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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part of the images are blurry, so Richter is not painting photographs, but that he is building images, from photography and through painting. The richness of his artistic process is his position between photography and painting, between figuration and abstraction, between the subjective and the collective. Richter creates an extensive and varied register of different types of images, which are part of our everyday universe. Richter build those images on painting them or on collecting them, creating a simulated reality, a vast and aesthetic archive where we can find ourselves reflected, interrogated, seduced. The archive of images by Gerhard Richter invites us, in fact, to ask ourselves about our relationship with the world and with its representations.

Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter