BERLIN.- Galerie Max Hetzler is presenting the solo exhibition with works by Günther Förg in Bleibtreustrasse 45.

The centre of the exhibition is formed by a six-part series of paintings by Günther Förg from 2003. The canvases show vertical stripes and structures in various hues of grey, repeatedly interrupted by light traces as well as red and pink dashes. Every brushstroke is visible and changes from dense, opaque colour fields to nearly transparent areas. Although the brushwork appears expressive and the paint is seemingly applied intuitively, it immediately becomes apparent that the paintings underlie a precise composition and elaborated balance. The six paintings appear like repetitions, offering variations of the same structure on each canvas and are, as if in rhythmic motion, constantly developing.

Alongside this series the exhibition presents a selection of small-sized paintings on wood and canvas from the same time. The classic form of the grid appears repeatedly. It structures the surface and units geometric strictness with Förg's expressive, seemingly spontaneous application of paint. Although abstract, the works evoke associations of landscapes and constantly shift their focus between foreground and background. Some of the works of this selection remind of Förg's earlier series of the so-called “Fenster-Aquarelle” (window watercolours) that can be found in the artist's oeuvre already in the mid 80s. They suggest a glimpse out of the window which never truly allows a direct view. Black dominates the image structure in most of these works and the overlapping areas dissolve into impalpable, vague planes. Occasionally, only a few coloured spots light up and recall lights in dark street scenes. Especially a small painting on wood captures this approach in a particular way. Between two broad, dark areas a light, yellowish part shines through in which one seems to recognize a nocturnal scenery and a hazy figure in front. The viewer is never fully sure if he looks out to something or if he himself is standing outside. Thus, the composition and paint application of these works generate a concentrated tension between figurative and abstract elements which is so typical in Förg's work.

Günther Förg was born 1952 in Füssen and died 2013 in Freiburg. He was a professor at the University of Arts and Design, Karlsruhe and later at the Academy of Fine Arts, Munich. His work has been exhibited in numerous solo shows in international institutions, such as Deichtorhallen, Hamburg (2015); Museum Brandhorst, Munich (2014); Fondation Beyeler, Basel (2009); Langen Foundation, Neuss (2007); Kunstmuseum Basel (2006); Gemeentemuseum, The Hague (2003, 2006); Tel Aviv Museum of Art (2002); Kunsthaus Bregenz (2001); Museo Nacional Centro de Arte Reina Sofía / Palacio de Velázquez, Madrid (1998); Touko Museum of Contemporary Art, Tokyo; Musée d'Art Moderne de la Ville de Paris (1991); Museum Fridericianum, Kassel; Secession, Vienna (1990); Newport Harbour Art Museum, Newport Beach (1989) and The Renaissance Society, Chicago (1988). Förg's work is part of major collections, such as Neue Nationalgalerie, Berlin; Museum of Modern Art (MoMA), New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; Städel Museum, Frankfurt/Main; Stedelijk Museum, Amsterdam and Tate Britain, London among others.