[Artist, b. 1932, Dresden, lives in Düsseldorf.]
Throwaway snapshots come closest to achieving the state of pure picture.
All photographs are far more important than any painting.
To make a photograph is already the first artificial act.
The photograph is the only picture that can truly convey information, even if it is technically faulty and the object can barely be identified. A painting of a murder is of no interest whatever; but a photograph of a murder fascinates everyone.
What counts isn’t being able to do a thing, it’s seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level.
The photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style.
Photography altered ways of seeing and thinking. Photographs were regarded as true, paintings as artificial. The painted picture was no longer credible; its representation froze into immobility, because it was not authentic but invented.
Photography has almost no reality; it is almost a hundred percent picture. And painting always has reality...