Playing with Fire, a collaboration between Edmund de Waal, CLAY Museum of Ceramic Art Denmark and Kunstsilo in Norway, is now open at the Kunstsilo before its final stop at The Hepworth Wakefield, West Yorkshire, in 2025.
Playing with Fire, a collaboration between Edmund de Waal, CLAY Museum of Ceramic Art Denmark and Kunstsilo in Norway, is now open at the Kunstsilo before its final stop at The Hepworth Wakefield, West Yorkshire, in 2025.
This exhibition brings together a significant number of Salto’s ceramic works from the CLAY Museum and The Tangen Collection at Kunstsilo, the world’s largest collection of Nordic modernist art. Salto’s ceramics are being shown alongside his lesser-known and unseen works on paper, illustrations, writings and textiles, and a major new installation by de Waal which reflects on Salto’s enduring influence.
“Axel Salto is one of the greatest artists of the twentieth century. He created a unique body of ceramic work that continues to fascinate me. His sculptures seem to be on the point of change: glazes are caught in flux. Vases swell as if to burst. He cared about the ways that patterns change course, shift energies, how an animal becomes a person, a man metamorphoses into a stag. Ovid ran powerfully through his life. That moment of change, transformation, is the moment when poetry occurs.”
- Edmund de Waal
Photography: Tor Simen Ulstein
A selection of works by Edmund de Waal from the V&A collection are included in this exhibition which explores the museum's collecting and exhibiting of studio pottery from the movement's beginnings to the present day.
To mark the completion of the Warburg Renaissance project and the opening of the Institute’s new gallery space, Memory & Migration presents a selection of objects from the collection that explore its interwoven histories of movement and survival. Included in the exhibition is Edmund de Waal's library of exile, which has been donated to the institute.
At Ordovas, London, is Golds, was an exhibition exploring one of the most symbolic colours in the history of art, and how it has been used and represented in the work of significant artists from the twentieth and twenty-first centuries. De Waal's 2022 piece, K. 314, was a part of the show.
At Ordovas, London, is Golds, was an exhibition exploring one of the most symbolic colours in the history of art, and how it has been used and represented in the work of significant artists from the twentieth and twenty-first centuries. De Waal's 2022 piece, K. 314, was a part of the show.
Installation photography: Stuart Burford
De Waal's 2023 piece Letters to Amherst, II, was on view at the Georgia Museum of Art as part of their exhibition highlighting recent acquisitions to the permanent collection.
De Waal's 2023 piece Letters to Amherst, II, was on view at the Georgia Museum of Art as part of their exhibition highlighting recent acquisitions to the permanent collection.
Photography: Alzbeta Jaresova
The Shape of Things, at Pallant House Gallery, questioned the idea that still life is a lesser genre, showing how important it is to artists and society.
The Shape of Things, at Pallant House Gallery, questioned the idea that still life is a lesser genre, showing how important it is to artists and society.
De Waal's 2021 piece September Song, II, was on display alongside works by Hurvin Anderson, Vanessa Bell, Edward Burra, Patrick Caulfield, Lucian Freud, Gluck, Duncan Grant, Richard Hamilton, Mona Hatoum, Jann Haworth, David Hockney, Lee Miller, Paul Nash, Ben Nicholson, William Nicholson, Eric Ravilious, Anwar Jalal Shemza, William Scott, Walter Sickert, Stanley Spencer, Rachel Whiteread and Clare Woods. The exhibition looked at how these artists have used traditional art history to express the complexities of the human condition.
This exhibition included both the largest free-standing clay vessels that Edmund de Waal has ever created, and a large-scale pavilion titled there are still songs to sing beyond mankind, 2024.
This exhibition included both the largest free-standing clay vessels that Edmund de Waal has ever created, and a large-scale pavilion titled there are still songs to sing beyond mankind, 2024.
Photography: def image
Fragments of Memory. The Treasury of St Vitus Cathedral in Prague in Dialogue with Edmund de Waal, Josef Koudelka and Julian Rosefeld was on show at Kunsthalle im Lipsiusbau, Dresden. The exhibition included de Waal's 2016 large-scale installation irrkunst.
Fragments of Memory. The Treasury of St Vitus Cathedral in Prague in Dialogue with Edmund de Waal, Josef Koudelka and Julian Rosefeld was on show at Kunsthalle im Lipsiusbau, Dresden. The exhibition included de Waal's 2016 large-scale installation irrkunst.
Photography: Martin Polák