Galería Ehrhardt Flórez

Exhibitions

  • Günther Förg

Günther Förg

23/02/2018 - 04/04/2018
Günther Förg (2018), installation view.
Günther Förg (2018), installation view.
Günther Förg (2018), installation view.
Günther Förg (2018), installation view.

Heinrich Ehrhardt Gallery is pleased to present the eighth exhibition of Günther Förg in its space. Since 1998, the opening date of the gallery in Madrid, Förg has been one of the key pieces of its program and precisely from that very first exhibition, his work, in all its possible disciplines, photography, sculpture, drawing or painting, has become visible with rigor and perseverance.

Therefore it has been possible, to show in Spain, for the first time in most of the occasions, the different stages, series and cycles of the overwhelming work of the German artist. Focusing on specific projects, until his death in 2013, had constituted very specific and singular exhibition formulas to show a part rooted in the whole of his work, Förg exhibited his most celebrated photographic and pictorial works. In 2013, and for the last time two years ago, these projects had become extraordinary exhibitions that showed as widely as possible different relevant periods of his career.

For this occasion, the gallery has prepared a show based on the so-called Large Drawings of which part of the emblematic series belonging to the same cycle are exhibited; six pieces of acrylic on Canson paper that inundate one of the spaces of the gallery, and accompanied by a magnificent two-dimensional sculptural piece of bronze, a relief of wall that alludes to a type of material work in which Förg worked tirelessly, unfolds a sublime but beautiful and a spiritual but physical approach to the poetry of Ezra Pound, from whom Förg takes the title of Cantos for two of the works exhibited now. The watercolor acrylic loose and dragged in four of the ocher pieces, and compressed and caged in the two most geometric and nested works, invite the viewer to think about the idea of painting.

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In another space of the gallery, parallel to the main room, there is exhibited a closed group of vivid and intense watercolors in which the color vibrates and seems to push from the bottom of the composition accompanying also another material relief where the hardness of the bronze seems to be dragged generating furrows on its surface.

The whole exhibition, as usually in Förg’s work, flees away from the common places and mixes materials and surfaces with bronzes that look like canvases and diluted acrylics that behave like large-scale watercolors, in which there is almost an extended and amplified gesture by the artist where the detail becomes gigantic.

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