Tobias Köbsch

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*1977 Dresden
1999–2006 Hochschule für Kunst und Design Burg Giebichenstein Halle, master student Prof.Ute Pleuger
2005 Academia Nacional de Bellas Artes La Paz, Bolivien
Lives and works in Dresden

Grants / Scholarships

2012 Förderpreis der Merkel Collection
2008 Graduiertenstipendium des Landes Sachsen-Anhalt
2007 Projektstipendium der Kulturstiftung des Freistaates Sachsen
2005 Auslandsstipendium der Studienstiftung des Deutschen Volkes für La Paz, Bolivien
2004 1. Preis Saar Ferngas Förderpreis für Junge Kunst
2003 Studienstiftung des Deutschen Volkes

Solo exhibitions

2019 Spoiler 2 mit Sophia Schama, Evelyn Drewes | Galerie, Hamburg
2017 Falseflag, Neungörlitz, Görlitz
2015 S O G, Evelyn Drewes | Galerie, Hamburg
2013 Gletscher Ii, Maerzgalerie, Berlin
2012 Gletscher, Galerie Popartpirat, Hamburg
2011 Last Shelter Of God, Maerzgalerie, Berlin

Group exhibitions

2022 Elb/Hängung #1, Villa am Elbhang, Hamburg
2020 Smiley, Evelyn Drewes | Galerie, Hamburg
2019 Die Zukunft Ist Das Neue Ding, Kunststiftung Des Landes Sachsen-Anhalt, Halle (Saale)
Die Erfindung Der Zukunft, Japanisches Palais, Staatliche Kunstsammlungen Dresden
Check Your Head, C. Rockefeller Center For Contemporary Arts, Dresden
Ostrale 2019, Dresden
2018 Nachts Allein Im Atelier #5, Evelyn Drewes | Galerie, Hamburg
Vis À Vis, Barlach Halle K, Mit Evelyn Drewes | Galerie, Hamburg
Ostrale O18/O19, Valletta, Malta
Aphrodisiac, Evelyn Drewes | Galerie, Hamburg
Shred D‘ Art, Schau Fenster, Berlin
2017 Alrun, Orangerie Am Englischen Garten, Munich
Nachts Allein Im Atelier Iv, Evelyn Drewes | Galerie, Hamburg
2016 Nachts Allein Im Atelier Iii, Evelyn Drewes | Galerie, Hamburg
Error X, Ostrale, Dresden
Ostrale Weht Oder, Browar Mieszczanski, Warsaw, Poland
The German Collection, Neungörlitz, Görlitz
2015 Nachts Allein Im Atelier , Evelyn Drewes | Galerie, Hamburg
Ostrale O15, Dresden
Die Neue Sinnlichkeit In Der Zeitgenössischen Kunst, Kulturanker E.V., Magdeburg
2014 Pollux Capella, Zott Artspace Dolomites, St. Kassian, South Tyrol
Junge Kunst Ii, Sparkasse Karlsruhe Ettlingen, Karlsruhe
Portraits, Evelyn Drewes | Galerie, Berlin
2013 Salondergegenwart, Hamburg
Junge Positionen, mit Evelyn Drewes | Galerie, Offenbach
Monumental, 20. Leipziger Jahresausstellung, Leipzig
Galerie Baer All Star Cast, Galerie Baer, Dresden
2012 Punkt Ohne Wiederkehr, Kunstverein Wesseling
In Bester Form, Kunsthalle Der Sparkasse Leipzig, Leipzig
Spoiler, Maerzgalerie, Berlin
2011 Neuzugänge Zeitgenössischer Kunst Im Kunstfonds 2011, Vertretung Des Freistaates Sachsen Beim Bund, Berlin
Automobil, Kunstverein Erfurt, Erfurt
Win/Win, Ankäufe Der Kulturstiftung Des Freistaates Sachsen, B14, Leipzig
Welcome New Home, Maerzgalerie, Berlin
2010 Whitecube/Blackbox, Kunsthaus Dresden, Städtische Galerie Für Gegenwartskunst, Dresden
Ostrale10, Zentrum Für Zeitgenössische Kunst, Dresden
Grosse Kunstausstellung, Kunsthalle Villa Kobe, Halle
Maerzflimmern 99/09, Maerzgalerie, Leipzig
Jugendkulturellbildendekunst, Hypovereinbank, Halle

With his photographic or filmic visual aesthetics, Tobias Köbsch, like other generations of artists before him, plays with the principle of illusionism, the deceptive appearance of reality. Yet the technical brilliance of his painted or sculptured tableaus never aims at deceptive seduction into imaginary worlds, but rather at a critical snapshot of the current relationship between image and world consciousness. Unlike the media-reflexive painting of the 1970s and 1980s, Köbsch is not interested in the common representational character of photography, film, and canvas painting. Rather, he seeks to depict the aesthetic forms of coding, especially the emotionalizing quality of current sign production. 

A painted-on conflagration on the dreary facade of a house, messages on delimbed tree trunks, a flag with a pink eagle in dark groves, masked actors in an alpine landscape , saints or shamans of a seemingly unknown religion. Sacrificial animals. Pieces of sky. Pieces of rock. Sedimentary fragments.
The paintings and sculptures of Tobias Köbsch seem like the documentation of a mysterious event in belated witness. A glacier binds material over thousands of years and releases it into the valley like an avalanche during climatic changes. In this way, things suddenly come to the surface that had previously remained hidden.

Similar to a glacier melting, Tobias Köbsch creates a scenario with his works, which has become accessible after an indeterminable event, a mysterious phenomenon or a catastrophe.

This lives from subtle allusion and irritation. Irritation, however, is a preliminary stage of horror, which seems to be almost imperceptibly ironically broken in the works. They give the impression that one is dealing with found objects that have been carefully extracted and cataloged from an area that has been precisely mapped out. However, on closer inspection, they increasingly shed their apparent clarity and leave the viewer - thrown back on himself and alone - in the open field.


Tobias Köbsch | SOG

Exhibition catalogue
2014, 76 pages
Dr. Joachim Penzel, Revolver Publishing

Available through the gallery