New Ceramics 5/2020 - Content
Ulla Viotti – Sweden
Edith Friebel-Legler – Germany
Nero / Alessandro Neretti – Italy
Gitta Radtke – Germany
Yves de Block – Netherlands
Nicolae Moldovan – Romania
Michaela Kloeckner – Australia
Peter Beard – UK
CERAMICS & TRAVEL
Black Beauties with Golden Leaves – Tineke van Gils – China
ONGGI – Yoon-Kyung Lee and Dieter Jacobs – Korea
Stoves and stove tiles in Saxony – Rainer G. Richter – History
EXHIBITIONS / EVENTS
Art meets Technology – Selb – Germany
A painter’s playful approach to ceramics – Middelfart – Denmark
KNOWLEDGE & SKILLS
CRYSTAL GLAZES – II – Developing skills
Matsumoto Hideo und Mikiko Tomita – Ting-Ju Shao
Velimir Vukicevic – Evelyne Schoenmann – Interview / Developing Skills
DATES / Exhibitions / Galleries / Museums
COURSES / SEMINARS / MARKETS
New Ceramics 5/2020
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Ulla Viotti – Sweden, Edith Friebel-Legler – Germany, Nero / Alessandro Neretti – Italy, Gitta Radtke – Germany, Yves de Block – Netherlands, Nicolae Moldovan – Romania, Michaela Kloeckner – Australia, Peter Beard – UK
Art meets Technology – Selb – Germany – A painter’s playful approach to ceramics – Middelfart – Denmark
Dana Saéz, Vase , ©D. Saez, photo: Andreas Gießler. Produced by WZR ceramic solutions GmbH by the binder jetting process
Dates and Exhibitions from Amsterdam to Winzer
Profile: Ulla Viotti – Sweden, Edith Friebel-Legler – Germany, Nero / Alessandro Neretti – Italy, Michaela Kloeckner – Australia Exhibitions: Art meets Technology – Selb – Germany, A painter’s playful approach to ceramics – Middelfart – Denmark Ceramics & Travel: ONGGI – Yoon-Kyung Lee and Dieter Jacobs – Korea Artist-Journal: Matsumoto Hideo und Mikiko Tomita In Studio: Velimir Vukicevic – Evelyne Schoenmann
In a sculpture park in south Sweden called Kivik Art Centre, dedicated to the collaboration between artists and architects, Ulla Viotti was acting in both roles in the summer of 2019 and created an artwork that took centre stage. Amongst architects and artists like Snøhetta from Norway, David Chipperfield and Antony Gormley from Great Britain, Sol LeWitt from USA, Petra Gipp and Gert Wingårdh from Sweden and Matti Suuronen from Finland, Ulla Viotti brought a new expression and a new material to the beautiful park by the Baltic Sea. A harmonious round form and made of the material that lies closest to her heart: bricks. She named her sculpture “Bibliotheca-archaeological library”. A fortress saturated by memory of poetry and the narrative referring not only to guarding and defence but also to lively, struggling literature.
The sculpture is six metres wide and with walls two and a half meters high. Impressive dimensions, but on a human scale. Here the visitors are invited to wander through the meadow, towards the large sculpture with the sea in the background and onwards to the narrow entrance. Well through the eye of the needle you are surrounded by books and shelves made up by handcrafted black bricks. The names of well-known authors with their roots in the southern region are embossed onto the spine of the books.
Encountering clay was pure chance, but it was a revelation at the same time. After many years of working as a designer and lecturing in the field of fashion and textile design, in 2010 I returned to my studio and started working for myself again.
A raku workshop with friends, Professor Ralf Busz and painter Karla Schoppe turned into a new creative adventure for me. It was fascinating to extract a form with my hands from the soft medium of clay and to see the impression of my fingers on it. Since the beginning of this journey, it was the figural that interested me most, and I have always focussed on freestanding sculptures. Although my choice of medium has changed, the fascination inherent in sculpture impacts the expression of my sculptures.
For me, considering the wrapping of body forms from a different point of view is another way of experiencing the exploration of the human figure. At the same time, the experience gathered in my professional past and my feel for the clothed figure as integral elements also have some influence.
Embarking on a review of Nero/Alessandro Neretti (born in Faenza in 1980) and his oeuvre spanning two decades reveals a specific approach that is an intrinsic part of his technique: Nero is an all-devouring observer, capable of looking around himself in a plurality of activities, which include symbiotic relationships with the spaces in which he operates, revealing narratives and links with forms and locations. He observes and extracts, incorporating material into a possible internal archive in a state of constant evolution. Nero is in fact a serial cataloguer of visions and spaces, of visual languages, of intimate struggles with his material (or rather, with a number of materials). Today, now that he has a long heritage of experience in the production of artworks and exhibitions, this entire procedure can be seen to be not only concentrated and systematic, but also highly consistent, even within the bold, intentional diversity of his work. Nero is many artists in one. His obsessive plurality, when carefully examined from a privileged, close-up point of observation, takes form in cyclic visions, programmatic clarity, and a tried and tested method of operation, though forever different, because site-specificity is another of the baselines of his technique, in all aspects of his operation. The artist’s procedure privileges exhibition display as far as possible, transforming fragments, arranging shards of sculptural elements, giving expression to the interaction of material and space, the shapes and characters of an alphabet that is often stupefying for its intrinsic energy. Amongst one of the first artists to use ceramics – well before it became today’s fashionable trend adopted by many artists under the age of 45 – Nero is first and foremost a sculptor, his interest is to penetrate form.
(Lorenzo Madaro )
Very few people would be interested in the fairly evil-smelling heap of washed-up seaweed on the beach with its shells, driftwood and, yes, regrettably, plastic too.
Most probably, you would give it wide berth, but ceramist Michaela Kloeckner, originally from Bavaria, Germany, studies it with great interest. To understand her motivation, it is necessary to know something about her past.
Michaela grew up in the picture book landscape of Oberammergau in the Bavarian Alps. In her childhood, she hiked the alpine landscape with her family and swam in the crystal clear, ice-cold mountain lakes. Her love of travel propelled her into the wide world, and exactly forty years ago Australia became her final destination, and the famous Bondi beach in Sydney as well as Australia’s beautiful coastal landscape were to become her lifelong love.
In 1981, she moved to the Gold Coast in Queensland and began her training as a production potter at Lyre Bird Ridge Pottery in Springbrook under master craftsman Errol Barnes. In her apprenticeship, a burning passion for pottery ignited, which still burns today. She spends her leisure time on the beach, and at the tender age of 45 she learned to surf. Henceforth, every free moment, summer or winter, was spent on the beach and in the sea. In 2004, she won the Gold Coast Design Award with her colourful hand painted cups and plates, inspired by the surf.
Art Meets Technology - Ceramics from the 3D Printer
This is the title of an exhibition that has been running at the Porzellanikon – Staatliches Museum für Porzellan in Selb since July. Many ceramists will be wondering whether ceramics and 3D printing actually go together. And at this show, the question can be answered with a definite yes.
This remarkable exploration of modern production processes proceeded from a competition organised in 2018 by the Keramion in Fechen and the company WZR Ceramic Solutions GmbH in Rheinbach. Artists, ceramists and designers were invited to create ceramic art from a 3D printer. The designs were implemented at WZR in Rheinbach via the additive production process.
It was this combination of art, design and modern technology that came into play in the exhibition that ultimately persuaded the Porzellanikon to take the show over. “We show not only the history of porcelain but also see ourselves as a museum that must always keep an alert eye on new developments in production, design and technology”, explains director Anna Dziwetzki.
Exhibition runs until 24 January 2021
Staatliches Museum für Porzellan, Selb
Oliver Pietern, Permutation 043 by MONOCHROMEandMINIMAL
© O.Pietern, photo: Andreas Gießler. Produced by WZR ceramic solutions GmbH by the binder jetting process
A Painter' s Playful Approach to Ceramics
The renowned Danish CoBrA artist Carl-Henning Pedersen (1913-2007) had a playful, an intuitive approach to his work. He is primarily known for his very colourful work as a painter, but now, for the first time, an exhibition created by the two Danish Museums, Carl-Henning Pedersen & Else Alfelt’s Museum and CLAY Museum of Ceramic Art Denmark, brings into focus his ceramic works of a lifetime.
The exhibition is the result of a donation to CLAY Museum of Ceramic Art from the artist’s widow, Sidsel Ramson. The donation consists of 36 unique ceramic works made by Carl-Henning Pedersen at the renowned Danish design company, The Royal Copenhagen Porcelain Manufactory, during the 1990s.
At that time, Carl-Henning Pedersen had already worked with large scale ceramics. In 1964 he was asked to decorate a 1,000 square-metre unbroken yellow brick wall, the inside courtyard of the round shirt factory, Angli, in Herning.
This article is based on the articles “Wrestling with the Clay” by curator Christina Rauh Oxbøll, CLAY Museum of Ceramic Art Denmark and “Visions by the Metre” by Lotte Korshøj, director of the Carl-Henning Pedersen & Else Alfelt’s Museum, published in the book “Carl-Henning Pedersen – Images in Clay”, 2020.
A few of Carl-Henning Pedersen’s paintings are hand picked to accompany his ceramic works at the exhibition at CLAY. photo: Jacob Friis-Holm Nielsen
ONGGI - Traditional Korean food storage jars
When you travel to Korea, you see all kinds of onggi everywhere, e.g. outside traditional old houses and Buddhist temples. This is why Onggi can be spotted correspondingly frequently in travel photos.
Onggi are still in use in Korean households. Wherever you look in a Korean house, you can see onggi. In the kitchen, the front garden, the larder, even in the stables on a farm.
Onggi have been discovered that can be proved to have been in use for at least nine generations. There even used to be a small onggi placed on the shelf of a “maru”, in which freshly harvested grains were kept for the house spirit. A maru is an open central room in a traditional house in which the family meets, especially in summer. Today, every traditional house might be described as an onggi museum.
Special features of the onggi in the household
Onggi were present everywhere in large numbers as utility ceramics. This is why onggi never used to be considered art objects, in contrast to the famous celadons and porcelain, although onggi have long been present in Korean culture and radiate a simple beauty.
(Yoon-Kyung Lee – Dieter Jacobs)
Onggi with sauces and pickled vegetables
Artist Journal: Matsumoto Hideo and Tomita Mikiko
Matsumoto Hideo (Japan)
Matsumoto is the honorary professor at Kyoto Seika University, he was born in Kyoto in 1951. Matsumoto works on richly textured clay slabs, each with its own patterns, almost as if they are hand-painted, to create the very unique structure form.
Due to being born in a temple, Matsumoto has been engaging with the philosophy of Japanese gardening in his work since the earlier years. The gigantic and complex structure of his works is constructed on “expanding surfaces” and “enriching layers.”
Tomita Mikiko (Japan)
In the 2002 joint exhibition of the younger Japanese and Korean artists at the Museum of Modern Art, Shiga, the then 30-year-old Mikiko Tomita (born 1972 in Osaka, Japan) exhibited two works. In an age when computer technology was not so prevalent, her decorative details and technical ingenuity are rarely seen and extremely impressive.
In Studio with Velimir Vukicevic
Velimir, can you tell us about your educational background and whether it always was a dream of yours being a ceramist?
As a young man I was attracted to different disciplines. Art was one of them. I was surprised when I passed the extremely difficult entrance exam. My score was very high, and this exam is a prerequisite for enrolling at The Academy of Applied Arts in Belgrade, Serbia.
I quickly realized it was the right choice for me. I enjoyed learning along with my peers during 5 years of undergraduate studies and later, 2 years of specialization as a graduate student. My father was also ceramic artist and his support was significant.
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