Rocznik 53. Już jak dziecko kochał zapach farb olejnych. W wieku 7 lat zaczął się uczyć malarstwa u starego malarza krajobrazu. Studiował fotografię i pracował jako fotograf – mody, teatru; zajmował się też fotografią portretową. Mieszka z rodziną w małym miasteczku Traben-Trarbach na południowym zachodzie Niemiec. Od 25 lat spędza codziennie 2-3 godziny w swoim studio. Jego malarstwo jest strukturalne i emocjonalne. W 1980 roku odwiedził Wrocław i przez 3 miesiące pracował jako stażysta w Teatrze Laboratorium prowadzonym przez Jerzego Grotowskiego i Ludwiga Flaszena. Później przez rok oddawał się pracy teatralnej na południu Francji. Następnie pracował z małą grupą teatralną w Monachium. Po podróżach i bogatych doświadczeniach teatralnych poświęcił się malarstwu. Uważa, że odbyte podróże po Indiach i doświadczenia teatralne we Wrocławiu całkowicie odmieniły jego życie.

1973-75 Studium an der Bayer. Staatslehranstalt für Photographie, München
1975-79 Freier Fotograf, München
1980-81 Theaterlabor, Wroclaw
1980-82 Kunsthalle, Hamburg, Organisation von Ausstellungen
1982-85 German. Nationalmuseum, Nürnberg, Fotograf
1985-88 Universität Erlangen, Fotograf
1988-90 Kameramann Bayr. Rundfunk, Nürnberg
1990-93 Studium an der Akademie für Werbung, Bonn seit 1993 Freie Malerei, Traben-Trarbach


1993 – Galerie Applebeck, Dortmund
1995 – Gruppenausstellung in der Städt. Galerie, Koblenz
1998 – Galerie Gabriel, Wien
2000 – Galerie Casa de Artes, Cas Concos, Mallorca
2002 – Hahn&Jung, Wetzlar
2002 – Graifen, Traben-Trarbach
2002 – Stomach, Wien
2003 – Sammlung Volpinum, Wien
2003 – Schloß Pichlarn, Irdning
2003 – Gruppenausstellung Galerie Luftsprung, Morbach
2004 – Galerie Weinerei, Nürnberg
2004 – Hahn&Jung, Wetzlar
2005 – Galerie im Markusplatz, Eitorf
2005 – UNICEF, Siemens, München
2006 – Chiaia, Berlin
2006 – Gruppenausstellung Galerie Incontro, Eitorf
2008 – Artvent, Gruppenausstellung im Haus Metternich, Koblenz
2008 – Stadtgalerie, Bernkastel-Kues
2008 – Güterhalle, Bernkastel-Kues
2009 – Michael Hoffee Gallery, Sacramento, California, USA
2010 – Espacio Atlantico, Vigo, Spanien
2010 – Baroon, Vigo, Spanien
2010 – Stadtgalerie, Bernkastel
2011 – Elephants for Peace, Gruppenausstellungen
2011 – WÜMEK, Würzburg
2012 – STATION, Bernkastel-Kues
2012 – Kunstmüllerei, Düsseldorf
2012 – Moselschlösschen, Traben-Trarbach
2012 – Buchveröffentlichung, Blutschuhtango Buenos, Aires
(mit Jürgen Lehlbach)
2012 – Papatzikon Gallery, Veroia, Griechenland
2013 – Galleri Passsagen, Arjäng, Schweden
2014 – Gemeinschaftsausstellung, Kunstmüllerei, Düsseldorf
2014 – Gruppenausstellung in der Tune Bibliotek, Sarpsborg, Norway
2015 – Galerie Zwischenraum mit Maria Hill, Enkirch
2015 – Kunstmüllerei, Düsseldorf
2016 – Cafe Bonaparte, Kinheim
2017 – Kammgarn, Kaiserslautern


When Hirschmann paints he dreams his inside out. He loses himself thoughtlessly in someone that he is… takes a white canvas… or, as he often does, one of his painted pictures… and paints over the yesterday in favour of a woven now… lives and puts picture over picture… feeling over feeling… moment over moment… as if there was no truth, as if a painting could be more than a picture. As if it were like in real life.

As if you could prove your belonging, your being alive by painting and perhaps give your existence what seems like a higher meaning… as if you could justify something original by painting it, by celebrating it.
In what category can you put Hirschmann‘s art? If you look at it from the art-historical point of view: obsessive dilettantism. The attempt to become something/someone. But another category would fit, too: universal, crossing borders/transcending.

On the one hand appreciating and admiring, on the other hand exposing. In his view of things he unites the both and the as well as, the yes and no. The duck-billed platypus that is taken out of its natural environment reflects perhaps, with its mostly undemanding natural naivety, our own egocentric, small world conditioning, but it also fills and decorates pleasantly the empty wall above our sofa, satisfies our need for filling space and passing time.

Hirschmann. A jester at the court of the arts. On the one hand loud and colourful, on the other hand meditative and sparing. On the one hand paying court, on the other hand subversive. Everything is somehow and anyway holy and anyway and somehow profane. Everything is art anyway: knowing/being able/bearing witness. And not-art. Whose cow is holy and whose cow should be slaughtered? In response to that, Hirschmann paints a provisional picture on another provisional picture.

In Hirschmann‘s picture worlds borders become blurred, opposites appear as non-identical twins: venerable and despicable, familiar and questionable, professional and amateurish. Hirschmann‘s paintings appear like the sketchbook of an ancient screenplay, performed on the stage of the world, like screenshots in the opera glasses of a quiet, neutral spectator.

Hirschmann paints his “silent watcher” and all the other pictures in a cave. Thus, perhaps, he escapes the virus of mind control/market control/external control. That cave is in the cellar of his house. But when you go down the stairs to that cellar, you realise that it is a room under the ground but also, thanks to the hillside location, over the ground. A door leads from the supposed cave studio/subconscious directly to the street, to the everyday world of drivers, popes, whores and office workers.

Midnight sultriness. Alligators caress my feet, asking me to ride out. A man, dressed up as a woman dressed up as a man. The vagina of primeval times. Obstetricians and deadly reason are competing, dancing, for the observer’s soul. Small squares as promising habitats, fences made from colours, transcendable by a short nod of the head. Yes. I see you. And yes, I dream you. And yes, you dream me.

An implied truth. Impositions. Unthoughtfulness. The appearance of the apparent is allowed to be free, to take any form, arbitrariness as a tool of an inner flow, of one’s own way, to satisfy the inspiration of a demon or perhaps a God.

Hirschmann’s paintings are transcending fences. Limitations, definitions, are resources to make it possible to experience boundlessness, are resources to survive the indefinable, the boundless, without losing it. Why survive? If not to find the way to life? What would be a sky without a sun, what a star without a night? For identity, for becoming one with a possibility, a kind of matter of consciousness, imagination is required and the ability to see something where there is nothing, to see shapes and colours where there is really only a flickering light, a surf ride of the absolute.

The pictures of the world are, just like Nikolaus (Hieranonymus) Hirschmann’s pictures, open to interpretation. Everybody may see what he chooses to see. So, nothing new, everything the same as before. Everybody carries the pleasurable burden of their (un)limited vision as preliminary white lie between themselves and reality which graciously always interferes with our conjectures of the truth. And it treads on our feet, encourages us to stumble over stones out of pure love of making us aware, out of love for something bigger, vaster, freer. Artists who throw stones like Hirschmann, throw puzzles at us. Picture puzzles that our soul, our real being, can decipher. Every hungry human being lives in a world full of puzzles. Something surprising makes us pause for a moment, something small opens the view on something bigger… and gives philosophers, doctors and other artists the professional feeling to be needed, in order to interpret the things and the interrelations and the moves of existence.

1 x 1 = 1. Therein lies something wonderful. But only when I experience it like that. A square is not only a square when it is a square. This is not determined by God but everybody decides independently, decides himself, if a square is a square or if it appears to be a square. The truth is in the effect; true is what appears as if it were true. And that is exactly what Hirschmann’s pictures are. Hero worship and banality appear in Hirschmann‘s pictures as two sides of a reality. The godlike hero on the pedestal is put into the time machine of timelessness, of universality. And what comes out of it is a smile.
In view of eternity, a present-day celebrity becomes a cracknel in the course of a river, a revolution becomes an episode. One of the many episodes in the course of endless episodes. Events have causes… and have consequences… that become causes. A picture is a picture in a picture that became a picture over a picture before a picture. Endless picture sequences.
Universality as a singular case. And vice versa. Hirschmann makes it visible. That is art, his art.

HJ Buchhorn / Föhr

© sZAFa 2017
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