Six minimalistic paintings with the format 200 x 150 cm offer a dialogue between flickering nuances of white and the analytical clarity of filigree lattice structures: An aesthetic of a monochrome difference, a confrontation of geometrical essences. The untitled canvases show optically challenging systems next to sensitive surface-formations with a tendency towards a somatic perception. Jörres formulates a minimalistic reality. It gains its energy from the tension between calculation and contingency, between the visual dynamic of computer-generated templates and the haptical presence of the objects.
“In the recent black-and-white and white-in-white pictures […], [Jörres] […] has done away with the colorful graffiti-like wavy lines and additions in sans-serif typefaces. With their austere geometric formal vocabulary and the occasional sudden shift between line and surface, the works revolve around the question of how far the pictorial narrative can be silenced within the picture’s chosen aesthetic framework. Taken up by slightly offset more or less regular vertical and horizontal grid lines, the […] canvases […] —some of them are linked by formal correspondence—may be read as exercises in the elimination of language. […] ‘Surfacing in pre-War cubist painting and subsequently becoming ever more stringent and manifest, the grid announces, among other things, modern art’s will to silence, its hostility to literature, to narrative, to discourse.‘ (Rosalind Krauss: Die Originalität der Avantgarde, S.51). […] In the contemporary perspective, the selfreferential nature of Klaus Jörres’s paintings appears as a form not of isolation but of concentration. They are architectures in which the fragility of the rationalist spirit of the era flashes up, perhaps even allowing us to intuit the matrix that underlies it. The arbitrariness of the grids is open to modification. There are no hermetic systems, not meaningless grids and surfaces. To crack them open remains a task that artists face again and again.”
The above excerpts from the essay „Less Narrative, More Protocol“ by Berlin-based art critic Kito Nedo are featured in the full exhibition catalog currently available at the gallery.
Klaus Jörres (Düren 1973) has lived and worked in Berlin since 1999. He studied fine arts at the Berlin University of the Arts, where he graduated in Katharina Sieverding’s master class. Jörres’s work has been presented in numerous solo exhibitions, including at the Mönchehaus Museum of Modern Art, Goslar, and in several group shows such as “Conceptual Tendencies 1960s to Today II” at Daimler Contemporary, Berlin (2013), “MoDiMiDoFrSaSo” at VeneKlasen Werner, Berlin (2011), and “BERLIN2000” at the Pace Gallery, New York (2009).
DITTRICH & SCHLECHTRIEM is open Tuesday through Saturday from 11 am to 6 pm. During Gallery Weekend, the gallery will have extended opening hours from 11 am to 9 pm Friday, May 1st and from 11 am to 7 pm Saturday, May 3rd and Sunday, May 4th. Please contact Owen Reynolds Clements with press requests or for further information at owen(at)dittrich-schlechtriem.com.