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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Ida Tursic & Wilfried Mille
Texts Noëllie Roussel, Bernard Marcadé, conversation between Tursic & Mille and Alison M. Gingeras

English / French
23.5 x 29 cm
238 pages
195 color and 5 b/w illustrations
60.00 Euro

Leaf through the book


“Painting seemed to be the most powerful weapon available to us,” Ida Tursic & Wilfried Mille explain their subversive choice of a well-traveled medium. “It offers infinite possibilities all while simultaneously being the simplest to implement in the beginning of this new century that is saturated with images and new technologies.” Freely mixing things, Tursic & Mille’s paintings give us pin-ups of both sexes, cute pets, artist heroes, and Cézanne’s favorite landscape, all shook up by colorful abstractions that often invade the other subjects. They sample elements from all reaches of our visual culture today, provoking our good taste, and challenging our sense of beauty. The book focuses on the artists’ work since 2012, including canvases and large-scale wooden cutouts that literally move painting into the exhibition space—a strategy of direct interaction and confrontation with the viewer culminating in their immersive installation for the Prix Marcel Duchamp in 2019.


(excerpt from the conversation between Tursic & Mille and Alison M. Gingeras)

T&M: Painting seems to be the most powerful weapon available to us. It offers infinite possibilities all while simultaneously being the simplest to implement in the beginning of this new century that is saturated with images and new technologies. A few years ago, an art critic friend scolded us: “It’s all well and good, but we must choose!” As if painting as a medium was to be frozen and monomaniacal (or singularly obsessed). We chose not to choose. Or rather, to totally choose this absurd freedom.
AG: Your work is awash with popular or low cultural subjects. Lindsay Lohan, Terry Richardson, The Sex Pistols, softcore porn. Do you think of your work as belonging to the tradition of “Pop”? Or does that category even exist today? Maybe it is just a lost historical construct that we ineptly use in a fit of self-delusion? Your work in some way seems to strive to immortalize this collapse of the formerly “hard” boundary between high and low. If there is an overarching subject, perhaps it is a celebration of cliché?
T&M: In the Middle Ages, painting was used to tell stories to people who could not read, and so it has always been popular. As for Lindsay Lohan, we only stick to “things” that resonate for us. That specific painting is a kind of anti-portrait, far from being Pop or glamour. She is not made up, she prepares noodles at home, as if painting was always a question of cooking, good or bad. It’s just homemade pasta. We have a great affection for Rabelais who has perfectly redefined the limits of the top and bottom.
AG: While you are on one hand aspiring for an algorithmic model of image selection, there seems to be an inherent search for the iconic in your work. It does not seem accidental that you choose some of the most alluring stills for example of Andrei Tarkovsky’s The Sacrifice (1986) or in the choice of the epoch-defining 19th century photographs of Oscar Wilde and Lord Alfred Douglas as sources for your work. Could we locate your artistic practice in this contradiction? Does contemporary painting in fact operate within these conflicts between the disposable and the iconic? Between the longevity (or aspiration to immortality) of painting as material culture and the ephemerality of media images?
T&M: Many paintings today seem quite disposable. The choice of images is done organically and without rules; without a pre-established method, it can be stupidly emotional . . . You choose something, you know it’s going to give something else in painting, it’s a bit like when you go to the market, you see a nice head of lettuce, a nice tomato. You know this raw ingredient is going to be good once transformed. Tarkovsky was a little different. In the same way that to represent a nude or a portrait we used pornography, his fire gave us a means to represent the landscape. A house that burns . . . the renunciation of material for the spiritual.
AG: I sense another tension in your work—a kind of parodic disdain for abstraction—especially in your series of gestural “palette” paintings. At the same time, there seems to be a reverence for the figurative—evident in the skill and labor required for your representational works. Do you purposefully cultivate this dichotomy, this opposition? Is it even possible to invest in the language of abstraction today as 21st century artists? Again, I am feeling a disillusionment with the ideals of 20th century modernism, especially in its belief in the transcendent possibilities of abstraction.

T&M: This isn’t entirely true—to us, there is no difference between abstraction and figuration and painting is no longer this or that, but both this and that. Abstraction and figuration are tools. Both are part of this language of painting. In any case, this interpretation is very interesting. For us, the irony is perhaps more visible in the figurative paintings but we are delighted that this ironic tone has also been found in the more abstract paintings. The abstract always derives from the very process of painting. Our palettes are really just palettes. After all, the most beautiful thing in a painting is perhaps always this absurd attempt to recreate the process. It’s funny that a waste of paint is reduced to the status of heroic painting, that workshop walls can resonate with someone as a part of “art history.”


The know-how is put to the service of a facial ejaculation or a portrait of Piet Mondrian painted on a cutting board of meat. As Maurice Denis said: “Remember that a painting, before being a workhorse, a naked woman, or any anecdote, is essentially a flat surface covered with colors assembled in a certain order.”