Victor Man
From Wounds and Starry Dreams

Galerie Max Hetzler — Book
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler, book cover
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler, exhibition catalogue cover
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler, exhibition catalogue cover
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting open book portrait
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting open book portrait
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting detail flower green pink
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting detail flower green pink
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting sleeping girl portrait
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting sleeping girl portrait
Victor Man catalogue Max Hetzler Gallery Paris blue, passage from Georg Trakl’s ‘From A Golden Chalice: Mary Magdalene’, 1906.
Victor Man catalogue Max Hetzler Gallery Paris blue, passage from Georg Trakl’s ‘From A Golden Chalice: Mary Magdalene’, 1906.
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting portrait
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler painting portrait
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler drawing
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler drawing
Victor Man portrait detail painting green red
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler, exhibition view, installation gallery
Victor Man: From Wounds and Starry Dreams, Galerie Max Hetzler, exhibition view, installation gallery

Victor Man: From Wounds and Starry Dreams

Victor Man: From Wounds and Starry Dreams

Book

Published on the occasion of the solo exhibition From Wounds and Starry Dreams, on view at Galerie Max Hetzler, Paris. The catalogue includes a passage from Georg Trakl’s ‘From A Golden Chalice: Mary Magdalene’, 1906.

‘Man puts together art history, personal life, religion, sex, and the subconscious on canvas, refusing to discard anything vague, to obliterate obscurity, and to counter instead the dissimulated rational clarity and theoretical pride of so many advanced artists.

Fully melancholic, cold but contorted, Victor Man shuns anything jocular, anything that solves problems in an illuminating way. Until recently, he had to cover up this Romantic embrace of the purity of the soul and the ensuing damnation by disseminating cultural allegories with fabricated cognitive clues, inside of which an actually obscure, muddy subjectivity thrived, impenitently bathing in nonsense, abjection, and anxiety. The blacks only signaled the dark path through memory, oblivion, obliteration and objectless nostalgia. A true anti-Gauguin, Victor Man found Tahiti right in his studio, inside nearby museums. Folded textiles replaced ripe fruits, lead moonlight, replaced the scorching sun.’

E. Kessler, ‘Every Lead Evening’, in Victor Man, exh. cat., Berlin: Galerie Neu / Cologne: Walther König, 2020, p. 18.

Published by Buchhandlung Walther König
Book photography courtesy Max Hetzler Gallery
Installation views by Nicolas-Brasseur

2022