Tableau / Table / Atlas

• Explosion de la présentabilité

• Explosion de l’historicité : découpages spaciauxde la nature insuffisants (généalogie, minéralogie)

• La notion de discontinuité menace de faire exploser le tableau

=> Michel Foucault « l’archéologie du savoir », 1969, sur la discontinuité, élément fondamental de l’analyse historique. Ce n’est plus un obstacle à une pratique mais un concept opératoire.

Tableau périodique des élémentsDmitri Mendeleïev, 1869

Jean-Martin Charcot /Paul Richer, assistant de Charcot

The range of the positions of the hysteric. Given best in Paul Richer, Étudescliniques sur le grande hystérie ou hystéro-épilepsie(Paris: Delahaye & Lecrosnier, 1881), plate 5.(Bethesda, Md.: National Library of Medicine.)

Désastres« La dislocation du monde, voilà le

sujet de l’art »Bertold Brecht, 1940

Plaque 3 : Lo mismo. Combat entre les soldats français et civils espagnols.

Les Désastres de la guerre

Los Caprichos (Les Caprices) est une série de 80 gravures du peintre espagnol Francisco de Goya, consistant en une satire de la société espagnole de la fin du XVIIIe siècle, surtout de la noblesse et du clergé.

Rome today/1929: CatholicChurch turnsfromsecular to spiritual powerThe Church in comparisonwith the State during the official celebrationof the LateranPacts (February1929): abdication of secularpower in return for conservation of symbolicauthority.

http://www.gerhard-richter.com/art/atlas/

Gerhard Richter'sAtlasis a collection of photographs, newspapercuttings and sketches that the artisthas been assemblingsince the mid 1960s. A few yearslater, Richter started to arrange the materialson loosesheets of paper.

"In the beginning I tried to accommodateeverythingtherethatwassomewherebetween art andgarbage and thatsomehowseemed important to me and a pity to throw away."1

Atpresent, Atlasconsists of 802 sheets. Spanning a period of almost four decades, theindividualsheetsreflectdifferent phases of Richter's life and work:Although Gerhard Richter hadalreadybeguncollectingphotographs andpresscuttings, hestartedworking on Atlas in the early 1970s by arranginghisown andotherfamilyphotographs on paper.Subsequent to thesephotographs, heincludedpicturestakenfromnewspapers and magazines, someof whichheused as source images for his 1960s photo paintings [e.g. Sheets: 5–15]. For the group ofworks48 Portraits for example, sketches of how to hang the paintingscanbefound in addition tosource images and installation views of the paintingsat the Venice Biennale in 1972. [Sheets: 30–41]

Atlasoffers insights intoRichter'sartistic practice and hisway of creatingimagery. TheAtlassheetsallow one to track how first experimentswithHolocaustphotographseventuallyled toBlack, Red, Gold, executed in colour-coated glass; the piecewascommissioned by the DeutscheBundestag (GermanGovernment) [Sheets: 635–655].However, photographstaken by the artisthimself are the main focus of Atlas. Extensive series oflandscapes, stilllifes and familyphotographsweremeticulouslyarranged on the sheets. Some ofthesephotographswerelaterused as source images for paintings or wereincluded in hisartist's books,as canbeseen in Wald. The Atlas sheets 697–736eveninclude the completelayout of the artist'sbook WarCutfrom 2004.

Gerhard Richter's life and art interrelate in Atlas in a multilayeredway: banal subjectssuch as a toiletroll [Sheet: 14] are juxtaposedwithhorrifyingHolocaust images [Sheets: 16–20]; seriallandscapepictures are lined up withintimatefamilyphotographs; coloursamplesattached to sourceimages canbefound as well as photographsshowingmuseum installations. On the basis ofitscomplexity and diversity, the importance of Atlasexceeds simple documentation, and Atlasiswidelyconsidered as an independentartwork.

Notes prepared by editorial team

1Interview with Dieter Schwarz, 1999 in: Gerhard Richter: Text. Writings, Interviews and Letters1961–2007, Thames & Hudson, London, 2009, p. 332

Gerhard Richter: Que peut l’Art face à l’Histoire?

ÜbersichtVue d'ensemble1998 82.8 cm x 68.2 cm Tirages d'Art CR: 93 Impression offset sur papier chiffon épais

http://www.gerhard-richter.com/art/editions/uumlbersicht-12785/?&p=1&sp=32&tab-artwork=notes

Fischli et Weiss, Visible World, installation 1987-2001

Fischli/Weiss Image from Visible World 1987 - 2001

Hans-PeterFeldmann, Shadow Play (Paris), 2011Bois, moteurs électriques, lampes, métal, céramique, plastique, papier, tissu, verre, fer blancUne salle de 12 x 8 m. Hauteur sous plafond : 3 mUne table de 80 cm de hauteur, plateau de 8 m x 1 m (ou en plusieurs morceaux)

Hans Peter Feldman, « Beds »

Hans-PeterFeldmann – profil withoutwords (2000)

Gina Pane, Action Escalade non-anesthésiée, avril 1971Constat de l'action réalisée dans l'atelier de l'artiste, ParisUn panneau de photographies et un bâti métallique retracent l'action de l'artiste, pieds et mains nus, gravissant la structure métallique dont les échelons sont munis de tranchants/ 323 x 320 x 23 cm