fundbüro, installation view2016
50 × 120 × 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.
fundbüro2016
14 porcelain vessels and porcelain shards in an aluminium and plexiglass vitrine
50 × 120 × 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.
archiv2016
6 porcelain vessels, porcelain tiles and shards with gilding in a wood, plexiglass and gesso vitrine
70.5 × 150 × 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.
archiv (detail)2016
6 porcelain vessels, porcelain tiles and shards with gilding in a wood, plexiglass and gesso vitrine
70.5 × 150 × 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.
archiv2016
6 porcelain vessels, porcelain tiles and shards with gilding in a wood, plexiglass and gesso vitrine
70.5 × 150 × 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.
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.
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.
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.
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.
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.
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 × 110 × 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.
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.
once is as good as never2016
72 porcelain vessels in a glass and aluminium vitrine
214.3 × 260 × 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.
sudelbücher I-V2016
Porcelain vessels in aluminium and plexiglass vitrines
Each 38 × 50 × 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.
sudelbücher, III2016
7 porcelain vessels in an aluminium and plexiglass vitrine.
38 × 50 × 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.
#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.
the task of the critic2016
70 porcelain vessels in a glass and aluminium vitrine
204.2 × 260 × 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.
late, installation view2016
7 porcelain vessels in 4 aluminium and plexiglass vitrines
21 × 17 × 10 cm each, 96 × 17 × 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.
late2016
7 porcelain vessels in 4 aluminium and plexiglass vitrines
21 × 17 × 10 cm each; 96 × 17 × 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.
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.
Portbou2016
14 porcelain vessels and 5 Cor-Ten steel blocks in a pair of aluminium and plexiglass vitrines
53 × 116 × 15 cm each; 53 × 116 × 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.
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.
my problem with the Frankfurt School2016
1 porcelain vessel holding shards of a Sung Dynasty tea bowl in an aluminium and plexiglass vitrine
21 × 17 × 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.
ostracon, 2016
ostracon, 2016
8 porcelain vessels, porcelain shards with gilding and 3 plaster blocks in 13 aluminium and plexiglass vitrines21 × 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.
ostracon (detail)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.
ragpicker2016
5 porcelain vessels and porcelain shards with gilding in 7 alumnium and plexiglass vitrines
21 × 17 × 10 cm each; 21 × 143 × 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.
ragpicker (detail)2016
5 porcelain vessels and porcelain shards with gilding in 7 alumnium and plexiglass vitrines
21 × 17 × 10 cm each; 21 × 143 × 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.
against poetry2016
20 porcelain vessels in 13 aluminium and plexiglass vitrines
21 × 17 × 10 cm each; 66 × 188 × 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.
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.
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.
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.
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.
Irrkunst, installation view2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 × 300 × 153 cm; 2 sections 302.5 × 150 × 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.
Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 × 300 × 153 cm; 2 sections 302.5 × 150 × 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.
Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 × 300 × 153 cm; 2 sections 302.5 × 150 × 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.
Irrkunst2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 × 300 × 153 cm; 2 sections 302.5 × 150 × 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.
Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 × 300 × 153 cm; 2 sections 302.5 × 150 × 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.
Irrkunst (detail)2016
137 porcelain vessels and porcelain shards in 5 birch ply and plexiglass structures
3 sections 302.5 × 300 × 153 cm; 2 sections 302.5 × 150 × 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.
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 × 60 × 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.