page 8 Pmt ann — LONDON — ee Edmund de Waal At Frieze London year’s Frieze London booth will include a special preset This yea eks by Edmund de Weal. In the following text, de Waal locusses the works that will be on view as well as his recent ‘museum and literary projects. Inrecent yearsyou have shown oar ‘work widely abroad, in New York. 0s hyees, and Belin. Your show at Frieze ‘Wilinclade new works—can you tellus Tomething boat your earrent work? Myrnew workie about epartres and ‘lama isa eres of ferent visnes— “hme inser ome very intimate and ‘Some mamumeaal~in which Tefect fm what you tke with you and what You {fave behind Vines ar fscinatiog as ‘hoy ane places where objects are held ti: {hey are very ambigous sites fr thinking this doh, places of memory. Tv= Deen ‘bec ove thi formany eaesand Geelehat Pe fund a language sow. Tis {Sintensely personal stuff be showing fected ine “The week fllowing this London show, ‘ou will curate an exhibition atthe Kunnthistorieches Museum Wien, ‘Spine that ares great burdenin Jour family istry. ow have you dealt ‘wih this opportunity? ‘isan entrandinary museum ofcoase—3 ropes Pinderkomonerinan extaar= ‘inary ety. And ys, Viena sa city about which fam confit Itisso clare Sa ths ecb histor. So ater ban jan show few ofmyfvorite things bare ‘ited an exibition boat anaes Te hove pues and tings—reiquais, fous ered gemstones, strange found jects provakeo displace eligs ‘freror ris called Daring he ight 28 fm ahowinga remarkable pire of ‘hghtmare palate by zee wakes UP ingore che endothe wold Av Te fades hug installation be pat ofthe Shove too a vite of lack prelain and ead. Lastycar you published The Whie Road, “bout the istry ofporelai, and ‘arated white athe Royal Academy of ‘fre in London, Can you say something ‘bout your recent focus onthe colar ‘lace telso strange, Decades working on the tnesningofwhite—ehiteasa tans pina erase, ab ninity—andT have Ended ap making work that ack, {tis parly boas Tm intrigued by Shadows, bo they moe around beets ult do with weight, Andis alex, oo~twing the transcendent pure ‘mara of poreain ino something 0 “ensny ac, Andi’ paral, of couse: ne ey diferent ack les. Tein ‘eMlterih aot. The surface ofthat ack Saath attempt o bring someting ‘black in fora. ‘You ar alo sing matciasin conju ‘on with porediain—lead, alabaste, “jtres, found objects—how does nat enlarge the possibilities? ‘eis tremendous The anguages ofthese Tatras anes ub, the ney His 00 {indy ping these substances near each ‘thc ows fora diferent Kind of oe. Toned Coren steel for my recent exhib tom, thinking ohn Cage and is ‘xpeimental erassive soundscapes: ‘Sound of ne ateralon another And here Frrasng blacker, blocks of raphe ‘Tey eaty such dep associations, produce ‘the and everberations ‘You ar very collegial and ongoing in {he world efart—collaborating with [xi Weiwel in Gra, Anstia: writing 8 Gp twombly talking with ally Mann ‘Bont photography and mext Year ‘Exhibiting in Stockholm wih works Dy Clorgie Morandi How docs your svork connect with other ast? mucky. Talking to musicians poets and ssi agent generator of energy Who Sat ete talking Sally or pending ‘Seek orting about Cy Twembly and the ‘Sr white? deepens you, expands you, ‘Sa then Brings you ome Famous, your studio is divided nto reas for riting and formaking Pott How do yousplit your time between sheseactv everyting migrates The walls ofthe to ‘phones ateae covered ineibbed Tins of words noe, eas. The so-called vary has piles ofbooks, ofcourse, but ‘bo ands of porcelain an insalation thotisperpesing me a the moment Ba arhane to stay sil create an insta Tiron or wit a book, so wien Leone meaty inthe moming, Ihave choose ohh sateen che studio ©— LONDON — page 9 depareures and reeurns.. coh asm be me language now. This is intensely personal stuff to be showing, for Mynew works about. obsessing thefirst time. Edmund de Waaliourg ade sooo pun ‘souors soou aoyg aus ato trp ay su fin70g 3800 2, “aouansaxa fo wonout 09 aya ay 04 fo af 248 08 Beppe ‘to Biaoyf pr annus Du 1 Sunddno00 ys sino =pdood fo souasoud srr 'sounns ‘sage yf ye 2008} uopn8 Y ad *Sy1OM DTUOIT JOT|TE Sv [JAA SE ISHTE IU} 4q sommgdynos yu399r sopnpur pure suouag addasntg 07 pareorpep st Uapzes s,amosnunsyity ay} UF Avydsrp arnydnas Tenure ay, guouag oddasntr) teeta — WVGUaISWV —page 24 — LONDON — Robert Therrien ‘rm the beginning of his atic carer in the mid-19705 Raber Therrien has always ‘weledin wo and thre dimension making rawings, pris photgapty, and seul. ‘Woking wih ato media in paral sets ‘opal suthis ein which a onecanseby bekingathis wok roams um (ne ideato nother and inthe proces can end himtoateawotkofartofan aoe di feentnature ane pethpsinanothermediam, ‘ooking at the oetere that Terenas been veloping thoughout mare tan forty ea, ‘one reals a some familiar mos erp ‘pin difewac orm, thatoneimageha the Potato appear and mae int ther images in waythatae perhaps mare pp ‘rate tothe different medium, Forexanpe ‘the images ofasoownan a doud,alorely érawnspiand pend sesh with hase ‘anjined bulbous shapes oung gil ‘wearing along skit, ae ll etd to one his work, aot fy af ae- toamltyaa ea lal a poten <2 famamcam cl, | wick some ofhis most: At Parasol unit Sues, asi reuently engenders thal spaces and associative ‘besninge. Paradoxically, however such abject in Theriens repeaie ‘anpresere ther sereneand at times ‘melee appearance, "The works selected fortis ex hibiionspana period often five ‘ys tom te mi19705 ander the ‘ost part are man-made, The show linles sme lange har are Sigh ele than mom peop yt ‘ein within the viewer von ‘her ali ce oe coma ‘ton, What hs away inated ‘me about thse somewhat mallet ‘redowhihby the way Tren Sullesezingtohiday isin esonal engagement, his steatin fo deal and coe of materials sith the inception of ay ‘mamensing procs Sansome ways the equally imenscing ean (foveal eale—his faba nd towering pes and pans or (ani ables and chairs ander ‘whchonecanstrlland el gin ‘what keto bes odder=is ‘ot relevant othe paticalar ‘ahibion Rom theme 57 Simasto ringthe viewer lose contact wth some of hie ‘oot chllenging al inelient ots, the simply of which ‘ould confund even the most ‘sete ofminds The moe thas Tony pecesin his exibiton inch wks en papa, les, ‘and Gestanding sp ‘tures made ata ‘yet With each encoun, the sain faces ne mensions of enquiry. For example, while sealpears, ate lal endowed witha ye elimmediay they d not intent the _iewer’spce ate they sae their presence withintbe aly spacey qui adsimpty ‘eing therein soe case they ae clout of context, such as No eather newman), 1985, They ate also manipolated in scale oF Kdealized in shape, which ves them an ‘there qual and encourages ur tcondet ‘them assume object that have perhaps parachuted i the alley, whew they amit Aiscoery. Whes Thersien sets his mind oo apimage hues ime nd again, eobing ‘hed fiat iffeenesales and in varios media asisatested by the simplified image 2Ncuowman Forexample, could take center stage as «dang on alr set of pape, ‘in Noid nowman, 195, hen reappest asa lef anda separ, ad in each ase ‘the artist provides us with enough tol and opportunity fr dssovery, fr exploring at elton othe subjec wha dos the itera ‘spacemean inthe drawings what Goethe ‘mutton ofsealecatyinanother ein 21969 inerview with Margit Rowell om ‘atalague polished by the Masco Nacional ‘Centro de Are Rena Sos, Masi, Therien ‘explaine: The eyodsinteretme, Bose ‘theyre small pears ut vere eae. Ae they ead stone, hy con ead “sa mearie ac br they rhe opty ‘rethree-dimenional and hey ore otal. ‘Thar Thersencontinesto play with nage, andobjecs hich kp mttingard pps Ing could veal scorn dependeny beeen thecrestorand tht hich scat obec time and sain, Thave prado there {is some parallel with the eal scpares of Alero Gacomest (1901-1966) that were ‘modeled on thee of aad ae, ch as Tis Onnejoor plas (No Mor Pi 1993 which ‘may have inspied Joep Corellin ceting ‘isms besntifelboxes, The mack of Giacomet ae Cornllimpl that the viewer ‘may make aninteal ove wl with Ther en theveweratmostengags nelly andnteestingenogh ts tbe arising ‘hat mals theieral move Ins pati Inindeed Tren who intetelycondts the bord game, and posi its where and thw the dependency Beween him andhisart ste. From the outset, my aim was to bring the viewer into close contact challenging and intelligent works, the simplicicy of which could confound even the most astute of minds. =Dr.Ziba ArdalanPage 26 — BOOKS — Piotr Uklaiski Fatal Attraction “i pultonrfacts wo spate, yt isis etvine, ons ‘ied Pa nono be Meropltn Meu oA. “Theft ebibin Ft Atco Po Wik: Pog rand ty Doulas Evan cusorinte Depareertl Photos weed [iris pate andectbiaed Métal photogratic anes “hoitclttsentre cave ayo nderetdng he oneane tbe ndrereamyiadot onetime ‘The stcond aio, Fat Attn Pot tt Set om te et Catecon compote romthe errant vat kings Mes pemaner clacton ik cheapest tamesct Ee ‘Thani Araby the wo othr dave the inervined concepts ‘Titec nd doth wah tha Shr Feud argeed seg win ‘heh and win Westar citar a wh “ensincde eatt by Reset rola with isin Voie nl leanne Mara ist Doula Esa oon Weta, Michael Heizer Altars Casinos cllbaraion wi ta aie, hisbookine most xesve pbonion nae’ wrk hom ete yar Mpreveshiha Fez wtion wth Gagosian Galery Now Yor, white ey ‘ining the are septation e alge cup: “esc nen former crt athe tonal Ger fen a Yarn Wg, Adena gla alae a xan try so wae bara foot ire enatet