Dit Coesebrink

*1968 Münster


big G, 2023, 1.55 x 1.45 m

big G I, 2023, 1.55 x 1.45 m


big G II, 2023, 1.55 x 1.45 m


backyard, 2015-2023, 180 x 2.00 m

the field, 2023, 1.50 x 1.40 m

T., 2020-2021, 1.60 x 1.40 m

the field I, 2023, 1.50 x 1.45 m

the land, 2021, 150 x 1.95 m

landscapes… flowers… sky

the green, 2022, 1.90 x 1.85 m

the green I, 2020, 1.90 x 1.85 m


1991 – 1999
Studium der Freien Kunst und Visuellen Kommunikation an der KhK Kassel
Preis der Fotografie der Zeitschrift „Max“, Hamburg
Illustration des Buches „ Allein gegen die Birke“, Jürgen Roth, Satzwerk Verlag, Göttingen
Buchumschlaggestaltung „Intercultural Mediation & Conflict Resolution“, Claude H.Mayer, Christian M. Boness, ibidem-Verlag, Münster
Fotowandinstallation des Stadtteilstudie „Das sind wir“ der Universität Göttingen bei Prof. Peter Alheit
Zahlreiche Arbeiten befinden sich in privaten und öffentlichen Sammlungen.

Einzelausstellungen ( Auswahl )

das erste, Künstlerhaus Göttingen
neue Bilder,Galerie Luna e Sol, Göttingen
Sehsucht, Künstlerhaus Göttingen
Bilderfolgen, Galerie Nachtfalter, Wittenberg
Neue Bilder, Zentrum für Raum und Akustik, Hamburg
Wilde Köpfe, Kunstsequenzen Künstlerhaus Göttingen
neue Bilder, Galerie LB, Kassel d, Galerie E, Göttingen
Gegensätze, Wilhelms-Galerie mit Klaus Dominik Müller, Kassel
over, Stadtgalerie Ahlen
P, Fibav, Königslutter
If you don ́t swing, don ́t ring, Galerie Alte Feuerwache, Göttingen
Galerie tricromia, Rom
perfect day, Künstlerhaus Göttingen

R, almost famous Galerie, Hamburg
Nowhere better than this place Heimvolkshochchule Mariaspring
the next five minutes , Galerie Project P, Hamburg
Raining Stones, Künstlerhaus Göttingen
M, ( mit Karoline Daussien, Wien ), Galerie das Magazin, Hamburg
sucker love, Galerie M6, Hamburg
N, Galerie M6, Hamburg
speak its name, Galerie M6, Hamburg
E, Künstlerhaus eins eins, Hamburg
R.H,D.C., Körber-Stiftung, Haus im Park, Hamburg
Drunk Palm, Galerie M6, Hamburg
Wicked Games ( mit Malte Seidel, Berlin ), Galerie M6, Hamburg
W mit Dorothee Mümmler und Rainer Heckel, Galerie M6, Hamburg

Gemeinschaftsausstellungen ( Auswahl )

Grobe Präsidenten, Aktionsgalerie, Berlin
Rundgang 1996, KhK, Kassel
Zeitgleich, Künstlerhaus Göttingen
20 Jahre Kulturzentrum Musa, Göttingen
Absolventen der HhK, HhK, Kassel
Till the end of the world: positions, Galerie Project P
Von Heute Sehen, BarlachHalle K, Hamburg
Kunst aktuell, Städtische Galerie Rosenheim, KV Rosenheim


2020-2023 bis heute

Verschiedene Projekte und Realisierungen

unter anderem:

Proj O1, Plakatwand, 2.52 x 3.56 m, Rosenheim

Ironically, that statement becomes quite clear when you look at the work of German artist Dit Coesebrink www.coesebrink.de. To me, his work is very mystical and conjures up faint images that seem real yet simultaneously elusive. They leave much to personal interpretation and that’s exactly the way Dit prefers it. Here’s our chat …
MICHAEL: Dit, To me, your work looks like both paintings and at the same time, drawings. The images are very faint and seem like shadows of people from far away. Did you want to do this?
DIT: I like to let both styles correspond with each other. The paintings seem to be unfinished similar to the canvasses of Gustav Klimt or Francis Bacon. Both artists use an empty raw canvas as an artistic medium and their figures and portraits are in a constant motion. My paintings can be described as an inter-stage between life in past and future. I mean a life with all secrets in that respect. The figures appear out of nothingness and in return disappear in the painted space. What happened
here can be seen as an equivalent to life itself, where people come and go as well.
MICHAEL: For that reason, some people may see your work as difficult. Do you think it’s difficult or challenging for people?
DIT: My paintings should be a challenge. Sometimes people believe they are difficult to understand, but that is actually what I like. Difficult issues are meant to be a challenge. I want to give mysticism and symbolism some space. Unanswered questions tempt me much more than clarity. Clarity is just an illusion. A challenging painting will linger on in the mind for a longer time than an easy one. I like to discover things.
MICHAEL: So which do you prefer … to construct or deconstruct? To build or to take apart?
DIT: Many paintings of mine emerge from a kind of intuition or an inner voice. Sometimes later, even years later after the paintings come into existence it becomes clear to me why I painted them. The process of creation is a slow one. It happens in a silent and self-referential way. But sometimes the paintings seem to be tough, although it was not my intention. It is always fascinating to hear something about the way people are thinking about my art, especially when it differs from my own view concerning my paintings. In my position as a painter, I construct a new form of reality, but in doing so, the reality is always under consideration. Thinking about intangible subjects, intuition and the intellectual process of balancing reasons and explaining them are central to my way of working. The reaction of the beholder is a new form of perception that does not
depend on my intentions.
MICHAEL: Where do you think your talent comes from? Do you come from an artistic family?
DIT: I cannot say something about the origin of my talent for sure. Actually I come from a solid middle class family with a vivid interest in art, politics and society. We often discussed classical music and art catalogues at home. Under that influence, I began to be creative at a very young age.
MICHAEL: What do you think of the contemporary art world today? Are you part of the art scene? How do you spread the word about your art?
DIT: The current art scene is very different. That makes it exciting, but also difficult. Today there are many directions of art and many ways of thinking and it is not easy to understand them. Unlike

some directions in contemporary art, I am a part of an art world where the artist is unique. The relationship between art and life is important. My life in particular, life in general and thinking about art are the key aspects of my artistic exploration. These processes should be very visible in my paintings and to present them in public should have a reason out of that activity.
MICHAEL: Finally Dit, What do you want people to see, think and feel when they look at your work?
DIT: In my opinion, art is something that is detached from the audience. That applies especially to the development of paintings. Later the beholder makes up his own mind about what he sees by reflecting his inner feelings and his experiences. The painting is a medium that brings up different associations. Similar to music, it evokes emotions and dreams or is an instrument of meditation. I think to be open to experiences is essential to understanding art. This mentality may positively influence people in their lives as well. They are not only open to art, but also to themselves. I have achieved much as a painter if I make those thoughts visible.
MICHAEL: Thanks Dit. This has been great.
DIT: Cool Michael. Very good! And thanks a lot!
Aus www.artbookguy.com Interview mit Michael. K. Corbin