new ceramics - Neue

Transcription

new ceramics - Neue

NEW CERAMICS
NEW CERAMICS
T h e E u rop e a n C e ra m i c s M a g a z i n e
05
4 197150 010006
5
15
Gallery Marianne Heller presents
in cooperation with Yufuku Gallery, Tokio
“Mindscapes”
Ken Mihara, Japan
12.Juli
13.
September
bis
bis
1. November
16.August
2009
2009
Eröffnung : Sonntag,
Sonntag,
13. September,
12.Juli
11.30 Uhr11.30 - 18 Uhr
18th October to 22th November 2015
Opening hours:
Tue - Fr 11.00 - 13.00 & 14.30 - 18.00
Sat
11.00 - 18.00
Galerie Marianne Heller
Tel.: + 49 (0) 6221-6190 90
2
www.galerie-heller.de
Friedrich-Ebert-Anlage
2
www.galerie-heller.de Friedrich-Ebert-Anlage
[email protected]
Am Stadtgarten
[email protected] Am Stadtgarten
D-69117
Heidelberg
D-69117
Heidelberg
Tel: + 49 (0) 6221-6190 90
NEW CERAMICS
CONTENTS
04
NEWS
PROFILES
08
12
16
20
24
28
Richard Hirsch Lutz Könicke
Martine Polisset
Martin Buberg
Jochen Rüth
Margarete Daepp
32
FORUM / EDUCATION
Enlightenment: 3.0 – Gustav Weiß
5 / 2015
International
USA
Germany
France
Germany
Germany
Switzerland
Art appreciation
EXHIBITIONS / EVENTS
35 UNICUM - IIIrd International Ceramics Biennale – Ljubljana
38 “The Dragon Dances”, Hetjens Museum – Düsseldorf
40 International Ceramics Symposia in Egypt 42INTONATION – Deidesheim
44 Gold Coast Award – Gold Coast
46 7th International Biennal de Ceràmica – El Vendrell
48 Anniversary at Burg Giebichenstein – Halle an der Saale
51 “The Village” – Thomas Weber – Höhr-Grenzhausen
52 Parcours Céramique Carougeois – Carouge
54 “Edition 2015” – Staufen
56 59th Concorso Faenza – Faenza
COVER:
RICHARD HIRSCH
Crucible #5, 2009
Stoneware, woodfired
low temperature
engobes and glazes
107 x 38 x 38 cm
Germany
Egypt
Germany
Australia
Spain
Germany
Germany
France
16
Germany
Italy
BOOKS
64
DATES / Exhibitions / Galleries / Museums
Exhibition diary
68
74
76
COURSES / SEMINARS / MARKETS International
ADVERTISEMENTS International
PREVIEW / IMPRINT
Information
42
12
Slowenia
60
62
56
4
New books
IN STUDIO
Marc Leuthold – Evelyne Schoenmann Interview / Developing skills
International
28
46
35
ABERYSTWYTH
5/2015
EDITOR'S NOTES
Dear Readers of NEW CERAMICS
T
he International Ceramics Festival in Aberystwyth is now already more than a month ago, but it was certainly worth being there, even if the journey is always rather arduous, not just because of the distance involved,
over 1,000 km, half of it driving on the left. This time it was also because of the strike in Calais, which apart from
one ferry route prevented all departures to Dover. The motorways, some even in Belgium, and then in France all the
way to Calais, were closed and being used as a lorry park.
I was therefore forced to make my way via country roads, and although I was not driving slowly, I arrived in
Calais several hours late. But I was lucky and was able to get a ferry that docked in Dover before midnight. After
midnight, the door of the bed and breakfast establishment where I usually spend the night in Dover would have
been locked.
The next day, I made the acquaintance of country roads and small towns south of London because here too the
motorways leading west from Dover were closed and were being used to park lorries. I finally arrived in Aberystwyth in the evening and after a hearty welcome among old friends and acquaintances, three fascinating days at the
Festival awaited me. On the opposite page you can see some of the first pictures, full coverage of the Festival is to
follow in the next issue.
As my work used to take me to the Philippines for several months almost every year during the 1990s, I was
especially pleased to make the acquaintance of Rita Gudino at this year’s Festival. She is a professor of ceramics at
the University of the Philippines in Quezon City and was in Aberystwyth with a fire sculpture in which she fired her
“clay babies”. Rita promised me that in future we will receive information about ceramic events in that part of the
world through her.
No sooner was I at home again when planning got under way for the Oldenburg International Ceramics Fair. Since
2009, NEW CERAMICS has awarded a prize for outstanding achievements in the fields of the ceramic vessel, ceramic
sculpture or ceramic painting here in Oldenburg. Initially it was worth EUR 1,000 and since 2013 the prize money has
been increased to EUR 2,000 with the condition that the second one thousand euros should be used for an artist in
residence programme. A solo exhibition at Oldenburg Castle the following year is also part of the prize.
Possible locations for this residency are Sanbao in China (www.chinaclayart.com), the Clay Studio in Philadelphia,
USA (www.theclaystudio.org), La Meridiana in Italy (www.keramik-kurse.com) and Guldagergaard in Denmark
(www.ceramic.dk).
The first prizewinner in 2013, Michael Cleff, could not take up a residency the following year for personal reasons.
The prizewinner from 2014, Karima Duchamp from France, chose the Clay Studio in Philadelphia and spent May
2015 there. She was delighted by the conditions in Philadelphia and will soon be providing us with a report on what
she experienced in the USA.
This year, the judges selected Caroline Wachter from Werder-Glidow in Germany as the prizewinner. Now it is up
to her to find the location that suits her best. We would like to take the opportunity to wish this year‘s prizewinner
an interesting time, from which we are sure she will benefit greatly.
Three days in Gmunden, Austria, now await me. After having sat out a number of years, NEW CERAMICS will once
again have a stand at the market in Gmunden. This issue of NEW CERAMICS comes out parallel to the market.
From Gmunden, it is not very far to Venice. Currently, the 56th international Venice Biennale 2015 is taking place
(which is said to be very interesting and worth seeing!), and if you are in Venice, it is not much further to Faenza
for the 59th Concorso di Faenza. You can find the report on the exhibition and the prize giving on page 56ff. of this
issue.
Whether I will be able to manage the journey like this has not yet been decided and this itinerary is of course
only to be understood as a general recommendation. But there will certainly be a report on the Biennale 2015 in
Venice in the near future.
For now, I wish you a pleasant
conclusion to the summer and
a colourful autumn
as I take my leave until November.
With Rita Gudino, Professor
of ceramics at the University
of the Philippines in Quezon City,
Philippines, with her
LUAL Kiln during the
Festival in Aberystwyth
Yours,
Bernd Pfannkuche
On Friday 18 September 2015 at the Keramikmuseum Westerwald, Peter Callas, internationally
renowned ceramist and wood firer from the USA, will be giving a talk at the invitation of NEW
CERAMICS about his work and firing in an anagama. Admission is free of charge. If you would like
to take part, please contact us ([email protected]) or the Museum ([email protected])
for the exact time of the talk, which had not been fixed at the time of going to press.
SEPTEMBER / OCTOBER 2015
NEW CERAMICS
3
DIE NEWS
INFO / EXHIBITIONS / PRIZES
The Carouge Ceramics Itinerary
offers a nine-day immersion in the world of ceramics. The 14th Parcours Céramique Carougeois
unveils its new programme. In 25 years, this international biennial organised by the Bruckner
Foundation, together with numerous partners,
has succeeded in becoming a ‘must’ meeting
for contemporary ceramics in Switzerland. From
19 to 27 September it will bring together more
than 45 creators from twelve different countries
for an artistic marathon of nine days in Carouge
and Geneva. This year the theme of The Line
has been chosen as the common thread of the
displays. More details: see page 52 and under
www.ceramique-bruckner.ch
A Circle Closes at the Gallery Rosemarie Jäger
On various occasions the Gallery Jäger has showcased the ceramists Beate Kuhn,
Karl and Ursula Scheid, Magarete Schott and Gerald and Gotlind Weigel, also known
as the London Group. Now a small retrospective of their works from the estate of
Eva and Hansgeorg Gareis will be shown in the Kelterhaus. Over many decades the
collectors Gareis maintained friendly
relations with the ceramists of the London Group and assembled works mainly from the 1970s to 1990s. Thanks to
their great commitment to ceramics the
series of international exhibitions Form
und Glasur at the Jahrhunderthalle of
Hoechst AG had become possible. Eva
Gareis was also well-known as visitor of
the Gallery Jäger. In the Kabinett photos by Karl Scheid show his view of nature and ceramics – and how both can
enrich each other. The circle closes with
ceramic works by Sebastian Scheid who
also takes care of the ceramic estate of
Eva and Hansgeorg Gareis. The exhibition runs from 5–6 and 19 – 20 September 2015, Sat / Sun 11 a.m. – 6 p.m.
Galerie Rosemarie Jäger, Wintergasse
1365239 Hochheim, Germany
www.rosemarie-jaeger.de
The London-Gruppe 1988
International Chawan Expo
2015 in Hemiksen/BE
The 17th Chawan Expo is also the 10th anniversary
of this exhibition of traditional Japanese teabowls
initiated by Lou Smedts. 121 artists from 43 different countries will be participating in the anniversary
event, which takes place from 12 – 20 September
2015 at St Bernardus Abbey in Hemiksem, Belgium.
The exciting accompanying programme during the
week of the exhibition is planned to include master
classes and talks with artists. This year’s guest nation
is Taiwan. Comprehensive coverage of the Chawan
Expo will be included in the 1/2016 issue of New Ceramics. www.chawanexpo.com
GRASSIMESSE 2015 -
230 craftspeople, designers, colleges and artists’ cooperatives
from eight European countries have applied to participate on the GRASSIMESSE at the GRASSI Museum of Applied Art in Leipzig, which takes place from
23 – 25 October 2015. A panel of expert judges has
now selected 80 exhibitors. -Students and graduates
from four German art schools will be presenting their
work to the visitors along side well-known artists.
Half of the exhibitors will be present at the fair for
the first time, all of the others have appeared there at
least once before. GRASSI Museum für Angewandte
Kunst, Johannisplatz 5-11, 04103 Leipzig, Germany [email protected] I www.grassimesse.de
sART-up 2015 - Open house for the start of
term. The Institute of Ceramics and Glass Arts from
the University of Koblenz is opening its doors for the
beginning of the autumn term 2015/16, thereby heralding the start of the hot glass season. There will
Dong Hee Suh’s new work
Joy, Delight, and Happiness burst out of tragedy, sadness, and emptiness. In 1200
B.C., a woman, Ruth, a Moabite, became the great grandmother of King David.
She is the centre of the ceramic sculpture exhibition. Her upper part is layered
precisely with abundant volume. But the lower part is sharply cut and cracked
delicately. It seems her body and soul have suffered from the pains of loss of family
and childlessness. Now a new family, Boaz
and Obed, give her abundant joy, delight,
and happiness. Being faithful to family and
to God in her hardships, she is a role model
for women both in previous times and today. The light greenish white porcelain work
is highlighted, contrasting with the background of black mat formax. Dong Hee Suh,
director of the gallery, has presented Biblical
ceramic art installations since 1977, when
she had her first solo show at the University
of Kansas, Lawrence, KS, USA.
The exhibition lasted from 27 March to 31
August, 2015 at the Dong Hee Suh Ceramic Art Gallery, Seoul. C-3304 (the #StarCity,
Jayang-dong) 262 Achasan-ro, Kwangjin-ku,
Seoul, Korea.
4
be guided tours of the Institute and demonstrations
at the hot glass kiln as well as raku firings with international participants. This year’s guests include
lecturers and students from Burg Giebichenstein
in Halle and the Rietvelt Academy in Amsterdam.
stArt-up intends to bring glass and ceramics fans
together in Höhr-Grenzhausen on the last weekend
in September every year and to inform them of the
development of the Institute of Ceramics and Glass
Arts (IKKG). stART-up 2015, Saturday, 26 September 2015, 2-8 p.m. Institut für Künstlerische Keramik
und Glas der Hochschule Koblenz, Rheinstraße 80,
Höhr-Grenzhausen, Germany. Tel.: +49 (0) 26 24 /
9 10 66 -0 - [email protected]
NEW CERAMICS
EXHIBITIONS / EVENTS
DIE NEWS
“In the Dead of Night”- a mixed media installation by Malene Hartmann Rasmussen - Jerwood
Makers Open 2015. The wild land beyond the cultivated fields has captured our imagination for centuries. The
forest is a social construction that simultaneously embraces the sinister darkness in which the savage and beastly
thrive, on the other hand the supernatural, romantic, and nostalgic world of the fairytale. “In the Dead of Night”
is a materialized daydream distilled from the mind and made by hand. Like shamanistic totem-animals, dark creatures emerge from the subconscious dark lake, to guide the way into the netherworld that lies beneath the oily
surface. Malene Hartmann Rasmussen’s mixed-media ceramic installations draw upon motifs from the domestic
and natural world. Memories, daydreams and childhood nostalgia are all called upon by the artist, who weaves
them together into a fairytale of her own making. Rasmussen is interested in the human subconscious; she strives
to create a hyper-real world that addresses this gap between perception and reality. For Jerwood Makers Open
Rasmussen has created a large scale theatrical installation, an immersive and surreal ceramic forest. Utilising the
idea of Trompe l’oeil, the technique of using realistic imagery to create an optical illusion, the artist has created
lifesize, scenic trees by scaling up images of hand-crafted ceramic branches. Visitors are encouraged to venture
through the woods to explore a fairytale-esque space of ceramic flora, fauna and intriguing narrative scenarios.
The installation is touring the UK: 10 September to 3 October 2015 The Gallery at Plymouth College of Art - www.plymouthart.ac.uk - 28 November
2015 to 31 January 2016 Ruthin Crafts Centre www.ruthincraftcentre.org.uk – 26 March to 11 June 2016 Touchstones Rochdale www.link4life.
Photo: Sylvain Deleu
org Materials: ceramics, photographic print, wood, neon, perspex, rope. [email protected]
Ken Mihara – “Mindscapes”
Rebecca Maeder at Elfi Bohrer
This new group of works by Rebecca
Maeder unites contrasts and lives from its
aesthetic. The special surface is achieved
by burning out organic material such as
grains of rice during the firing process.
Roughness and smoothness, light and
shade, fullness and emptiness, all of these
properties become visible through their
opposites. Whilst studying for an M.A. in
Korea, Rebecca Maeder’s new surroundings profoundly influenced her work,
which can be seen in various groups of
new works. Exhibition from 29 August – 4
October 2015.
GALERIE FÜR GEGENWARTSKUNST
ELFI BOHRER - Burgwies 2 and
Dorfstrasse 13, CH-8906 Bonstetten,
Switzerland
Telephone +41 (44) 700 32 10
Kunst 15 Zürich- ABB Halle 550
Zürich-Oerlikon 29 October – 1 November 2015
- The work of Japanese ceramist Ken Mihara
(*1958) is rooted in the traditional ceramics of his home country: as a pupil of Kenji Funaki – a
student of Shoji Hamada’s and an outstanding Mingei potter – it would have seemed more natural for him to have joined in with the folk art ceramics of the Mingei movement. But Ken Mihara
chose a different route: his ceramics – seemingly complex and simple
in equal measure – stand between tradition and avant garde, between
vessel and sculpture; with their stony surfaces of inimitably nuanced
chromaticism they are reminiscent of the venerability of woodfired
vessels in wabi sabi aesthetic and of minimalist modernist sculpture.
With his latest group of work called kai/mindscape, now being shown
at the Marianne Heller Gallery in Heidleberg, Ken Mihara has entirely
abandoned the world of symmetrical form: subtly curved and folded,
pointed forms thrusting upward combine stasis and motion – symbolic
images of ceaselessly circling thoughts. The unique quality of his work,
patiently developed over a long period and frequent winner of prizes
in his home country, has reached a degree of maturity and perfection
it is scarcely a surprise that leading museums like the National Museum
of Modern Art in Tokio, the Metropolitan Museum of Art in New York
or the Victoria and Albert Museum in London now have his work in
their collections. Exhibition in cooperation with Yufuku Gallery, Tokio,
from 18 October – 22 November 2015. Galerie Marianne Heller, Friedrich-Ebert-Anlage 2, Im Stadtgarten, D-69117 Heidelberg, Germany.
Tel. +49 (0)6221-619090 [email protected] I www.galerie-heller.de
“Art du Feu”- Market for ceramics,
glass and metal in Gruyères, Switzerland.
Just under 60 artists and artisans to exhibit
their creations in this small mediaeval town
on 17 and 18 October 2015. The venues
will be both indoors at the two museums
and Greyerz Castle, and in the open air.
Leading artists will be exhibiting their work
in the museums: At Greyerz Castle Monique Duplain, ceramist, at the HR Giger Museum,
Nes, metal artist, at the Tibet Museum, Yann Oulevay, glass artist. Thomas Benirschke will be
present with his magic potter’s wheel and Gaetan Rochoux will construct a paper kiln. 2nd
Market for Ceramics, Glass and Metal: 17 and 18 October 2015, Saturday from 10 a.m. – 5
p.m. and Sunday from 10 a.m. – 5 p.m. Further details from Tourismusbüro Gruyères, Rue du
Bourg 1, 1663 Gruyères, Switzerland, www.la-gruyere.ch/artsdufeu
Biennale Révélations -
Fine Craft and Creation Fair Révélations. For the second time, the Biennale Révélations will be taking
place at the Grand Palais in Paris. At this major fine craft fair more than 305 exhibitors from 15 countries will be showing their works from
10 – 13 September 2015. Craft worksers, artists, designers, gallerists, foundations, art schools… they will all be presenting the creativity that
inspires them beneath the emblematic glass roof of the Grand Palais. This year Korea is guest of honour, and a Nordic craft pavilion has been
curated by Marianne Zamecznik with work from Denmark, Iceland, Finland, Norway and Sweden. The event was initiated by the arts and
crafts organisation, Ateliers d’Art de France. The first edition of Révélations took place in 2013 and attracted 33,794 visitors.
NEW CERAMICS
5
DIE NEWS
EVENTS / EXHIBITIONS / PRIZES
“Biofilm under Construction”
Commissioned by the F. E. McWilliam Gallery,
“Biofilm Under Construction” is a new outdoor sculpture by Mark Revels, which fuses art and
science. Inspired by virus structures, the sculpture sees the pioneering use of colour saturation
by a triple underglaze technique. The work explores the worlds of the micro and the macro, in
particular the miniature worlds of viruses and bacteria. From the micro to the macro, ‘Biofilm Under Construction’ explores and makes reference to societal infrastructures, encapsulating their
cultures, traditions and customs, both locally and internationally. The piece questions, ‘Are we
going Viral?’ Biofilm Under Construction appears to erupt and break through the paving stones
within the F.E. Mc William Gallery Garden. It’s an interruption and invasion into what would have been a very ordered and landscaped part of the
garden. It creates an obstacle to negotiate whilst also creating a feeling of uncertainty with its presence. It’s the constructed being reconstructed
without permission or order. It’s an infection. F. E. Mc William Gallery Sculpture Garden, 200 Newry Rd, Banbridge, County Down, Northern
Ireland, UK BT32 3NB. The exhibition opened on the 24 August 2015 and will remain on show as part of the permanent collection.
“Summer guests” - Ceramics and Glass from the Czech Republic - Exhibition at the Kasino Galerie,
Hohr-Grenzhausen. The journey of the Kasino Summer Guests started in Prague, went through Bohemia, along the Czech-German Porcelain
Route into the Westerwald. The travel baggage of course contains nothing but porcelain and glass! The production of porcelain and glass has
a long tradition in the Czech Republic. At the end of the Baroque era, Bohemian glass art was at its zenith and is still world famous today. It
is similar with porcelain, in production there since the end of the 18th century, it became a symbol of fragile beauty. The new exhibition at
the Kasino Gallery shows that this is still the case in the 21st century. The positions of Anna Polanská, Lada Semecká, Markéta Držmíšková,
Lenka Sárová Malíská, Nela Trésková, Milan Pekar, Vladimir Groh & Yasuyo Nishida give a contemporary insight into the diversity and innovation of Czech porcelain and glass. Exhibition runs until 25 October 2015. Kultur-Kasino, Kasinostrasse 7, 56203 Höhr-Grenzhausen, Germany.
www.kultur-kasino.de Opening hours: Tues - Fri 2 – 6 p.m., Sat 10 a.m. – 6 p.m., Sundays and public holidays 11 a.m. – 6 p.m.
Hedwig Bollhagen
Museum - The Hedwig
Bollhagen Museum is open! After years
of planning, the Hedwig Bollhagen
Museum has now opened in Velten,
near Berlin. In the presence of leading
politicians including Federal Minister
of Education Frau Dr Johanna Wanka
– herself a HB collector – the opening
ceremony took place on 2 July. The
Museum, funded by the European
Regional Development Fund and local
municipal and rural administrative authorities, is affiliated to
the Velten Ofen- und Keramikmuseum. In a sensitively curated permanent exhibition of approx. 400 pieces from the
artist‘s estate, it traces her life and work. She was born in
Hanover in 1907 and died in Marwitz, the place where she
had worked, in 2001. Ofen- und Keramik Museum/Hedwig
Bollhagen Museum, Wilhelmstraße 32/33, 16727 Velten,
Germany. Tel. 03304-31760 [email protected]
Karlsruhe Ceramics Fair
The Ceramics Market, set outside
Karlsruhe Palace, attracted 3000 visitors. A stand of Burg Giebichenstein
University of Art from Halle and another from the Forum Fabrika from
Szeged were a forum for young ceramic artists. In the exhibition Glanzlichter (“Highlights”), visitors could
gain a quick overview of the market
and on Saturday, after the market
had closed, many “night owls” took
advantage of this opportunity until
midnight.
The EUR 3,000 prize, Keramik und
Malerei (“Ceramics and Painting”)
was shared equally between Jacques
Czerviec from France and Christine
Hitzblech from Karlsruhe. Marieke
Ringel from Halle took the Emerging
Artists prize.
photo: Thomas Naethe, Bendorf
“Homage to Gustav Klimt”
- Regina Heinz, who lives and works in London, is a ceramic artist
who specialises in architectural ceramics for interior and exterior spaces. Inspired by water, her undulating
wall-units add texture and a sculptural quality that animate each plane with rippling patterns of light and
shadow. Her latest creation is a 2 mtr. wide wall sculpture from her Flow Collection, “Homage to Gustav
Klimt”, commissioned as a bespoke artwork for the luxurious interior of a new residential development in
London. The rich surfaces of Art Nouveau paintings were the starting-point for this hand painted composition of subtle brown and beige colours with gold accents, which sits well within the elegant living space.
Regina’s next exhibition is at Decorex International 2015, Syon Park, London, September 20 to 23, 2015.
www.decorex.com Ceramic Art Regina Heinz, Studio A208, Riverside Business Centre, Bendon Valley,
London SW18 4UQ [email protected] www.ceramart.net T: +44-7779-167229
Vielschichtig Art ceramics by Petra Bittl
From 13 Oct. – 21 Nov. 2015,
Kunstverein Terra Rossa e.V.,
Leipzig, is showing ceramics by
Petra Bittl in its gallery. The title
Vielschichtig (“Multilayered”) refers both to the special surface
treatment and to the diversity
of forms and materials that are
distinguishing features of Petra
Bittl’s work – the intense combination of drawing and painting
with the material clay is characteristic of all the pieces and forms
the leitmotif for the exhibition. A
course will be taking place parallel to the exhibition.
www.terra-rossa-leipzig.de
Ortogeny: Ceramic Vessels by Sara Flynn -
Exhibition until 23 September 2015
Millennium Court Arts Centre presents Ontogeny, a solo exhibition of new ceramic vessels by Irish ceramicist
Sara Flynn. Concentrating on the challenges of thrown porcelain Flynn produces sculptural vessels; manipulating
and altering freshly thrown forms at varying stages of the drying process. Her work spans a range of colours and
finishes, from complex blacks, warm and vibrant yellows to cool and subtle celadon greens and whites. Process
and finish are integral to Flynn’s practice, coupled with constant exploration and a deepening understanding of
form and volume. In essence, the work deals with a love for the process of throwing, an on-going relationship
with porcelain and a fascination with the theme of the vessel. Millennium Court Arts Centre, Northern Ireland
www.millenniumcourt.org [email protected]
photo - Glenn Norwood
6
NEW CERAMICS
COMPETITIONS / EVENTS
DIE NEWS
“Un Mestre à part!”-
The long career of Enric Mestre, with his rigorous, uncompromising approach,
has been an outstanding artistic achievement. The artist has been the undisputed Spanish herald of geometrical
abstraction in ceramics. His work is well known in Spain, not least through a comprehensive range of critical literature, whereas in France he is still little known outside specifically ceramic media. But his work is wide-ranging and
contains many masterpieces created during his 35-year career. In this major solo exhibition, Galerie du Don shows
a selection of sculptures from thematic areas the artist has worked on for years: his relationship to landscape, his
pleasure in geometry and architecture, and from the theatre of the soul. Exhibition runs until 8 October 2015.
www.galeriedudon.com
Fulle & Friends -
Exhibition in Rheinsberg brings together friends
and companions. Since Karl Fulle moved to Rheinsberg in Brandenburg, he
has presented a number of themed exhibitions with ceramics from colleagues
who have crossed his path as an
artist, who are his friends and
whose work has inspired him.
Shortly before his 65th birthday,
he has assembled a high-class
exhibition in the coach house of
Rheinsberg Palace, placing work
by 26 of these artists in relation
to his own. The common factor
is a passion for quality in idea,
execution and presence. This
exhibition will thus be showing latest unique, outstanding
works by artists including Sigrid
H.-Artes, Martin Möhwald, Antje Scharfe, Judith Püschel, Pit Arens, Ute Brade, Egon Wrobel, Heidi Manthey.
Exhibition opens on 19 September, 4 p.m., Mühlenstr. 15 a, 16831 Rheinsberg,
Germany and runs until 25 October 2015. www.fulle-keramik.de
Töpfermarkt
in Frechen on 21
and 22 May 2016 – for
over forty years a meeting place for the European ceramics elite. For
many years, the Frechen
Töpfermarkt has been
in the highest league
of Germany‘s ceramics
markets. In May every
year, over 130 ceramic
artists and potters from
Germany and many European countries have
presented their work,
offering for sale ornate
functional wares and
experimental work besides individual one-off
pieces. Additional special activities will turn 21
ans 22 May into days of
ceramic adventure for
young and old. Application forms for participation at the Töpfermarkt
can be downloaded
from the internet at
ww.keramion.de from
October.
Closing date for entries
is 8 January 2016.
Tea and Leaves - the Art of Raku – Nani
Champy-Schott. Nani Champy would like to perceive nature,
absorb it and become one with it when creating her bowls.
She does not throw them but
handbuilds because this process makes her feel directly in
contact with the clay and with
nature. What fascinates Nani
Champy with raku is its spontaneity, its speed and its intensity. Her glazes are intended to
crack, run off, crawl, shrink and
fragment. She treasures what
is generally held to be a glaze
fault because this gives the
bowls life and individuality. She
says of her work that it is like
a game played with great seriousness. Showcase exhibition
at Keramikmuseum Staufen until 4 October 2015.
www.keramikmuseum-staufen.de
Oldenburg International Ceramic Fair
- Once again, this display of top notch international ceramics attracted well over 60,000 visitors to Oldenburg in glorious sunshine this year. The Oldenburg
international Ceramics Fair offered its customary impressive programme, which consisted of a ceramics
market with outstanding exhibitors and a total of six
prizes to be awarded, so that it was not only ceramics insiders who got their money’s worth. In addition,
there were three exhibitions in the Baroque surroundings of the Landesmuseum in Oldenburg Castle, including the holder of last year’s NEW CERAMICS prize,
Karima Duchamp. There were also workshops and a
ceramic portrait with Marc Leuthold (USA) and Martin McWilliam. The exhibition brandneu – brand new
in the Hall of the Landesmuseum awarded the Detlef
Schmidt-Wilkens Prize for Ceramics in three categories:
the prize in the category Function went to Hanno Leischke and Birgit Hasse from Dresden. The prize for the
category Surface went to Lauriane Firoben from France
and Rebecca Maeder from Switzerland took the pürize
Left to right, sponsors, prizewinners and organisers: Hannelore
for the category Innovation. The public’s prize for the Seifert, Marc Leuthold, Gudrun Schmidt-Esters, Martin McWilexhibition went to Carla de Vrijer from the Netherlands. liam, Karima Duchamp, Caroline Wachter, Rebecca Maeder,
The competition for the annual cup edition from the Beate Anneken, Bernd Pfannkuche, Carla de Vrijer, Constanze
Oldenburg Tourism and Marketing company, an award Schmidt-Wilkens, Silke Fennemann, Wolfgang Heppner, Birgit
for functional ceramics, went to Barbara Hert-wig from Hasse, Axel von Besser, Hanno Leischke
Berlin. The NEW CERAMICS PRIZE, including an artist’s
residency grant and a solo exhibition next year in Oldenburg Landesmuseum for Art and Culture, was won by
Caroline Wachter from Werder-Glindow. Further details on www.keramiktage.com or www.werkschule.de
“A visit to the studio”
- Dresden ceramist Ute Naue-Müller is opening her studio for all
ceramics lovers for one day in the autumn, at a time of year when fire can again give us some comfort
with its light and warmth. Guests are invited to watch the ceramist performing a raku firing or to sit
cosily by the fire and look at her latest creations. Saturday, 31 October 2015 from 2 p.m.; garden and
studio in Würzburger Straße 59a, 01187 Dresden, Germany - www.ute-naue-mueller.de
NEW CERAMICS
7
PROFILE
The Search of
RICHARD HIRSCH
A Legacy of Chance
and Design
Scott Meyer
I
n September of 1978, Rick Hirsch set out
for Japan. His proposal to the World Craft
Council (WCC) had been accepted and he
was travelling to Kyoto, home of the Raku family, there to demonstrate the process now widely known in the West as “American raku”. This
would be a featured presentation at the Council’s
conference.
Behind him, the American Crafts movement
was in full flower. The accessibility of higher education to middle class Americans in the 1960’s
had fostered a new fascination with the diversity
of world cultures, belief structures, and aesthetics,
along with a strong desire to return to the earth.
Objects made by hand and ordained by natural
processes celebrated at once what seemed most
human, personal, spiritual and potentially politically relevant. Within American raku, almost
twenty years of experimentation, energy, and fermentation of thought had yielded not only a fresh
set of firing techniques, but a mind-set at home
in Abstract Expressionism as well as in the tenets
of Eastern thought. Without question, this hybrid
had galvanized Western ceramics.
At the outset of his trip, there is no way Hirsch
could have anticipated the character, quality, or
weight of what was to transpire in Japan. At 32,
he was no stranger to the clay art world. His studio work was already recognized and three years
of research had yielded a book coauthored with
Chris Tyler offering the first comprehensive overview on the subject of raku. After a rigorous study
of the Japanese Tea Ceremony, Rick had always
been careful to make clear distinctions between
raku at its source and the disparate approaches
it had spawned in the West. But as he arrived in
8
NEW CERAMICS
RICHARD HIRSCH
Kyoto that day, it was far from clear what, if anything, the
Japanese thought of these developments.
What an odd situation this must have presented for the Japanese to understand. Somehow, a sparse account of this traditional firing method had reached the States, bearing the name
of one of their most famous ceramic families. By the end of the
1960s, still without its full cultural grounding, it had generally
become a charismatic way to open process to chance, to extend
creative options into the firing, and to realize unique aesthetic
goals quickly. Settling as it did in academic environments in
Southern California and spread by the great firing showman,
Paul Soldner, it often reached its eager students as a dramatic
performance, a “happening”, its merits partially resting on the
experience itself.
While there had been no comment made up to that point
that even acknowledged the existence of “American raku”, it
is fair to assume that certain Japanese were sceptical concerning this visit. It would not have been surprising if some were
wary, perhaps even resentful. If so, these onerous feelings may
have been magnified when, a short time before the conference,
NEW CERAMICS
PROFILE
the Japanese aristocracy asked the Raku family whether they
intended to demonstrate at the conference also. With the prince
and princess of Japan planning to attend, the question might
as well have been a command. The seclusion both family and
process had enjoyed for centuries was about to be broken and
made decisively public. Now instead of the stage being set, two
stages were set for an event that held equal potential for celebration and confrontation.
(From With Fire: "Richard Hirsch - A Life Between Chance and
Design", RIT Cary Graphic Arts Press, Rochester, NY.)
Most compelling stories are typically brought to life by an
inciting incident, the resolution of which is the substance of
good theatre. While significant visual art is never assured by
dramatic pivotal moments, often they are key ingredients that
make art possible.
opposite
“Crucible #11”, low fire slips and glazes, raku patina,
ferric chloride spray, 85 x 41 x 41 cm, 2010
below
Altar Bowl with Ladle #2, low fired white glaze,
raku rust and green patinas, 53 x 24 x 50 cm, 2002
9
PROFILE
As Richard Hirsch arrived at the WCC summit in Kyoto, his
was a uniquely prepared mind. As a young ceramic artist, he had
already energetically engaged the westernized process called
raku. In fact he had already broken new technical ground with
post-firing fuming techniques, influenced by Tiffany strategies
that extended creative options past the heat of the kiln. More
importantly, rather than succumbing to the seductive nature of
the process, exhaustive research ultimately brought him past
the smoke and fire and delivered him to the heart of Raku at its
source. Compiling material for the book, “Raku: Technique for
Contemporary Potters”, which he coauthored with Chris Tyler,
provided him with the vital historical and philosophical overlays necessary to reach past particular trends toward what is
universal in the human endeavour.
This was the artist who met Raku Kichizaemon XIV that
week in Kyoto. These were, quite likely, the qualities of informed respect that ultimately moved the Master to share home,
studio and legacy. It was an unprecedented gesture, its effects
still being felt in Hirsch’s life, his art and the sensibilities of
those he has taught in both West and East.
With the above factors all providing his central access, it is
helpful to know Hirsch’s mind as he moves forward to make the
works that continue to define his career.
above
Crucible Assembly, soda fired stoneware and slate,
Hirsch, Meyer and Scotchie, 66 x 51 x 25 cm, 2012
right
“Grounded”, hot blown glass, cast glass, slipcast ceramics,
wheel-thrown ceramics, by Hirsch and Rogers,
58 x 25 x 25 cm, 2007
opposite “Mortar and Pestle #23”, ceramic with low fire slips and
glazes, raku patinas, hot blown glass, 23 x 23 x 10 cm,
2006
10
NEW CERAMICS
RICHARD HIRSCH
Richard Hirsch
has enjoyed a long teaching career, retiring this past spring as Professor
Emeritus from the School for American Crafts at RIT, where he has taught
ceramic art for nearly thirty years. His early scholarly and creative work
associated with raku was of central importance to the American Craft
Movement and forged a lively exchange between East and West that
continues today.
His work is celebrated throughout the world. Nationally, his works appear in important collections such as The Museum of Art and Design,
NYC, The Renwick Gallery, Smithsonian Institute, Washington DC, The
Boston Museum of Fine Arts, The High Museum of Art, Atlanta, and The
Mint Museum of Art, NC. Internationally, he is represented in collections
including the Ohi Museum, Japan, the Icheon World Ceramic Center, Korea, the Taipei Country Yingge Ceramics Museum, Taiwan and the Sorlandets Kunstmuseum, Norway. The works and writings of Richard Hirsch
have appeared in all major ceramics journals globally and can be found in
a wide variety of text books and surveys in the field.
He is a permanent member of the International Ceramics Academy and
continues a tireless international travel and exhibition schedule.
RICHARD HIRSCH
School for American Crafts - Ceramics Department
College of Imaging Arts and Science
Rochester Institute of Technology - 73 Lomb Memorial
Drive, New York 14623
Phone: 585.475.7785 Fax: 585 475 6447
[email protected]
Though he is a tireless tinkerer with approaches to materials and processes, he abhors placing any method ahead of the
works they should serve. He can and he will turn away from
any approach (even raku process) that has become formulaic.
His works may be understood as the consequences of search –
benchmarks along his path.
Probably owing to his early fascination with the traditional tea ceremony, conceptually he is drawn to the vessel and,
consequently, to artefacts from human history that evidence a
legacy of utility. He is an avid collector of objects whose age
and wear transcend cultural specificity toward universal truth.
His major series (tripods, weapons, mortar/pestle, and crucible)
are presented with the reverence of religious icons ordained
by the patina of use over time. Hirsch speaks with disdain of
the clicheic “artist genius” whose successful works supposedly
result from divine providence. His is a world of travel, study
(art and human history, geology, technology, philosophy) and
endless experimentation evidencing an amazing tolerance of
“productive failure”. His advance is careful, steady, characterized by progressive insight rather than sudden revelation. The
works selected here are evidence of this movement forward.
Though the reference to artefact is strong, of equal importance is the reference to contemporary art (the fragile verticality of Giacometti, the graceful undulations of a Henry Moore
form, the subtle juxtaposition of colour seen in Rothko and the
powerfully hewn mass of Voulkos to offer a few examples).
Scott Meyer, PhD, is Professor of Ceramic Art at the University of
Montevallo, AL. He earned his PhD in 1985 from The Pennsylvania
State University.
Art Dept. #6400, University of Montevallo
Montevallo, AL 35115 USA
[email protected]
NEW CERAMICS
11
photos by Geoff Tesch
PROFILE
PROFILE
Lutz Könecke
“Waiting for the God Vase”
G
roßenrode near Göttingen in Lower Saxony. I enter Lutz Könecke’s studio. It is equipped in
businesslike fashion, tools and implements, exhibition pieces and every day private possessions all laid out functionally. It is all about work in this room. Lutz Könecke seems to be
a modest, independently minded person who maintains a sense of balance in his life. He is not concerned with order for order’s sake, but his the requirements are geared to the essentials. A decorative
touch in the studio is a quote that faces the visitor when they enter the studio: “Waiting for the God
Vase”; this is a saying that may be taken as characteristic of Lutz Köneck’s work: perfection has priority, successful pieces that should no longer be worked on. What has been taken to the highest level can
not be elevated any further; otherwise there is a danger of destroying it.
The dialectic of working artistically becomes visible here, he works towards a perfect result without
hoping for divine intervention, but nevertheless, this quote is expressive of the hope of achieving a
result that transcends the genius from the subconscious towards a quasi planned random result.
12
Siegfried Stöbesand
above
Tea and coffee pot, 2015
h 27 - 55 cm, stoneware
thrown and assembled
matt black glaze
opposite page top
Coffee pot, 2014, h 35 cm
stoneware, thrown and
assembled, matt black glaze
opposite page bottom
Vase, 2014, h 33 cm
stoneware, thrown and
assembled, unglazed
NEW CERAMICS
LUTZ KÖNECKE
Lutz Könecke is animated by ceramic craftsmanship and working in
art; as if to the manner born, he is one
of the lucky ones who do not feel tradition and a legacy as a burden but as
a maturing karma, with a charmingly
modest sense of nonchalance. In his
biography, several force lines related
to ceramics manifest themselves: the
famous Bauhaus potter Otto Lindig is
his maternal great grandfather, and
his craft background comes to him
through his mother, with whom he
shares a studio. On the paternal side,
he has been influenced by his great
aunt, Rosemarie Könecke, who trained
in ceramics under Helma Klett.
Lutz Könecke grew almost playfully into surroundings which allowed
him to grow up with clay.
Classic behaviourist theory proves
itself in practice. Force lines that define life; seeds grow, not yet fully
formed but always present. The eye is
schooled, not ostentatiously aligned,
almost certainly prepared unobtrusively for a later time without planned
intent.
His father was an inveterate collector of ceramics, both of them scoured
flea markets; always in search of suitable finds, his aesthetic senses were
sharpened here; a sense of taste was
formed, judgements on proportion
and colour are trained quite incidentally.
As a conscientious objector, he
worked for Göttingen department of
conservation as an alternative to military service, thus becoming acquainted with actual remains in their historicity, gaining respect for them: arrow
heads and shards from waste tips fired
his imagination. He was holding the
rudiments of human work from prehistoric times in his hands. His interest was there but his ultimate passion
had not yet been awakened. He turned
his attention to photography, took on
a work placement with the established
photographer Marc Theis. With him,
Könecke learned basics that would
accompany him later: schooling his
perceptions: an eye for essentials was
trained in connection with the necessary technical precision. He stayed
NEW CERAMICS
13
PROFILE
PROFILE
left
Vase, 2013, h 36 cm
stoneware, thrown and assembled
unglazed
opposite page left
Two vases, 2015, h 26 - 36 cm
white and light blue glazes
opposite page right
Two vases, 2015, h 25 - 29 cm
matt black and white glazes
with Marc Theis until 2000, but the urge to create something of
his own was becoming ever stronger. He had never really lost his
ceramic creativity from the focus of his life. All the signs pointing
too a future in ceramics were too immediate. So he applied for a
place at the Kunsthochschule in Kassel, and was accepted on the
basis of his photographic work on light and shade.
He started out under Professor Ralf Busz, and after his retirement, he found someone to further him in Professor Urs Lüthi.
Lüthi provided him with positive feedback, which made him feel
valued and made him unconditionally wish to continue working
creatively. Besides his concern with craftsmanship and art, the
presentation of his work became a defining constant. Urs Lüthi
pointed the way: “Ceramists are at an advantage because they
do not need to look for a meaning, there is already meaning in a
vessel.” The question of meaning had been answered for Lutz Könecke; he had thus discovered his profession and his passion. The
tradition of Walter Popp, who founded the Kassel School, found
an adept eager to learn in Könecke.
The centre of gravity of his work is on assembled vessels made
of a number of individual elements. Forms are developed that
14
could not have been thrown in one
piece; precision and an aesthetic exploration of space in the relationship
between inner and outer structures are
what is important to him. The focus of
his ceramics is on form, which expresses
the essential more strongly. Complex
forms are given a monochrome glaze
or retain the colour of the bare clay; in
simple forms, he makes the interplay of
glaze colours shine out.
His style: clear line, clear form, clear
result. Without craftsmanship, without experience, without knowledge of
technique, there would be no art. His
workshop is his studio, always with the
primacy of craft. Lutz Könecke’s work is impressive, the community of his fans is growing all the time. Especially abroad his
work has been much appreciated; eighty percent of his work has
gone to the USA and Canada. The 2014 Auguste Papendieck Prize
was recognition of his evolution in art in the course of which his
formal vocabulary has increasingly become his trademark. His
ceramics have a high recognition value, they are at once art and
craft.
When I leave this workshop studio, I do it with the wonderful sense that in this location ceramics are being made quietly
and modestly that continue the tradition of established masters
of their craft, without having made clandestine borrowings from
them; works that make their own mark without chasing after
modernisms of taste typical of our times. What Exupéry said, that
one could only see rightly with the heart, what was essential was
invisible to the eye, is further enhanced by Lutz Könecke in his
aesthetic endeavours to make the invisible visible.
Siegfried Stöbesand, M.A. is a senior member of staff at a secondary
school. He lives in Laatzen.
NEW CERAMICS
LUTZ KÖNECKE
TECHNIQUE
Apart from drinking vessels and smaller vases, all of his vessels are
made from two or more elements. Each element is wheel thrown.
They are then dried until they are leather hard, turned and assembled with slip.
They then rest for around a week under plastic sheeting before they
are further refined. Then they dry in the workshop until all of the
moisture has evaporated.
In the first firing, in an electric kiln, crystalline water is driven off.
After the bisque firing, the surface of the pots is sanded and then
glazed. The vessels are fired in a gas kiln to 1280°C in reduction.
The pots in brown clay are made in the same way except they are
not glazed. They are fired in an electric kiln to 1140°C and treated
with hard oil.
This surface treatment makes them more resistant to stains and
gives them a slight silky gloss. These pots are also waterproof and
can be cleaned with a damp, lint free cloth.
“The focus of my work is on the assembly of vessels from two or
more components. In this way, forms grow that would not be possible if thrown in one piece. It is not about a highly complex form but
more about working precisely with it. Working in this fashion offers
me the opportunity to observe volume and tension in the body of the
vessel and to test variations.
“It is about the concentration on one form, about space and its aesthetic exploration, the relationship between interior and exterior –
with the means of the ceramic vessel.”
LUTZ KÖNECKE
Mörliehäuser Strasse 6
37186 Großenrode, Germany
+49 (0)5503 - 999 068
www.lutzkoenecke.de
[email protected]
NEW CERAMICS
15
PROFILE
Lutz Könecke
was born in Northeim in 1973. He trained as an electrician between
1991 and 1994. After community service in lieu of military service working for the department of urban conservation in Göttingen (1994-5),
he attended a technical upper secondary school in Göttingen. After a
further year in the conservation department in Göttingen he was an
assistant to the photographer Marc Theis in Hanover between 1998
and 2000. From 2000 – 2005, he studied fine art at the Kunsthochschule in Kassel under Prof Ralf Busz (until 2004) and Prof Urs Lüthi. In
2007, he opened his own studio in Kassel, and in 20010 he relocated to
Großenrode. Lutz Könecke has exhibited in solo and group exhibitions
since 2002. His work is present in various private and public collections.
PROFILE
MARTINE POLISSET
A Taste for Forms
F
or 35 years the French ceramicist Martine Polisset has
concentrated on revealing the beauty of natural forms.
We met at her studio in Biot, a medieval village overlooking the Côte d’Azur.
Martine Polisset’s studio is on a narrow street behind the
church in the heart of the village, just a minute’s walk from
the charming Place des Arcades where one of the last authentic
Provençal restaurants of the village is to be found. Because times
change and Biot is no longer what it was – a place full of indolent charm and a hangout where artists could savour the sweet
life of the south of France – Martine sometimes says that she’ll
leave. “But I have friends here, a nice house and a peaceful workshop. It’s not easy to leave a place that you’ve known all your
life. My parents bought a plot to build on in the 50s; we came
here for our summer holidays,” said Martine.
16
Pascale Nobécourt
Martine grew up in Paris, her father was an architect and her
mother a fashion designer. As she had always liked drawing, she
first went to Atelier Met de Penninghen, an art school in Paris,
for foundation courses before specialising in ceramics at the Ecole
les Métiers d’Art in Paris where she met Claude Champy, Bernard
Dejonghe and Jacques Buchholtz. After graduation from the Ecole
les Métiers d’Art in 1968, Martine worked at a ceramic studio in
St. Maur outside Paris and perfected her painted glaze technique.
Settling in the south of France in 1970, Martine began to express
her passion for the natural world through her first clay sculptures.
Entering her workshop is like going into a deep vaulted cave. In
fact it was formerly an ancient bakery; remnants of its original oven
are still visible. Some of her early pieces are on display: oversized
eggplants, zucchini and garlic bulbs with their dull enamel. Just in
front of a big electric kiln is one of a series of her coral sculptures: a
NEW CERAMICS
MARTINE POLISSET
opposite page
“Théière Cœur” - 2007 - 28 x 21 cm, stoneware grogged clay
above
“Plissée Noire” - 2012 - 44 x 30 cm, stoneware grogged clay
tall standing branch glazed in bright yellow and mounted on a
wood base. Another oversized coral variation glazed in brilliant red
is positioned nearby; each abstraction in perfect balance. The small
natural coral models, intensely studied for the series, are arranged
on her desk beside a book about Anish Kapoor.
Martine Polisset has always collected things, bits of wood or
bark, stones, shells and seeds picked up on walks and then left
in a corner of the studio waiting to be rediscovered with a fresh
eye. In the centre of the studio is a table where she works using
NEW CERAMICS
PROFILE
earthenware clay or, as in her recent pieces, a stoneware clay which
she patiently builds up using the coiling technique. The artist has
recently been interested in more abstract forms which she refines,
interprets and transforms, either without a model, or starting from
a simple concave base which allows her to develop several alternative variations.
Her work takes on two parallel directions. On the one hand it
borders on an austerity focusing on pure line – exploring voids in
which sometimes a form repeats itself like an echo, evoking infinity. The other area explores the complexity of twisted and pleated
forms playing on rhythm, and the shadows cast on their unglazed
white or brown surfaces, as in one such piece inspired by the Vajra,
a ritual symbol of Buddhist ceremonies.
Because she likes the contrast of tone and texture, a smooth,
glossy coating of bright colour is juxtaposed with an unglazed area
17
PROFILE
opposite top -
above - “Hybride Brune” - 2011 - 65 x 36 cm, earthenware clay
“Plissée Rythme” - 2014 - 35 x 32 cm, paper clay
below - “Matrice Spirale Bleue” - 2010 - 18 x14 cm, grogged clay
photo by Jean-Jacques L’Heritier
photos by Jean-Jacques L’Heritier
of clay. Over time, Martine has abandoned the use of brilliant primary colours - sunny, exuberant hues suggestive of
the South - for softer more nuanced tones which compliment her exploration of forms which are less literal and
more conceptual.
One of her latest series, the “Bifaces”, is inspired by Neolithic axe heads. Using formed paper clay while it is still
moist, she applies a plastic film which has been painted
with copper and iron oxides. When removed several minutes later, the film functions as a transfer, leaving a subtle
patina of lines and marks suggestive of a long mineral evolution.
In the group called Monolithe, made in collaboration
with the glass artist Antoine Pierini for a recent exhibition
in Biot, a grey piece in the centre of one sculpture evokes
a granite pebble while in other works from Bifaces, black
glaze intermingled with turquoise or jade green, is suggestive of precious stones.
According to Martine, the purer the form the more perfect the contour has to be. She has a sculptor’s eye.
18
NEW CERAMICS
MARTINE POLISSET
PROFILE
ARTIST STATEMENT
I am a ceramicist from Biot, France, who creates biomorphic sculptures. Found objects from nature are my
inspiration and in reinterpreting these objects as concepts of new life forms, I try to capture the essence of
life. My interest in organic forms began with a childhood curiosity for nature. I have always collected seeds,
shells, fruit – those early observations laid the foundation for the direction my work would take later in my
career. Each unique sculpture is formed using the coiling
technique. The clays I use are: earthenware, stoneware
and sometimes grogged bodies. Oxides or colour glazes
are often added. Elements of line, contour and plane
are very important to me. The profiles of my sculpture
build tension, and at the same time achieve balance
and harmony. In exploring styles of abstraction I like to
play with dichotomies: emptiness and fullness, hollows
and curves, matt and glossy. I use light, space and shape
to give my work a rhythm like music.
Pascale Nobécourt is a journalist, specialising in contemporary ceramics,
a regular contributor to the French magazine, La Revue de la céramique et
du verre. She lives in Caderousse, France.
NEW CERAMICS
19
Martine Polisset will be taking part in
“Révélations”, Fine Craft and Creation Fair,
at the Grand Palais in Paris
September 10 - 13, 2015.
MARTINE POLISSET
Sculpture Céramique
45 rue Sous-Barri
06410 Biot / France
Tel: +33 (0)4 93 65 06 53
[email protected] I www.martinepolisset.com
Photo Keiko Courdy
“I look at a lot of profiles, planes, proportions, equilibrium. The form
must not be weak,” Martine said. It is this same elegance of line which
seizes her imagination in the photographs of Karl Blossfeldt whose remarkable vegetal fantasies are pinned on the wall of the studio.
Even if it has become crowded with time, Martine is content with her
studio lair, the refuge which houses all the ingredients for her creative
alchemy. In the summer, when the heat fills all the streets in the village,
it’s cool under the fourteenth century arched stone vault. If she wants
to meet people she has only to raise the blinds at the door and curious
tourists holidaying on the Côte d’Azur will find their way into the studio.
Whenever she can, Martine takes off to work outside in the nearby
garden of a friend. “I like to have this direct contact with nature. It brings
out other things,” she said.
Martine has lived well from her cheerful vegetable sculptures and especially from her pomegranates for which she once accepted a commission requesting 15 different stages of maturity: from closed fruit to ripe
and rupturing with red grains. In another approach, she greatly enlarged
the pomegranate as well as a fennel for an exhibition at Alain Ducasse’s
Monaco restaurant (Martine’s bronze Kakis is part of Mr Ducasse’s collection). Some of Martine’s large-scale pieces inspired by nature vary in
subject from a bean reinterpreted to become a tall totem to a sculpture of
a stylized shrimp.
She occasionally makes trophies or takes part in competitions such as
one organized by the Vallauris Art Institute, for whom she made a very
beautiful urn (which was shown at CkOMSA Gallery in Vallauris, June
27 – August 29, 2015).
The common denominator of Martine’s creative approach is a sensibility for the natural forms, which when enlarged reveal their unseen
beauty.
The poet Paul Valéry, when moved by the beauty of a simple shell and
wanting to forgo all scientific and intellectual explanations, found that
he could only murmur: “Who then made this”?
PROFILE
MARTIN BURBERG
“I take my hat off
to my Neolithic
colleagues”
Ule Ewelt
M
artin, you have been working as a ceramist for
about 35 years now. How did your love of ceramics
begin? Could you tell me about some of the most
important stages of your career?
I already knew that I wanted to be a potter when I was sixteen. I did work experience in my Easter holidays in a pottery
that made Westerwald stoneware: three weeks of shovelling clay
and unpacking the walk-in kiln when it was still 80°C – Sweaty,
backbreaking work. But it didn't scare me off. My plans for my
career became more concrete after I graduated from school during six months' work experience near La Borne in France. Back in
Germany, I started an apprenticeship with Rolf Weber in Simmershausen near Kassel. I got a thorough training on the wheel there.
It was more about quality and not quantity. After qualifying as a
journeyman, I worked in various potteries. Six months in Sudan
were especially important to me. One of the places I worked there
was a pottery that made ceramic inserts for small ovens. Conditions were very simple – the was no electricity in the potteries, for
example. And in 1989, I qualified as a master craftsman.
In 2006, you interrupted your life as a potter for several months
in order to take part in an experimental archaeology project. That
meant that with your own family and another family, you lived
for several months in a Neolithic stilt house with exactly the same
equipment in terms of clothing, tools, and supplies as the Stone
Age family would have had 5,000 years ago. I know that this experiment was tough and rewarding for you in equal measure and
that it influenced you profoundly. How did this period influence
you in the way you see yourself as a potter?
This experiment was a momentous experience. I have always
been interested in prehistoric times and early history, especially
in relation to ceramics, but since then I have been even more in-
MARTIN BURBERG
PROFILE
opposite page
top
Alb-Hegau, Singen
bottom
Rössen Culture, Halberstadt
top r.
composite pot with
small additional pots, bisqued
bottom r.
first stage
terested in the beginnings of ceramics.
I am fascinated by the balance of the
forms and the beauty of the decoration.
I often imagine what it must have been
like when people discovered that soft,
malleable clay turned rock hard in the
fireplace and how the next step followed
to make functional items from that. This
feeling must have been overwhelming,
I imagine. I am also interested by the
question of when professional specialisation came about. As far as I know, archaeologists believe that this was only
in the Bronze Age (from c. 2,200 BCE).
But when I look at and replicate prehistoric ceramics, I can't help noticing
that especially ornamental vessels and
funerary objects are beautifully made
and the decor has been thought out and
executed in detail. This is why I can't
believe that these ceramics were made
on the side and by just anybody, as it
were. I really have to take my hat off to
my prehistoric colleagues.
Martin, along side your everyday
work, you also make prehistoric and
protohistoric replicas for museums or
private clients. Did you start with this
during the Stone Age experiment?
At that time, I thought up my own
forms and decors. We bartered the results – pinch pots and necklaces, decorated and fired in the camp fire – at a
local market in exchange for peas and
lentils because our own harvest had
been so poor.
I began with the replicas shortly after
the Stone Age experiment. The starting
point was an encounter with a retired
local farmer who collects ceramics and
other artefacts in the fields and runs a
small private museum. He had seen a
documentary about the Stone Age experiment on the television and came to
see me with drawings and fragments from a Stone Age vessel from
the Rössen Culture (4,900 – 4,200 BCE). He wanted me to make a
replica as a demonstration object for school classes and he was my
first customer. Since then, I have worked for various other museums, for instance Wangen, Nidderau and Singen.
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What is the production process like? Do you just use the aids
that were available to your Stone Age colleagues or do you use
modern technology?
No, I don't sit in the gloom in my stilt house, looking out over
the pond, even if the idea does appeal to me. I have a perfectly
21
PROFILE
to
- black firing the composite pot
below
- stage four
opposite l. to r..
- original composite pot
- replica of composite pot
- bone tools
- stage seven
normal pottery with electricity and a radio. I make use
of contemporary inventions, and if I have not finished a
piece in the evening, I wrap it in plastic. It wasn't easy to
produce anything in the Stone Age experiment without a
workshop or aids of any kind. Sometimes I was stretched
to my limits. If possible, I throw the basic form of the
replicas on the wheel in my studio because I simply can't
ignore the financial aspects, and I don't wish to. Apart
from that, I am mainly interested in the result and the
character of a pot. I make sure that I don't make a replica, as a thrown form, look too perfect or technical. As
a rule, the pots are burnished before I score the decor. I
carve the tools to score the decor from wood or bone as I
need them. I always try to imagine what the people must
have felt back then when they were making the original.
I take my time when I am making these pieces because
I believe that you should make them as well as possible
from the start.
I bisque fire the finished pots in an electric kiln and
then I black fire them in a bonfire. Sometimes I take the
time to find raw clay. I know where there are old clay
pits that haven't been used for around a hundred years.
And not far from where I live, there is the old potters'
village of Michelsberg where handmade roof tiles and
tableware used to be made.
What was the most interesting piece that you have
replicated so far?
Really speaking, every piece is unique and interesting.
But one ritual object from the Hallstatt period (600 – 800
BCE) that was found in Nidderau stands out. It is a pot
that is made of one large vessel and four small ones. The
four small pots are linked to the main one on the inside
with small holes. It is not clear what this funerary object
was for. The mystery makes this piece really exciting, as
does the perfect execution of the main vessel in contrast
to the somewhat imprecise way the small ones are attached. The marks of the making, the lack of precision,
the impressions of straw or something similar, it all tells
a story.
And there is another piece that appeals to me particularly: a small extra vessel from a grave in Edermünde in
the north of the state of Hesse. It is from the Rössen Culture and is only about 5cm tall. It was closed with a plug
of earth and lay on its side in the ground. There is a mark
from dried-up liquid inside it, so it must have contained
a liquid. Medicine, drugs, or gruel for the long journey to
eternity? On the upper rim there are two holes positioned
opposite each other. Was the vessel hung up from them
or did they have to do with closing it?
22
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MARTIN BURBERG
PROFILE
Are your early vessels always replicas or do you sometimes
work to your own designs?
I sometimes make vessels in the style of early pots but that
I have designed myself. I sell pieces like that in my shop but
there is not much point in taking them to markets. I make my
living by producing functional tableware. I do black firing
or other low-temperature techniques like raku or pit firing
because I am passionate about them. In my daily work, I miss
working with fire directly. This is balanced by making replicas and the intensive study of prehistoric ceramics, which
reminds me of the origins of the ceramics that my colleagues
and I sell at markets today.
Ule Ewelt is a ceramist. In her work, she studies ancient forms
of representation. She lives and works in Grünberg-Stangenrod.
www.keramik-uleewelt.de
Martin Burberg spent six months in La Borne, France, on a work
experience programme in 1979. 1980-83 apprenticeship under Rolf
Weber in Simmershausen. 1986 six months work and study in Sudan. 1983-89 building up his own practice and working in various
potteries. 1989 qualifies as master craftsman. Marin Burberg lives
with his family in a large half-timbered farmhouse in Jesberg-Hundshausen between Kassel and Marbung. He has been freelance since
1984, first in Schwalmstedt, since 1991 in Hundshausen.
MARTIN BURBERG
Am Graben 3
34632 Jesberg / Hundhausen, Germany
Tel. +49 (0) 6695 - 488
[email protected]
www.toepfereiburberg.de
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23
PROFILE
Transforming nature into culture – and back
Ceramic artist
JOCHEN RÜTH
F
rom his early youth, when he first shaped a malleable
lump of clay in his hands, Jochen Rüth had fallen under
the spell of this pliant material, fascinated by the plasticity of matter made of mineral dust and water, created in the prehuman history of geological processes, which has been nature as
much as it has been culture during the blink-of-an-eye presence
of humanity, a product of decay and decomposition, the natural
result of processes lasting millions of years of inorganic weathering of volcanic rock, which, dissolved in water, flushed and blown
24
Walter Lokau
away to become deposited in steadily swelling layers, ultimately to
be dug by human hand, to be shaped into usable things, moulded
into elaborate shapes, has been dried and fired as ceramic for millennia, solidified again to form vessels and figures, and, after stone
and bone, the oldest material providing evidence of human technology and skill.
Born in Würzburg in 1960, sculpture had been the artistic genre
that he had had in mind but the obsessive autodidact had been
unable to escape the draw of the potter's wheel, with which he
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JOCHEN RÜTH
PROFILE
had begun to experiment at the end
of the seventies. However, he did not
simply become a potter: he has always made pots, it is true, and he still
makes them today – for preference
powerfully thrown vases and bowls
with milky, opaque, porous shino
glaze, like a thick enamel clinging to
the clay body, or raku teabowls, gratifyingly filling two hands, the glaze
veined with its delicate blackened
crackle. Yet Jochen Rüth, wilfully,
stubbornly and quietly has remained
an experimenter, a seeker for his own
path and an inventive border-crosser,
between vessel and a kind of sculpture that impresses through the observation of nature and culture, and
is ceramic through and through, with
which he has traced again in the microcosm of now the aeons-long span
of the manifest material clay, perfecting it in his work. However, perfection
in the sense of smooth, masterly immaculacy, has never been his aim. His
true theme is neither vessel nor sculpture per se – his theme is what distinguishes both in entirely real terms: the
transformation of the material itself:
its transience. Jochen Rüth's works
are abstract allegories of the impermanence of form, whether cultural of
natural.
In 1981, Jochen Rüth did a work
placement with industrious painter
and graphic artist Renate Rabien, who
after graduating from the Kunstakademie in Munich discovered the ceramic vessel as a support for her painting
and drawing. For the newcomer to
ceramics, the sense of artistic freedom in her studio was an important
experience: besides his routine work,
he could pursue his own inclinations
and follow up clues. Yet the feeling
remained he was lacking the ceram-
opposite page
“In Motion” - 2013 (2), h 24 cm
w 34 cm, d 34 cm
right top
“Bizarre Vase” - 2012, h 18 cm, w
13 cm, d 4 cm
right
“In Motion” - 2014, h 16 cm
w 28 cm, d 28 cm
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25
PROFILE
“Fusilli” - 2013, h 22 cm, w 45 cm, d 20 cm
ic basics. Herself not a thrower, rather someone who made pots
turn before her, Rabien arranged for her avid pupil to move on
to ceramist Constanze Hedrich, who also had a knack of teaching
people to throw. Up to 1985, Rüth then worked with artist and
ceramist Fritz Renner, where he not only became acquainted with
an alternative life plan, also became familiar with the pyromaniac
pleasures of experimental firing techniques. His relationship to the
profession and to the potter's training remained divorced from official regulations and guilds: he was aiming for his own studio and
the continuation of his experiments, which is why he felt that a
proper apprenticeship would be too protracted and too school-like
– in the mid-eighties, it was still the guilds that dictated the conditions and framework for working in the trades – as was the case
in ceramics. He has thus been a freelance artist since 1986; after
setting up a studio for the second time, Jochen Rüth has lived with
his family in the Bavarian village of Altisheim near Donauwörth
since 1995.
In a Munich gallery, the young ceramic explorer discovered traditional Japanese ceramics, woodfired vessels with red fire marks,
known as hidasuki, flame red deposits from straw soaked in brine
– it was a revelation. It was an access point to an ancient world
of ceramics that was new to him, driven not by the unconditional will to technical and formal mastery, but an alien aesthetic of
deviation – a historic, evolved ceramic culture, fostered over the
centuries, which esteems quasi-natural surfaces with firing marks,
ash deposits and melted inclusions, traces of firing processes that
intentionally evade complete control to create precisely the un-
26
intentional aspects of elemental processes. This very different ceramic culture entranced Jochen Rüth, coinciding as it did with
his personal feel for natural phenomena, for the disconcerting,
generally disregarded “ugly” beauty of weathered rock, carved in
weird shapes, polished, moss-covered, pebbles coated with creeping, dull-coloured lichens, cracked and crumbling bark, or for the
saddening relics of human devices and buildings, made of stone,
ceramic or iron, burred, creviced, rusty, often with surfaces of inimitable nuances, the closer you look the more there is to see. The
studio of this experimental ceramist always has little gifts, found
objects, flotsam and jetsam from near and far, testifying to his
keen sense of the metamorphosis of matter, providing him with
stimulus and inspiration.
For years, for decades now, Jochen Rüth has been seeking ways
of translating this into his ceramics. Yet no canon is sacred in
his search, no technique is mandatory: where others have become
dogmatic epigones of Japan and have sanctified the anagama
woodburning kiln, he has remained pragmatically unorthodox.
His results may have been mistaken for “classic" pieces, but in
fact they owe their existence to his very own, repeatedly modified methods. His material aesthetic of transformation from nature
into culture makes do without dogma or mystique – technique
is merely a practical means to achieve the end he has intended.
Thus he achieved his first “Japanese” surfaces with woodfired ash
encrustations and marks of the flames, by firing thrown vessels
in open saggars filled with straw – a procedure that was highly
detrimental to the life expectancy of his kiln, now superseded by a
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JOCHEN RÜTH
gas kiln that he built himself from old bricks in which his work
is glazed and encrusted by a bed of wood shavings, coal and
straw at a temperature of around 1300°C. No more mysterious
is the preparation of the clay body, which after firing is heavily
porous, honeycombed with interstices like lava: a fine grained
mineral additive that melts in the firing makes it possible for
this skin-scrapingly coarse clay thrown to form tree-trunk
thick, spiral cylindrical vessels to ultimately resemble volcanic
chimneys. Always inventive, the artist brutally enhances this
appearance by shock-drying the surfaces of his massive forms
with a gas burner until they crack open, and they are then
penetrated by a wooden rod to hollow them, covering the
whole body of the piece with deep crevices. Making tall, angular vessels is similar, with fragile, sharp bur, like flames turned
to stone: the form and the surface evolve from a rectangular
block of clay, where surface layers are repeatedly scraped off
with a wooden lath until cracks once more appear – shock
drying and driving in a wooden rod again finish the job. The
forms that emerge from such a thoroughly violent process are
neither predictable nor intentional: they have emerged without
having been made, just as in the firing, the transformation of
the material with an unrepeatable surface, finally hardens the
material, making it a ceramic vessel-sculpture of a ruggedly
natural appearance. Its sharp-edged beauty is as harsh as that
of seething ravines and rocky gorges.
That the element of the vessel is decreasing in Jochen Rüth's
work and the tendency towards pure sculpture is increasing
is demonstrated by his most recent work: thick slabs of clay,
torn, twisted, contorted with a hard and powerful grip, look
like studies of tectonic forces – bowl-like forms with encrusted,
tumescent interiors seem like split-off pieces of a still-moving
rocky floor. The convergence with nature has already gone far,
but it is not yet at the end. Jochen Rüth's ceramics, themselves
a product of culture, will continue to metamorphose, as if they
were a piece of nature.
Dr. Walter H. Lokau has a PhD in art history. He lives and
works in Bremen as a freelance writer.
“Split Cylinder” - 2010, h 43 cm, d 25 cm
Jochen Rüth was born in Würzburg in 1960. From 1981 – 1985,
he worked as a trainee in three studios in the Allgäu region. After
community service, he set up a studio in the Altmühl Valley near
the Solnhofen stone quarries. Six years later, he purchased and
refurbished a disused joiner's shop in Altisheim, Bavaria. He has
lived and worked here, with his wife and three daughters, since
1995. Work by Jochen Rüth can be found in public and private
collections and in museums. His ceramics have won several prizes
in Germany and abroad since 1990. A studio exhibition for the
20th anniversary of the studio in Altisheim will take place from
10 – 18 October 2015. More details on www.jochenrueth.de
JOCHEN RÜTH
Willibaldstrasse 8
86687 Altisheim, Germany
Tel. +49 (0) 9097 1814
[email protected]
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27
PROFILE
PROFILE
MARGARETA DAEPP
Evelyne Schoenmann
L
The Fascination
of East & West
inear. This is the first word that occurred to me when I
saw the winning piece by Margareta Daepp, Bosporus
Set Hexagon, at Officine Saffi in Milan in the early
summer of 2014. The play of function and design,
emptiness and fullness, multipart structure and Middle Eastern
colour is fascinating. Linear, but not only because of the precise
28
lines. When I later met Margareta in person, I realised that she
consistently pursues her fascination with East and West.
This fascination may well have originated in her artist's residency in Shigaraki, Japan, in 2005. Firings typically happen
there in an anagama (tunnel) kiln. This means that the ceramics
are fired in direct contact with the flames, which lick around the
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MARGARETA DAEPP
pots. Since round objects are particularly suited to this, Margareta has been working with the form of the cylinder since then.
She certainly has the courage to set her own working methods
against traditional Japanese ones, working with slipcast forms,
which are untypical in Japan. She has remained faithful to this
method. This residency in Shigaraki has led to the production of
seven two-part vessels, the Lotus series. One part is lacquered.
All of the vessels bear the names of Japanese flowers. Margareta
Daepp was given an introduction to urushi, the art of lacquering,
from a female master, also during her stay in Shigaraki.
Back in Switzerland, the Lotus series was followed shortly afterwards by the Tokyo Line series. For this, Daepp transferred the
colourful map of the Tokyo underground railway system onto
porcelain by means of ceramic onglaze printing, coating the
upper part of the vessels with automobile paint. These flawless
vessels are also in two parts; they are named after the main underground railway lines such as Shinjunku, Ginza, Mita, etc. The
traditional lacquer of the Lotus series and the ultramodern car
paint for Tokyo Line form an interesting contrast. We can look
forward to discovering the next series.
Still under the influence of the East, Daepp then travelled to
China in 2008, to Beijing, where she stayed at a hotel, a traditional building with a courtyard and a garden. It is situated in an
old quarter. The typical network of old streets around the hotel,
the so-called hutongs, was the inspiration for the next series of
vessels, the Hutong series. The technique of ceramic printing and
automobile paint is the same as a the Tokyo Line series. However,
the Hutong vessels consist of three parts: at the bottom a white
porcelain plate with incisions in the rim symbolising petals. The
middle part is a bowl sprayed bright red with car paint. Red is
the national colour of China. In the upper part, at first one sees a
confusion of lines, but with a closer study of Daepp’s work, they
turn out to be the hutongs themselves.
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PROFILE
opposite page
“Tokio Line Ginza”, 2012, edition of 3 + 1 AP, porcelain, ceramic
print, car paint Ø 28 cm, h 23 cm
above
“Lotus Series Hasu”, 2006, individual piece, anagama firing and
Japanese lacquer, Ø 29 cm, h 25cm
below
“Bosporus_Set Pentagon”, 2012, edition of 7 + 2 AP, porcelain
glazed
29
PROFILE
It would actually be possible to take one of
these pots and to find one’s way around the
district like a map! In 2011, the collection, The
Emperor’s Choice and The Empress’s Choice
are added. These are porcelain cylinders measuring 3.5 cm in height (the Emperor 7.5 cm of
course), with a white exterior and a gold interior for the Emperor, symbolising his golden
robes, and for the Empress there are also the
typical colours of the robes such as yellow and
blue, green and pink and turquoise and red.
Then in 2012, she travelled to Istanbul. And
here too, East and West, which can be found
in the series Bosporus. The vessels – and Margareta Daepp remains faithful to the principle
of linearity – are cylindrical, consist of three
parts and are cast in porcelain. The ornamentation induced the artist to make a further
study of European and Arabic ceramic traditions. The vertical cobalt blue lines divide the
vessels up into five, six or eight zones. Or in
this series too there is a symbolic element like
the vertical red rim of the bowl taking up the
colour of the Izmir tulip. The Bosporus series:
an ongoing search for the balance between
two traditions.
And then back to Japan. The exhibition at
the gallery Ligne Treize in Carouge in Octo-
above
“Oribe Ensemble”, 2013, individual pieces
installation 2.70 m x 1.50 m
left
“Hutong Set light blue”, 2010, edition of 7 + 2
AP porcelain, ceramic print, car paint
30
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PROFILE
ber 2014 showed Margareta Daepp with her latest fascination: Oribe.
The Oribe style developed in the environs of Seto and
Gifu, going back to the influence of samurai tea master
Furuta Oribe (1544-1615) on the unique dynamic aesthetic in ceramics, painting, fashion and lacquer: geometric and floral patterns combined with strongly contrasting areas of colour.
Based on the three basic forms of the circle, the square
and the hexagon, Daepp has developed three series: she
allocated porcelain as a material to the circle, the square
to green Oribe and the hexagon to black Oribe. Each
basic form is executed in a different technique, a different clay, a different glaze and a different colour. In
addition, she developed the form of a geometric blossom and a second hexagon form. She had both made by
urushi master Kei Nishimura in wood and urushi. Typical local sweets cast in sugar on seasonal themes gave
Daepp the inspiration for a new series to complement her
latest one: choosing the image of a plum blossom, she
enlarged the imperfect form and completed her set with
the silver-glazed form of the blossom.
A fragmentary ensemble has been created consisting
of six flat slabs in a very small edition that, with its typical materials, techniques and colours, references the rich
culture of Seto and its ceramics.
It is exciting to see how bravely and naturally the
artist reacts to a difficult theme like East and West. We
will be only too glad to accompany her on further trips
to other traditions.
Evelyne Schoenmann is a ceramist. She lives and works in
Basel, Switzerland and Liguria, Italy.
www.schoenmann-ceramics.ch
MARGARETA DAEPP
Jurastrasse 26
CH-3013 Bern, Switzerland
Tel. +41 (0) 31 333 60 29
www.margaretadaepp.ch
[email protected]
Margareta Daepp, born in 1959, lives and works in Bern and Geneva.
After graduation from the School of Design in Bern, she continued her training under Setsuko Nagasawa at the Ecole des Arts Décoratifs in Geneva and
opened a studio in Bern in 1984. In 1989, relocation to Berlin. She studied
as a guest at the University of the Arts in Berlin under Rebecca Horn and
Isa Genzken. In 1993, invited to the European Ceramic Works Centre in ‘sHertogenbosch, NL, as artist in residence. From 1994-95, working visit in a
studio in New York.
Back in Bern she opened her current studio and in 1999 she was appointed
lecturer in the ceramics department at the CFP Arts Appliqués in Geneva.
Two further residencies in 2005 and 2013 took Daepp back to Japan. In
the two centres, the Shigaraki Ceramic Cultural Park and the International
Ceramic & Glass Art Exchange Program in Seto, she immersed herself in
traditional Japanese ceramics.
Fascinated by Japanese aesthetics, Daepp wrote her MA thesis at the Hochschule für Gestaltung und Kunst in Basel, in the department of design and
art, on "How does a simple, radical aesthetic develop?" She has been a
member of the IAC since 2006. She has been awarded several prizes and
scholarships for her work. Many of her pieces are in leading museum collections in Switzerland and abroad.
“Oribe Set”, 2013, wood with urushi lacquer and stoneware with black oribe-glaze, 75 x 40 cm, h 6 cm
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FORUM
Enlightenment 3.0
The creative optimism that permeated the Enlightenment era shone its
light in all areas of thought, research, production technologies and art
as well as raising ceramics to new heights. Looking back into the past
does not serve pure cognition but presses us towards the future, into
the third Enlightenment, which we have already stumbled into.
G
aining enlightenment is a natural
human desire. In Classical Greece,
Socrates, Plato and Aristotele embodied
the first age of enlightenment; the second, which we really mean, lasted in the
West from 1680 until 1830, and finally,
UNESCO published its world report in
2005, Towards Knowledge Societies. This
is the third attempt to make humanity see
reason. In this third age of enlightenment,
we are experiencing how the world is
changing in such a way that no-one had
been able to foresee. Let us take a moment to fully realise of how all this came
about. The true story sounds like a crime
mystery novel with the ups and downs of
events. In between: the high points of the
mind. These were also the high points for
ceramics. And the future stands ready for
us with its demands and encouragements.
The word “enlightenment” also implies
clarity and transparency.
In the life of our society, there is
scarcely a demand that is raised more
often. It is the demand for truth. In Antiquity, the Presocratics, Socrates and his
pupil Plato were a 150-year chain of truth
seekers. The Greek mind was targeted to
understanding the world, whereas Eastern
philosophy examined the development of
character. Remarkably, both golden ages
occurred at the same time; the 150-year
flowering of Chinese philosophy began
with Buddha at the time of the Presocratics, followed by Confucius and Laozi,
who lived at the time of Socrates and
Plato. The Tao Te Ching is from the 4th
century BCE and was the oldest piece of
philosophical writing, whilst in their discourses the Greeks laid the foundation for
the sciences that were to come. Very little
has survived in written form. After the astronomy of prehistory and early history, it
32
White ground vase painting from the time
of Socrates. Aphrodite by the painter Lyandros 470/460 B.C.E.
was especially mathematics that they elevated to a new level, where is became a
concretisation of knowledge. This period
also produced vase painting, considered
for centuries to be the zenith of ceramic
art. In the time of the Presocratics, the
archaic style was in vogue with its blackfigure painting, which, in Socrates time,
turned into the severe style with painting on a white background. The High and
Late Classical periods followed and the
rich style of Plato's and Aristotle's times.
The intellectual highlights also apply to
all the other art forms: verse, anthems,
theatre, temple construction and free-
Gustav Weiß
standing, monumental sculpture, which
had begun its development in Presocratic
times. The great sculptor. Polykleitos
lived in Socrates' times. Every sculpture,
whether in stone, wood or terracotta, was
painted. This could be a clue for us. The
painting and the partial gilding were not
a mere embellishment but a major part of
any sculpture. Pliny tells how the sculptor
Praxiteles was asked which of his marble
figures he thought were best, to which he
answered, the ones that painter Nikias
had had a hand in. This was how highly
he esteemed the painter's work.
This age, filled with intellectual
achievement, was later described by European Enlightenment thinkers as the
First Enlightenment. It ended in Hellenic
times with Alexander's wars. Alexander
destroyed Achaemenid culture and overran Asia Minor like one of the horsemen
of the Apocalypse; on his whim, he had
thousands of his prisoners crucified or
rewarded*. Philip II had summoned Aristotle to Macedonia to educate his son.
However, the boy was more interested
in the heroes of the Trojan war and his
mind was set on establishing his claim to
the throne of Greece and Macedonia. He
had his father murdered by a hired killer
and instigated the massacre of six thousand Thebans*. In his campaigns against
rivals for the throne, he demonstrated his
military skill and became the undisputed
leader of the army against the Persians.
Alexander's wars lasted ten years. It is
said that he consumed fifty crates of wine
a month. In the eleventh year he drank
himself to death with a huge goblet of
wine. After him, nothing was of value
any longer. Many towns survived named
Alexandria (Plutarch says there were
seventy), one was even called Bucephala
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FORUM
in honour of his horse. Everything else
ended in strife and murder. His entire kin,
young and old, men and women, were
murdered.
The 150 years from the 6th to the 4th
century were an intellectual event, but
religion was untouched by it. There was
actually no persecution of intellectual
convictions. Nevertheless, Socrates was
condemned to death for the “introduction of new divine beings”. The elders
were suspicious of the new ideas that the
young followed. And although the Delphic Oracle said that Socrates was the
wisest of all men, he had to die for leading young people astray. His young admirers initiated fierce discussions after his
death that ultimately led to his accusers
being executed too.
Socrates did not flee into exile, although that would easily have been possible. He became a martyr of the spirit.
The knowledge that the Greeks had been
first to stimulate in the world continued
to develop to a higher level. Homer had
laid the foundations for Humanism with
the myth of humanised gods so that humanity could in its innermost soul feel
related to the gods. Then came Jesus as
the second martyr of the spirit. However,
he did not preach reason but its opposite,
intellectual poverty, for his kingdom was
not of this world. The love that he meant
was altruism, not empathy. This was
educational and gave human existence
a meaning to those who accepted this
teaching. But it led to the darkest Middle
Ages, which the Enlightenment wanted to
counter by shedding light upon it. That
was the problem.
What preceded this “Enlightenment”
was the final straw: the Thirty Years’
War followed the Reformation. Charles I
of England was beheaded in London in
1649. There was a mass exodus of Huguenots from Catholic France, and they
were pelted with stones on their way. I
Prussia, they were allowed to practice
their beliefs. The Hutterite Habans fled
from Germany and Switzerland to eastern Europe, where they became famous
with their faience, and under Turkish rule,
they enjoyed certain privileges. Under stifling monarchical arrogance, things were
seething everywhere. The age of the Enlightenment and revolutions had to come.
By the middle of the 17th century,
ideas and art were at an advanced stage.
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The enlightenment, on which the West
proudly looks back, emerged as a force
that wanted to understand and control the world. It reached its zenith in
Alexander dropped in. Like an apocalyptic
rider, in 330-326 Alexander the Great subjugated the east of Persia in bloody wars.
Gustav Weiß 2012, 25 x 27 x 9 cm.
Haban faience from Hungary from the time of
the Turkish occupation. Michel Habel 1680.
philosophy, art and science in the 18th
century. In all areas, scientific questions
were broadened and placed on an authorial level like nowhere else in the world.
The princes kept alchemists at their courts
who were supposed to make gold and
discover the perpetuum mobile but who
actually expanded the world of knowledge with their experiments. In Florence,
the Accademia del Cimento (the academy
of experiment) was founded in 1675. In
the field of the production of things, the
alchemist Böttger succeeded for the first
time with his invention of porcelain in
replacing experience with experimental
research. This technological masterpiece
was followed by highlights in the art of
porcelain which today, three hundred
years later, are among the pieces most
coveted by art collectors.
We normally understand the term
“Enlightenment” to refer to the intellectual movement that emerged in the eighteenth century and also lasted 150 years.
It wanted to improve the world by rational thought and bring light into social
conditions. It was only when it was beginning to wane in 1784 that Immanuel
Kant published an essay in a periodical,
the Berliner Monatsschrift, to answer the
question of what the Enlightenment was.
In it, he declared the Latin proverb, sapere
aude the motto of the Enlightenment, by
which he charges the reader to follow a
programme of intellectual self-liberation,
by means of reason. Daring to know in
this way brought forth values that are
still characteristic of Western civilisation: freedom of expression, the freedom
to criticise, the priority of reason, equality, individualism, tolerance, democracy.
The priority of reason found confirmation in the expansion of the sciences
and is reflected in the constitution of the
United States. But knowledge and reason
– that cannot be all. In 1781, Immanuel
Kant published his Critique of Pure Reason, where he contrasts reason with the
fact that the senses are also a source of
knowledge. This second enlightenment
ended in the same way as the first, which
seems to justify the claim that history repeats itself. The French Revolution, which
was initially greeted as the first free and
democratic rebellion of so many major
intellectuals (Friedrich Schiller was even
awarded an honorary citizenship by the
French National Assembly in 1792), end-
33
FORUM
ed with executions, the Jacobite Terror,
and finally with the Napoleonic Wars.
What has happened in the two hundred years that have since passed for the
historical necessity of a new enlightenment to become apparent? The oscillation
between reason and soul has been interrupted by two World Wars, after which
the desire for humanity and democracy
came to the fore. The 21st century will not
be able be a century of philosophers any
more, like the eighteenth was, but needs
to be broader in outlook. This means that
the desire to know must promise benefits
to many. Knowledge has now taken over
a role in society. It is subject to conditions
that had never existed before:
1. The binary system developed by
Wilhelm Leibniz and others led to the invention of the computer and was the origin of the electronic age.
2. Evolution superseded the Bible
as a history book.
3. Globality has superseded the
slogan “Wir sind das Volk" with “We are
the World”, bringing together calls for humanity and democracy.
In 2005, UNESCO published its report
entitled Towards a Knowledge Society.
As a democratic, holistic new age, the
knowledge society has superseded industrial society, corresponding to freely
accessible information and communications technologies – the management of
knowledge – and to knowledge machines
as social constructions to answer questions. They are social because not only do
they multiply knowledge but also the desire to know, which combats poverty. On
the basis of Wikipedia and other sources
of knowledge, Hermann Helbig in Düsseldorf has developed a search engine
that he calls Sempria (like his company).
With it, it is possible to simply ask questions, as if from one person to another,
no matter how the question is formulated.
In this way, knowledge machines are increasingly developing into communication machines. Alexandria, a “collaborative knowledge machine for the retrieval
of semantically structured knowledge”, is
being funded by the German Ministry of
Science and Technology. A further knowledge machine (computational knowledge
machine) is Wolfram Alpha by Stephen
Wolfram. Werner Rammert has published
a book, with others, on “Wissensmaschinen” (“Knowledge Machines” – Frankfurt
am Main, Campus Verlag, 1998). The
subtitle is “The social Construction of a
Technical Medium”. In 2009, the visual
34
knowledge machine vionto received the
international Red Herring Award. The
company vionto was founded in Berlin in
late 2008 with the intention of taking up
Porcelain from the time of the Enlightenment;
tureen from the 2,200-piece Swan service
by Johann Joachim Kändler 1737 based on
a painting in Dresden by Francesco Albani,
Galatea in a Shell Chariot, 1635.
a leading role in the knowledge machine
market.
But as a system, art is completely differently structured to the system of science, which moves on and comes to a
boundary it cannot cross. Scientific findings are something that can be collected,
that has always been there but which has
simply not yet been discovered. In contrast, the system of art is infinite, and it
creates what has never existed before,
but it also allows things to be discovered which have always been there but
which are ineffable. In contrast to science, it can retrieve extra-linguistic phenomena with extra-linguistic means, and
these phenomena have something like a
soul. Ceramics must not be excluded from
the knowledge society. As the art of the
hand, which has hitherto continued the
past as tradition, it is on the way to moving forward with its craft tools like human knowledge moving forward in the
quest of greater knowledge. Over the past
hundred years, ceramics has split into an
artistic and an technical branch. Whereas
the technical branch is based on “pure
reason”, and has achieved a high level of
excellence, the artistic branch, which is
closer to craft, is subject to the freedom
from criticism and doubt, duty and inclination. It is the power of judgement that
determines the idea and the technology
on the one hand and finding the general
in the finished specific piece on the other.
Philosophically speaking, this kind of ceramics fulfils Kant's demand for the unity
of the senses and the intellect in his Critique of Pure Reason and even in his two
other Critques. Freedom wants to become
practical by finding complete expression
in the world of the senses.
Everything that is in the process of
emerging is like a comet with its tail of
exploding matter. It is not widely known
that while he was a student, Immanuel
Kant studied comets with growing enthusiasm. This led to his first major work, the
General History of Nature and Theory of
the Heavens. For the awakening of ceramics as a mediator between nature and freedom, the comet would be an appropriate
symbol.
*) C.Bradford Welles: “Die hellenistische
Welt” in Golo Mann and Alfred Heuß: Propyläen Weltgeschichte Vol. 3. Berlin / Frankfurt a.M. / Vienna: Propyläen Verlag 1962.
Pages 416, 405 and 408.
Towards Knowledge Societies. Nina Hole: The
Bridges Advance, 2002. h. 83 cm.
www.gustav-weiss.de
NEW CERAMICS
UNICUM - Ceramics Today
III International Ceramic Triennale
UNICUM 2015 Slovenia
Saša Rudolf, Zora Žbontar
T
he International Ceramic Triennial UNICUM takes place in
Slovenia every three years. A range of events presents contemporary art ceramics in Slovenia and the international world of
art. The initiators of the triennial are the internationally reputed
sculptor Dragica Cadež Lapajne, Mateja Kos, curator of ceramics,
glass, paintings and sculptures at the National Museum of Slovenia, and Peter Vernik from the Association of the Slovene Fine
Artists' Societies.
This year’s Third International Ceramic Triennial UNICUM is
organised by the National Museum of Slovenia in Ljubljana (the
past two triennials were organised by the Association of the Slovene Fine Artists' Societies – ZDSLU). Under the motto Ceramics
Today, UNICUM 2015 consists of a central competitive exhibition,
an exhibition of art ceramics by students, and accompanying
events across Slovenia. The central as well as the student exhibition are on display from 15 May till 30 September 2015 at the
National Museum of Slovenia, Metelkova Street.
The First International Ceramic Triennial UNICUM 2009 was
held at the National Museum of Slovenia in Metelkova Street,
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Ljubljana. It consisted of an international competitive exhibition
and an exhibition of ceramics made by students from art schools
and academies. The main event was accompanied by exhibitions
all over Slovenia. The Second International Ceramic Triennial
UNICUM 2012 continued the concept of the first triennial and took
place in Betnava Mansion, Maribor.
The art ceramics for all three triennials were selected by an
international professional jury, which also determined the awards
and commendations. The jury for UNICUM 2015 consisted of five
members: Bernd Pfannkuche (Germany), director of Neue Keramik/New Ceramics magazine, Valentina Savic, M.A. (Serbia), protop - View of the exhibition UNICUM – Ceramics Today
III International Ceramic Triennial UNICUM 2015, Slovenia National Museum of Slovenia–Metelkova photo: Tomaž Lauko
bellow - “Big Money” by Veljko Zejak (Serbia, Slovenia)
installation, ceramics, graphics in clay, 90 x 200 x 0.5 cm
35
EXHIBITION
fessional ceramic artist, Nadja Zgonik, Ph.D. (Slovenia), chairwoman of the
jury and associate professor of Art History at the Academy of Fine Arts and
Design, University of Ljubljana, Karel Plemenitaš (Slovenia), academic painter, specialized in graphic art and ceramics, and Insel Inal, Ph.D. (Turkey),
professional ceramic artist, head of the Ceramic Department at the Faculty of
Fine Arts, University of Kocaeli. The first triennial featured art ceramics by
76 authors from 28 countries, selected from a total of 133 submissions. The
second triennial attracted 294 submissions and 62 artists from 25 countries
were selected for the exhibition. This year we received 309 submissions from
52 countries and the jury selected 94 art ceramic pieces from 35 countries for
the central exhibition UNICUM 2015.
The members of jury awarded Veljko Zejak's (Serbia, Slovenia) Big Money
with the Grand Prix UNICUM 2015. This work is part of a project The Art of
the Margin, in which the artist worked in the two largest prisons in Slovenia – Dob and Ig. He taught the prisoners drawing and the printing on clay
technique, and one of the prisoners also exhibited her drawings together with
Zejak's Big Money. For the triennial UNICUM he installed a dollar bill in a
light box, which highlighted the cracks in it.
Stephanie Marie Roos (Germany) received the Honorary Award UNICUM
2015 for Games Without Frontiers. She commented on her work: “The theme
of this group of figures is that of frontiers. Frontiers are a key problem to
people ... The pattern of behaviour, whether in politics
or in a children’s game, remains the same."
The Award Unicum 2015 was given to Tanja Lažetic
(Slovenia) for Monument to the Unknown Heroes. Tanja
Lažetic commented on her work with these words: “I
got into the habit of cutting out newspaper photos of
various groups of people who had found themselves in
particularly exceptional circumstances. The people in
the pictures represent events so out of the ordinary that
they found their way into the papers. Although these
same events in many instances profoundly impacted
the lives of the people in the pictures, we never learn
the people’s names."
The Commendation Awards UNICUM 2015 went to
Thomas Stollar (US & UK) for A Day in the Life, Roland Summer (Austria) for Vessel Object, and Lea Georg
(Switzerland) for the work Sextet B_Y_G_V.
The National Museum of Slovenia hosts the competitive part of the triennial, the exhibition White Gold.
Porcelain from the Collection of the National Museum
of Slovenia, and the international exhibition of ceram-
top - “Sextet B_Y_G_V” by Lea Georg (Switzerland), Recognition
Award 2015; cast porcelain, transparent glazed interior
38 x 90 x 15 cm
below -“Monument to the Unknown Heroes” by Tanja Lažetic
(Slovenia), ceramics, print on ceramic plate, ten round
plates, installation, 160 x 110 cm, 20 cm (each)
Award UNICUM 2015 Photo: Dejan Habicht
right - “A Day in the Life” by Thomas Stollar (USA & UK),
porcelain, slab, silk screen, underglaze pencil, 250 x 100 x 2 cm
Recognition Award 2015
36
NEW CERAMICS
ics by students of Art Schools and Academies, chosen by invited
mentors from the same countries as the members of the jury –
Germany, Serbia, Slovenia, and Turkey. The following faculties
and academies participate in the exhibition: Burg Giebichenstein
University of Art and Design, Halle, Faculty of Fine Art, Ceramics
Department, Sculpture (Mentors: Professor Martin Neubert, Assistant Professor Johannes Nagel), Faculty of Applied Arts, Belgrade
Art University, Ceramics Department (Mentors: Assistant Professor
Lana Tikveša and Professor Velimir Vukicevic), Faculty of Education, Maribor, Department of visual art education (Mentor: Professor Dragica Cadež Lapajne), Faculty of Education, Ljubljana,
Department of visual art education (Mentors: Professors Mirko
Bratuša, and Roman Makše), Academy of Fine Arts and Design,
University of Ljubljana, Department of industrial and unique
object design, Chair of unique object design – glass and ceramics (Mentors: Professors Dragica Cadež Lapajne and Tanja Pak),
Faculty of Fine Arts, University of Kocaeli, Ceramics Department
(Mentor: Professor Insel Inal).
The triennial UNICUM presents ceramics as an individual artistic medium, equal to other, established forms of art. It encompasses traditional ceramics and pottery, as well as contemporary and
unique modelling, achievements of reputed Slovenian and foreign
artists, and enables a presentation of young creative artists. The
triennial’s objective is to highlight new research in ceramics and
encourage a deeper understanding of ceramics as part of contemporary creativity in the visual arts.
Saša Rudolf (1982) studied Archaeology at the Faculty of Arts, University
of Ljubljana and is currently a young researcher in the National museum
of Slovenia.
Zora Žbontar (1987) studied Art History and Sociology of Culture at the
Faculty of Arts, University of Ljubljana. She is a student on doctoral level at
the University of Ljubljana, the Department of Art History. She is working
in the National Museum of Slovenia and is part of the Organizing Committee for the III. International Ceramic Triennial UNICUM 2015, Slovenia.
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top - “Games Without Frontiers” by Stephanie Marie Roos
(Germany) - Honorary Award UNICUM 2015, stoneware,
porcelain slip, oxide, hollow built, biscuit fired, 71 x 23 x 18 cm
(boy standing), 37 x 23 x 35 cm, (squatting ), 39 x 24 x 28 cm
(girl kneeling), 1 x 4 x 1 cm (street chalk modelled in ceramic)
below -“Vessel Object” by Roland Summer (Austria), Recognition
Award 2015 stoneware, clay, terra sigillata, handbuilt
burnished, terra sigillata – raku, 42 x 36 x 36 cm
37
EXHIBITION
THE DRAGON DANCES
Porcelain from the Kangxi period and
China Contemporary in Düsseldorf
Antje Soléau
T
he Hetjens-Museum in Düsseldorf is showing an exciting dialogue in
porcelain in an exhibition running until 8 November 2015, a show
dedicated to the cultural and economic exchanges between East and West
that has been proceeding since the early Modern Age. Since Marco Polo's
journeys in the 13th century, porcelain has been considered a prime collectible art and consumer item in the Western hemisphere which was thus
highly prized by collectors. Various dynasties were actually in competition
to see who could claim to have the finest and largest collection. This also
lay behind the many attempts in Europe to reinvent porcelain or at least to
discover the secret of its production.
During the reign of the Chinese emperor Kangxi (1661-1722), what had
hitherto been one-way traffic became a lively exchange between East and
West. Kangxi not only invited Jesuit scholars to his court, he also rejuvenated porcelain production in Jingdezhen, which had been renowned as a
major ceramics centre since the Han dynasty in the 5th century, not only
for his own purposes but also for export. In the potteries that worked for
the imperial court, around 60 – 100 people were employed. In the factories
that produced for export, where a strict division of labour was the rule, there
were several thousand, although a precise number is not known.
Porcelain was purely a functional item for the Chinese of this period, but
Europe’s ruling dynasties collected whatever the various East India companies brought into the country for their celebrate porcelain cabinets (e.g. in
Dresden, Munich or Paris). And in general these pieces were merely porcelain items for daily use in the understanding of the Chinese. China had
always exported functional porcelain to Southeast Asia, which submarine
archaeology has repeatedly demonstrated to us beyond any doubt in recent
38
left - Blue-and-white night light in the shape of a cat
porcleain with onglaze decor, China
Qing dynasty, Kangxi period (1662–1722)
Jorge Welsh, London – Lisbon
right -Teapot in the form of a mythical creature,
porcelain with onglaze colours, China,
Qing dynasty Kangxi period (1662–1722)
Jorge Welsh, London - Lisbon
decades. Porcelain had also long been traded with the
Middle East via the Silk Road.
For this Islamic world, porcelain had been made to
order after oriental models – usually chased or punchmarket brass or silver items. This is why in the Düsseldorf exhibition we find water pipes along side large
bowls and platters. And this is also why it is no coincidence that the Topkapi Museum in Istanbul can boast
one of the largest collections of Chinese porcelain. Since
the reign of Emperor Kangxi, porcelain was also made
for the European taste and designs.
Not only heraldic plates eloquently provide evidence
of this, the Hetjens exhibition also shows soup plates,
bowls for women in childbed and a nine-pice set of
knives with porcelain handles from the famille verte.
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DÜSSELDORF
left - Green dragon on a plate with a yellow background
porcelain with yellow onglaze decoration, China, Qing
dynasty; Kangxi period (1662–1722) - private collection
right - Nine famille verte knives, metal with porcelain handles
onglaze decor from the famille verte palette
China – Qing dynasty, Kangxi period (1662-1722)
on loan from Jorge Welsh, London – Lisbon
Whilst Chinese porcelain for the Chinese market was mainly
restricted to monochrome glazes, especially favoured by scholars, figural and polychrome representations, mainly with onglaze
decor, entered production in China (the widespread and popular
blue-and-white decor current from the Tang dynasty was executed in underglaze brushwork). The colour pink (porcelain from
the famille rose), which was previously unknown in China at that
time, stems from the preferences Madame Pompadour, the mistress of the king of France. The colour yellow was reserved for the
emperor and his closest entourage up to the end of imperial rule
in China.
What makes the “Porcelain from China” experience at the
Hetjens Museum so exciting is the showcase exhibition, China
Contemporary, running parallel to the Kangxi exhibition, which
along side contemporary Chinese exhibits also shows reflections
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EXHIBITION
by German artists on China today. The first thing the visitor sees
when ascending the stairs to the exhibition level is a large-scale
photo by Andreas Gursky showing the interior of a contemporary
temple to consumerism in Shanghai in brilliant golden yellow. In
contrast, three black-and-white images by Katharina Sieverding
that confront visitors leaving the exhibition with the darker side
of contemporary China.
The works of the Chinese artists reflect mainly upon new consumerist worlds: cars, televisions, crushed Coke tins, a worm-eaten apple in white, unglazed porcelain being eaten by ants in the
famed blue-and-white decor. Lei Xue takes up the classic Chinese
vase form and decorates it with a blue design on a white background, showing motifs from mass production, bearing the simple
title of Business.
The exhibition is under the patronage of Haiyang Feng, Consul
General of the People’s Republic of China in Düsseldorf, Garrelt
Duin, Minister for Economics, Energy, Industry and Commerce of
the state of Northrhine-Westphalia, and Thomas Geisel, mayor of
Düsseldorf, state capital of Northrhine-Westphalia. A catalogue for
both exhibitions is to be published in September. Further details
and information on the wide-ranging accompanying programme
are available on www.duesseldorf.de/hetjens
Antje Soléau lives in Cologne. She writes for German and
international arts and crafts periodicals as a freelance journalist.
39
PROFILE
International Ceramic Symposia in
Egypt
Khaled Sirag
O
nce I was announced to be the curator of The 12th International Ceramic Symposium in Egypt, I decided to draw
a line between the last 11 rounds and the coming one.
The first 8 rounds of it where all in a beautiful historical city
Qina (60 km from Luxor) along with the 9th symposium held in
Ashmoun Geris were all local, exploring the potentials of Egyptian
ceramic artists together with the traditional ceramic potters, they
all meet together in one or more than one regular pottery workshops, arising new creations and explorations to both of them,
ceramic artists and traditional potters.
The 10th Symposium (2009) was held in The Kharga Oasis (almost 600 km from Cairo) and I was asked to invite one foreign artist to participate. I invited Sirin Kocak from Turkey, and that was
the first time for the symposium to have a foreigner in it.
And then came Haytham Abdelhafeez as a new young manager
of the symposium, which is a subsequent of The Higher Institute
of Art Palaces in The Egyptian Ministry of Culture, and he was
like the wind that changed many of rules, announcing new artists
top - pottery workshop and wood kiln firing - the 11th ceramic symposium - Koum Oushim - Fayoum - photo - Khaled Sirag
middle - a work by Inger Sodergren - the 12th symposium - Elminya - photo Osama Mohame
below - Japanese artist Kurokawa Toru working during the 15th symposium - Dahab - photo Agnes Husz
as curators, and many new artists as participants, along with The
11th symposium that collected 5 foreign artists from 3 countries.
Then was the 12th symposium, when I was a curator and invited 7 foreign artists from 7 different countries with only 5 Egyptians. It was the first one after the Egyptian Revolution, and the
first one outside pottery workshops, and the first one that all artists fired their works themselves before the end of symposium (in
the first 11 symposia the curator with one or more artists used to
go back to the the pottery workshops for firing two weeks later,
after the end of each symposium).
That was like a new rule, because all the following symposia
40
NEW CERAMICS
EGYPT
top - left-
right - SYMPOSIUM
work by Mohamed Farouk - 14th symposium - Dahab - photo Mohsen Gaber
work by Agnes Husz - the 15th symposium - Dahab - photo Joao Carqueijeiro
Agnes Husz receiving her certificate from the Egyptian Minister of Culture - the 15th Symposium - Dahab - photo Haytham Abdul Hafiz
fired all the pieces during the very short time of the symposium
(maximum 10 days).
The 13th symposium was at the Oasis again, but the last 2 symposiums were held in Dahab, that beautiful city by the Red Sea.
The 14th with Ossama Emam as a curator started a new rule
also, to make the exhibition of the final works in Cairo before the
departure of the participants back to their countries.
Then the last one, the 15th with Mohamed Abdel Hady as a
curator. Following the evolution of the Egyptian Ceramic Symposium in the last few years may give an image of how it became
like a life time wish to many ceramic artists around the world, who
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want to come and visit Egypt and touch its clay, even once in a
life time. Also for the Egyptian artists it is like a wide gate to get in
touch with great ceramic artists from all over the world and make
beautiful, unforgettable memories with each of them.
Artists like Rafa Perez, Inger Södergren, Palma Babos, Agnes
Husz, Alberto Bustos, Kurokawa Toru, and many, many more were
here, and more to come.
Dr. Khaled Sirag - Lecturer at the Ceramics Department,
Faculty of Applied Arts, Helwan University in Cairo
www.facebook.com/Khaled.Sirag.Ceramics 002 0128 271 4646
41
INTONATION
- no. 11!
top -
centre -
below -
Artists participating in Intonation 2015
Installation of plates by Svein Narum (detail)
Christoph Möllerwith a group of students in the cellar vaults
N
othing has been decided. Nobody knows what is
coming! The exhibition space, my studio and the
former synagogue in Deidesheim have been cleared and a
tense calm is in the air.
It is arrivals day for the 11th edition of “Intonation –
Deidesheim Kunsttage 2015”, a symposium for artists
working in clay. Over the next ten days, seven of them will
fill Galerie Friederike Zeit, the cellar vaults of the Schloss
Deidesheim Restaurant and the former synagogue with life,
spirit and art.
Theodora Chofras comes from Greece, Joop Haring from
the Netherlands, Svein Narum from Norway, Sunbim Lim
is from Korea, Juan Orti is Spanish and Christoph Möller
is German.
The first hours are not easy for any of the participants.
Nobody knows anyone and everyone must find their place,
in every respect. A small family evolves. It is an intersting
group, full of contradictions and opposing views.
At the former synagogue, Theodora works with sculptures reminiscent of larvae, raku fired in warm shades of
brown and grey, with a floral decor based on Mediterranean
folk art. They lie on velvet cushions like precious jewellery.
Juan has been inspired by silos and industrial architecture. His formal vocabulary could not be more purist.
As a student of Maestre, he has internalised architecturally
severe line. His white pieces, sometimes with a colour accent, are mainly wheel thrown, and his craftsmanship is
incredibly impressive.
Joop Haring, the third artist involved, is also involved
with buildings. His sculptures are reminiscent of bird houses and towers. Rapunzel might let down her hair at any
minute. The glazed, handbuilt stelae are up to one metre
twenty in height.
The light-flooded interior of the synagogue, the three
artists‘ work, exchanging points of view, as it were, demand one‘s attention as soon as one comes in. The artists
work silently at their places and there is a magical, spiritual
atmosphere in this wonderful location.
In my studio, there are three of us working together
too. The atmosphere is completely different. A room full of
things, lower, more crowded – a studio plain and simple.
By the window to the garden, Svein Narum has settled
in at his old kick wheel. His statement is to make everything for the table. Colours that appeal to the senses, warm,
inviting the fingers to roam over his sculptural mugs. All
made from earthenware and woodfired. Wonderfully old
fashioned and also a response to the theoretical art of our
times.
Sunbim works in the middle, at 34 the youngest in the
group. He has brought pieces with him, some of which are
of impressive size. Made of small scraps of clay, with which
he produces a characteristic texture, like a sandworm. He
is in search of imperfect line, natural form. So it is not
surprising that his work is reminiscent of pieces of rubble
and weathered wood.
In my own work, meandering calligraphy in space has
evolved into architecture. More severe, with matt, multilayered engobes, sanded in places, looking like plaster. Futuristic constructions, “the future, already past”. Playing a
game with time.
The mood in the studio is often boisterous, which is not
42
NEW CERAMICS
AUSSTELLUNG
entirely unrelated to the exuberant presence of Sunbim.
Christoph Möller has taken on a real
challenge during the symposium. He has
retreated into the vaulted cellar of the
former manor house (the Schloss). A vast,
cathedral-like room.
Light filters into the vaults as if through
embrasures. Christoph has decided to work
without artificial light. The atmosphere is
mystical, and depending on the angle of
the light, the amorphous forms he builds
change their appearance. Every time I go
down to the cellar, something has moved.
It seems to be an alien world of its own
that you only discover if you take your
time to adjust to the low level of light.
During a symposium, artists show
themselves from their most vulnerable
side. They are subjected to their colleagues’
critical eye, and there are visitors every
day, peering over our shoulders, asking
questions, judging, and in the best cases,
they are moved by what they have seen.
As a maker, you are in a sense on the stage
and you must put up with it.
So it was all the more pleasant to work
with this year’s group. The mood was attentive, interested, almost affectionate.
Everyone had the chance to introduce
themselves with their slideshow, and from
time to time, guests came along to watch.
And that is another important aspect:
where would art be if no one saw it? Many
collectors and visitors have been following
Intonation for years.
This event is supported by clay producers Goerg & Schneider – who have sponsored it with materials –, the local utility
company, wine makers, restaurants and
many other friends; its strength derives
from a mixture of the highest level of professionalism, the charm of improvisation
and informal hospitality.
Suddenly, the day of departure has arrived. The past ten days feel as if they have
been a long time because we have become
so close. Then everything is empty again,
the studio, the gallery and the synagogue.
And I feel like parents must when their
children have left home: rather lonely and
with the strange sense that no one needs
me any more.
Friederike Zeit lives and works in Germany
and Norway. She is the founder, curator
and organiser of the symposium Intonation,
Deidesheimer Kunsttage
www.intonation-deidesheim.de
www.friederikezeit.de
NEW CERAMICS
top l. -
Theodora Chorafas
top r. - Juan Orti
centre - view of the exhibition; work
in the foreground Sunbin Lim
on the wall Joop Haring
centre l. - Juan Orti and Sunbim Lim in
conversation
left -
Joop Haring
centre r. - view of the exhibition
in the foreground work by
Theodora Chorafas, in the
background Juan Orti
43
COMPETITION
29th Gold Coast
International
Ceramic Award
2014
Michaela Kloeckner
Michaela Kloeckner
T
he Gold Coast International Ceramic
Award is biennial and one of Australia’s biggest ceramic awards. It was established in 1982 to encourage the creation
and appreciation of ceramics and became
an international exhibition in 1995. This
year’s competition attracted entries from
Japan, Taiwan, New Zealand, Switzerland,
Argentina and Israel.
Artists' talks by the judge, Dr Patsy Hely,
2005 winner Merran Essan, and 2012 winner Leisa Russell preceded the opening
function. Guest judge Dr Patsy Hely had the
difficult task of selecting forty-five ceramics from 200 entries. Many of the selected
ceramics exhibited this year were made by
Australian ceramicists.
Recently retired, Dr Patsy Hely, ceramic
artist and academic, who convened the Honours and Graduate Coursework programs at
ANU School of Art in Canberra, was herself
a winner of the 1993 Gold Coast International Ceramic Award. This year she selected
Thai-born Australian artist Vipoo Srivilasa’s
work as winner of the 2014 29th Gold Coast
International Ceramic Art Award.
Two intricately handbuilt porcelain
bulls, titled "Battle of Old and New Power"
2012, 19 x 20 x 30 cm (NEW CERAMICS,
NEWS 6/14), became part of the extensive
ceramic collection of the Gold Coast City
Art Gallery, with the artist receiving 10,000
dollars for his winning entry.
Patsy Hely noted in her opening night
speech that Vipoo Srivilasa’s "Battle of Old
and New Power", a narrative work showing two exquisitely made water buffalos,
one marked red, the other yellow, circling
each other, rendered in pristine white porcelain, it is a fine example of work where
idea, material and technique coalesce. Srivilasa made the work in response to political
upheavals taking place in Thailand over the
last few years.
“ At this particular moment in history
though, it has a resonance not just with one
44
country’s internal battles but with the pulls
and pushes of global relations and power
struggles more broadly. At once beautiful and unsettling, Srivilasa’s work speaks
loudly of this moment in time.”
Upon close observation the skills involved to make these two outstanding and
intricate pieces using hundreds of delicate
porcelain pedals are nothing short of amazing and seem to remind and extend upon
Vipoo’s “Patience Flower” 2012 series, created while staying in Jingdezhen, China.
The overall impression of the exhibition
had a feeling of whiteness and lightness,
with predominantly pristine and delicate
looking works.
Running the Gauntlet by Australian ceramicist Gabrielle Sturmann from Far North
Queensland had a seemingly hidden, but
very unique appeal. The fascination with
the work did not derive from the theme of
finely modelled Australian animals, like
kangaroo, echidna, python, possum, scrub
turkey and paddymelon, but from the process of using the bones of these animals to
produce her bone china, which was then
used to create her work. This somewhat
unusual, painstaking and almost morbid
process to my mind elevates her work into
the realm of outstanding entries.
Sydney resident Jan Downes used the
translucency of porcelain in her work
"Shoal Mates 1 and 2".
Two panels of timber frames, mounted
on the wall, separated 6 panels of carved
porcelain which were lit up from behind
with LED lights, revealing the intricate
carvings while the light penetrated the delicate porcelain slabs.
Close to home, New Zealander Madeleine Child from Dunedin, delighted with
a lighthearted wall installation of gigantic
pop corn titled "Poppop". Certainly a challenge to install, every piece of popcorn was
handbuilt into different forms and finished
with ceramic gold.
Winner of the 2012 award, Gold Coaster
Leisa Russell’s piece Wave Rock delighted
visitors with a delicate, overall, random
patterned small sculptural form, using porcelain and stains. The piece came alive with
the evocative feeling of motion of water
and waves.
Representing colour amongst the whiteness was long-standing icon of the Australian ceramic tradition, Greg Daly. His large,
wheel thrown earthenware vessel "After
Glow" exploded with a lustre finish of
many colours, from bright oranges to purples, turquoise and greens, reminiscent of
burning forests and bushfires so familiar in
the Australian landscape.
Sydney’s Simone Frasers vessel named
"Contained Impressions" was another colourful piece. The textured and punctured
appearance and of this spectacular piece
was highlighted by the colourful dry glazes
which were applied and fired three times.
Greens and blues on the outside, oranges
and purples on the inside, peeping through
the voids.
The next International Ceramic Art
Award will be staged in 2016.
Michaela Kloeckner is a ceramist and freelance writer. She lives and works on the Gold
Coast in Queensland, Australia.
top - Greg Daly - After Glow bowl 3
opposite first row l. to r.
- Simone Fraser - Contained Impressions
- Caroline Walkergrime - Fading Memories
second row l. to r.
- John Dermer
- Kate Dorrough - Land & Shadows
- Niharika Hukku - Dark Sky
- Jenny Orchard - Vase
third row l. to r.
- Leisa Russell - Wave Rock - porcelain
- Helen Fuller
- Xiaodong Bian - Cocoon1
fourth row l. to r.
- Gabi Sturman - Running the Gauntlet
- Madeleine Child - Poppop
NEW CERAMICS
AUSTRALIA
NEW CERAMICS
COMPETITION
45
COMPETITION
... but why ceramics?
The 7th International Biennal de Ceràmica in El Vendrell
prizewinners present their work in a joint
exhibition. A trilingual catalogue about
the prizewinners is also published.
www. elvendrell.cat
Going beyond the facts
T
he facts
The International Biennal de
Ceràmica was founded in 2001. The number of ceramists participating in the competition has increased from year to year,
with the competition initially being for
Catalonia in 2001, the whole of Spain in
2003, for Europe in 2005 and from 2007
worldwide. The Biennial was established
and is run by the municipality of El Vendrell, it takes place every “odd" year and
the three prizewinning artists show their
work in an exhibition.
The first prize: an album compiled by
an art historian on the work of the winner
of the first prize, with illustrations and an
appreciation of their work in Spanish,
Catalan and English. The album is presented during the award ceremony.
The second and third prizes: the three
46
I can barely remember how I received
the call for entries to the 7th International
Biennal de Ceràmica from El Vendrell. I
confess that I had to refer to a map to
find this town, which is situated by the
sea about 70 km from Barcelona in Catalonia. I accordance with the rules, I sent
in photos of my work for the preliminary
selection of participants. On the basis of
these photos, I received an invitation to
take part in the Biennal. The judges then
awarded the prizes at the exhibition of
the participants. A year later, in 2014, I
travelled to El Vendrell myself at the invitation of the organisers for the opening
of the prizewinners' exhibition.
The mayor, his deputy and the president of the arts committee opened the exhibition in the Sala Portal del Prado, the
town's refurbished mediaeval exhibition
space. They presented the album and the
catalogue, which are the
true prizes of the Biennal.
Then there was a slide
show in the conference
room and the prizewinners had the opportunity
to speak about their work.
As artists, we felt that
our work had been honoured in an exhibition
of the highest standard,
and it was understood in
this city. But one thought
preyed upon my mind:
"... but why ceramics?"
Traditional pottery villages, places that have
Pálma Babos
become famous through their ancient ceramics or newer cities with a modern ceramics industry are usually the ones who
want to raise awareness of their existence
worldwide by setting up an international
ceramics biennial. These cities and their
citizens feel their ceramic tradition is
extremely important as they are a part
of their present day lives. They want to
find a place on the cultural map through
a special event. These ideas disappeared
from my mind as soon as I arrived for the
Biennal exhibition.
Modern twentieth century art owes
much to a number of Catalan artists such
as Pablo Picasso, Joan Miro and Antoni
Tàpies. The presence of the arts can be
sensed all over the town, but I could
still not grasp why it wanted to become
known all over the world through ceramics, of all things.
Velvety-warm cello music floated
through the narrow streets and alleyways
and its blue-brown tonalities lodged itself in my ear, as it were. Classical cello
music was even playing in the specialist
stores filled with the technical and manu-
In the streets of El Vendrell
NEW CERAMICS
EL VENDRELL
The chimney of a former ceramics factory in
the centre of town
The prizewinners at the opening of the exhibition
factured goods of the 21st century. This
is the town where Pau Casals (as Pablo
Casals, one of the greatest cellists of all
time is known here) was born and grew
up. According to Pau Casals, musical
sounds are colours – and in his music
there is certainly an element of painting.
But I also managed to find some threads
that linked the town with ceramics. The
former sculptor and ceramist from Barcelona, a friend of Picasso's, Apel la Fenosa,
set up his summer studio in a sixteenth
century house in the town. His home with
its fabulous Mediterranean garden has
been converted into a museum, where his
sculptures – mainly created in clay – are
currently on show. I was fascinated to
study his drawings, from the beginning
of the 20th century, for vessels on show
here together with prototypes from the
Limoges factory. The collector Deu Font
left his private collection to the town. As
a museum, this collection still contains
examples of 20th century ceramics.
On my strolls, I suddenly discovered
a tall factory chimney. The workshops
and the craftsmen have long disappeared,
now it is surrounded by apartments, cafes and restaurants. From the local clay,
which was of average quality, ceramic
building components used to be made
for house building, and they can still be
found today. But the laws of economic
necessity proved to be stronger: the small
factories were destroyed by global industry. The chimney now stands in the middle of town like an exclamation mark at
the end of a sentence.
top to bottom
- Grand Prize; Pálma Babos:
Collapse; photo: Joan Güixens Orpinell
NEW CERAMICS
CERAMICS & TRAVEL
- second prize; Andrew Casto: Assemblage 47
photo: Joan Güixens Orpinell
- third prize; Miguel Molet: Swing;
photo: Joan Güixens Orpinell
However, it looks as though things may
continue with regard to contemporary ceramic art in the town In 2004, under the
presidency of a ceramist Camil la Perez
Silva, the municipal arts committee was
established from among the craftspeople
of the town. This organisation sees itself
as the executor of the legacy of the former traditional local ceramics industry in
the town. They believe that culture and
art represent important values even in the
21st century and through their integrative
power, they will be able to bring the city
and more distant regions closer together.
For the continuation of the Biennal,
compiling a ceramics collection and the
realisation of cultural plans, ceramists
like us can only wish them staying power
and creativity, for our activities and our
work have been greatly honoured, appreciated and understood in this small,
culture-friendly city of El Vendrell.
Babos Pálma - porcelain artist - AIC member
2040 Budaörs, Szamóca köz 1. Hungary
Mobile: +36 30 3760383
http://www.babospalma.hu
47
ANNIVERSARY
Anniversary at
Burg Giebichenstein
Doris Weilandt
photos - Burg Giebichenstein Kunsthochschule Halle
T
he renowned university of art in
Halle, Burg Giebichenstein, celebrates its hundredth birthday this year.
The ceramics workshops were one of the
contributors to the good reputation of its
courses. Artists such as Marguerite Friedlaender, Gerhard Marcks, Hubert Griemert
and Gertraud Möhwald helped to establish
the international renown of this department. Because of them, the expression
“Burgkeramik” became current, a trademark for an independent direction in ceramics. Right from the founding of the
workshop, a special development became
apparent. Inspired by reform movements
like the Werkbund, the first director, sculptor Gustav Weidanz, sought a connection
between craft and industry. In experiments
with form and glaze, prototypes for small
production series were created. Geometrical tea sets from cast earthenware that
emerged in this process leave a lasting impression through their timeless modernity.
In 1925, Bauhaus graduate Marguerite
Friedlaender took over the course, which
she adapted after the model of the Dornburg Werkstatt. Teaching was separated
from production, clay bodies and glazes
were tested. Within a very short time, she
developed a series of thin-walled vessel
shapes with a cylindrical body, whose form
was to influence following generations. Under the name of Werkstätten der Stadt Halle
(“Workshops of the City of Halle"), ceramic
products marked with a stamp showing a
tower and the arch of a bridge were successfully offered for sale in the college's
own shop. As a result of a commission for
Marguerite Friedlaender from the Staatliche
Porzellanmanufaktur Berlin, a porcelain
workshop was established in which production prototypes were developed. Under the
above Marquerite Friedlaender-Wildenhein
Coffee set "Hallesche Form"
decor Trude Petri, 1931
left Gustav Weidanz
Teaset
1922 / 23
48
NEW CERAMICS
ANNIVERSARY
EXHIBITION
name “Hallesche Form", coffee, mocha and tea
sets were developed in 1930, which served as
prototypes for further tableware sets. With the
porcelain tableware sets Bagdad and Tiergarten
by Gerhard Marcks, a basis was created for porcelain design reduced to form, which had a lasting influence. For both artists, the highly fruitful period of work at the Burg ended when the
Nazis seized power.
The following director, Hubert Griemert, continued the work of Otto Lindig, who at that time
was still running the former Bauhaus pottery in
Dornburg as a private leaseholder. The designs
of Friedlaender and her husband Franz Rudolf
Wildenhain could no longer be produced as
both artists had retained the rights. This repertoire had to be replaced by new collections. This
led to the craft character of the ceramics again
taking a more prominent role. Griemert set great
value upon effective glazes and a painterly feel.
His experiments at high temperature in the porcelain kiln producing a matt finish were very
successful. He was awarded a gold medal for
them at the Paris World Exhibition in 1937. The
Second World War was a watershed moment for
the courses at the Burg too. By the time Griemert was called up himself in 1943, the number
of students had steadily been falling.
After 1945, functionality was the order of
the day all over the country and the clamour
for practical items of daily use was also heard
at the Burg. But painters and sculptors at the
art school like Gustav Weidanz, Charles Crodel,
Karl Müller, Erwin Hahs and Waldemar Grzimek took advantage of being able to start
from scratch, experimenting freely in the field
of ceramics. This left a mark. The course was
expanded to include three-dimensional design,
painted decor and working experimentally with
the materials. Heidi Manthey, who later taught
ceramic decor at the Burg herself, was heavily
influenced for her delicate, cautiously applied
decor by her teacher, Crodel. The link between
art and design became a special characteristic of
ceramics from Halle.
NEW CERAMICS
When Gertraud Möhwald, who had studied
under Weidanz, took over the workshop in 1970,
a new era began. The wheel disappeared almost
entirely, vessels were assembled from rolled-out
slabs. Marks of the making process remained
visible – unadorned and without a decorative
glaze. Möhwald's training courses focused on
the material, which permits sculptural experiments. In Giebichenstein, students on the ceramics course received a challenge that made
them sensitive to artistic processes. Studying
became a decision in favour of a concept of life.
Today, ceramics is part of the department of
sculpture. Martin Neubert, one of her students,
is professor. He has placed the focus of the
above Gertraud Möhwald
Bust of M.M.
1991, ceramic
photo Burg Giebichenstein Kunsthochschule Halle
Nikolaus Brade
bottom Johannes Fötsch
Frontal Damage
2014, stoneware, porcelain
photo - Elisabeth Oertel
49
ANNIVERSARY
course on failures. He believes that contrary to the general
desire for perfection, it is disturbances and disconcerting elements that bear a creative potential, which must be discovered and heeded – similar to Johann Friedrich Böttcher, who
wanted to make gold but discovered porcelain instead. In
the first two years of the course, the potential of the material
is examined, mainly clay, studying how content can take
sculptural form. Almost anything goes: spreading, sawing,
squeezing, breaking, overfiring. A background in craft, a
qualification as a potter has not been a prerequisite for some
time for applicants to be accepted on the ceramics course.
Instead, openness to new ideas and a sense of humour are
important characteristics to be successful in the search for an
individual artistic language.
Martin Neubert still sees what is special about studying
at the Burg, a course that generations of ceramists enthuse
about: “The relationship to the students is very close and
trusting. They have time to try out their ideas, to find what
matters to them. Initially, work is not very result-orientated,
but instead it focuses on what is learned from experiment.
At best, the pieces are simply there. Work that has been seen
through with decent craft technique is fine with me.” These
are ideal conditions for artistic development in a place that
allows you the freedom to develop your vision.
Doris Weilandt studied art history, classical archaeology and
ancient history in Jena and Halle. She is a journalist, writer and
art historian.
left - Isabella Sissi - Mother and Child, 2014, clay
photo - Isabella Sissi
bottom left - Lotte Buch - untitled, 2014, porcleain
photo - Alexander Burzik
bottom right Hermann Grüneberg - "I die for you", 2015, clay, wood
photo - Renée Schaeffer
EXHIBITION
The Village
- a ceramic installation
T
he Village, an installation, can be described as a work in
progress, but it is not necessarily the individual work or
the end product that is the focus; it is the origination process
and the developments within it that are important too.
The Village was started in 1993 at the EKWC (European Ceramic Workcentre) in the Netherlands, and over the past 22 years,
it has been successively enlarged during various work phases in
The Village - Kunstzentrum Karlskaserne, Ludwigsburg, 2015
various locations. The installation now consists of more than
1,000 fired ceramic sculptures (1160°C). The individual pieces
have been formed by hand, a personal style is recognisable. The size of the
individual pieces references the holistic working process using the hands.
The pieces have developed from an experimental approach to working
with clay. Only what has been absolutely necessary to express formal and
contentual ideas has been done. Further refinement or adornment of the
pieces is of no interest. The work is not result orientated. Instead I have
here conceived a world in a compilation of impressions. It is the making
that is important and not the end result. The installation fascinates because
of the restricted formal vocabulary of the individual pieces and the inexhaustible wealth of forms of the overall installation.
The making process has changed very much from the beginning until
now. In the beginning, the pieces were made spontaneously and in quick
succession: The results corresponded to the working methods and were
rough and simple. Today the pieces are better thought out and more subtle.
My approach is abstract. The individual pieces are reminiscent of things
from the real world, without copying or naming them. They are individual,
personal creations – metaphors in simple, primal, emblematic forms that
offer a wide range of associative possibilities.
There is an autobiographical background to the installation. The title,
The Village, refers to my own childhood, growing up, adolescence in village surroundings. The narrative of my work speaks of everyday life, my
experience with people and things, my memories and in particular my
visual impressions. But it is not about recounting what happened to me
in the village: I have internalised the experiences and memories and, as if
through a filter, have transformed them into abstract, autonomous artistic
forms. The forms have thus become independent and come about automatically while I am working. One form leads to another. The experiences
and memories from my personal life have turned into a formal vocabulary.
They have become self-sustaining and universal.
Externally, most of the forms are architectural. Simple, typical basic
clay elements such as the cone (coiled) or the cube (slab built), open to one
or more sides, are conspicuous: towers, enclosures. These objects are often
enhanced with snakes or strands of clay. They are charged with energy and
create various moods.
The work is a study of general human states or feelings, but also of contrasts: inside and outside, hard and soft, coarse and fine, fragile and sturdy.
The abstract forms reveal human desires and needs: openness and closedness, attack and defence. Processes of retreat or opening, communication,
a search for protection and security, vulnerability are all recurring themes.
Beyond this, The village is both an archive and a reservoir for me. It
is an unlimited field of experimentation for forms and ideas from which
other, perhaps large scale, objects can evolve.
Thomas Weber, December 2014
The latest stage of development of The Village can be seen at the
Keramikmuseum Westerwald in Höhr-Grenzhausen from 20 September 2015
to 3 January 2016
NEW CERAMICS
51
EXHIBITION
Carouge:
Follow
the Line
Stéphanie Le Follic-Hadida
T
he Parcours Céramique Carougeois was initiated in 1989 and has been
organised by the Bruckner Foundation since 2010. It has increasingly
become a meeting place for artists, collectors and lovers of contemporary
ceramics.
Over nine days from 19 – 27 September 2015, Carouge will become an
attractive shop window for 45 makers of ceramic art from twelve countries.
Partner galleries in Carouge, Ferme de la Chapelle, Halles de la Fonderie and
Musée Ariana and Musée de Carouge are jointly involved to give this event
its due weight.
The theme: “Line”
The 14th edition of the Parcours Céramique Carougeois is devoted to the
theme of “Line”. First and foremost, Line can be understood as an invitation to
a “parcours” amongst the 25 art galleries and cultural venues involved. A line
is also intended to guide the visitors through the exhibited works of ceramic
art, to give them the opportunity to become acquainted – or reacquainted –
with ceramics, and also to understand its textures, planes, themes, harmonies
and its installation in space.
For several years, the Parcours Céramique Carougeois has increasingly
taken its lead from sculptural forms of expression. This has happened at the
expense of small, functional items, but on the other hand, changes in contemporary ceramics can clearly be traced.
Bold colours and forms
The Parcours Céramique Carougeois wants to demonstrate what it is that is
currently on our minds and to reflect trends and developments in relation to
the medium and new ways of working with it. It has always been addressed
to schools of ceramics as a talent pool and incubator for new currents, and it
invites the young makers to meet contemporary artists. Today, contemporary
art accords contemporary ceramic art more space with its bold colours and
forms. It almost seems as if a rapprochement of these two worlds would come
about, which have been artificially separated since the eighties, or even as if
there is a reversal of trends and clay as a medium is becoming a possibility
for a return to traditional values in fine art as a whole.
Modernity along side tradition
By taking clay as an unlimited medium not tied to the traditional rules
52
above - Ruth Borgenicht - Kimono - 2008
below - Takashi Hinoda - Something invevitable
NEW CERAMICS
EXHIBITION
of ceramics (glaze and firing), completely unexpected creative possibilities emerge. Ideal conditions to link the world
of art and the world of ceramics and to appreciate ceramics
as a creative medium. Conversely, ceramics is also currently
on the ascendant: more and more freshly trained ceramists
are taking up the challenge of traditional techniques such
as wood firing and glazing. An exciting “ceramics era” has
begun.
Familiar names
The selection for the 14th Parcours Céramique Carougeois
is characterised by a refelction upon the diverse manifestations of ceramics, well finished, sensitive, expressive and inventive, combined with the makers’ desire to find the ideal
form. This year, leading ceramic artists are competing, some
of whom are already familiar to ceramics lovers in Geneva:
Magdalena Gerber, who is exhibiting with Annick Zufferey;
Gustavo Perez exhibiting his latest thrown vessels at Marianne Brand's gallery, pieces in which formal and graphic
lines combine more and more forcefully. Philippe Barde and
Toshio Matsui can be seen at Peter Kammermann's space.
They continue their study of everyday objects, carrying on
their experiments together under the label of PT Project,
working on the traditional bowl form, woodfiring and urushi
lacquer. Ursula Morley-Price, Karin Bablok, Henk Wolvers,
Design Studio Renens and Andreas Steinemann scrutinise the
fundamental rhythm of objects, the void and the necessary
connection between plane and line in favour of dynamism.
Repetition, urban graphics, reduction
The work of Jeanne Bonnefoy-Mercuriali, Claire Marfisi
and Anita Manshanden is based on the repetition of individual elements (a handle, a formal motif), they take possession
of space by stringing forms together. Nicolas Rousseau works
with white earthenware and with his pieces he examines urban graphics reminiscent of mangas. Marie-Noëlle Lepens,
who is exhibiting at Ferme de la Chapelle, works from the basic shape of the brick as her starting point to reflect on forms
of living and the repetition of individual elements. Charlotte
Nordin, also at Ferme de la Chappelle, is constructing an installation during the exhibition, spontaneously and with the
cooperation of the public.
This year‘s subject also charted which great international
works would be on show at les Halles de la Fonderie. Five artists – Ruth Borgenicht, Michel Gouéry, Esben Klemann, Bente
Skjottgaard and Marit Tingleff – each stage in their own way
a construction, a trace in space or on the horizon, a fabric of
surprising forms or of existential eroticism.
Back in Europe
Besides the exhibition Luxe, calme et volupté organised
by swissceramics, the Musée Ariana is showing six pieces
by Takashi Hinoda until 22 November. Movement, speed
and hybrid creatures are characteristic of his work. Takashi
Hinoda is already well known in the USA. In Europe, he is
exhibiting for the first time since his participation at the Vallauris Biennale in 1994.
The incredible wealth of these works of ceramic art makes
the 14th Parcours Céramique Carougeois an outstanding experience. This has only been possible thanks to the goodwill
and passion of everyone involved.
Stéphanie Le Follic-Hadida is the curator of the 14th Parcours
Céramique Carougeois.
NEW CERAMICS
top to bottom - Marit Tingleff - Panorama
- Andreas Steinemann - Collection - 08
- Atelier-Orange - Manshanden / Krista Grecco - Monkey Call
- Ursula Morley-Price - Bowl - 2014, ceramic, 21.5 x 27 cm
53
EXHIBITION
“EDITION
2015”
Ceramics from
Baden-Württemberg
at the Keramikmuseum
Staufen
A joint initiative
of the Badisches
Landesmuseum Karlsruhe
and the craft association
BdK Baden-Württemberg
Judith Brauner
W
ith this exhibition, the visitors gain
an insight into the current ceramics scene in southwest Germany. Work by
24 ceramists is on show, which in their diversity and originality illustrate the various
manifestations of clay as a medium.
The BdK (Bund der Kunsthandwerker
– crafts’ association) invited its members
to submit their latest work. From among
these, a panel of judges from the Badisches
Landesmuseum Karlsruhe and the Friends
of the Keramikmuseum Staufen made their
selection, focusing particularly on giving
space to as many craft techniques and artistic directions as possible and to exhibit
pieces in which the individual intentions of
the artists are expressed.
Whether functional tableware, vessels, mural reliefs, abstract forms or fine
art sculptures, handbuilt, cast or thrown,
stoneware or porcelain, raku or woodfired,
scored, painted or glazed – around 50 pieces
were on show that are all unique and clearly
demonstrate the artists personal style. At the
museum, the works are arranged in groups
in the various rooms.
The vessels of Ute Kathrin Beck, for
instance, make a deep impression through
their sense of wholeness and the powerful
presence of form and sculptural elements. In
the vase Homage to Sissi, the coloured glaze
in the interior forms an interesting contrast
to the matt, sculpted exterior.
Gabi Ehrminger exhibits her double-
walled vessels. She is concerned with clarity
and reduction of form combined with precision of finish. She continues and old tradition in surface treatment: the repeated burnishing of the surfaces with a pebble when
the clay is leatherhard. This compresses the
body and produces a very smooth, silky surface. The piece is then fired in a wood kiln.
Kenji Fuchikawa throws his ceramics
on the wheel and he consciously chooses
reduced forms. Especially the subtly used
glazes give each piece its own character. He
has been experimenting with sea cucumber
glazes for some time now, a combination of
various raw materials that produces special
crystals, creating the impression of the skin
of a sea cucumber.
above -Amei Unrath-Ruof, “Schalenspiel”
three-part, d 14, 23 and 36 cm
left - Dagmar Langer
sculpture: “Arche Besatzung 7”
w 60 cm, d 12 cm, h 17 cm
54
NEW CERAMICS
EXHIBITION
"Oscillating Bowls" is the name Hozana Gomes da Costa gives to her pieces,
in which she combines the simplicity of the
form with balance, lightness and harmony.
The vessels are thrown and have no foot to
stand on, but they balance on a single point
without toppling. This stability is achieved
by the perfect distribution of the material.
The unglazed, matt exteriors contrast with
the interiors with a transparent glaze, which
also lead to a different colour effect.
Dagmar Langer often combines her vessel sculptures with figural elements, for instance in her piece Arche Besatzung 7 (“Arc
crew 7”), which takes a prominent position
in the exhibition. It shows human figures on
the lid of a voluminous bowl, the surfaces
covered with irregular graphic elements. The
lid can be opened. In the interior, strong red
colouring is revealed.
With her delicate porcelain bowls, Amei
Unrath-Ruof successfully links with nature.
When stacked up inside each other, they
look like petals or rings on water and are
expressive of great harmony. Her forms are
elliptical, the surfaces matt and the rims irregular. Each piece reveals the maker’s skilful, experimental treatment of the material.
This matches the title of the work: Schalenspiel - Game of Bowls
Judith Brauner is a specialist for the fields
of communication and PR. She works as a
freelance consultant and lives in Freiburg im
Breisgau, South Germany.
The exhibition runs until
30 November 2015.
Keramikmuseum Staufen,
Wettelbrunner Straße 3
D-79219 Staufen
www.landesmuseum.de
top to bottom
- Ute Kathrin Beck, Vase
“Homage to Sissi”
- Gabi Ehrminger, double-walled vessel
h 15 cm, d 16.5 cm
- Heide Nonnenmacher,
sculpture: “Koralle”, d 18 cm, l 26 cm
right - Kenji Fuchiwaki,
“Vase with sea cucumber glaze”
d 26, h 40 cm
- Joachim Lambrecht, sculpture: “Dorje”
l 55 cm, d 23 cm
NEW CERAMICS
55
Exhibitors:
Ute Kathrin Beck, Stuttgart; Jutta
Becker,Karlsruhe; Gabi Ehrminger,
Radolfzell; Monika and Stefan Fitzlaff,
Kirchberg/Jagst Mistlau; Kenji Fuchiwaki, Ludwigsburg; Hozana Gomes da
Costa, Leonberg; Christine Hitzblech,
Stutensee-Spöck; Angelika Karoly, Rottweil; Markus Klausmann, Waldkirch;
Joachim Lambrecht, Großschönach;
Dagmar Langer, Karlsruhe; Susanne
Lukacs-Ringel, Zwiefalten; Angela Munz,
Welzheim; Heide Nonnenmacher,
Nattheim; Dorothee Pfeifer, Trossingen;
Annette Schwarte, Freiburg; Martina
Sigmund-Servetti, Heilbronn; Elisa
Stützle-Siegsmund, Müllheim; Aisaku
Suzuki, Breisach; Amei Unrath-Ruof,
Baltmannsweiler; Herbert Wenzel, Oberderdingen; Peter Wichmann, Stuttgart;
Barbara Wieland, Nagold.
COMPETITION
Awards at the 59th Concorso di Faenza
- the eldest European ceramics competition
Monika Gass
I
n early May the prizes and the distinctions were awarded at the
MIC, the International Museum of Ceramics, in the oldest ceramics competition in Europe.
The judges’ decisions were reached unanimously, if not without
copious discussions: with Claudia Casali, director of the MIC Faenza,
Monika Gass, director of the Keramikmuseum Westerwald in HöhrGrenzhausen, Germany, Grant Gibson, director of the Crafts Council
Magazine and Daniela Lotta, lecturer at the ISIA Faenza in art and
design, professionals familiar with the international ceramics scene
were at work.
More than 1300 pieces from 618 artists and 67 countries had been
submitted. It is interesting to note that the most important prizes went
to projects that demand contemporary comment and that their conception, flawless in execution and ceramic detail, lightheartedly challenges the pool of criticism of our everyday surroundings.
The prize of the Fondazione del Monte e Cassa di Risparmio di
Faenza for participants over 40, worth EUR 15,000, went to Silvia Celeste Calcagno and her piece "Interno 8 – La fleur coupée".
The artist’s narrative statement of the position of women – expressed in personal and general terms – was impressive, fragile
as it was provocative, poetically composed in the language of art
as it was bold and frank; in combination an overall complex ceramic composition of a total of 2,000 small, minutely fascinating,
meticulously printed tablets. Installation, photography and print
on ceramics render the details of the illustration, the facets of intercultural comment, a multilayered and variously interpretable
contemporary artist’s statement.
http://www.silviacalcagno.it/homepage
The Faenza Prize for artists under 40, worth EUR 10,000, was shared
equally by Helene Kirchmair from Austria for her piece "Bobbles" and
Thomas Stollar (USA) for "1900 steps #2". What fascinates here on the
one hand is the devotion to illusion: soft-looking, cushion-like objects reveal hard, rough surfaces in Kirchmaier’s piece with muted matt
shades skilfully suggested by the micro-spheres on the giant Bubbles…
a yearning for plush softness achieved in brittle, hard, white technoid
surfaces. http://www.lenzis-art.com
FAENZA
On the other hand, Thomas Stollar’s idea is quite different: starting from his daily trip
to the studio under GPS surveillance etc., his piece "1900 steps #2" is a digitally inspired
forensic examination in ceramics using an inlay technique that only gradually becomes
visible. This piece stands on its packing case as a plinth, vividly interpreted as a sculpture
in this combination. http://thomastollar.com
The Cersaie Prize donated by Edi. Cer S.p.A. worth EUR 10,000 was awarded to Nicholas Lees from the UK for his work "Four Leaning Vessels". Precise incisions in vase-like
sculptures provide aesthetic confusion, which the eye tries to fathom from various angles.
Light, form, technique, meaning merge to form artistically targeted communication with
the observer. http://www.nicholaslees.com
Further prizes went to Simon Szolt Jószef for Spherical Atlas, to Marie-Laure GobatBouchat (Switzerland) and Monika J. Schoedel-Mueller & Werner B. Nowka from Germany, who together received a prize for their piece Blüten und Blätter (“Blossoms and
Leaves”), a composition in white made of multicoloured layers of clay. A further winner
was Omur Tokgoz from Turkey for her typical wafer-thin bowls entitled Relativity.
Yves Malfliet from Belgium was awarded a prize for his confrontational ceramics-video
installation, "Somewhere over the Mountain", showing a mountain idyll in an air raid,
typical of the work of this provocatively critical, political artist. Distinctions also went to
COMPETITION
opposite page top - view of the exhibition
opposite page bottom l. to r.
- Premio Faenza over 40
Silvia Celeste Calgagno (IT)
Interno 9 - La fleur coupée, 2014
200 x 300 x 3 cm
- Premio Faenza under 40 ex aequo
Helene Kirchmair (AT)
Bobbles, 2014, 24 x 35 cm
above - the award ceremony
below l. to r. - Premio Faenza under 40 ex
aequo
Thomas Stollar (USA)
1900 steps # 2
100 x 60 x 25 cm
- Premio Cersaie
Nicholas Lees (GB)
Four leaning vessels, 2014
36 x 70 x 20 cm
Photos - International Museum for Ceramic, Faenza / Monika Gass
COMPETITION
Kathy Ruttenberg, USA, for "Lost at Sea" and Ann Van Hoey, Belgium
for a lovely variation, "The Earthenware Ferrari".
Chiara Lecca, IT, presented an absolute eye catcher with her prizewinning object, "Tryptych of True Fake Marble", a provocative aesthetic imitation of marbling using animal intestines over porcelain. Giulio Mannino was also among the prizewinners for "Sol 6272 Hz", IT.
As the youngest competitor in the Concorso, Irina Razumovskaya also
won a prize. For her beautiful, lifelong, continually developing work
in and for ceramics, Erna Aaltonen from Finland was also honoured.
Further interesting exhibits included Frank Louis, Austria, with one
of his typical installations, Sangwoo Kim, Korea, with a burnished
piece and Ule Ewelt with a large figure of a bison.
The oldest competition in Europe on the theme of ceramics, at the
MIC Faenza, has been rejuvenated and is now on a broader footing.
The number of applications, the kind of work submitted and the quality of the pieces speak for themselves. It is evident that Director Claudia Casali has forged a pathway for the MIC Faenza into the network
of European and international ceramics, that many artists in attendance for the opening in Faenza feel well represented and that the accompanying programme with the presentations of the prizewinners
and a tour of the studios in Faenza such as Atelier Zauli has been well
received.
Much has changed at the Museum in Faenza in the few years since
Claudia Casali has been in charge: step by step, it has been reorganised, new areas have been made accessible to the public with specialist
displays, the education department has grown, and studios in Faenza
are repeatedly shown outside Italy in the same way as guests from
all over Europe are invited to show their work in Faenza. Exhibitions
in co-operation with the Keramikmuseum Westerwald, the Gmunden
Symposium, the Helsinki Group and the MIC show how it has opened
up to events in international ceramics as a whole.
Ever closer ties within Europe and the mood of lively interchange
via the social networks allow artists to experience in real time what
their colleagues are making, thinking, showing and exhibiting.
A considerable group of top notch individuals exhibiting work of
the highest standard on many occasions is being superseded by new
and different developments which facilitate the next wave of artistic
comment in ceramics, design, art and craft. The works selected by the
judges for exhibition and those which have won prizes will be on show
until 24 January 2016. A catalogue has been published. Further details
and the accompanying programme on: www.micfaenza.org
Monika Gass is a ceramist, an art historian and the director of the
Keramikmuseum Westerwald.
FAENZA
opposite page top l. to r.
- Premio d’Onore Presidenza del Senato - Yves Malfliet (BE)
Somewhere... over the mountain, 2013, 93 x 39 x 34 cm
- Premio d’Onore Presidenza della Camera dei Deputati
Katy Ruttenberg (USA), Lost At Sea, 2014, 66 x 45 x 12 cm
- Premio de la Presidenza dell’Assemblea Legislativa della
Regione Emilia-Romagna - Chiara Lecca (IT)
Tryptych of true fake marble, 2014, 92 x 110 x 34 cm
opposite page top l. to r.
- Premio de la Presidenza Regione Emilia-Romagna - Ann van
Hoey (BE), The Earthenware Ferrari, 2014, 23 x 40 x 30 cm
- Medaglia della Rivista D’A - Irina Razumovskaya (RU)
Balance, 2014, 50 x 20 x 30 cm
above l. to r
- Menzione d’Onore - Erna Aaltonen (FI), Noki, 2014,
45 x Ø 50 cm
- Premio del Rotary Club, M. J. Schödel-Müller &
W. B. Nowka (DE), Blüten und Blätter, 2014, 19 x 80 x 30 cm
below l. to r.
- Premio Monica Biserni, Zsolt Jòsef Simon (HU),
Spherical Atlas, 2014, Ø 32 cm, Ø 23 cm, Ø 19 cm
- Premio Lions Club Faenza Host,Ömür Tokgöz (TU)
Relativity 2, 2013, Ø 15cm
COMPETITION
BOOKS BOOKS BOOKS BOOKS BOOKS BOOK
WITH FIRE - RICHARD HIRSCH A Life between Chance and Design by Scott Meyer, Ph.D.
With Fire is the story of ceramic artist Richard Hirsch, and an examination of the work for which he is so widely celebrated. This richly
illustrated book presents the life of an artist whose career spans some
of the most important developments in the American Clay Movement.
Hirsch established a connection with the legendary Raku and Ohi families, whose influence created a lasting pedagogical and creative link to
the West that continues today.
ARTIST'S PREFACE - Raku is by now a universally recognized term.
Conventionally, it has been associated with the world of studio ceramics. However, for quite some time now, I have constructed and
applied a wider meaning to this idiom. I have used the word "raku"
to characterize a particular attitude, my way of thinking and working
as an artist. For me, raku is a state of mind. This mental outlook transcends specific mediums and formats, and is applicable to all artistic
endeavours. There are particular pragmatic guidelines that delineate
my methodology. Put into action, their usage signifies my personal
sentiments. Raku, for me - Encompasses acceptance of the unexpected
- Seeks out discovery and joyful surprise - Rejects the notion that the
accidental is always fortuitous - Relies on experience, discipline and
focus to achieve success - Incorporates the utilization of intuition and
improvisation - Balances spontaneity and looseness with controlled
skilfulness - Strives for a seamless fluidity between concept, material,
process and technique. Ultimately, in spending most of my working
career as an artist seeking to define this term, raku has become my
personal philosophy, not merely a way of working, but a way of life.
Rick Hirsch, May 2012. About the Author - Scott Meyer is Professor of
Ceramics at the University of Montevallo in Alabama. He has authored
numerous articles and is the recipient of many awards for creative excellence and teaching. Meyer’s work with Richard Hirsch has spanned
studio, kiln, writing and instructional workshops. Their current work in process, The Crucible Project, has further defined their collaborative
talents. Boydell Press (2012), 160 Seiten, 23 x 28 cm. English, ISBN-10: 1933360976 I ISBN-13: 978-1933360973
HORST KERSTAN - Keramik der Moderne (“Modernist Ceramics”)
Ed. Maria Schüly for Städtischen Museen Freiburg,
Augustinermuseum
Horst Kerstan (1941–2005) profoundly influenced German ceramics after
1945. His interest focused on the vessel as an individual, one-off piece.
An artist who won numerous domestic and international awards, he began
his career as an apprentice in the pottery of the eminent ceramist Richard
Bampi (1896-1965), in Kandern, southern Black Forest, which he later took
over. As a result of the study of Jean Arp, Kerstan created unmistakable fruit
and wave forms, demonstrating his autonomous formal vocabulary. He also
studied sculpture and painting. Encouraged by Picasso and Miro, he offered
artists such as Horst Antes, Otmar Alt and Bernd Völkle the opportunity to
work with ceramics in sculptures, images and vessels in his studio. Chinese
ceramics encouraged Kerstan to achieve the highest degree of perfection and
refinement in form and glaze. In contrast, Japanese ceramics taught him
an unmistakable minimalism and allowed him to find great spontaneity of
expression. In 1977, Kerstan built the first Japanese woodfired kiln of the
anagama type in Germany, which made a completely new kind of surface
possible through firing in direct contact with flame and ash. He found a new
challenge with the raku technique, developing from 1990 his own artistic
interpretation. Strong colours and tulip shapes were typical of Kerstan’s late
work. Maria Schüly presents the whole of Kerstan’s creative output in all its
diversity for the first time, systematically and arranged on thematic groups.
Numerous large format illustrations whet the reader’s appetite to become involved with the artist, his times and his unmistakable
work. The study is completed by a documentation of historic photos and an overview of Kerstan’s marks. This richly illustrated
volume presents the life and work of Horst Kerstan on the basis of the latest research. His individual style – inspired by traditional
Chinese and Japanese glaze technique and the study of the art of his time – made a lasting impression on German ceramics in the
second half of the 20th century. 216 pages, 24 x 28 cm, 265 illustrations in colour and black-and-white. Hard cover. German.
E 39.80 [D], ISBN: 978-3-89790-433-0
60
NEW CERAMICS
KS
BOOKS BOOKS BOOKS BOOKS BOOKS
ZULU BEER VESSELS - In the Twentieth Century - Brewing beer has
a long tradition with the Zulus, the largest ethnic group of South Africa. The
beverage was traditionally prepared by women at home in ornate ceramic
vessels specially made for this purpose. This book aims to present the rich
palette of styles of these vessels in all their beauty and to save them from
being forgotten. The colourful history of the Zulus since the early nineteenth
century, including the violent racial segregation in recent years, accompanied
a golden age of traditional arts and crafts that served as both a bestower of
identity and provided a link to their ancestry. In the Zulu-speaking region
there is a wealth of forms and decorative elements that is unprecedented in
the ceramics of South Africa. This new book presents this diversity of forms in
large format illustrations, classifies the beer vessels systematically and studies
their history and geographical dissemination. This current publication documents this influence of colonial politics and of the subsequent apartheid laws
on style and prevalence of the popular beer vessels. In ZULU BEER VESSELS,
these vessels, which have almost completely disappeared from the present day
lives of the Zulus, are presented and systematically analysed for the first time.
An important contribution to the research on South African ceramics and a
unique documentation of the beer vessels of the Zulus. 272 pages, 24.5 x 24.5
cm, 400 illustrations in colour and black-and-white, 3 maps. Brochure with
dust jacket. English. E 49.80 [D] ISBN 978-3-89790-423-1
KERAMISCHE GEFÄSSE VON THOMAS BOHLE -
Keramische Objekte –
Innere Räume. (“Ceramic Vessels by Thomas Bohle – Ceramic Objects – Inner Spaces”)
With an interview by Hans-Joachim Gögl. The Austrian ceramic artist Thomas Bohle is
an illustrious and extraordinary figure in the field of ceramic vessels. His double-walled
objects, created at the wheel with technical perfection, effortlessly transcend the boundaries between ceramics and fine art. Their interior and exterior forms create an accentuated
contrast which, in the dynamic succession of curve and counter-curve, concave and convex
elements, opens up an exciting dialogue between the vessel and space. With clear elements
and exciting correlations, Thomas Bohle opens up new dimensions for the art of the vessel
as a fundamental possibility of abstract sculptural design. The publication offers a fascinating overview of over twenty-five years of vessel design by Thomas Bohle. Numerous
illustrations of individual objects, group photos and details as well as expert essays uncover
the beauty of precise geometry combined with painterly glazes and reveal just how progressive ceramics can be. In addition, radiographs of the works allow unimagined and hitherto
unknown glimpses into the interior of the sculptures. A publication about one of the most
distinctive vessel makers of the present, who convincingly demonstrates with his work that
the ceramic vessel has lost none of its contemporary relevance. 240 pages, 24 x 32 cm, 80
illustrations in colour, 52 in black-and-white and 16 radiographs. Hard cover. German and
English. E 49.80 [D], ISBN 978-3-89790-431-6
WEISSES GOLD (“White Gold”) -
In the second volume on its holdings in
Chinese ceramics and in connection with an exhibition of the same name, the Museum
für Ostasiatische Kunst (Museum of East Asian Art) in Cologne has now reviewed its
collection of Chinese porcelain and celadon. The catalogue, in German and English, was
edited by the Chinese academic Jiena Huo, who was also responsible for the first catalogue, Frühchinesische Keramik (“Early Chinese Ceramics”). Holdings from 1400 – 1900
are presented and discussed in detail. Alongside outstanding blue-and-white porcelain
dating from the fifteenth to the nineteenth centuries, the catalogue also includes a number of pieces with underglaze decoration, as well as elegant monochrome pieces, pure
white Blanc de Chine and export porcelain. The presented objects are mainly from the
Museum’s own collection, but they are complemented by permanent loans from the Peter
and Irene Ludwig Foundation. Among the particular highlights are architectural ceramics
from palaces and temples in northern China, which were acquired by the founder of the
Museum, Adolf Fischer in person. The holdings, which have never been shown before and
have only been mentioned superficially in print, cover a period from the 15th to the 19th
century, with a few pieces from the early 20th century. These include eave tiles, decorative
elements from facades and roof ridges, figural ridge tiles and also hollow or wall tiles and
typical Chinese roof beams –so / Weißes Gold. Porzellan und Baukeramik aus China 1400
bis 1900. Pub. Museum für Ostasiatische Kunst Köln. Verlag der Buchhandlung Walter
König, Cologne, 2015, German and English.
E 29.90 ISBN 978-3-86335-748-1).
NEW CERAMICS
61
INTERVIEW
In Studio with Marc
Leuthold
Marc Leuthold, Professor of Art, is extremely interested in cross-cultural issues. The Far East, Africa
and the Mediterranean have influenced his work, and also socio-critical occurrences have a distinct
voice in his installations. His intricately carved wheels are present in many of his works and we talk,
among other things, about how they are made.
Evelyne Schoenmann
M
arc, let us begin with your impressive socio-critical installation “Torture”. I must say I admire your
statement and your courage. Can you tell
us about the historical background of this
work?
My courage?! Edward Snowden is the
courageous one. I understand he is still
living in the airport in Moscow. That is
certainly an ironic situation: an American patriot seeking asylum in Russia. Jan
Guy at the Sydney College of the Arts
encouraged me to apply for a Research
Fellowship at her school. In the application, I detailed my interest in creating
that viewer-activated installation. During my 19 day visit in Sydney, I raced
the clock to finish and install the artwork
– with wonderful support from Jan Guy,
Clive Cooper and Liam Garstang. Gallery
Director, Nicholas Tsoutas prioritized the
installation and so he was a key person
as well. Many people attended the opening and it was a marvellous experience.
62
Because there was so little time to create
such a piece, I did all the research and
preparation before I left for Sydney. Once
in Sydney, I created a calendar and so I
knew what I would have to do every day.
Sydney College of the Arts is a premier
art school. It was a pleasure to be there.
In the past you made other large scale
installations like "Offering", "Longhouse",
"Field", "Phong’s Table". Just to pick one,
because it’s my favourite: who is Phong
and what is on the table for him?
Phong Bui is the founding publisher
and editor of the Brooklyn Rail, New
York’s premier journal for contemporary
art and criticism. Phong included my
work in Irrational Profusion at the MOMA’s PS1 Art Museum. Phong selected
12 sculptures for this first and only clay
exhibit at that Museum. I decided to create a piece, “Phong’s Table” with those 12
sculptures in homage to Phong.
And, oh yes, I forgot about "Field". It
was created in China at the Fuping Museums. And this piece directly responds
to Chinese culture, particularly the burial
sites.
In one of your many installations, in
“Fault”, we see large painted circles and
other patterns on the floor, surrounding
your ceramics objects – like mandalas.
What is the story behind this work?
I created “Fault” for the Mark Pot-
ter Gallery in Watertown, CT in early
2008. And there was “Four Times” at the
Schein-Joseph Museum at Alfred University. Earlier text based installations include “Hints” at the University of North
Carolina in 2000 and “The Man who Eats
Green Apples” featuring a poem by Korean ceramist, Sung Jae Choi. This last
piece was installed at the Banff Centre in
Canada in 1993. Another important collaborative installation was at the Chateau
de la Napoule in France, also in 1993. This
installation was titled “Toward a Nouvelle
NEW CERAMICS
INTERVIEW
Ancien Regime” and artist Mario Cutajar
collaborated in the creation of that piece
during our fellowships at the Chateau. I
enjoy these sorts of multi-media collaborative pieces because they encompass a
wider and more complex conceptual vision.
About “Fault” now: every piece in the
show is cracked and damaged in some
way – hence the title Fault. Artist Dawn
Clements and I covered the floor with paper. With the lights out and with my eyes
closed, I painted the floor with Sumi ink. I
created this piece out of despair about the
American electoral process.
You once said that what we ceramists
are doing is a kind of alchemy: we make
something out of nothing. I like that!
Yes, we make art from dust. Ceramics, though not fully accepted by the art
world as a medium for creative expression, is one of the most ancient and primordial modes of expression. It records
everything we do to it. It is perhaps the
We can see carvings, mostly in cone
or wheel shaped forms, in many of your
objects. In our preliminary talk you told
me that it saddens you that people see
you almost only in context with your famous wheels. How do you see your art
evolving?
I think the themes and topics and formal qualities of the installations suggest
my deeper interests and concerns. Art is a
voice or a message. The evolution is determined by circumstances and opportunity – it is difficult to predict these. Mario
Cutajar in his essay, Marc Leuthold’s
Good Form, has observed that the wheels
are objects of contemplation – “rather
than yield a singular meaning, they draw
attention to the instability of association
and the circular restlessness of obsession.
They are abstract cogs designed to engage
the senses and propel the machinery of
the mind.”
Would you explain the steps to one of
those wheels just the same?
the works in soda, salt, and/or anagama
kilns. I embrace all kinds of clay bodies
and glazes and kilns and firing methods.
After the piece emerges from the kiln,
I think about presentation. Sometimes
I present the work in the context of an
installation or accompanied by a text.
Sometimes I present the work as a solitary object, perhaps even mounting it on
a base – in the spirit of the Rococo French
who mounted Chinese porcelains on ormolu bronze bases. While the forms are
generally related, each piece is unique.
Recently you gave lectures at NCECA
and at the Oldenburg Ceramics Fair. What
can we see next from Marc Leuthold?
Next spring I may be leading a class
at China’s finest art school, the Central
Academy of Fine Arts of Beijing. With
any luck, there will be more exhibits. I’d
like to exhibit more in Germany. I find
the people there to be very interesting. Of
course China is always in my hopes and
dreams too.
photos – Eva Heyd
most tactile and sensitive medium. It is
everything and yet it is nothing. What
other material is so thoroughly fundamental yet so ignored?
I’d love to know your opinion about art
critique.
Critics play a key role in educating the
public and calling attention to overlooked
artwork. If they do their job well and pick
wisely, they play a valuable role in the
art world.
NEW CERAMICS
I create a form to carve with wet clay.
These forms are often thick and massive.
When the clay is leather-hard, I carve it
with a regular paring knife. Holding the
knife at opposing angles, I can remove Vshaped slices that radiate from a starting
point. Then I dry the sculpture slowly and
then I do further subtractive work and refining at the stage before setting the work
in the kiln. The works are then fired very
slowly to a lower temperature. Sometimes
the pieces are finished after that first firing. Other times I apply glaze and/or fire
Marc Leuthold
www.marcleuthold.com
New York, NY, USA
Evelyne Schoenmann's next interview will
be with Alberto Bustos, Spain
Evelyne Schoenmann is a ceramist. She
lives and works in Basel, Switzerland, and
Liguria, Italy
www.schoenmann-ceramics.ch
63
DATES
EXHIBITIONS / GALLERIES / MUSEUMS
Copy date for entries:
01 October 2015
Amsterdam
: special exhibition
| V: vernissage | Fi: finissage |  end of the exhibition
"Das Dorf"
Installation
NL-1017 KH Gallery Carla Koch
Veemkade 500. Detroit Building, 6th floor T: +31-20-67 37 310 www.carlakoch.nl
[email protected] O: Tue - Sat 12-18h, 1 Sun in the month 14-18h by appointment *A
Berlin D-10585 Keramik-Museum Berlin Schustehrusstraße 13, O: Fri - Mon 13 - 17h www.keramik-museum-berlin.de
Thomas
Weber
Galerie Workshop Fasanenstraße 11 T: +49-(0)30-3122567
O: Mon - Fri 10 - 19h, Sat 10 - 16h
[email protected] www.wohnen-und-kunst.de
Permanent exhibition of glass and ceramics, textil and juwelery
D-10623
D-13187 Zentrum für Keramik - Berlin Pestalozzistraße 18
T: +49-(0)30-499 02 591 O: Tue - Fri 14 - 17h *A www.ceramics-berlin.de
D-10117 Galerie Arcanum - Charlottenstraße 34
T: +49-(0)30-33 02 80 95 [email protected]
D-13187 Galerie Forum Amalienpark - Berlin-Pankow Breite Straße 2a
T: +49-(0)30-20 45 81 66 O: Tue - Fri 14 - 17h www.amalienpark.de [email protected]
Bonstetten
CH-8906 GG - GALERIE FÜR GEGENWARTSKUNST
Elfi Bohrer. Im Dorfzentrum Burgwies 2 T: +41-(0)1-7003210. F: -7011027
[email protected] www.ggbohrer.ch O: Tue - Fri 14 - 18, Sat + Sun 13 - 17h *A
: Camille Hagner, Richard Jurtisch, Rebecca Maeder - Malerei
Objekte in Ton -  04.10.
Bozen
20. September 2015 bis 3. Januar 2016 im
Keramikmuseum Westerwald, Höhr-Grenzhausen
www.keramikmuseum.de
I-39100 TonHaus Rauschertorgasse 28 T+F: +39-(0)471-976681
O: Mon - Fri 9 - 12.30, 15 - 18, Sat 9 - 12.30h [email protected] www.tonhaus.it
Permanent presentation of ceramics from different studios
Bremen D-28203
JO GROSS Galerie
Kohlhökerstraße 17 T: +49 (0)421-23 26 44 00 www.focke-museum.de
Brüssel
B-1050 Puls Contemporary Ceramics
Edelknaapstraat 19 rue du Page (Châtelain)
T: +32-26 40 26 55 www.pulsceramics.com [email protected] O: Wed-Sat 13 - 18h
: Gitte Jungersen & Yves Malfliet - 12.09. - 10.10.
Bürgel
D-07616 Keramik-Museum Bürgel Am Kirchplatz 2 T: +49-(0)36692-37333.
F: -37334 [email protected] www.keramik-museum-buergel.de
Bukarest RO 010094
Galerie GALATEEA Ceramic • Contemporary Art
Calea Victoriei 132 T: +40 (0)21 - 317 38 14. [email protected]
http://galeriagalateea.blogspot.com/ O: Tue - Fri 12 - 20h, Sat 11 - 19h Permanent Exhibition
: Emil Cassian - "Blame"-  07.09.
Deidesheim 67146 Archiv-Atelier-Ausstellung
Stadtmauergasse 17
T: +49 (0)6326-1222 www.lottereimers.de O: daily 14 - 18h
: Archiv-Atelier-Ausstellung - 05. - 27.09. - V: 05.09., 16h
Düsseldorf
Frechen D-50226 Stiftung Keramion - Zentrum für moderne + historische Keramik
Bonnstraße 12. T: +49 (0)2234-6976-90, F: -920. F: -920 O: Tue - Fri 10 - 17, Sa 14 - 17 h
: "Ist Porzellan auch Keramik" -  10.01.2016
: Frechener Keramikpreis 2015 - Eröffnung, Preisverleihung und
Bekanntgabe der Preisträger am 29.10. um 19 Uhr
: Workshops für Kinder und Erwachsene - 05. bis 16.10.
: Familientag - 25.10. von 11 bis 16 Uhr
Freiburg
D-79098 GALERIE FREDERIK BOLLHORST
Oberlinden 25 T: +49-(0)151-15776033 O: Mon - Fri 10.30 - 13h, 14.30 - 18.30h
Sa 10.30 - 16h www.galerie-bollhorst.de [email protected]
D-79098
Augustinermuseum - Augustinerplatz
T: +49-(0)761-201-2531 [email protected] www.freiburg.de/museen
: Horst Kerstan - Keramik der Moderne  04.10.
Gabsheim D-55288
Keramische Werkstatt Gerald und Gotlind Weigel - Hadergasse 7
T: +49-(0)6732 - 3919 [email protected]
O: Sat 19.09. - 10 - 18h, Sun 20.09. - 10 - 16h
: 30. Werkstattausstellung - Gast: Beate Kuhn
D-40213
Hetjens-Museum Schulstrasse 4 T: +49-(0)211-8994210 O: Tue - Sun 11-17, Wed 11 - 21h
www.duesseldorf.de/hetjens
: CHINA CONTEMPORARY -  08.11.
Duingen
D-31089
Töpfermuseum Duingen
Töpferstraße 8
T: +49-(0)170-7069219 O: Wed 15 17h, Sun 14-18h www.toepfermuseum-duingen.de
: Guido Sengle - 11.10. - 10.01.2016
Eckernförde
D-24340 Museum Eckernförde
Rathausmarkt 8 T: +49-(0)4351-712547 O: Tue - Sat 14.30 - 17h, Sun 11 - 17h
On holidays 14.30 - 17h www.eckernfoerde.net [email protected]
Frankfurt/Main
D-60594 Museum für Angewandte Kunst
Schaumainkai T: +49 (0)69-21234037 O: Tue + Thu to Sun 10 - 18h, Wed 10 - 20h
www.museumangewandtekunst.de
64
Frechen
D-50226 Stiftung KERAMION
Zentrum für moderne+historische Keramik
Bonnstr.12 T: +49-(0)2234-69 76 9-0
F: - 20. O: Di-Fr+So 10-17, Sa 14-17h
[email protected]
www.keramion.de
: Ausstellung: Frechener Keramikpreis 2015
Eröffnung, Preisverleihung und Bekanntgabe der Preisträger
am 29.10. um 19 Uhr
: Ausstellung: Ist Porzellan auch Keramik?10.1.2016
: Workshops für Kinder und Erwachsene 5. bis 16.10.2015
: Familientag von 11 bis 16 Uhr 25.10.2015
: Öffentliche Führung um 11 Uhr 6.9.+4.10.2015
NEW CERAMICS
O: opening time | T: Telephone | F: Fax | *A and by appointment
DATES
Lotte Reimers – Neue Keramiken
Werkschau 2015
Keramiken und Begleitheft mit 31 ganzseitigen Farbabbildungen
5.–27. September 2015
Eröffung: Samstag, 5. September um 16 Uhr
täglich 14–18 Uhr
Stadtmauergasse 17, 67146 Deidesheim
NEW CERAMICS 65
DATES
HOrst Kerstan
Keramik der Moderne
29. August - 4. Oktober 2015
20. Juni bis 4. Oktober
www.freiburg.de/museen
150521_MUFR_AZ_Neue_Keramik_190x124_4c_RZ.indd 1
Gelsenkirchen D-45894
22.05.15 13:54
Galerie Jutta Idelmann - Cranger Straße 36
T: +49-(0)209-595905 www.idelmann.eu
[email protected] O: Do + Fr 16 - 19 u. Sa 14 - 16h *A
: Elke Sada / Emil Heger - 06.09. - 18.10. V: 05.09., 17h
Rebecca Maeder
mit Camille Hagner und Richard Jurtitsch
G A L E R I E F Ü R G E G E N WA RT S KUNST
ELFI BOHRER
Genf CH-1202 Musée Ariana - Musée suisse
de la céramique et du verre
Avenue de la Paix 10
T: +41-(0)2241854-55 F: - 51 O: Tue - Sun 10 -18h www.ville-ge.ch/ariana; [email protected]
: "Luxury, Peace and Pleasure" - Swissceramics Competition -  01.11.
: "Harmony in Glass" - Anna Dickinson -  01.11. : "CALLIOPE" - Jürgen Partenheimer - 20.11. - 20.03.2016 - V: 19.11.
Gmunden A-4810 Galerie im K.-Hof, Kammerhof Museum Gmunden
Burgwies 2 und Dorfstrasse 13
CH-8906 Bonstetten Telefon +41 (44) 700 32 10
www.ggbohrer.ch - [email protected]
Do + Fr 14 – 18, Sa + So 13 – 17
Kunst 15 Zürich- ABB Halle 550 Zürich-Oerlikon
29. Oktober bis 1. November 2015
weitere Informationen unter ggbohrer.ch, AKTUELL und SHOWS
O: Wed- Sun 10 - 17h first Wed. in the month 10 - 21h
: Keramik Europas - 13. Westerwaldpreis (Auswahl) 28.08. - 26.09. - V: 28.08., 19.30h
Göttingen D-37075 Galerie Rosenhauer
Konrad-Adenauer-Straße 34 T: +49-(0)551-2052100 F: 0551-25421
www.galerie-rosenhauer.de O: (during exhibitions) Wed, Fri, Sat 15.30 - 18.30
Sun 11.30 - 13 + 15 - 18h
Hameln D-31785 Keramikgalerie Faita
Alte Marktstraße 45 T: +49-(0)5151-959133 F: -821294
www.keramik-galerie-faita.de [email protected]
O: Mon - Fri 10 - 13 u. 15 - 18, Sat 10 - 16h *A
: "Kontrast - schwarz/weiß" Jutta Albert, Porzellan - Gefäße und Objekte
17.10. - 14.11. V: 17.10., 15 - 19h
Hannover
D-30175 Handwerksform Hannover Berliner Allee 17 T: +49-(0)511-34859 F: -88 www.hwk-hannover.de O: Tue - Fri 11 - 18, Sat 11 - 14h
Heidelberg D-69117
Galerie Marianne Heller
Friedrich-Ebert-Anlage 2
Am Stadtgarten T: +49-(0)6221-619090
[email protected] www.galerie-heller.de
O: Tue - Fri 11 - 13 a. 14 - 18h, Sat 11 - 18h
: "Zwischen Prag und Budweis" - Pavel Drda, Elzbieta Grosseová, Ji í Lastovi ka,
Tomás Proll, Eva Slaviková & Gast; Tschechien -  20.09.
: "Japan zu Gast" - Arbeiten japanischer Künstler in Kooperation mit
der Yufuku Gallery, Toko - 11.10. - 22.11.
: "Fabelhaftes" - Tierplastiken der schottischen Künstlerin Susan O`Bryne
06.12. - Mitte Januar 2016
Herbertingen-Marbach D-88518
moosgrün - raum für zeitgenössische Keramik - Moosheimerstraße 11/1
T: +49-(0)7586-5378 [email protected] O: Tue - Fri 16 - 19h, Sat 10 - 16h
66
Hirschburg
D-18311 Black Box Galerie Zum Wallbach 15
T: +49 (0)1623 3766 757, O: Tue - Sat 11-17h www.kunsthof-hirschburg.de
: Lotte Buch / Keramische Objekte und Christin Wilcken / Malerei -  31.10.
: Podiumsgespräch zum Thema Improvisation mit beiden Künstlerinnen und dem
Jazzmusiker Philipp Rückert, anschließend Jazzkonzert mit dem Philipp Rückert
Quartett - 26.09., 17h
Hohenberg
a.d.Eger D-95691 Porzellanikon - Staatliches Museum für Porzellan Hohenberg a.d. Eger/Selb
Schirndinger Straße 48. T: +49 (0)9233 772211, O: Tue - Sun 10-17h
www.porzellanikon.org [email protected]
Höhr-Grenzhausen D-56203
Keramikmuseum Westerwald Lindenstraße 13
T: +49-(0)2624-9460-10 F: -120 O: Tue - Sun 10 - 17h *A
www.keramikmuseum.de [email protected]
: "fifty/fifty/fulby" - Hans und Birgitte Börjeson -  20.09.
: "Das Dorf" - Instalation von Thomas Weber - 20.09. - 03.01.2016
V: 20.09., 11.30h
: "keramoVIEL" - Sammlung Hannelore Seiffert - 04.10. - 15.11
V: 04.10., 11.30h
D-56203
KASINO – KERAMIKKULTUR
Galerie – Laden – Werkstatt – Café
Werkstatt + Ausstellung
Sandra Nitz - Nicole Thoss
Kasinostrasse 7 T: +49 2624 94 16 99 0
O: Tue - Fri 14 – 18h Sat 10 - 18h Sun 11 - 18h www.kultur-kasino.de
Gäste-Galerie: Vladimir Groh & Yasuyo Nishida (Porzellan), Milan Pekar (Kristallglasur), Nela Trésková (Porzellan), Markéta Drzmisková (Porzellan), Lenka Sérová Maliská
(Porzellan), Anna Polanská (Glas), Lada Semecká (Glas)
Gäste-Laden: Juliane Herden, Judith Radl, Nika Stupica, Martin Möhwald, Elke Sada,
Cornelius Reer, Susanne Petzold, Jutta Becker, Clarissa Capelle
: SOMMERGÄSTE - Porzellan und Glas aus Tschechien -  25.10.
NEW CERAMICS
O: opening time | T: Telephone | F: Fax | *A and by appointment
DATES
Langerwehe D-52379
EN RIC MESTRE
Un monde à part
Töpfereimuseum Langerwehe
Pastoratsweg 1
T: +49-(0)2423–44 46 F: -59 90. O: Fri 10 - 13 u. 14 - 18h, Sat 12 - 17h,
Sun + holidays 11 - 18h www.toepfereimuseum.de [email protected] : "Auf dem Wege"- Grenzgänge der Kunst. Künstlerinnen der GEDOK Bonn. Zu Gast:
Ekaterina Ominina, Keramikerin aus St.Petersburg - 03.10.2015 - 13.03.2016
Le Don du Fel
F-12140 GALERIE DU DON - 12140 Le Fel
T: +33 05 65 54 15 15 www.ledondufel.com
: "UN MONDE À PART" - Enric Mestre -  08.10.
Leipzig D-04103 Grassimuseum Museum für Angewandte Kunst
Johannisplatz 5-11 T: +49-(0)341-22 29 100 www.grassimuseum.de
O: Tue - Sun 10 - 18, Wed + Thu 10 - 20h
: EXOTIK / VERFÜHRUNG / GLAMOUR - Die Weltmarke Goldschneider -  11.10.
DU 23 AOÛT AU 8 OCTOBRE 2015
Keramikgalerie terra rossa Roßplatz 12
T/F: +49-(0)341-9904399 O: Mon - Fri 10 - 18, Sat 11 - 15h
[email protected] www.terra-rossa-leipzig.de
: Rauchbrandkeramik von Imke Splittgerber - 01.09. - 09.10., V: 01.09.., 18.30h
: "Vielschichtig" - Unikatkeramik von Petra Bittl - Gefäße und Wandgestaltungen
13.10. - 21.11. - V: 13.10., 18h
D-04103
Margraten
NL-6269 VE Galerie & Atelier - Groot Welsden 48 T: +31-43-4582751
F: -4583029 O: Wed, Sat + Sun 13 - 17h *A www.keramiek-grootwelsden.nl
GALERIE
DU DON
München
D-80333 Galerie für Angewandte Kunst
Pacellistraße 6-8 T: +49-(0)89-290147-0 www.kunsthandwerk-bkv.de O: Mon - Sat 10 - 18h
CÉRAMIQUE
C ON T E MP O R A IN E
GALERIE DU DON, 12140 LE FEL, FRANCE www.ledondufel.com
Hüfingen
D-78183 24. Int. Keramikwochen Hüfingen 12 until 27 September O: 12./13. September 10-17h, Sun 20. and Sun 27. September 14-17h u.n.V.
T: +49 (0)771-600924 Informationen: www.huefingen.de
: Museum der Stadt Hüfingen, Nikolausgässchen: Keramik von Sonngard Marcks
und Juliane Herden
: Rathausgalerie u. Rathausfoyer, Hauptstr. 18: Keramik von Renée Reichenbach
: Vernissage im Rathaus Hüfingen: Fri 11 September, 19h mit Dr. Walter Lokau
GALERIE
Johannesberg D-63867
Galerie Handwerk
Max-Joseph-Straße 4 T: +49-(0)89-5119296 O: Tue, Wed, Fri 10 - 18h, Thu 10 - 20h,
Sat 10 - 13h closed at holidays www.hwk-muenchen.fr/galerie
: "Belgie, Begique, Belgien, Belgium" - 36 belgische Gestalter aus den Bereichen
Glas, Keramik, Metall, Buchgestaltung und Einbandkunst, Textil & Schmuck 08.09. -10.10., V: 08.09., 18.30h
D-80333
Münster
D-48163 Kunsthaus Kannen
Alexianerweg 9 T: +49-(0)2501-966 20 560 www.kunsthaus-kannen.de
[email protected] O: Tue - Sun 13 - 17h
Raeren
B-4730 Töpfereimuseum Raeren Bergstraße 103 T: +32-(0)87-850 903 O: Tue - Sun 10 - 17h
www.toepfereimuseum.org - Exhibition in Haus Zahlepohl opposite the castle
Galerie Metzger
Hauptstraße 18 T: +49-(0)6021-460224
O: Wed 15 - 19, Sat 15 - 17 Sun 11 - 17h
open only during exhibitions *A [email protected] www.galerie-metzger.de
: Ausstellung der Gruppe 83 - 25.10. - 15.11.
Römhild D-98631 Schloss Glücksburg
Karlsruhe D-76131 Staatliche Majolika Manufaktur Karlsruhe GmbH -
Rostock D-18055 Galerie Klosterformat
METZGER
Ahaweg 6-8 T: +49-(0)721-91 237 70 O: Mon - Fri 8 - 16h
Kellinghusen
D-25548 Museum Kellinghusen - Hauptstraße 18
T: +49-(0)4822-3762-10 F: -15 O: Thu - Sun 14 - 17h *A
[email protected]
: "Cathy Fleckstein - Im Laufe der Zeit - Au fil du temps" -  06.09.
Köln
D-50667
Museum für Angewandte Kunst Köln
An der Rechtschule
T: +49-(0)221-221 23860
O: Tue - Sun 11 - 17h, 1. Thu in the month 11 - 22h
[email protected] www.makk.de
Kopenhagen
DK-2000 Fredericsberg
COPENHAGEN CERAMICS - Smallegade 48
NEW CERAMICS Griebelstraße 28 T: +49-(0)36948-80140 F: -88122 O: Tue - Fri 10 - 12 + 13 - 16h,
Sat + Sun 13 - 17h [email protected]
Klosterhof 5 T: +49-(0)381-5108577 F: -510 85 90 O: Tue - Sat 11 - 18 h
[email protected] www.klosterformat.de
: "Sommer-TRIO XII" - Pauline Ullrich, Plastik - Rosemarie Ullrich, Schmuck Klaus Ullrich, Malerei -  19.09.
Rheinsberg D-16831
KERAMIK HAUS RHEINSBERG Rhinstraße 1 T: +49 (0)33931-34156,
O: daily 10 - 18 h, also sun- and holydays
: "Der Kanne neue Kleider" - europäische Keramiker gestalten die berühmte
Rheinsberger Teekanne - bis 31.12.
: 26. VERKAUFSAUSSTELLUNG:
"100 schönste Tassen" - Unikate von Karl Fulle und Freunde - ab 10.10.
: JAHRES-AUSSTELLUNG: Jahresbecher "Rheinsberg 2015" limitierte Sammler-Edition von Pep Gomez, Frankreich, bis 31.12.
67
DATES
Velten
Fichtestraße
Gallery
Rheinsberg,1a
Germany Trelissick
Newlyn Art
Gallery
Studio, Anna
Sykora
–Cornwall,
May UK
2016
Berlin,
Germany AprCornwall,
UK
2. Oct 2015
FichtestraßeStudio,
1a Anna Sykora
Trelissick
Gallery
Apr – May
2016
Fichtestraße 1a Cornwall,
Trelissick
Gallery
Berlin, Germany
UK
TEACUPS
TEACUPS
Berlin to Cornwall
TEACUPS
Cornwall, UK
Berlin to Cornwall
Berlin to Cornwall
Anna Sykora
Anna Sykora
Deborah
Prosser
Deborah Prosser
Weiden/Oberpf.
D-92637 Internationales Keramik-Museum
Zweigmuseum der Neuen Sammlung München, Luitpoldstraße 25 T: +49 (0)961-32020
O: Tue - Sun 10 - 12.30 + 14 - 16,30 *A www.die-neue-sammlung.de [email protected] Permanent: Highlights of world ceramics from the museums
in Bavaria + contributions from the porcelain industry in Weiden
Westerstede
D-26655
Galerie Belinda Berger Mühlenbrink 17 T: +49-(0)4488-525391 F: -525392
www.belindaberger.de O: Sat + Sun 16 - 18h *A
Permanent exhibition of gallery artists
Winterthur
CH-8400 Atelier-Galerie raku-art Evi Kienast Tösstalstraße 14 O: Thu - Fri 14 - 18h, Sat 11 - 15h
Kontakt und Infos: www.raku-art.ch
Anna Sykora
Deborah Prosser
Sarreguemines
Rödental
Winzer/Flintsbach D-94577 Ziegel + Kalk Museum
D-18055 Europäisches Museum für Modernes Glas Schloss Roseau
O: daily 9:30 - 13h and 13:30 - 17h
F-57200
D-16727
Ofen- und Keramikmuseum Velten
Wilhelmstraße 32 T: +49-(0)3304-31760
F: -505887. www.ofenmuseum-velten.de [email protected]
O: Tue - Fri 11 - 17, Sat + Sun 13 - 17h
19. Sept 2015
10. Oct
2015 ––
19. Sept 2015
10. Oct
2015
Rhinpassagen
2016
Rhinpassagen
10. 10.
JanJan2016
Rheinsberg, Germany Newlyn Art Gallery
Rheinsberg,2.19.
Germany
Newlyn
Art UK
Gallery
Cornwall,
Oct
2015
Sept
2015
10. Oct 2015 –
Cornwall,
UK
Studio,
Anna Sykora
Apr
May
2016
Rhinpassagen
10.–Jan
2016
2. Oct 2015
Berlin, Germany
Museumstraße 2 12. T: +49 (0)9901-9357-0,
O: 1st + 2nd Saturday in month & Sun- and Holidays 13 - 17 h Musée de la Faience 15/17 rue Poincaré
Selb
D-95100 Porzellanikon Selb Staatliches Museum für Porzellan Hohenberg a.d. Eger/Selb
Werner-Schürer-Platz 1 T: +49-(0)9287-9180-00 F: -30 [email protected]
www.porzellanikon.org O: Tue - Sun 10 - 17h : "Ceramics and its Dimension" - European cultural Lifestyle in ceramics
 15.11.
Staufen
D-79219 Keramikmuseum Staufen Wettelbrunnerstraße 3 O: Wed - Sat 14 - 17h, Sun 11 - 13 and 14 - 17h and 14 - 17h
and 14 - 17h www.keramikmuseum-staufen.de : "Tee und Blätter - Die Kunst des Raku - Nani Champy-Schott -  04.10.
Schleswig
D-74837 Schloss Gottorf - Schlossinsel 1
T: +49-(0)4621-813222 [email protected] www.schloss-gottorf.de
Stuttgart
D-70176 Kunst im Hinterhaus Breitscheidstraße 131 A www.kunst-im-hinterhaus.de T: +49-(0)711 - 695649
St. Wendel
66606 Galerie-Atelier No4
Nik. Obertreis Straße 4 T/F: +49 (0)49151-414 083 83
O: Tue - Sat 14 - 19h www.barbaraluetjens.de
Solothurn CH-4500 Galerie Christoph Abbühl und Kunstforum Solothurn
Visitenkarte_BL_A_No4_RZSonderfarbe.indd 1
Schaalgasse 9 T/F: +41-(0)32 621 38 58 O: Thu + Fri 15 - 19h, Sat 14 - 17h *A
: "zwei und zwei" - Doris Kaiser und Michael Cleff -  19.09.
NL-5932 AG Keramikcentrum Tiendschuur Tegelen
Pottenbakkersmuseum. Kasteellaan 8 T: +31-(0)77-3260213 F: -3260214
O: Tue - Sun 14 - 17h www.tiendschuur.net [email protected]
Visitenkarte_BL_A_No4_RZSonderfarbe.indd 1
Tegelen
18.07.14 19:51
18.07.14 19:51
Thurnau
D-95349 Töpfermuseum Thurnau Kirchplatz 12
www.toepfermuseum-thurnau.de [email protected]
O: April-Sept.: Tue - Fri 14 - 17h, Sat, Sun and holidays 11-17h, October - 6.January
and March: Sat 13 - 16h, Sun and holidays 11-18h
Trebsen
D-04687 Galerie Schloß Altenhain Neuweißenborner Straße 20
www.schloss-altenhain.de/galerie
GALERIE KLOSTERFORMAT
J.Lamberz, Klosterhof 5, 18055 Rostock
(0049)381 5108577 / [email protected]
grassi
www.klosterformat.de
Sommer-TRIO XII
Pauline Ullrich-Rosemarie-Ullrich-Klaus Ullrich
68
NEW CERAMICS
ADVERTISEMENTS
sculpture
objects
functional art
and design
November 6–8
Opening Night, November 5
Navy Pier
Christopher David White, Abmeyer + Wood Fine Art
sofaexpo.com
NEW CERAMICS
69
ADVERTISEMENTS
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SEPTEMBRE 2015
La Fondation Bruckner remercie l’ensemble des acteurs
impliqués dans l’organisation et le déroulement du
Parcours Céramique Carougeois : les artistes, les galeries
et arcades artisanales, les musées, les services municipaux de la Ville de Carouge, la Galerie Maria Lund
Paris, la Galerie NL=US Art Rotterdam, la Galerie de
l’Ancienne Poste Toucy, Imura Art Gallery Tokyo/Kyoto,
Michel Gouéry, Marit Tingleff, ainsi que les nombreux
bénévoles et aides.
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BRUSH ON GLAZES/BRUSH ON COLOURS
We exhibit:
ceramitec 2015
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www.botz-glasuren.de
BOTZ GmbH
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Hafenweg 26 a
D -48155 Münster
Phone +49(0)251 65402
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In ceramic craftsmanship and ceramic arts you bring
together creativity and technology. Your inspiration and
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October 20 - 23 . Messe München
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Helmut ROHDE GmbH
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Brennöfen überzeugen durch
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IMPRINT
PROFILES
PREVIEW: ISSUE 6–2015
EXHIBITIONS and PROJECTS
GALLERIES FORUM KNOWLEDGE & SKILLS
COURSES / SEMINARS / MARKETS
– published in the first week of November
OUTLOOK
1 NONA OTARASHVILI was born in Tbilisi
(Georgia) and graduated as a ceramic designer at
the State School of Fine Art in 2001. From 1996 1998, she studied at Albert Ludwig University
in Freiburg, Germany. In 2001, she took over the
ceramics course studio at the FABRIK e.V. in
Freiburg, which she still runs today with Annette
Schwarte. She has also been a guest lecturer at
the State School of Fine Art in Tblisi since 2006.
Ethnologist Ina Zimmermann gives us an
insight into the work of this artist, who commutes
between Germany and Georgia.
1
2
3
2 RAY MEEKER initially studied architecture at
the University of Southern California and changed in
his fifth year to ceramics. He graduated with a
bachelor’s degree. He also met his future wife
Deborah Smith there. After following different
career paths, they met again in Pondicherry, India,
in 1970 and in 1971, they set up the now world
famous Golden Bridge Pottery together. Ray is one
of the most widely recognised ceramists in India,
exhibiting his work internationally. We will be
publishing an interesting review of
his life and work.
3
MARIA GESZLER-GARZULY was the
artist in residence at the Arctic Ceramic Centre
in Posio, Finland, in March and April 2015,
the most northerly ceramics centre in the world.
When I heard of her plans, I asked her to send us
a report on her activities after her return from
the “frozen wastes”. You can read her
report in the coming issue.
... and • THE NEWS • more ARTISTS’ PROFILES • FORUM • EXHIBITION REVIEWS • latest news from
the GALLERIES and MUSEUMS • KNOWLEDGE & SKILLS and much, much more ...
NEW CERAMICS: ISSN 1860 - 1049
Verlag Neue Keramik GmbH | Steinreuschweg 2
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Bernd Pfannkuche
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Internationaler Keramikmarkt MILSBEEK
Keramisto 2015
Thema: Tee & Keramik
19 en 20 september 2015
De mookerplas, Plasmolen
www.keramisto.nl
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PORCELAIN:
transparent ART
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new ceramics - Neue

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