Gerhard Hoehme’s ‘Cimbalom’ has little in common with the string instrument – apart from its sound. Paintings and musical instruments alike have a resonance which extends them into the real world. Hoehme’s Informel-style painting requires neither paint nor a brush. He ‘paints’ with crudely nailed clothes lines in a confined pictorial space. ‘Cimbalom’ forges a fascinating link between Art Informel, object art in the manner of ZERO, and Nouveau Réalisme. Hoehme combines the seemingly incompatible and transcends art-historical classifications.
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