2001–2002 Hedwig Eberle spends in Chicago. Merely one year later, back in Germany, she is “in search of a new professor again” whom she eventually finds in Sean Scully at the Munich academy.

In Munich she sums up, renders, and specifies these experiences: the profound German Informell and the 'plane' America, the Berlin rigour of the early 60s and the inflammatory follies of Asger Jorn or Gruppe Spur, Klee, Kandinsky, or Jawlensky’s transposition of the real into pure colour and the colour-animated inner worlds of Scully or Günther Förg.

In 2010 this causes some sheets and small panels, quite gentle and intimate, close to the drawing hand. It seems to present a space with a perspective grid upon which an accumulation of unidentifiable things towers. The longer you watch these vivid strokes or look out for something recognisable, the clearer it gets that all which appears is nothing more than an array of gestures Hedwig Eberle aches to combine and unify. Harshly, the linear bundles set themselves apart from the planar and geometric grid. The peculiar volume consists of quivering lines, yet its corporeal constitution already alludes to the interspersing collision between abstraction and figuration.

Furthermore, the image-fields come not in one piece but are assembled from several, mutually adhered sheets. The fluid watercolour pours into the interstices and thickens in the grooves, whereupon the paper bends itself forming a grid-like structure after having dried up. This grid establishes a subtle geometric order which forms the basis of the paperwork’s frenzy of colours just as the notation system with its heights and depths, caesurae and intervals does in music. Hedwig Eberle combines this orderly support with her gestural outbreaks. Calmness and dynamics fall into one. The rigid linear scaffolding and the loose stimuli enhance each other reciprocally, for “structure without life is dead and life without structure is unperceivable”, as John Cage aptly put it. The picture’s geometry is the carrying pulse upon which the tones of colour can unfold themselves in the first place.

Moreover, the strokes of colour as counter-poles to the rational grid are human gestures that inscribe themselves into the non-objective pictorial order as the hand’s traces or immaterial sensations and experiences. Sometimes even as literal body-fragments reminding of magazine or fashion photographs. Bodies in most diverse situations and poises.

Text by Christian Malycha, from: Hedwig Eberle, exhibition catalogue Kunstverein Reutlingen, ed. Christian Malycha, Wasmuth Publishers, Tübingen / Berlin 2016



High Noon

Like It Is

Kunstverein Reutlingen

Stay Tuned


Drawings II


Hedwig Eberle, Georg Fuchssteiner

Drawings I



geb. in München

lebt und arbeitet am Staffelsee


Universität der Künste, Berlin (Dr. Marwan)


Akademie der Bildenden Künste, München (Sean Scully)


Auslandsstipendium UIC, Chicago


Cité Internationale des Arts, Paris


Bayerischer Kunstförderpreis


Kunstpreis der Akademie der Schönen Künste, München

Selected Solo Shows


high noon – Jahn und Jahn, Lisboa

Feelings – Jahn und Jahn, Munich


stay tuned (with Georg Fuchssteiner) – Bayerische Akademie der Schönen Künste, Munich


Hedwig Eberle. Malerei – Galerie Markt Bruckmühl, Bruckmühl (with Katharina von Werz)


In den Kabinetten. Hedwig Eberle – Galerie Klaus Gerrit Friese, Berlin, in collaboration with Matthias Jahn

Neue Arbeiten auf Papier – Showroom Jahn und Jahn, Munich


Part #3 (with Sophie von Hellermann) – Warhus Rittershaus, Cologne

Kunstverein Reutlingen, Reutlingen


Hedwig Eberle – Corbett vs. Dempsey, Chicago

Vitamin C – Galerie Jahn Baaderstrasse, Munich


Fenster – ph-projects, Produzentengalerie, Berlin


Like it is. Paris Portraits – Corbett vs. Dempsey, Chicago

Within – Galerie Jahn Baaderstrasse, Munich

High Time – Galerie Jahn Baaderstrasse, Munich

Selected Group Shows


Das Gelbe Licht 6 Uhr Nachmittags: Remembering, envisioning, sensing landscape — Max Hetzler, Berlin

Inhaling Painting, Exhaling Imagination: The Munich Breath — Andreas Breunig, Hedwig Eberle, Jana Schröder —Jahn und Jahn, Munich

Ungekämmte Bilder. Kunst ab 1960 aus der Sammlung Herzog Franz von Bayern – Pinakothek der Moderne, Munich


post-un – Zeppelinstr. 51, Munich


Your Mask (Part III: Don’t Forget Your Mask) – Jahn und Jahn, Munich Hedwig Eberle x Tahnee Godt – PS 2, Frizz23, Berlin


Open Studios – Auenstraße, Munich


40+10+1 – Jahn und Jahn, Munich

Deutschland ist keine Insel – Bundeskunsthalle, Bonn


Axel Pairon Gallery, Knokke – Het Zoute

Favoriten III – Neue Kunst aus München, Lenbachhaus, Munich

Non Figuration – un regain d’intérêt? Centre d’art, Meymac

Aus der Mitte entspringt ein Kreis – Kunstarkaden Munich

Künstler der Galerie. Bildnis und Figur – Galerie Fred Jahn, Munich


small sized – Atelieräume i.d. Auenstraße, Munich

Jahresgaben – Kunstverein München, Munich

Wies is (with Georg Fuchssteiner) – Städt. Galerie Cordonhaus, Cham

Sammlung Kunst nach 45, Lenbachhaus München, Munich

Palazzo Collapso – Hofgartenstraße 6A, Munich

Gastspiel – Schönewald Fine Arts, Düsseldorf

Bayerischer Kunstförderpreis 2014 – BBK München, Munich


Jahresgaben – Kunstraum, Munich

O.N.P.A.P.E.R. – Galerie Fred Jahn, Munich

Salon der Gegenwart, Hamburg

Taylor Wessing, Munich

Wo ist hier? #:. Malerei und Gegenwart – Kunstverein Reutlingen, Reutlingen

Es ist schon alles gesagt, nur noch nicht von allen III – Galerie Jahn Baaderstrasse, Munich


Wonderful Days – Phantom Projects Contemporary Marigny le Chatel

Kunst nach 45 – Lenbachhaus / Kunstbau, Munich

Das allerletzte Prof. Winkler Stipendium – Kunstverein Weiden, Weiden

MMMHCI – Produzentengalerie, Hamburg


MMMHCI – Galerie Jahn Baaderstrasse, Munich

Editionen – Prince of Wales, Munich

Edition Karbit 2012 – Neue Galerie, Landshut

Edition Karbit 2012 – Atelier Hefele / Hottner, Munich

Opossum – Prince of Wales, Munich

EXPO CHICAGO 2012 – Corbett vs. Dempsey, Chicago

Auf Papier – Produzentengalerie, Hamburg

Café Grano – Artothek & Bildersaal, Munich


Editionen – Prince of Wales, Munich

Edition Karbit – Atelier Hefele / Hottner, Munich

Panorama in Arquà Petrarca via Aganoor 75 curated by Giampaolo Babetto, Fred Jahn, Matthias Jahn, Padova

Perverted Minimalism Nr. 3 (with C. Djabbari, A. Friedel, F. Kaßner) – Woodmill Gallery, London

Ich dachte, man darf alles, theatrical set design (with Anna Mc Carthy) – Maximiliansforum, Munich

Es ist schon alles gesagt, nur noch nicht von allen – Galerie Jahn Baaderstrasse, Munich


Group Show compiled by Sebastian Dacey – Knust x Kunz, Munich

Komm, wir gehen – Galerie Jahn Baaderstrasse, Munich

Violence & Beauty (with Anna McCarthy) – Galerie Gebrüder, Munich

Elegant wie Birnen und Kaffee – Galerie Seiler, Munich

Perverted Minimalism Nr. 2 (with C. Djabbari, A. Friedel, F. Kaßner, Atelier Anna Friedel) – Düsseldorf

Deutschlandpede – The Forgotten Bar, Berlin

Kiss of Life – Glue Factory, Glasgow