Günther Förg
surface of bronze
13 Mar - 23 May 2020
Günther Förg
Untitled (Hand), 1990
bronze
44 x 41 x 15 cm / 17 3/8 x 16 1/8 x 5 7/8 in
© Estate Günther Förg, Suisse / DACS 2020
Untitled (Hand), 1990
bronze
44 x 41 x 15 cm / 17 3/8 x 16 1/8 x 5 7/8 in
© Estate Günther Förg, Suisse / DACS 2020
GÜNTHER FÖRG
surface of bronze
13 March – 23 May 2020
As a preventive measure and based on the guidance of health officials, our gallery in Zurich is closed until further notice.
A survey exhibition of Günther Förg’s sculptures, titled ‘surface of bronze’, opens at Hauser & Wirth Zürich, focusing on this artist’s work from the mid 1980’s through to 2008. The exhibition presents rarely, and never before seen, pieces to contextualise this important part of Förg’s multifaceted, complex and varied practice. As an artist he insistently, and resolutely, questioned and expanded upon Modernism’s formal vocabulary in a laconic oeuvre that encompassed painting, photography, drawing and sculpture. This presentation will highlight how he upturned and challenged classical bronze, translating it with his tactile, painterly and spontaneous methods. Förg’s bronze sculptures do not reflect on an aesthetic order or classical perfection but display his delight in the act of making and in the sensual presence of the work. This is evident in the depressions, scratches and imprints strewn over the surfaces of his sculptures, which vary from intimate to monumental and from reliefs to free-standing.
The exhibition charts Förg’s progression and exploration in the medium of sculpture. Inspired by his lead paintings, Förg turned to the three-dimensions in the 1980s, initially producing a suite of untitled bronze reliefs, composing the works directly with his hands in a nod towards gestural, abstract sculpting. These works display how he adapted the formal minimalist language he was utilising in his painting to his sculpture. This is clear not only in the intuitive, painterly quality of the surface, where the indentations and marks are reminiscent of a brushstroke, but in the motifs of lines, squares and rectangles – compositions that he was exploring concurrently in his lead paintings.
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.’
surface of bronze
13 March – 23 May 2020
As a preventive measure and based on the guidance of health officials, our gallery in Zurich is closed until further notice.
A survey exhibition of Günther Förg’s sculptures, titled ‘surface of bronze’, opens at Hauser & Wirth Zürich, focusing on this artist’s work from the mid 1980’s through to 2008. The exhibition presents rarely, and never before seen, pieces to contextualise this important part of Förg’s multifaceted, complex and varied practice. As an artist he insistently, and resolutely, questioned and expanded upon Modernism’s formal vocabulary in a laconic oeuvre that encompassed painting, photography, drawing and sculpture. This presentation will highlight how he upturned and challenged classical bronze, translating it with his tactile, painterly and spontaneous methods. Förg’s bronze sculptures do not reflect on an aesthetic order or classical perfection but display his delight in the act of making and in the sensual presence of the work. This is evident in the depressions, scratches and imprints strewn over the surfaces of his sculptures, which vary from intimate to monumental and from reliefs to free-standing.
The exhibition charts Förg’s progression and exploration in the medium of sculpture. Inspired by his lead paintings, Förg turned to the three-dimensions in the 1980s, initially producing a suite of untitled bronze reliefs, composing the works directly with his hands in a nod towards gestural, abstract sculpting. These works display how he adapted the formal minimalist language he was utilising in his painting to his sculpture. This is clear not only in the intuitive, painterly quality of the surface, where the indentations and marks are reminiscent of a brushstroke, but in the motifs of lines, squares and rectangles – compositions that he was exploring concurrently in his lead paintings.
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.’