Situated somewhere between visual art, furniture and architecture, Bodo Bühl’s works play on the vagueness of their status in order to question the consumerist dimension of our society. By combining Minimalist aesthetics with Pop signs, the artist ironically injects a “decorative” dimension into the work which grabs the visitor’s eye and ensnares him. In many cases the title is a significant element for understanding the work (No Comment, 1988; Fly Away, 1988; Control, 1992; Schöne Bilder/Beautiful Pictures, 2008). This is a work of art littered with references to art history, architecture and design, and in particular the history of the 1920s and the 1950s. Like Gerhard Merz, Günther Förg, and Ulrich Horndash, Bodo Bühl belonged to the Münchner Aufbruchs, an artistic tendency in Munich which, in the 1980s, was hallmarked by the re-appropriation and the rereading of styles of the past harbingering the advent of postmodernism. Tinged with wit, irony and mockery, his output nowadays takes the form of sculptures, drawings and paintings which are all typified by their extremely precise style and technique.
Born in Marienweiher, Germany, Bodo Bühl lives and works in Munich. In 1985, he graduated from the Munich Akademie der Bildenden Künste, and in 1999 he won the City of Munich Art Price. He exhibits mainly in Germany, especially in Munich with both solo and group shows.