Detlef Günther – Shortbio
After studying humanities and communication sciences at the Ludwig-Maximilian-University in Munich and the Free University of Berlin (Master’s Degree: M. A.) Detlef Günther studied free art at the UdK from 1984 to 1990 (Master’s Degree). At the same time he founded the group BOR with the artists Martin Assig, Klaus Hoefs, Oliver Öfelein and Jochen Stenschke. As a freelance artist, Günther worked in the 1990s on the research project “Technical Vision” at the Medieninstitut Berlin (headed by Prof. Dr. Arthur Engelbert). In 1997, he founded “Twosuns Media Development GmbH” and developed the interactive environment system “Enclued” in connection with a new type of camera procedure that records people’s movements in space in three dimensions. Both innovations have been patented by the German and European Patent Office.
Detlef Günther has appeared since the late 1980s with about 50 solo and group exhibitions in Germany and abroad, e. g. at the Haus der Kunst München, Gemeente Museum Helmond (NL), Galerie Kremer-Tengelmann (Cologne/Gelsenkirchen), NGBK Berlin. On behalf of companies and institutions such as Sony Deutschland, Festspielhaus Hellerau, HKW, Canon ArtLab in Tokyo and the artist Carsten Nicolai (Polar), he has also realised various media projects and installations. Since 2008 Detlef Günther has been holding lectures and seminars on “Genealogy of Image and Imaging Formats in Art and Science” at colleges and universities.
Detlef Günther’s works are represented in the Karl Kremer Collection (Gelsenkirchen), the Deutsche Bank Art Collection (Frankfurt) and the Kunstmuseum Gelsenkirchen. He lives and works in Berlin.
Over the years I have dealt intensively with different media and their application. Media are tools. The respective topic determines the form and the material/medium to be used. The complexity of the world makes it necessary for me to modify points of view, to change perspectives and thus also to use different media.
I have a mutable approach to art creation and like to work in series and cycles. No matter which medium I use – in the end I’m a painter – I deal with the questions, why seeing is more and more directed towards “inside”, why the surrounding pictorial worlds prevent “free seeing” – preparing to kill “the invisible”.