New Ceramics 3/2017 - Content
Marie-Josée Pomelo – Germany
Claudia Cramer – Germany
Roger Lewis – UK
Lim Hang-Taek – Korea
Maria Wieding-Kalz – Germany
Vladimir Groh & Yasuyo Nishida – Czech Republic / Japan
Barbara Hotz – Germany / France
Ines & Christoph Hasenberg – Germany
Forum / EDUCATION
Intellect or gut feeling – Gustav Weiß – Art philosophy
Mud, Glass, Imagination – Katharina Eich-Angus Further education
EXHIBITIONS / EVENTS
Heiner Balzar – Honorary Award – Höhr-Grenzhausen Germany
CLAY Ceramics Museum – Middelfart Denmark
COLLECT – London UK
Nona Otarashvili + Sophia Tabatadze – Freiburg Germany
Sonja Duò-Meyer – Staufen Germany
K.M. Renners – Langerwehe Germany
CERAMICS & TRAVEL
Wood Firing Conference – Waubonsee USA
Susan Beiner and Yang, Yuan-tai – Shao Ting-Ju USA / Taiwan
Lynn Frydman Kuhn – Evelyne Schoenmann Interview / developing skills
DATES / Exhibitions / Galleries / Museums
COURSES / SEMINARS / MARKETS
New Ceramics 3/2017
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Marie-Josée Comello – D, Claudia Craemer – D, Roger Lewis – UK, Lim Hang-Taek – KR, Maria Wieding-Kalz – D, Vladimir Groh & Yasuyo Nishida CZ / JP, Barbara Hotz – D /FR, Ines & Christoph Hasenberg – D
Heiner Balzar – Honorary Award – Höihr-Grenzhausen – D, CLAY Ceramics Museum – Middelfart – DK, COLLECT – London – UK, Nona Otarashvili + Sophia Tabatadze – Freiburg – D, Sonja Duò-Meyer – Staufen – D, K.M. Renners – Angerwehe – D
Dates and Exhibitions from Amsterdam to Winzer
Profile: Claudia Craemer – D, Roger Lewis – UK, Maria Wieding-Kalz – D, Vladimir Groh & Yasuyo Nishida CZ / JP Forum: Intellect or gut feeling – Gustav Weiß Art philosophy Exhibitions: Heiner Balzar – Honorary Award – Höihr-Grenzhausen – D, CLAY Ceramics Museum – Middelfart– DK, Nona Otarashvili + Sophia Tabatadze – Freiburg – D. Artist Journal: Susan Beiner and Yang, Yuan-Tai USA / TW In Studio: Lynn Frydman Kuhn – CH
Claudia Craemer (D)
When Claudia Craemer moved to Fischerhude just outside Bremen in 1991, she felt at home immediately. She has arrived. A long time peregrinating around Germany now lay behind her. She was born in Gelsenkirchen, grew up in Bad Homburg on the outskirts of Frankfurt am Main, did an apprenticeship in Aalen/Würth under Harald Meyer-Schönbohm, worked as a qualified potter with Rudi Stahl in Höhr-Grenzhausen and studied at the Staatliche Fachschule für Keramikgestaltung, the College of Ceramic Design, also in Höhr-Grenzhausen, where she graduated and qualified as a master craftswoman, worked in various potteries in Germany and finally set up her own studio in Bad Münstereifel. However, the Eifel region proved not to be an ideal location, so she searched again, northwards around Bremen and southwards around Freiburg. Finally she opted for the peaceful village of Fischerhude on the inland delta of the River Wümme with its long arts tradition and where the trees are taller than the church tower.
Roger Lewis (UK)
I came into ceramics because I loved clay, not because I wanted to make pots. As a young student on my first art college course I quickly realised that I wanted to work in three dimensions and that clay was a material I liked to work with. I was also taught a valuable lesson of pushing my work as far as possible by a sculpture tutor, who kept telling me I could develop the piece I was working on further than I ever thought possible. My original maquette finally ended up being built full-size as a group project in a local school’s playground where it remained until the late 1990’s, when it had to be demolished to make room for new classrooms. The lesson stayed with me. Aged 18 I could have been quite satisfied with the maquette!
When it came time to choose where to apply for degree level study I considered studying ceramics, but at that time in the mid 1960’s the ceramics I saw being produced in art colleges did not excite me. It was mainly pot based and quite traditional. I loved using clay but my interest was in sculptural form not utilitarian vessels.
Maria Wieding-Kalz (D)
We have all seen them, the images of shoals of fish, constantly swirling and turning around themselves, for ever changing their shape. Before me there is a double-walled vessel, tapering slightly downwards, covered with a shoal of fish like this. The fish are not only rotating around the outside of the pot, they are on the inside too – just like in the ocean. Although the pot is static, the fish seem to be in motion. The secret is the dynamism: they have been carved out of the background in a staggered pattern. Their creator is Maria Wieding-Kalz, a ceramist who lives near Coesfeld in the western Münsterland region of North Rhine-Westphalia.
Vladimir Groh & Yasuyo Nishida (CZ / JP)
A Czech-Japanese partnership for workand life
These two outstanding ceramists have been living and working together for more than a decade now. We have met regularly since then, but I have been in touch with Vladimir for even longer through the international university cooperation of the ceramics design classes in Usti nad Labem and Halle an der Saale.
What I particularly admire about Vladimir and Yasuyo are their outstanding skills, the concept of their studio and their diverse activities as “mediators” – as talented organisers, project managers, seminar leaders, interpreters and hosts. They are both constantly on the road, they are genuine globetrotters and “bridge builders” in the worldwide ceramics scene and they complement each other perfectly with their skills, their cultural backgrounds and their individual technical expertise and working methods. Their passion for ceramics, willingness to learn, their openness and curiosity are the factors I believe brought them together. But their pathways to their profession were very different.
Vladimir Groh & Yasuyo Nishida
Intellect or gut feeling - Liberation from indifference
In no other creative area does one find such a close national and worldwide bond among its participants as in ceramics, or such a progressive motion from experience to curiosity and cognition, from received wisdom to innovation.
Pottery has always been anxious to be good and beautiful. Even after it had become handicraft and applied art had become “ceramics”, this remained true. But where curiosity and knowledge are on the increase, the question of meaning and purpose arises. That which pleases and delights us breaks away from passive indifference by going in search of possibilities: the world consists of possibilities.
Evolution II, 2017, h 35 cm
HEINER BALZAR receives prize The Westerwald region honours a leading ceramist
Ceramic roots, born into a dynasty of potters, excellent training, overseas experience, exceptionally creative ceramist from the very beginning with an analytical mind, a precise knowledge of materials and technique. All of this belongs to Heiner Balzar and his career in ceramics. In addition, even today, there is his perceptible drive and clearly defined desire to move things, start new undertakings, to change mere routine and to improve tradition through innovation, which cannot fail to impress.
Exhibition until 18 June 2017 – Keramikmuseum Westerwald
L. to r. – Jochen Brandt, Thomas Konscholke, Monika Gass, Heiner und Brigitte Balzar, Hans-Dieter Knott.
AXEL SALTO - Master of Stoneware
Axel Salto (1889-1961) is without doubt the best known Danish ceramist. He holds a unique position in the art history of the 20th century and played a major role in early Danish modernism. Today his ceramic works have reached almost cult-status and are equally popular among art collectors, museums and interior designers.
But why this hype around a ceramic artist more than 50 years after his passing? What is it about his work that made it so extraordinary? The current exhibition AXEL SALTO – Master of Stoneware at CLAY Museum of Ceramic Art Denmark seeks to give an answer to these questions in the most extensive presentation of Salto’s ceramic oeuvre.
“Salto’s ceramic work is both sensuous, spectacular and sublime”, states Pia Wirnfeldt, director of CLAY Museum of Ceramic Art Denmark in the comprehensive book that bears the same title as the exhibition, published by the museum.
CLAY Keramikmuseum Danmark, Middelfart – Kongebrovej 42
Exhibition until September 17th 2017
Vases , budding style, ca. 1958 , stoneware, h 48 – 52 cm – photo: Ole Akhøj
Nona Otarashvili & Sophia Tabatadze
When are stories that people tell us about themselves true?
When it fits with everything we know about them and the world, without any contradictions? And when the person who is giving us information seems to us to have secure access to their memories?
In the case of the graphic art of the Georgian artist Sophia Tabatadze, who established her reputation as a representative of her country at the Biennale in Venice and elsewhere, none of these conditions seem to apply. In her case, human and machine parts merge to form strange organisms reminiscent of Dali’s surrealist dream creations or vaguely – in their style – of sketches by Franz Kafka. Hints of acts of violence and other mysterious occurrences remain as unrelated to anything outside as a snapshot. And even things we believe to have reasonably deciphered are soon subjected to a tongue-in-cheek rejection with inscriptions such as “KOPF VERKAUFT KOPF” (“Head sells head”) or “INSTEAD OF OH, HOW WOULD I KNOW
EXHIBITION: Nona Otarashvili and Sophia Tabatadze from 28 May to 17 June 2017 at Galerie Bollhorst , 79098 Freiburg, Oberlinden 25, Germany
Nona Otarashvili and Sophia Tabatadze
Artist Journal: Susan Beiner and YANG, Yuan-Tai
Susan Beiner was born in 1962, Newark, New Jersey, USA . Through the overwhelming visual charm of various colourful or austere forms of plants in the large installations, Beiner meditates on the long-term impacts of mass reproduction and artificial duplication on the fragile ecology of the earth.
YANG, Yuan-Tai was born 1939 in Taiwan. Yang’s work is imbued with a quiet refinement. His mountain landscapes spring from the intimacy of nature – the artist grew up in a farming family – and reflect his profound affection for the land that has been nourishing him. Modest and unadorned as the artist himself, Yang’s work nonetheless suggests the calm and boundless power of the earth that has been sustaining humans.
In Studio with Lynn Frydman Kuhn
Lynn’s showpiece objects are made in a “mould” she has sewn herself from absorbent cleaning cloths. There is no end to her imagination. The moulds can only be used once as they are saturated with porcelain slip. This lively artist tells us in the interview how she got the idea of using sponge cloths.
Lynn Frydman Kuhn
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