Guildenstern 1998

Curator: Let’s consider Gerhard Richter’s "Guildenstern" from 1998. He primarily used acrylic paint to produce this striking matter painting. What springs to mind for you on viewing it? Editor: Wow, intense. It looks like lava swirling into space. Like a chaotic genesis... Or maybe a high-fashion pizza topping? There is definitely drama happening here, in this confined square! Curator: The drama perhaps echoes something of the Hamlet character Guildenstern's own precarious existence. One could explore ideas of predetermination, agency, and existential absurdity that resonate within Richter's broader oeuvre and connects it with the theatre world. What is represented when something tips over the edge? Editor: Ooh, I like that! The tipping point. I'm suddenly feeling a bit anxious, like I'm watching something about to explode or dissolve, depending on its medium! I like its texture too – it looks kind of gloopy and inviting at the same time! How do you read into its more contemporary meaning? Curator: In recent theory, abstraction can signify refusal, a visual pushback against legible social constructs, especially when seen alongside his other works. Editor: Yeah, I can see that. There’s something so aggressively non-representational about it. It resists any easy meaning. Is that diamond shape relevant? Curator: Perhaps. The geometrical framing gives it the rigidity that provides counterpoint for the chaos happening within, and therefore invites conversations on order, freedom, control and non-conformity. Editor: Control within chaos – I’m vibing with that! Overall, this makes me think of how even the most abstract forms can trigger such primal, almost violent reactions! Curator: I agree. Looking back, this piece really underscores Richter’s capacity to challenge and disorient, forcing us to confront ambiguity. Editor: For me it is his willingness to make messiness the point and invite the unknown which I celebrate.