Peter Zimmermann studied at Staatliche Akademie der bildenden Künste in the German city of Stuttgart. Between 2000 and 2007 he taught at Kunsthochschule für Medien in Cologne, the city in which he has lived for over three decades.
In the 1980s, Zimmermann’s work was part of the flourishing artistic scene in Cologne, to which he belonged but from which he also distanced himself as his reflective style was far removed from the neo-expressionist positions of some of his colleagues. His reproductions of book covers, art monographs and catalogues, dictionaries and travel guides, made with pigments and synthetic resins, are characteristic of that period. The series of posters and cardboard boxes also belong to that period. He used administrative aesthetics to question the authorship and reproducibility of images in the contemporary world.
These concerns are embodied in Zimmermann’s works by appropriating materials that are circulating online, which he transforms using various computer programs. This results in abstract paintings and interventions that turn the illusory nature and superficiality of images into problems, constructing a mindset that traps the gaze of the viewer by means of bright forms and colours.
Recent exhibitions of his work have been staged at the Museum gegenstandsfreier Kunst (Otterndorf, Germany, 2016); the Charim Galerie (Vienna, 2016); and the Museum für Neue Kunst (Freiburg, Germany, 2016). He has taken part in group exhibitions at venues including the Fonds Régional d’Art Contemporain d’Auvergne (Clermont-Ferrand, France, 2012); the Kunsthalle Bielefeld (Bielefeld, Germany, 2013); the Museum Weserburg (Bremen, Germany, 2011); and the Kunstmuseum Bonn (Bonn, Germany, 2009).
Peter Zimmermann studied at Staatliche Akademie der bildenden Künste in the German city of Stuttgart. Between 2000 and 2007 he taught at Kunsthochschule für Medien in Cologne, the city in which he has lived for over three decades.
In the 1980s, Zimmermann’s work was part of the flourishing artistic scene in Cologne, to which he belonged but from which he also distanced himself as his reflective style was far removed from the neo-expressionist positions of some of his colleagues. His reproductions of book covers, art monographs and catalogues, dictionaries and travel guides, made with pigments and synthetic resins, are characteristic of that period. The series of posters and cardboard boxes also belong to that period. He used administrative aesthetics to question the authorship and reproducibility of images in the contemporary world.
These concerns are embodied in Zimmermann’s works by appropriating materials that are circulating online, which he transforms using various computer programs. This results in abstract paintings and interventions that turn the illusory nature and superficiality of images into problems, constructing a mindset that traps the gaze of the viewer by means of bright forms and colours.
Recent exhibitions of his work have been staged at the Museum gegenstandsfreier Kunst (Otterndorf, Germany, 2016); the Charim Galerie (Vienna, 2016); and the Museum für Neue Kunst (Freiburg, Germany, 2016). He has taken part in group exhibitions at venues including the Fonds Régional d’Art Contemporain d’Auvergne (Clermont-Ferrand, France, 2012); the Kunsthalle Bielefeld (Bielefeld, Germany, 2013); the Museum Weserburg (Bremen, Germany, 2011); and the Kunstmuseum Bonn (Bonn, Germany, 2009).