Künstlerbücher / Special Editions
Almond, Darren / Blechen, Carl: Landschaften
Brown, Glenn: And Thus We Existed
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, 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: Man ist nie Alone
Elmgreen and Dragset: After Dark
Förg, Günther: Forty Drawings 1993
Förg, Günther: Werke in der Sammlung Friedrichs
Galerie Max Hetzler: Remember Everything
Galerie Max Hetzler: 1994–2003
Gréaud, Loris: Ladi Rogeurs Sir Loudrage Glorius Read
Hatoum, Mona (Kunstmuseum
St. Gallen)
Eric Hattan Works. Werke Œuvres 1979–2015
Hattan, Eric: Niemand ist mehr da
Herrera, Arturo: Boy and Dwarf
Hilliard, John: Accident and Design
Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations
Huang Rui: Actual Space, Virtual Space
Kowski, Uwe: Gemälde und Aquarelle
Mikhailov, Boris: Temptation of Life
Mosebach, Martin / Rebecca Horn: Das Lamm
Neto, Ernesto: From Sebastian to Olivia
Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990
Oehlen, Albert: unverständliche braune Bilder
Oehlen, Pendleton, Pope.L, Sillman
Oehlen, Albert | Schnabel, Julian
Phillips, Richard: Early Works on Paper
Riley, Bridget: Circles and Discs
Riley, Bridget: Gemälde und andere Arbeiten 1983–2010
Riley, Bridget: Die Streifenbilder 1961–2012
Riley, Bridget: Paintings 1984–2020
True Stories: A Show Related to an Era – The Eighties
Wang, Jiajia: Elegant, Circular, Timeless
Wool, Christopher: Westtexaspsychosculpture
Zeng Fanzhi: Old and New. Paintings 1988–2023
Zhang Wei / Wang Luyan: Ein Gespräch mit Jia Wei
Jérémy Demester: Englisch / Französisch 978-3-947127-03-0
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Jérémy Demester geht es um die Natur der Kunst und die Künstlichkeit der Mythen – alte Mythen von der Zähmung des Feuers wie neue Mythen aus dem Fernsehen. Der Titel seiner Ausstellung in der Galerie Max Hetzler, Fire Walk With Me, ist von David Lynch entlehnt und nähert sich im Dialog verschiedener Werkgruppen an das Thema der Conditio humana an: Undead still lifes, in denen die Natur in beinahe postimpressionistischen Baumlandschaften auswuchert; Sky paintings, deren Farbkraft symbolische Inhalte transportiert; War paintings, inspiriert durch Kopfschmuck und Bemalung der Indianer; im Zentrum zwei totemartige Skulpturen, ein Bronzehund mit abgesägtem Kopf und ein BMX-Rad mit dem Schädel eines Schafbocks als Galionsfigur. Das Buch präsentiert alle Arbeiten im großen Format zusammen mit Ausstellungansichten, die ihre Interaktion im Raum zeigen. Die Bilder werden durch einen Essay der Kunstautorin und Psychologin Annabelle Gugnon über die mythischen Grundlagen dieser Kunst begleitet. Zusätzlich enthält das Buch die beigelegte Broschüre einer parallel von Demester für die Galerie organisierten Ausstellung: You know nothing Raymond, eine Hommage an Raymond Hains. Der junge Künstler wählt hier Arbeiten seines älteren Kollegen aus, der Titel als Tribut an Hains’ unermüdliche Neugier, die Auswahl als Zeugnis der sinnlichen, ja malerischen Qualitäten seines konzeptuellen Werks.
VISIONS “The tumult of the world, spinning in the depths of the brain, ends up in one movement, perceived by each one of us, each with our own lyricism, our eyes, ears, mouth, nose… And art, I believe, puts us in that state of grace in which we understand universal emotion.” Cézanne’s words, spoken in his studio, reach down to Jérémy Demester’s contemporary painting. With the exhibition Fire Walk With Me, Demester catapults us into the savagery of the world. This wildness conquers our body. Our five senses cling to it, diffract it, try to tame it. The pigments, the forms, the movements of his canvases make visible the elements that stir the universe. They surface from the magma of color and the precision of poetry as if from a parallel world that bubbles in the very heart of our lives. This world does not disclose itself but secretly guides desires, produces dreams, holds the memory of humanity, of our childhood. “Thru the darkness of Future Past / the magician longs to see / One chants out / between two worlds / Fire walk with me.” These lines from David Lynch’s film are the starting point of a path that Jérémy Demester walked during a year of intense work. Fire was at once the danger and the armor. “Where there is danger, the rescue grows as well.” In purple avalanches and ashy eruptions, between bubbling sap and stirred-up blood, vision joins enigma in an ardent struggle. Jérémy Demester sees forms as flux, as pulsations, outside of fixed structures. We find here humankind’s first approach to fire. Four hundred thousand years ago, human beings tamed the sparks by rubbing two pieces of wood together. This is when civilization made its greatest leap forward. Humans knew that lightning could set fire to the forests: they were subject to fires and gods. Once humans had the power to summon flames at will, they could also prolong the day past the threshold of the night, extend summer beyond winter, forge tools, light up caverns and make art by painting the walls. The Chauvet Grotto is Jérémy Demester’s hinterland, a time of art outside history, of space reaching back to its origin. The painter was born in Provence, in a community where rhythms articulate with breathing, where music is danced barefoot, where fire is the centre of the days and nights. Since childhood, around the glowing fire—as it has been since time immemorial—he heard stories of his ancestors and of visions of the future read in the lines of the hand. The flames are dancing genies; they pull people in to sit round in circles and tell of ever more epic feats, to remember ancestors who, in the telling of the stories become increasingly heroic. In the painter’s childhood, fire held the keys to the world. His father, a Gitan, was Prometheus, a giant with a thundering laugh…
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