Colecciones de arte

Barcelona Pavillon I, 1988/1998

DESCRIPTION

Förg's work is symptomatic as a paradigm of a post modern attitude. It is situated on a crossroads of art disciplines that, to a certain extent, are meant to counterpoise Josep Beuys' "expanded concept of Art", for he admits that the field of dispersion does not refer to reality, but to the very realm of Art. In his work, painting, sculpture, bronze relief, mural painting and photography become a continuous system capable of binding itself together and utilising the uncertain differentiation between disciplines to provoke interferences, discourses that resound ideas under different forms.

When an artist such as Günter Förg deploys photography not as an end in itself but as an impartial means of commenting on the aims of art, something suffers in photography, something is left unsaid, as a misunderstanding, from the photographic perspective.

I am referring, among other things, to the technical "imperfections", that quality of hurried reportage, of disoriented paparazzi, contrasting with the highly structured work such as the photographic series documenting historic edifices of modern architecture. On the other hand, the technical imperfections -the entire history of photography is full of errors and surprises- resemble real sight, akin to the individual, to the passer-by, unlike the perfection of advertising. "I am not concerned, as are professional photographers, with focus or colour adjustment. My photos have a particular corporality that emerges from my way of composing them. When gazing at them, one feels a certain presence, something that never happens in a normal photograph".

His work at the Mies van der Rohe Pavilion is noteworthy due to the geometric clarity with which it attempts to synthesise with the architect's constructive ideas, turning the elongated images into a continent in which the purity of line and direction of the construction is outstanding. Especially in Pavillon I, rather than on the spatial ambiance of the small building, Günter Förg's vision is focused on describing certain significant details of the architecture in a rhetorical operation in which a part serves to represent the structure of the whole. F. J. S. M.