ART BASEL PARIS
Booth C3316 – 20 October 2024
Galerie Max Hetzler is delighted to present works by Giulia Andreani, Karel Appel, Glenn Brown, André Butzer, Sarah Crowner, Jeremy Demester, Ida Ekblad, Elmgreen & Dragset, Günther Förg, Katharina Grosse, Raymond Hains, Hans Josephsohn, Friedrich Kunath, Eddie Martinez, Albert Oehlen, Bridget Riley, Tursic & Mille, Rinus Van de Velde, Edmund de Waal, Grace Weaver and Toby Ziegler.
Giulia Andreani
Boys don't lie, 2024
acrylic on canvas
150 x 200 cm.; 59 x 78 3/4 in.
Glenn Brown
Frequency 2, 2023
acrylic and Indian ink on polyester film over cardboard, in frame
63 x 47 cm.; 24 3/4 x 18 1/2 in.
88.4 x 72 x 4.7 cm.; 34 3/4 x 28 3/8 x 1 7/8 in. (framed)
‘Brown’s marks are a testament to the capacity of the drawn line to create life. Quick or slow, thick or thin, bold or soft, each mark exhales. This mark-making functions like Dr. Frankenstein’s sutures – they stitch together bits and pieces of art history to form a new entity.’
Jeff Fleming, 2016
Glenn Brown
Frequency 1, 2023
acrylic and Indian ink on polyester film over cardboard, in frame
63 x 47 cm.; 24 3/4 x 18 1/2 in.
88.4 x 72 x 4.7 cm.; 34 3/4 x 28 3/8 x 1 7/8 in. (framed)
André Butzer
Untitled, 2024
acrylic on canvas
200.5 x 294 cm.; 79 x 115 3/4 in.
Sarah Crowner
Pale Fire, 2023–2024
acrylic on canvas, sewn
198.1 x 152.4 cm.; 78 x 60 in.
‘While at first glance people might see the colour and graphic aspect to the paintings, on closer inspection they see that it has a joined line, that it is a physically constructed object.’
Sarah Crowner, 2024
Jeremy Demester
Eleusis I, 2024
acrylic on canvas
195 x 129.5 cm.; 76 3/4 x 51 in.
Ida Ekblad
KNOTTY REBEL, 2024
oil on linen, in artist's frame
164 x 124 x 5.5 cm.; 64 5/8 x 48 7/8 x 2 1/8 in.
Against autonomy, we often reuse the same sculpture in different settings, so they start telling stories distinct from those of the previous context in which they’ve been shown. In that way the sculptures are reanimated and maintain a non-static relevance.’
Ingar Dragset, 2024
Günther Förg
Untitled, 2006
acrylic on canvas
195 x 165 cm.; 76 3/4 x 65 in.
Günther Förg
Untitled, 2007
acrylic on wood, mounted on white painted wooden panel
65 x 75 cm.; 25 5/8 x 29 1/2 in.
'In the Gitterbilder […] the grid seems to develop into a kind of mesh or net that doesn’t so much map the surface of the painting as capture it. The grid becomes a malleable form that seems to buckle like lead, or breaks up into fragments that overlay each other to suggest a more complex approach to composition and illusionistic depth than in his previous works where composition occurs essentially on a lateral plane.’
Kirsty Bell, 2018
Katharina Grosse
Untitled, 2023
acrylic on canvas
205 x 154 cm.; 80 3/4 x 60 5/8 in.
208 x 157 x 4 cm.; 81 7/8 x 61 3/4 x 1 5/8 in. (framed)
‘There is a nice anecdote: Raymond Hains was on the train to Venice, to the Biennale, where everyone already knew that American Pop Art would now celebrate its triumph. On the train, someone had a matchbox that was very modern for the time. Raymond Hains took it out of his hand, looked at it and said: “this will be my next work”. These matchbox works […] then began in 1964. He continued them in loose succession throughout his life. It is, of course, a very beautiful response to American Pop Art and a beautiful dialogue between the second and third dimension, between the everyday object and the purely conceptual, intellectual object.’
Robert Fleck, 2021
Raymond Hains
Sociale Populaire Nationale, 1973
torn posters mounted on canvas
50 x 36 cm.; 19 3/4 x 14 1/8 in.
57.5 x 43.5 cm.; 22 5/8 x 17 1/8 in. (framed)
‘The oscillation between figuration and abstraction in the half-figures thus creates a field of gravitation that tempts the viewer to continuously move around it and position their own body in relation to the corporeality of the sculpture.’
Hans-Jürgen Lechtreck, 2018
Friedrich Kunath
Only The Lonely, 2023–2024
oil on canvas
213.4 x 182.9 cm.; 84 x 72 in.
Eddie Martinez
Blue Detective, 2024
oil, acrylic and spray paint on linen
152.4 x 182.9 cm.; 60 x 72 in.
Albert Oehlen
Untitled, 1982
oil and mirror on canvas, in artist's frame
62.5 x 62.3 x 2.7 cm.; 24 5/8 x 24 1/2 x 1 in.
Albert Oehlen
Ömega-Man (shaped C.4), 2021
oil and acrylic on canvas
282 x 303 cm.; 111 x 119 1/4 in.
‘The Ω motif is a compositional disruptor, and for this reason it sometimes calls for containment or amputation. Like a mask, the sharp, clean edges of the cut-out symbol hide and interrupt the drippy, smeared, oily gestures beneath it. […Oehlen’s] compositions involve an unsettling dialectic of under/over, figure/ground, hole/mask, cut/glue that keeps the whole series moving and undermines any one painting’s identity. Cast down on the canvas, the Ömega Man is like a sigil or rune that disrupts the paint job every time.’
John Kelsey, 2023
Bridget Riley
Current: Dark Colours 3, 2024
oil on linen
116.2 x 116 cm.; 45 3/4 x 45 5/8 in.
‘Perception is the core of Bridget Riley’s practice, the object of her aesthetic investigation. Forms that appear in her art share with geometry its conceptual nomenclature; yet they originate in perception, not in theory. And from perception, they proceed to perception. With or without an external reference, a shape leads to a shape, a colour to a colour.’
Richard Schiff, 2018
Tursic & Mille
Blue thing and hounds, 2024
oil on canvas
230.3 x 189.8 cm.; 90 5/8 x 74 3/4 in.
‘It is a metalanguage and once again, there is the question of objecthood. Where is the object? What is it? […] There was this desire to abstract "the thing". As a result, the figurative “thing" becomes abstract, emptied of meaning. There is always this conflict in painting, when you see an image. Is the image itself being represented? What is the totality of the thing?’
Tursic & Mille, 2022
Tursic & Mille
The damaged souvenir (after J-B Greuze), 2024
oil on canvas
230.3 x 189.8 cm.; 90 5/8 x 74 3/4 in.
Rinus Van de Velde
Or maybe it's because of the cold that I have such foolish thoughts..., 2024
oil pastel on paper
171 x 112 cm.; 67 3/8 x 44 1/8 in.
190.5 x 131.5 x 5 cm.; 75 x 51 3/4 x 2 in. (framed)
‘I depict a life I never had. For me, daydreaming is more important than what happens in reality. After all, you can experience so much more in your mind than you can in reality.’
Rinus Van de Velde, 2023
Rinus Van de Velde
Dear Henri, ..., 2024
oil pastel on paper
112 x 153 cm.; 44 1/8 x 60 1/4 in.
132 x 173 x 5 cm.; 52 x 68 1/8 x 2 in. (framed)
Grace Weaver
Molto vivace (After Dvořák’s American Quartet) (5), 2024
acrylic on canvas
228 x 172 cm.; 89 3/4 x 67 3/4 in.
‘I was always painting flowers
Though before, they had faces,
Limbs and ponytails.
I was always painting flowers
In the sense that
The most important thing was
The drooping, the swaying,
the bending, the springing.’
Grace Weaver, I was always painting flowers, 2024 (excerpt)
Grace Weaver
Nightgown, 2024
acrylic on canvas
228 x 172 cm.; 89 3/4 x 67 3/4 in.
Grace Weaver
Untitled (Blue Nude), 2023
ink on paper
31 x 23 cm.; 12 1/4 x 9 in.
35 x 27 x 4 cm.; 13 3/4 x 10 5/8 x 1 5/8 in. (framed)
Grace Weaver
Untitled (Blue Nude), 2023
ink on paper
31 x 23 cm.; 12 1/4 x 9 in.
35 x 27 x 4 cm.; 13 3/4 x 10 5/8 x 1 5/8 in. (framed)
Toby Ziegler
Atomic fingerprint, 2024
oil and inkjet on canvas
180 x 236 cm.; 70 7/8 x 92 7/8 in.