{"id":18820,"date":"2026-07-24T15:59:10","date_gmt":"2026-07-24T15:59:10","guid":{"rendered":"https:\/\/www.diptykmag.com\/michael-armitage-the-ambivalent-beauty-of-violence\/"},"modified":"2026-09-07T08:56:03","modified_gmt":"2026-09-07T08:56:03","slug":"michael-armitage-the-ambivalent-beauty-of-violence","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/michael-armitage-the-ambivalent-beauty-of-violence\/","title":{"rendered":"Michael Armitage: The Ambivalent Beauty of Violence"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"18820\" class=\"elementor elementor-18820 elementor-16592\" data-elementor-post-type=\"post\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8ea9338 e-flex e-con-boxed e-con e-parent\" data-id=\"8ea9338\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-20dc799 elementor-widget elementor-widget-text-editor\" data-id=\"20dc799\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p><b>At the Palazzo Grassi, Michael Armitage transforms the tragedies of contemporary Africa into paintings of striking beauty, in which each color seems to delay the revelation of violence.<\/b><\/p><p>By Emmanuelle Outtier<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8e26b8b elementor-widget elementor-widget-image\" data-id=\"8e26b8b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"1500\" height=\"1146\" src=\"https:\/\/www.diptykmag.com\/wp-content\/uploads\/2026\/07\/mydressmychoice-1.jpg\" class=\"attachment-full size-full wp-image-18821\" alt=\"\" srcset=\"https:\/\/www.diptykmag.com\/wp-content\/uploads\/2026\/07\/mydressmychoice-1.jpg 1500w, https:\/\/www.diptykmag.com\/wp-content\/uploads\/2026\/07\/mydressmychoice-1-300x229.jpg 300w, https:\/\/www.diptykmag.com\/wp-content\/uploads\/2026\/07\/mydressmychoice-1-1024x782.jpg 1024w, https:\/\/www.diptykmag.com\/wp-content\/uploads\/2026\/07\/mydressmychoice-1-768x587.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/>\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Michael Armitage\n<i>#mydressmychoice<\/i>, 2015. Oil on lubugo bark canvas.\n149.9 \u00d7 195.6 cm. Courtesy of the artist.    <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f5eb8a4 elementor-widget elementor-widget-text-editor\" data-id=\"f5eb8a4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">Following Marl\u00e8ne Dumas in 2022 and Julie Mehretu in 2024, the Palais Grassi continues its flawless run with an impressive exhibition dedicated to the Kenyan painter Michael Armitage. Bright pinks, electric greens, dazzling yellows: the first sensation is one of being dazzled by color. At times, one is reminded of the Fauves; at others, of German Expressionism\u2014Kirchner in particular\u2014as the color seems less to describe the world than to make it vibrate. Elsewhere, the supple lines of the vegetation and the silhouettes that blend into the landscape evoke the arabesques of Art Nouveau. But these references are never, in Armitage\u2019s work, literal quotations. The painter absorbs this entire history of art to forge a language of his own. His iconography is deeply rooted in East Africa, with its tropical trees, lush vegetation, local mythologies, and Black bodies\u2014the true protagonists of this work.      <\/span><\/p><p><span style=\"font-weight: 400;\">Perhaps the most interesting aspect is the paradox embedded in this painting. Armitage paints scenes of pressing current events\u2014political repression, the criminalization of homosexuality, the migrant crisis\u2014using the slow, deliberate pace of painting. He contrasts the immediacy of current events with the slowness of painting. There is something almost anachronistic about this way of transforming political commentary into enduring, even iconic, images. The richness of his painting also stems from his ability to navigate between various registers\u2014satirical, poetic, or epic\u2014notably using large formats associated with history painting, the quintessential genre of the 19th century.    <\/span><\/p><p><span style=\"font-weight: 400;\">But no matter what style she adopts, violence is always just beneath the surface. Amid the profusion of details in her compositions, it doesn\u2019t always jump out at first glance. In <\/span><i><span style=\"font-weight: 400;\">#mydressmychoice<\/span><\/i><span style=\"font-weight: 400;\">At first glance, the odalisque seems to belong to the classical tradition of painting. It takes a few seconds to realize that the body is, in fact, being violated and that the scene is based on a contemporary news story. Male legs emerge from the edge of the canvas, faceless and anonymous. The beauty of the composition does not mask the brutality of the scene; it merely delays its impact. The viewer\u2019s gaze is compelled to return, to observe, to discover what lay hidden beneath the obvious. The violence is imprinted on the canvas itself\u2014a lubugo canvas, made from tree bark according to a Ugandan tradition. Stitched, scuffed, and sometimes torn, it also bears the scars of this violence. You leave this exhibition reeling, your eyes saturated with color. A must-see.        <\/span><\/p><p><b>Michael Armitage, \u201cThe Promise of Change,\u201d Palazzo Grassi, Venice, through January 10, 2027.<br\/><br\/>This translation was generated using AI. For the original text, please see the French version of this article.<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>At the Palazzo Grassi, Michael Armitage transforms the tragedies of contemporary Africa into paintings of striking beauty, in which each color seems to delay the revelation of violence. By Emmanuelle Outtier Michael Armitage #mydressmychoice, 2015. Huile sur toile d&#8217;\u00e9corce de lubugo. 149,9 \u00d7 195,6 cm. Courtesy de l&#8217;artiste. Following Marl\u00e8ne Dumas in 2022 and Julie [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":18821,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1598],"tags":[],"class_list":["post-18820","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Michael Armitage: The Ambivalent Beauty of Violence &#8212; Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/michael-armitage-the-ambivalent-beauty-of-violence\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Michael Armitage: The Ambivalent Beauty of Violence &#8212; Diptykmag\" \/>\n<meta property=\"og:description\" content=\"At the Palazzo Grassi, Michael Armitage transforms the tragedies of contemporary Africa into paintings of striking beauty, in which each color seems to delay the revelation of violence. By Emmanuelle Outtier Michael Armitage #mydressmychoice, 2015. Huile sur toile d&#8217;\u00e9corce de lubugo. 149,9 \u00d7 195,6 cm. Courtesy de l&#8217;artiste. 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