...

Artist's Books / Special Editions

...
Newsletter

Order

Distribution

...

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

Marepe

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

Contact

Legal notice / Privacy policy

 

 

Hans Josephsohn
Texts Dominic Eichler, Clare Lilley; conversation between Hans Josephsohn and Hans Ulrich Obrist


German / English

Hardcover

23.5 x 29 cm

200 pages

93 color and 46 b/w illustrations

978-3-947127-43-6

60.00 Euro

 

For sculptor Hans Josephsohn (1920–2012), who was born in Königsberg and had to flee to Switzerland in 1938, the human figure was his life-long subject. His art, shown in solo exhibitions since 1956, manifests its form within spatial surroundings, as a head, half-figure, standing or lying nude, almost archaic in appearance but always anchored in the now. On a closer look, one is fascinated by the intensely worked surfaces of his figures, executed in plaster, then cast in brass, modeled in light to almost pictorial effect, especially in the reliefs, which change with every movement. “To me all that’s important is the relationship between the figure, its separate components, and what the background surface is like,” the artist says in conversation with Hans Ulrich Obrist. “If you take anything away there is nothing left. Nothing at all remains . . . What that means for our time I don’t know.” This mixture of material work and an existentialist view of the human condition is the cause of Josephsohn’s growing importance for the art of our time. Originally shown at Galerie Max Hetzler in Berlin and London, a generous offering of his works can be studied here, while essays and a selection of press releases illuminate his working process as well as the growing reception of this unique artistic oeuvre.

 

THE INTENSITY OF LIFE
(excerpt from the essay by Dominic Eichler)


The traditional language, with its implied objectification, of having someone ‘sit’ or pose as a life model, doesn’t adequately describe the symbiotic complications of distance and closeness and real-life dynamics as evidenced in the work. These relationships find irrefutable expression in every disturbed surface, ragged volume and counterbalanced composition. Women was deeply involved in both Josephsohn’s life and work. They were no passive bystanders and no interchangeable mannequins. There is almost no work by Josephsohn that doesn’t speak of personal entanglements, the need for intimacy, and their embodiment bound up in the creative act.


Josephsohn found it impossible to work without these relationships. His small clay reliefs evidence this state of affairs most viscerally. Some of them record charged scenes of the artist in his studio with a model in endless variations. Josephsohn’s abstract expression is not only on the level of form, composition and surface, rather it goes to their very human substance. The vibrant mass of these works is redolent of love, passion, power dynamics, struggles, convivial loneliness, even existential doubt, dismay and despair. (I am thinking of Roland Barthes’s A Lover’s Discourse (1977) and imagining it accompanied by reproductions of Josephsohn’s work.) His only teacher, Swiss sculptor Otto Müller, had recognized in the 1940s that Josephsohn’s work was “exceptionally immediate”—and it remained strikingly so …


So while Josephsohn’s traditional notion of sculpture emphasized the basic elements, the relationships of volumes and forms, it was his relationship to people that not only inspired his work, but is inscribed into it, into its making and continued open-ended relevance. Relationships which always entailed one-on-one encounters with actual bodies and subjectivities, posed and looking in real time, and whose abstract intensity—the intensity of life—Josephsohn strived his entire life to capture. When we view his work, these relationships reverberate with our own interpersonal experiences and our own capacity for empathy and identification.

 

...
In collaboration with Galerie Max Hetzler Berlin | Paris | London