Edmund de Waal

Making

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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