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When did you first use mirrors?
In 1981, I think, for the Kunsthalle in Düsseldorf. Before that I designed a mirror room for Kasper König's Westkunst show, but it was never built. All that exists is the design – four mirrors for one room.

Interview with Hans Ulrich Obrist, 1993 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 304


What attracted me about my mirrors was the idea of having nothing manipulated in them. A piece of bought mirror. Just hung there, without any addition, to operate immediately and directly. Even at the risk of being boring. Mere demonstration. The mirrors, and even more the Panes of Glass, were also certainly directed against Duchamp, against his Large Glass.

Interview with Hans Ulrich Obrist, 1993 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 304


Over the years, glass has become increasingly important in your work. In 1967 you made your first glass object, the 4 Scheiben [4 Panes of Glass] [CR 160]. What's the essence of your relationship to glass? You noted on a sketch: 'Glass – Symbol (see everything, understand nothing)'. The closest thing to the readymades are your mirrors. […] What do you see in the mirror?
Myself. But then I immediately see that it functions like a painting. Just more perfectly. And just like a painting, it shows something that isn't there – at least not there where we see it.

So the mirror would be the perfect artist?
Exactly.

Interview with Jan Thorn-Prikker, 2004 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 479


Going through the many interviews that you have given, I noticed that the topic of architecture is almost never mentioned, which is strange because architecture has played a central role in your exhibitions, and you have had many conversations with architects over the years. And then there is also the architecture of your house that you designed yourself. […]
Architecture was, or is, a kind of hobby, an inclination I have to fiddling around and building things. Putting up shelves or cupboards, or making tools, or designing houses … it always has a functional or social motivation. If social changes are in the air, I am gripped immediately by the desire to build, and I think that I accelerate or anticipate changes in my life by doing so, at least in draft. In the case of my house, that was anticipation: in other words, first build, then change one's life.

Interview with Hans Ulrich Obrist, November 2006 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 519, ( traduit de l'anglais par l'équipe éditoriale ).


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