geboren in Goettingen

Seit 2005:
Studium an der Hochschule fuer Grafik und Buchkunst in Leipzig

2007 - 2009:
Fachklasse von Neo Rauch

2009 - 2010:
Fachklasse von Heribert C. Ottersbach

2011: Diplom

(S)=Solo (G)=Group

- "Purple Haze", Plan X Gallery, Milano, (S)

- "Better go South", Stuttgart (G)
- "Once upon a time in Mayfair", Phillips, London (G)
- "XY" (curated by Sasha Bogojev), Galerie Rundgaenger, Frankfurt (G)
- "Chronicles 4", Galerie Droste at KPM Berlin (G)
- "Chronicles 5", Galerie Droste at KPM Berlin (G)

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The ToTal eclipse of The hearT (english version)

And then, there you are. Between all the city calves and all the city piglets - you. You came here on your motorbike, took it all the way from your hiding place in the country. You came here on a mission to get some lame, weak lifestock. lifestock to drag back to your shack. You’re gonna work it hard, knead it, pluck it. You’ll splint its fractured bones and you’ll remake it. it’ll become part of your swamp.

it’ll sniff turps with you and it’ll gurgle gaso-line by your side till all benevolence is etched off. No more faitfhul eyes, no more innocent maverick. The remainder: a re-mote controlled anemic cat. During daytime they licked each other’s coat kissers. smurred. cuddled. fooled around.

Before they stepped into the moonlight and into their nocturnal selves they put each other’s faces on and masked each other and wrapped themselves in dazzling clothes. Blurry eyes hidden behind dark shades. Two end time
robots in a magic forrest. each of them follows their own path as they trudge through the
night. a half eaten bread, a wounded lamb. The last irelies of this summer nestle in the gaping lesh. flashes of gunshot wounds. The village dogs ought to lick their muzzles at the aestethic impulse of the twinkling, but not at all whimpering, victim.

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The ToTal eclipse of The hearT (german version)

Zwischen all den stadtkälbern und -ferkeln stehst plötzlich du. Mit deinem Motorbike kamst du aus deinem ländlichen Versteck geknattert. Kamst, eines dieser lahmen, kraftlosen Nutztiere zu holen, um es mit in deine Behausung zu zerren. Wirst es zerkneten, auseinanderplücken, die Brueche schienen und es neu zusammenstecken, wirst es zu einem Teil deines sumpfes machen, Terpentin mit ihm schnüffeln und Benzin gurgeln, bis alle Güte in ihm weggeaetzt, das Treudoofe aus seinen Augen gewichen, aus dem lieben Milchkalb eine ferngesteuerte, blutleere Katze geworden ist.

Am Tage leckten sie einander die fellfressen, schnurrten, schmusten, spielten. Bevor sie ins Mondlicht hinaustraten, in ihre Nachtgestalt schlüpften, schminkten und maskierten sie einander, hüllten sich in grelle stoffe. Die augen verwischt, versteckt hinter dunklen Gläsern, zwei Endzeitroboter im Zauberwald. Jeder seines Weges stapft ihr durch die Nacht.

Ein angebissenes Brot, ein angerissenes lämmchen. Die letzten Glühwürmchen des sommers haben es sich in der klaffenden Wunde gemütlich gemacht. Wundweides Blitzen. Die Dorfköter sollten sich eigentlich die Mäuler lecken, gebannt vom ästhetischen reiz des limmernden und so gar nicht wimmernden opfers. sie weiden sich an seinem sättigenden anblick, statt es mit haut und Wolle zu verspeisen.

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Book publication - RE-import

152 Seiten

19,5 x 25,9 cm

260 farbige Abbildungen, Offsetdruck

Deckenband, Fadenheftung

500 Exemplare, dt./engl.

36,- ISBN 978-3-944903-03-3

Herausgeber: Michaela Kuehn, Julius Hofmann

Erschienen im MMKoehnVerlag

Gestaltung: Maria M. Meyer, Susanne Richwien

Texte: Michaela Kuehn, Carsten Tabel, Hans-Werner Schmidt

Zu bestellen gibt es das Buch direkt ueber desktop (at),

Lehmanns Buchhandlung


Gaming with Goya:

"Julius Hofmann between silence and cynicism"

An Interview By Sabrina Steinek (keenon Magazine)

While most of the art world remains obsessed with crisis and rupture, and goes on insatiably discussing how the digital age constitutes a radical break with our analogue past, the painter Julius Hofmann focuses instead on the continuities. In this interview he talks about torture, advertising, and the painterly origins of video game aesthetics.


Your film works take up 90s game aesthetics. It's an aesthetics that was formative for your childhood and youth, and it marked the beginning of the computer game era. Ditching playability, you instead create filmic works whose characters turn out - in contrast to typical computer games - to be antiheroes rather than superheroes. What's left is the jerky, flickering, and geometric aesthetics in the form of 3D animations. What were you interested in when you first started to engage with this aesthetics in your art?

There were a number of different motivations. At the time I may have seen it merely as a way of adding a dimension to my painting, which was then my primary focus. The desire to redefine it by way of a dialogue - which I happen to find provocative - between the oldest and newest medium in human history. Once I had my first achievements as a painter under my belt, and no later than by the time I had finished my studies, I realized how monotonous and schematic even life as a painter can transpire, and so I started searching consciously for other areas of activity and new challenges.

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