An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
‘I think painting is a resilient practice; if you look through the history of painting it doesn’t change so much and we always see it in the present. It is still now.’— Günther Förg
Hauser & Wirth is delighted to announce participation in the first edition of Taipei Dangdai, with a solo booth of Günther Förg (1952–2013), one of the most significant German artists of the postwar generation. In the breadth of his production, from monochrome painting to colour studies, from photography to wall paintings, from bronze reliefs to sculptures, Förg explored what critic Kristy Bell describes as ‘the visual field,’ swiftly moving between and changing mediums with an abruptness that so characteristically defined the artist and his work.
Themed ‘Waterfront’, the presentation is comprised of over 30 works sourced directly from the Estate, including Förg’s renowned Grid Paintings, rarely exhibited Grey Paintings, and a series of Miniature Paintings to be shown for the first time in Asia. Using the language of abstraction in his painting practice, Förg appropriated tropes borrowed from modern art and architecture in unceasing transformations of colour, form and composition, imitating or reacting against gestures or principles of picture-making that he would push to limitations or extremes and then employ anew.
Günther Förg’s career began in the early 1970s as a student at the Academy of Fine Arts in Munich, where he studied from 1973 to 1979. Witnessing Cy Twombly’s paintings motivated Förg to produce one new painting each week over a period of three years. Priming his canvas in black, layers of paint were applied using a sponge to create an emulsified effect in tonal shades of grey. These works, referred to as the Grey Paintings, grounded Förg’s practice and laid the foundation for the artist’s entire oeuvre, demonstrating the beginnings of a lifelong commitment to a conceptual and serial-matic approach to art-making.
In the late 1990s and 2000s, Förg’s work shifted away from the monochromatic to reveal an interest in colour and form. The Grid Paintings begun in 2005, the grid emerges from the brushstroke itself. Expressive and gestural, different colours comprise the loose and irregular cross hatching of Förg’s wobbly lines that hint at architectural allusions–a building, a window, a landscape. Moving into his late career, the Grid Paintings, command a similar freedom of form and sensuality, incorporating a brighter palette and more expressive hand.
From 2003 to 2007, Günther Förg also produced a series of Miniature Paintings, which could be described as ‘miniatures’ of his already existing large-scale paintings. This series occurred in/after a period when Förg was looking for new ways and reconsidering his artistic practice since 2000. Self-reflection is an essential part for the Miniature Paintings. By transforming the existing large-scale paintings to a small-scale work on wood, Förg converted conventional artistic procedures that start with the smaller draft or the maquette.
In June 2018, the gallery announced its worldwide exclusive representation of the Estate of Günther Förg. In working with the Estate, the gallery’s goal is to introduce Förg’s contributions to wider audiences and new generations internationally through exhibitions, the commissioning of new scholarship and research, and by supporting publication of the catalogue raisonné. Hauser & Wirth will also present its first exhibition devoted to Förg in the United States in January 2019.
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