MAY 12 - JULY 2, 2022
Düsseldorf 1940 — Anvers 2010
Berrnd Lohaus' sculpture was already noticed in 1969 at Harald Szeemann's exhibition "When Attitudes Become Form" at the Kunsthalle in Bern. He uses powerful and dense materials such as azobe wood. He favours the use of elements that have already been used - ropes, planks, wooden cubes, bearing the traces of industry and time, charged with and enriched by a past to which they bear witness. A combination of sober, massive and sculptural forms, powerfully expressive, sometimes described with enigmatic and strong linguistic fragments, like pictorial poetic exclamations, has been the basis of Bernd Lohaus' work for years. Among the wood-word elements, one finds above all prepositions; the whole never forms a complete sentence, but poses in space the relationship of the words to each other. If his intervention is reduced to simple actions, the intuitive arrangement of the wood alone is a language. It connects the material with spirituality. His works are included in numerous museums in Belgium, France and Germany.
Füssen 1952 — Freiburg 2013
Günther Förg's career began in the early 1970s, when he studied at the Academy of Fine Arts in Munich. During his studies, Förg developed a practice based almost exclusively on black and grey monochrome. These early investigations into grey - also known as ‘Gitter’ paintings - marked the beginning of a lifelong commitment to conceptualism. According to Günther Förg “grey is nothing: neither white nor black. Something in between. I am not concerned with the figure. Something free”. Although the artist later integrated colour into his monochrome series, his use of grey represents a neutral base from which he has designed his work, and his painting and photography are now represented in most international museums and collections.
London 1929 — Stroud 2020
Over the decades, Peter Joseph has dedicated himself to the search for potential in constraint. He received critical acclaim in the 1970s for his meditative two-tone paintings, which placed a rectangle within a frame of a darker hue. These early works were characterised by perfect symmetry, where every decision in colour and proportion could be seen as an evocation of time, mood or place. Although comparable to the work of Mark Rothko and Barnett Newman, Peter Joseph's work was an anomalous strain of minimalism: his allegiance was as much to the Renaissance masters as to his contemporaries.
More recently, in the 2000s, his format has departed from its established 'architecture' to divide the canvas into two planes, horizontal or vertical, in which free brushstrokes, natural tones and smudges appeal to new sensations. The paintings of his latest period are reminiscent of the painter's affinity with sky and landscape from his studio in Stroud, England. There is a freedom in the composition, the brushstroke becomes both dynamic and supple, leaving in many places unpainted areas, thus creating a new space. Peter Joseph is one of the great contemporary painters of colour, light, space and the mysterious space in between.