NY -  Nov 01 (d)
 

Why Nov. 1? Do we need a specific answer, in order to "comprehend"? For Ute Haring, the scene is tied to that day. November 1. Which November? Who cares. Maybe November 1, 2001. The day the Twin Towers fell still too close to ignore that. The work contrasts figures that are represented by brown and blue forms with others that are  green, in the foreground. Both the cops (for they must be cops) on horseback (brown and blue) and the pedestrians (green) are placed  on a soil (an asphalt world, more probably?) that is opening up a deep distance. A foregound, and a distance: violet and of a pale sky-blue. There are more pedestrians walking away in the background, on the right. The walkers, in the foreground (the green ones), cross the work's space in both directions. Heading right and heading left. They do not seem to take notice of the cops. The cops do not take notice of them. Martial almost, in their appearance, they are not a threatening presence. Rather, a reassuring one. As one of them looks down, at his notebook perhaps, and the other looks at his comrade, they form an intimate couple. Comrades, colleagues, as I said. People who know they can depend on each other. People doing their job. A protective one.
Meanwhile, the green fence of the Central Park (or is it the small park at the Southern tip of Manhattan?) contrasts in the most obvious way, with steel structures, the iron skeleton of  a high rise building, the stairways serving as  fire escape routes.
A flaming inferno, in subdued colors, spells its own unforgotten spell, next to it.
The waves of the ocean sweep the streets, surging, clashing with the park, the buildings, like a foreboding of an unsuspected tsunami.
 

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