FRIEZE SEOUL

Galerie Max Hetzler is delighted to present works by Karel Appel, André Butzer, Ida Ekblad, Günther Förg, Mark Grotjahn, Eddie Martinez, Albert Oehlen, Richard Prince, Tal R, Bridget Riley, Rinus Van de Velde and Grace Weaver.

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‘Figures and colors combine to form a large animated motion, a motif that encompasses the entire image, creating spatiality and, at the same time, being a pure planar ornament. Butzer takes back the representational aspect in relation to the decorative character of the figures and thereby grants all appearances on the densely and tightly woven surface the same pictorial values.’

Steffen Krüger, 2024

‘Oil on canvas becomes a way not to understand, but to grasp, snatch or re-ignite a feeling of thin upon thick, rain on concrete buildings, drizzle over fluorescent light.’

Ida Ekblad, 2022

‘Up close, each drawing reveals the frenetic energy of mark-making woven densely across each big rectangle of paper. The patterned field of obsessive marks of Prismacolour pencil aren‘t pure, but rather interrupted by stray lines and bits of other more random colour. The smattering of those mostly constrasting hues, like space dust in the night sky, aren‘t drawn over the colour fields, but actually underlie them.’

Mark Govan, 2023

‘Consciousness and unconsciousness, Cubism and the CoBrA Group, Abstract Expressionism and Surrealism, cartoons and masterpieces, hip-hop and classical, floating fragments of history and memory are broken down into pieces, concealed, and newly revealed on the canvas through the filter of Eddie Martinez.’

Jang-Uk Lee, 2024

‘I would not compare myself with an improvising musician, but perhaps we have something in common. I don’t have a method or a set of them. I stand in front of a canvas that is normally larger than me. It is not written, what I have to do. I can’t see what I am doing, at least not in the whole context. My arm is too short. When I step towards the canvas, I seem to have an order. So it is not surprising that I want to play with it and put the orders in disorder or order.’

Albert Oehlen, 2011

‘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