Commission from Rita Ficher and Galerie Ficher-Rohr for the Vernissage of Gerhard Richter and Eduardo Ventura  When Rita Ficher-Rohr surprisingly invited me to compose a piece relating to the grey paintings of Gerhard Richter (1973) and the works of Eduardo Ventura, I was in a state of exhaustion. Not least the finishing of my clarinet concert Doppelgänger had cost me a great deal of effort, and I hesitated to accept the commission. On the other hand, I have always admired the many-facetted work of Richter, so I could hardly say no. One difficulty was reacting with music, which takes

A Photofilm Japan/Deutschland 2001 30 Min. D/E/F/PRT/JAP/d. Farbe. Digital HD Regie: Betty Leirner Betty LeirnerThe essential ambiguity of language It is timely to cast a glance over Betty Leirner pioneering work particularly when artisticconvergence is such a topical debate. The artist’s photographs, films and photofilms are precisely set along this frontier where it is hard to percieve the differences between the related forms of expressions she uses. On one hand, Betty Leirner’s cine-videographic work dialogues with photography; Lovers is identified in the credits as a ‘photofilm’. On the other hand her films dialogue with poetry, and could therefore also be

Translation from German by J.W. Gabriel Rita: Do you take photographs unconsciously or do you rely on some concept? Karl: Unconsciously, intuitively. I rely on a certain suspicion which I cannot put a name to and wouldn’t want to name. Places have always appealed to me, ever since childhood, a little corner of the garden, say. Later my field of vision expanded, which is why I have always liked landscapes. This grew stronger when, at age eleven, I saw books on Impressionism at a neighbor’s house and had to look at them again and again until she bought me