Eberhard Göschel

AI generated: The image shows an abstract artwork with a texture of horizontal and diagonal lines that create a striped, almost wave-like effect. The colour palette consists mainly of black, white and shades of grey.

"o. T. (formerly Tännchen)", 2013, oil on canvas, 180 × 145 cm | © Eberhardt Göschel

Eberhard Göschel plays an important role in Dresden's art history of the 20th and 21st centuries. Following in the tradition of a Dresden school of painters ranging from Gotthardt Kuehl to Bernhard Kretzschmar and Theodor Rosenhauer, in which Göschel joins as a legitimate continuator, the artist has developed a singular oeuvre over five decades of self-determined work that seems to have only one goal: that of concentration and condensation towards a quasi autonomous physicality of painting.

Considering that the artist's last solo show in a museum in Dresden was in 1994 (Staatliche Kunstsammlungen) and the last exhibition in Saxony (Kunstsammlungen Chemnitz) was almost ten years ago, it seems obsolete to put forward further arguments in favour of a Dresden exhibition of the artist's current works.Considering that the artist's last solo show in a museum in Dresden was in 1994 (Staatliche Kunstsammlungen) and the last exhibition in Saxony (Kunstsammlungen Chemnitz) was almost ten years ago, it seems obsolete to put forward further arguments in favour of a Dresden exhibition of the artist's current works.

The fact that the exhibition is taking place in the Leonhardi Museum is due to the programme of our museum as well as the long liaison that connects Göschel with this museum: his first solo exhibition took place here in 1975, and he showed current works here again in 1981. Moreover, Göschel was a member of the AG Leonhardi from 1975-1983 (1976-1979 also director), on whose work the reputation of our museum as an important venue for contemporary, non-conformist art was based during the GDR era.

"Eberhard Göschel's work manages without ironic reflections on politics and society; it has emerged solely from individual experiences and experiences of reality, nature and art. It refuses any narration and yet, in its history and context, can be read as a great life story of the artist. And it is about time and light, about how colours absorb light, how light can become heavy in time when it materialises, as it were, in colours. There is no spectrum in Göschel's colour theory, there is only a narrow, often broken scale between dark ochre and disappearing blue, vibrant white to a rich tonality of the non-colour black. (...)
The pictures have titles. They are called 'Endfassung', 'Streifenbild', 'Mondlicht', 'Schleierhaft' ... Painters often give their pictures titles that make them distinguishable. Others communicate what the viewer sees or should see and still others demonstrate the artist's educational background. It seems to be different with Göschel. His titles indulge in free associations, we can follow them or see something completely different. Landscapes, for example, plants and undergrowth, rubble or sparkling minerals. Organic and inorganic, phenomena of transition, sediments here too."

- MATTHIAS FLÜGGE - in the exhibition catalogue, 2013

Matthias Flügge spoke at the opening on Wednesday, 20 March at 8 pm.

The artist was present at the opening.