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contemporary art

Turi Heisselberg Pedersen: My Garden / Copenhagen Ceramics, Denmark

Turi Heisselberg Pedersen: My Garden exhibition at Copenhagen Ceramics, Denmark

Turi Heisselberg Pedersen: My Garden / Copenhagen Ceramics, Denmark
March 29 - April 21, 2012

Opening reception with Garth Clark, New York-based critic, writer and gallerist: Thursday, March 29, 5–8 pm.
Artist Talk with Turi Heisselberg Pedersen: Saturday, March 31 at 2 pm.

"I love my garden, its plants and vigorous growths. Its potency of growth that within one season can produce an enormous plant from a tiny seed. It contains such a wealth of amazing and strange shapes, textures and colours. Furthermore it is a curious mix of nature and cultivation, of something dirty or beautiful, of poetry and ugliness. Certain things bloom and grow, some go wrong, unsuccessfully. It is a world of controlled nature, which is shaped, trimmed and reworked, not unlike the world of clay" Turi Heisselberg Pedersen explains on the inspiration for her show. Her garden can be experienced at Copenhagen Ceramics from 29 March through 21 April 2012.

For the exhibition My Garden Turi Hesisselberg Pedersen has created a new series of works inspired by the patterns, textures and structures in her garden. In the process of transforming this into ceramics works, two overall themes have emerged:

Vases inspired by buds and growths
On one hand you find a group of precise, simple and cultivated shapes. For example vases inspired by the tautness of swelling flower buds – formal expressions that may seem almost vulgar. Or abstract, simple vase-shapes miming the upward, rhythmic patterns of plant-growth. Both act as ceramic equivalents to the trimmed and cultivated nature of gardens and an interpretation of the underlying order.

The opposite theme renders visible the sprouting life under ground. Out of this, works in the shape of organic, bulbous forms and seed capsules emerge with coarse, expressive surfaces or fluted structures. Careless growths and root-like forms, testifying to the more unruly forces of the garden.

In her new exhibition, Turi Heisselberg Pedersen will be showing some all-new, expressive and asymmetric works, where she explores the inherent character and textural freshness of the clay. Other pieces are more typical of her and display her mastery of simplified sculptural vessels, where rhythm, lines and the interplay between forms are recurrent themes.

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  • Richard Slee: Camp Futility / Studio Voltaire, London

    Richard Slee: Camp Futility exhibition at Studio Voltaire, London

    Richard Slee: Camp Futility / Studio Voltaire, London
    April 25 – May 26, 2012

    Opening reception: Tuesday, April 24, 7–9 pm

    Studio Voltaire presents a new commission by Richard Slee, comprising of a series of objects and installations made specifically for the exhibition. Slee is an important figure within contemporary ceramics and the exhibition will be his first presentation in a public gallery since From Utility to Futility, a solo exhibition at the Victoria and Albert Museum in 2010.

    Central to Slee’s exhibition at Studio Voltaire is a number of works based on vernacular objects such as wood saws, hammers, pick axes and camping equipment. Inspired by a recent residency at Alfred University, in upstate New York, the works investigate particular myths and the symbolism of our ideas of America such as the great outdoors and the pioneer spirit. Lashed together workbenches that refer to old mining equipment, various scattered tools and an abandoned camp-fire can be read as an allegory to abandoned industries where whole communities move on to find employment elsewhere.

    Ideas challenging the economy of productive labor are implicit in Slee’s combination of the hand-made and the found object. The uncanny hybrid of the de-skilled ready-made and the crafted object convey a subversive humourous vision that playfully investigates the limits of the ceramic tradition. Mass produced, everyday objects are meticulously realized with highly glazed, bright colors. These seductive surfaces recall a Pop or post-modern aesthetic that belies the more psychological, underlying cultural references of an object’s utility.

    Slee (born 1946, Carlisle) works and lives in London. He studied Ceramics at Central School of Art & Design and the Royal College of Art. Until last year, he was a senior Professor at the University of the Arts in London. His work has been shown in London and internationally since the late 1970s and recent exhibitions include Postmodernism: Style and Subversion 1970 – 1990, V&A Museum, London (2011-12), The Peir Arts Centre, Stromness (Solo, 2004) and Tate St Ives (Solo, 2003). Slee is represented by Hales Gallery, London.

    Sponsored by SIMONE.
    Supported by The Henry Moore Foundation.

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  • Jenni Ward: Branch Series (installation), 2011, ceramic & high temperature, wire, variable dimensions

  • Jenni Ward: Branch Series IV, 2011, ceramic & high temperature, wire, 54” x 8” x 8”

  • Jenni Ward: Branch Series I, 2011, ceramic & high temperature, wire, 47” x 4” x 4”

  • Jenni Ward: Hive Series V, 2011, ceramic, 24” x 40” x 4”

  • Dimitrios Antonitsis: Sarmale with Ketchup / SABOT Gallery, Cluj-Napoca, Romania

    Dimitrios Antonitsis: Sarmale with Ketchup exhibition at SABOT Gallery, Cluj-Napoca, Romania

    Dimitrios Antonitsis: Sarmale with Ketchup / SABOT Gallery, Cluj-Napoca, Romania
    March 21 – May 5, 2012

    Sleek show fitting the sleek space of Sabot and breathing contemporary air into the Transylvanian folklore.

    A graduate of the New York Film Academy and a former fashion photographer, Antonitsis is keenly aware of the different ways reality can be manipulated or exaggerated. (Tina Sotiriadi | Art in America, April 2002)

    The Folklore, as a term of Dimitrios Antonitsis’ personal vocabulary, is invariably concerned with the practice of handcrafts. Always manifesting a soft spot for the discarded and the rejected, the artist easily fell for the triviality of Romanian fleamarket-stands, where he purchased used ceramic pots and vessels, woven rugs and bedspreads, and even some coarse wood-crafted decorative objects. These forsaken, modest artifacts became the chosen ingredients for his challenging task of pursuing a juicy aesthetical discourse and transforming them into his own contemporary dish.
    The mundane titles “Sarmale with Ketchup” (for his solo show at Sabot), and “Panache de Papanași” (for the concomitant exhibition at the Museum of Art in Cluj-Napoca), should be therefore read as an act of resisting social formatting.

    Antonitsis uses his latest sculptural work as a sharp metaphor for leisure, fun and luxurious consumption. Bonus, a giant canine treat in aluminum and Bunny Labyrinth, a kids game silk-screened on a woven rug comment on our complicated and troublesome relation with over-achievement, social power and reward. His aesthetic language stretches from an attractive and minimal object making to an overcharged and exaggerated folklore design, always responding to the goal of articulating the concepts as accurately as possible. After all, Antonitsis is an artist who feels responsible for bringing truth to his audience. He can be wrong or misunderstood, but he must struggle to reflect reality in a way that speaks out the truth, whether we comprehend it or not.

    Artist and curator, Dimitrios Antonitsis is the founder of Hydra School Projects, a cutting edge international platform for the visual arts set up in an elementary school on the Greek island of Hydra.

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  • SEATS 05: Sibylle Stoeckli, Christian Horisberger, Enzo Mari / Depot Basel, Switzerland

    SEATS 05: Sibylle Stoeckli, Christian Horisberger, Enzo Mari at Depot Basel, Switzerland

    SEATS 05: Sibylle Stoeckli, Christian Horisberger, Enzo Mari / Depot Basel, Switzerland
    March 24 - May 6, 2012

    On the 23rd March (17-20 pm), Depot Basel will opened its doors at their residence in Basel once again.

    Depot Basel takes on the topic of SEATS for the prelude of the 2012 season. A regular chair consists of four legs and a backrest, however, according to demands, a chair can also have three legs, diverse dimensions, shapes and outlines. We will take a close look at the past, present and future – of how chairs take shape and how they have changed with time.

    Sibylle Stoeckli and Christian Horisberger will re-interpret Enzo Mari’s “Do It Yourself” chairs from 1974. The workshop will be put into practice at Depot Basel together with the School of Design Basel – Renata Borer and Kuno Nussli.

    The project “Take a seat” initiated by AEKAE for “Café Z am Park” shows Horgen Glarus’ Classic 1-380 chair re-designed by various designers. Additionally, we show the favourite chairs of people from Basel.

    In co-operation with the Czech design collective OKOLO we will present an illustrated selection of unusual seating in the history of Modern Design in the form of a limited edition publication.

    Last but not least, the initiators of “Leuchtturm Kreative Wirtschaft” will round off our programme with the first talk of their new lecture series titled “MILK – Design dialogue #1” starting at 8 pm on Saturday, March 23.

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  • Liliana Folta

    Liliana Folta Contemporary Latin American Ceramics

    Liliana Folta's profile on Ceramics Now Magazine - View her works

    “The potential ability of the imagination has an important impact in our lives.  Minds have visual images that we collect through our lives.

    These inner-images that represent my works are examinations of my existence. However, in this bank of memories I cherish every possible emotion; happiness, growing pains, family loss, first love, motherhood, sexuality, multicultural experiences, frustration, social-political issues and most importantly the celebration of life.

    As an artist I like to work with different mediums, especially ceramics and acrylic paintings. Lately I have been experimenting with ceramic installations and mixed media. The freedom of expanding my work in another dimension makes me feel more connected with the viewers.
    The process of my work mostly is very spontaneous. The rest comes along with what my subconscious has been saving in my bank of memories, throughout my life and the happening of the moment.” Liliana Folta

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  • Liliana Folta: An Abstract Poem of Freedom, 2009, (on going) traveling/interaction/installation: ceramic chain, bullets & bowl; white gesso, ink, wooden chair, white sheets, rug, soldier boots, paper, high temp wire, 3x7x2 ft.

  • Liliana Folta: An Abstract Poem of Freedom, detail 2. The ceramic bullets are signed by soldiers, veterans, and/or their families from different wars throughout history: WWI, WWII, Vietnam War, Islas Malvinas War, etc.

  • Liliana Folta: An Abstract Poem of Freedom, detail, 2009

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