{"id":12876,"date":"2015-10-04T16:58:00","date_gmt":"2015-10-04T16:58:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12876"},"modified":"2023-09-18T17:05:47","modified_gmt":"2023-09-18T17:05:47","slug":"raimund-girke-white-space-time","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/raimund-girke-white-space-time\/","title":{"rendered":"Raimund Girke \u2013 White Space Time"},"content":{"rendered":"\n

by Chris Moore

\u201cRaimund Girke \u2013 In Between White\u201d<\/a><\/strong><\/p>\n\n\n\n

Axel Vervoordt Gallery<\/strong><\/a> (15D Entertainment Building 30 Queen\u2019s Road, Central, Hong Kong), Sep. 10\u2013Oct. 22, 2015<\/strong><\/p>\n\n\n\n

white is space, is white-space<\/em><\/p>\n\n\n\n

white is ceaseless space, is endless, boundless space<\/em><\/p>\n\n\n\n

white is non-dimensional space<\/em><\/p>\n\n\n\n

white is weightless, a never ending hovering in wide space.<\/em><\/p>\n\n\n\n

\u2026<\/em><\/p>\n\n\n\n

white demands meditation<\/em><\/p>\n\n\n\n

\u2014Raimund Girke (1)<\/p>\n\n\n\n

Raimund Girke\u2019s medium was white: as erasure, as layer, as edge, as foreground, background, gesture, fog, lens and matter. Even with his delicate pencil drawings, surely informed by Seurat\u2019s non-linear drawing, whereby the white of the paper\u2019s tooth emerges through graphite haze, whiteness is not simply a counterpoint of contrast and scale, but the elemental background. The delicate webs of gestural marks are \u201cgrey\u201d because the world in which they exist\u2014the paper on which they are drawn\u2014is white.<\/p>\n\n\n\n

Raimund Girke (1930\u20132002) was not a central member of the ZERO Group. Too independent, he was not willingly a member of any group\u2014yet he was perhaps ZERO\u2019s most pure practitioner. While others experimented with installation, light and assemblage, and explored or had dalliances with different creeds, from the late-1950s onwards, Girke focused always on the meditative discipline of looking at and contemplating the \u201cspace\u201d, physically illusory but conceptually real, of (his) gestural paintings, always using the non-color white as a hybrid of medium and subject, and as an equivalent for the relationship between light, space and time. For one so committed to such a singular mode, he was neither didactic nor proselytizing. The ascetic discipline was personal.<\/p>\n\n\n\n

\"Raimund<\/a>
Raimund Girke, \u201cIn Between White\u201d, installation view at Axel Vervoordt Gallery, Hong Kong. Courtesy estate of the artist and Axel Vervoordt Gallery. Photo by Dio from Dio Workshop.<\/figcaption><\/figure>\n\n\n\n

In the beginning<\/strong><\/p>\n\n\n\n

Recently there has been a resurgence of interest in the German \u201cZERO Group\u201d of artists, including a major survey last year at the Guggenheim in New York: \u201cZero: Countdown to Tomorrow: 1950s-60s\u201d. To better understand the ZERO Group, one needs first to look to contemporaneous movements, not least because artists of one movement often were also members of others. In Western Europe, Art Povera, Minimalism, Op Art and Kinetic Art all reacted to the supposed Tabula Rasa<\/em> left by the devastation of the Second World War, and the flotsam and jetsam that followed the tidal wave of American Abstract Expressionism, which was political as much as artistic (post-war Europe was far more ambivalent in its relationship with its Eastern Bloc neighbors than was its geographically distant American protector).<\/p>\n\n\n\n

It is worth pausing to look at one example more closely. ZERO has been closely linked with the French New Realists, a heterogeneous group that included Arman (1928-2005), Fran\u00e7oise Dufr\u00eane (1939-1982), Yves Klein (1928-1962), Jean Tinguely (1925-1991), Christo (b.1935), and that existed officially from 1960-1970. The nouveaux realists wanted to occupy a space separate from both non-objective abstraction and figuration (whether bourgeois decoration or Stalinist social realism). As art critic member Pierre Restany (1930-2003), put it: to engage in a \u201cpoetic recycling of urban, industrial and advertising reality\u201d, which notably included \u201cd\u00e9collage\u201d, an anti-collage, combining found objects and appropriations of urban spaces, good examples being Jacques Villegl\u00e9\u2019s ripped posters and Arman\u2019s collections of rubbish. It was more Dada than Pop. And it was French.<\/p>\n\n\n\n

The ZERO group originated at the Staatlichen Kunstakademie in D\u00fcsseldorf, whose faculty included core members Heinz Mack (b.1931), Otto Piene (1928-2014), and G\u00fcnther Ueker (b.1930) (until 1956, Raimund Girke also studied there). In 1957 Mack launched a magazine called \u201cZero\u201d, and this was followed by manifesto exhibitions Zero 1 (1958), Zero 2 (1958), and Zero 3 (1961). Internationally, Arman, Klein, Piero Manzoni (1933-1963), Antoni T\u00e0pies (1923-2012) and even the aging Lucio Fontana (1899-1968) were associated with ZERO. The purpose was to return to the fundamental point of art, and in this sense may be equated with other romantic movements advocating a return to nature.<\/p>\n\n\n\n

However, members of the ZERO Group saw themselves as idealistic rather than romantic. This distinction of perspective is important. As Piene later put it, they wanted to create \u201ca zone of silence and of pure possibilities for a new beginning.\u201d (1) Unsurprisingly, this perspective was not unique. In Asia, for instance, the Japanese Gutai (\u5177\u4f53) movement, founded in 1954 by painter Jiro Yoshihara (1905-1972), held similar tenets.<\/p>\n\n\n\n

All political movements, including artistic, are mutable. They begin with idealistic intentions, at least superficially, and then adapt willingly or otherwise to changing circumstances, waxing egos, ennui with a former obsession, shifting fashions, and the impossibility of defining an infinitely complex universe. Ironically, it was another beginning\u2014the fall of the Berlin Wall in 1989\u2014that swamped the movement that had in many ways dominated the German art scene for much of the post-War period. Certainly the younger generation and artists such as Gerhard Richter (b.1932) and Sigmar Polke (1941-2010) thought the ZERO group was culpable of amnesia towards German history.<\/p>\n\n\n\n

\"Raimund<\/a>
Raimund Girke \u201cUntitled\u201d, 1989. Courtesy Estate of the Artist and Axel Vervoordt Gallery. Photo by Jan Li\u00e9geois.<\/figcaption><\/figure>\n\n\n\n

Point Blank<\/strong><\/p>\n\n\n\n

It seems the current flow of historically-blind abstraction cannot be staunched. The more hyped and expensive this wallpaper becomes, the more decorative, too. It is far from its origins. Abstract painting began as a refusal. Though it has been translated in academic texts, weighed and categorized, this art meant to fight control\u2014to refuse to speak in any existing language, visual or verbal. Even now, to look at Jackson Pollock\u2019s \u201cWhite Light\u201d (1954), we first have to decide what it is, to describe its paint marks, its paint<\/em>-ing\u201d, not just reiterate a catechism of symbolic content. The non-color white was crucial to this purpose. In Western art history, white was what was left out or removed, never the subject. But in the post-War world, people in the West and East Asia sought new systems to rebuild and remake society. In art, this included a type of ascetic monasticism, with the creation of works of contemplation, not instruction or narrative, whereby to know the world began with knowing oneself. Start with nothing, and look. What can you see?<\/p>\n\n\n\n

Girke was very critical of the Neue Wilden. Recalling her father\u2019s comments, Madeleine Girke told me, \u201cYou have to be responsible for the \u201cconsequences of the power of your work\u201d (Die Konsequenzen der Kraft Deiner Arbeit). In other words, thoughtful silence is louder than mere shouting: the work must stand for itself. In China, parallels might be drawn with the x\/+ discipline of Ding Yi or Zheng Chongbin and, in his abstract works, Yang Jiechang\u2019s meditations on the physical-philosophical qualities of black ink. If there is any artist though whose work bares conceptual resemblance to Girke\u2019s practice, it is Agnes Martin (1912-2014), who, like Girke, was also informed by Buddhist teachings, not as the ordaining principle for making art but as part of a framework for returning art to fundamental principles. At the heart of this is a questioning of art\u2019s role\u2014why do we have it? This question is not meant to be answered. Rather, attempting to understand the question is the point. The practice of asking the question\u2014of looking at and into the actual and virtual \u201cspace\u201d of the painting\u2014forms a point from which everything can be considered; not necessarily within the painting\u2019s framework but from its perspective. It is a meditative practice engaged specifically with the purpose of creating positions for contemplation, including for reflection upon the past wrongs of society (of course, Richter et al<\/em> would say, regarding German history, that that is not enough). Nevertheless, it remains a practice, not an end in itself.<\/p>\n\n\n\n

Against the ebb of time, painting\u2014 particularly abstraction\u2014 offers a prism of respite. The words \u201cdrawing\u201d and \u201cpainting\u201d infer both noun and infinitive. In a sense, they are never finished; there is no end. Girke\u2019s practice in later life often returned to earlier work. Towards the end of his life, no longer able to manage large-scale painting, he engaged in drawing. In hindsight, these are key works. The drawings are about the paintings and their painting. Within the space of a drawing on a sheet of paper, a space defined by the hand and eye, scale is infinite. Time and space become essentially the same, a mix of light and darkness\u2014grey.<\/p>\n\n\n\n

Grau<\/em><\/p>\n\n\n\n

die Mitte<\/em><\/p>\n\n\n\n

der Ursrpung<\/em><\/p>\n\n\n\n

(Grey<\/em><\/p>\n\n\n\n

the middle<\/em><\/p>\n\n\n\n

the source)<\/em><\/p>\n\n\n\n

\u2014Raimund Girke, Cologne, December 2001 (4)<\/p>\n\n\n\n

\"Raimund<\/a>
Raimund Girke, \u201cIn Between White\u201d, installation view at Axel Vervoordt Gallery, Hong Kong. Courtesy estate of the artist and Axel Vervoordt Gallery. Photo by Dio from Dio Workshop.<\/figcaption><\/figure>\n\n\n\n
\"\"
Raimund Girke, \u201cUntitled\u201d, 1980. Courtesy Estate of the Artist and Axel Vervoordt Gallery. Photo by Jan Li\u00e9geois.<\/figcaption><\/figure>\n\n\n\n
\"\"
Raimund Girke, \u201cUntitled\u201d, 1980. Courtesy Estate of the Artist and Axel Vervoordt Gallery. Photo by Jan Li\u00e9geois.<\/figcaption><\/figure>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

1. Raimund Girke, \u201cweiss\u201d, integration 5 und 6, Zeitschrift f\u00fcr eine neue Konzeption der Kunst und Kulture, Arnheim, April 1966), in 28101930. Raimund Girke<\/em>, published by Madeleine Girke, Berlin, edition 397\/500.<\/p>\n\n\n\n

2. Karen Rosenberg, \u201cHail, the Postwar Avant-Garde \u2018The Art of Zero,\u2019 at Purchase College, New York Times, August 21, 2014: http:\/\/www.nytimes.com\/2014\/08\/22\/arts\/design\/the-art-of-zero-at-purchase-college.html?_r=0<\/a><\/p>\n\n\n\n

3. Thomas Eller, \u201cOtto Piene, ZERO Group Founder, dies at 86\u201d, 22 July 2014<\/p>\n\n\n\n

4. Raimund Girke. Grau der Ursprung<\/em>, ex. cat., Edith Wahlandt Galerie: Stuttgart, 2002.<\/p>\n","protected":false},"excerpt":{"rendered":"

by Chris Moore\u201cRaimund Girke \u2013 In Betwee … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":12887,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[673,9255,9256,415,9257,9068,629,9258,80,95,88,633,9259,9260,7480,9261,9262,9263,98,9264,9265,9267,9266,515,1634,9268,9269,8962,9270,9271,29,374,393,9273,9272,9274,521,646,647,9275,9276,114,9277,458,9278,703,210,460,230,421,9280,9279,648],"yoast_head":"\nRaimund Girke \u2013 White Space Time - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Raimund Girke \u2013 White Space Time - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Chris Moore\u201cRaimund Girke \u2013 In Betwee … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-10-04T16:58:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-18T17:05:47+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/image.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2048\" \/>\n\t<meta property=\"og:image:height\" content=\"1151\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u4f5c\u8005\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9884\u8ba1\u9605\u8bfb\u65f6\u95f4\" \/>\n\t<meta name=\"twitter:data2\" content=\"8\u5206\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Raimund Girke \u2013 White Space Time\",\"datePublished\":\"2015-10-04T16:58:00+00:00\",\"dateModified\":\"2023-09-18T17:05:47+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/\"},\"wordCount\":1539,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"2015\",\"Antoni T\u00e0pies\",\"Arman\",\"art gallery\",\"Arte Povera\",\"artist profile\",\"Asia art gallery\",\"Axel Vervoordt Gallery\",\"Berlin\",\"China\",\"Chris Moore\",\"Christopher Moore\",\"Dusseldorf\",\"Fran\u00e7oise Dufr\u00eane\",\"Gerhard Richter\",\"Germany\",\"G\u00fcnther Ueker\",\"Heinz Mack\",\"Hong Kong\",\"Japanese Gutai\",\"Jean Tinguely\",\"Jiro Yoshihara\",\"Kinetic Art\",\"Lucio Fontana\",\"minimalism\",\"Op Art\",\"Otto Piene\",\"Piero Manzoni\",\"Pierre Restany\",\"Raimund Girke\",\"Ran Dian\",\"randian\",\"randian online\",\"Sigmar Polke\",\"Staatlichen Kunstakademie\",\"Yves Klein\",\"Zero Group\",\"\u4e2d\u56fd\",\"\u4e9a\u753b\u5eca\",\"\u5177\u4f53\",\"\u5409\u514b \u30fb\u840a\u8499\u5fb7\",\"\u58a8\u864e\u607a\",\"\u5fb7\u56fd\",\"\u5fb7\u8428\u5317\u4eac\",\"\u675c\u585e\u5c14\u591a\u592b\",\"\u67cf\u6797\",\"\u71c3\u70b9\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\",\"\u963f\u585e\u5c14\u7ef4\u4f0d\u5fb7 \u753b\u5eca\",\"\u963f\u585e\u723e\u7dad\u4f0d\u5fb7\u756b\u5eca\",\"\u9999\u6e2f\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"zh-CN\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/\",\"url\":\"http:\/\/www.randian.art\/raimund-girke-white-space-time\/\",\"name\":\"Raimund Girke \u2013 White Space Time - 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