jeudi 28 juin 2012


Gerhard Richter Exhibition view, 2012. Ph. ©FDM

Leaving this beautiful exhibition, retrospective of the work of German painter Gerhard Richter (born in Dresden in 1932 and completed his training as a painter in the early 1960s at the Ecole des Beaux-Arts in Dusseldorf), I fell on this indicative panel : "Emergency." Curiously associated with one of the painting more "net" (and perhaps the most troubling) in an exhibition to which the principle of "fuzzy" appears as the founder (Betty, 1988). The character turns: he looks at the gray table (painting in the table) or the landscape of today, here in the background ? This view of Paris which extends to the rear of this panel ?

This panel has plunged me into deep perplexity. What is actually the relationship between painting and photography ? What do they give to see. I came to the conclusion that there is no "emergency exit" possible in the vision. Our perception of the world is always deliberately wedged between the two poles of blur and sharpness. Between painting and photography. But not as we know which of the two mediums maintains the greatest affinity with either of these two poles.

Because photography, if it is based (by the functionality of its technology and its "objectives") on a principle of "focus" and will often displayed maximum sharpness, very well known, however pin the blur. - The paint on his side hears frequently cultivate sensuality and shook the touch of paint and it does not cover less (and probably historically since its inception) a form of "realism" which will culminate in this hyper-realism of years 1960-1970 with which Gerhard Richter maintains many affinities.

Each of the visitors of the exhibition must be adjusted (and invent) its own length. I, for myself and throughout the course, varied my own principle of "focus" in feeding me suggestions and injunctions of Gerhard Richter. I sailed well (me playing different effects of visual adjustments) at the heart of paintings clearest and most accurate for me then disappear into the hectic glare mirrors and glass walls punctuate the course. Reversing systems, seeing the sharpness in the dark and sometimes incredible indecision in the heart of "sharp focus" the most rigorous.

I took great pleasure in this installation in situ, with these "landscapes", opportunities and possible extensions of works reflecting the heart of the panorama offered by the large windows of the Centre Pompidou.

Exposure [painting] is experienced and perceived in a thousand ways unique. This, perhaps more than any other.

Gerhard Richter. Panorama. Centre Georges Pompidou (June 6 to September 26, 2012).

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