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A scandalous book for its time, it tells the story of two seemingly loving couples, and how these four people attract and repel one another as their relationships develop.

Being not only a writer, politician, “lover of style”, and so on, Goethe was also a natural scientist, and in it this novel he describes and explains the relationships of his characters by way of chemical mechanisms and reactions.

A third, smaller examination of Siegfried was created in 1976; done in a complex technique that also involves photography, in the forefront of the figurative work there is a naked Siegfried kneeling in the pose of a bound slave. The work on display in Riga, made in 1986, could be said to be putting an end to the unrest caused by the Siegfried saga.

In this case, the lead plate brings to mind associations with coffins – the kind in which soldiers are brought home from foreign wars, or with protective armor that shields dangerous and uncontrollable radiation.

I’ll give the benefit of the doubt to Depper, and that this piece, along with the 1988 work “Melancholia”, says something about Kiefer’s feelings and thoughts during the late 1980s, and yes – also in relation to his large solo show in the USA.

Simon Schama, a historian and admirer of Kiefer’s art, has written: “There is no doubt that Keifer’s impolite wish to play with fire has resulted in his being accused of arson.

Displayed in the recreated space (as executed by Martins Vizbulis and colleagues) are artworks by Georg Baselitz, Joseph Beuys, Hanne Darboven, Jörg Immendorff, Martin Kippenberger, Markus Lüpertz, A. Penck, Gerhard Richter, Rosemarie Trockel, and many, many other artists with mostly excellent bodies of work.

Each of the aforementioned artists have had either scholarly or popular books written about them (which also applies to many of the other artists featured in the exhibition), and their art has been exhibited in the world’s largest contemporary art museums.

Those acquainted with German literature will recognize this as also being the title of a novel by Goethe.Even if we don’t feel that way, we are; after all, even the first Latvian dictionaries (essential elements confirming thought) were put together by speakers of German, i.e., people belonging to the German sphere of culture.Nevertheless, let’s allow the “700 years of bondage” to remain a contribution to “Latvian-ness”. It has arisen from our shared traumatic experiences: both World Wars; Germany’s humiliation at Versailles after WWI; the Soviet occupation of Latvia before and after WWII; the bombing of Germany, its loss of nationhood, its split – then reunification; Latvia’s tragicomic wish to restore nationhood upon an ideal, between-war model that has long ceased to exist; our obsession with mourning protocol for flying the flag; and all sorts of other things.Another oil painting done in 1975, and with the same title, sold at London’s on 18 October, 2013, for £266,500.In that work, most of the painting consists of a deep darkness, but in the forefront there are what look like dancing flames and an Erlenmeyer flask. ), but further in the background, a monumental Brunhilde stands and watches his sufferings.

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