Cathrin Hoffmann: Human Hand For Scale

Los Angeles

November 19, 2022 – January 7, 2023

Cathrin Hoffmann

Human Hand For Scale, 2022

oil and hot glue on canvas

200h x 300w cm

78.74h x 118.11w in

Press Release

The end of the world is not the end of the world. Humans have existed on Earth for just a fraction of a fraction of a fraction of its existence; the planet will continue to rotate on its axis long after we Homo sapiens sapiens have incinerated ourselves through some horrific, yet statistically insignificant rapture of our own making. After the earth moves under our feet and the sky tumbles down, who or what will appreciate our songs, poems, and pictures about it? It is a fever dream, a fool’s fantasy, to latch onto any one earthling’s intrinsic value when they were nothing just a brief rewind or fast-forward into the past or future.

 

With Human Hand for Scale, Cathrin Hoffmann’s first solo exhibition with Nicodim, the artist casts herself in the role of future anthropologist, measuring the levity of our species on a timeline stretched to millenia and mega-annum. She approaches the human form from a significant distance in both time and space, the human hand is employed as a jerry-rigged scale for both. These works are approximations of human life as we know it, educated guesses, in the way of Dürer’s Rhinoceros or a digital 3-d rendering of a cro magnon skull. Don’t Know How to Change It Back (2022) plays with Bacon-ian notions of interiority and exteriority in an era somewhere between cave dwellings and the apocalypse. In More Like Animals Without Motion (2022), a gargantuan Christlike figure perches herself (or is crucified upon) a disembodied womb, bestowing equal gravity to science and spirituality. It’s Called Teratoma, Look It Up (2022) is another ode to possible human origins and those perverted along the evolutionary pathway. The central figure is Hoffmann’s take on Michelangelo’s David, the threaded and hairy globule to its side the biological anomaly Goliath’s slayer could have been had the wind been blowing a different direction over the course of his gestation. (Dear reader, *do not* look up “teratoma.”)

 

Hoffmann’s practice is not so nihilistic as it is a practical, good-humored assessment of how The Way Things Are Today will be understood when “Today” encompasses the entirety of our species’ existence. There is an inherent optimism here: long after the daily drama of human biology and spirituality are extinguished, the sun will still rise and set. The end of the world is not the end of the world.

Cathrin Hoffmann (b. 1984, Germany) lives and works in Berlin. Recent exhibitions include DISEMBODIED, Nicodim, Bucharest (2022); Probably Outside, Public Gallery, London (2022, solo); The Future is Beautiful, Galerie Tanja Wagner, Berlin (2021); Saltro in Altro, Palazzo Monti, Brescia (2021); Stockholm Sessions, Carl Kostyál, Stockholm (2021); The Artist is Online, König Galerie, Berlin (2021); It Still Smells of Nothing, Public Gallery, London (2020, solo); Somewhere in Between, Duve Gallery, Berlin (2020); Layers & Tracks, Galerie Ron Mandos, Amsterdam (2020); Everyday is Sunday, UTA Artist Space, Los Angeles (2020); SECOND SMILE, The Hole, New York (2020); Post Digital Pop, The Garage, Amsterdam (2019); and Human Condition, BUNKERHILLGalerie, Hamburg (2018). Human Hand for Scale is her first solo exhibition with Nicodim.

 

Selected Works

Selected Works Thumbnails
Don't Know How To Change It Back, 2022

oil on canvas

170h x 280w cm

66.93h x 110.24w in

Don't Know How To Change It Back, 2022

oil on canvas

170h x 280w cm

66.93h x 110.24w in

It's Called Teratoma, Look It Up, 2022

oil, yarn and quartz sand on canvas

220h x 160w cm

86.61h x 62.99w in

It's Called Teratoma, Look It Up, 2022

oil, yarn and quartz sand on canvas

220h x 160w cm

86.61h x 62.99w in

Dust is Lying All About It, 2022

oil and quartz sand on canvas

220h x 340w cm

86.61h x 133.86w in

Dust is Lying All About It, 2022

oil and quartz sand on canvas

220h x 340w cm

86.61h x 133.86w in

It's Too Soon To Cry, 2022

oil on canvas

200h x 150w cm

78.74h x 59.06w in

It's Too Soon To Cry, 2022

oil on canvas

200h x 150w cm

78.74h x 59.06w in

More Like Animals Without Motion, 2022

oil on canvas

250h x 410w cm

98.43h x 161.42w in

More Like Animals Without Motion, 2022

oil on canvas

250h x 410w cm

98.43h x 161.42w in

The Seal Was Brittle, 2022

oil on canvas

220h x 400w cm

86.61h x 157.48w in

The Seal Was Brittle, 2022

oil on canvas

220h x 400w cm

86.61h x 157.48w in

We Were Forgotten At the Fire, 2022

oil on canvas

200h x 180w cm

78.74h x 70.87w in

We Were Forgotten At the Fire, 2022

oil on canvas

200h x 180w cm

78.74h x 70.87w in

Don't Know How To Change It Back, 2022

oil on canvas

170h x 280w cm

66.93h x 110.24w in
It's Called Teratoma, Look It Up, 2022

oil, yarn and quartz sand on canvas

220h x 160w cm

86.61h x 62.99w in
Dust is Lying All About It, 2022

oil and quartz sand on canvas

220h x 340w cm

86.61h x 133.86w in
It's Too Soon To Cry, 2022

oil on canvas

200h x 150w cm

78.74h x 59.06w in
More Like Animals Without Motion, 2022

oil on canvas

250h x 410w cm

98.43h x 161.42w in
The Seal Was Brittle, 2022

oil on canvas

220h x 400w cm

86.61h x 157.48w in
We Were Forgotten At the Fire, 2022

oil on canvas

200h x 180w cm

78.74h x 70.87w in