Georg Baselitz

Michael Werner Kunsthandel | Cologne

What is painting after? Memory and organization. To dissolve, to constitute itself. To do something vicariously for others or for itself? To capture a special kind of reminiscence—personal history, time spent with painting, the resulting disillusionment because painting as the trace of genius is all that remains.

Georg Baselitz’s new work is both monumental and light at the same time. It fills an entire room, but is neither massive nor monolithic. Instead, it is decentralized in a series of 20 individual components that form a continuous strip of pictures. In the catalogue, Siegfried Gohr calls this a “cycle . . . an orbiting around an object,” because “representation, that is, the symbol as the impossible and therefore illicit reconciliation of opposites, must be destroyed,” and a potential “shining of the origin of the picture” sought. In this single work entitled 45, 1989—a series of

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