ART BASEL

Online Viewing Room: 12 – 17 June 2024
Booth B13: 13 – 16 June 2024

Installation Views


here

Galerie Max Hetzler is delighted to present works by Giulia Andreani, Karel Appel, Matthew Barney, Louise Bonnet, André Butzer, Sarah Crowner, Rineke Dijkstra, Ida Ekblad, Barry Flanagan, Günther Förg, Walton Ford, Katharina Grosse, Mark Grotjahn, Hans Josephsohn, KAWS, Jake Longstreth, Eddie Martinez, Danielle Mckinney, Beatriz Milhazes, Albert Oehlen, Adam Pendleton, Richard Prince, Tal R, Bridget Riley, Raphaela Simon, Thomas Struth, Eleanor Swordy, Rinus Van de Velde, Edmund de Waal, Rebecca Warren, Grace Weaver and Toby Ziegler.

Giulia Andreani
La Velata (wise guy), 2024
acrylic on canvas
80 x 60 cm.; 31 1/2 x 23 5/8 in.

Giulia Andreani
La Velata (wise guy), 2024
acrylic on canvas
80 x 60 cm.; 31 1/2 x 23 5/8 in.

‘Andreani’s painting does not celebrate the return of the figurative: instead, it is a demonstration that there is no figure without history and that history can live among us only through images that we cannot stop making and unmaking.’

Emanuele Coccia, 2024

Karel Appel
Little Cobra Painting, 1948
oil on canvas
30 x 42 cm.; 11 3/4 x 16 1/2 in.
32.5 x 44 x 5.5 cm.; 12 3/4 x 17 3/8 x 2 1/8 in. (framed)

Karel Appel
Little Cobra Painting, 1948
oil on canvas
30 x 42 cm.; 11 3/4 x 16 1/2 in.
32.5 x 44 x 5.5 cm.; 12 3/4 x 17 3/8 x 2 1/8 in. (framed)

Matthew Barney
Studio View, 2023 
colour pencil, graphite and gouache on paper, in high-density polyethylene frame
43.8 x 37.5 x 3.5 cm.; 17 1/4 x 14 3/4 x 1 3/8 in.

Matthew Barney
Studio View, 2023 
colour pencil, graphite and gouache on paper, in high-density polyethylene frame
43.8 x 37.5 x 3.5 cm.; 17 1/4 x 14 3/4 x 1 3/8 in.

‘My studio sits on a pier on the bank of the East River. Inside the studio is a six-foot-deep trench excavated from the concrete floor. This hole reveals a shattered ceramic pipe that drains into the river. This spatial condition takes on another character in Secondary and shapes the plot.’

Matthew Barney, 2023

André Butzer
Untitled, 2024
acrylic on canvas
205 x 334 cm.; 80 3/4 x 131 1/2 in.

André Butzer
Untitled, 2024
acrylic on canvas
205 x 334 cm.; 80 3/4 x 131 1/2 in.

here

André Butzer
Verstorbene träufeln Gesundheit auf die Erde, 2024
oil, acrylic and lacquer on canvas
260 x 180 cm.; 102 3/8 x 70 7/8 in.

André Butzer
Verstorbene träufeln Gesundheit auf die Erde, 2024
oil, acrylic and lacquer on canvas
260 x 180 cm.; 102 3/8 x 70 7/8 in.

‘What I see are proportions of color and therefore light. No figures. I also don’t see such things people identify with what they think is abstract. Abstraction has become a naturalism in itself. I try to organize and measure paint, color, and light. Sometimes to me the ones with figures in it look like pink, red or violet monochromes!’

André Butzer, 2019

here

Sarah Crowner
The Red Orange One (window), 2024
acrylic on canvas, sewn
228.6 x 182.9 cm.; 90 x 72 in.

Sarah Crowner
The Red Orange One (window), 2024
acrylic on canvas, sewn
228.6 x 182.9 cm.; 90 x 72 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 is a physically constructed object.’

Sarah Crowner, 2024

here

Rineke Dijkstra
Coney Island, N.Y., USA, June 26, 1993, 2023
archival inkjet print
136 x 107.9 cm.; 53 1/2 x 42 1/2 in.
156.2 x 128.3 x 4.4 cm.; 61 1/2 x 50 1/2 x 1 3/4 in. (framed)
edition 1 of 6

Rineke Dijkstra
Coney Island, N.Y., USA, June 26, 1993, 2023
archival inkjet print
136 x 107.9 cm.; 53 1/2 x 42 1/2 in.
156.2 x 128.3 x 4.4 cm.; 61 1/2 x 50 1/2 x 1 3/4 in. (framed)
edition 1 of 6

Ida Ekblad
DROWSY WALKMAN, 2024
oil on linen, in artist's frame
183.4 x 183.4 x 5.5 cm.; 72 1/4 x 72 1/4 x 2 1/8 in.

Ida Ekblad
DROWSY WALKMAN, 2024
oil on linen, in artist's frame
183.4 x 183.4 x 5.5 cm.; 72 1/4 x 72 1/4 x 2 1/8 in.

here
here

Walton Ford
Geist
, 2023
watercolour, gouache and ink on paper
225.4 x 152.4 cm.; 88 3/4 x 60 in.
245 x 172.7 x 5.4 cm.; 96 1/2 x 68 x 2 1/8 in. (framed)

Walton Ford
Geist
, 2023
watercolour, gouache and ink on paper
225.4 x 152.4 cm.; 88 3/4 x 60 in.
245 x 172.7 x 5.4 cm.; 96 1/2 x 68 x 2 1/8 in. (framed)

‘A series of paintings might begin with the discovery of an almost forgotten book. A firsthand account, however brief, will fuel the fantastic. If all goes well, a panther magically escapes and melts into the landscape. She is out there somewhere; I stay in my studio and try to find her.’

Walton Ford, 2020

here

Günther Förg
Untitled, 1986
acrylic on sheet lead and wood, in 3 parts
overall: 120 x 291.6 x 4 cm.; 47 1/4 x 114 3/4 x 1 5/8 in.
each: 120 x 90 x 4 cm.; 47 1/4 x 35 3/8 x 1 5/8 in.

Günther Förg
Untitled, 1986
acrylic on sheet lead and wood, in 3 parts
overall: 120 x 291.6 x 4 cm.; 47 1/4 x 114 3/4 x 1 5/8 in.
each: 120 x 90 x 4 cm.; 47 1/4 x 35 3/8 x 1 5/8 in.

‘I like very much the qualities of lead – the surface, the heaviness… I like to react on things, with the normal canvas you often have to kill the ground, give it something to react against. With the metals you already have something – its scratches, scrapes.’

Günther Förg, 2002

Günther Förg
Untitled, 2006
acrylic on canvas on wood
55 x 90 cm.; 21 5/8 x 35 3/8 in.

Günther Förg
Untitled, 2006
acrylic on canvas on wood
55 x 90 cm.; 21 5/8 x 35 3/8 in.

here

Katharina Grosse
Untitled, 2024
acrylic on canvas
167 x 126 cm.; 89 x 65 3/4 in.
170 x 129 x 4.5 cm.; 66 7/8 x 50 3/4 x 1 3/4 in. (framed)

Katharina Grosse
Untitled, 2024
acrylic on canvas
167 x 126 cm.; 89 x 65 3/4 in.
170 x 129 x 4.5 cm.; 66 7/8 x 50 3/4 x 1 3/4 in. (framed)

here

Mark Grotjahn
Untitled (Backcountry 55.71), 2023
oil on cardboard mounted on linen
139.7 x 172.7 cm.; 55 x 68 in.

Mark Grotjahn
Untitled (Backcountry 55.71), 2023
oil on cardboard mounted on linen
139.7 x 172.7 cm.; 55 x 68 in.

‘In the new paintings, it’s into the night. It’s the stars; it’s being a small person on a big globe.’

Mark Grotjahn, 2021

here

Mark Grotjahn
Untitled (Brown, Red, Purple, Blue Butterfly 55.63), 2023
colour pencil on paper
120.7 x 96.5 cm.; 47 1/2 x 38 in.
134.8 x 110.6 x 5.4 cm.; 53 1/8 x 43 1/2 x 2 1/8 in. (framed)

Mark Grotjahn
Untitled (Brown, Red, Purple, Blue Butterfly 55.63), 2023
colour pencil on paper
120.7 x 96.5 cm.; 47 1/2 x 38 in.
134.8 x 110.6 x 5.4 cm.; 53 1/8 x 43 1/2 x 2 1/8 in. (framed)

KAWS
BRIGHTER DAYS AHEAD, 2023
acrylic on canvas
55.9 x 45.7 cm.; 22 x 18 in.
59.2 x 49 x 5.7 cm.; 23 3/8 x 19 3/8 x 2 1/4 in. (framed)

KAWS
BRIGHTER DAYS AHEAD, 2023
acrylic on canvas
55.9 x 45.7 cm.; 22 x 18 in.
59.2 x 49 x 5.7 cm.; 23 3/8 x 19 3/8 x 2 1/4 in. (framed)

‘KAWS’s practice recognises that artworks can occupy multiple realms – the aesthetic and the transcendent, the commodified and the free. He emphasises that even within a world shaped by image and consumption, universal emotions – from love and friendship to loneliness and alienation – are what binds us. […] Yet behind KAWS’s bright colours and familiar imagery, something subtly sinister is always lurking – there to shake us from our consumerist haze.’

Anna Pasternak, 2021

here

Jake Longstreth
Springtime in Griffith Park 2, 2024
oil on canvas
101.6 x 76.2 cm.; 40 x 30 in.

Jake Longstreth
Springtime in Griffith Park 2, 2024
oil on canvas
101.6 x 76.2 cm.; 40 x 30 in.

here

Eddie Martinez
Gut Feeling, 2024
oil, acrylic and spray paint on linen
152.4 x 182.9 cm.; 60 x 72 in.

Eddie Martinez
Gut Feeling, 2024
oil, acrylic and spray paint on linen
152.4 x 182.9 cm.; 60 x 72 in.

‘In the context of so many colorful canvases, the White Outs stand as exercises in looking as we peer to discern what has been portrayed. There are heads to decipher as well as things (flowers in a vase). […] They’re gathered with foodstuffs arranged like still lifes.’

Phyllis Tuchman, 2021

here

Danielle Mckinney
Zion, 2023
oil on linen
30.5 x 22.9 cm.; 12 x 9 in.
32.7 x 25.1 x 5 cm.; 12 7/8 x 9 7/8 x 2 in. (framed)

Danielle Mckinney
Zion, 2023
oil on linen
30.5 x 22.9 cm.; 12 x 9 in.
32.7 x 25.1 x 5 cm.; 12 7/8 x 9 7/8 x 2 in. (framed)

here

Beatriz Milhazes
Manjary, 2011
collage
120.2 x 120.5 cm.; 47 3/8 x 47 1/2 in.
129 x 130 x 5 cm.; 50 3/4 x 51 1/8 x 2 in. (framed)

Beatriz Milhazes
Manjary, 2011
collage
120.2 x 120.5 cm.; 47 3/8 x 47 1/2 in.
129 x 130 x 5 cm.; 50 3/4 x 51 1/8 x 2 in. (framed)

‘My figuration comes from various external sources, like Indigenous art and Carnival traditions, but also from graphic art. My flowers, my relationship with nature, stem from the graphic universe, from illustrations of fruits and plants and decorative art. Geometry gives structure to my sensibility and organizes my references, my imagination.’

Beatriz Milhazes, 2022

here

Albert Oehlen
Geschmeidig
, 1999
oil on canvas
200 x 240 cm.; 78 3/4 x 94 1/2 in.
203.5 x 243.5 x 7 cm.; 80 1/8 x 95 7/8 x 2 3/4 in. (framed)

Albert Oehlen
Geschmeidig
, 1999
oil on canvas
200 x 240 cm.; 78 3/4 x 94 1/2 in.
203.5 x 243.5 x 7 cm.; 80 1/8 x 95 7/8 x 2 3/4 in. (framed)

‘I want to make beautiful paintings. But I don’t make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn’t work. I expect my paintings to be strong and surprising. When I see a painting that knocks me off my feet, I say “How could he do that? How did he dare?” That’s beauty.’

Albert Oehlen, 2019

Albert Oehlen
Untitled, 1988
oil on canvas
240 x 200 cm.; 94 1/2 x 78 3/4 in.
242.5 x 202.5 x 4.5 cm.; 95 1/2 x 79 3/4 x 1 3/4 in. (framed)

Albert Oehlen
Untitled, 1988
oil on canvas
240 x 200 cm.; 94 1/2 x 78 3/4 in.
242.5 x 202.5 x 4.5 cm.; 95 1/2 x 79 3/4 x 1 3/4 in. (framed)

Adam Pendleton
Untitled (Days), 2023
silkscreen ink on canvas
127 x 152.4 cm.; 50 x 60 in.

Adam Pendleton
Untitled (Days), 2023
silkscreen ink on canvas
127 x 152.4 cm.; 50 x 60 in.

Richard Prince
Super Group, 2017
inkjet, oil stick, acrylic, charcoal, matte medium and collage on canvas
248 x 276.8 cm.; 97 5/8 x 109 in.

Richard Prince
Super Group, 2017
inkjet, oil stick, acrylic, charcoal, matte medium and collage on canvas
248 x 276.8 cm.; 97 5/8 x 109 in.

‘Supergroup is what I needed. And sometimes what you need is all you need. I’d been working with sleeves on and off for four years, they weren’t right, they weren’t finished. They didn’t have extra extra. They had a verse and bridge but they didn’t have a hook. Super Group became the hook. Sum, total, whole.’

Richard Prince, 2017

here

Tal R
Rosa Sjö, 2023
oil on cardboard
57 x 76 cm.; 22 1/2 x 29 7/8 in.
65 x 83 x 2.5 cm.; 25 5/8 x 32 5/8 x 1 in. (framed)

Tal R
Rosa Sjö, 2023
oil on cardboard
57 x 76 cm.; 22 1/2 x 29 7/8 in.
65 x 83 x 2.5 cm.; 25 5/8 x 32 5/8 x 1 in. (framed)

Bridget Riley
Current: Dark Colours 2, 2024
oil on linen
115.8 x 116.2 cm.; 45 5/8 x 45 3/4 in.

Bridget Riley
Current: Dark Colours 2, 2024
oil on linen
115.8 x 116.2 cm.; 45 5/8 x 45 3/4 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 and external reference, a shape leads to a shape, a colour to a colour.’

Richard Schiff, 2018

Raphaela Simon
Küsse im Schnee, 2023
oil on canvas
200 x 160 cm.; 78 3/4 x 63 in.

Raphaela Simon
Küsse im Schnee, 2023
oil on canvas
200 x 160 cm.; 78 3/4 x 63 in.

here

Thomas Struth
Container 1, CERN, Meyrin 2023, 2023
inkjet print, framed behind museum glass
82.8 x 62.1 cm.; 32 5/8 x 24 1/2 in.
88.8 x 68.1 x 4 cm.; 35 x 26 3/4 x 1 5/8 in. (framed)
edition 1 of 6

Thomas Struth
Container 1, CERN, Meyrin 2023, 2023
inkjet print, framed behind museum glass
82.8 x 62.1 cm.; 32 5/8 x 24 1/2 in.
88.8 x 68.1 x 4 cm.; 35 x 26 3/4 x 1 5/8 in. (framed)
edition 1 of 6

Eleanor Swordy
Cover Story, 2024
oil on canvas
160 x 196.6 cm.; 63 x 77 in.

Eleanor Swordy
Cover Story, 2024
oil on canvas
160 x 196.6 cm.; 63 x 77 in.

‘Swordy’s confident brushwork offers resolution, while each work’s mise-en-scène tells another, more complicated story. In each painted tableau a figure interacts with its environment, or with another figure, by way of a gesture. In every case this gesture is mediated, either literally or symbolically, by an intervening object or tool.’

Patrick Price, 2023

here

Rinus Van de Velde
Actually, it is relatively simple. ..., 2024
oil pastel on paper
180 x 112 cm.; 70 7/8 x 44 1/8 in.
201 x 132 x 4 cm.; 79 1/8 x 52 x 1 5/8 in. (framed)

Rinus Van de Velde
Actually, it is relatively simple. ..., 2024
oil pastel on paper
180 x 112 cm.; 70 7/8 x 44 1/8 in.
201 x 132 x 4 cm.; 79 1/8 x 52 x 1 5/8 in. (framed)

here
here

‘I take one piece of clay after another and make one vessel after another. It’s meditative, it’s contemplative, it’s a kind of music. It’s a kind of stealing of the world. One breath after another…’

Edmund de Waal, 2023

here

Grace Weaver
Nightgown, 2024
acrylic on canvas
300 x 210 cm.; 118 1/8 x 82 5/8 in.

Grace Weaver
Nightgown, 2024
acrylic on canvas
300 x 210 cm.; 118 1/8 x 82 5/8 in.

here

Toby Ziegler
Potassium, 2024
oil and inkjet on canvas
140 x 180 cm.; 55 1/8 x 70 7/8 in.

Toby Ziegler
Potassium, 2024
oil and inkjet on canvas
140 x 180 cm.; 55 1/8 x 70 7/8 in.

'Paintings can be vessels full of ghosts: personal and collective phantoms, as well as those of the viewer; all the ghosts that creep in from the internet; the ghosts of paintings that came before, medieval, modernist and the ones I've made. There are conventions that lie dormant in paintings, and by dismantling the act and then putting it back together, perhaps it’s possible to invoke some bastard form to materialise in the gaps between things.'

Toby Ziegler, 2022