press release

Peter Zimmermann
7 November 2020 – 9 January 2021

The modern world is characterized by technologies that "age" at ever-shorter intervals. They are digital, largely immaterial, and their development is rapidly accelerating. The respectively fast pace of life shapes our perception and produces a maelstrom that carries art with it. Painting is an anachronistic medium: at no time since the publication of Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" has painting been at the height of the discourse of art theory. Nevertheless, it is widely seen as the standard for what constitutes art.

Zimmermann's signature works include multi-colored epoxy resin images taken from digital originals, such as photographs, film stills or diagrams, which he deconstructs and alienates using graphic algorithms and transfers to the canvas in numerous transparent layers. Since 2014, he has been following this method via the "van Gogh button" and translates the resulting images into oil paintings.

His new coral-like paintings differ from these predecessors in one essential point. They are created by applying oil paint directly by hand on dibond plates. From painting tools (keyboard, brush) to "touch screen". What appears to be a nuance in the result is a historical leap in the process. But in which temporal direction? Zimmermann's "Handpainted Pictures" do not save painting in the age of the technical reproducibility of art, they transcend it and do so by entirely profane means.