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Vienna’s city center can now be crossed on a kind of crown art tangent. However, this does not bring great shocks.
In the late 1960s, when painting had to be political in order not to be declared dead, Gerhard Richter enthusiastically began painting landscapes. There are no ideologically mined areas like dead fields, capitalist construction sites, cleared rainforests. But rain-soaked meadows, fog-covered lakes, a sunset. A rainbow.
One of the various interpretations of this apparently paradoxical intervention by the painter, on whose paintings all eyes were already directed at that moment, is called: Rejection. Romance instead of politics, recourse instead of attack. “I suddenly wanted to paint something beautiful,” he added.
What does that have to do with us? Except these Richter landscapes will soon be on display at the BA Art Forum? With the avalanche of images of masked people and desolate stares from the windows. The new genre is called crown art and it is largely flat, serious, and overwhelmingly correct and lacking in irony.
