breathturn, I2013
476 porcelain vessels in an aluminium and plexiglass cabinet.
230 × 300 × 10 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
breathturn, I-IV, installation view2013
Porcelain vessels in four aluminium and plexiglass cabinets.
230 × 300 × 10 cm each
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
breathturn, II2013
416 porcelain vessels in aluminium and plexiglass cabinet.
230 × 300 × 10 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
breathturn, IV2013
336 porcelain vessels in aluminium and plexiglass cabinet.
230 × 300 × 10 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
Atemwende2013
302 porcelain vessels in aluminium and plexiglass cabinet.
222 × 300 × 13 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
Atemwende (detail)2013
302 porcelain vessels in aluminium and plexiglass cabinet.
222 × 300 × 13 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
Atemwende; how did we live here; this evening, also; your hand full of hours2013
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
the white road; Atemwende2013
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
the white road, I2013
6 porcelain vessels in wood and plexiglass cabinet.
56 × 56 × 27.5 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
the white road, III (detail)2013
7 porcelain vessels in wood and plexiglass cabinet.
56 × 56 × 27.5 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
Ice, Eden; I am their music; black field, II2013
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
black field, III (detail)2013
8 porcelain vessels in wood and lead cabinet.
56 × 56 × 22.5 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
first light2013
20 porcelain vessels in three wood and plexiglass cabinets.
56 × 56 × 22.5 cm each, 56 × 180 × 22.5 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
epyllion, 2013
epyllion, 2013
55 porcelain vessels in 3 aluminium and plexiglass vitrines.188 × 210 × 12 cm each, 19 × 667 × 22.5 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
epyllion (detail), 2013
epyllion (detail), 2013
55 porcelain vessels in three aluminium and plexiglass vitrines.188 × 210 × 12 cm each, 188 × 636 × 12 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
your hand full of hours; epyllion2013
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
I heard it said before (for Berg)2013
60 porcelain vessels in 12 wood, aluminium and plexiglass vitrines.
19 × 40 × 22.5 cm each, 19 × 667 × 22.5 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
the city & desire2013
35 porcelain vessels in five wood, aluminium and glass vitrines.
40 × 23 × 17 cm each, 40 × 151 × 17 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
the city & desire (detail)2013
35 porcelain vessels in five wood, aluminium and glass vitrines.
40 × 23 × 17 cm each, 40 × 151 × 17 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
Ice, Eden2013
42 porcelain vessels with gilding in 3 wood, aluminium and plexiglass vitrines.
35 × 130 × 25.5 cm each, 35 × 420 × 25.5 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
Ice, Eden; I am their music2013
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
there is a land calle Lost2013
52 porcelain vessels in 3 wood, aluminium and plexiglass vitrines.
35 × 130 × 25.5 cm each, 35 × 420 × 25.5 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
how did we live here; this evening, also; your hand full of hours2013
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
your hand full of hours (detail)2013
23 porcelain vessels in wood, aluminium and plexiglass vitrine.
45 × 190 × 25.5 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
this evening, also2013
24 porcelain vessels in wood, aluminium and plexiglass vitrine.
45 × 190 × 25.5 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
how did we live here (detail)2013
22 porcelain vessels in wood, aluminium and plexiglass vitrine.
45 × 190 × 25.5 cm
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
I am their music2013
39 porcelain vessels in two aluminium girders.
31 × 400 × 25 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
I am their music (detail)2013
39 porcelain vessels in two aluminium girders.
31 × 400 × 25 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
thirteen2013
26 porcelain vessels on thirteen aluminium brackets.
15.5 × 8 × 8 cm each, 15.5 × 152 × 8 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.
thirteen (detail)2013
26 porcelain vessels on thirteen aluminium brackets.
15.5 × 8 × 8 cm each, 15.5 × 152 × 8 cm overall
Atemwende
Gagosian gallery, New York
12 September – 19 October 2013
This exhibition of 22 installations at the Gagosian gallery, New York, was Edmund de Waal's largest show to date and his first with the gallery. The exhibition title derives from Paul Celan's 1967 poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words transcend literal meaning. Much of the exhibition was a conversation with the poetry of Celan and de Waal's thinking about music and architecture.