Summer Exhibition 2018

Preview Friday, 27 July 2018, 5pm

28 July to 26 August 2018, daily 4 to 7pm

Rebecca Warren

Preview Friday, 27 July 2018

Günther Förg

With Works by Günther Förg from the Friedrichs Collection

Preview Friday, 27 July 2018, 5pm

28 July to 26 August 2018, daily 4 to 7pm

Jérémy Demester

Preview Friday, 27 July 2018, 5pm
28 July to 26 August 2018,
daily 4 to 7pm

Rebecca Warren

Preview Friday, 27 July 2018, 5pm

Bibliothek
Günther Förg

With Works by Günther Förg from the Friedrichs Collection

Preview Friday, 27 July 2018, 5pm
28 July to 26 August 2018,
daily 4 to 7pm

Mats Gustafsson
Sofia Jernberg
Erwan Keravec

Solo & Group Concerts
27 and 28 July 2018, from 5pm

Jérémy Demester

Preview Friday, 27 July 2018, 5pm, 28 July to 26 August 2018, daily 4 to 7pm

 

Jérémy Demester explores the nature of art and its relation with the founding myths of our world: symbolism, energies, alchemy, fate, sacred representations... His paintings and sculptures can thus never be taken at surface value as they are always layered with diverse, and sometimes cryptic, meaning. His work, often the result of collaboration (with craftsmen, children, scientists, philosophers and friends, who form what he names La Demestria), avoids being self-involved and rather opens itself to the world. In reference to his nomadic roots, Demester describes himself a gypsy painter and a quest for identity underpins his work.

“I met the artist a few years ago when he was studying and painting pallid young women in works that displayed real painterly accomplishment. He also made surprising erotic sculptures using embalmed quails (Reclining Ouails) and created delicate prints of dead birds. In this way he maintained a link with his childhood, which he spent in a gypsy camp in the South of France. Wanting to keep his pets after they had shuffled off their mortal coil, the young boy took to stuffing them in accordance with Ancient Egyptian rites. His work is thus infused with a mysticism in which life and death dance a continuous two-step. In a few years his work has moved on considerably, guided by the desire to experiment with new techniques and explore esoteric sources. (…) Demester has continued these experiments in large-format paintings that oscillate between abstraction and figuration. Combining paint and acids, some take the form of tormented explorations of material texture, suggesting the surface of planets viewed by a probe launched years ago into the far reaches of the cosmos. Others offer glimpse of what we imagine are religious themes, such as black Virgins with halos, fragmented in explosions of gold and blue. (…) Demester's art feeds on occult literature, mainly in the alchemical tradition (…) We may recall the alchemists' adage: "Lege, lege, relege... Iabora et invenies" (Read , read, reread, work, and you will find). To read, reread and connect phenomena and transcribe them as forms: that is the goal Demester has set himself.”

Richard Leydier. Introducing: Jeremy Demester, in Art Press 426, October 2015.

VIDEO: ARTIST TALK

Rebecca Warren

Rebecca Warren is a sculptor of more or less figurative, more or less expressive forms in clay, bronze and welded steel, and an orchestrator of fragments displayed often but not exclusively within wall-mounted vitrines. She works with an eye to extremes – monstrous excess, alarming paucity – creating a variety of objects that she describes as existing "somewhere on the continuum between pure fleshiness and pure cartoonishness". Hers is a restless, sometimes contradictory art, the result of sustained contemplation of the creative impulse and the mysterious potency of images and objects.

"This experimental, slapstick collision of Giacometti and Disney, literally cast or pressed into one physical body, leaves neither unharmed. In fact Warren's sculpture could be read as a response to culturally entrenched gender tropes - the slender modernist outline on one hand, and the Disneyish codification of cuteness and effervescence on the other hand - colliding in the real world, in real people's lives. Think of the late Amy Winehouse: big breast implants and anorexia. Warren does not merely make illustrative comments by pitting two things against each other, however. There is more at play. Sticking two things together that "don't fit" is just one possible method. Another is to duplicate (while twisting the logic of duplication); another, to alter proportion (elongate, squeeze etc.). And yet another is to use materials and conventions in unconventional ways. Think of Winehouse again: the postmodern mixture of visual styles and the clear modernism of Soul music."

Jörg Heiser, Bronze Heads and Hair Bows in Rebecca Warren, Galerie Max Hetzler, Holzwarth Publications, 2012

Bibliothek Günther Förg

With Works by Günther Förg from the Friedrichs Collection

Preview Friday, 27 July 2018, 5pm
28 July to 26 August 2018, daily 4 to 7pm

Günther Förg (1952–2013)

Since the early 70's, Günther Förg has been producing an extensive body of work, including experiments on abstraction and monochrome painting, against the general trend of figurative painting predominant in Germany in the 80's. Wall paintings, bronze sculptures, large format photographs, portraits or architectural views, as well as drawings and graphics witness the diversity of his approach. Universal concepts of form, mass, proportion, rhythm and structure constitute a common thread in his work. More recently, Günther Förg surprised with brighter and more gestural paintings, resulting from an intuitive approach to colour and composition, renewing again his artistic practice.

"Art, artists, architecture, landscapes, films and literature are all constant sources of inspiration for Günther Förg, and the notion that art is generally more likely to be derived from other art than from nature comes through in his various work cycles and series as well. His spontaneity of conception and dynamic gesture is contrasted with complex references and their associated meanings. Förg is concerned with self-reflecting experience and self-analysis in painting. By referring to the most diverse of artists from widely varying eras and styles of the 20th century, he brings out individual positions that were arguably of unparalleled relevance to artistic practice in subsequent decades, while at the same time he links periods and ideologies that were often mutually contradictory."

Bernd Reiss, Günther Förg: Paintings, Walls, and Photographs in Günther Förg 1987-2011, Galerie Max Hetzler and Holzwarth Publications, 2012

Mats Gustafsson
Sofia Jernberg
Erwan Keravec

Solo & Group Concerts
27 and 28 July 2018, from 5pm

VIDEO: ONE MINUTE CONCERTS at Bibliothek Günther Förg
VIDEO: GROUP CONCERT