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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Urs Fischer: Sirens
Text Gregor Jansen

German / English
29.8 x 36 cm
92 pages
36 color illustrations
45.00 Euro

Leaf through the book


The Sirens in this book look at us from the large silkscreen paintings of Swiss artist Urs Fischer, who intercuts and collages publicity shots of classic Hollywood actors with their own double images and naturally flowing abstractions. Due to these organic forms, the artist himself speaks of the pictures as landscape paintings, and he juxtaposes them as a different sort of landscape with a set of sculptures across the gallery floor: small figures interacting with found elements such as potatoes or a bent spoon. These witty inventions in painted bronze are grouped around a mirror pond framed by potted plants, whose slow dripping fills the spaces like another form of siren call. Work images and installation shots from both venues of these twin exhibitions at Galerie Max Hetzler in Berlin are accompanied by an essay from Gregor Jansen, who discusses the issues of physical reality, perception, and quasi-filmic projection reflected in these works.


(excerpt from the essay by Gregor Jansen)

From the perspective of the mythological doctrines, in which nature naively asserts itself, the process of abstraction—as employed, for example, by the natural sciences—is a gain in rationality which detracts from the resplendence of the things of nature. From the perspective of reason, the same process of abstraction appears to be determined by nature; it gets lost in an empty formalism under whose guise the natural is accorded free rein because it does not let through the insights of reason which could strike at the natural. The prevailing abstractness reveals that the process of demythologization has not come to an end. (Siegfried Kracauer)

The Sirens, those omniscient, mythical demons who are dead in the water and no longer sing, have disappeared. Or so it seems. The audience empathizes with them as disembodied actors, as it empathizes with a technical apparatus (in the present case, the exhibition space). It follows their approach, testing it, finding that, in Benjamin’s words, this is not an approach compatible with cult value. Finally, the demand on the viewers as actors—with their complete living body and personality—again is a reflection of the aura: by way of the flesh that is present in two very different exhibition spaces and the exhibited works of widely diverging dimensions.

Today we mostly search in vain for the corporeality of the Sirens in art; instead, a song of praise is leveled at plurality and redefinition. The deadly lure of seduction can rather be found in the networks and relationships of political life, in the public space. With the development of a postmodern virtuality and a new experience of reality that comes along with it, our challenge for roughly half a century has been to redefine our own selves from a vastly complex, pluralistic social context and the mythologies of everyday life. This does not lead us into arbitrariness and mere tolerance, but into respecting and honoring different ways of life and different orientations. The works of Urs Fischer let us look, think, work on mythologies in marvelous ways, because we still need Sirens.


In collaboration with Galerie Max Hetzler Berlin | Paris | London