国外艺术家 | 冈瑟·弗格 Günther Förg

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冈瑟·弗格

Günther Förg

1952年，冈瑟·弗格出生于德国奥尔盖地区。他的职业生涯始于20世纪70年代初，当时他还是慕尼黑美术学院的一名学生。在学习期间，福格发展了一种几乎完全以灰色和黑色单色为基础的实践。这些对灰色的早期研究——也被称为“Gitter”绘画——表明了终身致力于概念主义的开始。正如他所说，“灰色不算什么：不是白色，也不是黑色。介于两者之间的东西。不关心这个数字。一些免费的东西。”虽然这位艺术家后来将色彩融入了他的单色系列，但他对灰色的使用代表了他构思作品的中性基础。

Günther Förg was born in 1952 in the region of Allgäu, Germany. His career began in the early 1970s as a student at The Academy of Fine Art Munich. During his studies, Förg developed a practice grounded almost exclusively in grey and black monochrome. These early investigations into gray—also called ‘Gitter’ paintings—demonstrate the beginning of a lifelong commitment to conceptualism. As he stated, ‘Grey is nothing: not white, not black. Something in between. Not concerned with the figure. Something free.’ While the artist later incorporated color into his monochrome series, his use of gray represents a neutral foundation from which he conceived his oeuvre.

20世纪80年代，弗格开始利用摄影技术，打印文化和政治上重要建筑结构的大幅面图像，从特拉维夫的包豪斯建筑到意大利的法西斯建筑。这种材料和形式的多样化导致弗格完全放弃了绘画，几年来，他追求纯粹的摄影实践，作为对绘画本身的反应。他后来反思说，他使用摄影是一种“更接近现实”的方法，并表示“一个人画的不是现实。”

In the 1980s, Förg began utilizing photography, printing large-format images of culturally—and politically—significant architectural structures, from Bauhaus buildings in Tel Aviv to Fascist constructions in Italy. This diversification of material and form led Förg to abandon painting altogether, and for some years he pursued a purely photographic practice as a reaction against painting itself. He would later reflect that his use of photography was a method of ‘working closer to reality,’ stating, ‘what one paints is not reality.’

在整个20世纪80年代和90年代，他的摄影作品获得了评论界的好评，并在国际主要博物馆展出，包括瑞士伯尔尼美术馆和纽约所罗门·R·古根海姆博物馆。在此期间，Förg还开始对展览空间本身进行实验，在画廊墙上作画，并将照片与自己的画作进行对比。

Throughout the 1980s and 1990s, his photographic works achieved critical acclaim and were exhibited at major museums internationally, including the Kunsthalle Bern in Switzerland and The Solomon R. Guggenheim Museum, New York NY. During this time, Förg also began experimenting upon the exhibition space itself, painting over the gallery walls, and positioning photographs against his own paintings.

20世纪80年代末，弗格进入了一个新的实验阶段，这使他重新开始绘画，但也包括对木材、铜、青铜和铅等新材料的接受。弗格著名的铅系列——丙烯酸漆在铅片上，由木框架支撑——模糊了绘画和雕塑之间的界限，朝着物体制造的方向发展。同样始于20世纪80年代，他的青铜雕塑实践表明了绘画的品质，当他试图复制一个冻结在时间中的时刻时，有让人想起笔触的凹痕和标记。

Förg entered a new phase of experimentation in the late 1980s, which brought him back to painting, but also included the embrace of new materials for him, such wood, copper, bronze, and lead. Förg’s renowned lead series—acrylic painted on sheets of lead and supported by wooden frames—blurs the line between painting and sculpture in an evolution towards object-making. Also initiated during the 1980s, his bronze sculptural practice indicates a painterly quality, with indentations and marks that are reminiscent of a brushstroke, as he attempted to replicate a moment frozen in time.

为了追求进一步的艺术实验，弗格在20世纪90年代初开始制作支离破碎的身体部位雕塑，并将这种造型的到来描述为不可避免。这些新作品包含了它们制作的物质性；金属片、铅片和木板的厚重、风化和划痕表面暗示着某种形式与表现主义、几何与自由的东西。

In pursuit of further artistic experimentation Förg began producing fragmented body-part sculptures in the early 1990s, describing this arrival at figuration as inevitable. These new works embraced the materiality of their making; the heavy, weathered, and scratched surfaces of the sheets of metal, lead, and wood hint at something that is simultaneously formal and expressionist, geometric and free.

到21世纪初，弗格的绘画已经摆脱了极简主义的形式。在一个新的方向上，他加入了一个更明亮的调色板和更具表现力的手，以及一系列网格状的标记和交叉的颜色。这些画被称为“Gitterbilder”（网格画），拥有类似的形式和感官自由，这导致了人们将其与Cy Twombly进行批判性比较。这个时代的其他作品描绘了巨大的负面空间画布，被五颜六色的手势孵化和标记打断。Förg对表现力绘画的最终回归表明了某种程度上的完成——绘画作为一种实验的综合，植根于艺术史。用这位艺术家自己的话说，“我认为绘画是一种有弹性的实践；如果你纵观绘画的历史，它并没有发生太大的变化，我们总是在当下看到它。现在还在。”

By the beginning of the 21st century, Förg’s paintings had left the formality of Minimalism behind. In a new direction, he incorporated a brighter palette and more expressive hand with a series of grid-like marks and intersecting colors. These paintings—called ‘Gitterbilder’ (grid paintings)—command a similar freedom of form and sensuality that has led to critical comparisons to Cy Twombly. Other works from this era portray vast canvases of negative space interrupted by colorful, gestural hatching and mark-making. Förg’s ultimate return to expressive painting indicates a completion of sorts—a full-circle arrival at painting as a synthesis of experimentation, rooted in art history. In the artist’s own words, ‘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.’

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