Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

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

Scully, Sean: Dark Yet

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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Cody Choi: Mr. Hard Mix Master. Noblesse Hybridige
Texts Bartomeu Marí, Su Wei

English / Chinese

Hardcover with dust jacket

24 x 30 cm

92 pages
63 color illustrations


40.00 Euro


Leaf through the book


In his series Noblesse Hybridige, Korean artist Cody Choi is pitting foliage from European Rococo paintings against natural motifs in the traditional Sagunja style. He overlays details from both, prints them on marble, and then adds the finishing touches in oil and cashew paint, both overplaying and undermining the works’ noble sense of richness and decor. Choi is well equipped to stage such subtle incongruities: he was born and raised in South Korea, then emigrated to Los Angeles in the mid-1980s, where he was schooled in conceptual art (studying and starting a friendship with Mike Kelley), before he went back to a much changed Seoul a decade later. Suddenly he found himself at home in neither culture, yet well-versed in both. So he started to offer both the hard mix and soft collisions between East and West in his art, which led him to the Korean Pavilion of the Venice Biennale 2017. In Choi’s exhibition at Beijing’s SPURS Gallery documented here, the 2020 paintings frame the stage for pieces in other media: neon, collage, and sculpture, including a shockingly pink, freely modeled bronze riff on Rodin’s Thinker. In the main gallery, a youthful couple strikes performance poses in carefully calibrated spotlights as part of the installation, adding another globally understood signifier to Choi’s perfect state of cultural hybridity.


(excerpt from the text by Bartomeu Marí)

For centuries, East and West have looked at each other with interest, fear, respect, distrust, admiration, greed, ignorance—everything but innocence. The glances from one to the other sometimes meant benefits for both but more often sought to impose or pillage rather than to understand, learn, or gain insight. It does not seem to me that things have changed much during the era of high technology, new arms races, the post-Cold War and the new world (dis)order, where this “ocular” relationship has been based merely on the idea each side has of the other. Yet today certainly both parties in this relationship know each other better. Even if we are oblivious to history—both that of the other and our own—nowadays it is easier for the fascination of the images we perceive to generate respect and admiration, though sometimes fear and distrust.

The artist’s personal experience and the “glances” that East and West have been crossing since the second half of the 20th century are at the basis of Cody Choi’s oeuvre, whose production is now shown in Beijing. The works in the exhibition include his most recent pieces under the title of Noblesse Hybridige as well as representative works of various episodes in the artist’s career.

Noblesse Hybridige is, in itself, a double hybrid. On the one hand, it starts from the French saying “noblesse oblige,” which refers to the moral demands on those who consider themselves to be of a superior class, or those who have power, fame, or financial resources: privileges amount to, or are coupled with, obligations toward those who do not have them. The phrase has been imported into English directly from the original French, while formulations of identical meaning are found in Greek and Latin authors. The second level of hybridization in the title of Choi’s work is in the verb of the expression, which merges two concepts: moral obligation and hybridization itself. Choi invents a neologism that irreverently amalgamates these two notions. The paintings are also an example of aesthetic and cultural hybridization, since they consist of the “grafting” of traditional forms from a specific type of Korean painting—called Sagunja—on a background of motifs extracted from European paintings in a Rococo style. Where does Choi’s double interest in the notion of hybridization and the frontal—almost clashing—encounter between typical elements of Western and Eastern cultures come from?…


In collaboration with Cornerstone Art