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Liz Larner, Navid Nuur, Edmund de Waal, Rebecca Warren et al.

The Flames: The Age of Ceramics (group show)
Musée d'Art Moderne de Paris, Paris
15 October 2021 – 6 February 2022

Image: Liz Larner, vii (subduction), 2015, photo: Charles Duprat
Image: Liz Larner, vii (subduction), 2015, photo: Charles Duprat

Gathering over 350 pieces dating from the Neolithic to the present day, the exhibition The Flames: The Age of Ceramics is an immersive exploration of the medium, a fresh, fruitful dialogue between objects from different periods and contexts that brings to light influences as well as coincidences.

An inexhaustible source of inspiration and expression for craftsmen, artists and designers, ceramics – from the Greek keramos, meaning "clay" – is one of humanity's earliest cultural manifestations, used since prehistoric times to make idols, constructions and food containers.

The exhibition's transhistorical approach focuses on ceramics as inherently related to art and, more broadly, to humankind. Long underestimated among the arts, the medium can be both functional and sculptural, and as such compels us to rethink existing categories and traditional hierarchies. In its mingling of art, craft and design, The Flames explores not only ceramics' relationship to the decorative, the culinary and the performative, but also its scope of application in the fields of medicine, aeronautics and ecology. Works by Liz Larner, Navid Nuur, Edmund de Waal and Rebecca Warren are included.

MAM


Additional:

Edmund de Waal

Edmund de Waal in conversation with Katy Hessel (Artist Talk)
Hay Festival, Hay-on-Wye
Friday, 3 June 2022, 1pm (BST)

Image: Edmund de Waal, photo: Ben McKee
Image: Edmund de Waal, photo: Ben McKee

As part of the Hay Festival 2022, Edmund de Waal will be in conversation with art historian, curator and broadcaster Katy Hessel to discuss his recent published book Letters to Camondo.

Learn more


Navid Nuur et al.

Terra incognita – Questions for the Earth (group show)
Lantz’sche Park, Dusseldorf
12 June – 21 August 2022

Image: Navid Nuur, '', 2015, gold leaf, 15 x 131 cm., photo: Group show, Berlin, courtesy of the artist and Plan B Cluj, Berlin
Image: Navid Nuur, '', 2015, gold leaf, 15 x 131 cm., photo: Group show, Berlin, courtesy of the artist and Plan B Cluj, Berlin

Work by Navid Nuur is included in the group exhibition Terra incognita – Questions for the Earth, which will be on view at the Lantz’sche Park in Dusseldorf from 12 June until 21 August 2022.

Terra incognita — Questions for the Earth focuses on the “uncharted spaces” on Earth today. The exhibition in Lantz’sche Park combines sculptures, installations, performances and events, all of which address the specific face of the place, its flora and fauna, as well as its social structure and its function as a place to tarry and recuperate - with an open and inquisitive mind. The artists will “conquer”, “explore” and “occupy” the park for a period of two months, all with the intention of encouraging a remapping of this territory in order for us to redefine our place in and with nature.

This exhibition features two works by Navid Nuur. At first glance, Untitled (1988–2015) looks like a normal boulder. Only on closer inspection do we discover the otherworldly, crystal-like flower growing on its surface. “My experience,” the rock explains in an interview with the artist, “is partly the result of an interaction of forces: immaterial factors in other words.” The flower made up of iron dust on the rock is a product of such invisible forces. Held together by a magnet embedded inside the rock by the artist, it symbolizes an ever-changing present. Nuur himself speaks of a “pure presence” with no beginning and no end. His sensitive, poetic settings underline the finiteness of material conditions, including our own existence.

'' (2015), Navid Nuur’s second work in the exhibition, also consists of a mineral. The inlay-like frieze of gold leaf is located on the rear wall directly above the entrance door of Lantz’sche chapel, which was completed in 1879. It shows five different formations of a sphere. Themes such as light, the passage of time in planetary cycles, and also cosmic orders are addressed. By placing the work in the midst of the magnificent array of mosaics and stained glass inside Lantz’sche Chapel, Nuur draws a link to Christian mythology. The golden circular forms can be interpreted here more clearly than elsewhere as references to the halo. This is a connection very deliberately sought by Nuur, bridging as it does the gap between the cosmic order and spiritual faith.

Projekt Lantz’scher Skulpturenpark


Liz Larner et al.

Toucher Terre, l’art de la sculpture céramique (group show)
Fondation Villa Datris, L’Isle-sur-la-Sorgue
27 May – 1 November 2022

Image: Liz Larner, Nyx, 2021, photo: Jack Hems, © Liz Larner
Image: Liz Larner, Nyx, 2021, photo: Jack Hems, © Liz Larner

Liz Larner’s sculpture Nyx from 2021 is included in the group exhibition Toucher Terre, l’art de la sculpture céramique, which will be on view at the Fondation Villa Datris in L’Isle-sur-la-Sorgue from 27 May until 1 November 2022.

Fondation Villa Datris


Edmund de Waal

Edmund de Waal in conversation with Chad Coerver
Online Talk: Sunday, 19 June 2022, 7pm (BST)

Image: Edmund de Waal, photo: Ben McKee
Image: Edmund de Waal, photo: Ben McKee

Edmund de Waal will join Chad Coerver, Executive Director of the Contemporary Jewish Museum, San Francisco, in a conversation about his book Letters to Camondo.

Join the event here.


Navid Nuur et al.

Beating Around the Bush #7: False Flat (group show)
Bonnefanten Museum, Maastricht
20 February 2022 – 8 January 2023

Installation view: Navid Nuur, The Possibilities of Purple, 2013, installation view, Bonnefanten Museum, Maastricht, 2022. Photo: Peter Cox
Installation view: Navid Nuur, The Possibilities of Purple, 2013, installation view, Bonnefanten Museum, Maastricht, 2022. Photo: Peter Cox

Work by Navid Nuur is included in the group exhibition Beating Around the Bush #7: False Flat, which will be on view at the Bonnefanten Museum in Maastricht from 20 February 2022 until 8 January 2023.

Bonnefanten Museum


Edmund de Waal

Edmund de Waal in conversation with André Aciman (podcast)

Edmund de Waal, photo: Holger Niehaus
Edmund de Waal, photo: Holger Niehaus

In an episode for the podcast series Always Authors, Edmund de Waal joins the acclaimed writer André Aciman in conversation about their work, lives, and favourite books.

Listen to the podcast here.


Edmund de Waal

Eine STADT. Ein BUCH. 2021
From 12 November 2021, Vienna

From 12 November onwards, 100,000 copies of Der Hase mit den Bernsteinaugen, the German edition of Edmund de Waal's family memoir, will be given away across Vienna as part of this year's Eine STADT. Ein BUCH. Since 2002, this initiative has dedicated its yearly programme to selecting a specially produced book, which is printed and distributed for free across the city.

Eine STADT. Ein BUCH


Navid Nuur

a large-scale painting commission, now on view, in the new temporary location of the Senate of the Dutch Parliament (Eerste Kamer der Staten-Generaal)

Installation view: Eerste Kamer der Staten-Generaal, The Hague, 2021, photo: Mike Bink, courtesy of the artist
Installation view: Eerste Kamer der Staten-Generaal, The Hague, 2021, photo: Mike Bink, courtesy of the artist

A large-scale painting by Navid Nuur was commissioned by the Dutch Parliament (Eerste Kamer der Staten-Generaal) and is now on view at its temporary location in The Hague.

The Senate


Edmund de Waal

Edmund de Waal in conversation with Lisa Zeitz

Edmund de Waal, photo: Ben McKee
Edmund de Waal, photo: Ben McKee

For the eleventh episode of the podcast series WELTKUNST – Was macht die Kunst?, Edmund de Waal is in conversation with art historian and journalist Lisa Zeitz, to talk about his highly celebrated book The Hare With Amber Eyes. Listen to this episode here.


Liz Larner

Don’t put it back like it was (solo show)
Walker Art Center, Minneapolis
30 April – 4 September 2022

Installation view: Liz Larner, Don’t put it back like it was, SculptureCenter, New York, 2022, © Liz Larner, photo: Cathy Carver
Installation view: Liz Larner, Don’t put it back like it was, SculptureCenter, New York, 2022, © Liz Larner, photo: Cathy Carver

For the past three decades, Los Angeles–based artist Liz Larner (US, b. 1960) has explored the material and social possibilities of sculpture in innovative and surprising ways. Today she is one of the most influential artists of her generation engaged with the medium. Larner’s use of materials ranges from the traditional—such as bronze, porcelain, glass, or stainless steel—to the unexpected: bacterial cultures, surgical gauze, sand, or leather. The artist selects each medium for its physical or chemical properties as well as for social and historical associations. Taking direction from these materials, she creates works that can be delicate or aggressive, meticulously crafted or unruly and formless.

Liz Larner: Don’t put it back like it was, co-organized by the Walker Art Center and SculptureCenter, New York, is the artist’s largest survey since 2001. Presenting some 30 works produced between 1987 and 2020, the exhibition includes many pieces never before shown. Featured works include Larner’s early experiments with petri dishes and destructive machines, installations that respond to architecture, and more recent wall-based works in ceramic.

As a whole, the exhibition underscores the power and intention of Larner’s work to reconsider objects in physical space as not only a matter of architectural proportions but also as a social, gendered, and psychological construction. As her objects assert themselves in the gallery environment, they reflect a history of sculptural practice and an understanding of physical space that has largely been shaped by (or credited to) men. The experience of viewing these works compels an awareness of our own embodied presence and relationship to this space.

The exhibition examines ways in which Larner has investigated both the material potential of sculpture and its relationship to the viewer, bringing forward key themes that have occupied her work: the dynamic between power and instability, the tension between surface and form, and the interconnectedness of objects to our bodies.

Curator: Mary Ceruti, executive director, Walker Art Center. The New York presentation is organized by Kyle Dancewicz, interim director, SculptureCenter.

A catalogue will be published to accompany this exhibition. Get your copy here.

Walker Art Center


Rebecca Warren et al.

Breaking the Mould: Sculpture by Women since 1945 (group show)
An Arts Council Collection Touring Exhibition

Image: Rebecca Warren, Regine, 2007, © Rebecca Warren
Image: Rebecca Warren, Regine, 2007, © Rebecca Warren

This major new touring exhibition challenges the male-dominated narratives of post-war British sculpture by presenting a diverse and significant range of ambitious work by women. Offering a radical recalibration, Breaking the Mould not only celebrates the strengths of sculpture made by women but also seeks to guard against the threat of slipping out of view. Through this deliberately restorative act, the exhibition seeks to inspire future generations, supporting the maxim ‘if she can see it she can be it’.

Breaking the Mould represents the work of over forty-five sculptors including Rebecca Warren.

Tour schedule:
Longside Gallery, Yorkshire Sculpture Park, Wakefield, 29 May – 5 September 2021 (Open Thursdays to Sundays and bank holidays, 11am - 4pm. Pre-booking essential. Book tickets at ysp.org.uk)
Djanogly Gallery, Lakeside Arts, University of Nottingham, Nottingham, 18 September 2021 – 9 January 2022
The Levinsky Gallery, The Arts Institute, University of Plymouth, Plymouth, 26 March – 5 June 2022
Ferens Art Gallery, Hull, 2 July – 2 October 2022
The New Art Gallery Walsall, Walsall, October 2022 – March 2023

Arts Council Collection


Edmund de Waal

Honoured with CBE (Commander of the Order of the British Empire)

Image: Edmund de Waal, photo: Ben McKee
Image: Edmund de Waal, photo: Ben McKee

We congratulate Edmund de Waal on being appointed a CBE (Commander of the Order of the British Empire) for his outstanding services to the art as a potter and writer.


Liz Larner

Reef, 2019
now part of the collection of the Art Institute of Chicago

Image: Liz Larner, Reef, 2019, ceramic, glaze, stones, minerals, 12.7 x 414 x 229.9 cm, 5 x 163 x 90 1/2 in., Art Institute of Chicago, Claire and Gordon Prussian Fund for Contemporary Art, 2020.61. © Liz Larner
Image: Liz Larner, Reef, 2019, ceramic, glaze, stones, minerals, 12.7 x 414 x 229.9 cm, 5 x 163 x 90 1/2 in., Art Institute of Chicago, Claire and Gordon Prussian Fund for Contemporary Art, 2020.61. © Liz Larner

We are pleased to announce that Liz Larner's sculpture Reef from 2019 is now part of the collection of the Art Institute of Chicago. The work is also currently on view at the institution.

Art Institute of Chicago


Edmund de Waal

stone for two hands and water, 2021
Henry Moore Foundation Studio & Gardens
From 31 March 2021

Installation view: Edmund de Waal, stone for two hands and water, 2021, reproduced by permission of Edmund de Waal and New Art Centre, Wiltshire, © Edmund de Waal, courtesy of the artist
Installation view: Edmund de Waal, stone for two hands and water, 2021, reproduced by permission of Edmund de Waal and New Art Centre, Wiltshire, © Edmund de Waal, courtesy of the artist

Edmund de Waal's sculpture stone for two hands and water, 2021 is on view at the Henry Moore Foundation Studio & Gardens from 31 March 2021. The sculpture has been made by the artist as part of the forthcoming exhibition The Living Hands: Edmund de Waal presents Henry Moore at the Henry Moore Foundation. This exhibition is curated by de Waal and is scheduled to open on 19 May 2021.

Henry Moore Foundation Studio & Gardens


Navid Nuur et al.

Creatives on Creativity (publication)

The publication Creatives on Creativity documents interviews with 44 artists and designers, including Navid Nuur, which were conducted by Steve Brouwers, Creative Director at SBS. Focused on the topic of creativity, they talk about childhood, creative processes, inspirations and the artists' most memorable achievements.

Order a copy here.


Rebecca Warren

Belvedere 21, Vienna (solo show)
15 July – 16 October 2022

Rebecca Warren,
Rebecca Warren, "The Living", 2005. © Rebecca Warren. Courtesy of Maureen Paley, Galerie Max Hetzler Berlin | London | Paris and Matthew Marks Gallery

The British artist Rebecca Warren makes sculptures, assemblages, and constructions in a wide variety of materials including clay, bronze, steel, and neon. Warren came to prominence in the early 1990s with her large, raw clay sculptures of extravagantly proportioned female forms. Since then her distinctive and complex oeuvre, blending tradition with the quotidian, seriousness with frivolity, mastery with mismatch, has embodied her attitudes to art and its history. With a preference for ambiguity of form and meaning she has said of her work that "it comes from a strange nowhere, then gradually something comes out into the light. There are impulses, half-seen shapes, things that might have stuck with you from decades ago, as well as more recently. It's all stuff in the world going through you as a filter..." Rebecca Warren’s first solo exhibition in an Austrian museum will consist of older works alongside new works made especially for Belvedere 21.

The exhibition is curated by Axel Köhne.

Belvedere 21


Edmund de Waal

Letters to Camondo (publication)
Now published in France, UK and USA

Edmund de Waal's newest book, Letters to Camondo, has been published in France, UK and USA.

Count Moïse de Camondo lived a few doors away from Edmund de Waal's forebears, the Ephrussi, first encountered in his bestselling memoir The Hare with Amber Eyes. Like the Ephrussi, the Camondos were part of belle époque high society. They were also targets of anti-semitism.

Camondo created a spectacular house and filled it with the greatest private collection of French eighteenth-century art for his son to inherit. But when Nissim was killed in the First World War, it became a memorial and, on the Count's death, was bequeathed to France.

The Musée Nissim de Camondo has remained unchanged since 1936. Edmund de Waal has explored the lavish rooms, exquisite objects and detailed archives. In a haunting series of letters, he writes to the Count, and gets to know the boy who journeyed from Constantinople and became a model French citizen, before all that was gained was torn away.

Order a copy here.


Edmund de Waal

library of exile (catalogue)

The British Museum has published a catalogue on Edmund de Waal's work, centring around his "library of exile", currently shown at the museum.

"This beautifully produced book reflects upon the themes raised by de Waal’s thought-provoking work of art. A preface by Booker Prize-nominated author Elif Shakef considers the importance of literature and its capacity to transcend language and borders. The introduction from British Museum Director, Hartwig Fischer, positions the artwork within the wider context of the Museum’s collection, highlighting the dialogue between objects through time, from ancient history to the contemporary. Finally, de Waal concentrates on the work itself, its journey to the British Museum via Venice and Dresden, and its future role in the foundation of the new University of Mosul Library. 'Library of exile' is a contemplative read which celebrates language and the opportunity for dialogues with the displaced."

British Museum


Rebecca Warren

Honoured with OBE (Officer of the Order of the British Empire)

Rebecca Warren, Aurelius, 2017–2019, photo: Peter Mallet
Rebecca Warren, Aurelius, 2017–2019, photo: Peter Mallet

We congratulate Rebecca Warren on being awarded an OBE (Officer of the Order of the British Empire) in Queen Elizabeth II's 2020 Birthday Honours List for services to Art. The title OBE is awarded to individuals who have made great contributions to the United Kingdom.

Rebecca Warren's Aurelius, 2017–2019 is currently on view at Regent's Park in London, as part of Frieze Sculpture, until 18 October 2020.


Edmund de Waal

Edmund de Waal in conversation with Whitechapel Gallery Director Iwona Blazwick (podcast)

Edmund de Waal. Photo: Ben McKee
Edmund de Waal. Photo: Ben McKee

Renowned artist, ceramicist and writer Edmund de Waal joins Whitechapel Gallery Director Iwona Blazwick to discuss the legacy of British artist and potter Bernard Leach. Founder of the Leach Pottery in St. Ives 100 years ago and celebrated in Kai Althoff’s current show, Leach drew on traditional Japanese ceramics to lay the foundations for modern Studio Pottery. Author of a critical account of Leach’s genesis and aesthetic, de Waal discusses his enduring appeal.

Listen to the podcast by clicking here.

Whitechapel Gallery


Liz Larner

below above (solo show)
Kunsthalle Zürich, Zurich
11 June – 18 September 2022

Liz Larner,
Liz Larner, "Hands" (detail), 1993. © Liz Larner, courtesy Regen Projects, Los Angeles

Over the past thirty years Californian artist Liz Larner has, together with artists such as Phyllida Barlow, Trisha Donnelly, Nicole Eisenman, Vincent Fecteau and Sarah Lucas, played with our idea of sculpture. Larner’s sculpture revolves around presence and absence – communicating bodies, that is. This is enunciated through the complex, delicate web of traditional and unorthodox perspectives she conjures and her in-depth understanding of forms and materials, their qualities and their heritage. An encounter with Larner’s work is always fruitful and transformational; it is not just an encounter with art history, but equally with beauty, repulsion and eros, with the cosmic, the extra-terrestrial and with humour.

Material and its transformation through form are at the centre – and the periphery – of Larner's often contradictory and challenging oeuvre. Yet hers is a formalist art in a modernist sense, schooled by tradition then disrupted by disbelief. It is as close to psychedelia as it is to Minimalism and it regards research, experimentation, concept and control with the same enthusiasm. For this very reason, Larner continually creates works that redefine what sculpture can be. below above, her exhibition at Kunsthalle Zürich, will include works from 1988 to 2020. above a presentation of selected older works introduce the artist’s broad vocabulary, while below consists of an entirely new work spreading over 500 m2. In this work, Beneath and Above the Horizon, Larner experiments with new materials, recycling and possible developments on an apocalyptic scale. It is, the artist writes, ‘an installation of low forms based on the undulating, tessellating forms of seafoam drifts. These plastic froth drifts will be interspersed with glazed ceramic forms based on 2019 OK, a type of asteroid nicknamed by astronomers as City-killers. If this type of asteroid were to collide with the earth, it would be the equivalent of 10 megatons of TNT. 2019 OK was an undetected asteroid that came very close to crashing to Earth on July 25, 2019.’ Beneath and Above the Horizon opens a new chapter in Larner's already very diverse oeuvre and it will do so on several registers: formally, in terms of material, of scale and as a bleak vision of our and our planet’s future.

‘In a general sense, the work is about being in the world. Different pieces engage different aspects of this, doing it at the same time as being in it. You know, I want the literal, the metaphorical and the theatrical. I want others who are in the room with the work to feel that. To know that they’re thinking about it, but also to have it just be happening to them. When I was younger, one of the first things I found so beautiful about art was that when you’re there in front of it, you can just get it. It comes to you, like ESP [extrasensory perception] (laughter). Sometimes it’s SP without the E, but the extra is important too.’ (Liz Larner, interviewed by Jane Dickson in Bomb, July 1, 2006)

Kunsthalle Zürich