Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Bonnet, Louise

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Grosse, Katharina: Spectrum without Traces

Hains, Raymond

Hains, Raymond: Venice

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

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

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

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Circles and Discs

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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Louise Bonnet
Text Flavia Frigeri

24 x 30 cm
80 pages
43 color illustrations
40.00 Euro


Leaf through the book


Swiss artist Louise Bonnet probes the limits of the human body in her paintings, pushing its expansibility on a fine line between beauty and ugliness into the real-surreal. Voluptuous torsos and bulbous extremities besiege her paintings, an arresting parade of odd-looking noses, nipples, and wig-like clusters of mostly blonde hair whose glamour always comes with a sense of incompletion. Gender is alternatively exaggerated or completely neglected, sharpening the figures’ enigmatic character. Held between cartoon-like joyousness and the masterful formality of modernist sculpture, they are stretching and bending in uncomfortable postures in an endless time loop. In her essay, Flavia Frigeri describes these paintings as the twilight of beauty suffused with an art-historical memory. “Through her eclectic approach to figurative painting,” she writes, “Bonnet challenges and addresses normative aesthetic values, as well as ideas concerning identity and representation.”

(excerpt from the essay by Flavia Frigeri)

Speaking of the mannerist painter Giuseppe Arcimboldo, Roland Barthes described the artist’s hyperbolic painting as “an art of fabrication.” In Barthes’ words: “When Arcimboldo intends to signify the head of a cook, a peasant, a reformer, of Summer, Water or Fire, he ciphers the message. Ciphering means to hide and not hide simultaneously.” By framing Arcimboldo’s work in these terms, Barthes complicates our understanding of the artist’s oeuvre beyond an amusing curiosity. The odd Arcimboldesque “double image,” in fact, comes to embody a tension between encipherment and decipherment that conjures the presence of multiple levels of reading. Perception is called into question here and a kind of mental whiplash is demanded of the viewer. Bonnet’s paintings operate under a similar premise in that they also revel in “an art of fabrication.” Meaning is deciphered, as what you see eschews literal legibility. This is particularly true when it comes to the figures’ assertive physical presence. Oversized and overactive, they engender a convergence: of gravitas and cartoonishness, of emotional integrity and ridiculousness, of beauty and ugliness. Borrowing once again Barthes’ words: “The message is hidden because the eye is distracted from the sense of the whole by the sense of the detail.”

Bonnet’s featureless heads neglect the face’s deep-rooted physiognomic tyranny, while simultaneously reveling in a condition of incompletion which enhances their enigmatic character. Her arresting parade of tragicomic beings commingles elements of the beautiful and the grotesque. The goofy countenances of many of her characters suggest a cartoonish alarm and yet, for all their outrageous humor, Bonnet’s paintings are indebted to long-standing European and American pictorial traditions. Fragments of art-historical memory are, in fact, called to mind by the lusciously tactile forms, which hark back to a system of highlights and shadows reminiscent of Old Master paintings. This feeling of old-fashioned pictorial techniques and stylistic forms is enhanced by Bonnet’s choice of oil painting, and even more so by the depthless dark backgrounds against which many of her figures are set. To a certain extent, it could be argued that the artist follows in the postmodern legacy of artists such as Glenn Brown and George Condo, who elaborate a contemporary lexicon of art-historical cross-references. In Bonnet’s case the material qualities of Old Master paintings are conflated with traces of surreal thinking, mostly visible in the profoundly compelling oddness of the characters and their settings. Most significantly, however, Bonnet’s ludic extravagance wantonly provokes a sense of bewilderment in the viewer’s interpretation of these works.


In collaboration with Galerie Max Hetzler Berlin | Paris | London