Seestück (1970). Gerhard Richter. Öl auf Leinwand.
A remembrance of coincidences...
Exhibit A: Gerhard Richter at Neue Nationalgalerie
I only recall the date because I turned a quarter of a century old and had a pressing urge to be alone – free from the bindings of time, sequence and others.
Somewhere standing in the midst of the abrupt slashes of colour and lines in Atelier (1985), the pulsating gray-scale waves in Seestück (1970) and the seemingly monolithic canvas in Grau, 349/2 (1973), which were hung from left to right respsectively, I felt the magic of idea gestation stirring from right to left.
Exhibit B: Watching Der Baader Meinhof Komplex
Some weeks (or days?) after, probably on a Sunday, I was saying to my flatmate that I'd never watched Tatort because handling the suspense/gore during a crime television show is not my best skill (as in I can't). Then, I shared my plan of watching Der Baader Meinhof Komplex later that evening to practice my German... she responded saying that the movie was a lot more violent/graphic than Tatort. Something along the lines of "Beware".
I watched it anyway (and cringed... a lot).