On the occasion of the joint inaugural event Apertura to kick off the art season in Madrid, the Heinrich Ehrhardt Gallery is pleased to present Günther Förg’s fifth individual exhibition. Unlike his previous shows, this one does not present recent work but rather is conceived as a type of tribute. By recreating the context the works were created in through an unexpected viewpoint, new possibilities are invoked for perceiving and analyzing the artist’s language.
The gallery has been organized into four compartments, each one painted with a different shade of gray from Le Corbusier’s architectural palette. Paintings, sculptures and work on paper that date from the late 1980’s up until more recent times are distributed among the different spaces. Various acrylics on canvas and on wood make up the paintings in this exhibition. Their winding strokes and floating compositions foretell the weave shape or characteristic mesh of his subsequent work, similar in a way to the work of certain figures in American Abstract Expressionism. Also on display are some extraordinary examples of his more recent work and his distinguishing style. The other compartments accommodate a variety of pieces, such as a conversation between an unseen work on paper with a colored mesh and a bronze sculpture with resembling incisions. In another, four figures made of plaster and found objects combine with a chalk drawing on canvas. They all reveal the shapelessness and untamed nature of Förg’s work.
In addition to the main exhibition, there are three other paintings from the past decade that complete the show, two of which are being displayed in the Fernando de Castro Foundation, thanks to their invaluable collaboration. In these paintings, reflection and irrepressible doodles form the apparently impenetrable warp with precise niches that let the observer in. Symptomatic of the artist’s work as a whole, they reveal how vast and profound it is, layer by layer. The paintings are like windows that show a horizon of reflection and contemplation. Perhaps on occasion these windows hide theoretical and philosophical meanings. At other times they may be proof of the pure, self-contained nature of the motif and painting itself.