Jean-François Fouilhoux / Galerie Capazza, Nançay, France
Jean-François Fouilhoux, stoneware sculpture / Galerie Capazza, Nançay, France 17th March - 17th June 2012
Opening reception: Saturday, March 17th, 5.00pm
I love clay. I’m always moved to see the mark made by my fingers in soil. Clay remembers their lightest touch and retains the slightest motion transmitted to it. The mildest inflection – or even hesitation – leaves its trace. It is a recorder of emotions. Hasn’t a scientist said that given the right tools, one could hear the sounds generated in the studio when a pot is being thrown because they are etched into its surface, like the first recordings of voices on wax cylinders? This highly singular property of clay is all the richer because the firing sets these marks and preserves their traces. Like the wall of a cave and pigment, or paper and pencil, clay engages with the hands and the body. I write in the soil. My pencil? A flexible blade that I bend at will. My medium? A wall of clay. I sketch in space by drawing the blade through the wall and slicing into its thickness. The line is a continuous one, just as with writing, and the volume takes form blindly, as imagined by the gesture. The form is then composed of two interlocking elements, separated by a small gap. We could say that each is a mould or an impression of the other, with a space that Marcel Duchamp defined as being ‘infra-thin’. They are born of the same gesture: the trace left by the motion of the flexible blade is all that ultimately interests me. I then sacrifice one of the two parts, which I destroy to allow the impression of the gesture to appear. Traces of energy, of tension… Like a calligrapher, I have meditated on the gesture before executing it. It is a sort of dance or ritual in which the movement is expansive, dynamic, continuous and without regrets.The goal is freeing up the sensitive impression, after a privileged moment, by emptying its material content and reducing it to a skin, then bringing it to life as if suspended in the void… and simply capturing the energy of the gesture expressed in space… This is yet another story of fullness and emptiness, which is recurrent in ceramics. It is also the story of celadon – translucent – another symbol for completeness and void: both matter and light.
The nature of things / New Art Centre, Roche Court, Wiltshire, UK
The nature of things / New Art Centre, Roche Court, Wiltshire, UK 4 February - 15 April 2012
The nature of things is the second in a series of design shows in the Artists’ House curated by Sarah Griffin. In the Artists’ House, the allocation of function in the architecture dictates the layout and content of the exhibition. The monumental and uncanny willow forms by Laura Ellen Bacon dominate the double elevation of the exterior of the house. Her forms identify its scale and architectural character - dramatically organic against the backdrop of modernist rigour.
Hans Stofer takes up residence in the bedroom on the ground floor, where he unpacks his personal life and turns the room into a confessional. The most ephemeral and inconsequential of materials are tenderly remade into jewellery and autobiography, a mix of found objects made meaningful through artistry and intention. This very private space requires the viewer to trespass and scrutinise.
On the first floor, ceramic vessels by Jennifer Lee revel in light and space. Born of meticulous research and experiment, the controlled, poised forms belie their organic hand-built beginnings. The unglazed surfaces speak of a multitude of abstracted references, but it is as function and sculpture in perfect proportion to the human body that they are understood.
Sarah Griffin has described her selection for the exhibition as follows: In her house, Madeleine Bessborough keeps a table for her grandchildren with finds from nature and otherwise. Invariably one will see a bird’s nest, a petrified newt, a dried allium head, curiously shaped flints, a plastic butterfly. The table is found in the Cube, itself a carefully curated space, and the proximity of the specimen table to the art around it is typical of the way one looks at everything at Roche, with heightened awareness flipping between display, art, nature, accident and intent. This way of looking and seeing also informs my selection of artists for the Artists’ House.
MODERN TALKING, Museum of Art Cluj-Napoca, Romania
MODERN TALKING, Museum of Art Cluj-Napoca, Romania February 15 - April 15, 2012
The Museum of Art in Cluj-Napoca is hosting the group exhibition entitled “Modern Talking”, featuring contemporary artists whose works are challenging the conventions of painting and its legacy. Through the work of the invited artists, the visitor will be able to re-conceptualize the traditional acception of painting, which is no longer restricted to the oil-on-canvas formula, but offers a multitude of other alternatives. Fabric, metal, found objects, conceptual statements, flamboyant actions, installations and sculptures, all of these are putting forward an extended understanding of the medium; today, painting is expanded, painting is overall.
Artists: Sonia Almeida (PT); Mark Barrow (US); Baldur Geir Bragason (IS); Vittorio Brodmann (CH); Ana Cardoso (PT); Aline Cautis (US); Radu Comşa (RO); Ann Craven (US); Francesca DiMattio (US); Ida Ekblad (NO); Enzo Giordano (IT); Heather Guertin (US); Davíð Örn Halldórsson (IS); Ingunn Fjóla Ingþórsdóttir (IS); Jacob Kassay (US); Gilda Mautone (IT); Florin Maxa (RO); Dan Măciucă (RO); Elizabeth Neel (US); Ylva Ogland (SE); Paloma Presents [Urs Zahn & Roman Gysin] (CH); Zak Prekop (US); Jo Robertson (UK); Małgorzata Szymankiewicz (PL); Patricia Treib (US); Daniel Turner (US); Garth Weiser (US).
Special project by Sarah Ortmeyer (DE).
Organizers: Nicola Trezzi and Daria D. Pervain, in collaboration with Ewa Gorządek, Helena Kontova, and Giancarlo Politi.
Kayne Griffin Corcoran is pleased to announce an exhibition of work by Ken Price and Larry Bell. The exhibition explores the divergent paths taken by these two artists who both started their careers in the early 1960s at the influential Ferus Gallery in Los Angeles.
Ken Price’s sculpture has defied convention since the 1960s. The colorful and willfully deviant ceramic sculptures in this exhibition refer to excavated landscapes, ancient architecture, and amoeba-like forms while at the same time remaining defiantly abstract. Price’s intention with these sculptures is to create “an organic fusion of color with surface form.” He applies layer upon layer of paint to the sculpture and then sands the surface to expose the various layers of color beneath. His sculptures from the late 1980s and early 1990s are an exercise in excavation. The organically-shaped sculptures appear to have been sliced open, revealing black polygons on the interior of the sculpture that read as voids. His later works are reminiscent of blobs with mottled surfaces often in a pearlescent finish.
The hard-edged geometry of Larry Bell’s works contrast sharply with Price’s organic forms. Bell’s glass cubes address the dematerialization of the object. Using a dichroic vacuum coating to line the interiors of the glass cubes, Bell creates objects that are at once reflective and seem to disappear. This emphasis on perceptualism aligned Bell with the Light and Space movement in California in the 1970s. This exhibition will include several examples of early Bell cubes as well as a shelf from 1970.
“While growing up near the ocean, I spent many hours peering at tiny creatures and looking for clues to their secret lives. This began a lifelong passion for the the minute details, the battered fragments, and the myriad patterns of organic life. The smallest bits of bone or shell would ignite intense curiosity and imaginative leaps; What was this creature? What did it look like? How did it die? Did it have a family, a home, or friends? Did it feel or think? What would it have thought of me? I create sculptural objects in an empathetic attempt to gain insight into the inner life of creatures and I seek to spark curiosity and imaginative leaps in the viewer.
Clay is critical to exploring these ideas. Touching clay and responding to its organic properties are key aspects of my largely exploratory and intuitive creative process. Risk taking and pushing materials to their limits is also important. I experiment with the forces used to shape clay, glaze, and glass as a process for imagining and exploring the effects of natural forces. I combine clays with glass or other materials to see what they reveal about their individual properties when they are fused together.” Debra Fleury
Rosa Barba, Marco Brambilla, Dara Birnbaum, Charlie Chaplin, Douglas Gordon, Georges Méliès, Alex Reynolds, Lindsay Seers, Lillian Schwartz, Ryan Trecartin & Lizzie Fitch, Dziga Vertov, Ming Wong
The love affair between art and film started the moment the film camera was invented. This spring, Bonniers Konsthall will investigate the centurylong relationship.
A century after the first film experiments, moving image is an inevitable part of our visual culture. We interact constantly with moving images on different screens: computers, mobile phones and game consoles. With the development of portable equipment and social networks on the internet, the making, screening and distribution of film have become available to everyone. One could say that we have now reached the stage after film, a shift in technologies, maybe as decisive as the invention of film itself. A sad consequence of the invention of new technologies is that other techniques have to move to the graveyard of the outmoded and the obsolete. Those funerals also mean the burial of a certain vision.
How those shifts, those births and deaths in the history of the moving image, influence and change art is the core in this spring’s major exhibition project A Trip To the Moon.
Art should come from the heart of the artist, it should engage the audience, it should connect with the community, it should start a dialog, a debate. It should get people to look at things in a way they have not thought of, or to see what they have looked at but not really seen. Art has to come deeply from the artist, there has to be raw emotion and honesty in the work if it is to connect with people. An Artist paints and sculpts what they know. These are all the reasons I wanted to do a show about Alzheimer’s disease. To start a dialog, to connect, to get people to understand what it is like to have the disease, it is a part of my life, so it is what I know, what I am around. I took those thoughts and feelings and transformed them into visuals to engage my audience. I speak through paint and clay. Art is a look inside the artist, what I am feeling is transferred into the clay while I am sculpting, Those feelings have to go somewhere. I wanted to tell a story, I wanted you to feel how it is, the frustrations, humor, the compassion and the heartache of having Alzheimer’s disease and for the ones caring for one with this disease.
William Faulkner said it best ~ The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it it moves again since it is life.
The Archie Bray Foundation’s fourth annual juried exhibition. Free and open to the public.
Beyond the Brickyard is an exhibition of 32 selected pieces from the Archie Bray’s fourth annual international call for entries. Juried by 2011 Voulkos Fellow Richard Shaw. An opening reception will be held on Saturday, February 4 from 6–8 pm and the exhibition will be available to view online beginning February 4, at www.archiebray.org.
Participating artists include Ivan Albreht, Crista Ames, Tom Bartel, Michael Bliven, Shari Bray, Angelique Brickner, Jessica Broad, Monique Castiaux, Danny Crump, Angela Dieffenbach, Kelsey Duncan, Spencer Ebbinga, Debra Fleury, Guillermo Guardia, Jeffrey Haddorff, Chad Hartwig, Nicole Hoiland, Jennifer Holt, Sarahjess Hurt, Marina Kuchinski, Minkyu Lee, Jessi Li, Megan Mitchell, Vince Palacios, Gabriel Parque, Chris Riccardo, Mary Roettger, Eileen Sackman, Hannah Short, Adam Swang and Kwok-Pong Tso.
The Bray is a nonprofit educational organization dedicated to the enrichment of the ceramic arts, located at 2915 Country Club Ave. in Helena, just 1/3 mile west of Spring Meadow Lake. Galleries are free and open to the public. Gallery hours are Monday–Saturday, 10 am–5 pm.
CONTACT: Rachel Hicks Director of Programs and Administration firstname.lastname@example.org
Above: Debra Fleury, Tidal, 2010, porcelain, dark stoneware, glass, underglaze, 3.5” x 25” x 25”
Opening ceremony: 28th January at 5.30 p.m. Event concurring the exhibition devoted to Adolfo Wildt at the Musei di San Domenico in Forlì
The exhibition “Adolfo Wildt. L’anima e le forme tra Michelangelo e Klimt” (28th January – 17th June 2012) curated by Paola Mola, Fernando Mazzocca and Antonio Paolucci, with the scientific coordination by Gianfranco Brunelli, at the Musei di san Domenico in Forlì, highlights the extraordinary creativity of one of the greatest master of the modern sculpture. Wildt (1868 – 1931) was a great artist, self-educated and talented who represented a disputed figure inside the national artistic world: he was venerated from persons who understood his geniality and detested from persons who considered his creations opposing the harmony of the shapes and too linked to the Nordic Decadentism.
The International Museum of Ceramics in Faenza, jointly working with the Fondazione Cassa dei Risparmi di Forlì manager of the event, proposes an exhibition “Ceramic Sculpture during the time of Adolfo Wildt” (28th January – 17th June 2012) curated by Claudia Casali, displayed inside the 20th century collection in order to emphasize the artists who had contacts and relations with Wildt, such as the scholars Fausto Melotti and Lucio Fontana, or others who shared the same extraordinary contemporary artistic experience such as Domenico Rambelli, Galileo Chini, Achille Calzi, Francesco Nonni, Domenico Baccarini, Arturo Martini and Duilio Cambellotti. In the same context the exhibition offers examples of apparent opposite artistic personalities represented by the Futurist movement concretized in the ceramic experience in Faenza (1928-29) and Albisola (from 1929 on).
Sharjah Art Foundation announces the 2012 Production Programme Open Call for grants to artists working in a range of media. Up to $200,000 is available in this application cycle. Deadline: 24 February 2012.
The Sharjah Art Foundation (SAF) Production Programme broadens the possibilities for the production of art in the MENASA region through a commitment to support innovation and excellence in artistic practice by encouraging risk and experimentation. This commitment places artists at the core of the Foundation’s mission by offering grants and professional support for the realization of projects selected from an open call for proposals.
The past decade has seen an extraordinary rise in artistic activity throughout the Middle East, resulting in an increased visibility for artists both regionally and internationally. Within this context, the Foundation hopes to promote and encourage an environment of public and private patronage for the highest level of artistic endeavour. This programme focuses on supporting artists in their individual attempts to create work on a scale they have perhaps never imagined possible.
Arts practitioners are invited to propose imaginative, ambitious and inspirational projects that will transform our understanding of what art is and how it can be experienced. With this initiative we hope to engage and challenge the artists, our audiences and ourselves aesthetically, intellectually, emotionally, socially, politically or in ways new and unexpected.
“Through creating and teaching others how to make “Treepots” and “Tectonic Sculptures,” I have dedicated my artistic efforts in ceramics to exploring life and the irony of renewal through death. Trees are the primary subject of my work and human emergence is its’ theme. Through this creative work I engage the interrelationship between humanity and nature.
I focus on trees because I have a natural love of them from my youth. As a child I spent my summers with my brother roaming the woods of northern Illinois, and as an adolescent I spent them backpacking the forests of the Rocky Mountains of Colorado. Observing the tree excites my creative expression because it demonstrates the promise of renewal in the events of birth, the processes of aging, and the inevitability and promise of new life through death and decay. In this way life continuously takes on evolved and more beautiful forms through both creation and evolution. Both are proven simultaneously in the cycle of life. Evidence of this is shown most brilliantly to me in the life cycle of trees and I speak of it most effectively through my art in the medium of clay.” David Gilbaugh