Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

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Vincent Leroy / Galerie NeC nilsson et chilglien, Hong Kong

Vincent Leroy exhibition Galerie NeC nilsson et chilglien, Hong Kong

Vincent Leroy exhibition / Galerie NeC nilsson et chilglien, Hong Kong
March 15 - April 27, 2013

Opening reception with the artist: March 14, 2013, from 6 pm.

Moving under the influence of Japanese pop culture and New Realism. Kinetic artist Vincent Leroy forms poetry with his technology. Movement and repetition redefine natural order and commanded creation. Electric Flowers absorbs a haunting and fascinating rhythm that reinforces the endless repetition of motifs. Thus this field of mechanical flowers whose petals turn tirelessly on their rolling pins becomes an unlikely ode to the fragility of nature.

Born in 1968, into a farming family in Avranches, in France’s Normandy region, Vincent Leroy graduated from the Ecole Nationale Superieure de Creation Industrielle in 1995. In his work as an industrial engineer, he maintains an overall perspective on the manufacturing process slecting shapes, materials, colors and technical properties. Active on the international contemporary art scene, Vincent Leroy is among those artists who refuse to be categorized.

"Creating an object usually starts with finding the right materials, but the starting point for my work is kinetics. I play around with the speed and the way actions have casting effects. Movement was the basis for my piece I created in London for The Sketch, the restaurant and gallery space developed by Mourad Mazouz. I installed a flexible geometrical shape powered by two large motors between two mirrored walls. The material used is made to ripple, and the movement is reflected infinitely in The mirrors. Similarly, in Berlin I showed three balls made of translucent material that were made to move completely independently. I installed a tiny camera inside one of them, to give visitors a random, unimpeded perspective, with no vertical reference points, a little like astronauts in the weightlessness of space, when they’re moving around the shuttle. I wanted to let the public experience the phenomenon with just the bare minimum of technological resources.

Simple movements still remain the basis of my work. Ten years ago my sculpture was more mechanically focused, the technology was present, more visibly a subject matter. Today the movement in my work is more fluid, and natural. I’m at a happy medium with this balance of nature verses machine, or nature as machine. We must come to mix and not oppose. My creative process is driven by a natural need to experiment. To question, guess, try, play, solve, function. Even if it is as basic as a piece of cardboard, glue and a toolbox. I am always surprised with the magic that emerges from these unexpected moments.

I think my audience is primarily people who are on top of the latest trends in art and in music, who are found in major cities. It’s also companies like Arkema and Renault, Nissan and Canal+ I’ve had the opportunity to work with. In many cases it’s an audience that doesn’t judge the work on the basis of whether it’s consistent with some artistic movement. They’re people who are capable of being won over or astonished by what they see. It gives me great pleasure to be able to reach such a wide audience.” Vincent Leroy

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  • Theaters - Yves Marchand & Romain Meffre

    In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums. From the 60’s, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished. Those which remain, escaping this fate, have been converted to serve varied purposes. Now, many are reused as churches, retail space, flea markets, bingo halls, discos, supermarkets or warehouses. Some others just sit abandoned. (via)

    (Source: artchipel)

  • Meant To Happen by Yin&Yang Parisienne on Mixcloud

    Yin&Yang Parisienne Mix for Ceramics Now, December 2012

    “Meant To Happen” is the title of the third mix in a series of specially crafted mixes for Ceramics Now Magazine readers. Made by Yin&Yang Parisienne, the sets are available to listen in our Connections page and on her Mixcloud page. Enjoy it!

    Download the mix / Yin&Yang Parisienne on Facebook

    Tracklist:
    01. The Cinematic Orchestra - Arrival Of the Birds (Yinyues Remix) (00:00)
    02. Module Module - An Interlude (03:16)
    03. Celine Dion - My Heart Will Go On (M - Rain Version) (07:23)
    04. Scullious - Girl (12:22)
    05. Phaeleh - Taking It Back (17:02)
    06. Pika - World (22:17)
    07. Pále - Ghosts (26:34)
    08. Hiatus - Contrail (32:30)
    09. Krishan Vadivelu - Melodiam Somnia (33:43)
    10. Papercut - Morning Blues (37:33)
    11. Guy Furious -  All I Wanted (41:03)
    12. Temporal & FREnchfire - Don’t You Believe (47:05)

  • This Time ... by Yin&Yang Parisienne on Mixcloud

    Yin&Yang Parisienne Mix for Ceramics Now, November 2012

    "This Time…" is the title of the second mix in a series of specially crafted mixes for Ceramics Now Magazine readers. Made by Yin&Yang Parisienne, the sets are available to listen in our Connections page and on her Mixcloud page. Enjoy it.

    Download the mix / Yin&Yang Parisienne on Facebook

    Tracklist:
    1. Scrimshire - Alignment (00:00)
    2. Delta - Moonove (LTR Remix) (05:20)
    3. Tom Day - Echoes (09:04)
    4. Bonobo - Ketto (15:45)
    5. The XX - Fiction (Druid Cloak Blood Magick Remix) (20:46)
    6. Mayer Hawthorne - A Long Time (Silly Pilly Edit) (26:05)
    7. Woolfy vs. Projections - Nina (33:35)
    8. Spleen United - Euphoria (featuring Sharin Foo) (38:34)
    9. Trixie Whitley - Breathe You In My Dreams (42:44)
    10. Yann Tiersen - Dark Stuff (Murdok Dubstep’s Remix) (46:56)
    11. ID3 - Alone (featuring Jett) (49:44)
    12. Purity Ring - Belispeak (Nacey Remix) (54:43)

  • Jannis Kounellis / Parasol unit foundation for contemporary art, London

    Jannis Kounellis exhibition Parasol unit foundation for contemporary art, London

    Jannis Kounellis / Parasol unit foundation for contemporary art, London
    28 November 2012 – 24 February 2013

    Preview: November 27, 2012, 6:30 – 9:00 pm.

    Parasol unit foundation for contemporary art is delighted to present a solo exhibition of works by painter, sculptor and performance artist Jannis Kounellis from 28 November 2012 to 24 February 2013 (Private View, 27 November 2012).

    Considered a protagonist of Arte Povera, an art movement that emerged in Italy during the 1960s, Kounellis embarked on his artistic career by creating some of the most radical art works of the time. Often combining the inanimate and animate, he boldly incorporated things such as propane torches, plants and animals as integral if not vital parts of his works. He also introduced the notion of performance within works of art, something that to this day continues to inspire artists around the world. In all these works Kounellis drew from his deep knowledge of and sensitivity to cultures of the past and his own heritage, in itself a spirited discussion between collective and personal experiences.

    The exhibition at Parasol unit aims to consider Kounellis’s early works from the 1960s, 70s and 80s and his own response to them from today’s standpoint, which often culminates in a more recent and spontaneous work. This juxtaposition of works of art from the different decades should thus engender an arena for discussion. On show will be works, such as Untitled (Carboniera), 1967; Untitled (steel plate and braid),1969, on loan from Centre George Pompidou, Musée national d’art; Metamorphosis, 1984, and Untitled, 1977, an electric train moving on steel plates installed around one of the pillars of the Parasol unit gallery.

    Born in 1936 in Piraeus, Greece, Kounellis moved to Rome in 1956, where he still lives and works. In recent years, Kounellis has had numerous solo exhibitions internationally, including, among others, at Neue Nationalgalerie, Berlin, 2007; National Centre for Contemporary Art, Moscow, 2011; Today Art Museum, Beijing, 2011; and Museum of Cycladic Art, Athens, 2012.

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  • Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London

    Olaf Breuning: Human Nature exhibition Pippy Houldsworth Gallery, London

    Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London
    November 23, 2012 - January 12, 2013

    Private View: Thursday 22 November, 6-8 pm.

    Pippy Houldsworth Gallery is delighted to present a new commission for The Box by New York based Swiss artist Olaf Breuning. Breuning is known for his diverse and humorous explorations of the relationship between art, life and contemporary culture. Working across film, photography, sculpture and drawing, Breuning investigates the absurd and the surreal, creating perpetual punch lines and endless drama resulting from an instinctive relationship with language and materials. Here, Breuning creates a new installation for The Box, translating a new stick drawing into a precarious miniature metal sculpture. The Box is a micro project space consisting of a floating white cube set inside a black vertical opening. It is a unique architectural space through which the gallery facilitates new projects with important emerging and established artists. Previous commissions include Ai Weiwei, Martha Rosler, Ruth Claxton and Daniel Arsham.

    Breuning’s solo exhibitions include the Institute of Modern Art, Brisbane; Palais de Tokyo, Paris; Chisenhale Gallery, London; Migros Museum für Gegenwartskunst, Zurich; Centre d’Art Contemporain, La Chapelle de Geneteil, Mayenne; Kunstmuseum, Lucerne; and the New Stedelijk Museum, Amsterdam. Group shows include Museum of Contemporary Art, Kraków (MACAK); Saatchi Gallery, London; FLAG Art Foundation, New York; Museum of Contemporary Art, Miami; The Power Plant, Toronto; CCA Wattis Institute, San Francisco; 54th Venice Biennale; MoMA PS1, New York; MoMA, New York, Whitney Museum of American Art, New York; and S.M.A.K, Gent, Belgium. His work is represented in collections including Fonds National d’Art Contemporain; Grafische Sammlung des Museums für Gestaltung, Zürich; Kunsthalle Hamburg; Louisiana Museum, Copenhagen; Musée d’Art Moderne, Paris; UBS Collection and Saatchi Collection, London.

    Above: Olaf Breuning, Smoke Bombs 2, 2011, C-print (1/6), 120 x 150 cm.

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  • Fragile As Porcelain by Yin&Yang Parisienne on Mixcloud

    Yin&Yang Parisienne Mix for Ceramics Now, October 2012

    Fragile As Porcelain is the title of the first from a series of specially crafted mixes for Ceramics Now readers. Made by Yin&Yang Parisienne, the sets will be available to listen in our Connections page and on her Mixcloud page. One every month.

    Download the mix / Follow Yin&Yang Parisienne on Facebook.

    ✖ Tracklist:
    01. Hiatus - Foreigner (00:00 - 02:41)
    02. Mazzy Star - Into Dust (Inertia Remix) (02:41 - 08:10)
    03. Lamb - Angelica (08:10 - 11:37)
    04. Bon Iver - Skinny Love (Das Kapital Rerub) (11:37 - 16:20)
    05. BoyChild - Counting What Ifs (featuring Soundmouse) (16:20 - 20:27)
    06. Baths - Iniuria Palace (20:27 - 24:44)
    07. Jamie Woon - Wayfaring Stranger (Stitch Mix) (24:44 - 28:35)
    08. Monarchy - You Don’t Want To Dance With Me (featuring Britt Love) (28:35 - 32:03)
    09. Dusky - Grain (32:03 - 36:06)
    10. Moby - Porcelain (36:06 - 40:04)
    11. Cujo - Fatass Joint (40:04 - 45:48)
    12. Jun Miyake - Lillies Of The Valley (45:48 - 51:15)

  • Anti-Utopias / Sabin Bors - EXTRA!, October 2012

    EXTRA!, October 2012: Anti-Utopias / Sabin Borş

    Anti-Utopias contemporary art platform

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

    You hold functions such as curator, associate editor and columnist for different magazines, and you recently initiated a contemporary art platform titled Anti-Utopias. Since you don’t have any formal art education, how did you become interested in contemporary art?

    Art has always been one of my main interests, ever since I was a kid, and though I did not follow any formal art education, I did follow an MA in philosophy and culture where some of the major topics we discussed have been Art, Institutions and Cultural Policies, The Artist’s Statute in Post-Modern Culture, or Contemporary Perspectives Upon Culture. I also follow a PhD with a thesis on the future of museums, in terms of art, policies, architecture. Throughout the years I’ve kept a close contact with art in my readings and references, and I think coming from the “outside” is actually an advantage because it allows me to view art in a broader context and integrate its discourse differently. At the same time, I am also aware of the two perils with philosophers discussing art: on the one hand, they run the risk of subsuming art to a philosophical speech; on the other hand, they can feed art with concepts that only deepen the dilemmas of contemporary art and thus contribute to its fractures. When I started Anti-Utopias, my main concern was to create a thematic platform bearing in mind these two perils precisely, but also the theoretical abundance where art in general claims itself from. 

    Tell us about Anti-Utopias. Why did you choose the utopian – anti-utopian motive as the theme of your project?

    In spite of all the discourses on contemporary art, I think it is still trapped in a false attempt to surpass its own modernity. The artistic discourse still tries to dissect its own foundation and remains somehow captive inside artificial constructions, based on imitation. I am equally circumspect whether discourses crediting the derivative modernities can indeed not only resurrect, but actually redeem the project of modernity. These modernities are based on alter-constructions that complete the same project, though they construct on the margins of modernity. We relate to the same referent, and hope our alter-construction will indeed rescue notions and practices. Art is caught in this paradox: on the one hand, it has to constantly shift its aims outside the marges, because when you construct on the marge, the marge itself becomes a center; on the other hand, art contributes to a global process of territorialization, precisely in this movement it needs to operate. It’s like an expanding fissure that deepens the faults. And it is along this fissure that one can understand the exposure of art, in what this fissure draws ahead, but especially in what it leaves behind, not only as a trace, but in that which remains. Art is this rest, this remnant. Art is reversion. And I think this is one of the ideas and concepts that I need to develop further, this idea of art being a reversion.

    When I started this project I knew I was placing its theoretical horizon under two major discursive pressures. The first one is this unsuccessful attempt to give an answer to an utopia other than by formulating another utopia, and the second is the use of the prefix “anti-“ itself, which does indeed bestir a number of critical reflexes and exercises. Obviously, there is no exit from utopia, and the more we seek to counter this statement, the more we end up in utopias of the refusal or in the utopias of some alter-constructions. From my perspective, anti-utopias don’t claim themselves from a refusal or a counter-position, nor are they the expression of a cultural, historical, or political transgression. They do not fall into the metaphysical discourse where anti- would refer to a sort of anti-metaphysics, and I don’t see them being shaped as a means of counteracting either. For me, anti- should refer to a state of exposure, to a certain openness which is not only affirmative but also all-embracing, definitive, and which can be understood on multiple levels: over-exposure, exposure to the certitude of death, exposure to a certain risk and impossibility, exposure to its own tragedy, etc. It is an exposure not only to the unpredictable, but also to a subtending dread defining art and life itself – a fear of dying, the interruption of breath. And though this discourse may seem to bear away from the current artistic discourse, I still think it is this dread that art is running away from. And this can be seen in all its diversity, separations, counter-currents, and reconsiderations. Not lastly, I think that the insistence upon difference/differences cannot account for the current state of things any longer, but only perpetuates the discursive and political impossibilities. From one utopia to another. I think art and society are on the verge of a more radical transformation, for which it has no name yet, a transformation we cannot fully appropriate right now.

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  • Carsten Nicolai - Unidisplay

    “The installation unidisplay offers an examination of semiotics and the laws of perception. The work operates with a number of modules of different visual effects that interfere with the viewers’ perception, through optical illusion, jitter, flicker, after-image, movement, complementary colour effect, and so on. The installation unfolds against a long projection wall with two mirror walls on the side thus visually expanding like a universe. The basic visual, made up of sequences, motifs and graphic translations of various units of time measurement acts as a world clock and evokes the intertwining of time, between past, present and future. The installation is created with Derivatice’s TouchDesigner software which has been used for alva noto live performances with a triple-screen projection.” (via)

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    (via rcruzniemiec-deactivated2013020)

  • The reopening of Fabrica de Pensule / Cluj-Napoca, Romania

    The reopening of the Paintbrush Factory Fabrica de Pensule, Cluj-Napoca, Romania

    The reopening of Fabrica de Pensule / Cluj-Napoca, Romania
    October 5, 2012
    - 7-10 PM


    Contemporary art exhibitions:
    SABOT
    / Paul Branca – L’origine de l’espace privée
    Plan B / Alexandra Croitoru – Do not forget you are an artist!
    Peleş Empire / Original/Copy III
    Lateral Art Space / Adrian Sabău – In-lined
    Baziş / Bandi Saşa – Persona non grătar
    Baril / Constantin Flondor – Sifting
    AltArt / Time’s Up (AT) – Unattended Luggage
    Intact Space / Fake it! Limited Edition
    Etaj III, corridor / Ana Adam – Drawings
    open studio / Istvan Cîmpan (first floow)
    open studio / George Crîngaşu (SABOT Residence Space, forth floor)

    + Divas at Sala Studio (8 pm). Directed by Ferenc Sinkó, GroundFloor Group.

    The exhibitions are part of the Contemporary Art Factory project organized by The Paintbrush Factory (Fabrica de Pensule) and financed by the Administration of the National Cultural Fund (AFCN).

    Fabrica de Pensule / The Paintbrush Factory is a collective space for contemporary arts in Cluj, Romania. The project started at the beginning of 2009, as an independent initiative to bring together ideas, events and projects of cultural organizations, galleries, producers and independent artists in Cluj and as a reaction to the local lack of production and exhibition spaces in the city.

    The artists, galleries and organizations – active in the fields of theater, contemporary dance, visual arts, arts in public space, music – are jointly engaged into delivering relevant cultural content, both for the artistic community and the wide audience. Besides artist studios and production spaces, Fabrica de Pensule also hosts events of local and international partners. It acts as a major player in cultural and urban policies in the Romanian context.

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  • Anna Von Mertens - Portraits

    "Odd avenues of knowledge and inquiry interest me. I research further and uncover phenomena in isolated fields of study that mirror information about my own private world. I then translate this empirical data into a subjective version to reflect the parallels I see.

    I have tracked how energy is dispersed in a nuclear explosion and how energy is stored in a cell; exposed hidden topographies (of the human body, of the ocean floor); contrasted migration routes of birds to the migration routes of humans; and shown the stars exactly as seen above violent moments in American history.

    These patterns reveal to me aspects of our existence, whether it is how we experience time and face the infinite - embedded in that is our own mortality - or how the boundary of the body is presented to others versus how it is felt internally.

    I use the stitch to follow these trails, tracing the paths with my fingers. The dotted line of hand-stitching is a marker of uncertainty, a way of exploring. The time invested in making the work, allowing for contemplation and internalizing, becomes a part of how the work is viewed.

    I see all of these elements as a form of mapping, reflecting the need to get my own bearings in this vast universe.” Anna Von Mertens (via)

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  • James Hoff: I’m Already a Has-Been exhibition / VI, VII, Oslo
    August 31 — December 5, 2012

    For his first exhibition at VI, VII, American artist, writer and editor James Hoff presents two groups of paintings based around language, and abstraction as a culture-bound illness.

    One set of paintings tries to imagine a visual counterpart for syndromes that enter language through specific geographic contexts as the outcome of locally existing phenomena and paranoia—Nigerian ‘Brain Fag’ syndrome for example—formulating abstraction as a cultural malady that is linguistically spread.

    A second set of works is based on drawings found at stationary stores in cities like Oslo and New York, casually and communally scribbled onto notepads when customers were testing their pens.

    In these works, the scratch pad functions as a surrogate for abstraction illustrating the collective pathos of the community from which they were born. All of this, of course, goes back to Freud and can be traced through the Dadaist affinity with automatic writing and the very imperfect science of twentieth century gestalt theory which used mark-making as a way to determine cognitive skills, sanity and mental health.

    In preparing this exhibition, the artist chose to include new works not previously addressed in this press release. The works were composed by means of flocking the areas left exposed after a first-pass tearing away at the shrink wrap around pre-fabricated canvases, freezing with small colored fibers set into wet paint, the exact moment the canvas is about to be freed to be painted on. In this sense each of these partially flocked works is a still life, soft to the touch, that documents the innate and every everyday activity of unwrapping a package. (via Contemporary Art Daily)

    Images courtesy of VI, VII, Oslo. Photos by Jon Benjamin Tallerås.

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