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Karim Boumjimar’s painterly motifs spill fluidly, often erotically, from one figure to another—assembling animals, public personas, nightlife, the artist’s friends, cruising, and mythological creatures. As an all-encompassing installation, the exhibition at O— Overgaden includes a large-scale mural, created on site during the weeks leading up to the opening, letting the artist’s literally fabulous, transgressive, and polyamorous universe take over the institution’s white walls, like a midsummer night’s dream on acid.
Growing out of the walls, four 2-meter-tall vases informally pop up, mushrooming around in the spaces, as if constructing a forest to cruise in. Looking closer at the vases, shapes rise from the clay, carved out from its skin—as if cut back to expose secrets or hidden bodies beneath the surface. The quick, draft-like quality of the lines makes Boumjimar’s stable, permanent artworks—drawings and ceramics—feel like living, transient performances. Stemming from an intuitive,…
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Press Release
Karim Boumjimar’s painterly motifs spill fluidly, often erotically, from one figure to another—assembling animals, public personas, nightlife, the artist’s friends, cruising, and mythological creatures. As an all-encompassing installation, the exhibition at O— Overgaden includes a large-scale mural, created on site during the weeks leading up to the opening, letting the artist’s literally fabulous, transgressive, and polyamorous universe take over the institution’s white walls, like a midsummer night’s dream on acid.
Growing out of the walls, four 2-meter-tall vases informally pop up, mushrooming around in the spaces, as if constructing a forest to cruise in. Looking closer at the vases, shapes rise from the clay, carved out from its skin—as if cut back to expose secrets or hidden bodies beneath the surface. The quick, draft-like quality of the lines makes Boumjimar’s stable, permanent artworks—drawings and ceramics—feel like living, transient performances. Stemming from an intuitive,…
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