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fundbüro, installation view 2016
About
fundbüro, installation view

fundbüro, installation view2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
fundbüro 2016
About
fundbüro

fundbüro2016
14 porcelain vessels and porcelain shards in an aluminium and plexiglass vitrine
50 x 120 x 13 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
archiv 2016
About
archiv

archiv2016
6 porcelain vessels, porcelain tiles and shards with gilding in a wood, plexiglass and gesso vitrine
70.5 x 150 x 13.5 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
archiv (detail) 2016
About
archiv (detail)

archiv (detail)2016
6 porcelain vessels, porcelain tiles and shards with gilding in a wood, plexiglass and gesso vitrine
70.5 x 150 x 13.5 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
archiv 2016
About
archiv

archiv2016
6 porcelain vessels, porcelain tiles and shards with gilding in a wood, plexiglass and gesso vitrine
70.5 x 150 x 13.5 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst 2016
About
Irrkunst

Irrkunst2016

Handwritten text piece, installation view

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst 2016
About
Irrkunst

Irrkunst2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Vitrine containing 1 notebook, 2 typescript pages and 12 handwritten documents from the Walter Benjamin Archives 2016
About
Vitrine containing 1 notebook, 2 typescript pages and 12 handwritten documents from the Walter Benjamin Archives

Vitrine containing 1 notebook, 2 typescript pages and 12 handwritten documents from the Walter Benjamin Archives2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst 2016
About
Irrkunst

Irrkunst2016

Handwritten text piece, installation view

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
fundbüro, on the eve of departure, installation view 2016
About
fundbüro, on the eve of departure, installation view

fundbüro, on the eve of departure, installation view2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
on the eve of departure 2016
About
on the eve of departure

on the eve of departure2016
24 porcelain vessels with gilding, porcelain sheets and shards with gilding and 15 plaster blocks in an aluminium, wood and glass vitrine
170 x 110 x 13.5 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
on the eve of departure, once is as good as never, installation view 2016
About
on the eve of departure, once is as good as never, installation view

on the eve of departure, once is as good as never, installation view2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
once is as good as never 2016
About
once is as good as never

once is as good as never2016
72 porcelain vessels in a glass and aluminium vitrine
214.3 x 260 x 14 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
sudelbücher I-V 2016
About
sudelbücher I-V

sudelbücher I-V2016
Porcelain vessels in aluminium and plexiglass vitrines
Each 38 x 50 x 10 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
sudelbücher, III 2016
About
sudelbücher, III

sudelbücher, III2016
7 porcelain vessels in an aluminium and plexiglass vitrine.
38 x 50 x 10 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
#835, the task of the critic, installation view 2016
About
#835, the task of the critic, installation view

#835, the task of the critic, installation view2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
the task of the critic 2016
About
the task of the critic

the task of the critic2016
70 porcelain vessels in a glass and aluminium vitrine
204.2 x 260 x 14 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
late, installation view 2016
About
late, installation view

late, installation view2016
7 porcelain vessels in 4 aluminium and plexiglass vitrines
21 x 17 x 10 cm each, 96 x 17 x 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
late 2016
About
late

late2016
7 porcelain vessels in 4 aluminium and plexiglass vitrines
21 x 17 x 10 cm each; 96 x 17 x 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Portbou, the task of the critic, installation view 2016
About
Portbou, the task of the critic, installation view

Portbou, the task of the critic, installation view2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Portbou 2016
About
Portbou

Portbou2016
14 porcelain vessels and 5 Cor-Ten steel blocks in a pair of aluminium and plexiglass vitrines
53 x 116 x 15 cm each; 53 x 116 x 36 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
my problem with the Frankfurt School, Portbou, installation view 2016
About
my problem with the Frankfurt School, Portbou, installation view

my problem with the Frankfurt School, Portbou, installation view2016

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
my problem with the Frankfurt School 2016
About
my problem with the Frankfurt School

my problem with the Frankfurt School2016
1 porcelain vessel holding shards of a Sung Dynasty tea bowl in an aluminium and plexiglass vitrine
21 x 17 x 10 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst

ostracon, 2016

About
ostracon

ostracon, 2016

8 porcelain vessels, porcelain shards with gilding and 3 plaster blocks in 13 aluminium and plexiglass vitrines
21 × 17 × 10 cm each; 21 × 269 × 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
ostracon (detail) 2016
About
ostracon (detail)

ostracon (detail)2016
8 porcelain vessels, porcelain shards with gilding and 3 plaster blocks in 13 aluminium and plexiglass vitrines
21 x 17 x 10 cm each; 21 x 269 x 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
ragpicker 2016
About
ragpicker

ragpicker2016
5 porcelain vessels and porcelain shards with gilding in 7 alumnium and plexiglass vitrines
21 x 17 x 10 cm each; 21 x 143 x 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
ragpicker (detail) 2016
About
ragpicker (detail)

ragpicker (detail)2016
5 porcelain vessels and porcelain shards with gilding in 7 alumnium and plexiglass vitrines
21 x 17 x 10 cm each; 21 x 143 x 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
against poetry 2016
About
against poetry

against poetry2016
20 porcelain vessels in 13 aluminium and plexiglass vitrines
21 x 17 x 10 cm each; 66 x 188 x 10 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Library Work 2016
About
Library Work

Library Work2016
195 books in 9 languages by or about Walter Benjamin (150 titles); 3,000 sheets of Munken Polar paper; 1,000 Munken Polar envelopes; 1,000 engraved pencils; postage stamps; 2 blind-embossing stamps; 1 steel reading table; 4 maps of Berlin, 1903; 2 shelves; 12 mid-century stacking chairs; 4 Eastern Block pendant lights
Dimensions variable

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Library Work 2016
About
Library Work

Library Work2016
195 books in 9 languages by or about Walter Benjamin (150 titles); 3,000 sheets of Munken Polar paper; 1,000 Munken Polar envelopes; 1,000 engraved pencils; postage stamps; 2 blind-embossing stamps; 1 steel reading table; 4 maps of Berlin, 1903; 2 shelves; 12 mid-century stacking chairs; 4 Eastern Block pendant lights
Dimensions variable

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Library Work 2016
About
Library Work

Library Work2016
195 books in 9 languages by or about Walter Benjamin (150 titles); 3,000 sheets of Munken Polar paper; 1,000 Munken Polar envelopes; 1,000 engraved pencils; postage stamps; 2 blind-embossing stamps; 1 steel reading table; 4 maps of Berlin, 1903; 2 shelves; 12 mid-century stacking chairs; 4 Eastern Block pendant lights
Dimensions variable

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Library Work, installation view 2016
About
Library Work, installation view

Library Work, installation view2016
195 books in 9 languages by or about Walter Benjamin (150 titles); 3,000 sheets of Munken Polar paper; 1,000 Munken Polar envelopes; 1,000 engraved pencils; postage stamps; 2 blind-embossing stamps; 1 steel reading table; 4 maps of Berlin, 1903; 2 shelves; 12 mid-century stacking chairs; 4 Eastern Block pendant lights
Dimensions variable

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst, installation view 2016
About
Irrkunst, installation view

Irrkunst, installation view2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 x 300 x 153 cm; 2 sections 302.5 x 150 x 153 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst (detail) 2016
About
Irrkunst (detail)

Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 x 300 x 153 cm; 2 sections 302.5 x 150 x 153 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst (detail) 2016
About
Irrkunst (detail)

Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 x 300 x 153 cm; 2 sections 302.5 x 150 x 153 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst 2016
About
Irrkunst

Irrkunst2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 x 300 x 153 cm; 2 sections 302.5 x 150 x 153 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst (detail) 2016
About
Irrkunst (detail)

Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 x 300 x 153 cm; 2 sections 302.5 x 150 x 153 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
Irrkunst (detail) 2016
About
Irrkunst (detail)

Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 x 300 x 153 cm; 2 sections 302.5 x 150 x 153 cm

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst
a Berlin chronicle (installation view) 2016
About
a Berlin chronicle (installation view)

a Berlin chronicle (installation view)2016
11 porcelain vessels, porcelain shards, 3 tin boxes, 1 shard from a Sung Dynasty tea bowl and 10 Cor-Ten steel slabs in 4 steel anad plexiglass vitrines on a Cor-Ten steel ground and wooden plinth
164 x 60 x 45 cm overall

Irrkunst
Galerie Max Hetzler, Berlin
29 April – 16 July 2016

Edmund de Waal’s first solo show in Berlin took place across two gallery spaces of Galerie Max Hetzler in Charlottenburg. Based on the writings of Walter Benjamin, the exhibition title was taken from his concept of the art of getting lost, the art of noticing what has been disregarded. In Bleibtreustrasse – a 19th century apartment – de Waal is showing works that reflect Benjamin’s childhood, his fascination with gathering objects and making collections as a kind of memory work. In the second space, Goethestrasse – a former sorting office – de Waal explored ideas of departure and loss through one large-scale architectural work in wood and porcelain. He also created a temporary library of Benjamin’s writings where visitors were able to read and reflect.

Installation photography: Mike Bruce & def-image.com


Exhibition Catalogues
Irrkunst