Exhibition 2018
What Matthias Boehm feels, he sets to music. What moves him, he puts into words. And what he sings, he translates into color. The current exhibition in the Schmidt-Haus offers something for the eyes and ears.
Nabburg.(aub) "Matthias Boehm is ‚back on stage‘ again in the Schmidt-Haus," announced Christa Haubelt-Schlosser in her laudatory speech. In contrast to 1990, when he performed together with Wolfgang Barthel, he now fills the rooms "not primarily with music, but with his paintings, which, however, would not exist without the former". He created the basis for this very early on. The former Regensburger Domspatz had already passed his Abitur in both "arts" at the Anton-Bruckner-Gymnasium in Straubing, in order to then study music didactics and teaching for secondary schools. Besides, his career began as a singer-
The press: (automatic translated)
songwriter, instrumentalist, composer and studio musicians. Solo or in various formations since 1973, numerous stage appearances, from 1982 seventeen LP or CD productions, media presence - including the accompaniment of the BR2 show "Bildopoly" - and for 10 years the management of the music workshop of the Nabburg middle school. When suddenly his health was no longer "playing along", he reactivated his alternative creativity: "The end of music is the beginning of painting. Rather, it rounds off what I did before - if it was tones to hear, that's how they are to see now". The first im- and expressionistic illustrations of his music are no longer incidental, but consciously created as an expression of harmonious or dissonant emotions. Interesting parallels quickly become apparent: the experiment, as an exciting artistic counterpart, resembles musical improvisation, rhythm is just as important here as there is accentuation, and breathing pauses or freedom turn out to be the elixir of life for all artists. Matthias Boehm has the great talent of balancing between two worlds: As the first exhibitor, he personally put the vernissage guests in the mood for his presented world of images with professional craftsmanship in a live performance on the guitar and with singing. In a way, the visitors experienced Böhm's own acoustic version of a total work of art, an idea that Karl Schmidt-Wolfratshausen once had in mind, albeit more spatially related.
The "music meets art" exhibition is open every Sunday from 2 p.m. to 5 p.m. until April 8th. Two audio guides are available for listening pleasure." DER NEUE TAG 02/26/2018
"Wie ein Feuerwerk aus dem Vulkan represents the current special exhibition as the title picture music meets art. The artist lets glowing red lava rise from the earth's interior like fireworks and illuminate the deep blue night sky in a colorful explosion. The broad brushstrokes and impasto application of paint over a coarse-grained painting ground underline the substantial nature of the paint and reinforce its materiality. They symbolize the structure of slow-flowing lava and the elemental volcanic energy that causes the surrounding rock masses to burst and melt...
Wie im Mondenschein Gold auf Wellen liegt right next to it, sets the scene for our satellite as a bright circle of light in the dark firmament over the sea. The reflection of its radiance is reflected as a bright yellow coloring on the otherwise black to blue shaded water surface, drifting apart in the middle in a glistening white track.
Similar to the previous paintings, the musician and artist Matthias Boehm applies the paint in consistently wide bands, or interrupts them and, in search of the structure of things and in favor of the dynamic, sets simple forms of square brushstrokes, also less colorful, like mosaic stones to each other. This is reminiscent of Paul Cézanne, with whose style of painting he actually dealt intensively. The luminosity of the (pure) colors is retained, that's what fascinates him, he confesses...
Through gestalt psychology, which describes human perception as the ability to identify structures and principles of order in sensory impressions, he then approached his symbolism in order to make figures visible in clouds....
For him, this approach and its pictorial visualization has become therapy for experiencing to work up...
Particularly strong, Matthias Boehm explains, the symbolism in Herbstgedicht from 1997. Figurative metamorphoses as in Fallende Blätter das Ende beginnt (2017) reveal faces, dancers, a torso, a cemetery candle or his allegory for hope, a being of light.
In the cubist-oriented variant Graue Menschen trotzen Modetrends (2016) the left, i.e. emotional, half of the face of the grey-haired, bearded man is covered with outlines of life scenes from birth to death. The consoling, light figure reappears...
And finally, Matthias Boehm also has quiet pictures in which he doesn't have to work through anything...
With the picture Look at the sky, the view of the sky, from 2017 the exhibition ends music meets art and with it the journey through the picturesque world of Matthias Boehm. No matter how fascinating and promising it may be to see the world from above and let yourself drift in eternity: the Heaven there is also on earth, in the midst of earthly, volcanic forces or in the endless water of the oceans or with the people who are closest to us, the artist conveys it to us.” (Vernissage, February 21, 2018)
Introduction to the exhibition: Christa Haubelt-Schlosser MA
(heavily shortened and automatic translated!)
