Hubertus Giebe

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Hubertus Giebe (born November 15, 1953 in Dohna ) is a German painter and graphic artist .

Life

Hubertus Giebe was born as the first son of the married couple Margarete and Reinhold Giebe. The family was far from Dohna located Schlottwitz resident. From 1969 to 1972 he completed an evening course in painting and graphics at the Dresden Academy of Fine Arts with Ursula Rzodeczko and Gerhard David. He then did military service from 1972 to 1974. In 1974 he became acquainted with Erwin and Eva Strittmatter , which resulted in an intensive friendship between artists, which resulted in joint works. From 1974 to 1976 Giebe studied painting and graphics at the Dresden University of Fine Arts. In 1976, Giebe was de-registered at his own request and worked with a “temporary work permit” as a freelance painter and graphic artist. In 1978 he completed his studies with an external diploma at the University of Graphics and Book Art in Leipzig . He then spent a year in Leipzig as a master student of Bernhard Heisig .

In 1980 he had his first important solo exhibition in the Comenius Gallery in Dresden. 1979 marked the beginning of his graphic work on the novel Die Blechtrommel by Günter Grass . From 1982 to 1986 he directed the basic artistic studies for painting and graphics at the Dresden University of Fine Arts together with Johannes Heisig . In 1987 Giebe was appointed lecturer for painting and graphics at the HfBK Dresden. In 1988 Giebe presented 40 etchings for a bibliophile publisher's edition of "Blechtrommel". On November 19, 1989, Giebe gave a speech for freedom of expression, democracy and political change at the demonstration of the Dresden artist associations in front of around 100,000 participants on Dresden's Theaterplatz . He campaigned for the political goals of the New Forum .

One of the traditions of the widely ramified Giebe family with solidarity is a fundamentally social-democratic attitude. In 1933 the grandfather, Willy Giebe, was arrested by the National Socialists because he had been active as a trade unionist and in the Social Democratic Party . At the beginning of 1945 the father deserted from the Wehrmacht during the first attack on the Oder. He was not released until late 1950 from Soviet captivity, during which he was working in a quarry near Kuybischew in what was then the Soviet Republic of Kazakhstan on the lower reaches of the Volga . Both facts occupy an important place in Hubertus Giebe's biography and point in a thematic direction. His work reveals an affinity for precisely those historical situations that, in the forms of left and right arbitrariness, sacrificed individuals to the inexorable power in the machinery of political history.

Hubertus Giebe lives and works in Dresden.

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The content-related focus of his pictures is fed by an intensely reflected preoccupation with history and that human individual fate that is subject to it: the vulnerable body, its early dimensions, its mass in space, that opulence that sucks in light and the twilight shadows of eternity draws and drifts through the grueling vicissitudes of history .

Hubertus Giebe's artistic career began under the same auspices of revolt as the West has known since 1968, but under incomparably more difficult circumstances than the 1968 and subsequent generations in the Federal Republic of Germany can imagine. Giebe has painstakingly acquired a great deal of art-historical, historical and philosophical knowledge in Dresden. Difficult because the city had no television broadcasts from the west until the satellite dishes were introduced. To do this, he traveled to eastern countries, where he was able to acquire, among other things, Carl Einstein's main work "The Art of the 20th Century". The de-registration and the external diploma speak for its inappropriateness in GDR times. One of his greatest intellectual adventures is his contact with Günter Grass, whose “tin drum” he illustrates. The correspondence between the two of them is observed by the Ministry of State Security as part of the secret mail and letter surveillance. Finally, his participation as a speaker at the Dresden protests, which put him and his family in danger.

When after the fall of the Wall, disorientation and carelessness in dealing with art set in, Giebe resigned from his position at the Academy in 1991. He travels a lot, looks at the major European and American museums, gets new impressions, expands his artistic means of expression, and now also works with plastic. Large-format bronzes are also created, analogous to his large “historical pictures”.

In 1990 Hubertus Giebe was invited to a solo exhibition at the 44th Venice Biennale with a picture and space installation of his subjects as a guest in the Italian pavilion, which was a great international success for him and in the same year led to a solo exhibition in the Raab Gallery in London .

At Giebe, one suspects anyway, nothing is harmless there ... the balance of bloody red and innocent white and dying green, of contours and shadows, of concreteness and abstraction. And this certainly belongs to all of his pictures: the precisely calculated use of his artistic instruments…. Structure instead of lyricism, geometric tension instead of noble color nuances. In this tension there is an existential seriousness and a compulsion to commit, which of course always remains fraught with risk, because the painter can be arrested. Giebe is not afraid of this disclosure and not the polarization around his person: Here I stand, I do not paint any differently! ... That too can be a message - it would not be so heartbroken.

The New National Gallery in Berlin took over in 2002, his painting "The resistance - for Peter Weiss ' from 1986 in its permanent exhibition" XX. Century ”.

In 2004 Giebe held a substitute professorship for painting at the University of Dortmund .

Awards

  • 1983 and 1985 1st main prize in the competition “100 selected graphics from the GDR” in Berlin
  • 1985 Main Prize of the 5th Triennial of Realistic Painting in Sofia
  • 1997 1st prize for Northwest Art Graphics '97 in Wilhelmshaven
  • 2008 Wilhelm Morgner Prize for Painting in Soest

Exhibitions

  • 1980 first important exhibition in the Galerie Comenius, Dresden
  • 1981 European Triennial of the Art of Etching , Grado, Italy
  • 1983 International Graphic Biennial, Ljubljana, Yugoslavia
  • 1985 Tradition and Renewal, Oxford, Coventry, Sheffield, The Barbican Gallery, London
  • 1986 Participation in the Intentional Contemporary Art Fair , London
  • 1986 Perspective II. Ludwig Collection , Oberhausen
  • 1988 Zeitvergleich '88, Galerie Brusberg Berlin and Foundation Henri Nannen , Emden
  • 1990 Solo exhibition at the 44th Venice Biennale
  • 1994/1995 “The German Double Eagle - Time Comparison 1” (with Wolfgang Petrick ), Galerie Brusberg, Berlin
  • 1996 Body images - images of people, paintings, drawings and sculptures from Saxony from 1945 to 1994, Dresden, Hygiene Museum
  • 1998 encounter with Oskar Kokoschka , Albertina and Gallery, Upper Belvedere , Vienna
  • 1989 “Art of the Last 10 Years”, Museum of Modern Art , Vienna.
  • 1992 turning points. East german art in revolution. Northern center of contemporary art, various exhibition locations in England
  • 1992 The Fantastic Works on Paper Show, Raab Gallery at Millbank, London.
  • 1993 SAGA - Salon de l'estampe at l'edition d'art à tirage limité, Paris
  • 1995 Chicago International Art Exposition '95 , Raab-Gallery, Chicago / USA
  • 1996 30. Art Cologne , at Galerie Döbele, Raab Galerie, Galerie Leo Coppi, Galerie Rössler, Galerie Weise, Cologne
  • 1997 “Portrait in the 20th Century”, group exhibition with Bacon, Baselitz, Hödicke, Lüpertz, Raab-Galerie, Berlin
  • 1999 Siegfried Seitz Collection, figurative painting from the last decade of the GDR
  • 1999 Germany EAST and Germany WEST. 10 years later - works of art before that, Frankfurt am Main
  • 2002 Knock sign - wall cracks - art and culture in the 80s in Germany, Leipzig, Bonn, Berlin
  • 2003 retrospective at the State Museum for Art and Cultural History, Oldenburg
  • 2006 graphic retrospective at the Heinrich Heine Institute, Düsseldorf
  • 2009 Historical Pictures, exhibition in the Palais in the Great Garden , Dresden.
  • 2012 Which king lived here. Nude drawings, Leipzig
  • 2013 Jordaens and the Modern Age, Kassel.
  • 2016–2017 "Schein & Chock" - Dresden City Gallery. Art exhibition from October 15, 2016 to January 8, 2017.
  • 2018 with Gerard van Smirren: "Tides. The density of the world". Museum Wilhelm Morgner, Soest. September 30, 2018 to November 25, 2018.

Writings (collaboration)

Works (selection)

  • Hand drawings, 1973–1993, Dresden, 1993
  • New pictures, 1990–1994, Dresden, 1994
  • Etchings and lithographs , Dresden, 1996
  • Historical images , Memorial, Hildesheim, Zurich, New York, 1999. ISBN 3-487-11017-2
  • About painting. Text on Beckmann, Hofer, Kokoschka and Expressionism. Self-published by Hubertus Giebe, Dresden, 2002
  • Files , Merlin Verlag , 2004 ISBN 978-3-87536-242-8
  • Hand drawings, Dresden, 2005
  • Sketch sheets, 1991–2006, Dresden, 2006
  • Historical pictures, Dresden, 2007, ISBN 978-3-00-021317-5
  • > Texts II <, Style as Destiny, Dresden, 2008
  • The polished ivory tower: contradictions and appreciations Leipziger Literaturverlag, 2010. ISBN 978-3-86660-096-6
  • Dresden Neustadt: Between Spring Street and Luther Church. Sandstone Communication, 2013. ISBN 978-3-95498-045-1
  • Margarete. My mother. Hand drawings from the sketchbooks 2009–2015. Sandstein Verlag Dresden, 2018. ISBN 3-95498-405-9

literature

  • Henry Schuhmann: News from young artists , in: Sunday 38/1980.
  • PJ historical images dramatically staged, in: Saxon Latest News from July 3, 1982
  • Hubertus Giebe, Dresden, XI. Art exhibition of the GDR, in: Pantheon, International Art Journal, Munich 1/1983
  • Beaumont, Mary Rose: Tradition and Renewal. Contemporary art in the GDR , in: Arts review from June 22, 1984
  • Christoph Tannert: The great work of art and the deleometer , in: Catalog Hubertus Giebe, Galerie Unter den Linden, Berlin 1985
  • Dieter Hoffmann: Müller, Grass and Giebe , in: Art in the Academy, Catalog, Academy of Sciences and Literature , Mainz, 1997
  • Jörg Makarinus: Hubertus Giebe. Monograph , Verlag der Kunst , Dresden 2003, ISBN 3-364-00618-0
  • Gerd Presler; Hubertus Giebe in the Landesmuseum Oldenburg, in: WELTKUNST 9/2003, p. 1906
  • Eckhart Gillen : Hostile Brothers? The Cold War and German Art , Berlin 2009, ISBN 978-3-89479-565-8
  • Dieter Hoffmann: Historical images by Hubertus Giebe , laudation for the exhibition in the Palais am Großer Garten, Dresden 2009
  • Dieter Hoffmann to Hubertus Giebe. Talk. Texts. Reviews. 1986-2009. Sandstein Verlag. Dresden, 2014. ISBN 978-3-95498-153-3
  • Schein & Chock. Dresden Municipal Gallery. Sandstein Verlag, Dresden, 2017. ISBN 978-3-95498-259-2

Web links

Individual evidence

  1. ↑ See Jörg Makarinus, Hubertus Giebe, Monograph, Dresden 2003, p. 73.
  2. ↑ Cf. Dieter Hoffmann, laudation for the exhibition "Geschichtsbilder" by Hubertus Giebe in the Palais Großer Garten, Dresden 2009.
personal data
SURNAME Giebe, Hubertus
BRIEF DESCRIPTION German painter and graphic artist
DATE OF BIRTH November 15, 1953
PLACE OF BIRTH Dohna