Grell like love: Daniel Richter’s paintings “Hello, I Love You “(2015).
And Daniel Richter thinks the same – new pictures. They are all created this year. The twenty-two large paintings belong to two groups of works of a certain size that are distinct from each other. A descriptive approach might be that a group still has figurative elements, while the other tends toward abstraction. The new pictures in common: The painter uses a brush hardly, except for the background as a wide area applied glaze. He spackles the oil paint over it, he uses a thick oil pastels pen to lash contours or to roll mask heads.
author. Rose-Maria Gropp, an editor in the features section, responsible for the “art market”
In the abstractions that seem arbitrary at first, much too quick look, extreme care must be seen in the delimitation of areas of color from each other. These are by no means gestural paintings; there are primal scenes scenic gestures. The artist and curator Katharina Dohm have not hung the new images by the work groups, but they blend together and in a wide hall before classic white walls. That he wanted to have as a vibration, says Daniel Richter with a gesture along this phalanx, connections that work. Spreads and restraints he says, even color correspondences. Those who, like these artists, new forms of expression for themselves – and for what painting can ever – looking, maybe even thinks beauty. This dangerous beauty that arises from the destruction. The title of the exhibition is called “Hello, I love you”. Who is loved, have to look and be able to withstand the look.
Where so much body shines through in a series, as much brain of the artist is involved. There are tangles of bodies, but judge is not naïve. The paintings oppose stubborn – a little mockingly, perhaps? – Voyeuristic consumption, with sharp cuts in the vertical axis, with twists, distortions and shifts. Image that has become repression itself could call it, and then the return of the reprobate. This is not a critical art; it is unreconciled to sentimental way with reality.
In the abstractions of the second group, the radicals territorialized bodies are preserved as it were. Some resemble computertomographierten Partialitäten, other skelettösem mesh. It arise topographies that look as if they were marked by violent color combinations for the overflight of drones; while the surrounding area has been fogged exposed to collateral damage. All new images processuality should be noted, their genesis, expressed fashioned: a progression in the lower and above the other on the canvas. But they remain inexplicable, they keep a secret firmly, even when you is still to be considered in their schemes of sexual origin. That behind them the thoughts and reflections of an artist are, which is characterized by intellectual confrontation far beyond his metier addition, they lead not before. They radiate the. As they light up at all, in their unruly color and shape desire. Daniel Richter will not cast his previous works that could be him, born in 1962, since the nineties to, in addition to Neo Rauch, internationally important German painters of this generation.
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But before a fashion – last of his large figurative paintings, which actually can be described as history painting – would collapse, he hove. In the Schirn now depend only the freshest images. Your predecessor may be to think, as well as judge artistic predecessors; Matisse on Schiele to Bacon goes there a lot. At the titles of painter has his fun. If they do mean something – “indisposed minorities” or “I have seen your mother” – they say nothing about the image content. One is, almost discursive, “Asger, Bill and Mark”. The greetings are Asger Jorn, which is clear; Mark Rothko – for backgrounds, at least; and Bill could be a tribute to Bill Jensen, rather Willem de Kooning is meant. And actually it does not matter.
In the catalog, there is an appendix with photos, “food” overwritten. One of the first shows an early edition of “Sigm. Freud. Civilization and Its Discontents “, this secular confrontation with engines oppression, aggression and guilt. Even so puts an artist tracks. If this discomfort releases creative energy as Daniel Richter, then it went well – and does not mean renunciation of spirit and rebelliousness
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