Gunda Förster

TypeArtist
Female
Associated person(s)
URLsArtist's page
Wikipedia


Awards
Award2018Messe FrankfurtFrankfurt, GermanyCURTAIN
Award2009Projections and Light Based Public ArtVancouver, Canada
Award2005LUX.US LichtkunstpreisStadtwerke LüdenscheidLüdenscheid, Germany
Award2003H. W. & J. Hector KunstpreisKunsthalle MannheimMannheim, Germany
Award1996Deutscher KunstpreisKunstmuseum BonnBonn, Germany


Exhibitions
Art in Public Space2019KONTURENZeche Schlägel & EisenHerten, Germany
Group exhibition2014SCHEINWERFER – Lichtkunst in Deutschland im 21. JahrhundertKunstmuseum CelleCelle, Germany
Solo exhibition2013figuratif – konkretKunstraum des Deutschen BundestagesBerlin, Germany
Group exhibition2012IlluminatedQUADDerby, England
Art in Public Space2012TUNNELDeutscher BundestagWilhelmstraße 65, Berlin, Germany
Art in Public Space2010ICE LIGHTCity HallVancouver, Canada
Art in Public Space2010SCHWEIGENSCHWEIGENLippstadt, Germany
Art in Public Space2007BLUECommunauté d’AgglomérationNice Cote d’Azur, FranceWork on 2 bridges, Nice art project: SNCF bridges
Solo exhibition2005Gallery 21+YoTokyo, Japan
Solo exhibition2002PhotographsframeworkBerlin, Germany
Solo exhibition2001»Wo immer ich nicht bin, ist der Ort, wo ich selbst bin.«Kunstverein HannoverHanover, Germany
Group exhibition2001Lichtmarken 2001Pasinger FabrikMunich, Germany
Group exhibition1999After the WallModerna MuseetStockholm, Sweden
Solo exhibition1998ContradictionKunstverein LeipzigLeipzig, Germany
Group exhibition1996Deutscher KunstpreisKunstmuseum BonnBonn, Germany


Publications
Monography2017Kerber, ChristofMENTAGRAMM II: Bühnenbild, KD-L47, Intervention und NeoprojektionAlexander Nickl Gunda Förster978-3735603920Bielefeld, Germany 
Monography2004Hatje Cantz VerlagGunda Förster978-3775714969Berlin, Stuttgart Rolf Lauter, Kunsthalle Mannheim
Monography2015Prestel VerlagKunst im Deutschen Bundestag: Jakob-Kaiser-Haus und Wilhelmstraße 65978-3791350325München Andreas Kaernbach, Manfred Schneckenburger, Evelyn Weiss
Monography2001Vice VersaNoiseGunda Förster978-3932809194Berlin 


Research & teaching
professorship2007 - 2009GastprofessurLeibniz Universität HannoverHanover, Germany
professorship2015Professur Kunst im Kontext von Architektur und DesignHochschule WismarWismar, Germany


2015
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Research and teaching

Wismar, Germany
Professor of art in the context of architecture and design, Wismar University

2015
2007 - 2009
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Research and teaching

Hanover, Germany
Visiting scholar University of Hanover

2007 - 2009
2003
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Awards

Mannheim, Germany
H. W. & J. Hector, Kunstalle Mannheim

2003
1997
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Education

Berlin, Germany
Meisterschülerin of Lother Baumgarten

1997
1991 - 1996
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Education

Berlin, Germany
Studies at the Academy of Arts in Berlin with Bernd Koberling and Lothar Baumgarten

1991 - 1996
1967
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Born

Berlin, Germany

1967
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Places of work / studios

Berlin, Germany

Light and Perception
On Gunda Förster's Installations

Artists are inventors of places. They create spaces that never existed or were never imagined before. The spaces created by Gunda Förster for reciprocal exhibitions in Chicago and Berlin came into being through a discourse with that most immaterial medium, light. In both instances, she works with the alternation and interplay of bright and dark, open and closed. In > WHITE NOISE in Chicago, this change takes place abruptly and unexpectedly, while in the Charité project, the light's intensity ebbs and flows gradually, changing only slowly. The Chicago installation reminds us of Icarus, the Greek mythological figure who ascends towards the glistening light of the sun and, approaching it, falls into the blackest abyss as the wax on his wings melts. In Berlin, we are reminded of the orderly laws of the cosmos and the consistent recurrence of its cycles of day and night.

By alternating blindingly bright and midnight black spaces, places of perception are created where seeing becomes an elementary experience. In Förster's space installations the primary concern is light and perception. Her art consists not of objects for aesthetic observation but rather, as Daniel Birnbaum formulated it in another context, »they play with the conditions of our perception. This kind of art is free of everything to do with objects. It's not about what’s in front of our eyes but rather behind them, the preconditions for seeing.«

In his investigations into the psychology of art, Rudolf Arnheim pointed out that the most important instrument for the comprehension of art is perception itself and not any kind of mysterious cognitive or emotional ability that could be measured using any static standard, such as form, size or color. Rather, it is »the channeled tensions that are conveyed by precisely these stimuli. « This comprehensive kind of perception that emphasizes »channeled tensions« is the foundation for all aesthetic experience, he maintained. Anyone entering Gunda Förster's spaces, or even observing them from the outside, will be confronted by such tensions. The artist herself describes that »confrontation« like this: »The simultaneously limited and delimited immateriality of light becomes perceptible in its relation to the environment.« Communication ensues between the space and its viewers, who are shifted to a position where »they can perceive themselves in relation to their environment.«

Alexander Tolnay

translation: Janice Becker

http://www.gunda-foerster.de/text/e_texts/e_tolnay_light_and_perception.html (16.05.2019)

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SILENCE photo SILENCE 2010 Gunda Förster 
TUNNEL # 2 photo TUNNEL # 2 2012 Gunda Förster