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bauspiel, 2014; a lecture on the weather, 2015; Lichtzwang, 2015; installation view

About
bauspiel; a lecture on the weather, Lichtzwang; installation view

bauspiel, 2014; a lecture on the weather, 2015; Lichtzwang, 2015; installation view


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things
black milk 2016
About
black milk

black milk2016
237 porcelain vessels in 2 wood, aluminium, and glass vitrines.
274.5 x 255 x 13.5 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

Lichtzwang, 2014; black milk, 2015; installation view

About
Lichtzwang, black milk, installation view

Lichtzwang, 2014; black milk, 2015; installation view


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

a lecture on the weather, 2015

About
a lecture on the weather

a lecture on the weather, 2015

290 porcelain vessels in wood, aluminium, and glass vitrine
105.7 x 158.4 x 11 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

three sounds, 2015

About
three sounds

three sounds, 2015

11 porcelain vessels on 2 Cor-Ten steel shelves
14 x 110 x 10 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

a new ground I-III, 2015

About
a new ground I-III

a new ground I-III, 2015


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things
a new ground, II, 2016
About
a new ground, II,

a new ground, II,2016
13 porcelain vessels and Cor-Ten steel blocks in 7 steel, Corian, and plexiglass vitrines.
56 x 180 x 83.5 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

composition for three voices, 2015

About
composition for three voices

composition for three voices, 2015

45 porcelain vessels with painted and gilded lead blocks in 15 aluminium and plexiglass vitrines
38 x 532 x 10 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

#835, 2015

About
#835

#835, 2015

18 porcelain vessels in 2 steel and plexiglass vitrines
50 × 116 × 35 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

a word, a name a place, 2015; to speak to you, 2015; installation view

About
a word, a name a place; to speak to you; installation view

a word, a name a place, 2015; to speak to you, 2015; installation view


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things
a word, a name, a place 2016
About
a word, a name, a place

a word, a name, a place2016
16 porcelain vessels and 14 plaster blocks in aluminium cabinet.
50 x 116 x 15 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things
to speak to you 2016
About
to speak to you

to speak to you2016
17 porcelain vessels and 10 Cor-Ten steel blocks in aluminium cabinet.
50 x 116 x 15 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

a word, a name, a place, 2015; to speak to you, 2015; the ten thousand things, for John Cage, 2015; installation view

About
a word, a name, a place; to speak to you; the ten thousand things, for John Cage; installation view

a word, a name, a place, 2015; to speak to you, 2015; the ten thousand things, for John Cage, 2015; installation view


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

the ten thousand things, for John Cage; 2015, a new ground, 2016; installation view

About
Edmund De Waal Gagosial La A New Ground Room 2

the ten thousand things, for John Cage; 2015, a new ground, 2016; installation view


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

the ten thousand things, for John Cage, II, 2015

About
the ten thousand things, for John Cage, II

the ten thousand things, for John Cage, II, 2015

From a series of 20 pieces; 3 porcelain vessels and Cor-Ten steel block in aluminium box
45 x 45 x 19 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

a new ground, 2016; two sounds, 2015; installation view

About
Edmund De Waal Gagosial La A New Ground Room 1

a new ground, 2016; two sounds, 2015; installation view


ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things

two sounds, III, 2015

About
two sounds, III

two sounds, III, 2015

5 porcelain vessels on Cor-Ten steel shelf
2.4 x 45 x 10 cm

ten thousand things
Gagosian, Beverly Hills
14 January – 18 February 2016

At heart the heart of this exhibition with Gagosian, Beverly Hills, was a series of responses to the Schindler House, the revolutionary 1922 building by Viennese émigré architect, Rudolph Schindler, which was so influentual on composer, theorist and writer, John Cage.

For this body of work, Edmund de Waal made a series of conversations about materials - porcelain, metal, plaster, wood and glass - with architectural space and the open, generous possibilities that Cage and Schindler offer. How people walk through spaces, how they encounter the works, how it is possible to make work to pause the world a little, is the imperative. At its core is one simple question: it is about what it means to belong in one place at one time.

Installation photography: Mike Bruce & Jeff Mclane, Courtesy Gagosian Gallery


Exhibition Catalogues
ten thousand things