This issue contains:
>> Interview with Benjamin Buchloh
>> Eight Grey - an introduction
>> Gerhard Richter in the Collection of the Deutsche Bank
>> Installation
>> The Lunch Lectures at Deutsche Guggenheim
>> Richter’s Mirror Metaphors in an Art Historical Context
In our archives:
>> Karin Sander - wordsearch

How the mirrors wound up on the wall:
on the installation of Gerhard Richter’s "Eight Grey".




 
  

 

Monday, October 6, four days before the exhibition opening: at 6 AM on the dot, the transport crates containing the eight grey enameled mirrors arrive, over sixteen feet high each. A crane loads them onto the street. They don’t fit through the door, and the crane kicks back into action, hauling the huge crates onto a hydraulic lift, where they’re secured at a special angle.



 
  

 

Now the workers can roll the wagon through the door and into the Deutsche Guggenheim. At 11 AM, the eight mirrors are standing in the exhibition space. Weight: one ton of pure glass, manufactured by Verroplan Engineering.

Here, they’re unpacked and cleaned. Previously, metal frames were let into the wall of the exhibition space; corresponding metal parts that screw into the wall frames are attached to the reverse sides of the eight mirrors. The crane kicks into action once again. Five suction cups are attached to its arm and grip the mirrors, lifting them until they fit into the frames on the wall.



 
  

 

The various tilts are made possible by the screws connecting both sides of the metal frame and can be adjusted in various ways: thus, the precise degree of the angle that Gerhard Richter established for each mirror can be fixed. On Tuesday, 5:30 PM, all of the mirrors are hanging on the wall.

Construction drawings on the installation and the mirrors can be found in the exhibition catalogue.

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