"For works like those, as Richter wrote to Buchloh in 1977, the premise is "that I can communicate nothing, that there is nothing to communicate, that painting can never be communication, that neither hard work, obstinacy, lunacy nor any trick whatever is going to make the absent message emerge of its own accord from the painting process." Consciously or not, Richter is citing Samuel Beckett, who called for an "ex-pression that there is nothing to ex-press, nothing with which to ex-press, nothing from which to ex-press, no power to ex-press, no desire to ex-press, together with the obligation to ex-press." Not surprisingly, Richter soon discovered that a message nonetheless does emerge from the painting process, that something is communicated."

Barry Schwabsky, The Perpetual Guest: Art in the Unfinished Present, Brooklyn 2016, p. 98

Gerhard Richter’s Abstraktes Bild series represents the paragon of the artist’s treatise on the aesthetic and conceptual capacities of painting. Executed in 1997, Abstraktes Bild (843-4) is an outstanding example from this celebrated body of work. The artist’s process is ex-pressed in the gestural tide of color that pulls from both edges of the aluminum support, revealing a kaleidoscopic world within.

Richter’s practice of abstract painting began in 1976. Reflecting on his process Richter said, "I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture...I just want to get something more interesting out of it than those things I can think out for myself" (Richter interviewed in 1990, in Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter. Editions 1965-2004: Catalogue Raisonné, Ostfildern-Ruit, 2004, p. 36). Richter’s work is forged through an encounter with his painting tool of choice, the squeegee. With this tool, Richter abandons the traditionally soft and nimble brush, surrendering instead to the uniformly firm rubber edge of the squeegee.  Stating the importance of the squeegee , Richter noted, “It is a good technique for switching off thinking. Consciously, I can’t calculate the result. But subconsciously, I can sense it. This is a nice ‘between’ state” (Gerhard Richter in Stefan Koldehoff, “Gerhard Richter,‘Malerie ist eine moralilsche Handlung,’” Wolkenkratzer Art Journal, April - June 1985, p. 40).

The Abstraktes Bild paintings can be related to an earlier series of works in which Richter painted from photographs, then blurred them while still wet. Richter explained of this process: “I blur things to make everything equally important and unimportant. I blur things so that they do not look artistic or craftsman like but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information” (Gerhard Richter, “Notes, 1964-1965,” in DPP, p. 34). The present work’s aesthetic mimics a photographic quality accentuated by out-of-focus sweeping swaths of paint. Richter is denying the viewer the ability to see anything conclusive in his work, but rather suggesting that the work’s significance can extend in infinite directions and have innumerable meanings. By suggesting that the perception of a painting does not necessarily depend on what can be seen, Richter’s ability tests the limits of representation.

“就像那些像里希特在1977年寫給布赫洛的那些作品一樣，前提是”我什么都不能溝通，沒有什么可以溝通的，那種繪畫永遠(yuǎn)不可能是溝通，無論是辛勤工作，頑固，精神錯(cuò)亂，還是任何詭計(jì)無論如何從繪畫過程中可以看出它自己出現(xiàn)的缺席信息?！坝幸饣驘o意地，里希特引用塞繆爾貝克特的話，他呼吁”表達(dá)沒有任何表達(dá)，沒有任何表達(dá)，沒有任何東西可以表達(dá)表達(dá)，沒有表達(dá)的力量，沒有表達(dá)的愿望，以及表達(dá)的義務(wù)?！昂敛黄婀?，里希特很快就發(fā)現(xiàn)，從繪畫過程中確實(shí)傳達(dá)了一條信息，即傳達(dá)某種信息?！?/div>

格哈德·里希特 抽象圖像 ABSTRAKTES BILD 局部



格哈德·里希特 抽象圖像 ABSTRAKTES BILD 局部



格哈德·里希特 抽象圖像 ABSTRAKTES BILD 局部



格哈德·里希特 抽象圖像 ABSTRAKTES BILD 局部



格哈德·里希特 抽象圖像 ABSTRAKTES BILD 局部



格哈德·里希特 抽象圖像 ABSTRAKTES BILD 局部

參閱 德國藝術(shù)家格哈德·里希特(Gerhard Richter)作品集

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