Overthrown: Clay Without Limits brings together regional, national and international artists who push the boundaries of clay to create large-scale installations that respond to the dynamic architecture of the Daniel Libeskind-designed Hamilton Building. The majority of the 25 participating artists will create site-specific artworks. Highlights include a large-scale ceramic and found object sculpture by Linda Sormin that utilizes the colossal, slanted wall in the Hamilton Building atrium; an installation of suspended clay flakes, the largest around 300 pounds, by Neil Forrest; a 23-foot chandelier by Jeanne Quinn; and a tiled enclosure with freestanding elements by Anders Ruhwald. Overthrown also includes a sampling of smaller ceramic objects that acknowledges that other means, besides size, can challenge expectations of the material.
Exhibition curator: Gwen F. Chanzit, Curator of Modern and Contemporary Art and the Herbert Bayer Collection and Archive
Location: Anschutz Gallery, Level Two, Hamilton Building
Overthrown: Clay Without Limits is organized by the Denver Art Museum. Significant support is provided by Fred and Jana Bartlit and Vicki and Kent Logan. Additional funding is provided by the Adolph Coors Foundation Exhibition Endowment Fund, the citizens who support the Scientific and Cultural Facilities District, and the generous donors to the Annual Fund Leadership Campaign. Promotional support is provided by 5280 Magazine, CBS4, and The Denver Post. Special thanks to the Kirkland Museum of Fine and Decorative Art.
The Denver Art Museum is located on 13th Avenue between Broadway and Bannock Streets in downtown Denver. Open Tuesday–Thursday and Saturday Sunday 10 a.m.–5 p.m., Friday 10 a.m.–8 p.m.; closed Mondays, Thanksgiving and Christmas. General admission for Colorado residents: $10 adults, $8 seniors and students, $3 for visitors 6-18, free for children 5 and younger. Admission for non-Colorado residents: $13 for adults, $10 for seniors and students, $5 for visitors 6-18, free for children 5 and younger. The Cultural Complex Garage is open; enter from 12th Avenue between Broadway and Bannock or check the DAM website for up-to-date parking information. For information in Spanish, call 720-913-0169. For more information, visit http://www.denverartmuseum.org/ or call 720-865-5000.
We’ve been very busy these days and we’re sorry for not posting new works and artists. Working at TIFF is time-consuming, but it’s so interesting (www.tiff.ro/en), yesterday we’ve worked at the official opening show with Companie des Quidams, and today we’ll be working with SONORO (www.sonoro.ro/en/).
In the meantime, you can search through our featured artists’ works: http://www.ceramicsnow.org/featured, and don’t forget that our Monthly Newsletter will be out this month with a special featuring (interviews and images) from The Denver Art Museum!
Transilvania International Film Festival (TIFF 2011), ready to kick-off
TRANSILVANIA INTERNATIONAL FILM FESTIVAL - TIFF 2011 (10th edition) 3-12 JUNE 2011, CLUJ-NAPOCA // 15-19 JUNE, SIBIU
The tenth edition of Transilvania International Film Festival is ready to welcome its guests and audience, with only one day left before the start of the most anticipated Romanian film event. In addition to the 200 films, TIFF 2011 presents its public with a generous offer of special events: the concerts, exhibitions and theater performances are only some of the events that make this year’s edition an unmissable one.
For the second consecutive year, Unirii Square will host the opening ceremony of the festival, which will take place on Friday, June 3, from 8.30 p.m. Starting this evening, the heart of Cluj-Napoca will undergo an impressive transformation, turning into a spectacular TIFF open-air venue.
This year, the opening ceremony has set an impressive surprise in store for the public in Cluj. The French group of artists from the famous Compagnie des Quidams will bring to Ursus Open Air a performance full of magic and light: Herbert’s Dream. The show’s protagonists are extraordinary characters which evolve, depending on theatrical situations. From long, white figures on stilts, the audience will discover creatures from a strange, transforming world. Deformed and grandiose at the same time, clumsy and ethereal, as coming from another planet, with their heads light up they gather round a brilliant star to perform a magic ritual which will help the star ascend to heavens. The show was performed in over 100 cities, on several continents. Moreover, it opened various international events, such as the Dance Biennale in Lyon, the 1998 Football World Cup, Euro 2000 and Euro 2004.
The film opening the festival’s anniversary edition is Potiche, an entertaining comedy written and directed by Francois Ozon, one of the best-rated French directors at this time. The film is an adaptation of the eponymous theatre play by Pierre Barillet and Jean-Pierre Grédy, and had its world premiere in the official competition of Venice Film Festival 2010. A contemporary social satire, the film is set in the context of the economic crisis afflicting the entire world. The action centers on Robert Pujol, the tyrannical head of the umbrella factory he has inherited from his father-in-law. The inhumane work conditions determine the workers to go on strike, ending with Robert being taken hostage. Suzanne, his wife, steps in and, with the help of her ex lover and present town mayor, tries to free the hostage and end the protest. In the end, Suzanne will take the reins of the factory, managing to restore an almost bankrupt business, to the great surprise of her husband, who is not willing to give up his position as factory director. Francois Ozon brings together a stellar cast, with some of the most important names from French cinema: Catherine Deneuve, recipient of the Lifetime Achievement Award offered to an Outstanding Personality of the European Cinema at TIFF 2008, Gérard Depardieu and Fabrice Luchini.
The TIFF 2011 opening ceremony will not lack important names, personalities from Romanian and international film industry, officials and representatives of foreign press.
Directors Matias Bize (La vida de los pesces), Michael Madsen (Into Eternity), Fernando Léon de Aranoa (Amador), Miruna Coca-Cozma (Our School) are some of the special guests present, alongside Tudor Giurgiu – Festival President, host of the TIFF opening ceremony, Mihai Chirilov –TIFF’s Artistic Director and Sorin Apostu – Cluj-Napoca’s mayor.
The male basketball team U Mobitelco BT Cluj, winner of the National Basketball Championship, will also be present at the event.
The theatre performance series Theatre at TIFF starts on Friday, June 3, with the play 9 degrees in Paris, by Peter Kerek, which will be played at the Hungarian Theater starting 7.30 p.m.
TIFFashion, the series of events meant to connect the two worlds of film and fashion, also starts at Hotel Continental – the new home of fashion dedicated events, with the exhibit Dressing the Story: Film & Theatre Costumes by Doina Levintza, which can be admired until June 9.
The first day of the festival is also the first day of screenings at Mănăştur Open Air, a new festival venue, which invites the public living in Mănăștur district, on every TIFF evening. The access to all screenings at Mănăştur Open Air is free.
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“My extensive collection of historical ceramics numbering many hundreds of which are broken, has been a source of inspiration for me for many years. Whilst in the past my work has mainly been of teapots or indeed things that can pour, the last few years has seen a change which at the time shocked me: It was so unexpected.
The German salt glaze tradition featuring the face mask of Cardinal Bellarmine – with beard, instilled the thought of perhaps a few vessels of Peter Meanley – with beard, but the few vessels became more as the beard became more elaborate. Also, the English tradition of using complimentary coloured sprigs which I would call ‘drabware’ opened up other possibilities to the surface.
Of equal surprise, but as an extension of the Bellarmines, I began to look at Toby jugs and translate my work through the Toby tradition: indeed I have even become and avid collector of Toby’s. So far my work has been autobiographical although recently I have undertaken a Toby of a very good friend and former colleague in the University of Ulster.
My work is in salt glaze, is high fired, and at the age of 65 I am perhaps at the height of my capabilities. I remain passionate about the ideas yet to be made. Drawing is compulsive for me.” Peter Meanley
Ceramic artist Jennifer McCurdy lives on the island of Martha’s Vineyard. She has been working with porcelain for over twenty five years. For the last few years, she has been working with structural questions. How thin can the high fire porcelain be before it collapses in the fire? How much can it be cut away and still maintain structural integrity? How can the structural form be integrated with the visual, as in nature? How can the movement of the potter’s wheel and the fire of the kiln be reflected in the finished piece, which is rock-hard and permanent?
“Emotion fills me when I see perfect forms in nature, from the cracked conch shell on the beach revealing its perfect spiral, to the milkweed pod burst in the field, its brilliant airborne seeds streaming into the sunlight. The ordered symmetry and asymmetry of nature’s forms reveal the growth of life, the movement of life.
Living on Martha’s Vineyard, island time, especially in the winter, seems to conform to nature’s cycles. As a potter, I strive to make my work reflect the balance of life around me. It is important that the patterns I see around me are integrated into my forms.” Jennifer McCurdy
Tribute to George Jeanclos - Clay and bronze / Exhibition - Galerie Capazza, Nançay, France
Tribute to George Jeanclos - Clay and bronze
Georges Jeanclos (1933-1997) is one of France’s great twentieth-century sculptors. His œuvre is rooted in the traumatic events of the Second World War. To escape the round-ups that threatened French Jews, his family was forced to hide in the woods ; Jeanclos, barely ten at the time, had several close brushes with death. When the country was liberated, he saw the corpses of former collaborationists strung up from lampposts ; shortly thereafter, he discovered the skeletal bodies of camp survivors. Decades later, Jeanclos would respond to these seminal events : not by locking himself away in his own experience but by opening up to universality and paying attention to all forms of suffering, past and present ; not by representing horror, but by finding within himself the strength to create beauty.
Jeanclos’ choice medium was clay. He transformed it into thin sheets with which he then shaped human figures. Simultaneously children and adults, men and women, their faces are almost identical. Some are dormeurs resting beneath a coverlet of clay ; others are hidden within urns bearing Hebrew letters drawn from the Kaddish; others are boat travellers bound for the Beyond; still others are kamakuras, meditating bonzes lost in contemplation of the soul’s gardens. To all these, Jeanclos would later add Pietas, amorous Adams and Eves, couples tenderly grazing or stroking one another other. His images reveal both the undeniable weakness of human beings and the invincible strengh of love ; by the simple fact of their existence, they help us to live.
The present show consists of some sixty works in clay and bronze, representing all the periods of Jeanclos’ career. (Tzvetan Todorov)
Capazza Gallery, a superbly restored place of historic interest (from the XVIIth century), connected with the castle of Nançay, is located in the heart of the Sologne, about 90 minutes from Paris and close to the Loire Valley. In exceptional surroundings of 2000 m², you can admire the works of 80 artists with international reputation. These artist represent contemporary art in the most important fields of Fine Arts.
Born in 1974 in Kagawa Prefecture, Japan, Yoichiro Kamei is one of the most appreciated young ceramic artists. With more than 10 solo exhibitions had in the past ten years - in Kyoto, Tokyo, Aichi, Osaka and Faenza, he was awarded Merit Prize at the 1st Taiwan International Ceramics Biennale in 2004.
In 2010 he received the Kyoto City Artist Prize, which is one of the most valuable Japanese art awards.
“I am a storyteller. Or at least I’ve wanted to be one for as long as I can remember; yet, the verbal telling of situations is not how my mind works. Instead, I physically construct my stories which speak of emotional interactions and reactions experienced during intense social exchanges. Just as social interactions are layered, having a number of interpretations, visual information leads to a multitude of possible understandings as well. This is why the idiom “A picture is worth a thousand words” describes how I choose to create narratives. Having more than one interpretation of an experience is why I desire to pack multilayered thoughts into every thing I make. Through exploring these concerns I attempt to communicate the numerous nuances of emotion weathered during awkward social exchanges.
I watch. I love to watch. I draw inspiration from the watching. I collect awkward exchanges between people and then sculpt them into stories. My narratives visually speak of uncomfortable social interactions and the intensity of feeling born out of them. The pieces I build depict the slippery quality of emotional intelligence and how it seems to elude explanation. Since there is often more than one side to a story and no singular truth to a situation, my pieces are stuck at the point of experiencing and contemplating uncomfortable and irresolvable situations. I explore the pain and discomfort of social interactions through the visual narratives I make.” Debbie Quick
“I have been making art objects for most of my life and I have found that I have a greater understanding of my work after making it. There is a mystery to things that people make. I choose the process of art-making as a medium to pose questions about my relationships with (art) objects, people and myself. Each time I start a work, regardless of the known impetus, the content of the work changes into something I didn’t previously know. I have been enjoying this unpredictability, lending my creative process to my intuition.
In the spectrum of communication I find making objects to be an efficient vehicle. I find myself engaged with object making in a similar way a writer is engaged with text. For me, objects and their relationship with their surroundings manifest into a language in itself. As in the installation “Weather Underground” I was interested in the site-specificity of the space I was working in, which used to be a classroom. Working in an intuitive mode without an intended outcome, I knew the materials I wanted to use and allowed the piece to develop through me. It was not until later that I came to the realization that the work was about me revisiting my own experiences of academia.
I have considered my work to be a window into my subconscious. After completing this work, it allowed me to question the original idea, the process of making it and the actual outcome, and through the work I am able to gain a better understand of its possible meaning and message. The practice of art is now a renewed engagement with my personal history. The visceral understanding that it grants my senses is as pleasurable as the beauty of the produced object. It is not my intent for the view to grasp these specific notions but to come to the work with their personal histories and to derive a visceral understanding through their senses.” Ian F. Thomas