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Günther Förg

Förg in Venice (solo show)
To coincide with the 58th Venice Biennale
The Dallas Museum of Art at Palazzo Contarini Polignac, Venice
11 May - 23 August 2019

Günther Förg, Förg in Venice, installation view, Palazzo Contarini Polignac, Venice © Estate Günther Förg, Suisse. Courtesy the estate and Hauser & Wirth. Photo: Lorenzo Palmieri
Günther Förg, Förg in Venice, installation view, Palazzo Contarini Polignac, Venice © Estate Günther Förg, Suisse. Courtesy the estate and Hauser & Wirth. Photo: Lorenzo Palmieri

The Dallas Museum of Art (DMA) will present an exhibition of works by Günther Förg (1952-2013) at the Palazzo Contarini Polignac in Venice, during the Biennale Arte 2019. An official Collateral Event of the 58th International Art Exhibition of La Biennale di Venezia, Förg in Venice follows the Dallas presentation of Günther Förg: A Fragile Beauty, the first American museum exhibition devoted to the artist in more than three decades, organized by the Dallas Museum of Art in collaboration with the Stedelijk Museum, Amsterdam in 2018. Developed in close collaboration with the Estate of Günther Förg, Förg in Venice brings together over 30 pieces from the artist’s multidisciplinary practice – focusing on his paintings and lesser known sculptural work – to reflect on the expansive and intuitive methods of this manifold, intellectual artist.

Dallas Museum of Art


Additional:

Günther Förg et al.

La Pintura un Reto Permanente (group show)
CaixaForum Madrid
23 October 2019 – 1 March 2020

At the beginning of the twentieth century, painting abandoned its referential function, and if it was a window of the world, it was proposed as an idea, an intellectual representation that constituted an autonomous visual reality. In this process, the painting has triggered important debates, has been a source of inspiration and confrontation and has marked a starting point for numerous contemporary artistic trends.

This exhibition explores painting as a mental process, an abstract idea that from the canvas expands to other media such as photography, sculpture, engraving or installation. It is the idea of ​​the pictorial, which incorporates a changed understanding of the painting that is embodied between the intellectual concept and the sensuality of the subject. "Painting: a permanent challenge" brings together works by artists who renewed the painting in the sixties and seventies together with those of a younger generation that have extended the limits of this discipline, reinventing new production and presentation formulas.

CaixaForum


Günther Förg, Thomas Struth et al.

Light Sensitive 2: Photography from the Schaufler Collection (group show)
SCHAUWERK, Sindelfingen
15 April 2018 - 6 January 2020

Thomas Struth, Grosse Tannen Am Eschberg - N°13, Winterthur 1992, 1992 © Thomas Struth
Thomas Struth, Grosse Tannen Am Eschberg - N°13, Winterthur 1992, 1992 © Thomas Struth

Contemporary photography from the Schaufler Collection will be on display from September 2017 at the SCHAUWERK Sindelfingen. The museum will link this show to the LICHTEMPFINDLICH exhibition of 2011, which had presented the large collection of this medium to the public for the first time in the impressive space of the former high rack warehouse in the SCHAUWERK. This lofty storage space inspires with its revolving ramp, which extends over 15 metres upward: an exhibition place par excellence for photography, with spectacular visual axes for viewing from near and afar.

Along with major works from the first exhibition, LICHTEMPFINDLICH 2 will also display photographs that previously haven’t been shown, so that a more comprehensive representation of the contemporary photography collection can occur. The main interest of the collectors Peter Schaufler and Christiane Schaufler-Münch is not directed toward the medium and its history per se, but leans more toward the fascination that arises from certain motifs, pictorial inventions, and their formal transformations.

The classic genres of photography—nude, portrait, landscape, architecture, or industry—are mirrored in the works, but are often citations or stages of conceptual processes. Most of the protagonists within the context of this collection have left behind the conventional framework of photography.

SCHAUWERK, Sindelfingen