Oh la la - Majolica… a Pottery Slam, by Peder Rasmussen and Michael Geertsen / Copenhagen Ceramics

Oh la la - Majolica & a Pottery Slam, by Peder Rasmussen and Michael Geertsen at Copenhagen Ceramics

Oh la la - Majolica … a Pottery Slam, by Peder Rasmussen and Michael Geertsen / Copenhagen Ceramics, Denmark
May 24 - June 16, 2012

Artists talk: Saturday, 26 May at 2 pm.

With their common educational background in the now almost vanished pottery tradition, Danish ceramists Michael Geertsen and Peder Rasmussen are challenging themselves and each other in an exhibition-tour-de-force within a classic ceramics discipline, the Majolica – tradition. Not only have they produced their individual works – but occasionally they have left the decorating of their own pieces to the other.

Michael Geertsen and Peder Rasmussen both belong to the small group of  contemporary ceramists, who also apprenticed as potters  – in their certificates termed as free-hand-throwers.
As young they found themselves in a world of age-old crafts and were thus among the last links in a very long chain.

Speaking of this, they say: ’We both share great love of classic pottery; of the idea of the vessel and the ceramic figure as artistic medium, even in a world being ever more technological, as far from our starting point as can be imagined. Does this show in our work?  Is there any reminiscence  of something archetypical still present in our otherwise highly contemporary expression? In our own opinion, yes!  We actually insist that our education within a tradition-bound craft has imbued us
with a deep respect for  professionalism. It has also provided us with a reservoir of references – possibilities for ’professional quoting’. Anything goes. With the apprenticeship-certificate as baggage, we know that there are lots of unoccupied seats within the space of tradition’.

This time both ceramists work with Majolica, the age-old technique of white-glazed and decorated earthenware, known especially from the Italian renaissance. From the great artists of the Della Robbia dynasty or the Deruta-workshops. Hispano-Mauresque faience, too, has been in their view with its ornamentation, lustres and other metallic effects. The technique itself tempts with a richness of colour unequalled in other techniques, thus offering possibilities for new stories, stylistic approaches and quotes.

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Mircea Cantor – Special Event at Transilvania International Film Festival 2012 / Cluj-Napoca, Romania
June 1-10, 2012

The Romanian artist often compared with Marcel Duchamp and scouted by the world’s distinguished galleries and museums, Mircea Cantor, will star in one of TIFF 2012’s special events.

For the first time, a few of his video works will be screened in Romania, outside the space they were initially conceived for – the gallery. The artist will attend the screening, giving the audience in Cluj a chance to meet him and take part in discussions.

„Mircea Cantor is on the gallery of Romanian artists who are far more known and valued abroad than in their home country. (…) The screening of his video short films in a cinema is a special program at TIFF by which we try to fix this abnormality”, says the artistic director of the festival, Mihai Chirilov.

The audience will be able to view at Cluj eight of his video works, already included in the prestigious galleries and museums of the world as part of other exhibitions: 9+1=10? (2003-2005), Dead Time (2003), Departure (2005), Double Heads Matches (2002-2003), Nulle part ailleurs (2000), Sic Transit Gloria Mundi (2012), The Snow and the Man (2005), Tracking Happiness (2009).

Mircea Cantor creates images that are at once crystalline in their clarity, yet deeply paradoxical. They are concerned with issues of memory, history, oppression, and the futility—and necessity—of hope. While his thematic concerns may reflect his identity as a Romanian-born artist, his work is also accessible and universal. As he has said, refusing to be pigeonholed by identification with one nation, “art is my country.”

Mircea Cantor was born in 1977 in Oradea and, at the moment, lives in Paris. After moving to France in 2000, four years later Cantor won the most important award granted to young French artists – the Paul Ricard Award, one of his works being purchased by the Museum of Modern Art in Paris. In 2011, the Romanian artist received the prestigious Marcel Duchamp Award and this year he will host his own exhibition at Pompidou Centre in Paris.

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David Claerbout. the time that remains / Parasol unit, London

David Claerbout. the time that remains exhibition Parasol unit foundation for contemporary art, London

David Claerbout. the time that remains / Parasol unit foundation for contemporary art, London
May 30 – August 10, 2012

Preview: 30 May 2012, 6.30 – 9 pm.

On 30 May 2012, Parasol unit foundation for contemporary art will preview a solo exhibition dedicated to the filmic works of the Belgian artist David Claerbout. The exhibition features works spanning Claerbout’s practice from 2000 to the present. The time that remains will be the artist’s first solo exhibition in a London public gallery.

Claerbout situates his striking work between the complex worlds of digital photography and film, investigating this intermediate area in concise and thought-provoking installations. Claerbout’s films often depict everyday activities or events, which once digitally manipulated negate the linear passage of time. His work questions the viewer’s conventional ideas of time and narrative processes.

Filmed in a house designed by contemporary architect Rem Koolhaas and using the same episode shot at ten-minute intervals from 5:30 a.m. to 10 p.m., Bordeaux Piece, 2004, lasts nearly fourteen hours. Three actors repeat flat dialogue and use dramatic gestures. They seem to be the protagonists of the work, but as time goes by the narrative slowly collapses into the movement of the sun and the changing light of day. A different sense of time is created and the protagonist is now the natural world. This work contains Claerbout’s first use of dialogue.

The Algiers’ Sections of a Happy Moment, 2008, is set on a small soccer pitch on a roof of the Algiers casbah. Young men, surrounded by a group of elderly people, pause in their game as one of the players feeds a flock of eager seagulls. The succession of images in this ‘happy moment’ provides a reflection on what Claerbout terms ‘the suspicious gaze’. The artist uses the passage of time as a tool for moderating that suspicious gaze, and more generally as a means of reconsidering what we see.

Set within the rigorous architecture of Skywood House, near Denham in the UK, Sunrise, 2009, takes the viewer into near-total darkness. The film depicts a nocturnal scene inside the villa, where a maid goes about her usual routine while the inhabitants sleep. The camera follows her through the course of her work and finally films her as she cycles home along a country road under the rising sun, accompanied by an imposing piece of music by Rachmaninov.

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Ceramics Now Exhibition / Galateea Gallery, Bucharest

Ceramics Now Exhibition at Galateea Gallery, Bucharest

Ceramics Now Exhibition / Galateea Gallery, Bucharest, Romania
April 19 - May 7, 2012

Opening Reception: April 19, 6-9 pm.

The second edition of Ceramics Now Exhibition presents at Galateea Gallery, Bucharest, the works of 22 contemporary ceramic artists from 9 countries - Romania, USA, Canada, Israel, Italy, Ireland, United Kingdom, South Korea and Poland. The works of the Romanian artists who are presented in the exhibition are an addition to the 15 works that were exhibited in December 2011 at The Paintbrush Factory, Cluj-Napoca.

Through this exhibition, Ceramics Now Magazine is trying to bring together and open a dialogue between contemporary ceramic artists from all over the world - all working in different techniques and approaching a variety of subjects and motifs.

EXHIBITING ARTISTS: Arina Ailincăi (RO), Chang Hyun Bang (KR), Antonella Cimatti (IT), Patrick Colhoun (UK), Romana Cucu Mateiaş (RO), Carole Epp (CA), Simcha Even-Chen (IL), Shamai Gibsh (IL), Mark Goudy (US), Roxanne Jackson (US), Marta Jakobovits (RO), Margrieta Jeltema (IT), Maciej Kasperski (PL), Jim Kraft (US), Cynthia Lahti (US), Claire Muckian (IE), Connie Norman (US), Aniela Ovadiuc (RO), Oriana Pelladi (RO), Eugenia Pop (RO), Cristina Popescu Russu (RO), Liza Riddle (US).

Curator: Romana Cucu Mateiaş
Coordinator: Vasi Hîrdo

www.ceramicsnow.org/exhibition

The international exhibition “Ceramics Now” is an itinerary exhibition of contemporary ceramics which presents works that are featured in the issues of Ceramics Now Magazine. The goals of the exhibition are to raise visibility of contemporary ceramics in Romania. The exhibition reunites artists from different countries and communities, and facilitates contact between them and the public. Ceramics Now Magazine and Exhibition operate as an exchange platform between artists, galleries, museums, collectors and people passionate about art.

Ceramics Now Magazine is a comprehensive and innovative quarterly publication specialized in contemporary ceramics. Founded in 2011, the magazine features interviews, articles, reviews and works of emerging and world-renowned ceramic artists. It is distributed all over the world in a network of libraries, galleries, museums and institutions.

Reopened at the initiative of the Romanian Fine Arts Union in December 2011, Galateea Gallery is the first gallery of contemporary ceramics in Romania.

Gallery Hours: Monday - Friday, 12 am - 8 pm. Saturday,11 am - 7 pm.

Organized by Ceramics Now Association and the Romanian Fine Arts Union.

The catalog of the exhibition is available for free download here: www.ceramicsnow.org/mediapack

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James Tower and Contemporary Ceramics / Gimpel Fils, London

James Tower and Contemporary Ceramics exhibition at Gimpel Fils, London

James Tower and Contemporary Ceramics / Gimpel Fils, London
April 26 - June 9, 2012

Private View: Thursday 26 April, 6-8 pm.

Uniting art, design, sculpture and craft, James Tower holds a unique position in the history of British ceramics. As an artist who consistently challenged the perceived limits of his medium, throughout his career Tower explored the sculptural and painterly potential of ceramic forms. His vessels, plates and sculptures are exhibited here alongside recent works by six contemporary artists in order to demonstrate that the questions he grappled with have yet to be resolved.

This exhibition explores the continuing problem of how artists who work in ceramics are classified: ceramist; sculptor; painter; artist. The relevance of these definitions is actively tested by the artists included in this exhibition, all of whom explore their ideas in multiple mediums. At Brighton Polytechnic Tower was Head of Sculpture, and yet his ceramic works were not regarded as such. Indeed, his sculptures and drawings were overlooked during his lifetime. Displaying objects and drawings together, Nicholas Lees explores what he regards as the porous membrane between ceramics and sculpture in order to demonstrate their reciprocity.

Placed side by side works by Tower, Gordon Baldwin and Ken Eastman encourage a dialogue between sculptural shape, painterly surfaces and, indeed between sculpture and vessel. Like Tower, Baldwin has utilized both sculptural form and abstract marks in his work, while Eastman’s engagement with colour, and Martin Smith’s exploration of light and surface demonstrate that to work in ceramics, is also to be a painter. The scratched designs, the striated lines and dashes over the concave or convex surfaces of Tower’s vessels and plates are indicative of his desire to create a synthesis between the form and surface.

Like his contemporaries, William Scott and Peter Lanyon, Tower sought to refine an abstracted style based on natural forms. The sea and its inhabitants provided motifs and compositional models that Tower adopted and adapted according to his artistic ideals; in Snow Forest, 1982, Tower’s use of textured surface is reminiscent of a shell, mollusc or crustacean. The universality of these natural forms find commonalities in Edith Garcia’s recent body of work Absence and Presence. In a series of pressed clay forms she considers our ability to find the human form in the most minimal of shapes, objects and natural phenomena. Caroline Achaintre has also looked to Lanyon in recent work; but her interest in modern art and its legacies defy categorical boundaries and as such might be understood as uncanny hybrids of utopian ideas and human emotions.

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Play dice would be nice / Cluj – Paris, Sabot at Gaudel de Stampa

Play dice would be nice / Cluj  Paris, Sabot at Gaudel de Stampa

Play dice would be nice / Cluj – Paris, Sabot at Gaudel de Stampa
April 13 – June 16

My dear Sir,

Art is useless because its aim is simply to create a mood. It is not meant to instruct, or to influence action in any way. It is superbly sterile, and the note of its pleasure is sterility. If the contemplation of a work of art is followed by activity of any kind, the work is either of a very second-rate order, or the spectator has failed to realise the complete artistic impression.

A work of art is useless as a flower is useless. A flower blossoms for its own joy. We gain a moment of joy by looking at it. That is all that is to be said about our relations to flowers. Of course man may sell the flower, and so make it useful to him, but this has nothing to do with the flower. It is not part of its essence. It is accidental. It is a misuse. All this is I fear very obscure. But the subject is a long one.

Truly yours,
Oscar Wilde

As for each facet of our dice:

conceptual bricolage (Mihuţ Boşcu)
CRAFTY AESTHETICS (Stefano Calligaro)
synthesis and simultaneism (Radu Comşa)
Objects of Speculation (Lucie Fontaine)
more reason than rhyme (Florin Maxa)
relational SELF-CONTAINED (Alex Mirutziu)
///
THE INVISIBLE DRAGON (Aline Cautis)

Gallery hours: Wednesday – Saturday, 2–7 pm, and by appointment.

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European Travellers: Art from Cluj Today / Kunsthalle, Budapest

European Travellers: Art from Cluj Today / Kunsthalle (Műcsarnok), Budapest, Hungary

European Travellers: Art from Cluj Today / Kunsthalle (Műcsarnok), Budapest, Hungary
April 19 - July 01, 2012

Cluj’s contemporary art has for years been the subject of special international attention. The term Cluj School in reference to new figurative painting – which appeared in the mid 2000s and has been the topic of debate ever since – and the Paintbrush Factory – which houses studios and independent cultural institutions – quickly became widely known in Europe. Of the Cluj artists, many have exhibited in such prestigious international venues as the Stedelijk Museum in Amsterdam, MoMA in New York, the Kunsthaus of Zurich, and the Neuer Berliner Kunstverein. Their works have been discussed in internationally significant publications and they have collaborated with distinguished galleries. The art institutions of Cluj have notable networks of international connections and continuously host prominent foreign experts.

Artists:
Marius Bercea, Zsolt Berszán, István Betuker, Mihuţ Boşcu, Răzvan Botiş, Mircea Cantor, Radu Comşa, Csaba Csiki, Duo van der Mixt, Oana Fărcaş, Adrian Ghenie, Simon Cantemir Hausi, Mihai Iepure Gorski, István László, Victor Man & Anna-Bella Papp, Szilárd Miklós, Dénes Miklósi, Alex Mirutziu, Nita Mocanu, Ciprian Mureşan, Cristian Opris, Cristi Pogacean, Victor Răcătău, Cristian Rusu, Şerban Savu, Leonardo Silaghi, Mircea Suciu, Péter Szabó, Sergiu Toma, Gabriela Vanga, Szabolcs Veres.

Curator: Judit Angel

The success story of Cluj is no overnight “miracle” however, as it is a continuously growing, multi-layered phenomenon. Its development and evolution have not only required exceptional artistic talent, inspiration and perhaps a bit of luck, but in the background, are also the result of mostly private initiatives, as well as an immense amount of work, an open attitude, persistence and conscious self-positioning on the part of independent art institutions.

The Műcsarnok exhibition aims to offer an authentic representation of the “Cluj phenomenon.” As a special point of interest, in addition to the artworks, the show also familiarizes viewers with the most important institutions of the local art scene, which are of many different types. These include centres that house contemporary art exhibitions and accommodate theatrical and dance productions, studios that experiment with digital media, publishing projects, as well as community and activist platforms. The University of Art and Design Cluj, with its strong emphasis on building international connections, also makes its appearance. The more than thirty artists and seventeen art groups and institutions that are featured in the exhibition have been selected with a focus on the – internationally also significant – developments in Cluj within the past decade.

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Patricia Sannit: Double Crater 212, 2012, 6”x13”x7”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Double Crater 212, 2012, 6”x13”x7”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Atom Model 61311, 2011, 6”x11”x11”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Atom Model 61311, 2011, 6”x11”x11”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Double Cylinder, 2011, 6”x7”x6”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Double Cylinder, 2011, 6”x7”x6”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Cradle, 2010, 21”x32”x12”, hand-built, carved and incised reclaimed clays, slip and stain

Patricia Sannit: Cradle, 2010, 21”x32”x12”, hand-built, carved and incised reclaimed clays, slip and stain

Patricia Sannit: Hemisphere 1198, 2008, 8”x12”x12”, cast, carved and incised found and reclaimed clays, slip and stain

Patricia Sannit: Hemisphere 1198, 2008, 8”x12”x12”, cast, carved and incised found and reclaimed clays, slip and stain

Lacquer Sculptures by Murata Yoshihiko / Keiko Gallery, Boston

Silhouette 12, Lacquer Sculpture exhibition by Murata Yoshihiko, Keiko Gallery, Boston

Silhouette ’12, Lacquer Sculptures by Murata Yoshihiko / Keiko Gallery, Boston, USA
April 7 – May 7, 2012

Artist Reception: April 7, 3 — 6 pm.

From its beginning, Keiko Gallery has been committed to introducing contemporary Japanese lacquer art to the American public. We are pleased to announce the first solo exhibition by a gifted young lacquer artist, MURATA Yoshihiko, whose work relies heavily on the external play of light and shadow. His recent lyrical Silhouette focus on anthropomorphic forms whose lines twist and turn, swell and fade, like the sounds from a musical instrument. Simple, exquisite and profound, they share much in common with the brief poetic form, haiku.

Among the increasing number of well trained and gifted young Japanese lacquer artists, each of whose work is idiosyncratic, Murata Yoshihiko’s work relies distinctively on the external play of light that creates silhouettes which extend his forms and flow indistinguishably from the sculptural pieces themselves into their shadows.

Like his slender anthropomorphic forms, his occasional use of the contrasting brilliance of raden (mother-of-pearl) reflects his early fascination with the elaborate hair ornaments (kanzashi) once worn by oiran,* the high ranking goddesses of Japan’s traditional entertainment world. When he was a student in lacquer at Kanazawa College of Art — a city once famous for its entertainment quarter — he first discovered images of these courtesans whose extravagant attire and richly ornamented hair styles had captured the imaginations of most artists of Ukiyoe, the paintings and wood block prints featuring the demimonde of the Floating World. In studying these images he realized that many of the hair ornaments suggested creature-like aspects. This resulted in his exploration of small sculptures that evoked creatures of the wild.

Murata currently lives in the rural part of Japan’s Toyama Prefecture which is famous for its natural beauty and a wide variety of wild life. His encounters with the animals continually inspires his recent sculpted silhouettes.

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1st Santorini Biennale of Arts: Open Call for Applications

The Inaugural Santorini Biennale of Arts: Open Call for Applications 2012

The Inaugural Santorini Biennale of Arts: Open Call for Ceramic Art
Submissions: March 6 - May 19, 2012

Dates: July 1 - September 30, 2012

Within the framework of the 1st Santorini Biennale of Arts in 2012, ceramic artists and potters are invited to send in their artworks for consideration for this international exhibition at which a meeting of artists from all over the world will present their latest achievements.

The 2012 theme, ‘The Past: Memory and Nostalgia’, will examine intrinsic experiences and social relationships, inspired by how humanity accumulates a catalog of our personal fabric and how these collected manifestations shape the patterns of our lives. The subject ‘The Past’ is an integral part of Ceramics. The medium reflects the Past by default. But we are asking for more than the obvious reference of technique, we want interpretations of scenarios, memories or objects from the Past, contemporary or otherwise. We want to forge pathways of communication linking the Past and Present. Special consideration will be given to artworks relating to Ceremony & Ritual and also to those that will form a connection with the space they will be presented within.  

The mission of the Biennale is to promote both emerging and established artists through a wide variety of disciplines; from Drawing, Graphic Design, Illustration, Collage and Comics, through Paper, Painting, Glass, Sculpture and Ceramics, to Photography, Short Film, Video Art, Installation and Industrial Design.
By means of an advanced framework of outreach activities the Biennale will also seek to cultivate the emerging spirit of the island, inviting all participants into an open dialogue concerning new ideas for social change.

The curatorial team
Dimitra Bratika and Michael Vlavianos (Photography), Sara Falanga (Glass Art and Graphic Art), iLya (Comics), Rajesh Punj (Sculpture and Installation), Alexa Kusber (Industrial Design), Tracey Holt Walkden (Ceramic Art), Tomas Poblete (Collage), Paola Gentili (Paper), Nicky Peacock (Illustration), Simon Tarrant (Painting), Anneca York (Drawing) and Holly Bynoe (Video Art and Short Film).

The open call for artist submissions is from March 6 through May 19, 2012.

For further information visit Santorini Biennale’s website.

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