Raymond Hains

Galerie Max Hetzler Berlin | Paris / Holzwarth Publications, Berlin 2016
With texts by Jean-Marie Gallais, Hans-Ulrich Obrist and Tacita Dean

‘Hains's entire work resembles one of his conversations (…): a network full of bifurcations and self-reference, endlessly moving from subject to subject while maintaining its overall line. The more disparate his oeuvre became and the more new forms it acquired over the course of the years, the more it revealed a profound coherence and visual strength, as if following some form of predestination. Things and procedures regularly recur: the idea that framing is an instrument of revelation (photographic framing and the framing of poster and screen), the need to change scale (distorting glass, fragments, large and small stories, the notion of time) or that the world must be seen abstracted or distorted (wartime destruction, fluted glass, layers of poster, unstable visions, linguistic coincidences). The deeper one goes into his work, the greater the danger of vertigo. As in the Villa Arpel in Jacques Tati's film Mon Oncle, “everything communicates”.’

J.M. Gallais, ‘Which brings us back to...Raymond Hains (1926–2005)’, in Raymond Hains, exh. cat., Berlin: Galerie Max Hetzler and Holzwarth Publications, 2016, pp. 54–55

Publisher: Galerie Max Hetzler Berlin | Paris / Holzwarth Publications, Berlin
Texts: Jean-Marie Gallais, Hans-Ulrich Obrist and Tacita Dean
Publication date: 2016
Binding: Hardcover
Dimensions: 30.5 x 24.6 x 2.6 cm
Pages: 230
ISBN: 978-3-935567-82-4

€ 50.00€ 40.00

Raymond Hains

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