New polyrhythm 2022’s works by Gerhard Richter of close consonances, embodied by psychopathic spectrum atonality ゲルハルト・リヒターの新作群 @ バイエラー財団、スイス
My dear friend, painter buddy Gerhard Richter celebrated his 90’s birthday four months ago. Compromising times ahead…, obviously. As he stopped creating big-scale works because of his age. Nevertheless, shortly before his birthday a partum stimulus creativeus re-appeared, resulting in a superb new body of work, named “mood” (normally he titles his works in German language), which is actually on display at the Fondation Beyeler, Riehen, Switzerland. For my Japanese readers a timely referential episode, as his retrospective “Gerhard Richter” will start in three days at The National Museum of Modern Art, Tokyo 東京国立近代美術館.
Quote from MOMAT:
This exhibition features German artist Gerhard Richter, one of the greatest artists of our age. It is the first Richter show at a museum in Japan in 16 years and the very first one in Tokyo. Richter has consistently tried presenting the principle of how we see and perceive objects, moving back and forth between representation and abstraction using a variety of materials such as oil paintings, photographs, digital prints, glass, and mirrors. The principle concerns not only optical perception, but also perceptions formed by a complex web of aspects, including the history of art, contemporary visual culture, the history of 20th century Germany, the memories of the artist himself and his family, and audiences’ desire to see things. In 2022, when the artist has turned 90 years old, the exhibition will trace his consistent but wide-ranging practices over the last 60 years, showcasing about 110 works, mostly from the collection of Gerhard Richter Foundation. The exhibits include a variety of items ranging from early works to the newest drawings.
Gerhard Richter @ The National Museum of Modern Art, Tokyo
June 7 – October 2, 2022
ゲルハルト・リヒター展 @ 東京国立近代美術館
In recent years I had the privilege to attend the opening reception parties of Richter’s retrospectives in 2005 in the Kawamura Memorial DIC Museum of Art 川村記念美術館 and in 2014 at the Fondation Beyeler.
Unfortunately my reviews with rare pics of documentary, archival character disappeared, as the website of ARTiT abandoned its blog section. Important 8 years of my work lost.
Kawamura Memorial DIC Museum of Art
Yesterday’s visit to the Fondation Beyeler revealed Gerhard’s mental spectrum of atonality. In the new body of work “mood” I could discover how one eye sees and the other feels. As he likes to drink German beer, the complementary colours in relation to the movement of his hand taking the bottle to his mouth, transition a kind of dynamic decalcomania. Gerhard’s intuitive artistic practice create suction, pulling at the paint to form a scaly biomorphic texture. I could feel close consonances, – his exuberant realm of art – , a kind of musical étude, youthful expressiveness being manipulated by visions of half-sleep. Lushly coloured juxtapositions transcending to an imaginary of polyrhythm and disparate archaism. Gratulation und Prost Gerhard! Natürlich auch zum 90sten … und die 100 voll im Visier!
Please enjoy the attached pics from the Beyeler show, as they reveal also the first craquelure in his older paintings.
Regarding Richter’s “18. Oktober 1977 Zyklus” (Baader-Meinhof series), one week ago I posted several works at the following ART+CULTURE entry, check it out!
What is this Japanese Woman thinking, actually? さて。
Basel, den 4. Juni 2022
GERHARD RICHTER: «MOOD» @ Fondation Beyeler
BIS 14. AUGUST 2022
Today’s bonus 今日のおまけ：