Georg Herold, born in Jena in 1947, has since the 1980s numbered among those distinctively characteristic figures of contemporary art who have achieved recognition on the international level. His work has accordingly been displayed at almost all the trendsetting group exhibitions of the last decades, including the documenta IX and the Sculpture Projects Münster 1997. Proceeding from a preoccupation with “the manner in which ideas become material” (Herold 1986), the artist develops in the 1970s and 1980s an oeuvre which summons up the association of a Dada-insired encyclopedia of the provisional. Materials such as roof boards, bricks, cords, neon lights, wire and cardboard engender constellations in which absurdity, irony and a precise measurement of our reality exist in profound counterpoise.
In the deliberately provisional character of these works, which in addition to painting, sculpture, installations and objects also include texts and videos, there is mirrored a fundamental artistic conviction which establishes an orientation towards process and a finely calculated, unfinished state as counterweights to the myth of perfection and of the masterpiece. This work phase, which may also be understood as a personal answer to the Italian Arte Povera, undergoes an expansion beginining in the early 1990s through the inclusion of expensive materials such as caviar. The exhibition in the Kunstverein Hannover, which is being developed in close cooperation with the Kunsthalle Baden-Baden, attempts for the first time to present a comprehensive overview of this oeuvre, from the early 1980s all the way to the most recent video works. The goal of the presentation is to make clear the manner in which the conceptualities of this oeuvre –above all absurdity and irony – become devoid in Georg Herold‘s artistic logic of any and all aspects of theoretical assertion, so that they attain a visual-sculptural palpability.
A comprehensive work monograph appears alongside the exhibition.