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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: Terminus
Edited by Kathleen Madden. With texts by Julian Heynen and Charity Scribner and a conversation between Mark Godfrey and Darren Almond


English / Polish
Hardcover
19 x 28 cm
156 pages
67 color illustrations
978-3-935567-43-5
50.00 Euro


 

For his installation Terminus, the British artist Darren Almond relocates 14 socialist-era bus stops from the Polish town of Oswiecim to a gallery in Berlin, activating a force field between the Auschwitz concentration camp, everyday life in Oswiecim, and the way we experience historical proximity or distance. As Julian Heynen writes in his analysis of Terminus: “What we see with our own eyes of the reality of Oswiecim, the bus shelters, is only a temporary stop on a hypothetical journey to the ‘real’ place, the camp. In this waiting room the direction of the next step is shown, even as doubt is cast on the chances of us satisfying our desire for authenticity.” Mark Godfrey (Abstraction and the Holocaust) discusses the work’s genesis and context in a conversation with Almond, while Charity Scribner (Requiem for Communism) introduces her personal experiences from Poland. An extensive photographic record draws together the many aspects of this installation, summarizing them in photo essays.

 

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In collaboration with Galerie Max Hetzler, Berlin, and White Cube, London