Künstlerbücher / Special Editions






Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landschaften

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

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: Man ist nie Alone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Fischer, Urs: Sirens

Förg, Günther

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

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

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Gemälde und Aquarelle

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Spiegelbilder

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

Raedecker, Michael

Reyle, Anselm: After Forever

Riley, Bridget: Circles and Discs

Riley, Bridget: Gemälde und andere Arbeiten 1983–2010

Riley, Bridget: Die Streifenbilder 1961–2012

Riley, Bridget: Paintings 1984–2020

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

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: Ein Gespräch mit Jia Wei


Vergriffene Bücher


Impressum / Datenschutz



Chinese Painting from No Name to Abstraction: Collection Ralf Laier
Texte Paul Moorhouse, Kuiyi Shen, Zhang Wei, Gespräch zwischen Ralf Laier und Feng Xi

24 x 30 cm
220 Seiten
148 Farb- und 6 Sw-Abbildungen
60,00 Euro


Durch das Buch blättern


Die Geschichte der zeitgenössischen Malerei in China beginnt während der kulturellen Revolution: Junge Menschen treffen sich in den Parks von Peking, um dem Klima der politischen Repression zu entkommen und kleine Landschaftsbilder zu malen. Die Kunstakademien sind geschlossen, westliche Kunst ist nur unter der Hand bekannt, und so findet die Gruppe um Zhang Wei, Ma Kelu, Li Shan und Zheng Ziyan in ihren Bildern zu einem Ausdruck der persönlichen Freiheit. Ausstellungen finden geheim statt, bis sie sich 1979 unter dem Namen No Name Group der Öffentlichkeit vorstellen. Bald gehen die verschiedenen Künstler ihre eigenen Wege, und in den 1980er Jahren finden einige Maler zur Abstraktion, unter ihnen wiederum Zhang Wei und Ma Kelu, sowie Zhu Jinshi, Feng Guodong und Tang Pingang. Sie entwickeln ihre jeweils eigene Bildsprache zwischen großzügigen Flächen und oft minimaler Geste, abstraktem Expressionismus und chinesischer Tuschemalerei.

No Name und die Pekinger Abstraktion bilden die Schwerpunkte der hier vorgestellten Sammlung von Ralf Laier, der in einem Gespräch mit Feng Xi von seiner Passion für diese Kunst und persönlichen Begegnungen in China erzählt. Texte von Kuiyi Shen und Paul Moorhouse liefern den Hintergrund für das Verständnis dieser beiden Epochen. Und ein ausführlicher Anhang mit Notizen der Künstler über die eigenen Werke und Werdegänge sowie anderen wichtigen Quellen liefern einen Blick von Innen auf diese Bilder einer anderen Moderne.


(Auszug aus dem Essay von Paul Moorhause)

During the early 1980s, a small group of painters living in Beijing instigated nothing less than a revolution in Chinese art. The radical nature of the changes that they brought about, and the relative swiftness with which these developments occurred, may be grasped in an early figurative painting on wood made in 1978 by Zhu Jinshi, one of the pioneers of the so-called Beijing Abstraction Movement. This intimate still-life comprises a jug and a pair of apples enclosed within the folds of a piece of cloth. The painter’s indebtedness to Paul Cézanne is clear in the carefully constructed composition and firm modeling of the objects. However, this modest image is on the reverse of the panel. In 1982, Zhu used the other side to create an entirely different kind of painting. In Nolde Blue, he relinquished recognizable subject matter completely. Instead, the entire surface comprises agitated brushstrokes—primary blue, ultramarine, and white—that appear animated, as if in constant motion. The influence of Emil Nolde—another master of Western Modernism—may be detected in Zhu’s use of glowing colors. But, unlike Nolde, the medium and movement of paint alone form the work’s ostensible subject, defining Zhu’s advance into the new territory of abstraction.

As this comparison suggests, within four years Zhu had reinvented his approach. Having in the earlier painting embraced figuration reminiscent of Post-Impressionism and Expressionism, with Nolde Blue he began to explore non-descriptive expression in an entirely personal and distinctive way. This transformation is remarkable given that, according to Zhu’s own account, until the late 1970s he was unaware of Western Modernism. Nor was he alone in embarking on this exploration of hitherto unsuspected territory. The painters Zhang Wei, Ma Kelu, Tang Pinggang, Qin Yufen, and Feng Guodong were kindred spirits. In common with Zhu, they also abandoned observation and iconic representation for an engagement with abstraction, creating paintings that had no obvious roots in nature. Collectively, they would take Chinese art in a new direction. This, however, raises questions: How had this advance come about? And what is the significance of the innovative works that they produced?

These artists’ exposure to Western Modernism, as well as a profound involvement with their own culture, underpins the complex development of their work and its highly idiosyncratic nature. During the 1930s, an earlier generation of Chinese artists had studied in Paris, forging close links with the city’s avant-garde. During the Cultural Revolution, however, this changed when connections with Western art were completely severed. Produced in defiance of official restrictions, the light-filled landscape paintings made by Zhang Wei and Ma Kelu during the 1970s were, for that reason, a vital lifeline. In the absence of direct contact, and even lacking reference books or catalogues, the links they maintained with impressionist models evidently drew on whatever material and knowledge survived from their Chinese predecessors’ heyday. Following the political and economic reforms spearheaded by Deng Xiaoping after 1978, the cultural landscape in China then underwent a further convulsion. Renewed contact with the West led to the availability of texts that shed light on the Modernist canon.

Among the books that now appeared in translation, the most influential was Herbert Read’s A Concise History of Modern Painting (1959). Referring to “the moment of liberation” when Western artists relinquished their historic allegiance to depicting the observed world in literal terms, Read observed: “Art has always been abstract and symbolic, appealing to human sensibility by its organization of visual and tactile sensations. But the vital difference consists in whether the artist in order to agitate the human sensibility proceeds from perception to representation; or whether he proceeds from perception to imagination, breaking down the perceptual images in order to re-combine them in a non-representational (rational or conceptual) structure.” In his account of the extraordinary developments that occurred at the end of the century’s first decade, Read evoked the prospect of an art that would exist on its own terms, freed from description, with an immediately expressive character. For those Chinese artists who had longed for liberation from the strictures of Socialist Realism, this vision of abstract art, characterized as “images that can be freely organized to appeal directly to human sensibility,” appears to have been incendiary. Indeed, the movement that would become known as Beijing Abstraction may be seen in the light of the progressive impulse that Read described. Although each of the artists within its orbit would pursue an individual path, their shared commitment to the creation of non-representational structures, and direct engagement with “human sensibility,” are defining characteristics of the paintings they made…