BENDIX HARMS
Reversed Evolution – How it feels to be Mamon
at Nino Mier Gallery September 12–October 17, 2020
Who is MAMON?
Mamon is the new leader of our Danish farm Østerfælden - a cow-cat as a: weapon, a performer, a chief of forest, a melancholiac, a powerplant, a defender, a wanderer, a peacemaker, a connoisseur, a beauty, an h-bomb, an ignorant, a tactician, a killer, a yes-sayer, a charmer, a 48-name-cat, a no-sayer, a multi-radar-tracker - a huge conterpart - big enough to host the whole world inside her black and white body and impressing enough to be thrown back into the evolution: being Mamon. A perfect foundation for delivering continuously images to me - the Concrete- Contentist from Germany - because she is able to operate as a determiner and decisionsmaker – sending precise orders to my brain– as all my chosen and painted subjects do.
It feels like being a reciever of commands that can only be processed, when the relationship between me and the subject climbs on a steel-like level - achieved through love, hate, overmotivated behavior, unexpected physiognomies, humans who put names to things and animals who put names to things…. then the subject overtakes the command-center - like my wife Mari with her square-built-rascal-face, the blackcap bird with his concrete-grey body and his unscrewed black monk‘s head or Rufus the black cat - the former owner of the farm we bought in Denmark – and now the new owner: MAMON.
All are able to determine, and all are able to be formally reduced for generating a repeatable stamp - in my brain and on the canvas. These stamps let my right arm work like a machine - equipped with any kind of spatulas and scrapers, liquids for dripping and paint tubes for squeezing out words and linear elements.
The selected subject shouts his precise orders: generate me only in that way, because it‘s adequate for me, its adequate for your paint, for your tools and for art-history - in the end of an artist‘s life only one thing matters: the difference of the work in relation to history.
For me it felt like a liberation from the traditional expressive brushstroke, because each new painting could start differently: dripped, scratched, thickly spackled -completed in one session or in 100 sessions….the narrative motif is the decisionmaker, and my job is to paint them in order to make them speak.
- Bendix Harms, August 20th, Østerfælden, Denmark
Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Bendix Harms, House of Solidarnorsc (Mamon, Rufus, Whity), 2019, Oil on canvas, 82 5/8 x 66 7/8 in 210 x 170 cm (BHA20.001)
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Bendix Harms, House of Sun Sun, 2019, Oil on canvas 70 7/8 x 55 1/8 in 180 x 140 cm (BHA20.002)
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Bendix Harms, Mamon Dalton, 2019, Oil on canvas, 98 3/8 x 74 3/4 in 250 x 190 cm, (BHA20.003)
Bendix Harms, Mamon Ruger, 2019, Oil on canvas, 70 7/8 x 90 1/2 in 180 x 230 cm, (BHA20.004)
Bendix Harms, Mäusearmee M.B., 2019, Oil on canvas, 70 7/8 x 55 1/8 in 180 x 140 cm, (BHA20.005)
Bendix Harms, Reversed Evolution, 2020, Oil on canvas, 74 3/4 x 98 3/8 in 190 x 250 cm, (BHA20.006)
Bendix Harms, House of Solidarnorsc (Mamon, Rufus, Whity), 2019, Oil on canvas, 82 5/8 x 66 7/8 in 210 x 170 cm (BHA20.001)
Bendix Harms, House of Sun Sun, 2019, Oil on canvas 70 7/8 x 55 1/8 in 180 x 140 cm (BHA20.002)
Bendix Harms, Mamon Dalton, 2019, Oil on canvas, 98 3/8 x 74 3/4 in 250 x 190 cm, (BHA20.003)
Bendix Harms, Mamon Ruger, 2019, Oil on canvas, 70 7/8 x 90 1/2 in 180 x 230 cm, (BHA20.004)
Bendix Harms, Mäusearmee M.B., 2019, Oil on canvas, 70 7/8 x 55 1/8 in 180 x 140 cm, (BHA20.005)
Bendix Harms, Reversed Evolution, 2020, Oil on canvas, 74 3/4 x 98 3/8 in 190 x 250 cm, (BHA20.006)
Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 17, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 10, 2020) Nino Mier Gallery, Los Angeles, CA
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Installation View of Bendix Harms: Reversed Evolution—How it feels to be Mamon (September 12–October 17, 2020) Nino Mier Gallery, Los Angeles, CA
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Bendix Harms, Mamoon, 2018, Oil on canvas, 86 5/8 x 78 3/4 in, 220 x 200 cm, (BHA20.007)
Bendix Harms, Notre Monde, 2019, Oil on canvas, 51 1/8 x 70 7/8 in, 130 x 180 cm, (BHA20.008)
Bendix Harms, Whitys Night (White City), 2019, Oil on canvas, 47 1/4 x 39 3/8 in, 120 x 100 cm, (BHA20.009)
Bendix Harms, Wie es sich anfühlt Mamon zu sein, 2019, Oil on canvas, 98 3/8 x 74 3/4 in, 250 x 190 cm, (BHA20.010)
Bendix Harms, Alle wollen Schicksal, 2019, Graphite on paper, 19 3/4 x 27 1/2 in, 50 x 70 cm, (BHA20.015)
Bendix Harms, Cold Shoulder, 2018, Wax crayon and graphite on paper, 16 1/2 x 11 3/4 in, 42 x 29.7 cm, (BHA20.016)
Bendix Harms, Notre Monde, 2019, Oil on canvas, 51 1/8 x 70 7/8 in, 130 x 180 cm, (BHA20.008)
Bendix Harms, Whitys Night (White City), 2019, Oil on canvas, 47 1/4 x 39 3/8 in, 120 x 100 cm, (BHA20.009)
Bendix Harms, Wie es sich anfühlt Mamon zu sein, 2019, Oil on canvas, 98 3/8 x 74 3/4 in, 250 x 190 cm, (BHA20.010)
Bendix Harms, Alle wollen Schicksal, 2019, Graphite on paper, 19 3/4 x 27 1/2 in, 50 x 70 cm, (BHA20.015)
Bendix Harms, Cold Shoulder, 2018, Wax crayon and graphite on paper, 16 1/2 x 11 3/4 in, 42 x 29.7 cm, (BHA20.016)
Bendix Harms, 30 Millionen Mal Malaga, 2019, Wax crayon on paper, 16 1/2 x 11 3/4 in, 42 x 29.7 cm, (BHA20.017)
Bendix Harms, House of Sun Sun, 2020, Wax crayon on paper, 27 1/2 x 19 3/4 in, 70 x 50 cm, (BHA20.018)
Bendix Harms, La Familia Mamon Kollerup, 2020, Wax crayon on paper, 27 1/2 x 19 3/4 in, 70 x 50 cm, (BHA20.019)
Bendix Harms, Le Monde Mamon, 2020, Wax crayon on paper, 19 3/4 x 27 1/2 in, 50 x 70 cm, (BHA20.020)
Bendix Harms, Mamon Dalton, 2020, Wax crayon on paper, 27 1/2 x 19 3/4 in, 70 x 50 cm, (BHA20.021)
Bendix Harms, World View, 2018, Wax crayon on paper, 19 3/4 x 13 3/4 in, 50 x 35 cm, (BHA20.022)
Bendix Harms, 30 Millionen Mal Malaga, 2019, Wax crayon on paper, 16 1/2 x 11 3/4 in, 42 x 29.7 cm, (BHA20.017)
Bendix Harms, House of Sun Sun, 2020, Wax crayon on paper, 27 1/2 x 19 3/4 in, 70 x 50 cm, (BHA20.018)
Bendix Harms, La Familia Mamon Kollerup, 2020, Wax crayon on paper, 27 1/2 x 19 3/4 in, 70 x 50 cm, (BHA20.019)
Bendix Harms, Le Monde Mamon, 2020, Wax crayon on paper, 19 3/4 x 27 1/2 in, 50 x 70 cm, (BHA20.020)
Bendix Harms, Mamon Dalton, 2020, Wax crayon on paper, 27 1/2 x 19 3/4 in, 70 x 50 cm, (BHA20.021)
Bendix Harms, World View, 2018, Wax crayon on paper, 19 3/4 x 13 3/4 in, 50 x 35 cm, (BHA20.022)
