550
Günther Förg, Treppenhaus München
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Chromogenic print on aluminium composite panel, printed 2012. 200 x 130.4 cm (217 x 147 cm frame). Signed and dated in felt-tip pen on the reverse of the frame. Unique. - In artist's frame.
Provenance
Corporate collection, Germany
“The architectural photography of Förg is permeated by that subtle restlessness that characterises his painting. This points to a fundamental difference between his photographic work and that of Bernd and Hilla Becher, about which I will go into more detail at this point. The Bechers define an architectural object first by the volume – to fit it into a whole, including carefully determined, additional aspects. The individual photo develops out of considered, precise, prescribed perspectives; something sculptural, strategic, characterises their photographic work.
Förg’s photographs are shot by hand, as if painted with a brush. So what does he actually photograph? In his painting he is essentially concerned with the placement and interplay of adjacent colours in the context of the vocabulary of abstraction. Is he really photographing a particular building? Did Mondrian’s early Cubist pictures really depict an apple tree? […] In my opinion, the process of creating Günther Förg's photographs can certainly be compared to how Mondrian transfers the volume of a tree into a surface. It is not about a detailed representation of the building, as is the case with the Bechers' works. Instead, he sets out with his camera in search of rather random motifs – cheerful, carefree, light motifs that sometimes make one think of an Impressionist during a morning walk. It is hard to imagine that Förg could approach architecture with rhetorical seriousness, but rather he looks at the architectural object with a certain casualness, in a sometimes playful and simultaneously informal way – as if leafing through a poetry book. […] Even as large-format prints, these photos still possess a remarkable spontaneity and speed - the artist's magic hand, so to speak.” (Rudi Fuchs: Aquarell-Fotografie, in: Ferdinand Ullrich/Hans-Jürgen Schwalm (ed.), Günther Förg. Make it New, exhib.cat. Kunsthalle Recklinghausen, Bielefeld 2004, p.34 ff.)
C-Print auf Aludibond 2012. 200 x 130,4 cm (217 x 147 cm Rahmen). Auf der Rahmenrückwand mit Filzstift signiert und datiert. Unikat. - In Künstlerrahmen.
Provenienz
Firmensammlung, Deutschland
„Die Architekturfotografie von Förg ist von jener subtilen Unruhe durchsetzt, die seine Malerei kennzeichnet. Das deutet auf einen grundlegenden Unterschied zwischen seinem fotografischen Werk und den Arbeiten von Bernd und Hilla Becher, worauf ich an dieser Stelle näher eingehen möchte. Sie definieren ein Architekturobjekt erst einmal über das Volumen – um es zu einem Ganzen zu fügen, unter Einbeziehung sorgfältig bestimmter, zusätzlicher Aspekte. Das einzelne Foto entwickelt sich aus durchdachten, präzise vorgegebenen Perspektiven; etwas Skulpturales, Strategisches kennzeichnet ihr fotografisches Werk.
Förgs Fotografien sind mit der Hand geschossen, als würde er mit dem Pinsel malen. Was fotografiert er also in Wirklichkeit? In seiner Malerei geht es ihm wesentlich um die Setzung und das Zusammenspiel nebeneinander liegender Farben im Kontext des Vokabulars von Abstraktion. Fotografiert er tatsächlich bloß ein bestimmtes Gebäude? Ging es Mondrian in seinen frühen kubistischen Bildern wirklich um die Abbildung eines Apfelbaums? […] Meiner Ansicht nach lässt sich der Entstehungsprozess der Fotografie von Günther Förg durchaus damit vergleichen, wie Mondrian das Volumen eines Baumes in Fläche überträgt. Es geht ihm eben nicht um eine detailgetreue Abbildung des Gebäudes, wie das bei den Arbeiten der Bechers der Fall ist. Stattdessen begibt er sich mit seiner Kamera auf die Suche nach eher zufälligen Motiven – heitere, unbeschwerte, leichte Motive, bei denen man bisweilen beim Morgenspaziergang an einen Impressionisten denken muss. Schwer vorstellbar, dass Förg Architektur mit rhetorischer Ernsthaftigkeit begegnen könnte, vielmehr betrachtet er den Gegenstand von Architektur mit einer gewissen Beiläufigkeit, auf eine mitunter spielerische und gleichzeitig ungezwungene Weise – als durchblättere man einen Gedichtband. […] Selbst als großformatige Abzüge besitzen diese Fotos immer noch eine bemerkenswerte Spontaneität und Schnelligkeit, sozusagen die magische Hand des Künstlers.“ (Rudi Fuchs: Aquarell-Fotografie, in: Ferdinand Ullrich/Hans-Jürgen Schwalm (Hg.), Günther Förg. Make it New, Ausst.kat. Kunsthalle Recklunghausen, Bielefeld 2004, S.34 ff.)
Chromogenic print on aluminium composite panel, printed 2012. 200 x 130.4 cm (217 x 147 cm frame). Signed and dated in felt-tip pen on the reverse of the frame. Unique. - In artist's frame.
Provenance
Corporate collection, Germany
“The architectural photography of Förg is permeated by that subtle restlessness that characterises his painting. This points to a fundamental difference between his photographic work and that of Bernd and Hilla Becher, about which I will go into more detail at this point. The Bechers define an architectural object first by the volume – to fit it into a whole, including carefully determined, additional aspects. The individual photo develops out of considered, precise, prescribed perspectives; something sculptural, strategic, characterises their photographic work.
Förg’s photographs are shot by hand, as if painted with a brush. So what does he actually photograph? In his painting he is essentially concerned with the placement and interplay of adjacent colours in the context of the vocabulary of abstraction. Is he really photographing a particular building? Did Mondrian’s early Cubist pictures really depict an apple tree? […] In my opinion, the process of creating Günther Förg's photographs can certainly be compared to how Mondrian transfers the volume of a tree into a surface. It is not about a detailed representation of the building, as is the case with the Bechers' works. Instead, he sets out with his camera in search of rather random motifs – cheerful, carefree, light motifs that sometimes make one think of an Impressionist during a morning walk. It is hard to imagine that Förg could approach architecture with rhetorical seriousness, but rather he looks at the architectural object with a certain casualness, in a sometimes playful and simultaneously informal way – as if leafing through a poetry book. […] Even as large-format prints, these photos still possess a remarkable spontaneity and speed - the artist's magic hand, so to speak.” (Rudi Fuchs: Aquarell-Fotografie, in: Ferdinand Ullrich/Hans-Jürgen Schwalm (ed.), Günther Förg. Make it New, exhib.cat. Kunsthalle Recklinghausen, Bielefeld 2004, p.34 ff.)
C-Print auf Aludibond 2012. 200 x 130,4 cm (217 x 147 cm Rahmen). Auf der Rahmenrückwand mit Filzstift signiert und datiert. Unikat. - In Künstlerrahmen.
Provenienz
Firmensammlung, Deutschland
„Die Architekturfotografie von Förg ist von jener subtilen Unruhe durchsetzt, die seine Malerei kennzeichnet. Das deutet auf einen grundlegenden Unterschied zwischen seinem fotografischen Werk und den Arbeiten von Bernd und Hilla Becher, worauf ich an dieser Stelle näher eingehen möchte. Sie definieren ein Architekturobjekt erst einmal über das Volumen – um es zu einem Ganzen zu fügen, unter Einbeziehung sorgfältig bestimmter, zusätzlicher Aspekte. Das einzelne Foto entwickelt sich aus durchdachten, präzise vorgegebenen Perspektiven; etwas Skulpturales, Strategisches kennzeichnet ihr fotografisches Werk.
Förgs Fotografien sind mit der Hand geschossen, als würde er mit dem Pinsel malen. Was fotografiert er also in Wirklichkeit? In seiner Malerei geht es ihm wesentlich um die Setzung und das Zusammenspiel nebeneinander liegender Farben im Kontext des Vokabulars von Abstraktion. Fotografiert er tatsächlich bloß ein bestimmtes Gebäude? Ging es Mondrian in seinen frühen kubistischen Bildern wirklich um die Abbildung eines Apfelbaums? […] Meiner Ansicht nach lässt sich der Entstehungsprozess der Fotografie von Günther Förg durchaus damit vergleichen, wie Mondrian das Volumen eines Baumes in Fläche überträgt. Es geht ihm eben nicht um eine detailgetreue Abbildung des Gebäudes, wie das bei den Arbeiten der Bechers der Fall ist. Stattdessen begibt er sich mit seiner Kamera auf die Suche nach eher zufälligen Motiven – heitere, unbeschwerte, leichte Motive, bei denen man bisweilen beim Morgenspaziergang an einen Impressionisten denken muss. Schwer vorstellbar, dass Förg Architektur mit rhetorischer Ernsthaftigkeit begegnen könnte, vielmehr betrachtet er den Gegenstand von Architektur mit einer gewissen Beiläufigkeit, auf eine mitunter spielerische und gleichzeitig ungezwungene Weise – als durchblättere man einen Gedichtband. […] Selbst als großformatige Abzüge besitzen diese Fotos immer noch eine bemerkenswerte Spontaneität und Schnelligkeit, sozusagen die magische Hand des Künstlers.“ (Rudi Fuchs: Aquarell-Fotografie, in: Ferdinand Ullrich/Hans-Jürgen Schwalm (Hg.), Günther Förg. Make it New, Ausst.kat. Kunsthalle Recklunghausen, Bielefeld 2004, S.34 ff.)
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KÖLN
Samstag 24. Mai | 10 – 16 Uhr
Sonntag 25. Mai | 11 – 16 Uhr
Montag 26. Mai – Mittwoch 28. Mai
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Donnerstag 29. Mai | 11 – 15 Uhr
Matinée
Samstag 24. Mai | 11 Uhr
Sebastian Preuss trifft Henrik Hanstein und Isabel Apiarius-Hanstein zum Gespräch über das Erbe Oskar Schlemmers
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