Galería Ehrhardt Flórez

Exhibitions

  • Günther Förg

Hütte / Cooper / Förg / Eliasson

17/06/1999 - 22/07/1999
Hütte, Cooper, Förg, Eliasson (1999), installation view.

On the occasion of PhotoEspaña 99, Heinrich Ehrhardt Gallery brings together four artists who approach the landscape starting from different formal and conceptual premises.

Förg’s work, which acquires artistic maturity in the postwar period in Germany, comes from a pictorial tradition. Förg uses photography as one more medium in which to investigate his different explorations of space. In particular, Förg directs his analytical gaze towards the rationalist architecture of the interwar period, which he freezes in his images over and over again from different angles creating an almost cinematic journey.

Hütte studied at the Düsseldorf Academy and became part of the group led by Bern and Hilla Becher from which The New Objectivity emerged. He takes his pilgrimage to the limits of the inhabited, to settings that have often fallen into abandonment. He places the mechanical eye of his camera at the edge of the urban landscape, where nature has visible traces of having been domesticated, or where the geography creates a climate of hostility towards the human presence.

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Cooper, meanwhile, comes from the classic tradition of the Universities of California and New Mexico. He moves to extreme points of the cartography to create images with an almost timeless character, like those pioneers who in their time dissolved the borders of unexplored territories. The Nature that Cooper presents us is sublime and spectacular in its dimensions and beauty, but his images are not ostentatious and they do not fall into picturesque clichés or stereotypes.

Finally Eliasson, educated at the Royal Danish Academy in Copenhagen, whose work at first may appear traditional in its presentation, demonstrates a deep understanding of the complex and fragmented perceptual experience in the contemporary world. His photographs, which are sometimes replaced by elements taken from the place where the images were taken (mosses, water, sounds, etc.…) describe Nature in its most evocative aspect. The artist invites the viewer to enter into an empirical process in which the sum of the parts contributes to creating a more complete experience. Each one of these places (more or less accessible) help us define the limits between Nature and Culture, between the banal and the extraordinary.

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