Blalla Hallmann
dal 1/3/2006 al 14/4/2006
Segnalato da
1/3/2006
Blalla Hallmann
Thomas Erben Gallery, New York
Die Heilige Familie. A selections from a body of large reverse paintings on windows. With highly polemical intent, Hallmann chooses to populate archetypal Christian imagery with Disney characters cheeringly involved in scenes of blasphemous sexual acts, horrific cruelty and mayhem.
Die Heilige Familie
Thomas Erben is pleased to announce Die Heilige Familie (The Holy
Family), selections from a body of large reverse paintings on windows
by the German artist Blalla Hallmann (1941 - 1997). This is the
artist's first exhibition in the US since his sojourn in San
Francisco in the late '60s.
With highly polemical intent, Hallmann chooses to populate archetypal
Christian imagery with Disney characters cheeringly involved in
scenes of blasphemous sexual acts, horrific cruelty, and mayhem. A
vulva "Madonna and Child" is circled by penis headed Magi; the Holy
Trinity interpenetrates and a naked Mickey is nailed at arms, feet
and genitalia to the cross under a Cardinal's watchful eyes with rows
of soldiers in attendance. He gets under our skin using visually
emotional strategies such as seductive primaries, a particularly
endearing, seemingly naive style, and a mise en scene reminding us of
the Renaissance originals.
Hallmann's work has often been discussed in terms of his biography:
Born 1941 in Quirl, Schlesien, his family was ousted after World War
II and moved through different refugee camps. His drawing abilities
were recognized and fostered early on; at age 16 he studied for one
year at the Art Academy in Dusseldorf and was later an honor student
at the Academy in Nurnberg. Residing in Northern California from
1967-69, he had two solo exhibitions and participated in group shows
within the circle of Bruce Connor, Peter Saul, and Robert Crumb. The
experience of a hospitalization as a result of a history of
psychological imbalance, malnutrition and a "bad trip" led to his
extreme disdain of America. After returning to Germany, it was not
until the late ‘70s that he regained full creativity. In the ‘80s
he was celebrated within the booming Cologne art scene and had
exhibitions with such important galleries as Rudolf Zwirner, Cologne,
and Produzentengalerie, Hamburg.
Cloaked in a lusty, figurative style with a plethora of art
historical and cultural references, it is Hallmann's ferocious
emotions and abrasive zeal, which pushes his work closer to an
outsider's sensibility. It invites discussion on the interdependence
of destructive impulses and creativity, and to what degree boundaries
of taste and societal norms can be tested on artistic grounds.
Finally, Hallmann's work explores how complex truths can be
articulated through art.
Reception: Thursday, March 2, 6 - 8:30
Thomas Erben Gallery
526 West 26th Street, floor 4 - New York
Gallery hours are Tuesday - Saturday, 10-6