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Es ist bezeichnend, das der PR-Experte Saatchi mit The Revolution Continues: New Chinese Art gerade rechtzeitig zur Frieze sein neues Quartier in Chelsea eröffnete und so den jungen Chinesen gleich doppelte Aufmerksamkeit beschert. Zhang Xiaogangs grau getönte Familienbilder oder die Leinwände von Yue Minjun mit ihren breit grinsenden Gestalten gehören allerdings nicht gerade zu den innovativsten Positionen aus China.

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Other London institutions are also mounting exhibitions, which alone are already worth a weekend trip to the city. While the Whitechapel Gallery in the East End is presenting four films by upcoming American artist Ryan Trecartin, the Serpentine Gallery in Kensington Gardens is showing the new grid paintings by Gerhard Richter. The 49 paintings of 4900 Colours, developed especially for the Serpentine, explore painting's most intricate boundaries in kaleidoscopic color fields. The gallery's temporary pavilion is truly spectacular. It represents Frank Gehry's first project realized in England and the venue for "Park Nights", a series of concerts and talks. The Saatchi Gallery, of course, maybe London's best-known commercial exhibition space whose founder Charles Saatchi once had a considerable stake in the fame of the YBAs, is currently concentrating on propagating one of the youngest art scenes in the world. Its protagonists could soon become as well known as Damien Hirst and his colleagues. It's telling that the PR magician Saatchi has just opened his new space in Chelsea right in time for Frieze Week with The Revolution Continues: New Chinese Art, thus guaranteeing the young Chinese artists twice the amount of attention. Zhang Xiaogang's grey paintings of families and the canvases of Yue Minjun with their broadly grinning figures do not, however, count among China's most innovative art. A revolution looks altogether different, more like Sun Yuan and Peng Yu's bizarre wheelchair ballet, perhaps. Hyper-realistic, life-sized figures of old men who moved the world, including Castro, Brezhnev, and Arafat, steer their chairs like bumping cars, feebly ramming into each other in the process. But a visit to the show is more than worth it. Any exhibition would be an event in the elegant rooms of the freshly renovated former military villa of the Duke of York. Even if the hype surrounding Chinese art were to suddenly and unexpectedly cool down-and the competition isn't napping in the meantime - the British capital will not lose its power to attract the international scene all that soon. Because London definitely rules!

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Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	Presseschau zu "Gerhard Richter: Acht Grau"
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Von den einfarbigen Gemälden geht eine meditative Ruhe aus. Das gedämpfte Grau von Return 1 (1964-65) ist typisch für die Farbigkeit seiner frühen Arbeiten. Zunächst beschränkt sich Marden auf Schwarz, Grau oder matte Grüntöne.

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The monochrome paintings exude a meditative quietude. The subdued grey in Return 1 (1964-65) is typical for the color scheme of Marden’s early works. Initially, he limited himself to black, grey, and matte hues of green. He eliminated the visible brush stroke, smoothing the surfaces of his canvases with knives and spatulas and leaving scratches, cracks, and spots where the ground layer peeks through. A thin strip of blank canvas often remains along the bottom edge of the paintings, while traces of dripped paint refer to the painting process. In the beginning, the artist still used conventional oil paints, whose gloss he quickly began to alter. Since 1966, he’s mixed turpentine and hot bee’s wax into the paint, making the paint matter and less transparent and lending the works a very particular presence. Marden also began combining several identically sized canvases, such as in Point (1969), a subtle composition of three green-grey fields whose hues vary in nuances. The triptych quotes the altar form; instead of depicting a saint, however, it is dedicated to the variations of a single color.

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thema: Momentaufnahmen eines Jahres: 2002 / Fleeting Moments / Neue Arbeiten junger Kunst in der Sammlung Deutsche Bank / Die Bedeutung der Kunst für das Unternehmen / Kunst macht reich! magazin: Beruf: Künstlerin / Die Farbe Grau aktuell: Wordsearch: Die Box zum diesjährigen "Moment" Projekt / Shipped Ships: Eine Fähre für den Amazonas ausstellungen: Sugimoto / Sugimotos Porträts in Singapur / Kara Walker im MuseumsQuartier in Wien presse: Presseschau zu "Gerhard Richter: Acht Grau" art at work: "Es geht nicht darum, ein gefälliges Programm zu zeigen."

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theme: Fleeting Moments of a Year: 2002 / Fleeting Moments / New Works of Young Art in the Collection of the Deutsche Bank / The Significance Art Has for a Company / Art Can Make You Rich! magazine: Profession: Woman Artist / The Color Grey current: Wordsearch: The Box on This Year’s “Moment” Project / Shipped Ships: A Ferry for the Amazon exhibitions: Sugimoto Portraits / Sugimoto’s Portraits in Singapore / Kara Walker at the Vienna MuseumsQuartier press: Selection of reviews on Gerhard Richter's Eight Grey art at work: "It’s not about showing a program that people like."

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Grau resultiert selten aus einer simplen Mischung von Schwarz und Weiß, sondern basiert in der Regel auf einem paritätischen Anteil von Blau-, Rot-, Gelb- und Grüntönen, die je nach Mischungsverhältnis den spezifischen Grauwert bestimmen und dabei in der einen oder anderen Richtung modifizieren.

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Grey seldom consists in a simple mixture of black and white, but normally results from equal amounts of blue, red, yellow, and green whose respective blend determines the specific tone of grey, modifying it in one direction or another. This is what makes it a popular background, as it enhances and intensifies the brilliance of every other color. Because grey contains the full color spectrum, it always conveys an overall impression of harmony in which a colorful object can both dominate in space and become liberated from its isolation. A white wall never seems neutral, but enters into a deliberate contrast with the paintings hanging in front of it. On the other hand, grey unifies, creating gentle transitions. Artists have always been fascinated by this property and have been continually impelled to investigate it. Following the color orgies of the Fauves at the beginning of the 20th century, the paintings of early Cubism were monochrome, characterized by a subtle undertone of grey and brown pigments. In Guernica (1937), Picasso did without color entirely. Here, grey became the expressive means to convey the horror of the nocturnal scene, thus underscoring the narrow etymological connection between the German terms “grau” (grey) and “Grauen” (horror).

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Show textShow cached sourceOpen source URL	Die Farbe Grau
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	The Color Grey

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Show textShow cached sourceOpen source URL	Gerhard Richter: ACHT GRAU Ausstellungsansicht, 2002
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Gerhard Richter: ACHT GRAU exhibition view, 2002

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Show textShow cached sourceOpen source URL	>> ACHT GRAU - Eine Einführung
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	>> Eight Grey - an introduction

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Show textShow cached sourceOpen source URL	Wie die Spiegel an die Wand kamen: Zum Ausstellungsaufbau von Gerhard Richters Acht Grau.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	on the installation of Gerhard Richter’s "Eight Grey".

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Show textShow cached sourceOpen source URL	Gerhard Richter: Acht Grau wird von einem umfassenden Rahmenprogramm begleitet - mit Themenführung, lunch lectures und Sonderveranstaltungen. Mehr dazu hier.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Gerhard Richter: Eight Grey will be accompanied by an extensive program, including guided tours, lunch lectures, and special events. More here.

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Show textShow cached sourceOpen source URL	"Acht Grau" in Düsseldorf:
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Show textShow cached sourceOpen source URL	Ein Gespräch mit dem Kunsttheoretiker Benjamin Buchloh über seine Arbeit mit Gerhard Richter an Acht Grau.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	A conversation with the art theoretician Benjamin Buchloh about working together with Gerhard Richter on Eight Grey.

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Show textShow cached sourceOpen source URL	Ein Gespräch mit dem KunsttheoretikerBenjamin Buchloh über seine Arbeit mit Gerhard Richter an Acht Grau.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	A conversation with the art theoretician Benjamin Buchloh about working together with Gerhard Richter on Eight Grey.

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Show textShow cached sourceOpen source URL	Montag, den 6. Oktober, vier Tage vor der Eröffnung der Ausstellung: Pünktlich um sechs Uhr morgens treffen die über fünf Meter hohen Transportkisten mit den acht grau emaillierten Spiegeln ein. Mit einem Kran werden sie vom Transporter auf die Straße geladen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Monday, October 6, four days before the exhibition opening: at 6 AM on the dot, the transport crates containing the eight grey enameled mirrors arrive, over sixteen feet high each. A crane loads them onto the street. They don’t fit through the door, and the crane kicks back into action, hauling the huge crates onto a hydraulic lift, where they’re secured at a special angle.

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Show textShow cached sourceOpen source URL	Anlässlich der Ausstellung von Gerhard Richters Acht Grau, die noch bis zum 5. Januar in den Ausstellungsräumen der Deutsche Guggenheim in Berlin zu sehen ist, erläutern Marion Ackermann und Wolf Tegethoff die Bedeutung der Farbe Grau im kulturellen und künsthistorischen Kontext.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	On the occasion of Gerhard Richter's exhibition Acht Grau (Eight Grey), which can be seen in the exhibition hall of the Deutsche Guggenheim in Berlin until January 5, Marion Ackermann and Wolf Tegethoff explain the meaning of the color grey in a cultural and art historical context.

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Show textShow cached sourceOpen source URL	Frage: Herr Buchloh, mit Gerhard Richter verbindet Sie eine jahrzehntelange Freundschaft, aber auch die künstlerische Auseinandersetzung als Kritiker. Was hat Sie gereizt, mit ihm für die Ausstellung Acht Grau in der Deutschen Guggenheim Berlin zusammen zu arbeiten?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Mr. Buchloh, you’ve not only been friends with Gerhard Richter for decades, but have been connected to him through your artistic involvement as a critic. What was the attraction for you to work on the exhibition Eight Grey in the Deutsche Guggenheim?

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Show textShow cached sourceOpen source URL	Anlässlich der Ausstellung von Gerhard Richters Acht Grau, die noch bis zum 5. Januar in den Ausstellungsräumen der Deutsche Guggenheim in Berlin zu sehen ist, erläutern Marion Ackermann und Wolf Tegethoff die Bedeutung der Farbe Grau im kulturellen und künsthistorischen Kontext.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	On the occasion of Gerhard Richter's exhibition Acht Grau (Eight Grey), which can be seen in the exhibition hall of the Deutsche Guggenheim in Berlin until January 5, Marion Ackermann and Wolf Tegethoff explain the meaning of the color grey in a cultural and art historical context.

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Show textShow cached sourceOpen source URL	Nun weckt Grau bestimmte Assoziationen was die Architektur der Moderne betrifft. Passanten werden vermutlich den Druck und die Schwere der Farbe wahrnehmen. Gleichwohl arbeitete Richter oft auch mit hellen Farben.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Now, grey evokes certain associations in the context of modernist architecture. Passersby will presumably perceive the pressure and the weight of the color. Nonetheless, Richter’s often worked with bright colors, as well. Won’t chance passersby be disappointed by the grey?

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Show textShow cached sourceOpen source URL	Nun weckt Grau bestimmte Assoziationen was die Architektur der Moderne betrifft. Passanten werden vermutlich den Druck und die Schwere der Farbe wahrnehmen. Gleichwohl arbeitete Richter oft auch mit hellen Farben.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Now, grey evokes certain associations in the context of modernist architecture. Passersby will presumably perceive the pressure and the weight of the color. Nonetheless, Richter’s often worked with bright colors, as well. Won’t chance passersby be disappointed by the grey?

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So trug er sich beständig grau, und weil die verschiedenen Teile seines Anzugs von verschiedenen Zeugen [Stoffen und Webstrukturen] und also auch Schattierungen waren, so konnte er tagelang daraufsinnen, wie er sich noch ein Grau mehr auf den Leib schaffen wollte, und war glücklich, wenn ihm das gelang und er uns beschämen konnte, die wir daran gezweifelt oder es für unmöglich erklärt hatten.

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His greatest pleasure was […] in pursuing some silly notion endlessly. Thus, he always wore grey, and because the various parts of his suit were comprised of different fabrics and, hence, gradations, he could muse for days about how he could procure yet another grey onto his body, and he was happy when he succeeded in doing so and thereby putting us to shame, we who had doubted him or declared the matter to be impossible. Upon which he would reprimand us on our lack of inventive spirit and belief in his talents.

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Show textShow cached sourceOpen source URL	Das Phänomen der Spiegelung zieht sich wie ein roter Faden durch Richters Gesamtwerk und ist ein zentraler Aspekt im Werk Acht Grau. Ein vergleichender Blick in die Kunstgeschichte verdeutlicht, in welcher Tradition Richters Spiegelmetaphern stehen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	The phenomenon of reflection recurs as a leitmotif throughout the body of Richter’s work; it also constitutes a central aspect of the piece ”Acht Grau” (”Eight Grey”). A comparative look at art history clarifies the tradition Richter’s mirror metaphors exist within.

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Ein unauffälliges Grau beherrschte auch den Büroalltag der Wiederaufbauphase: Graue Weste, graue Hose und graues Jackett, ein graues Kostüm für die Chefsekretärin und eine graue Limousine mit Kühlerstern für den Herrn aus der Vorstandsetage verbergen den wachsenden Wohlstand unter demonstrativen Zeichen der Unauffälligkeit.

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An inconspicuous grey also governed daily office life during the reconstruction period: a grey vest, grey pants, and a grey jacket, a grey outfit for the head secretary and a grey limousine with a star on the hood for the gentlemen of the board hid the growing wealth behind the demonstrative sign of discretion. Up until the triumph of Pop Art, color seemed increasingly banned from the palette, even in the visual arts.

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Grau resultiert selten aus einer simplen Mischung von Schwarz und Weiß, sondern basiert in der Regel auf einem paritätischen Anteil von Blau-, Rot-, Gelb- und Grüntönen, die je nach Mischungsverhältnis den spezifischen Grauwert bestimmen und dabei in der einen oder anderen Richtung modifizieren.

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Grey seldom consists in a simple mixture of black and white, but normally results from equal amounts of blue, red, yellow, and green whose respective blend determines the specific tone of grey, modifying it in one direction or another. This is what makes it a popular background, as it enhances and intensifies the brilliance of every other color. Because grey contains the full color spectrum, it always conveys an overall impression of harmony in which a colorful object can both dominate in space and become liberated from its isolation. A white wall never seems neutral, but enters into a deliberate contrast with the paintings hanging in front of it. On the other hand, grey unifies, creating gentle transitions. Artists have always been fascinated by this property and have been continually impelled to investigate it. Following the color orgies of the Fauves at the beginning of the 20th century, the paintings of early Cubism were monochrome, characterized by a subtle undertone of grey and brown pigments. In Guernica (1937), Picasso did without color entirely. Here, grey became the expressive means to convey the horror of the nocturnal scene, thus underscoring the narrow etymological connection between the German terms “grau” (grey) and “Grauen” (horror).

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Grau resultiert selten aus einer simplen Mischung von Schwarz und Weiß, sondern basiert in der Regel auf einem paritätischen Anteil von Blau-, Rot-, Gelb- und Grüntönen, die je nach Mischungsverhältnis den spezifischen Grauwert bestimmen und dabei in der einen oder anderen Richtung modifizieren.

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Grey seldom consists in a simple mixture of black and white, but normally results from equal amounts of blue, red, yellow, and green whose respective blend determines the specific tone of grey, modifying it in one direction or another. This is what makes it a popular background, as it enhances and intensifies the brilliance of every other color. Because grey contains the full color spectrum, it always conveys an overall impression of harmony in which a colorful object can both dominate in space and become liberated from its isolation. A white wall never seems neutral, but enters into a deliberate contrast with the paintings hanging in front of it. On the other hand, grey unifies, creating gentle transitions. Artists have always been fascinated by this property and have been continually impelled to investigate it. Following the color orgies of the Fauves at the beginning of the 20th century, the paintings of early Cubism were monochrome, characterized by a subtle undertone of grey and brown pigments. In Guernica (1937), Picasso did without color entirely. Here, grey became the expressive means to convey the horror of the nocturnal scene, thus underscoring the narrow etymological connection between the German terms “grau” (grey) and “Grauen” (horror).

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Sie erscheinen als vieldeutige Objekte an der Grenze zwischen Malerei, Skulptur und Architektur. Für Acht Grau wurde auf Wunsch Richters das undurchsichtige Glas der auf den Boulevard Unter den Linden öffnenden Fenster des Deutschen Guggenheim Berlin durch transparente Scheiben ersetzt.

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Using steel beams, the eight enameled sheets of glass have been mounted twenty inches from the wall. They appear as many-faceted objects on the boundary between painting, sculpture, and architecture. For Eight Grey, it was Richter’s wish to replace the translucent glass of the Deutsche Guggenheim on the side opening onto the boulevard Unter den Linden with transparent panes. Thus, the grey enameled sheets of glass not only reflect and incorporate the interior space and the visitors, but the world outside, as well.

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Richters Grau variiert durch den unterschiedlichen Duktus des Farbauftrags in vielfältiger Weise den Charakter der Oberfläche. Er erkundet so auf experimentellem Wege den phänomenalen Gegensatz von Lokalkolorit und Erscheinungsfarbe, die erst in der Reaktion des Betrachters zum Tragen kommt.

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Through a modulation in brushstroke, Richter’s grey diversifies the character of the painted surface in a number of ways. Thus, he experimentally explores the phenomenal opposite of local and apparent color, a fact which only becomes apparent in the viewer’s reaction. Certainly, “all cats are grey at night,” as the saying goes, yet the knowledge of the actual coloration of things has been impressed upon our minds irrevocably for once and for all. Seen by light, grey is for this reason never merely simply grey, but can be read as a color hidden beneath layers and veils.

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Richters Grau variiert durch den unterschiedlichen Duktus des Farbauftrags in vielfältiger Weise den Charakter der Oberfläche. Er erkundet so auf experimentellem Wege den phänomenalen Gegensatz von Lokalkolorit und Erscheinungsfarbe, die erst in der Reaktion des Betrachters zum Tragen kommt.

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Through a modulation in brushstroke, Richter’s grey diversifies the character of the painted surface in a number of ways. Thus, he experimentally explores the phenomenal opposite of local and apparent color, a fact which only becomes apparent in the viewer’s reaction. Certainly, “all cats are grey at night,” as the saying goes, yet the knowledge of the actual coloration of things has been impressed upon our minds irrevocably for once and for all. Seen by light, grey is for this reason never merely simply grey, but can be read as a color hidden beneath layers and veils.

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Show textShow cached sourceOpen source URL	"Doch erst in der Arbeit Acht Grau findet der Wechsel vom malerischen Objekt zur architektonischen Dimension tatsächlich statt, und er stellt uns vor die schwierige Frage, ob und wie monochrome Malerei und architekturale Raumdimension zu vermitteln seien." (Benjamin H.D. Buchloh).
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	In a similar manner, the mirrors of Eight Grey can also be tilted into various positions. ”Yet it is only in the work Eight Grey that the transition from painterly object to architectonic dimension actually takes place; it confronts us with a difficult question: whether and how monochrome painting and the architectural dimension of space can be communicated.” (Benjamin H.D. Buchloh).

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Show textShow cached sourceOpen source URL	>> Die Farbe Grau
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	>> The Color Grey

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Richters Grau variiert durch den unterschiedlichen Duktus des Farbauftrags in vielfältiger Weise den Charakter der Oberfläche. Er erkundet so auf experimentellem Wege den phänomenalen Gegensatz von Lokalkolorit und Erscheinungsfarbe, die erst in der Reaktion des Betrachters zum Tragen kommt.

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Through a modulation in brushstroke, Richter’s grey diversifies the character of the painted surface in a number of ways. Thus, he experimentally explores the phenomenal opposite of local and apparent color, a fact which only becomes apparent in the viewer’s reaction. Certainly, “all cats are grey at night,” as the saying goes, yet the knowledge of the actual coloration of things has been impressed upon our minds irrevocably for once and for all. Seen by light, grey is for this reason never merely simply grey, but can be read as a color hidden beneath layers and veils.

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Mit der Ausstellung Gerhard Richter: Acht Grau präsentiert das Deutsche Guggenheim Berlin vom 11. Oktober 2002 bis 5. Januar 2003 das achte und jüngste Auftragswerk, das eigens für die Kunsthalle Unter den Linden entstanden ist.

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With the exhibition Gerhard Richter: Eight Grey, the Deutsche Guggenheim Berlin will be presenting the eighth and most recent commissioned work made especially for the exhibition space at Unter den Linden. Following the much-acclaimed retrospective in New York’s Museum of Modern Art (now in San Francisco's MoMA) in the spring of this year celebrating Richter’s seventieth birthday, the exhibition in the Deutsche Guggenheim, which runs from October 11, 2002, to January 5, 2003 will now be paying tribute to the artist here in Germany.

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In dem Ausstellungsraum entsteht zwischen den großformatigen grauen Spiegelflächen und den realen Fenstern ein dialogisches Verhältnis. Nicht nur, dass die Fenster bei Dunkelheit selbst reflektieren, auch die acht grauen Flächen wirken wie Fenster, indem sie etwas zeigen, was sich außerhalb der Bildfläche befindet.

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In the exhibition space, a dialogue arises between the large-scale surfaces of the grey mirrors and the actual windows: not only because the windows themselves become reflective after dark, but also because the eight grey surfaces seem like windows in that they depict something existing outside their frame. Richter’s piece from 1967, 4 Sheets of Glass, can be cited here as a predecessor for Eight Grey.

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Show textShow cached sourceOpen source URL	In seinem jüngsten Werk Acht Grau wird ein Thema in Richters Oeuvre fortgesetzt, das bereits Mitte der sechziger Jahre mit Monochromien und Arbeiten auf Glas seinen Anfang nahm. Als Vorläufer kann die Installation 4 Glasscheiben aus dem Jahr 1967 gelten: Vier fensterartige Elemente modifizieren durch vertikale Rotation die Raumperspektive.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	In his most recent work Eight Grey, Richter once again takes up a theme of his oeuvre that already found its inception in the mid-sixties with the monochromes and works on glass. The 1967 installation 4 Panes of Glass could serve as a precursor: through a vertical rotation, four window-like elements modify spacial perspectives.

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Richters Grau variiert durch den unterschiedlichen Duktus des Farbauftrags in vielfältiger Weise den Charakter der Oberfläche. Er erkundet so auf experimentellem Wege den phänomenalen Gegensatz von Lokalkolorit und Erscheinungsfarbe, die erst in der Reaktion des Betrachters zum Tragen kommt.

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Through a modulation in brushstroke, Richter’s grey diversifies the character of the painted surface in a number of ways. Thus, he experimentally explores the phenomenal opposite of local and apparent color, a fact which only becomes apparent in the viewer’s reaction. Certainly, “all cats are grey at night,” as the saying goes, yet the knowledge of the actual coloration of things has been impressed upon our minds irrevocably for once and for all. Seen by light, grey is for this reason never merely simply grey, but can be read as a color hidden beneath layers and veils.