the works, transfiguring the real data into something between dream and memory.

Armin Boehm paints stories, the landscape is the starting point of an evocative narration that progresses following a series of suggestions. A tale that never becomes explicit but remains a suggestion, a whisper.

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