Almond, Darren: All Things Pass

Almond, Darren: Terminus

Arnolds, Thomas

Brown, Glenn: Dessins

Brown, Glenn

Butzer, André

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Ecker, Bogomir: You’re Never Alone

Förg, Günther

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Hains, Raymond

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Mahn, Inge


Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert (Paintings 2014)

Oehlen, Albert: Interieurs

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Luckenwalde

Phillips, Richard: Early Works on Paper

Riley, Bridget: The Stripe Paintings 1961–2012

Riley, Bridget: Paintings and Related Works 1983–2010

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

Smith, Josh: Abstraction

Tunga: Laminated Souls

de Waal, Edmund: Irrkunst

Warren, Rebecca

Wei, Zhang

Wool, Christopher: Road

Wool, Christopher: Westtexaspsychosculpture


Collector's Editions

Out of print




Albert Oehlen
With a text by Jean-Pierre Criqui

French / English
Softcover with dust jacket
22 x 28 cm
28 pages
9 color illustrations
20.00 Euro


Leaf through the book


This catalog collects a work group of nine large-format abstractions on wood panels from 2014, which Albert Oehlen first showed at the inaugural exhibition of Galerie Max Hetzler’s new venue in Paris.


(excerpt from the essay by Jean-Pierre Criqui)

“Everything is already in art—like a big bowl of soup. Everything is in there already,” declared Willem de Kooning in 1960. All you needed to do, he added, was “stick your hand in”—which, as we all know, is considered very bad manners—and “find something for you.” As always with de Kooning, behind the down-home words there is a significant aesthetic insight. His remark recommends a very relaxed, or even downright irreverent, attitude toward art and its history (or toward “tradition,” as we would have said when that word, if not the actual idea, still had a certain currency); but it also suggests—and a quick look at the artist’s work is enough to convince us of this—that there is a kind of challenge or rivalry that comes from being fully aware of what is at stake when we help ourselves in this way from a shared bowl. Evincing a certain taste for culinary metaphors, de Kooning further articulated his views on the matter by distinguishing between two categories of artists: “Those who have the stew of art on the fire, which they are eating from, and every time they take something out of it for their meal they have to put something back, so that they have enough for the next day. And then the others, they want the essence, the ‘bouillon Kub.’”

Without a doubt, Albert Oehlen is a stew man, on the side of the big bowl of soup and of the painter of the Women, whom he long ago chose as one of his sparring partners—not just a model, therefore, but someone who hits you back, catches you out, tests your technique, your “footwork.” When asked about his favorite painters in 2008, Oehlen replied: “It keeps changing, but at present I would mention de Kooning, who’s playing a big role again. I like the abstract expressionists. Most of all, I like the people who have reflected on their approaches and methods, and have introduced new aspects and parameters in painting.”


In collaboration with Galerie Max Hetzler, Berlin