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Exhibitions
- Private: Günther Förg
- Imi Knoebel
Rayas y estrellas
29/04/2008 - 24/05/2008
The Rayas y Estrellas group show opens at the Heinrich Ehrhardt Gallery with the participation of artists Günther Förg, Hubert Kiecol, Imi Knoebel, Anselm Reyle and Heimo Zobernig. All of them are recognized “users” of a formalist, clean and geometric dictionary, in which line and space play more or less freely to create complex compositions.
There is a linguistic evolution of the expression in the common thread of Stars and Stripes: Knoebel against Förg, Reyle with Zobernig, Kiecol with Knoebel.
Günther Förg (Füssen, 1952) shows in this exhibition one more of his facets, exhibiting himself in front of his abstract colleagues with silver-toned canvases and geometric structures close to the works made in lead at the beginning of the nineties .
The youngest of the group. Anselm Reyle (Tübingen, 1970) remains faithful to his abject abstraction –a term used by Roberta Smith in her latest review of him-, punk and fluorescent, distant for that reason, although similar in vocabulary, both to his room neighbor Zobernig, as to the North Americans Ellsworth Kelly or Keneth Noland.
The work of Heimo Zobernig (Mauthen, 1958) is equally abstract, formal and colourist, but with a theoretical base that almost scientifically follows the research started by Goethe: theory of colours, the relationship between them, the fragility of chromatic composition or the study of purple, violet or brown.
In contrast, Hubert Kiecol (Bremen – Blumenthal, 1950), known more usually for his sculptural work, discovers the sobriety of the lines that could be pictorial sculptures of two planes. The line as a line, without color, on the surface accompanied only by other lines and metaphorical as the very titles of his pieces.
Next to it and lastly, the orderly reflection of Imi Knoebel (Dessau, 1940) that reveals the study and admiration of the concept of art. The surface and the line in their most pragmatic state that make the line a tool for the study of artistic foundations, internal order and Knoebel’s own finesse.