Making or unmaking? The Contexts of Contemporary Ceramics - Conference in Bergen, Norway

Making or unmaking? The Contexts of Contemporary Ceramics, Conference in Bergen, Norway

The Contexts of Contemporary Ceramics - Conference
27th - 29th of October 2011

The opposition between studio and industrial ceramics that has had such a central place in the self-understanding of studio ceramists, no longer seems meaningful. A shift from production to reproduction has taken place. Images and patterns from different sources are appropriated and manipulated. Mass-produced objects, often characterized by disuse, disruption and damage, have come to be increasingly used as raw materials. The relationship between artist and artisan has also changed. The conference focuses on the way in which these changes influence contemporary making, and how they contribute to the unmaking of conventional understanding of ceramics and craft practices in general.

SPEAKERS
Glenn Adamson, Barnaby Barford, Marek Cecula, Nicole Cherubini, Mònica Gaspar, Tanya Harrod, Ben Highmore, Gitte Jungersen, Søren Kjørup,Carol McNicoll, Kevin Murrey, Andrew Livingstone, Michael Petry, Mike Press, Paul Scott, Ezra Shales, Richard Slee, Caroline Slotte, Linda Sormin, Hans Stofer, Clare Twomey, Jorunn Veiteberg and Anne Britt Ylvisåker.

EXHIBITIONS
West Norway Museum of Decorative Art: Thing Tang Trash. Upcycling in Contemporary Ceramics (curator: Heidi Bjørgan); Galleri Rom 8: Kjell Rylander; Hordaland Art Centre: Shot: Textiles and Photography (curator: Glenn Adamson); Galleri Format: The Red Room (curator: Heidi Bjørgan); Galleri Fisk; S12: Young and Loving.

LOCATION
Terminus Hall, Hotel Grand Terminus, Bergen, Norway.

PROGRAM
Thursday Oct 27, 10.00-18.00
Workshop 1: History Lessons

Glenn Adamson (USA/UK): Ten easy pieces: Postmodernism and the found object
Carol McNicoll (UK): Domestic collage
Richard Slee (UK): The way he is sourcing things
Ezra Shales (USA): The museum as medium-specific muse
Clare Twomey: Manufactured not made
Caroline Slotte (FI): Long exposure
Paul Scott (UK): Willows, windmills and wild roses. Recycling and remediation
Tanya Harrod (UK): Memory work: Craft and art in post-industrial Europe

Exhibitions: Thing Tang Trash. Upcycling in Contemporary Ceramics, Art Museums Bergen/Permanenten (19-21)

Friday Oct 28, 9-17
Workshop 2: Object Lessons

Ben Highmore (UK): The poetics of made things
Hans Stofer (CH/UK): ’Biting into a cherry does not prepare you for the stone’
Mònica Gaspar (ES/CH): Craft in its gaseous state: An exhibition report
Andrew Livingstone: The ceramic regurgitant: sustainability and the readymade
Barnaby Barford (UK): Appropriation, narrative and humour
Gitte Jungersen (DK): Place to be lost, materiality and meaning in my work
Jorunn Veiteberg (NO): The Duchamp effect in ceramics

Exhibition openings: Kjell Rylander Rom 8; B.T.2011, Galleri Format (curator: Heidi Bjørgan); Textiles and Photography, Hordaland Art Center (curator: Glenn Adamson); Young and Loving, Gallery S12.

Saturday, Oct 29
Workshop 3: Institutional Lessons

Michael Petry (UK): The art of not making: The new artist/artisan relationship
Marek Cecula (PL): Industrial interventions
Anne Britt Ylvisåker (NO): The museum: New potentials
Linda Sormin (CA/USA): Chinese Take-out
Kevin Murrey (AU): The new do-it-themselves ceramics: throwing out the baby with the mud?
Mike Press (UK): Handmade knowledge. The new challenge for craft.
Søren Kjørup (DK): A philosophical perspective: A new history, a new order.

19.00 Dinner, Grand selskapslokaler.

Reservations

The research conference is organized by K-verdi (www.k-verdi.no) at Bergen National Academy of the Arts, in collaboration with Art Museums of Bergen. Supported by the Norwegian Research Council, Bergen National Academy of the Arts, Bergen kommune, Hordaland Fylkeskommune and Norske Kunsthåndverkere.

NCECA 2012 Projects Space: On the Edge

NCECA 2012 Projects Space: On the Edge

NCECA 2012 Projects Space: On the Edge

ENTRY DEADLINE: Friday, November 4th, 2011 (midnight MDT)

To be “On the Edge” is to be balancing yet changing, openly vulnerable and possibly ephemeral, about to plunge into a place that is undefined, unconventional and unexpected. “On the Edge” can be applied to virtually anything, from an impeding natural force to a chemical process, to a human emotion, memory, or condition. The dynamic and ever-changing landscape of the Pacific Northwest is a geographical manifestation of this concept and is at its most vigorous along the shores of Seattle and the Puget Sound-the site of NCECA’s 2012 Conference.

“On the Edge” can also easily be applied to the medium of clay. Of all the materials that artists reach for, it can be argued that clay holds the most fundamental potential: able to immediately respond to the force of a touch, constantly changing and moving on to the next edge of expression. 

For the 2012 Projects Space in Seattle, artists are invited to consider the possibilities that lie within the medium of clay and submit works that consider the concept of “On the Edge.” Now in it’s third year, NCECA’s Projects Space is a platform for ceramic artists to present works that embrace the medium not as an end, but as a means of embracing the material as a physical metaphor, allowing it to communicate beyond the expected. Jurors Linda Ganstrom, Marianne McGrath, and Jeffry Mitchell are looking for submissions that not only actively embrace the concept of “On the Edge” using the medium of clay as a central focus, but also engage their materials, processes, and audience in unique and unconventional ways. Artists should keep in mind that the Projects Space Exhibition lies in the Central Hall at the heart of the NCECA Conference, and works are meant to grow and change throughout the duration of the conference.

Five juried and invited artists will be assigned a 10’ x 19’ raw space in the Central Hall of the Seattle Convention Center to create their works during the week of the 2012 NCECA Conference. Artists will have from 9am to 4:30pm Tuesday, March 27th to install their materials and begin their piece. The artists will be featured guests at a reception Tuesday evening. Artists will continue to interact with their materials and piece throughout the conference ending Friday, March 30th at 5pm. Artists will de-install and clean their spaces from 5-9pm that evening.

DETAILS:

  • Selected and invited artists will receive a 2012 Conference Pass and a $500 stipend. The stipend is all-inclusive and is meant to aid in the purchasing of materials for the work, and in the shipping of the work to and from Seattle.  Artists will be responsible for all shipping costs and ensuring all their materials are available for the installation to begin at 9am on Tuesday, March 27th. Artists shipping directly to and from the WSCC will make arrangements with NCECA staff, and will incur an additional fee for signing. Artists will receive approval for payment of their stipend based on the condition that their space is left clean, without debris, or leftover materials of any kind. There should be no evidence of the piece remaining in any form. Plastic sheeting will be available for the floor, and the spaces will be clearly delineated. 

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