Gerhard Richter in the studio

I'm not very good and speaking and I couldn't be a politician this painting is very different you do what you want you feel very free when you paint I had always a feeling that I wasn't sure that I'm good not at all but I was always sure I'm allowed to lose this God hi I lik hi how are you the CEO just gotta see you good to see you thank you well okay yeah hi - morning morning morning fresh like from what it is so what have you been doing but you're the cook I'm gonna help for you because for me again okay lowered voice so good to see you you're looking well okay okay yes badly and I weigh on to what the two main things to talk about other cover and the subtitle let's concentrate on the show and then come to the catalog sure sure okay so have you talked about baader-meinhof yeah yeah you've done that okay so gahard what made you feel that you wanted to be a painter it's so long ago who asked these things I started to paint it was the only thing for a general but happy well it's good I had an interest and then you went quite early to the Academy in Dresden Oh fantastic to make drawings and paintings and very realistic and technical was also very solid the education would be learned what for his canvas versus versus so you learn the craft of painting we learned a lot there and do you think that teaching was a better education than you would have had in West Germany it was in any case different I was so shocked but I arrived here and studied nothing here in dis love they didn't start at 8 I was the only one at 8 excuse our ting at 8 in the morning how FAR's you were still that's good to stop it no it's fine it's quite good good so this must be the first time that the car paintings have been seen for a long time yeah yeah it's good and here we have more and more space yeah and if it's going to look better job needs a new piece for him is wide skids buh buh buh yeah gosh you just got me to call Chuck chefs possible but then but then you decided to leave the East was that for personal reasons or for artistic reasons it was terrible's here not only on three it was really terrible and we had other the possibility to go every year at least twice to West Berlin and saw movies and exhibitions was the first time I saw their wonderful family of man was a famous exhibition this was the exhibition made by Edward Steichen aha and that's why was a real shock for me this show why yes it was India to seize all these pictures because I only knew paintings was very interested and they showed so much and they told so much these pictures these photographs 'no what told so much about modern life my life so was this moment when you discovered photography or the power of photography it's a state put the power yeah what he bought for the roof he can do break3 about to see the family of man was to understand how a photograph could capture their moment or a place or a person or an image yeah the thought new so at what point did you start to tear up tear images out of magazines and keep them perhaps the pop art started and look so solder but pop art gave me a no an unlicensed and a license yeah you know to to use these things as for paintings and this was also true for polka and for Conrad Luke yeah yeah yeah and for many others how did you select these images from magazines maybe I tried to avoid these images what wall took a liquid and also but what me interested I don't know but you also chose some images of your own family these were interesting photos people never was artful to how the world that's Thailand was snap snap shots yes this is banal and I'll focus was more interested to be not artificial in a workshop we normally with just two assistants and here we start preparing everything with what is necessary for the paintings and if God wants to paint normally a few weeks earlier he orders the sizes of things of the canvases and the and asked us to prepare the the paint now here we are storage you know some of the prepared frames the other side we've got some some ready want packed numbered so if he starts a realistic painting it suits him if he works on it and in the breaks he put on such things here does it's guaranteed that there's no animals coming to the picture so it's it's and also it dries not so fast because the last step is normally that he uses a thicker fine brush just to to uncharged em so the images that you were using are usually taken from my own increasingly from your own I based the photograph yes yeah and you have this great collection of photographs which you call the Atlas the others come when everything is done no more paintings from this subject no more this is stunned so in a way it's a an edited version of your life yeah all your thinking yeah yeah but in the late 60s you were already becoming quite well-known as a painter of photographs right yeah and a painter of images yeah and then you began to make paintings that were abstract paintings no it wasn't a good move for the market was it no so why did you do it I was a bit afraid that that would become a specialist for photo painting and so I made abstraction this portion I discovered the pleasure the fund is made was good as a one step to abstract painting was a gray to be very Cape indeed I was so unsatisfied we swept what I did and was a bad painting so if you feel helpless and you'll destroy it over painted and send that you discover that it has a quality and a very special quality it tells in a way the truth and but it has to look good this is hard to explain first studios a big studio normally he is paint here directly to tomb with more maybe until eight paintings at the same time normally so that he would paint a few hours in the morning and then him he has a break and then we clean up and afterwards he can can if he wants he can paint again so this is a process and working together and between painting and cleaning and painting and cleaning for weeks sometimes for months normally we prepare the exhibition than the other studio because we have done don't have enough space here but now for today we brought this model here so a model from the Tate Modern London for the exhibition and this is a new development for us it is magnetic so the the it's easier to handle them and to remove them and it's it's a great fun every every director curator coming here to see his museum magnetic they play with it they love to play with it yeah move this one it the right hand one in to the corner move that to 22 make it 22 right hand gap 22 and now move that one the left hand 120 centimeters to the left I look so it's basically the same but we haven't quite measured right okay swapped and back then something like that isn't it yeah we'll make it a little higher playing chess yeah yeah yeah you but the baader-meinhof paintings he made nearly ten years after the event why did you wait so long but this happens often that maybe not 10 years but you do it later you had time to reflect them well I don't know maybe something is still open and I had to close it the images that you chose our center are sometimes very inconsequential images yeah yeah and sometimes very conscious so confidential yeah DHC so is that how you think about painting sometimes direct and sometimes very oblique record live yeah I guess are you working on both kinds of painting at the same time or you move these on forwards from one backyards and for that it's the same time this is a wonderful contrast yeah so tissa because the upside is a lot of work like gymnastic you we work in this dirty and so a realistic painting you can sit like holiness a bit so these large abstracts yeah how do you know when they are finished when nothing disturbs me and I have no idea what to do more but what I could add or destroy this is very surprising often I when I am painted again and again every day and so recipes it's never and you you you will never come to an end and it will never become a good painting and suddenly it's finished oh good we have in the exhibition several sculptures or objects it's unusual for a painter to make objects like this why did you make them yeah why not yeah but it's unusual for a painter to make sculpture yeah the government dice dancers well I happen to think the castle thing that's another thing I haven't I think that some of the best sculpture was made by painters but why why did you want to make does objects came to me and said young I'm allowed to do this yeah I wanted to not so many some classes some glasses yeah he's a nuts captured man what are they I don't know objects the objects which are also painting so the paint is that love okay this is painting is red maybe's sure work isn't saya you but when I think about 911 yeah there were of course these very powerful photographs that were taken on the day what is it about your painting that makes it enduring there's the picture I used for us is painting this was a very beautiful with flames and red and orange a yellow and wonderful and this was a problem of course I painted first really so so so colorful and then I had slightly slowly to destroy it and made I made it banal it doesn't tell much it shows more the impossibility to present something about this disaster so this for me this painting has a instead of being about a particular moment yeah it has a timeless quality that would be wonderful and I believe that all all things of quality FC Stan lessness of architecture music and literature otherwise is hard to handle this for life that's good this is wonderful installed very very well absolutely to start with sis thank teacher you

Channel: GerhardRichterVideos

Views: 493,560

Rating: 4.8858972 out of 5

Keywords: tate, gerhard richter, panorama, serota, nicholas serota, art

Id: ExfNJDh4K1g

Length: 21min 58sec (1318 seconds)

Published: Wed Apr 04 2012