David Hominal
dal 4/6/2010 al 9/7/2010
Segnalato da
4/6/2010
David Hominal
Karma International, Zurich
L'Apres-midi d'un faune
In David Hominal’s practice paintings function as a cynosure of installation, sculpture, video, performance and the painted canvas. His diverse practice is deeply rooted in a cherent questioning of the possibilites open to contemporary painting, as well as the painted canvas, as well as an awareness of painting’s synaesthetic potential within the realms of music and dance. Subjacent in his oeuvre is a sense of infinite regress and discomfort, where the artist renders physical and threedimensional the concepts of pictoral and artistic annihilation and dissipation, without however falling into the modernist trap of negation.
On the one hand this spirit of regress encompasses a desire to disrupt the historical stability of pictorial representation, and so counter the stasis of reification of the canvas. Indeed, the artist refers to the desire to negate the object, to dematerialize painting. On the other hand, David Hominal strives to force the painterly act to be, as artist Martin Kippenberger once said, "beisde itself" through a series of operations including infinite dislocations, fragmentations and degradadions.
L’Après-midi d’un faune is also the title of Russian choreographer Vaslav Nijinsky’s famous ballet of 1912. The dance emphsized the beasty side of humanity and was performed with marked lateral movements; these are formal and emotional elements that find an echo in Hominal’s new body of work.
Katya Garcia-Anton
The Show L’Après-midi d’ un faune finds it’s second part at the the Centre d’ Art Contemporain in Geneva.
The paintings in the Karma International show can be understood as a visual process. Many of the motives have dots in them which remind the viewer of targets or bulletholes. The dots refer to musical partitions such as the motive of choreography or composition. Titles like "day 77" or "day 29" ironically refer to the paintings’ representation of every day life in the artist’s reality - each day is marked by a painting, just as the show’s title L’Après-midi d’un faune can be understood as a normal afternoon in the life of the faun. The subtitles of the painting’s "distant relatives" refer to famous ancestors in art history who are at once quoted and destroyed by David Hominal’s brushstroke.
Image: L'Apres-midi d'un faune, 2010, installation view
Karma International
Dufourstrasse 48 | 8008 Zürich | Switzerland
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