The Patio Gallery features the work of Raimund Girke, with the key paintings from 1989 - 2000.
On Saturday 29th, 2018, you are cordially invited to the opening of the exhibition at Kanaal, from 2 p.m. until 7 p.m.
Axel Vervoordt Gallery
Diagonalbewegung / 1989 / 160 x 140 cm
Raimund Girke - Touched in White -
20 Years Hölderlinstrasse 55 , Part 2
Works by Raimund Girke, Günther Uecker, Gotthard Graubner, Rupprecht Geiger, Erdmut Bramke, Norbert Kricke, Katharina Hingsberg, Klaus Heider, Steffi Schöne, Beate Terfloth, Not Vidal
27. Dezember 2016 - 5. Februar 2017
St. Moritz Reformierte Dorf-Kirche
Montag - Samstag: 9 - 19 Uhr
Sonntag: 11:30 - 18 Uhr
Catalogue available in german, english, italian
Galerie Stefan Hildebrandt
7500 St. Moritz · Schweiz
Tel. +41 (0)81 833 39 39
Tel. +41 (0)79 754 63 68
The exhibition will be shown at three different locations in the course of the year.
June 16 – August 13, 2016 Grisebach, Fasanenstraße 27, 10719 Berlin
September 2 – September 23, 2016 Grisebach, Bilker Straße 4-6 , 40213 Düsseldorf
September 29 - October 1, 2016 Grisebach, Türkenstraße 104, 80799 München
Kraft der Farbe
It is only a question of time before the quiet and yet so unique paintings of Raimund Girke (1930–2002) also gain the recognition among the public that they are due. Over a period of 50 years, Girke has created a painterly oeuvre of impressive consistency defining stratifications and structures, made with calm, flowing brushstrokes. Die Kraft der Farbe (The Power of Color) is the name of the retrospective exhibition that includes numerous previously unshown paintings of the 1980s and 1990s from the estate of the artist. Despite Girke’s great love of white in his works, in terms of content he consciously steers the viewer’s attention so that his art exists beyond all black-and-white painting. “White is emptiness, immateriality, quiet and silence,” Girke once said about his art. This book also gives off an immense meditative strength. Viewing the paintings of Raimund Girke should hold great fascination for a public sensitized to the rediscovery of abstract art of the ZERO group.
In addition to illustrations of all 40 works included, the book, accompanying the exhibition at the Villa Grisebach in Berlin, also contains analyses on Girke’s unique formal language by Hans-Joachim Müller and Florian Illies, as well as a speech about Raimund Girke by Günther Uecker.
ca. 64 Pages with 40 colored Illustrations, 19 × 25 cm, Hardcover
ca. € 19,90 [D] / € 20,50 [A]
published in Juni 2016
Raimund Girke - Paintings - early work / late work
Norbert Kricke - Space Sculptures - early work / late
Opening: Saturday, Marc 19th, 2016 , time: 11 - 14 a.m.
Opening Speech by Roland Scotti, Museum of Art, Appenzell
Duration of the exhibition: March 19th until May 30, 2016.
Gallery Edith Wahlandt-Mettler
During the exhibition, the concrete silos will feature a diverse selection of contemporary art installations, with work from various artists including Tatsuro Miyajima, Marina Abramovich,
Raimund Girke, Conrad Shawcross and Kimsooja.
For the first time, it will be possible to explore an apartment in the new part of the silo building and a solo show from the famous Korean potter, Kwon Dae Sup, with contemporary Moon Jars. They are a representation of the epitome of the austere Confucian virtues of purity, honesty and modesty. The beauty of form is highlighted by the slight imperfections in its creation, a celebration of nature taking its course. These vessels, with their pure shape, have been revered by the Korean people for hundreds of years, and still resonate today.
Our Antwerp gallery has a current exhibition by Dominique Stroobant. As an artist renowned for his pragmatic ingenuity and passionate drive for self-expression, Stroobant’s work includes numerous sculptures, photographs, drawings, illustrations, texts and Land Art works.
We look forward to welcoming you at Kanaal site and at the Axel Vervoordt Gallery in Antwerp.
Please note that due to reconstruction works during the exhibition Kanaal has limited accessibilty.
In March 2016 there will be a solo exhibition in Houston/Texas at
the Gallery Sonja Roesch. The preparations have started.
More updates coming soon.
Today the paintings will be hanged. The gallery space is
exceptional and I am looking forward to see the paintings
Axel Vervoordt Gallery Hong Kong
10.09.2015 - 22.10.2015
Opening September 10th 2015
Axel Vervoordt Gallery
Unit D, 15/F Entertainment Building 30 Queen's Road,
Central Hong Kong
tel +852 2503-2220 or +852 2503-2331
Gallery: Open Tue-Sat 11am-7pm
Axel Vervoordt Gallery is proud to present its first solo show of German painter Raimund Girke (1930 -2002) in Hong Kong. The works on show are monochromes, highlighting the second half of the
Girke’s career, and focus on silence and serenity, thus obtaining a distinct meditative character.
At the age of 27, Raimund Girke decided that the colour white was to play a central role in his art. He felt that other colours would obstruct one’s feelings towards the calmness of the continuous changes in nature. He described his painting as a clear reaction to the visual stimulus satiation and as an attempt to take the observer to a new level of concentration. As he stated in 1965 in one of his writings: “White demands meditation.” -1- During the decades that followed, he remained within the basic paradigm of controlled geometric abstraction, but instead of musing on non-visible, spiritual or conceptual phenomena, he explored fundamental physical phenomena such as light, motion, rhythm and vibration. In an exhibition text written in 1960, he elaborated on his focus:
Polychromy prevents colour from making an impact, given the constant competition, whereas the restriction of the colour scale enables one colour to manifest its full intensity. The brightest colour, the most luminous and intense colour, is white. White is the Queen of Colours; for colours are the “actions of the light” (Goethe) and white is the colour most akin to the light. Black and grey intensify white, supporting it, while playing only a subordinate role themselves. They modulate white in its infinitesimal nuances, causing it to vibrate and imbuing the colour over the whole picture surface with continuous movement, and thus with life. -2-
It is of little surprise then that the best art for him was the “absolute reduction to the essence”. Throughout his life he was fascinated by the “high aesthetics and intensity of (…) simplicity”. -3- This fascination led to signature elements like a repetition of gestural brushstrokes and subdued structures and a tension between sobriety and emotion. Despite the apparent calm, there is movement and despite the seeming superficiality, there is depth. All those elements in turn resulted in a remarkable continuity in his body of work. Something Girke himself noted in an interview that took place in late 2001:
It seems to me that the 1980s had a parallel in my early 1950s phase, where there are also stronger contrasts and movements, where the unanticipated, imponderables, also slip in and are accepted. I’m inclined to believe that since the early 1990s I’ve been going through another phase where I’m increasingly referencing my paintings of the early 1960s and 70s, where the paintings are becoming more tranquil again, more cohesive, more open-ended and yet more unified, where the colour or pictorial field is not ploughed up by brushstrokes. (…) I believe that right now my paintings are again imbued with a largesse, a certain tranquillity and peace. -4-
An almost monochrome-white picture design with the finest differentiation in colour and light reached its peak in his works of the 1970s, of which those for Documenta 6 in 1977 are best known. His compositions, which had been rhythmitized and full of gestures onto that point, became maze-like, clearly structured image fields. In order to attain a subtle shading of white’s nuances, Girke switched brush and spatula for an airbrush with which he sprayed a haze of paint onto his canvases. Whereas the personal flow was almost absent in these serial, structural arrangements of the 1970s, the gestural moment of the brush stroke was intensified anew in the 1980s and 1990s, as was the scope of his palette. The selection of works currently on view in our gallery focuses on serene and soothing paintings from these phases: the silky opacity of Untitled (1971) darkens in the grey of Untitled (1980) and in that same year and later on we see the return of thicker, vertical brushstrokes. Girke's practice was dynamic and it’s his painterly signature and brushwork that injected vivacity into the calmness of his abstract works.
Raimund Girke was born in 1930 in the Lower Siesian town of Heinzendorf. He grew up in Reichenbach until his family was deported in 1946, as the territory became part of Poland, after which they settled in the vicinity of Osnabrück. From 1951 until 1952 he studied at the Werkkunstschule in Hanover and subsequently attended the Staatlichen Kunstakademie in Düsseldorf until 1956. Even early on, he enjoyed great success: in 1959 he received the city of Wolfsburg’s prize for painting and in 1962 he was awarded the Kunstpreis der Jugend in Stuttgard. Between 1966 and 1971 he taught at the Werkkunstschule in Hanover before following a call to the Hochschule der Künste in Berlin. Girke lived and worked in Cologne and Berlin until he passed away in 2002. Today, his work can be found in several public collections in Germany and abroad.
莱蒙德・吉克在27岁时决定白色将会於他的艺术中扮演一核心的角色，他认为其他颜色会妨碍一个人去感受万变自然中的平静；他形容他的画作为对视觉刺激的明 确反应，及把观者带到一个全新专注层面的尝试。正如他在一首诗中写道：「白色要求冥想」-1-，在接下来的几十年里，他保持有限几何抽象的基本範式；他没 有沉浸於不可见，精神上或概念性的现象，反倒选择探索基本的物理现象，如光、动作、节奏和振动。他於1960年的一个展览文字阐述了这个重心：
在 各种颜色之间的不断的竞争下，多色性限制颜色所能产生的影响力；颜色规模的限制则可使一种颜色充分发挥它的全部强度。最光、最亮和最强烈的颜 色，是白色。白色是众色之后，因为「颜色是光的行动」（歌德），而白色是最接近光的颜色。黑色和灰色加深白色的强度，这种衬托只占一个从属的角色；它们以 极微妙的调节，以持续的振动把颜色灌输至整个图像表面，灌输至生命中。-2-
不难理解，对他来说最好的艺术是「绝对精简的精华」。他一生都为那「简单的崇高美学和强度」-3- 著迷，这种迷恋使他建立个人独特的标誌性元素，如重覆的姿势性动态笔触与低调结构，清醒和情感间的张力等。表面平静却隐藏流动，看似肤浅却蕴含深度。那些 元素均为他一系列的作品带来显著的连贯性，吉克本人於2001年底一访问亦指出：
在我看来80年代与我50年代早期阶段是 相似的，都有著较强烈的对比及动作，而意料之外及无法预计的均会悄然介入及被接受。我倾向认为，自90年 代初，我一直在经历另一个阶段，我更积极的引用我60年代初和70年代的作品；在那里我的画作渐渐变得更安静，更连贯、更开放但统一；在那里颜色或图像领 域并非靠笔触犁耕（......）我相信，此刻我的画再次洋溢著一种慷慨，一定程度的安宁与和平。-4-
一个几乎单色白色画面设计，蕴涵著最微细的色彩和光线差别，使他到达了70年代作品的顶峰；其中以展於1977年第6届卡塞尔文献展的最广为人知。他旋律 化的构图与姿势，形成如迷宫般结构清晰的图像板块。为了表现白色中的一种微妙的差别，吉克以喷枪取代画刷和刮刀，在画布上喷上一层薄如雾的颜料。个人元素 在这些系列中几乎是不存在的，但70年代的结构安排，笔触的姿势性动作，及至色板的规模都於80及90年代重新加剧增强。现正於本画廊展出的画作主要专注 这些阶段中的宁静且舒缓的画作：无题（1971）如丝绒般的模糊感被之後的无题（1980）中的灰色加暗；在同年及往後，我们看到较厚重及垂直的笔触重新 回归。吉克的实践是动态的，正是他标誌性的个人特色及独有笔法，为抽象作品的平静中注入活力与生命力。
莱蒙德・吉克在1930年出生於海森道夫（Heinzendorf）的西里西亚城下。他在赖兴巴赫（Reichenbach）长大，直到1946年因该地 成为波兰领土而被驱逐，他的家庭後转到奥斯纳布吕克（Osnabrück）附近定居。他於1951年至1952年就读於汉诺威的工艺学校，随後再到杜塞尔 多夫国家艺术学院读书直至1956年。即使在事业早期，他已取得了巨大的成就：在1959年获得沃尔夫斯堡城的绘画奖，又在1962年在斯图加特获得青年 艺术奖。在1966年至1971年，他在汉诺威的工艺学校学校任教，及後接受邀请前往柏林的美术学院。吉克在2002年离世前均於科隆和柏林居住及工作， 他的作品现今见於多个德国及海外公共收藏中。