Power, corruption, lies
Archival Pigment print, 18 x 24 inches
edition of 10
November 9th. Admission from 4pm.
Visitors have 30 minutes from the stated time to enter the exhibitions.
Gerhard Richter's mid-1970's Colour Charts start from a relative premise: the impossibility of combining colours in a meaningful way.
Richter used a predetermined mathematical system to create 1.024 shades. Then randomly placed the colours in a grid of 4.096 squares, repeating each one four times.
Richter had settled in Dusseldorf since 1961, escaping East Germany. Together with Kongrad Lueg and Sigmar Polke, they played with the ideas of Capitalist Realism.
Outside, London is getting darker by the minute. As I stand next to you, looking at the grey paintings, the clouds hang low above St. Pauls.
Gerhard Richter wrote "Power, corruption, lies" as a slogan to their first exhibition in a store front window. Painting through a photograph. Capitalist Realism in painting.
Now it is early December, I have come to London again to see you for the last time. This time we visit the Victoria and Albert museum. Later, after the dinner at the italian, my lips are stained red from the wine. Its a long way back to Brixton from here. Yet we have another drink. My lips getting deeper and redder, violently stained red. Deep, dark, red wine roses.
He picks up a post-card from the Fantin Latour show in London. At the back, "Basket of roses" 1890. This will soon enough become the album sleeve cover for a vinyl record.
But the flowers are artificial now. They don't yield to my touch.
I lost you, I loved you. These flowers won't die.
You're gone. You left London mid-December. I am left with my loneliness and all I have are entry tickets, receipts, wine stained bills and this post-card.
On the reverse, "Power, Corruption, Lies." Album sleeve cover for New Order. Design by Peter Saville.(1983)