Territorios Conmovidos / Museo de Arte Contemporáneo Latinoamericano MACLA, La Plata, Argentina

Territorios Conmovidos exhibition at MACLA, La Plata 2014

Territorios Conmovidos / Museo de Arte Contemporáneo Latinoamericano MACLA, La Plata, Argentina
May 15 - June 29, 2014

Curated by Lucía Savloff.

The exhibition was born from the sensations that were aroused to a group of artists from La Plata after the perception of what happened during the terrible flood that hit their city last April 2nd of 2013. The artworks of Marcela Cabutti, Mariela Cantú, Gabriel Fino, Graciela Olio and Paula Massarutti display a diverse set of poetics that allows us to think about how the construction of images and artistic devices participates in the process of building a collective memory.

Certain circumstances constitute an event to the extent that causes a deviation in the course of our everyday experience. Natural or social tectonic movements displace the foundations on which we build us. The unpredictable breaks, hits, and then opens, letting us see what was below that which has been moved. The flood brought our attention to what we usually don´t look, putting our fragility in public, and revealing that the way we live, build and socially act modifies the territory we inhabit. The artworks in this exhibition do not try to “represent” what happened. The artists conceive the practice of memory from the field of poetry, creating works and devices that function as meeting spaces that enables dialogues unknown a priori. As blocks of sensations or resonance boxes, the artworks create meeting infrastructures and invite to build from its empty spaces.

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Jun Kaneko: A Stage for a Shared Dream / Locks Gallery, Philadelphia

Jun Kaneko contemporary ceramics exhibition at Locks Gallery

Jun Kaneko: A Stage for a Shared Dream / Locks Gallery, Philadelphia
May 2-31, 2014

Locks Gallery is pleased to present an exhibition of ceramic works by the artist Jun Kaneko, alongside video excerpts of the artist’s opera design for Wolfgang Amadeus Mozart’s The Magic Flute.

Stemming from his ongoing concerns regarding spatial relationships and installation, Kaneko has fluidly moved between his sculpture and theater practice. The late art critic Arthur C. Danto applauded Kaneko’s previous opera design (for Madama Butterfly) stating that, “The production unfolds like a shared dream.”

The exhibition highlights the imaginative color palettes along with the bold and organic patterns that have become a creative signature for Kaneko’s interdisciplinary aesthetic. Discussing his glazing process, the artist remarked that, “I start thinking about orchestration of the colors around the work as a whole… sort of like a symphony. Everything has to make an interesting harmony to become one, to be there as one statement.”

With this installation of Kaneko’s Dango (freestanding stele forms) and wall-mounted slab works, a new conversation can begin between the artist’s studio and his contributions to the opera stage. Within the varying forms of his Dangos, their figurative presence is transformed to the theatrical. The exhibition is presented on the occasion of the east coast debut of The Magic Flute at the Kennedy Center in Washington, D.C. alongside an installation of monumental Dangos in the Hall of Nations.

Jun Kaneko (born in Nagoya, Japan) lives and works in Nebraska. The artist has shown extensively in the U.S. since 1964 and has had exhibits in Finland, Norway, Japan, South Korea and Canada. Kaneko’s work is in over fifty museum collections throughout the world including the Arabia Museum, Helsinki, Finland; Detroit Institute of Arts; Los Angeles County Art Museum; Museum of Art and Design, NY; The National Museum of Art, Osaka, Japan; Philadelphia Museum of Art; Phoenix Art Museum; Rhode Island School of Design Museum; Metropolitan Museum of Art and the Smithsonian American Art Museum. In 2013, Kaneko’s recent sculptural works were the focus of a large-scale installation in Millennium Park in Chicago.

Kaneko’s design for the opera Fidelio debuted at the Kimmel Center in Philadelphia in 2008. The east coast debut of his design for the opera Madama Butterfly became the catalyst for a citywide celebration in Philadelphia with sculptural exhibitions at the Kimmel Center’s Commonwealth Plaza, City Hall, the Philadelphia Museum of Art, and at Locks Gallery.

Coinciding with the Locks Gallery exhibition is a sculptural installation in the Kennedy Center’s Hall of Nations from April 9th through May 19th, 2014. The Magic Flute— featuring Jun Kaneko’s set, projection, and costume design—will run at the Kennedy Center from May 3rd through the 18th, 2014.

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Louise Hindsgavl and Gitte Jungersen: Setting the Stage / Copenhagen Ceramics

Louise Hindsgavl and Gitte Jungersen: Setting the Stage exhibition Copenhagen Ceramics

Louise Hindsgavl and Gitte Jungersen: Setting the Stage / Copenhagen Ceramics, Denmark
30 August - 22 September 2012

Opening reception: Thursday, 30 August, 5 – 8 pm.
Artist talk with Louise Hindsgavl and Gitte Jungersen: Saturday, 1 September, 2 pm.

For their upcoming exhibition at Copenhagen Ceramics – Setting the Stage – Louise Hindsgavl and Gitte Jungersen are each showing their variant of a contemporary version of the figurative ceramic tradition. They both share an interest in visually expressing the psychological aspects of life and their wish to reflect the inner life of humans in figurative works with elements of animal and human being.

From children’s books and fairy tales we are used to projecting human characteristics on to animals and so we likewise identify with the drama that takes place in the ceramic scenes of Jungersen and Hindsgavl.

The ceramic expression of Louise Hindsgavl and Gitte Jungersen differ widely. But each have, in their own way, revived the figurative tradition and renewed its relevance. The porcelain figure is a starting point for both, but the kitschy and banal references, that are normally attached to this genre, are replaced and transformed into underlying, more disquieting messages. The figure or the figurine – which plays an ever important rôle in the history of ceramics – often contains wit and humour and is of lesser scale than that of sculpture, is well suited for both artists’ commenting accounts on big and small dramas of life.

For the exhibition at Copenhagen Ceramics Gitte Jungersen has taken a new step. She has in recent years been transforming the stories of found, industrially produced, porcelain animals by inserting them through firing into new landscape-like ’scenes’. This feature of the earlier works is now to a large degree substituted by abstract structures made up of squared shapes. However, these otherwise stable forms are falling in, collapsing and broken at times. The dissolution is further emphasized by masses of glaze, that overflow the shapes as big blobs, partially erasing them. The scenes evoke a sensation of the uncontrollable and catastrophic, while the ceramic appear sensually specious and beautiful.

Glazes play a very special rôle in the works of Gitte Jungersen. She is known for her heavily sensual surfaces of great textural complexity. The bubbly surfaces of her pieces result from the glazes ’boiling’ at top temperature of the ceramic kiln and the subsequent rapid solidifying in the cooling-process. Thus the handling itself of the materials contributes to emphasizing the thematic content. Whether it’s a nearing dissolution awaiting or rather a new narrative in the making, is left open for you to decide.

Louise Hindsgavl’s contribution to the exhibition circles around the loss of innocence, the confusion and the transformation, that happens in the transition from childhood to becoming an adult. For this show, Hindsgavl has chosen to work with a totally different expression than her well-known porcelain-figures and their absurdist accounts about the darker recesses of the human mind. In recent years she has also experimented with including other materials and ready-mades in her porcelain tableaus. Now the pieces are bigger, of a coarser nature and with quite a different volume than she has mainly been using, but her works still invite to our ongoing discussion about pure and impure.

The work ’Luckys & Bunnys’ refers to the tale of Alice in Wonderland, where the child meets change in the shape of an unknown magical world and where the rabbit is the central element, pulling the child through its development.

Both artists have over many years been frequent exhibitors in Denmark and internationally.

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Jean and Jacqueline Lerat Tribute / Galerie Capazza, Nançay, Paris

Jean and Jacqueline Lerat Tribute Galerie Capazza, Nancay Paris

Jean and Jacqueline Lerat Tribute / Galerie Capazza, Nançay, Paris
September 29 - December 2, 2012

Openning reception: Saturday, September 29th, 5-8 pm.

To welcome today the artworks of Jean and Jacqueline Lerat is an honor, a recognition. We are proud and moved to have published this book, and we will do our best to present «their treasures», which let us hope to deserve the confidence granted by François and Claire Lerat, their children.
Gérard Capazza

Is it pretentious to consider the artwork as an haiku, a so marginal poem.
This is no about ceramics but creation.
I am not interested in the enamels skills. Skills, technique, are situated before creation. The structure maybe? As for the skeleton, you have to add something. Questions have been asked in a dense way.
Somehow, life has imposed.
Then, you could go from the “object situation” to the “creation situation”.
Jacqueline Lerat, May 5th, 1993

It is fundamental that beauty and meaning depend on the person who look at the piece as much as the quality of the work. The artist has the right to be misunderstood, privilege that «the official artist» refuses by his will to set up in advance the way people will per- ceive his work.
Modestly assuming their function, but always overflowing when they are admired, the ceramics of Jean and Jacqueline Lerat oppose the demanding nature of relationship to the whims of actuality…
Bernard Noël, extract of the book Jean et Jacqueline Lerat, éditions Galerie Capazza

Jean Lerat Ceramics - Rocher Noir

Jean (1913-1992) and Jacqueline (1920-2009) LERAT Biography
Jean Lerat’s family is an old family from Berry (French province), where you can find farmers, cabinet makers, horse breeders, Antique dealers. Jean starts at the Fine Arts school in Bourges to learn wood sculpture. Then, he concentrates on sculpture, drawing and landscapes painting. The encounter with François Guillaume will change his life. Dealer, designer and crockery editor in Bourges since the 30’s, he has a lot of contacts with the ceramics and glass factories which realize his models for the French restaurants. He asks Jean Lerat to work in La Borne in 1941, to “renew the pottery tradition fo the village”. He rents a workshop and asks Armand Bedu to supply Jean with the needed materials and to fire the pieces that will be sold in the shop.

In December 1942, Jean Favière, who works at the Berry Museum, and Henri Malvaux, new director of the Fine Arts school in Bourges, start showing interest to the craft productions of la Borne. The village is already renowned by Parisian institutions (Museum of the Decorative Arts, Ceramics Museum of Sèvres) for its authenticity.

Henri Malvaux asks Jacqueline Bouvet to come to La Borne in July 1943. She is allowed to stay until May 1944 thanks to an agreement with François Guillaume. Jean and Jacqueline get married on February 3rd of 1945. They will work in the same place, but they will follow a personal path. But they share clay, enamels and firing.

In 1955 they moved to Bourges, building a new wood-firing kiln and beginning to create more sculptural and abstracted works. While an attentive observation should lead the collector to distinguish their style, they adopt a mutual signature JLERAT from 1945 to 1948, then JLERAT from 1948 to Jean’s death. After 1992, Jacqueline starts again to sign JLERAT.

Their collaboration in ceramics is considered to be among the most important in post- war France. Their teaching at the Ecole Nationale des Beaux Arts in Bourges has influen- ced new generations of potters.

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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.

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Reflecting on Erik Gronborg / Museum of Contemporary Craft, Portland

Reflecting on Erik Gronborg exhibition Museum of Contemporary Craft, Portland

Reflecting on Erik Gronborg / Museum of Contemporary Craft, Portland, OR, USA
August 07, 2012 – February 16, 2013

Selections and Installation by Jeffry Mitchell
Curated by Jeffry Mitchell and Namita Gupta Wiggers

Erik Gronborg employs archetypes of functional ceramic traditions as conceptual vehicles to explore contemporary culture. Combining a 1,000-year-old-continuum of ceramic history with silk-screening, comics, china paint, and commercial glazes, Gronborg’s provocative “crafty” and non-precious approach is a precursor to the “sloppy craft” that is as challenging today as it was in the late 1960s. Working with Seattle-based artist Jeffry Mitchell, selections of Gronborg’s work will be drawn from local public and private collections. Through dialogue and conversation throughout the process with Namita Gupta Wiggers, and an installation designed by Mitchell, the exhibition will explore Gronborg’s use of craft as a tool for social commentary and political satire, and how the work relates to Mitchell’s own explorations of ceramics as a contemporary medium.

Location: Collection Gallery

Opening August 7, 2012 and running through February 16, 2013, this exhibition is part of a series of ongoing explorations in which the Museum invites fresh perspectives on the collection and archive by partnering with artists, creative people, and designers to create public exhibitions. Director and Chief Curator Namita Gupta Wiggers invited ceramic artist Jeffry Mitchell to make selections of Gronborg’s work as a way of fostering a dialogue between the work of these two artists of different generations and as a way of creating conversation around Gronborg’s work.

The Museum is recording conversations between Wiggers and Mitchell about Mitchell’s selections and groupings of the senior artist’s work. These conversations center on the use of craft as a tool for social commentary and political satire, and how Gronborg’s work relates to Mitchell’s own explorations of ceramics as a contemporary sculptural medium. Reflecting on Erik Gronborg, co-curated by Mitchell and Wiggers, features work from the Museum’s collection and from private collections in Portland. The more than 85 works by Gronborg include ceramic, wood, and miniature bronze sculptures.

Erik Gronborg, who moved to the United States from Denmark in 1959, almost immediately began making what he considers functional ceramic works that explore contemporary culture. Combining the 1,000-year-old-continuum of ceramic history with silk-screening, comics, china paint, and commercial glazes, Gronborg’s provocative “crafty” and non-precious approach is a precursor to the “sloppy craft” that is as challenging today as it was in the late 1960s. Gronborg, whose last kiln firing was in 1996, won The City of Paris Award at The Paris Bienale in 1963. Gronborg has spent most of his life as an artist and educator at various institutions in California and also taught at Reed College from 1965-69.

A retrospective of Mitchell’s work, Like a Valentine: The Art of Jeffry Mitchell, opens at the Henry Art Gallery in Seattle in October 2012. Mitchell was awarded a Joan Mitchell Grant in 2009 and was a finalist for the Contemporary Northwest Art Awards at the Portland Art Museum in 2008. His work was included in the ICA’s 2009 exhibition, Dirt on Delight: Impulses that Form Clay. Mitchell is represented by Ambach & Rice in Los Angeles.

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The Third Annual Ceramics of America 2012: Exhibition and Art Fair at Fort Mason, San Francisco

Ceramics Annual of America 2012: Exhibition Art Fair at Fort Mason, San Francisco

The Third Annual Ceramics of America 2012: Exhibition and Art Fair at Fort Mason, San Francisco, California, USA
14-16 September, 2012

Opening Reception and Preview Party: September 13, 2012, 5:30 – 9 pm

Witness A Unique Experience: Ceramic Sculpture from Around the World

The Ceramics Annual of America (CAA) is an ambitious exhibition and art fair spotlighting the quality and diversity of contemporary ceramics from around the world including works from China, Korea, Mexico, Australia and Italy. It is the only event of its kind in the United States and the goal is to encourage the education and enrichment of the public, cultivate a fertile art market, and foster dialog between collectors and makers of ceramic sculpture.

Part of California’s continuing legacy of excellence and innovation in ceramics, the CAA is the largest exhibition and art fair that is entirely focused on ceramic art in America and is modeled after the Ceramic Biennials held in Europe, Korea, Japan and China. It provides a venue for the top regional and international artists from working in the clay medium to show their work to a broader audience of collectors.

The CAA is organized by the California Ceramics Cooperative, a group of invested regional ceramic artists, and will feature panel discussions, lectures, tours as well as daily interactive art demonstrations from 4-5 that will provide a greater understanding of the artistic process for students and educators alike. Schools located in the Bay Area will have free admission all day Friday and should contact the Ceramics Annual for Reservations. Featured artist and instructor Kevin Nierman, author of “The Kids ‘N’ Clay Ceramics Book,” will provide “Artistic childcare” on Saturday and Sunday from 11-3.

The exhibition will be held in the 50,000 square ft. Festival Hall at Ft. Mason, capable of accommodating as many as 10,000 people. A popular attraction for countless national and international visitors to the city, Ft. Mason still resonates with the presence of the California Funk movement of the sixties and seventies that inspired ceramic greats living in San Francisco today. Its close proximity to nature, unique architecture and nostalgic atmosphere contribute a breathtaking backdrop for an impressive array of Ceramic Sculptures.

Last years event was a huge success with over 7,000 people in attendance. The museum quality exhibition included educational lectures by curators such as Peter Selz and Phil Linhares and renowned artists such as Jim Melchert. “The size and scale of such an exhibition and the education opportunities, all under one roof, were extraordinary.” — Art Historian, Peter Selz.

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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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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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Ebru Özseçen: True Love Soul Mate / RAMPA Istanbul, Turkey

Ebru Özseçen: True Love Soul Mate exhibition at RAMPA Istanbul, Turkey

Ebru Özseçen: True Love Soul Mate / RAMPA İstanbul, Turkey
March 02 — April 07, 2012

Ebru Özseçen combines her experience in the fields of architecture, design and contemporary art to explore different aspects of psychological and sociological relationship between space and body. Her work presents great diversity; ranging from urban intervention to sculpture and objects, from photography to video, from film installations to drawings. The artist is concerned with the dualities of inside/ outside and public/private; and explores individual memory in contemporary society. Ebru Özseçen investigates the seemingly mundane to expose its magical and unseen aspects. She reveals a space where fantasy and memory hide in plain sight.

It is impossible to disregard the gender aspect in Özseçen’s work, in which she indiscriminately plays with the androgynous form – the phallus, vulva, uterus or scrotum. At times pushing the boundaries of pornographic obscenity, the artist always places erotic intensity in the foreground. On the other hand, in many of her works it is possible to see Özseçen driven by her deep-seated admiration for the tradition of artisanship. The artist is drawn to the sensual quality of the form and the beauty of a well-accomplished object. This approach invites us to interpret the artist’s practice from a new perspective. Özseçen’s sharp gaze on the form, and her romantic obsession with the beautiful, the pure, and the unsoiled confront us as sharp yet sensitive, violent yet graceful works that have been refined in the hands of a craftsman.

Özseçen’s new work, Gerçek Aşk Gönül Eşi / True Love Soul Mate (2011), which will constitute the backbone of the exhibition at Rampa, is comprised of over 100 separate glass pieces. This work is realized in collaboration with Mayer of Munich and Glasshütte Lamberts, which are among the most prominent handmade glass studios of the world that has for the first time opened its doors to contemporary arts for this work. Each piece is produced in different sizes and forms with hours of effort in 1450-degree ovens. Recalling many of Özseçen’s work, heat once more emerges as a dominating component in this work, both as a physical force and as an allegory. For this work, the artist divulges that “the concept of true love and soul mate employed in the title should be sought not in the realm of romantic love, but rather in companionship, camaraderie as signified in the craftsman’s delicate touch on the objects he has amorously devoted himself to.” Installing two of her works of the same form together, one from the beginning and the other from the most recent phase of her career, Özseçen incites the audience to trace a playful phantom form.

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Bodil Manz and Bente Skjøttgaard: Cuts and Interventions, Copenhagen Ceramics

Bodil Manz and Bente Skjøttgaard: Cuts and Interventions, Copenhagen Ceramics

Bodil Manz and Bente Skjøttgaard: Cuts and Interventions, Copenhagen Ceramics
2 – 25 February 2012.

Wheel-Tracks in Clay Meet Sampled Porcelain
Opposites will meet when Bodil Manz and Bente Skjøttgaard, two of Denmark’s well awarded ceramists, convene in their upcoming exhibition, ’Cuts and Interventions’. They belong to different generations and traditions, but for this show, they have decided to explore possible common denominators. The result can be seen and experienced from February 2 – 25 at Copenhagen Ceramics, the new gallery for contemporary ceramics in Copenhagen.

In their first ever co-exhibition, two of Denmark’s very distinct artistic profiles have decided to explore possible common denominators in their otherwise very contrasting work. The title of the show, ’Cuts and Interventions’ is referring to the characteristic manner, in which both ceramists are handling materials and working-processes.

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Ceramics Now Exhibition - The Paintbrush Factory, Cluj-Napoca, Romania

Ceramics Now Exhibition Cluj-Napoca - contemporary ceramics exhibition in Cluj Romania

Ceramics Now Exhibition, The Paintbrush Factory, Cluj-Napoca, Romania
December 9, 2011 - January 6, 2012

Ceramics Now Magazine has the pleasure to invite you to the first edition of Ceramics Now exhibition, held at the Paintbrush Factory, in Cluj-Napoca, Romania, from December 9, 2011 to January 6, 2012.

Opening reception on Friday, Dec 9, at 18:00.

The exhibition presents different approaches of contemporary ceramic art through the works of 15 artists from USA, Canada, United Kingdom, Italy, South Korea, Israel and Poland, and celebrates the launch of Ceramics Now Magazine’s first printed issue. The artists are also featured in the issue.

EXHIBITING ARTISTS: Chang Hyun Bang (SK), Antonella Cimatti (IT), Patrick Colhoun (UK), Carole Epp (CA), Simcha Even-Chen (IL), Shamai Gibsh (IL), Mark Goudy (US), Roxanne Jackson (US), Margrieta Jeltema (IT), Maciej Kasperski (PL), Jim Kraft (US), Cynthia Lahti (US), Claire Muckian (UK), Connie Norman (US), Liza Riddle (US).

Download media pack / Ceramics Now Exhibition Event on Facebook

www.ceramicsnow.org/exhibition

EXHIBITION SPACE:
The Paintbrush Factory (third floor)
Henri Barbusse nr. 59-61
Cluj-Napoca, Romania

Open Monday-Saturday, 14-20 pm, closed on Sundays, Christmas (Dec 24, 25, 26) and New Year (Dec 31, Jan 1). Free admission. With the kind support of SABOT Gallery and the Paintbrush Factory.

Media partners: Euronews, Art-Agenda, Radio Romania Cultural, TVR Cultural, RFI, ArtClue, Modernism, Slicker, Neaparat, ArtAct Magazine, Vernisaje.com, Zile si Nopti, 24FUN, Citynews, Ziua de Cluj, NCN, alternativ.ro, Welcome 2 Cluj, Evenimente in Cluj, QBOX.

CONTACT:
office@ceramicsnow.org
Tel. +4 0748 311 663

CERAMICS NOW MAGAZINE

On the eve of a major retrospective at Tate Modern, Gerhard Richter talks about his life and work with Nicholas Serota, Director of Tate. / 11.10.2011

Gerhard Richter: Panorama, Tate Modern
6 October 2011  – 8 January 2012

Spanning nearly five decades, and coinciding with the artist’s 80th birthday, Gerhard Richter: Panorama is a major retrospective exhibition that groups together significant moments of his remarkable career.

Since the 1960s, Gerhard Richter has immersed himself in a rich and varied exploration of painting. Gerhard Richter: Panorama highlights the full extent of the artist’s work, which has encompassed a diverse range of techniques and ideas. It includes realist paintings based on photographs, colourful gestural abstractions such as the squeegee paintings, portraits, subtle landscapes and history paintings.

(Source: vasihirdo)