Without doubt Jörg Immendorff is one of the internationally most renowned and known German artists of the postwar period. Since the late sixties, the Düsseldorf-based artist continuously has been dealing with the political claims and contemporary possibilities of history painting. In large-scale cycles of painting such as the „Café Deutschland“ series from the mid-eighties, Immendorff repeatedly reacted to political everyday events and linked them to German history and the tradition of a politically engaged practice of painting in affluent allegorical tableaus. In these works he also always reflected on his own role and practice as an artist, for instance when self-portraits entered the space of his canvases. At the moment, the Neue Nationalgalerie Berlin is devoting a comprehensive survey of his oeuvre. Suffering from a rare muscle disease, Immendorff by now cannot paint with his own hands anymore, yet remains present as an artist and active with the help of his assistants. Coinciding with his museum retrospective, he opened the exhibition "High Plains Drifter" at Berlin gallery Contemporary Fine Arts this fall that consisted of new paintings. For "Texte zur Kunst" Jörg Immendorff has conceived a silkscreen print of one of the paintings presented in that gallery show. Against a black backdrop, on which one reads the hardly discernable writing of the name „Hitler“, there is a urine bottled contained in a metal grid structure, imprisoning a man who seems to contact the beholder by way of a shy gestures with his right hand. Additonally, the contours of a skeleton emerge behind the figure – this work can thus be regarded as both a confrontation with the horror of German history and with the individual fear of illness, death and mortality.