Bruno Goller: Retrospektive 1922-1992

Gollers Nähe zu Surrealismus und Neuer Sachlichkeit Lange ist die Malereigeschichte des 20. Jahrhunderts als Konkurrenzkampf von Schulen und Stilen gedeutet und dabei übersehen worden, wie bestimmend gerade die Außenseiter für die Entwicklung der Kunst sein können. Zur Gruppe dieser eigenwilligen Einzelgänger ­gehört - trotz mancher Parallelen, die sein ­Schaffen zur Kunst des Surrea­lismus und zur neuen Sachlichkeit aufweist - auch Bruno ­Goller. 1901 in Gummers­bach geboren und seit 1927 dauerhaft in Düsseldorf ansässig, entfaltete er in über siebzig Schaffens­­jahren eine ­magische Bildwelt, die, im Kontrast zur großen Zeitströmung der Abstraktion, von einem klaren Bekenntnis zur Gegenständlichkeit geprägt ist. Wir erkennen ­Häuser, Uhren, Hüte, Rosen, Schirme, Mäntel und, nicht zuletzt, Frauen, die in aller Regel typisiert und streng formalisiert wiedergegeben werden. Wenn auch gelegentlich Männer in seinen Gemälden auftauchen, so sind es doch die Frauen, die im Zentrum seiner Kunst stehen. In ihrer idolhaften Präsenz sind sie jedoch so wenig greifbar und ausdeutbar wie all die Gegenstände von denen sie umgeben sind. Welche tiefere ­Bedeutung führt all die Dinge im Bild zusammen? ­Sicher sind asso­ziative Verknüpfungen des Bild­inventars punktuell möglich, doch sperren sich Gollers Gemälde gegen eine eindeutige Lesbarkeit. Sie verweigern sich letzten Endes dem Zugriff der Interpret*innen und gewinnen gerade daraus ihre Strahlkraft: die Magie des Rätselhaften. Ausstellung:
Kunstmuseum Bonn, 19/9/2024 - 19/1/2025

(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. (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. (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.: (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. (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.