Mosch-Plakat, gestaltet von Lutz Dammbeck

The gallery as well as the artists’

group CLARA MOSCH existed

from 1977 to 1982.

The unconventional name was

derived from the last names of

the founding members. The artists

Carlfriedrich Claus (CL),

Thomas Ranft (RA),

Michael Morgner (MO) and

Gregor-Torsten Schade (SCH)

belonged to the group, Dagmar Ranft-Schinke joined later. All the

artists (except Schade) have studied in Leipzig before they returned

to their hometown Karl-Marx-Stadt (today Chemnitz), like 

Ranft-Schinke and Morgner, or moved there, like Thomas Ranft.

Claus already lived and worked in Annaberg and stayed there for the whole 

time of CLARA MOSCH.

 

The work range includes the ‘to visual poetry intensified

philosophic Utopias of Carlfriedrich Claus’ 1and the subject

of ‘Ecce Homo’, moving between suffering and withstanding to serve

humanity 2, as pursued by Gregor-Torsten Kozik and Michael

Morgner. In addition, Dagmar Ranft-Schinke’s ‘romantic

created another field of tension5

 

There are various explanations why CLARA MOSCH was formed in

Chemnitz. Martin Schmidt assumes that the group can be understood

as countermovement of the established national art scene.6

Because since around 1970 artists like Heisig and Tübke have long

been recognised in society although they were greatly discussed

before. Therefore, it is not surprising that Heisig, Mattheuer, Sitte and 

Tübke were represented at the Documenta 6 in Kassel in 1977, while

CLARA MOSCH was established in Chemnitz at the same time.7

The region had not yet defined in its art movements, a fact which

allowed artistic activities to test art. The artists of CLARA MOSCH

were searching for expression beyond linguistic explanation.

They ‘needed a place free of theories, ideologies and 

 

CLARA-MOSCH-Künstler


CLARA-MOSCH artists in the atelier of Carlfriedrich Claus in March

1981 (from left to right: Gregor-Torsten Schade, Thomas Ranft,

Carlfriedrich Claus, Dagmar Ranft, Michael Morgner)

 

According to Penndorf, it was not about inventing new styles, but

the group was a ‘temporarily union of great artists […] who

created, in the face of difficult circumstances, an artistic

environment in which they could live. In fact, it was

created at the same place where they decided to stay.'9


1 Penndorf, Jutta (1997): MOSCH-Recycling. In: Gunar Barthel und Galerie Oben (1997)

(ed.): Clara Mosch 1977 – 1982, Chemnitz; p. 12 – 15


2 cf. Ebenda

3 Ebenda


4 Ebenda


5 cf. Ebenda


6 Schmidt, Martin (2007): Clara Mosch und das „Kernexperiment Existenz“ – Ein Loblied

in vier Schritten. In: Lehr, Irene (2007) (ed.) Clara Mosch – 30 Jahre. Berlin; p. 5 – 12


7 cf. Ebenda


8 cf. Ebenda


9 Penndorf, Jutta (1997): MOSCH-Recycling. In: Gunar Barthel und Galerie Oben (1997)

(ed.): Clara Mosch 1977 – 1982. Chemnitz; p. 12 – 15