New Ceramics 6/2018 - Content


Henk Wolvers – Netherlands
Luciano Mello Witkowski Pinto – Brazil
Marlis Radebold – Germany
Philippe Godderidge – France
Verena Stieger – Germany
Claudia Roesener – Germany
Mitko Ivanov – Bulgaria
Linde Reinecke – Germany

Etty Spindel-Gruner – Jiyoun Shim – Monika Gass – Emerging talents

Possibilities and Probability – Gustav Weiß Art philosophy
Swiss Art Schools – Sarina Pfluger Education


3rd European Wood Fire Conference – La Borne France
Homo Faber – Venice Italy
1st Rongchang International Pottery Symposium – Rongchang China
Festival Européen des Arts Céramiques – Terralha France
2nd Meissen Porcelain Biennale – Meissen Germany
Ceramic Panorama – Murten Switzerland
Icheon Ceramics Festival – Icheon Korea
Ceramics Now Contemporary Ceramic Sculpture – Faenza Italy
The XIth International Keramiksymposium Römhild 2018 – Römhild Germany

Deirdre McLoughlin + Satoshi Kino – Ting-Ju Shao – Ireland / Netherlands / Japan


Curtis Benzle – Evelyne Schoenmann – Interview / Developing skills

DATES / Exhibitions / Galleries / Museums


New Ceramics 6/2018

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    Henk Wolvers – NL, Luciano Mello Witkowski Pinto – BR, Marlis Radebold – D, Philippe Godderidge – F, Verena Stieger – D, Claudia Roesener – D, Mitko Ivanov – BG, Linde Reinecke – D

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    Possibilities and Probability – Gustav Weiß – Art philosophy
    Swiss Art Schools – Sarina Pfluger – Education

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    3rd European Wood Fire Conference – La Borne France, Homo Faber – Venice Italy, 1st Rongchang International Pottery Symposium – Rongchang China, Festival Européen des Arts Céramiques – Terralha France, 2nd Meissen Porcelain Biennale – Meissen Germany
    Ceramic Panorama – Murten Switzerland, Icheon Ceramics Festival – Icheon Korea
    Ceramics Now Contemporary Ceramic Sculpture – Faenza Italy, The XIth International Keramiksymposium Römhild 2018 – Römhild Germany

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    Deirdre McLoughlin – Ireland / Netherlands and Satoshi Kino – Japan

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    Evelyne Schoenmann visits Curtis Benzle in her Studio

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    Dates and Exhibitions from Amsterdam to Winzer



Profile: Luciano Mello Witkowski Pinto – BR, Marlis Radebold – D, Philippe Godderidge – F, Linde Reinecke – D Forum: Possibilities and Probability  – Gustav Weiß – Art philosophy Exhibitions: 1st Rongchang International Pottery Symposium – Rongchang – CHN, Festival Européen des Arts Céramiques – Terralha France, 2nd Meissen Porcelain Biennale – Meissen – D, Ceramics Now Contemporary Ceramic Sculpture – Faenza Italy Artist Journal: Deirdre McLoughlin – IRL / NL,  Satoshi Kino – J In Studio: Curtis Benzle – Evelyne Schoenmann

Luciano Mello Witkowski Pinto (BR)

Upon its discovery, the New World was often seen as The Garden of Eden, particularly Brazil and the Amazon with its innocent, naked natives and innumerable new spectacular plants and animals. In Eden, the Divine Sculptor shaped Adam from clay, blowing Wind into his nostrils in this Garden bathed by four rivers. The Archetypical Sculptor created first life from the first structure made in soft clay; perhaps this acts as the models hidden in Pinto’s work.
In the clay, the earth is mixed with water; the sun-warmed air dries the clay; in the kiln, the raw clay is transformed into terracotta (cooked earth). There are diverse methods for colouring the terracotta; if colour is applied, then replaced in the kiln, out comes a splendid and vitreous surface. Throughout many diverse cultures, this technique is substantially the same although small differences exist from one artisan to another yet all working within the identical medium.

(Ezio Francesco Grisanti)

Luciano Mello Witkowski Pinto

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Marlis Radebold (D)

Small detached houses crouch in the gardens, the roads are narrow, there is hardly any traffic. In the part of the Berlin district of Köpenick, where ceramist Marlis Radebold lives and works, it is like living in a village. Lakes, woods and the heath are right outside the door. By bike she is within easy reach of wide natural expanses. This is where she recharges her batteries and finds peace. She studies plants, observes the scurrying of insects and beetles, watches the water flowing past. She loves going on a journey of discovery in her own small garden. “This patch of land, where a remarkable number of things grow and flower, gives me strength and energy.” She reflects: “Yes, nature is a major source of inspiration for me.” Visits to museums also fascinate her. Studying the past awakens emotions, memories, experience, fires her imagination. The same is true of travel. “After the many hours of silence in the studio, when I am travelling I always encounter life from a different perspective, draw inspiration from meeting people, from their views and their skills.” Not least for this reason, she also took great pleasure in her teaching post at the University of Greifswald. Teaching young people to work with clay, stimulating their creativity, formulating thoughts on art in general and creativity in particular in comprehensible form was a fantastic challenge. 

(Bettina Zinter)

Marlis Radebold

Philippe Godderidge (F)

The Cité de la Céramique in Sèvres, near Paris, houses not only the oldest porcelain factory in France, but the national ceramics museum also resides there in a Baroque palace. This museum presented in the winter of 2017/18 the much-noticed exhibition, L’expérience de la couleur. Among the numerous renowned ceramists, most of them resident in France, was Philippe Godderidge from Normandy. Parallel to the museum in Sèvres, museums in Beuavais and Desvres (both in northern France) showed the exhibition Re-Sources. Here too Godderidge took a prominent part and was in the best ceramic company. In the summer of 2017, it was the IEAC in Guebviller, Alsace, who devoted their summer exhibition to him. Who is Philippe Godderidge then, who in his home country is considered one of the leading lights in ceramics, and more especially, a pioneer? New Ceramics has already published an article about him, in issue 2/07, after he had successfully participated in the first Kappelendorf Symposium in 2006, which, under the title of Heimat (“Homeland”), commemorated the Battle of Jena and Auerstadt in 1806 (cf. NC 1/07).

(Antje Soléau)

Philippe Godderidge

Linde Reinecke (D)

Earth is my element. It has been very important to me since my grandfather took me to his garden plot, situated around a large pond. I spent hours watching the wild ducks brooding. Sitting on my grandad’s lap, shrouded in tobacco smoke, earth on my hands and under my feet – these are my loveliest childhood memories. The garden, working in the earth and with the plants, was later to become my greatest passion.
But by the time November comes, at the latest, and the colder temperatures finally drive me out of the garden, I am drawn into my studio to my “winter earth”. This is when my dialogue with clay begins. Earth and clay are balm for my soul. I immerse myself in my work. The period of quiet productivity begins.
With every piece of work I begin, doubts gnaw at me – I think it won’t work out (I am self taught – a laborious path). But then I get to know the face better and better, somehow every step is logical – I have seen it all before.

Linde Reinecke

Possibilities and Probability

According to Joseph Beuys, everyone is an artist. He had in mind everyday creativity. Creativity with a small “c”, which extends into all areas of creative problem solving. It is creative experience that is in the spotlight here. The maker is pleased at his work. But it is also useful to others. Out of the ordinary creativity, with a big “C”, is different. It is an achievement of thinking people and it is also significant for others, and they appreciate it if they perceive a hidden meaning in it. It is dependent on an appreciative environment.
We cannot predict the future but we can invent it, said environmentalist Jean-Marie Pelt from Lorraine, who wrote a book about conflict, love and community in the plant kingdom (published by Econ in Germany as Das Leben der Pflanzen – “The Life of Plants” in 1982).

(Gustav Weiß)

The picture is unsharp because possibilities are concealed in it. Glaze painting, 2000. 60 x 60 cm

1st Rongchang International Pottery Symposium

In China, there are four famous, historic pottery (non-porcelaneous) producing centres: Yixing (Jiangsu); Jiangshui (Yunnan); Qinzhou (Guangxi); and Rongchang (Chongqing); all are important but in December of 2017, Rongchang was of paramount importance in the Chinese ceramics world because of the First International Rongchang Pottery Symposium.
For millennia, Rongchang has been a centre for ceramics. Located near the large city Chongqing, Rongchang first became notable for rich, black glazes during the Song Dynasty. Since the Song Dynasty, the area has remained continuously productive. Rongchang wares were typically glazed one colour and fired to a low-mid-range temperature. Since the Qing Dynasty, glazes have been rich and shiny. Black remained a favourite – sometimes featuring a beautiful birthmark of sumptuous, red glaze.
Despite the political turbulence of the 20th century, wares were continuously produced – during the Republic years and even during the Japanese occupation. Occupied Chinese wares sometimes bore a slogan promoting the restoration of Chinese rule.

(Marc Leuthold)

Rongchang modern district near Museum

2nd Meissen Porcelain Biennale in Albrechtsburg Castle

No other place in Europe is quite as strongly associated with porcelain as Meissen. An tradition of art and craftsmanship has evolved here over 300 years. This is where technology has been developed, the secrets of materials have been explored and translated into concrete forms by artists. Elector Friedrich August I designated the Albrechtsburg as the site of the first porcelain manufactory in Europe, where from 1710 porcelain was produced for over 150 years. An international  porcelain biennale has now taken place here since 2016, organised by the Verein zur Förderung zeitgenössischer Porzellankunst e.V. (“Society for the Promotion of Contemporary Porcelain Art”) and the Albrechtsburg Meissen. The late Gothic castle in Meissen became a shop window for contemporary porcelain art over a period of three months. It is the aim of this Biennale to reevaluate porcelain as a cultural asset in the context of international influences, to preserve it and to develop it further. Thus the organisers would like to send out new, innovative impulses from Meissen, the place that has developed as the most influential synonym for this material, into the world of artists and of consumers.

(Olaf Fieber)

Dawid Zynda, Hydroturnyclicketyclackers, h 38 cm  – photo Guido Wermer

Ceramics Now - Contemporary Ceramic Sculpture

This year, the International Museum of Ceramics in Faenza, Italy, known as MIC, is celebrating its 60th edition of the Premio. This Museum, situated in the region that has been the heart of Italian ceramic production from medieval times on, was started by Gaetano Ballardini 80 years ago; it houses the biggest ceramic collection in the world. Unlike the other biennales of the MIC, this year the exhibition is not a competition of ceramic artists. MIC has appointed curators from around the world who in turn have invited contemporary ceramic sculpture artists to this exhibition.
The seventeen curators from different countries, continents rather, have different backgrounds in the arts. Some are ceramists themselves, others are architects or artists in other fields, or art critics, or writers. What we see at Ceramics Now has been chosen by these curators.
What is contemporary Ceramic Sculpture, who makes it? It is an interesting subject for us ceramists. The contemporary ceramic artist, creator of these works, has his or her individual values, aesthetics, heritage, temperament, background, country, and much more; these influence the work that’s their sculpture. Let’s say a Japanese ceramic artist is likely to interpret his idea of material in a way differing from a European ceramic artist.

(Nesrin During)

Mia Goransson (SWE)

Artist Journal: Deirdre McLoughlin and Satoshi Kino

Deirdre McLoughlin (Ireland / Netherlands)
Deirdre McLoughlin was born in Dublin, Ireland in 1949. She graduated in History, Philosophy and English Literature from Trinity College Dublin. McLoughlin  began working in clay with Rosemary Andrews in the Amsterdam.
“My work is my life’s adventure and my heartbeat. The drive is to find a form I don’t know or refine a form I’ve met before as I search for some sense of the sublime. Everything I know is there. I don’t always understand what I know.”

Satoshi Kino   (Japan)
Kino was born in Kyoto. Japan in 1987.
Kino’s porcelain pieces such as Oroshi, Suiu, and Sora are made by throwing. For the Oroshi series, he cuts and rearranges the thrown cylinders. It is not only a manifestation of technical mastery, but also an expression of the artist’s emotional response to and observation of nature. The intensity of wind, the falling point of raindrops, the softness of moonlight, or the stance of plants, reveals the subtle nuances of the artist’s sensitivity influenced by Japanese culture.
“By fusing porcelain as a medium, the challenge of using potter’s wheel and the meaning of the eloquent words, KINO supposes concentrating and braiding specific techniques and concepts will lead to a distinctive space of originality of his own.”

Deirdre McLoughlin

Satoshi Kino

In studio with Curtis Benzle

“The purpose of my art is to embrace the illusive, emotional content of traditional beauty. I aspire to communicate the feeling behind magical moments – light filtering through leaves that make memories of a sun-filled afternoon.”             Curtis Benzle

Curt, looking at your colourful pieces, one is reminded of nature and architecture… What happens in your head between looking at, say, a butterfly and the idea of a new piece?

I would say that there is never a direct inspiration. For one thing, you are correct in noting the sources of my inspiration, but with nature, I would be both presumptuous and naive to think I could ever reproduce the glorious and complex beauty of the natural world. My goal with nature is only to reference the feeling of harmony, visual complexity and, yes, beauty. As for architecture, the relationship is easier in that I am simply trying to find a balance between structural integrity and, again, beauty – only in this case three-dimensional.

(Evelyne Schoenmann)

In Studio with Curtis Benzle

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