by-edmund-de-waal

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“Edmund de Waal: ten thousand things”
January 14–February 18, 2016
Gagosian Gallery Beverly Hills
Artworks © Edmund de Waal 2016
Video by Trebuchet Interactive www.trebuchetweb.com

If you would like to use this video, please contact losangeles@gagosian.com

5 Cool Art Exhibitions to See Now in L.A.

Art shows only become legendary once they’re gone. Funnily enough, it’s usually the ones no one went to that everyone says they saw. There’s no excuse to miss these five shows that will soon be disassembled. Don’t say we didn’t warn you.

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Edmund de Waal, “Ten Thousand Things”

See It Before: Feb. 18

Where: Gagosian Gallery, 456 N. Camden Dr., Beverly Hills

Why Bother: Because de Waal’s porcelain work is quiet but strong. The artist — also a renowned author whose 2010 book The Hare With the Amber Eyes traced the roots of his great uncle’s Japanese wood and ivory carvings collection — makes porcelain vessels, meticulously arranging them on cabinets and shelves to create scenes that look something like a DNA test.

Hollywood ties: Lady Gaga, Sir Elton John, and Adrien Brody have attended recent openings at Gagosian.

“Après-Ski”

See It Before: Feb. 20

Where: Karma International, 433 N. Camden Dr., Beverly Hills

Why: Because the other Zürich import (Hauser Wirth & Schimmel opens Downtown in March) is diving into its new Beverly Hills digs with a splashy show featuring an international roster of artists including Sylvie Fleury, Judith Bernstein, K8 Hardy, David Hominal, Fabian Marti, Martin Soto Climent, Sergei Tcherepnin, and Urban Zellweger, as well as a piece by photographer Melanie Schiff.

Hollywood ties: With a prime location across the street from Gagosian, Karma International is poised to be a haven for industry collectors.

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Jean Baudrillard, “Ultimate Paradox”

See It Before: Feb. 20

Where: Château Shatto, 406 W. Pico Blvd., Los Angeles

Why: Because the man whose philosophical thought inspired The Matrix was also a pretty sharp photographer. The late theorist, one of the great minds of his generation who shunned the art world during his lifetime, took photos of seemingly banal scenes — a submerged vehicle, a broken statue — that are actually pretty beautiful when time is spent with them.

Hollywood ties: Baudrillard heavily inspired the Wachowskis to write The Matrix — his book, Simulacra & Simulation, even shows up in the film, and the actors were required to read it before filming — though the philosopher largely was unimpressed by the film.

Read more Designer Derek Lam Debuts ‘Afloat’ Fragrance Film (Exclusive Video)

Diana Thater, “The Sympathetic Imagination”

See It Before: Feb. 21

Where: LACMA, 5905 Wilshire Blvd., Los Angeles

Why: Because Thater’s 25-year career as an L.A. video artist is displayed in gorgeously immersive galleries, her videos of animal and natural life literally coming off the walls. Block off a day so you can spend time with each work.

Holllywood ties: LACMA’s board of directors includes several industry heavyweights such as Terry Semel, Bryan Lourd, Viveca Paulin-Ferrell, Brian Grazer and Ryan Seacrest.

Read more Riccardo Tisci Debuts His Second Nike Collaboration

Julian Wasser, “Duchamp in Pasadena”

See It Before: March 5

Where: Robert Berman Gallery, 2525 Michigan Ave., Suite B7, Santa Monica

Why: Because for 50 years, Julian Wasser brilliantly has captured L.A. history: soulful shots of Hollywood stars such as Liz Taylor and Steve McQueen; the hauntingly tranquil moments before Bobby Kennedy was assassinated; gritty, on-the-scene snapshots of the Watts Riots; and the glammed-out Sunset Strip in the ’70s. But it was his picture of Marcel Duchamp playing chess with author Eve Babitz — in the nude — at Duchamp’s retrospective at the then-Pasadena Art Museum (now Norton Simon Museum) that seems to endure. Wasser is exhibiting that shot and more from the show, including an amazing image of Andy Warhol, L.A. artist Billy Al Bengston and a young Dennis Hopper, alongside recreations of several iconic Duchamp pieces.

Hollywood ties: Wasser’s book 2014 book The Way We Were (Damiani) features dozens of photos of Hollywood stars and executives, including a rare image of Roman Polanski at his Cielo Drive house after the Manson Family murdered his wife, Sharon Tate; amazing pictures of Steve McQueen; and a wide-angle shot of the scene around John Belushi’s death at the Chateau Marmont.

kcrw.com
Edmund de Waal: The White Road — Bookworm — KCRW
Edmund de Waal takes us on a vast journey into the history and heart, skin and bones of porcelain.

De Waal discusses his book, “The White Road: Journey into an Obsession,“ and exhibition, "tenthousandthings” on view now at Gagosian Beverly Hills, with Michael Silverblatt on KCRW’s Bookworm.  

Hejvud Hil: londonski raj za najprobranije knjige

Hejvud Hil: londonski raj za najprobranije knjige

Pretpostavimo da su vam potrebne knjige. Nedavno ste kupili raskošnu kuću, brod ili avion, sa velikom ali praznom bibliotekom i želite da je popunite pravim knjigama a ne onim lažnjacima koji glume knjige na policama sa pompeznim zlatno ugraviranim naslovima, mala simpatična prevara kako biste ostavili utisak na vaše ugledne goste. Piše Sara Lajel za Njujork Tajms.

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Edmund de Waal

In Berggasse, 2015

14 porcelain vessels in 2 aluminium & plexiglass vitrines

32 x 30 x 7 each

Courtesy // The Artist

In Berggasse is intrinsically linked to Freud who lived on this Viennese street. For Freud, objects embodied desire, dreams and realities, and the vitrines embody these associations through the inability to touch or access them physically.

Edmund de Waal was born in Nottingham, UK, in 1964, and now lives and works in London. Best known for his large-scale installations consisting of porcelain vessels, his recent work has been preoccupied with themes of collecting, being lost, stolen or dispersed.

Artificial Realities, 2016-2017

The White Road by Edmund De Waal

De Waal, E. (2015) The white road: a pilgrimage of sorts. London, Chatto & Windus.

Image of book cover from here.

Below are a few quotes and points I picked out from De Waal’s texts.

  • (Prologue, Jingdezhen - venice - dubln, p.1 -22)
  • Jingdezhen in Jiangxi Province, China, city of porcelain.
  • Pere d’ Entrecolles’ letters on Chinese porcelain, 1722.
  • (p.3) - ‘I … need to get to these places, need to see how porcelain looks under different skies, how white changes with the weather. Other things in the world are white but, for me, porcelain comes first.’
  • (p.3) ‘If you make things out of porcelain clay, you exist in the present moment.’
  • (P.3) ‘…perfectly blended porcelain flat, the colour of full-fat milk… I unwrap one and thump it down on to my wedging bench, pull the twisted wire through a third of the way along, pick up the lump and push it into the bench, raising it and pushing it down in a circular motion, like kneading dough. It gets softer as I do this. I slow down and the clay becomes a sphere.’
  • (p.5) ‘Pinch a walnut-sized piece between thumb and forefingers until it is as thin as paper, until the whorls of your fingers emerge. Keep pinching. It feels endless. You feel it will get thinner and thinner until it is as thin as gold leaf and lifts into the air. And it feels clean. Your hands feel cleaner after you have used it. It feels white. By which I mean it is full of anticipation, of possibility. It is a material that records every movement of thinking, every change of thought.’
  • (p.6) ‘It is so precious, goes the story in medieval Florence, that a porcelain cup prevents poison from working
  • (p.6) ‘And colours are drama.’
  • (p.7) Marco Polo - ‘…they regard white costumes as auspicious and benign…’
  • (p.7) Marco Polo at Tinju city- ‘These dishes are made of crumbly earth or clay which is dug through from a mine and stacked in huge mounds and then left for thirty or forty years exposed to wind, rain, and sun. By this time the earth is so refined that dishes made of it are of an azure tint with a very brilliant sheen.’
  • (p.8) ‘Porcelain demands attention and dedication.’
  • (p.8) ‘…jar made from this hard, clear white clay unlike anything seen before.’
  • (p.9) About a jar - ‘…five indentations for thumb and fingers. An object for  a hand’s memory.’
  • (p.10) ‘There is agreement on the strangeness of porcelain, that it is subject to alchemical change, rebirth.’
  • (p.10) (John Donne writes in ‘Elegy on the Lady Markham’) “As mean of China, after an age’s stay, / Do take up porcelain, where they buried clay”.
  • (p.12) ‘Porcelain has always been given away. Or stored and then brought out on special occasions to be handled with that slight tremble of care that hovers around anxiety.’
  • (p.13-14, an Arab traveller who was in China in the ninth century wrote:) “There is in China a very fine clay with which they make vases which are as transparent as glass; water is seen through them These vases are made of clay.”
  • (p.14) ‘It [porcelain] is light when most things are heavy. It rings clear when you tap it. You can see the sunlight shine through. It is in the category of materials that turn objects into something else. It is alchemy.’
  • (p.16) ‘There are many complexities to working with porcelain. Any discrepancy in thickness can lead to fractures… Your errors, your slapdash decisions, are revealed.’
  • (Chapter 27 ‘half translucent and milk white, like a narcissus, Bottger porcelain tests) (p.188) ‘…“after five hours in the kiln… first had white appearance, second and third collapsed, fourth remained in shape but discoloured… last three album et pellucidum”, white and translucent. Five is optimum, the best.’
  • (p.189) ‘It comes out “half translucent and milk white, like a narcissus’.
  • (Chapter 44, thoughts of whiteness) (p.260) ‘And then I have Herman Melville’s Moby-Dick, Chapter 42. ‘The Whiteness of the Whale’. “In many natural objects, whiteness refiningly enhances beauty, as if imparting some special virtue of its own, as in marbles, japonicas, and pearls.”’
  • (p.261) ‘What is white? It is the colour of mounting, because it folds all colours within it. Mourning is also endless refraction, breaking you up into bits, fragments.’
  • (Chapter 66, breathturn) (p.390) ‘And I place them on shelves in vitrines seven feet high and eight feet across. I call this quartet of installations breathturn. They are rhythms, repeated sequences of pots, and there are attempted rhythms, pauses and caesuras. There are congestions and releases. There is more white space than words.’
  • (Paul Celan poet - ‘This is what he calls the breathturn, the strange moment of pause between breathing in and breathing out, when your sense of self is suspended and you are open to everything.’ (p.388)
  • (p391) ‘…white is a way of starting again. It is not about good taste, that making white pots was never about good taste, that making porcelain is a way of starting again, finding your way, a route and a detour to yourself. And that I don’t get bored. That I make them myself.’

*I wanted to look at this book because of my recent decision to use porcelain within my work. I have found it very interesting, to see all the information De Waal gives about his relationship and understanding of porcelain through the history of it, and through other people’s accounts of the material and its qualities. I shall put up images of De Waal’s works in a future post, to show how his love of porcelain has made an entire body of work.

‘ Tschirnhaus frequently gives the example of the way in which we use our hands without any knowledge of their physiological structure. Thus we can admire the manual ability and skill of a watchmaker who does not know anything at all about the way in which his hands function, buy is still creating an object of true complexity. ‘

From Edmund de Waal’s ‘The White Road’

Edmund de Waal: ‘Clarity can delude. There can be more lucidity in the shadows. They have what Keats called in a marginal note in his copy of Milton’s Paradise Lost, ‘A sort of Delphc Abstraction, a beautiful thing made more beautiful by being reflected and put in a Mist.’

Edmund De Waal… ‘Clarity can delude. There can be more lucidity in the shadows. They have what Keats called in a marginal note in his copy of Milton’s Paradise Lost, ‘A sort of Delphc Abstraction, a beautiful thing made more beautiful by being reflected and put in a Mist.’