FOR TUESDAY — Monday night post
With the examples of Gerhard Richter’s “October 18, 1977” series in mind, think about what is real (what actually happened), what is representation (or mimesis, imitation, seeing and having and image in your mind, making that image somehow permanent for others), and what is the relationship between reality and representation, a relationship that Kurt in the film calls, in its ideal form (like his paintings) “consistent” (German “stimmig” which can also mean harmonious in a musical or tonal sense). Richter has similarly statements about the relationship between reality, photography, and representation in paintings. Have a look:
from his interview with Stefan Weirich about the 1 October, 1977 series, 1993 (in Gerhard Richter TEXT: Writings, Interviews and Letters, 1961-2007, eds. Dietmar Elger and Hans Ulrich Obrist (London: Thames & Hudson, 2009), 317.) Full text here (pdf). Two other brief conversations with Richter may be helpful, also both from 1993, another one with Stefan Weirich here, and one with Amine Haase here.
Think about what is stimmig, consistent, harmonious about Richter’s photo paintings? Anything? The relationships between photographs and what is real and what that does for you and to you as a viewer you have thought about already in some detail with the help of Susan Sontag. What does this conceptual claim have to do with the content of the paintings in the series?
For discussion on Tuesday make a connection between some of Kurt’s statements and actions in the film Never Look Away [Werk ohne Autor] and Richter’s October 18, 1977 series . Have a look at some stills from the film here, especially images 13-16, 89-100, and 125-130.
If you’d like, look as well at the paintings: Richter’s October 18, 1977 series here on Richter’s website. And explore on Richter’s site to see the Atlas images, the little closeup videos of the photo paintings, especially those of the October 18, 1977 series paintings. And, some paintings that show up in the film: Onkel Rudi and Herr Heyde, or Ema, nude on a staircase and Family at the Seaside.
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?
LISTEN and view FERMIN MUGURUZA and think about this album about revolution; note the title
FERMIN MUGURUZA eta THE SUICIDE OF WESTERN CULTURE – Berlin / Ulrike Meinhof
We’ll discuss the myth of Meinhof as cultural phenomenon on Thursday morning. No post.
When we’re able to leave the land of Quarantinia, maybe we can go to New York City and visit the Met Breuer to have a look at the exhibition that opened (not!) on March 4.
Gerhard Richter: Painting After All. 109 works, including a few that you now know about.