Philipp Fürhofer’s works combine the picturesque and sculptural elements perfectly. Much in demand as a scene designer for big opera productions, he keeps developing new works which combine the most different mediums together, be it glass painting, shining reverse glass boxes or sculptural elements from acrylic or metal. The artist plays with light, form, colour and material and in his playful ease repeatedly transcends the border from the abstract to the figurative. As to content his focus moves between current political events, climate change and the ensuing changes in nature as well as an analysis of technics and over and again themes from the world of opera.
This was implemented in the works for Rohkunstbau. Philipp Fürhofer chose three works for the theme »moral«: Two of the light boxes, made of bend one-way-glass standing in opposite to each other in the room, while the third one »Götterdämmerung III/2« is hanging on the wall. The title refers to the opera »Der Freischütz« by Carl Maria von Weber, which deals with a morally reprehensible pact with the devil. For winning over his beloved woman the hunter Max engages in a pact with the devil, but is finally saved and wins his bride. In the and morality wins over temptation and justice instead of vengeance reigns. Richard Wagner himself was so impressed by this opera that he decided to become a composer. Therefore his third work »Götterdämmerung III/2« refers to Wagners final of the »Ring of the Nibelung«.
The Observer himself decides from which point of view he wants to look at the object and the flashing subject, with the light switched on or off. By independently powering-up the light sources he can generate a landscape as shadow fissures through the one-way-glass that at the same time appears to be in a process of disintegration, as if the painting and the used materials would melt and self-consume through the heat generating lamps. The opera inspired titles of the works underline the staginess, the staging of the thing which is only realisable in the process. The switching on of the light has consequences, yet none of the visible realities seems to be prehensible, neither the distorted reflection of the surrounding room, caused by the curved mirror, nor the shimmering and effaceable subject, or the objects of daily life like crayons, wires or light bulbs, that are multiplied between the mirrors and are subjected to the object’s own life.
Solo Exhibitions (Selection)
2012 Breakthrough, Bayerisches Nationalmuseum, Munich, Germany
2011 Hitzefrei, Galerie Carolyn Heinz, Hamburg, Germany
2010 Ich weiß was du nicht siehst, Kunstraum Kreuzberg/Bethanien, Berlin, Germany
2010 Plastic Romanticism, Grantpirrie Gallery, Sydney, Australia
2009 Life is out there, NotFair Gallery Milan und Pinacoteca Brera, Milan, Italy
Group Exhibitions (Selection)
2012 Auktionsausstellung der Hamburgischen Kulturstiftung, Museum für Kunst und Gewerbe, Hamburg, Germany
2011 Between appropriation and intervention, Kunstverein Kristiansand, Norway
2010 Enlightenment, L40, Berlin, Germany
2010 Festival des Beaux Arts, Galerie Sabine Knust und Pinakothek der Moderne, Munich, Germany
Stage Settings (Selection)
2011 Eugen Onegin, De Nederlandse Opera Amsterdam, Netherlands
2013 Die Passagierin, Badisches Staatstheater Karlsruhe, Germany
2013 Les vepres Sicilennes, Royal Opera House Coventgarden, London, UK