Clémence van Lunen exhibition / Galerie NeC, Hong Kong

Clémence van Lunen contemporary ceramics exhibition Galerie NeC, Hong Kong - Ceramics Now Magazine

Clémence van Lunen exhibition / Galerie NeC, Hong Kong
October 5 - November 18, 2012

Opening: Thursday, October 4, from 6 pm.

"Sculpture, polyglot, curious and on the alert, fascinated by the countries which she has discovered, cultures and languages which she practises and likes, Clémence Van Lunen is a renaissance woman. She develops multiple works which could be defined as high curiosity in the same sense we sometimes describe ancient amateurs cabinet, but in her case it is in an eclectic and knowledgable way. The art critic and exhibition curator Frédéric Bodet wrote about her work, "rare forms are expressed with an indecisive act, dedicated to the enjoyment as much as to the dismay that she constantly tries to disturb us, her sculptures evoke a sort of sympathy which makes you stop and hesitate."
Her invitation to Sèvres in 2007 - that allowed me to get to know her better - stood out as an evidence, as a necessary stage for her after her travels a round the world and her research in ceramics.

On her return from one of her regular travels to China, she proposed at Cité de la céramique a universe of porcelain dragons (she chose on purpose the most symbolic animal of China), with the determination to produce them all herself with an never before used experimental mixture of porcelain pastas from our mill.

Compositions of a series of porcelain elements turned, deformed then wrapped up, gathered in an experimental way and delicately assembled, the monumental sculptures required the traditional techniques of production but, however, adapted in a personal and creative way. She then imagined an centre piece , consisting of several elements of biscuit which was built up of a small «archipelago» on a table, like so many islands with strange plants; it was an invitation to a new journey!

Her experience at la Cité de la céramique illustrates perfectly its capacity to create a gateway, to imagine formal round trips, cultural and aesthetic juxtapositions, which are her trademark and her talent.”

David Caméo, Director of Sèvres, Cité de la Ceramique France

Read More

Arina Ailincai: IN-SCRIPTED BODY / Art on the Avenue Gallery, Philadelphia

Arina Ailincai IN-SCRIPTED BODY exhibition Art on the Avenue Gallery, Philadelphia - Contemporary romanian ceramics

Arina Ailincăi: IN-SCRIPTED BODY / Art on the Avenue Gallery, Philadelphia, PA
September 14 - October 7, 2012

Opening Reception: Friday, September 14, 5:30 - 8:30 pm.

Art on the Avenue Gallery, at 3808 Lancaster Avenue, is pleased to present Arina Ailincăi: IN-SCRIPTED BODY, a solo sculpture exhibition featuring recent works in clay of this noteworthy international artist.

Arina Ailincăi is a truly international artist. Raised and educated in Romania, she began her artistic career in Eastern Europe. In the 1980s she crossed the Atlantic and settled in Canada, where she was soon acknowledged as one of its most talented artists working in clay. At that time she also exhibited and lectured in the United States. Over the last several years, she has been invited to work, exhibit and lecture at major ceramic art centers and international events throughout Europe, including Denmark, Estonia, Latvia, France, Italy, Germany, Switzerland, Hungary, Romania, Croatia and Turkey. Most recently she has held residencies in China, Taiwan, Japan and South Korea.

Arina Ailincăi’s art focuses on the human figure, with the body cast using real bodies - often her own. The closeresemblance of the ceramic sculpture to the actual body is only a starting point for her deeper exploration of the universal human condition as an embodied self. Ailincai’s sculptures in clay are philosophically and metaphorically charged. The markings on the outer surface and the mysterious inscriptions in the hollow interior of the body transform the replica of a particular individual into an archetypal human vessel, holding the traces of inner life, time, place and history.

"My desire is to “write” a three dimensional poem to both the fragile physical body and the intangible world of our inner existence. I translate this desire into ceramic sculpture through the use of faithfully replicated, life-size clay body-casts and fragments. I press the clay into the plaster mold to create ”the shell," a hollowed out body shape: an empty vessel containing the inner self, with its personal and universal history. The scripts imprinted on the interior walls of the shell, acquire symbolic and metaphoric dimensions, becoming a palimpsest of the entire human existence.  While most of my works are made in clay, I make use of other materials and techniques, often combining drawing and photography in my installations. I want to synthesize two-dimensional and three-dimensional vocabularies into a visual language charged with meaning, which directs the viewers to sense their location, both within and without.” Arina Ailincăi

Read More

Bharti Kher / Parasol unit foundation for contemporary art, London

Bharti Kher exhibition Parasol unit foundation for contemporary art, London

Bharti Kher / Parasol unit foundation for contemporary art, London
September 14 – November 11, 2012

Preview: 13 September 2012, 6.30 – 9 pm.

Parasol unit foundation for contemporary art is delighted to present works by Bharti Kher in her first solo exhibition held in a public art institution in London. The exhibition is composed of a selection of works from the recent past, with an emphasis on the artist’s sculptural works.

Known for her extensive use of everyday, found objects and imaginatively transforming their identity, Kher empowers her often otherworldly creations to present themselves unabashedly as if they were a natural part of our culture and environment. Kher’s work often explores the notion of the self as a multiple, open to interpretation and shape-shifting. Her art practice is intimately intertwined with her life, not only because she borrows motifs and artifacts for her work, but also because she has an inquisitive mind and a strong desire to understand sociological issues. Such characteristics endow Kher’s work with a narrative quality and fascinating interiority of things that frequently contradict her practice of addressing more global and collective concerns. This tension is precisely what leads us more deeply into Kher’s work and world and prompts us to reposition our own relationship to her individual pieces.

Kher is perhaps best known for her elaborate and stunning bindi dot paintings: abstract, swirling constellations of colourful bindis glued to flat surfaces that create unique imagery somewhere between being illusory and hyper-realistic. But in recent years her artistic creations have become increasingly bold and unrestrained, several examples of which are on show in the exhibition. The phenomenal, life-size elephant that is The skin speaks a language not its own, 2006, made of fibreglass and covered with serpent - or sperm-shaped white bindis, bears a symbolism that leaves viewers uncertain about the animal’s condition. The title of the work, always an important component of Kher’s works, suggests that physical appearance and inner values are often in conflict.

Read More

Rosemarie Trockel: A Cosmos / NEW MUSEUM, New York

Rosemarie Trockel: A Cosmos exhibition NEW MUSEUM, New York

Rosemarie Trockel: A Cosmos / NEW MUSEUM, New York
October 24, 2012 - January 13, 2013

Co-curated by Rosemarie Trockel and Lynne Cooke for the Museo Centro de Arte Reina Sofía, “Rosemarie Trockel: A Cosmos”—encompassing all three main gallery floors of the New Museum building on the Bowery—will present a world shaped by Trockel’s ideas, interests, and affinities. Instead of a traditional retrospective, this exhibition takes the form of an artistic self-portrait in which Trockel’s work shares space with objects that have influenced her thinking and her practice. Spanning different eras and cultures, “A Cosmos” brings together objects from disparate fields to compose a cartography of Trockel’s influences.

Since the early 1970s, Rosemarie Trockel has produced an impressive body of work that includes drawing, collage, installation, “knit paintings,” ceramics, videos, furniture, clothing, and books. She brings together a range of associations and references from art history, philosophy, theology, and the natural sciences. For “A Cosmos,” the dense field of Trockel’s influences will be articulated in installations that illuminate the intellectual and formal connections between her practice and that of a range of historical figures including self-taught artists James Castle and Morton Bartlett, and the botanist/mathematician José Celestino Mutis. Objects whose impetus was primarily aesthetic will be juxtaposed with pieces that more conventionally belong to the realm of science. Trockel’s roughhewn glazed ceramics from the past several years will be displayed in conjunction with Leopold and Rudolph Blaschka’s delicate glass models of sea creatures created in the nineteenth century. A selection of new drawings by Trockel can be examined along with watercolors by the seventeenth-century artist Maria Sybilla Merian, whose impeccably precise yet beautiful renderings of flora and fauna proved invaluable to scientific study.

Trockel’s well-known disregard for the conventional hierarchies in the visual arts, together with her longstanding appreciation of media and materials once categorized as crafts or vernacular art forms, is demonstrated throughout the exhibition. She has adopted a fluid and radical approach to gender, combining activities typically considered feminine in terms of production with aggressive mechanical and industrial forms. This facet of her practice is emphasized through the inclusion of Judith Scott’s obsessively wrapped yarn sculptures alongside Ruth Francken’s plastic and metal assemblages from the 1970s. In addition, Trockel’s celebrated “knit paintings” will be integrated into the exhibition, along with new works made of glass.

Rosemarie Trockel was born in 1952 in Schwerte, Germany. She studied at the Kölner Werkschulen in Cologne, Germany. Since 1998, she has been a professor at the Staatliche Kunstakademie Düsseldorf. She lives and works in Cologne.

Read More

Scandinavian Design / Museum of Fine Arts, Houston

Scandinavian Design / Museum of Fine Arts, Houston

Scandinavian Design / Museum of Fine Arts, Houston
August 26, 2012 – January 27, 2013

Scandinavian Design, drawn from the MFAH collection of decorative arts, showcases furniture, glass, ceramics, metalwork, and lighting from the 1920s to the 1970s. The MFAH first acquired examples of modern Finnish glass in 1954, and in recent years the museum has built on this history by acquiring outstanding objects by architects, designers and manufacturers such as Georg Jensen, Orrefors, Alvar Aalto, Bruno Mathsson, Kaj Franck, Timo Sarpaneva, Tapio Wirkkala, Poul Henningsen, Finn Juhl and Verner Panton.

The objects created by designers active in Denmark, Finland, Sweden and Norway during the 20th century embody a distinctive aesthetic typified by an emphasis on high-quality design distributed widely through mass production. Often Minimalist, and characterized by clean lines, the Scandinavian design movement originated with a 1950s design show that traveled to the United States and Canada to showcase Nordic designers and the “Scandinavian way of living.” Scandinavian design influenced the development of Modernism in North America and Europe, and it continues to shape decorative arts today.

This exhibition is organized by the Museum of Fine Arts, Houston. Generous funding is provided by Dr. Marjorie G. Horning.

Entrance to this exhibition is included with the museum admission. MFAH Members receive free general admission.

Read More

Gustaf Nordenskiöld exhibition / Galerie NeC, Hong Kong

Gustaf Nordenskiöld exhibition Galerie NeC Hong Kong

Gustaf Nordenskiöld exhibition / Galerie NeC, Hong Kong
August 24 - September 29, 2012

Opening: Thursday, August 23, from 6 pm.

Gustaf Nordenskiölds ceramic work deals with issues about functionality, primitivism, natural forces, and perceptible method. He is exploring the field between design, crafts, arts and industrial production.

The exhibition consists of new museum collections, post production, the assembly of pre-existing and newly manufactured items, and works transformed to form new en-sembles. The exhibition presents ambivalent ceramic works, virgin archaeological objects of unknown origin that expresses beauty in the making, or in disrepair.

"My intention is to create works in which the methods are a prerequisite for the final result, where traces of the process remains in the finished work.
To freeze a moment for posterity. To preserve and display an action. What is worth preserving? Methods where the finished objects conveys trace of effort, different movement patterns or natural deformation/formation.”
Traces, as a memory of its creation, Gustaf Nordenskiöld, 2012.

In partnership with the Consulate General of Sweden, Hong Kong.

Gallery Hours: Monday to Saturday, 11 am - 8 pm. Sunday, 1 - 6 pm.

Read More

CHANGE Exhibition / Ceramic Centre Furnace Pagliero, Castellamonte, Italy

CHANGE Contemporary Ceramic Art exhibition at the Ceramic Centre Furnace Pagliero, Castellamonte, Italy

CHANGE Exhibition / Ceramic Centre Furnace Pagliero, Castellamonte, Italy
28 July - 7 October, 2012

Change, an innovative title that wants to send a strong message about the communicative potential of ceramics in contemporary art world. The objective is clear: it is Castellamonte, the city of stoves, together with the furnace Pagliero, the oldest factory in the suburb wisely restored by owner Daniel Chechi, now a center avant-garde cultural production and to send a new message on the potential and the language of contemporary ceramics. A spirit of continuity with the past, but also breaking, where twelve artists invited to exhibit created specific works of great communicative power, which are fully included in the Olympus of contemporary art.

Artists: Silvia Calcagno, Terry Davies, Mariano Fuga, Gian Genta, Rita Miranda, Simone Negri, Brenno Fish, Jasmine Pignatelli, Franco Rampi, Paola Staccioli
Curator: Silvia Campese

The artists, selected as the most important names in art pottery, have identified a specific site within the architectural splendor of the furnace, creating the appropriate specific interventions designed for the site.

A separate section is devoted to the potter Savona Sandro Lorenzini, the author appreciated not only in Europe, which has made almost all the works shown in the Furnace Pagliero, invited by Daniele Chechi as an “artist in residence”.

The show joins “The metaphysical dream” by Giorgio de Chirico and Lisa Sotilis and “Figures of fire” by Bernard Aubertin, Elio Torrieri, Lilian Rita Callegari, and Umberto Mastroianni. A complex work, supported by the critical point of view by the Director of the International Museum of Applied Arts Today MIAAO, Enzo Biffi Gentili.

Read More

Summer Exhibition 2012 / Erskine Hall & Coe Gallery, London

Summer exhibition 2012 at Erskine Hall & Coe Gallery, London

Summer Exhibition 2012 / Erskine Hall & Coe Gallery, London, UK
25 July - 30 August, 2012

Artists: Sebastian Blackie, Claudi Casanovas, Peter Collingwood, Tanya Gomez, Matthew Harris, Deirdre Hawthorne, Steven Heinemann, Shozo Michikawa, Gustavo Pérez, Tim Rowan, Anna Vannotti

Erskine, Hall & Coe specialise in 20th Century and Contemporary ceramics. The gallery is in central Mayfair, off Bond Street, at 15 Royal Arcade.

The gallery carries an extensive stock of ceramics, often including works by, Lucie Rie and Hans Coper, Jennifer Lee, Gwyn Hanssen Pigott, Shozo Michikawa and Sara Flynn. Its ten annual exhibitions feature the work of British and international artists, in some cases exploring the interplay between ceramics, sculptures and paintings.

Gallery Hours: Monday - Friday: 10 am - 6 pm, Saturday: 10 am - 6 pm (during exhibitions only).

Read More

Wouter Dam exhibition / Galerie NeC, Hong Kong

Wouter Dam exhibition at Galerie NeC Hong Kong

Wouter Dam exhibition / Galerie NeC, Hong Kong
28 June - 18 August, 2012

"The ceramic sculptures I make, do steadily develop along a clear line, this last group of sculptures here on show are slightly larger and with more unbroken circles incorporated into the sculpture, in this way slowly revealing more of its origins, the vase and bowl shape.

The sculptures are closed and curled on to itself and in this way, keeping more of it’s secret, enticing you to explore the almost hidden inside of the sculpture.
They are covered with a coloured engobe, the latest colours I have introduced are the soft pink, a light porcelain blue, and a grey tone. All these colours are specifically chosen to enhance the shape and to give a good contrast in between light and shade.

The sculptures are built up of elements made on the potterswheel, assembled when leatherhard, every one of them becoming a unique sculpture, although clearly belonging to the same family of shapes.

The sculptures are like drawing lines in space, making the clay seem weightless. The edges are refined and cut through the air in contrast to the soft voluminous exterior surfaces that bask in the light.” Wouter Dam, 2012

Gallery Hours: Monday to Saturday, 11 am - 8 pm. Sunday 1 pm - 6 pm.

Read More

Interview with Kimberly Cook - Artist of the month, May 2012

ARTIST OF THE MONTH, May 2012: Kimberly Cook

/ Read the full interview in Ceramics Now - Issue Two

Ceramics Now Magazine
: Do you remember your first encounter with ceramics? What made you choose this particular way of expressing yourself?

Kimberly Cook: My first encounter with ceramics was when I was a child. During my family’s summer holiday, my parents would take my sister and I on a very long drive from Texas to Ohio, to visit my father’s family. I remember being so excited when we arrived in Ohio, because it meant that I was going to be able to visit my aunt Coby’s ceramic studio. She had an incredible ceramic studio set up in her basement, where she taught workshops. I remember loving the smell of the wet clay, being surrounded by an endless array of colorful glazes, china paints, gold, silver, and pearl lusters, and tools that enabled her students to create anything they wanted out of this wondrous natural material that was easy to form and smelled sweetly of the earth. I was enthralled with the medium, and wanted to learn the techniques of creating both my own sculptural and functional forms.

Another vivid childhood memory of being exposed to ceramics was seeing the traveling King Tut exhibit. I was drawn to the ceramic Bes deity pots and their use in the home as a protector of women and children. For the first time, even in mynaiveté, I realized that there could exist a “conceptual” aspect to creating these forms. What also intrigued me were the marl ceramics of the second Naqada period, which were decorated with reddish-brown drawings that developed from the early geometric forms to less abstract images. Among some of my favorite are those that depicted oared boats transporting what has been interpreted as deities, and the decorations that included people and animals.

Working in clay has become a cathartic way of expressing myself, and because of this, I will never stop using it as my primary mode of self-expression. From these early childhood memories and tangible encounters, I found a palpable love of ceramic materials, which sustain me to this day.

[]

Kimberly Cook Contemporary Ceramics - Interview for Ceramics Now Magazine

Trophy, 2011, Ceramic, mason stain, gold luster, 35” x 23” x 20” - View her works

Your works are figurative and often have a narrative quality. But trying to convey a certain message without using words can be difficult for an artist. Do you sometimes fear that people will fail to understand the meaning of your works? How outspoken should a work of art be?

I use to be concerned that viewers would fail to understand my work, but not anymore. After your work has been censored and removed from a gallery, you start to understand that that is actually a compliment. You have struck a nerve; a message got across to a viewer, understood or misunderstood, doesn’t matter. What created that shift in thought for me was the fact that I realized that everyone is going to have their own experience viewing my work, their own perception, and their own opinions. I am okay with that – to me that is what good art is about. If it moves someone, great; if it disturbs someone, great – I want my work to encourage people to go inside of themselves and ponder and reflect before reaching any hard and fast conclusions.
[]

Read More