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Andy Hope 1930, Who Goes There 1, 2016, acrylic and synthetic resin lacquer on canvas, 23 5/8 × 19 5/8". From the series “Who Goes There,” 2016.

Andy Hope 1930

Galerie Guido W. Baudach

Andy Hope 1930, Who Goes There 1, 2016, acrylic and synthetic resin lacquer on canvas, 23 5/8 × 19 5/8". From the series “Who Goes There,” 2016.

Satanic imagery has proved inextinguishable in the paintings of Andy Hope 1930, from the black disk with horns that dominated Silent Running, 2005—a heavy-metal twist on Malevich’s Black Circle, 1915—to his latest show, “Black Fat Fury Road.” Twelve of its sixteen canvases, numbered excerpts from the series “Who Goes There” (all works 2016), were predominantly black, oppressively lacquered, and typically brightened only by pairs of small ruby-red triangular glyphs that read, just about, as horns glowing ominously in the surrounding glossy darkness. The paintings easily tilted toward geometric abstraction, nevertheless. Indeed, the German artist, who was formerly known as Andreas Hofer (in 2010 he adopted the anglicized name with which he’s autographed his artworks since around 1999), has made a name for himself producing what might be called soiled modernism. (He has

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