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Nacimiento: 1952 en Füssen, Bayern, Alemania
Fallecimiento: 2013 en Freiburg, Baden-Wurttemberg, Alemania
Exposiciones colectivas vigentes: Bon a Tirer
Profesionales que le han comisariado:
Ferias en las que participa con OBRA : ARCOmadrid 2019, ARCOmadrid 2015
Galerías y otras organizaciones que le representan: André Simoens, Filomena Soares, Galería Carles Taché
Organizaciones con obra: Bergé y Cía., Colección de Arte Contemporáneo Fundació "la caixa", Colección Los Bragales
Profesionales con obra: Francisco Palma Añino, José Antonio Trujillo y Elsa López , José Blanco Fondevila,
Publicada el 03 jun de 2014      Vista 429 veces

Descripción del Artista

Günther Förg (Füssen, Alemania, 5 de diciembre de 1952 - Colombier, Neuchatel, Suiza, 5 de diciembre de 2013). In June 2018 the international gallery Hauser & Wirth announced its worldwide exclusive representation of the Estate Günther Förg (1952 – 2013). About Günther Förg Günther Förg was born in 1952 in the region of Allgäu, Germany. His career began in the early 1970s as student at The Academy of Fine Art Munich. During his studies, Förg developed a practice grounded almost exclusively in grey and black monochrome. These early investigations into gray – also called ‘Gitter’ paintings – demonstrate the beginning of a lifelong commitment to conceptualism. As he stated, ‘Grey is nothing: not white, not black. Something in between. Not concerned with the figure. Something free.’ While the artist later incorporated color into his monochrome series, his use of gray represents a neutral foundation from which he conceived his oeuvre. In the 1980s, Förg began utilizing photography, printing large-format images of culturally- and politically- significant architectural structures, from Bauhaus buildings in Tel Aviv to Fascist constructions in Italy. This diversification of material and form led Förg to abandon painting altogether, and for some years he pursued a purely photographic practice as a reaction against painting itself. He would later reflect that his use of photography was a method of ‘working closer to reality,’ stating, ‘what one paints is not reality.’ Throughout the 1980s and 1990s, his photographic works achieved critical acclaim and were exhibited at major museums internationally, including the Kunsthalle Bern in Switzerland and The Solomon R. Guggenheim Museum, New York NY. During this time, Förg also began experimenting upon the exhibition space itself, painting over the gallery walls, and positioning photographs against his own paintings. Förg entered a new phase of experimentation in the late 1980s, which brought him back to painting, but also included the embrace of new materials for him, such wood, copper, bronze, and lead. Förg’s renowned lead series – acrylic painted on sheets of lead and supported by wooden frames – blurs the line between painting and sculpture in an evolution towards object-making. Also initiated during the 1980s, his bronze sculptural practice indicates a painterly quality, with indentations and marks that are reminiscent of a brushstroke, as he attempted to replicate a moment frozen in time. In pursuit of further artistic experimentation Förg began producing fragmented body-part sculptures in the early 1990s, describing this arrival at figuration as inevitable. These new works embraced the materiality of their making; the heavy, weathered, and scratched surfaces of the sheets of metal, lead, and wood hint at something that is simultaneously formal and expressionist, geometric and free. By the beginning of the 21st century, Förg’s paintings had left the formality of Minimalism behind. In a new direction, he incorporated a brighter palette and more expressive hand with a series of grid-like marks and intersecting colors. These paintings – called ‘Gitterbilder’ (grid paintings) – command a similar freedom of form and sensuality that has led to critical comparisons to Cy Twombly. Other works from this era portray vast canvases of negative space interrupted by colorful, gestural hatching and mark-making. Förg’s ultimate return to expressive painting indicates a completion of sorts – a full-circle arrival at painting as a synthesis of experimentation, rooted in art history. In the artist’s own words, ‘I think painting is a resilient practice; if you look through the history of painting it doesn’t change so much and we always see it in the present. It is still now.’ * Text facilitated by Hauser & Wirth

Documentos relacionados

Obras de Günther Förg (2 Obras)

Untitled, 2003 Günther Förg
Untitled, 1997 Günther Förg


el 09 sep de 2020

Exposiciones en las que ha participado como artista

Günther Förg, Canto I (05/02/90), 1990, acrylic on Canson Papier, 259x149 cm. © Jonás Bel – Cortesía de la galería Heinrich Ehrhardt
23 feb de 2018 - 04 abr de 2018

Günther Förg

Heinrich Ehrhardt / Madrid, España

26 feb de 2016 - 09 abr de 2016

Cuarenta / Fourty / Vierzig

Heinrich Ehrhardt / Madrid, España

Günther Förg, S/título, 1998
16 oct de 2014 - 01 feb de 2015

Günther Förg. Verfolgen Malerei

Fundacion Luis Seoane / A Coruña, España

Bon a Tirer
03 sep de 2020 - 22 nov de 2020

Bon a Tirer

Fundació Cultural Coll Bardolet / Valldemossa, Baleares, España

Bill Viola, The Silent Sea, 2002 © Bill Viola. Fotografía de Kira Perov — Cortesía de Obra Social "la Caixa"
28 nov de 2019 - 29 mar de 2020

Poéticas de la emoción

CaixaForum Sevilla / Sevilla, España

50 Aniversario. Primera Parte
13 jun de 2019 - 10 oct de 2019

50 Aniversario. Primera Parte

Galería Pelaires / Palma, Baleares, España

Noticias relacionadas
  • 09 dic de 2013

    Fallece el artista alemán Günther Förg

    El pintor, fotógrafo y escultor alemán Günther Förg (Füssen, 1952) ha fallecido, este pasado jueves, en la localidad suiza de Colombier (Neuchatel), a los 61 años, tras una larga enfermedad. ...

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