POST by Monday night a few sentences about the relationship between reality (what happened) and the paintings as representation of especially Ulrike Meinhof’s life and experience. What’s consistent? How? Why? For whom?
In order to get at “representation”, I find that it’s best to take the word for what it is: presenting something again. Meaning… not the original. Not the first. Not… the ‘real’ thing. In acknowledging this, I think it helps me better understand what exactly Kurt is getting at in these paintings. Yes, it’s technically a “remake” or the “Remake” if you will. First, it must be captured in time with the snap of a camera, then once it’s preserved, it can be transformed into another medium, like painting. I like to think that Kurt’s perspective on reality was untouched by others, as he spent his youth contemplating his surroundings with positive influences like Aunt Elizabeth.
As for Ulrike Meinhof, her consistent way of life was not enough. Perhaps her choice of medium to “represent” were her articles. Just as Kurt knew his form of medium and lacked the purpose, Meinhof similarly found a new way of life in following the RAF.
Posing a question in relation to Aunt Elizabeth’s death and mental illness: How does the relationship between the ‘A’ above middle C translate for both instances of the buses? Does Kurt simply want to remember a piece of the past or does he find the same joy that Aunt Elizabeth had? I ask, additionally, because the A above middle C is known as the Stuttgart Pitch, which is a city in Western Germany. Maybe it’s just a coincidence, though I’ve been pondering a possible relation.