Bruno Goller: Retrospektive 1922-1992
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Goller's Proximity to Surrealism and New Objectivity The history of painting in the 20th century has long been interpreted as a competition between schools and styles, overlooking how decisive outsiders can be for the development of art. Despite some parallels between his work and the art of Surrealism and New Objectivity, Bruno Goller also belongs to this group of unconventional mavericks. Born in Gummersbach in 1901 and residing in Düsseldorf since 1927, he spent over seventy years creating a magical world of images that, in contrast to the great contemporary trend of abstraction, is…mehr

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Goller's Proximity to Surrealism and New Objectivity The history of painting in the 20th century has long been interpreted as a competition between schools and styles, overlooking how decisive outsiders can be for the development of art. Despite some parallels between his work and the art of Surrealism and New Objectivity, Bruno Goller also belongs to this group of unconventional mavericks. Born in Gummersbach in 1901 and residing in Düsseldorf since 1927, he spent over seventy years creating a magical world of images that, in contrast to the great contemporary trend of abstraction, is characterized by a clear commitment to representationalism. We recognize houses, clocks, hats, roses, umbrellas, coats and, last but not least, women, who are generally depicted in a typified and strictly formalized manner. Although men occasionally appear in his paintings, it is women who are at the center of his art. In their idol-like presence, however, they are as difficult to grasp and interpret as all the objects they are surrounded by. What deeper meaning brings all the motifs in the picture together? Associative links between the pictorial inventory are certainly possible at certain points, but Goller's paintings decline to be clearly legible. Ultimately, they refuse to be grasped by the interpreter and it is precisely from this that they gain their radiance: the magic of the enigmatic. Exhibtion: Kunstmuseum Bonn, 19/9/2024 - 19/1/2025
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Autorenporträt
(1954, Dü sseldorf) Deputy Director and Curator of the Kunstmuseum Bonn, he has retired after 27 years in 2020. In 1992, Christoph Schreier began his work at the Kunstmuseum Bonn as head of the graphic art collection and curator for contemporary art, where he was appointed deputy director just four years later. Under Schreier's direction, numerous exhibition formats were created, here is just a small selection: 2018, Hans Hartung. Works 1962- 1989; 2017, Gerhard Richter. On Painting; 2016, Susanne Paesler. Works 1991- 2006; 2014, Andreas Schulze. Fog in the Living Room; 2012, David Reed. Heart of Glass; 2011, Rosemarie Trockel - Drawings, Collages and Book Designs; 1999, Philip Guston. Paintings 1947- 1979 and 1994, August Sander. There are no unexplained shadows in photography. After Schreier increasingly continued his existing work as an honorary professor of art history and art education at the Institute for Philosophical and Aesthetic Education at the Alanus University of Art and Design in Alfter, Stephan Berg was able to bring him back to the museum for the exhibition Bruno Goller. Retrospective 1922- 1992. (1901- 1998) was a German painter who was taught by the Dü sseldorf landscape painter Julius Jungheim from 1919 to 1921. Goller became a member of the Junges Rheinland artists' group in 1927 and joined the Rheingruppe in 1920. He survived National Socialism in internal emigration, but was drafted into the Wehrmacht from 1940 to 1945. In 1949/1950, he was appointed to the Dü sseldorf Art Academy, where he held a professorship for painting until 1964. Among his most prominent students were Konrad Fischer, Blinky Palermo and Konrad Klapheck. He participated in exhibitions, including documenta II in 1959, and exhibited at the Kunsthalle Dü sseldorf, Kunstmuseum Winterthur and the Kunstsammlung Nordrhein-Westfalen (retrospective). (1959, Freiburg) He grew up in Paris and London and studied German, English and history in Tü bingen, Berlin, Rome and Freiburg. He received his doctorate in 1989 with a dissertation on fantastic literature. Since the mid-1980s, Berg has been writing as a freelance journalist in the field of visual arts for the several dailies and magazines. Stephan Berg has been an honorary professor at the Braunschweig University of Art since 2004 and taught art theory and art history in Stuttgart, Freiburg and Hanover between 1995 and 2002. He has published numerous essays and catalogs on contemporary art. Berg is active on various boards and commissions, including as a member of the Federal Art Acquisition Commission. From 1990 to 2000 he was director of the Kunstverein Freiburg, and in 2001 he succeeded Eckhard Schneider as director of the Kunstverein Hannover until 2008. Since 2008, he has been director of the Kunstmuseum Bonn, where he has extended his contract until 2025. He has organized solo exhibitions and publications with many international artists, to name but a few: Gregory Crewdson, Mark Dion, Georg Herold, Peter Kogler, David Reed, Mathilde ter Heijne, Luc Tuymans, Kara Walker and Lois Weinberger.: (1954, Dü sseldorf) Deputy Director and Curator of the Kunstmuseum Bonn, he has retired after 27 years in 2020. In 1992, Christoph Schreier began his work at the Kunstmuseum Bonn as head of the graphic art collection and curator for contemporary art, where he was appointed deputy director just four years later. Under Schreier's direction, numerous exhibition formats were created, here is just a small selection: 2018, Hans Hartung. Works 1962- 1989; 2017, Gerhard Richter. On Painting; 2016, Susanne Paesler. Works 1991- 2006; 2014, Andreas Schulze. Fog in the Living Room; 2012, David Reed. Heart of Glass; 2011, Rosemarie Trockel - Drawings, Collages and Book Designs; 1999, Philip Guston. Paintings 1947- 1979 and 1994, August Sander. There are no unexplained shadows in photography. After Schreier increasingly continued his existing work as an honorary professor of art history and art education at the Insti