Raimer Jochims

02 March – 14 April 2012

Gallery 2

Noah III, 1999-2003, 105 x 84 cm - 41.3 x 33.1 in., Acryl auf Spanplatte - Acrylic on chipboard
Noah III, 1999-2003, 105 x 84 cm - 41.3 x 33.1 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>beide</i>, 1973, 60 x 60 cm - 23.6 x 23.6 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>Es</i>, 1974, 27 x 27 cm - 10.6 x 10.6 in., Öl auf Karton auf Holz - Oil on cardboard on wood
  • <i>Es</i>, 1974, 18 x 18 cm - 7.1 x 7.1 in., Öl auf Karton auf Holz - Oil on cardboard on wood
  • <i>Es</i>, 1974, 12 x 12 cm - 4.7 x 4.7 in., Öl auf Karton auf Holz - Oil on cardboard on wood
  • <i>Licht</i>, 1974-1979, 24 x 24 x 24 cm - 9.4 x 9.4 x 9.4 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>Limoges</i>, 2011, 43,5 x 51 cm - 17.1 x 20.1 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>Sevilla II</i>, 2005-2006, 96 x 72 cm - 37.8 x 28.3 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>Arabic III</i>, 2010, 84 x 60 cm - 33 x 23.6 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>Segesta II</i>, 2004, 114 x 111 cm - 44.9 x 43.7 in., Acryl auf Spanplatte - Acrylic on chipboard
  • <i>Constable II</i>, 1999-2000, 54 x 97 cm - 21.3 x 38.2 in., Acryl auf Spanplatte - Acrylic on chipboard
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view
  • Installationsansicht - installation view

Raimer Jochims (b. 1935 in Kiel, Germany) has been practicing conceptual art since 1961. In his work he steadily pursued a new approach to his artistic identity. He ranks among the most outstanding abstract painters in Germany, with his series of paintings of shifting color shades, black paintings and objects from the 1960s and early 1970s attracting a lot of attention. In spite of Jochims’ references to the prevailing trends of the time, such as Monochrome painting and Op Art, he always made a point for his works not being part of a movement or fashion but as integral components of his life in its entirety. This understanding led him in 1973 to the creation of organically shaped pictures made of fractured chipboards and stone objects. The artist has been consistently pursuing his concept to this day, even if this meant for him to be in discrepancy to the prevailing tastes. This exhibition, in times of economic, ecological and ideological crisis lends itself to take a refreshed look at his œuvre as it has not forfeited any relevance to this day.



‘My work expresses a new attitude to life: the end of a society of overabundance and wastefulness and the end of the illusion of ‘progress’. One does not like to be reminded. But instead: Poverty, thrift, simplicity, exactitude of means, a shift from reason to feeling, to body and spirit. Strengthening of instinct and nature without escaping to pre-industrial consciousness.’ R. J. 25.2.78 (p. 30)



‘The global enforcement of the modern and the formation of a new tradition of freedom of expression and form resulted in the loss of avantgarde’s and provocation’s function in society. Now everything is integrated in systems, disarmed and nearly without consequences. The ethical challenge is the one that is not worn away.’ R. J. 8.8.89 (p. 90)



Quoted from: Stefan Majetschak: Raimer Jochims: Farbe sehen. Arbeitsnotizen 1973 – 1994. 1. ed., Düsseldorf; Bonn, Parerga 1998.

Raimer Jochims studied Philosophy, Art History and Archeology in Munich and wrote his dissertation on Konrad Fiedler (1968). From 1967 on he taught at the art academy in Karlsruhe and academy in Munich. From 1971 until 1997 he was Professor and Director for painting and art theory at the Städelschule in Frankfurt/Main.