January 19 - March 16, 2022
KLAUS ZYLLA | The Clueless and the Restless
DIE GALERIE, Frankfurt on the Main

Under the title The Clueless and the Restless, DIE GALERIE presents the latest creations of the artist Klaus Zylla (*1953) in a sparkling solo exhibition.

Deeply inspired by contemporary events, the painter observes, with his characteristic skepticism and irony, a humankind that appears to have lost part of its human character. As a result, Zylla‘s paintings are populated by grotesque, rather surreal hybrid creatures with zoomorphic features, whose anatomy sometimes feels like an experimental arrangement of human, animal, and occasionally even mechanical parts. In his current works, the artist takes a close look at a whole spectrum of human emotions and moods: anxieties, doubts and insecurities come to light and unmask our vulnerability – both the physical and the psychological one. The turmoil and social difficulties of the Covid-19 pandemic in particular served as a source of inspiration for Klaus Zylla and recur in various shapes in his paintings. Some of them, such as Supersprayer, still reveal a snappy attitude, yet there is much more than mere satire in Zylla‘s depictions. With works like Ob Wissenschaft, ob Glaube... (Whether Science, Whether Faith...) he refers to a thorny dilemma of our time and simultaneously raises the question: „What can we – what do we want to – rely on?“. In his brightly coloured dreamscapes, the artist paints a caricaturistically exaggerated, yet extremely accurate picture of our society with its many facets and the marvellous complexity of its psyche. Aren‘t we all one of the „Clueless and the Restless“ from the exhibition title?


Visit here the 3D exhibition

KLAUS ZYLLA | The Clueless and the Restless


Highlight of the month

Roberto Matta
Oil on canvas
102 x 93,8 cm

The painting L'Inentrevu was created in the mid-1950s and is an outstanding example of the Chilean artist's distinctive style. In the center is a totem-like figure in rust-brown color, which with sweeping gestures of elongated arms fends off something unspecific. She is skillfully placed in the picture diagonal, opposite her three structures marked in red-blue-light-yellow, reminiscent of boomerangs or insects, obviously flying or floating, not really delineated from the spatial structures of the surroundings. The environment, foreground and background of the scene is marked by a kind of scaffolding that suggests the three-dimensionality of space.

Beyond that and affected by the ideas of non-Euclidian geometry, Matta tried to give shape to the structures built in his mind, to create space beyond the visible, conventional perspective. His idea was that the fourth dimension adds to the third dimension the feeling of space, of motion, and of time that is essential for one to realize the constant and irreversible process of change in the world, where every new moment is different from the previous one.