The peculiar art of German artist Gerhard Richter

Carla Bianpoen, Contributor, Jakarta

An interesting exhibition hosted by Goethe Institute and organized by the German Institute for Foreign Relations shows 27 works by Gerhard Richter. It will travel the world during 10 years, presenting an artist who stands out, not by being in the mainstream of art, but exactly by staying out of it.

Although art books and the numerous art reviews include Richter as an artist of Pop, the NewRealist and Abstract Art, what actually makes him so special is his accomplishment in tying photography with painting in a way that no one has even thought of.

While his peers use photography to support their painting, he gives it an equal role. In addition, while artists usually make every effort to be included in the mainstream with a personalized style, Richter does everything to stay out of it avoiding getting stuck in a "style".

Ironically, as Richter tries to transform the usual concept for art to be valid only when it is unique, he is now being hailed as one of the three best known German artists in the international scene, with exhibitions in such prominent art spaces like the George Pompidou Center, the Museums of Modern Art in New York, San Francisco and numerous other museums and galleries throughout the world.

His rise from a stage and advertisement painter to an artist of international stature started in 1961 when he moved from his hometown Dresden in East Germany to West Germany, leaving behind the tradition of Socialist Realism and art for propaganda purposes.

Confronted with the early days of Pop Art, he, like other artists of Pop Art, appropriated images from magazine and newspaper clippings for his art creations. But rather than remaining stuck in the Pop, he took it a step further when in 1962 he started making photographs himself. From then on, photos became a basic starting point for his paintings.

Never wishing to tie himself down to any style or content, he continued exploring new ways as he proceeded. One way was making pictures of the finished canvases, not as realistic reproductions, but bringing in other layers of interpretation which resulted in new works of art -- this time using photography based on the painting he had made earlier.

While this process still allows seeing threads of continuity, each work will show shifts in iconography and style with the notion of experiment in the evolving aesthetic.

In this sense Richter plays with one single work to produce several other works, alternating photography and painting as a point of departure. On top of that all, the photographic artwork is multipliable. At other times, he would make pictures of a painting, taking it from numerous angles and producing multiple photographic art works based on one single painting.

I don't follow a system, nor do I have a specific direction, program or style. I have no demands either, he states.

Although he avoided being categorized in style or content, photography or elements in photographic practice undeniably has been a major feature in his process of creating his works, one of which is directing the camera to specific parts of an object.

Magnified parts offer exciting images and impetus to borderless imagery. Apparently, this way of viewing became a second nature to Richter. Works like Ophelia, 1998 (Proof II/II) Cibachrome 102 x 116 cm and Guildenstern, 1998 (Proof II/II) Cibachrome 102 x 116 cm are apt examples in this exhibition.

Contrary to what appears like reproductions of abstract art works, these two rhomboid pictures are in fact photographed details of liquid paint spread on the floor. By the handling of the artist, they became like reproductions of abstract art of a different kind. The moving forms on the surface and the overall dramatic quality evoke something quite apart from what words can express. They transcend emotion.

Emotional reasons may also have caused the explicit blur, another peculiar feature in his art like is the case in Uncle Rudi, which for the layperson may appear as a failed picture, showing Richter's uncle like standing in the midst of fog, and his Wehrmacht uniform only vaguely recognizable.While the blurring may be appreciated as an artistic accent on the picture, reluctance to face the truth could be a major reason. The uncle, whom he loved and adored, was in fact a criminal working for the despised Wehrmacht.

Richter has also addressed historical events, including 18 Oktober 1977 cycle on the death of RAF members serving their sentences in Stammheim prison. Using photographic conventions as a vehicle for his political commentary is also his work on the fate of one of the members of the Red Army Faction terrorist group who either committed suicide in prison or was killed there.

But Richter, who has curated this exhibition himself, has left out the latter-mentioned work.

Giving preference to making art resulting from his photographic imagery Richter has remained fascinated exploring the tension that binds photography to painting and vice-versa. Experimenting with various techniques Richter loved to let the medium take him to unexpected heights, or lows, for that matter.

The exhibition represents all of Richter's creative phases, a retrospective in a nutshell.

Artists, curators and the general public will be able to bring their visions in a discussion to be held on Feb. 1 from 2 p.m. to 4 p.m. The display in Jakarta continues until Feb. 11 at Galeri i see, Jl. Diponegoro 65, every day except Saturday and Sunday. Contact: Phone/fax 31906083

In Bandung it will be on show Feb. 18 - March 9 at Galeri Soemardja ITB, Jl. Ganesha 10, every day.