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Almond, Darren: All Things Pass

Almond, Darren: Terminus

Arnolds, Thomas

Brown, Glenn: Dessins

Brown, Glenn

Butzer, André

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Ecker, Bogomir: You’re Never Alone

Förg, Günther

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Hains, Raymond

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Mahn, Inge

Marepe

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert (Paintings 2014)

Oehlen, Albert: Interieurs

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Luckenwalde

Phillips, Richard: Early Works on Paper

Riley, Bridget: The Stripe Paintings 1961–2012

Riley, Bridget: Paintings and Related Works 1983–2010

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

Smith, Josh: Abstraction

Tunga: Laminated Souls

de Waal, Edmund: Irrkunst

Warren, Rebecca

Wei, Zhang

Wool, Christopher: Road

Wool, Christopher: Westtexaspsychosculpture

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Collector's Editions

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Darren Almond: All Things Pass
With a text by Martin Herbert


English
Softcover with banderole
24 x 26.8 cm
100 pages
51 color illustrations
978-3-935567-63-3
35.00 Euro

 


 

In All Things Pass, Darren Almond follows the passage of time with links to places all over the world and spanning 5,000 years of history. The title piece is a video installation filmed on the steps of Chand Baori, a spectacular 9th-century well in India. Video footage on six huge screens shows shining green algae on the water, night sky above, rain running down the steps, local youth bathing in the well, both the myth of the place and the concrete everyday. As a counterpoint, Almond exhibits photographs of a Neolithic stone circle on the Orkney Islands that look startlingly like modernist sculpture. Modernism is likewise referenced in Almond’s number paintings, in his sculptures made from flip clocks, in poems realized as train plaques—all pieces closely related, which Herbert Martin explores in his essay: “What we have here is an orchestration of thematics, such that everywhere one looks, a poetics of the systemic reappears, rephrased—and the viewer is emphatically within it; it’s an environment.” This book takes the reader within that environment, first displayed in solo show at Galerie Max Hetzler, in numerous video stills, installation shots, and work images on double spreads and several fold-outs.

 

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In collaboration with Galerie Max Hetzler, Berlin