Gerhard Richter. 18. Oktober 1977
Gerhard Richter: October 18, 1977
The Institute of Contemporary Art (ICA), Boston, USA
18 January 1991 - 18 March 1991
editThe painting Hanged depicts Gudrun Ensslin, a leading member of the Red Army Faction (RAF), that hanged herself on the bars of her cell in the prison Stuttgart-Stammheim. Gerhard Richter references a photograph that policemen took after discovering the body in the morning of 18th October 1977. The original is kept in the archives of the public prosecution department in Stuttgart[1].
Framed by a dark blanket that hangs on the left of the door to Ensslin’s cell and the white wall on the right side the centre of the image reveals a dark body that is set apart from the bright light emanating from the window. The legs can’t be distinguished well in the grey streaks, the body seams to float in the air. The painting appears heavily blurred compared to the original photograph but the brush strokes are less discernible in this work than in others, creating a balanced play of grey tones. Contrary to the paintings of the other dead terrorists (Man Shot Down 1 and 2 [CR: 669/1-2] and Dead 1 to 3 [CR: 667/1-3]), Richter does not use any jet-black colour in Hanged and the contrasts are less elaborate[2], reinforcing the overall haziness of the painting[3]. By using different levels of brightness like the dark fog at bottom left, the paintings balance is thrown off centre and a dramatic atmosphere is created. At the same time the chiaroscuro subtly steers the gaze of the viewer in a certain direction[4]. The blurring seems to gyrate around the centre of the image and thus focus the viewer’s gaze on the dead body. Compared to the photograph, the arms, shoulders and torso of Gudrun Ensslin face away from the window so her body is put on a level with someone hanged at the gallows[5]. The heavy amount of blurring brings to mind the edited photographs that can be found in Richter’s Atlas [Sheets: 470-479] already outlining his intentions for the cycle.
While working on October 18, 1977 Richter originally painted two versions of Hanged[6]. The second version was executed with stronger contrasts and appeared to be less blurred, pointing to a concept similar to the series depicting the dead Meinhof and Baader[7]. Before exhibiting the cycle for the first time Richter separated this painting from the others and painted over it, creating Blanket [CR: 680-3]. The title alludes to the blanket that is visible in both paintings. It was draped over Ensslin’s dead body when the police officers found her and was put to the site before taking the photo. Despite the overpainting parts of the blanket can still be seen in the upper left corner[8]. It also hinders the gaze of the viewer from falling directly on the dead body and thus operates against the implicit voyeurism which is emphasized by blurring all the details. The apparitional body seems to float in the room[9]. Just as in other paintings of the cycle Richter refuses to give in to the sensationalism lit by the media and returns to a more objective viewing of the RAF terrorists that is mainly characterised by sadness[10]. It almost seems as if Richter is trying to detract the image from the viewer completely by painting over the second version.
[1] Robert Storr (ed.), Gerhard Richter. October 18, 1977, The Museum of Modern Art, New York, 2000, p. 149.
[2] 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. 160.
[3] Cf. Uwe M. Schneede (ed.): Gerhard Richter. Bilder einer Epoche, exh. cat. Bucerius Kunst-Forum, Munich, 2011, p. 156.
[4] Martin Henatsch, Gerhard Richter – 18. Oktober 1977. Das verwischte Bild der Geschichte, Fischer, Frankfurt, 1998, p. 80.
[5] Storr 2000, pp. 108-109.
[6] Robert Storr talks of three versions of the painting but apparently refers to the translation of Richter’s notes for the press conference at Haus Esters in 1988 where it says: „Three times Ensslin, hanged… “ (Notes for a press conference November-December (held at Museum Haus Esters, Krefeld, February 1989), 1988 (translated by David Britt) in: Gerhard Richter. Text. Writings, Interviews and Letters 1961-2007. Thames & Hudson, London, 2009, p. 203.) The German edition of the text however (Cf. Notizen November (für die Pressekonferenz Februar 1989 – Museum Haus Esters, Krefeld), 1988 in: Gerhard Richter. Text 1961 bis 2007. Schriften, Interviews, Briefe, Verlag der Buchhandlung Walther König, Köln, 2008, p. 206.) only mentions two versions. As this is the original version of the text and Storr does not seem to have encountered a third painting (that is not mentioned in the Catalogue Raisonné as well) this text assumes there are only two versions.
[7] Another version can be seen on a photograph taken by Timm Rautert in Gerhard Richter’s studio. Cf. Schneede 2011, p. 156.
[8] Westheider 2011, p. 160.
[9] Ibid. 2011, p. 160.
[10] 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, pp. 167-168.
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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Exhibitions
On October 18, 1977, three young German radicals, members of the militant Baader-Meinhof group, were found dead in a Stuttgart prison; they were pronounced suicides, but many people suspected they had been murdered. ... |
Gerhard Richter. October 18, 1977 | Storr, Robert edit | 2000 | |||||||||||||||||||||
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Exhibitions
The catalogue Gerhard Richter. Übersicht accompanies the eponymous exhibition of the German Institut für Auslandsbeziehungen (IfA), which has been composed by Gerhard Richter himself. ... |
Gerhard Richter. Übersicht | Schwarz, Dieter / Zeller, Ursula / Adriani, Götz edit | 2000 | |||||||||||||||||||||
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Gerhard Richter, 18. Oktober 1977. Eine Kunst-Monographie | Hemken, Kai-Uwe edit | 1998 | |||||||||||||||||||||
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Exhibitions |
Gerhard Richter, Sigmar Polke, Arnulf Rainer. Sammlung Frieder Burda = Collection Frieder Burda | Poetter, Jochen / Brehm, Margrit / Möckel, Birgit edit | 1996 | |||||||||||||||||||||
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Gerhard Richter. 100 Bilder | Obrist, Hans Ulrich / Pelzer, Birgit / Tosatto, Guy edit | 1996 | |||||||||||||||||||||
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Gerhard Richter | Rainbird, Sean / Severne, Judith edit | 1991 | |||||||||||||||||||||
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Zu Richters Oktober-Bildern | Butin, Hubertus edit | 1991 | |||||||||||||||||||||
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Exhibitions |
Gerhard Richter 1988/89 | Schampers, Karel / Tilroe, Anna / Buchloh, Benjamin H. D. edit | 1989 | |||||||||||||||||||||
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Exhibitions |
Gerhard Richter: Atlas | Zweite, Armin edit | 1989 | |||||||||||||||||||||
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18. Oktober 1977 | Ammann, Jean-Christophe edit | 1989 |
This artwork is shown or mentioned in the following videos:
3 Exhibitions
1 Related publications
Title | Author | Date | ||||
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Gerhard Richter. 18. Oktober 1977 | Buchloh, Benjamin H. D. / Germer, Stefan / Storck, Gerhard / Thorn-Prikker, Jan / Blazwick, Iwona / Lingwood, James | 1989 |