Wednesday 29 March 2017

The supreme rifts ... a measured propinquity

The Supreme Rifts ... a Measured Propinquity, at Marian Goodman Gallery, London.


Gerhard Richter, 930-6 Strip, 2013-2016, (digital print on paper mounted between Alu Dibond and Perspex)

As I wrote in a previous post that included this painting:

This is a painting based on the systematic deconstruction of a photograph of one of his own abstract oil canvases from 1990. He divided the work's surface into two vertical sections, then halved those halves, mirrored the image and repeated the process again and again: 'dividing, mirroring, repeating', as he described it. As the image got halved and squeezed again and again, ever smaller repetitive patterns were produced, reminiscent of Islamic decoration, until at a certain point these horizontal bands took over.

Were he to continue, he explained, the bands themselves would disappear into a kind of optical white noise, and eventual visual silence. At the point when this digital process had generated 4,096 vertical sections, Richter intervened with a rigorous selection process, choosing particular preferred strips with which to continue working. Following one further final halving and mirroring, he had each work printed to his desired scale, resulting in horizontal, rhythmic fields of fine lines of various colours.

looking closer

part of the process exhibited on the ledge next to the painting

Niele Toroni, Empreintes de Pinceau no. 50 a intervalles reguliers de 30 cm, 2016, (acrylic on canvas)

Ettore Spalletti, Mezzanotte, blu, tuttotondo, 2016, (colour impasto on board)

Ettore Spalletti, Paesaggio, 15, 2016, (colour impasto on board)

Niele Toroni, Andata E Ritorno, (orange), 1991, (installation of four canvases, easels - imprints of No. 50 brush repeated at regular distances 30cm)

in the corner, below the ceiling, Niele Toroni, Omaggio Alle Rondini, Acrilico Blu, 1996, (blue acrylic on paper)

Gerhard Richter, Mirror, Grey, 1991, (pigment on glass)

A continuation of Richter's nearly 50-year engagement with grey monochrome, an enduring fascination: 'Grey is the epitome of non-statement'. In this case, no mark-making, instead, reflection. Reflection of the architectural space and in this case, me taking the photograph.

Richter says that forty years ago, he built a narrow corridor and on one wall he hung a grey painting and opposite, a mirror. 'They looked at each other, and you couldn't go in'. He created an illusion of a painting that didn't need a spectator.

Gabriel Orozco, Blackboard Drawing, Nos. 4 and 9, 1998, (silkscreen on blackboard, aluminium, eraser and chalk

on the first floor, on three walls of the first room:

Sol Lewitt, Wall Drawing: Tilted forms with ink washes superimposed, 1988

Gerhard Richter, 6 Panes of Glass in a Rack, 2002-2011 (glass and steel construction)

Gabriel Orozco, Secuncia Modular, 2016 (aluminium)


  1. Replies
    1. We went to see this exhibition because of the Richter, but enjoyed the rest too.