The three paintings entitled Confrontation 1 to 3 [CR: 671/1-3] depict Gudrun Ensslin, a German terrorist of the Red Army Faction (RAF). The paintings are based on photographs that were taken after the detention of Ensslin on 7th June 1972 in the prison of Essen. The Heidelberg based photographer Franz Ruch had reproduced them, as other police photographs, for the magazine stern[1]. The label with the number 1 that Ensslin holds in her hands in the original photograph indicates that the subject is a police lineup. For the painterly execution Richter chose three of the four photographs and trimmed them heavily: While the photographs show full-body shots, the paintings focus on the head and upper body of Gudrun Ensslin and are executed approximately life-sized. Any information that could indicate the situation are completely obscured[2]. Richter himself described the paintings as “… neutral (almost like pop stars).“[3]
The affiliation of the paintings is made clear by the coherent formats and the similar painting technique but there are also differences. The first painting [CR: 671-1] appears to be the least distinct because the contrasts are less elaborate, and Richter’s characteristic blurring is more pronounced. The second painting [CR: 671-2] shows the smiling face of Ensslin, clearer than the first one. On the third image [CR: 671-3] Ensslin’s gaze is cast down, the black hair and the dark clothing appear more serious and sober than in the preceding paintings.
The sequential paintings, remindful of a film sequence, create a moving impression that is underlined by Richter’s blurring[4]. The immanent movement pushes the viewer into the position of a witness and it becomes clear that these paintings, stronger than any of the others, only reach their full potential as a series[5].
Especially on the first painting of the series the horizontal blurring recalls photographic motion blurs. Compared to other works in the cycle however the images appear to be more focused and use more contrasts, unlike the series showing the dead terrorists that become increasingly blurry. Thus, the not depicted suicide is alluded to without explicitly having to show it. The imagery suggests her impending death while simultaneously contradicting it by creating a movement and connection between the three paintings[6]. This is emphasized by the lighting that always comes from the right while the left side lies in shadows, effectively making Gudrun Ensslin move from dark to light[7]. Nonetheless, especially the last painting showing Ensslin with her bowed head gives an impression of hopelessness and hints at her fate that has already been decided and that she is walking to meet now[8].
The title not only refers to the circumstances of the police lineup but also hints at the confrontation between Ensslin and the viewer. Richter seeks a meeting of the observer and the human Gudrun Ensslin, not the terrorist and is therefore working to involve the viewer in the events. Ensslin appears to be open-minded and almost likeable reacting spontaneously to the people observing her. Knowing about her past (and future) creates a complex web of ambiguous feelings that Richter also acknowledged in an interview: “… at the time I had no sympathy for the ideas, or for the ideology that these people represented. I couldn’t understand, but I was still impressed. Like everyone, I was touched.”[9] This inherent fascination while still condemning the actions of the RAF can be perceived especially well in these three images. It becomes clear that contradictions and ambiguities are central parts of the human existence and that nobody, not even the viewer, stands above them. Rather the observer is invited to identify with Ensslin while examining the paintings and their intimate atmosphere, posing the question to what extent all of us would be capable of similar acts[10].
[1] Ortrud Westheider, “Eine Idee, die bis zum Tod geht. Der Zyklus 18. Oktober 1977“, in: Uwe M. Schneede (ed.), Gerhard Richter. Bilder einer Epoche, exh. cat. Bucerius Kunst-Forum, Munich, 2011, p. 159.
[2] Robert Storr (ed.), Gerhard Richter. October 18, 1977, The Museum of Modern Art, New York, 2000, pp. 106-107.
[3] Notes for a press conference, November-December (held at Museum Esters, Krefeld, February 1989), 1988 (translated by David Britt) in: Gerhard Richter. Text. Text, Writings and Letters 1961-2007, Thames & Hudson, London, 2009, p. 203.
[4] Storr 2000, p. 106.
[5] Kai-Uwe Hemken, Gerhard Richter 18. Oktober 1977, insel, Frankfurt/Leipzig, 1998, p. 68.
[6] Achim Borchardt-Hume, “’Dreh Dich nicht um’ – Richters Bilder aus den späten 1980er-Jahren“ in: Mark Godfrey, Nicholas Serota, Dorothée Brill, Camille Morineau (ed.), Gerhard Richter. Panorama, exh. cat. Neue Nationalgalerie Berlin, Munich, 2012, p. 170.
[7] Martin Henatsch, Gerhard Richter – 18. Oktober 1977. Das verwischte Bild der Geschichte, Fischer, Frankfurt, 1998, p. 76-77.
[8] Birgit Richard, Todesbilder. Kunst, Subkultur, Medien, Wilhelm Fink, Munich, 1995, p. 233.
[9] Interview with Gregorio Magnani, 1989 in: Gerhard Richter. Text. Writings, Interviews and Letters 1961-2007, Thames & Hudson, London, 2009, p. 221.
[10] Borchardt-Hume 2012, p. 170.
Notes prepared by editorial team
The Museum of Modern Art (MoMA), New York, USA
This artwork is based on an image included in Atlas:
This artwork was shown in the following exhibitions:
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