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

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

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


Legal notice / Privacy policy



Loris Gréaud: Ladi Rogeurs  Sir Loudrage  Glorius Read
Text Fabrice Hergott



22 x 30 cm

140 pages

77 color illustrations


45.00 Euro

Leaf through the book


The young French conceptual artist Loris Gréaud (born 1979) transforms exhibition spaces into opulent stages: vivid walk-in settings where materials full of history and narrative sculptural constellations converge. Starting at Max Hetzler in Paris and then shifting like a cinematic cross-fade to the gallery’s Berlin venue, Gréaud blurs the boundaries between reality and mythical fiction in a diffuse violet light from which the sculptures emerge: electrified spores hanging from the ceiling; ceramics violently modeled with plastic explosives; pits in the gallery floor filled with rubble from the set of Andrei Tarkovsky’s Stalker; and a complex object shaped like a tree whose branches seem to be flailing under lightning strokes – a strange landscape constructed from dead objects as a contemporary form of vanitas. The book guides us through Loris Gréaud’s magnificent tableaux in a series of installation views and closer shots of the works accompanied by explanatory texts. QR codes link to exhibition trailers and videos of the pieces in action, including a third stage at the Musée d’Art Moderne de la Ville de Paris, with a text by its director Fabrice Hergott introducing us to an artistic universe full of dark beauty.


(excerpt from the text by Fabrice Hergott)

Gréaud’s oeuvre is a life-work, but not that of the artist’s life – a possessive that makes no sense in his output. It is the life that he observes, reproduces and replays in his interventions. the life of life, as it were – and on a huge time scale: the time of life’s appearance and disappearance. Here the artist and spectator are protocols of perception and production, temporary and fragile in this flux moving from past to future, a flux that the oeuvre seeks to record with obsessive and imaginative precision. If one had to define Gréaud’s subject, it would be that most enigmatic narrative, the history of the human being in the broadest sense: humanity with everything that it perceives, learns, knows and undertakes, with all its knowledge and memories. But a humanity conscious of the threats it faces, first and foremost the threat represented by its own species…

Only very recently has modern humanity understood that its coming was as late as the planet is fragile – and that everything could disappear. And though it might seem unconnected, the timing of this new awareness coincided with humanity’s capacity to self-destruct. It is as if knowing a thing must inevitably be accompanied by the need to realize and indeed anticipate it. Discovering its fragility, humanity invented the atomic bomb and, with it, the possibility of ending its own existence, along with that of all living species and of the planet itself – even before the next asteroid darkens the horizon. This may have occurred through a sort of promethean megalomania, a sullen desire to master the means of humanity’s own destruction, since destruction there will inevitably be.

Everything becomes precarious. Happiness and pleasure are no longer the same substance. Unhappiness itself is different. A tree is a miracle, nature a succession of wonders. But nature is disappearing, seemingly abandoning the sinking ship, encouraged by a human species fascinated with its own power, a power associated with destruction. Gréaud reconstructs the real in the light of this new perspective. Life becomes an anxious universe full of dark beauty, in which high technology coexists with the most elementary forms. The history of mankind is integrated with that of life, computer science with biology, in a reality that pertains as much to pre-history as to science fiction. Time itself is no longer the same. a living organism, the blob, which develops under the effect of heat and humidity, is a metaphor of all life on earth. Gréaud’s works and installations are a huge apparatus recording this vision.



In collaboration with Galerie Max Hetzler Berlin | Paris | London and Musée d’Art Moderne de la Ville de Paris