Günther Förg

Musée d'art moderne de la ville de Paris, 2 juillet-13 octobre 1991

Johannes Gachnang

Max Wechsler

Galleria Salvatore + Caroline Ala

Painter Gunther Forg spent seven years investigating a sculptural argument that began with Rodin and exists between the classical sculptural elements of the torso and the fragment. Forg's picturesque explorations took place through watercolors and gouaches, on different sized sheets of paper, in the colorful richness of the works reproduced in this book.

Ausstellung u.d.T.: Günther Förg : torsi e frammenti ; scultura

Gazetta Dello Sport

André Butzer

Hannah Eckstein

Presenting one of the most important private collections of Günther Förg (1952-2013), this book presents the full range of the artist's oeuvre, from his concise yet spontaneous abstract paintings to his rough sculptures that take painting into three dimensions, and his architectural photographs.

Günther Förg: Werke in Der Sammlung Friedrichs

Kay Heymer

Kunstverein Hannover

A catalogue of Gunther Forg's work, which over the last 20 years has included a huge variety of drawings, watercolors, painting, graphics, photographs, mural reliefs, and sculptures.

Günther Förg was a genuine space artist! Already in 1978 while he was still at the academy, Günther Förg began working with colored spaces, or rather, wall paintings. He liked to tell, laughing, how obvious that seemed to him, given that during his studies he occasionally earned some extra money as a housepainter. In total, he created over 140 wall paintings, and a selection will now be on show at the Deichtorhallen. Günther Förg had been looking forward to the exhibition at the Deichtorhallen; in an interview, already several years ago, he clearly organized this important body of work into several types: »... the first were vertical, later horizontal wall bisections. Furthermore, there are color sequences with different colored areas placed next to one another. There were rooms where all four walls were painted in different colors. Various paintings were created in public, as well as semi-public spaces. In these works, the architecture is the main focus; the paint emphasizes it and renders it visible. The color bears reference to the place ... Next came murals with flat areas and stripes, and also wall paintings akin to panel painting.« The critic Hans-Joachim Müller put it this way: »Günther Förg was a genuine space artist .« Exhibition: Deichtorhallen Hamburg, 31/7-25/10/2015

Photographed by Julian Faulhaber

Günther Förg: Wall Paintings. Deichtorhallen Hamburg

Watercolours

Paul Schimmel

Bonnie Clearwater

Exhibition tour: January 20-April 2, 1989, Newport Harbor Art Museum, Newport Beach, Calif.; April 30-June 24, 1989, San Francisco Museum of Modern Art, San Francisco, Calif., July 14-September 3, 1989, Milwaukee Art Museum, Milwaukee, Wisc. Bibliography: p. 147-153.

Painting, Sculpture, Installation

Siegfried Gohr

Thomas Groetz

Edited by Thomas Groetz. Essay by Siegfried Gohr.

Bilder

Rudi Fuchs

Back and Forth The 100 plus new abstract canvases, carefully reproduced in this book with its unusual format, are the result of one of the most intensive phases of work by Günther Förg in recent years, which took place between Autumn 2008 and Spring 2009. The artist places a sequence of calculated colour fields into a basic grid, which changes from format to format, each individual painting having its own tonal rhythm characterised in turn by a high degree of physical concentration. It is then no coincidence that Rudi Fuchs' linguistically stirring yet acutely observed text discerns an affinity between this work and Piet Mondrians's last und most unusual painting, »Victory Boogie Woogie«. However, the way the palette of colours is organised, supplemented by the structure of each individual colour field, substantially differentiates Günther Förg's endeavour from that his predecessor. In fact it is the free flow of the brushstrokes, the delicate upward and more forceful downward movement alongside the choice of colours, which together propel each individual composition beyond the scope of all previously known abstraction. Or as Rudi Fuch's puts it: »Whether he painted vibrating colour fields, irregular grids comprising raw, fibrous lines, he always had clever interruptive strategies in the implementation. Figuration had to give way in order to release the primordial energy of the brushstroke in its purest form: vigorous abstraction«.

Günther Förg

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