Günther Förg: Zwölf Bleibilder 1989

by Grässlin, Bärbel; Knecht, Uli; Schröder, Britta; Wechsler, Max

• ISBN13: 9783864420498
• ISBN10: 3864420490
• Format: Paperback
• Copyright: 2013-04-30
• Publisher: Snoeck Publishing Company

Summary

Günther Förg – his last publication

This publication presents for the very first time twelve large-format lead paintings by Günther Förg (each composition 240 x 160 cm) from 1989. Due to the high technical quality photographic print, the large, full-page reproductions measuring 31 x 21 cm respectively, convey an immediate, hitherto scarcely achievable impression of the effect the originals convey. This is because, as Max Wechsler puts it in his text, »the special ­attraction of the lead paintings, of course, resides not least in the specific materiality and the unique substance of this rather unusual painted surface. Then there is the special colour of lead, which, oscillating between iridescent gray and blue, seems like a darkly threaten­ing storm with its infinite grada­tions of gloom that coalesces in a fine play upon natural and artificial patinas. These seemingly organic surfaces are countered by the painterly application of the straight geometrical figurations of the sections. This subtle opposition gives rise to a dynamic tension in which the systematic compositional programs and more intuitively developed examination of the ­relationships between the colours find expression in their highest concentration. This certainly has to do with the fact that the application of the paint on lead manifestly flows almost without resistance, which in turn flatters Günther Förg’s notorious penchant for speed. One reason for this rapid flow lies in the fact that this surface is absolutely non-absor­b­ent and the paint merely gathers on the surface in the way it is ­deposited.« Britta Schroeder, the second author in the book, captures the overwhelming effect of these simple colour field divisions—­caused by a rapidly flowing, liquid paint—as a closed universe: »The colour doesn’t assert itself outwardly, but sticks to the surface as if it to a magnet. In many of them, you are afraid that they will swallow up parts of the painting should you fix your eyes on them for too long. But to make up for it, you get to tumble into a vortex of colour, which picks you up as if you were falling headlong into a black hole.«

Author Biography

In our regular conversations, Günther Förg (1952–2013) always inquired about how things were going at the publishing house. He commented warmly and his own brand of humour whenever he received a batch of new books, invariably coming up with suggestions for new titles, which he would then support most generously. In its relatively brief history, Snoeck has enjoyed a close, personal relationship with Günther Förg and his work over the past eleven years.  The photobook »Moskau – Moscow« was not only our first joint project, it was the very first book in Snoeck’s programme featured at Frankfurt book fair in 2002. This book, suggested by the firm, with its brittle but all the more expressive photographs of constructivist Muscovite architecture from the 1920s and 1930s, effectively formed the cornerstone of the company’s subsequent programme. After a great deal of preparation and edited by Reiner Speck, Günther Förg’s friends book »Laissez un Message« followed in the late autumn of 2005 to commemorate his fiftieth birthday which was celebrated on December 7, 2002. The rapid succession of publications is testament to Günther Förg’s constant and indefatigable encircling of his projects, those highways and byways, with books: spring 2006 »Gazzetta dello Sport«, summer 2006—perhaps his most beautiful photobook in containing a cross-section of his entire photographic oeuvre—»Kunsthalle Bremen – Fotografie«, autumn 2006 »Watercolours«, spring 2007 »Passage« and finally, »Fields – Verges« in summer 2007. In the late autumn of 2007, Günther Förg inaugurated a completely new chapter in his work that would soon cover innumerable canvases and sheets with grids and random heaps and fields of looming dots, daubs and the inclusion of occasional paraphrases of older formal elements in what Max Wechsler describes as tachés. He presented them into two great volumes—the canvases in »Back and Forth« in summer 2008 followed by series of wax crayon drawings in »Aller / Retour« in spring 2009. The small-format »Trilogie der Tatzen« in conjunction with Günter Herburger in summer 2008 constituted a further attempt to combine literature and art following the collaboration with Arnold Stadler in 2006 on the »Watercolours« book. In spring 2013, as we were compiling and editing the small retrospective volume for »12 Lead Paintings« containing works dating back to 1989, he was busy making plans—undaunted and so endearingly enthusiastic as was his wont—for new series of works and, of course, new books. As recently as last autumn, I accompanied him to the »Piet Mondrian—Barnett Newman—Dan Flavin« show at the Kunstmuseum Basel. Günther Förg was always totally prepared; he had already got hold of the catalogue, which, it should be said, he was eager to jettison quickly because he didn’t like it. We sped through the first room straight to Barnett Newman’s works. We perused »The Name 1« from 1949 and »Chartres« from 1969 for an age; both works veritably knocked us sideways by virtue of their sheer presence—the first through its subtle blank sections in the thin red stripe in the middle against a stripy turquoise background, the second through its closed, rigidly sublime form, namely that of a new cathedral. Günther Förg died on December 5, 2013 on his sixty-first birthday. Our work reminds us daily that the bond we shared was quite extraordinary.