In the PROFILES section: Eight ceramic artists from Switzerland, Germany, United Kingdom, Spain, Netherlands, Romania/Belgium. Coverage of EXHIBITIONS and EVENTS in China, Romania, Cuba, Turkey, Germany, United Kingdom. In the section ARTIST JOURNAL, we present Karin Östberg and Lee Min-Soo . And we also have interviews with artists IN STUDIO as well as listings of Dates, Courses, Seminars and Markets.[/rs_section_title]
Claudi Casanovas – Spain
Rita Badilla-Gudiño – Philippines
Daniela Polz – Germany
You Yu Li – China
Sebastian Scheid – Germany
Margaret Curtis – UK
Ipek Kotan -Turkey / Netherlands
Forum / EDUCATION
Art and Religion – Gustav Weiß – Art philosophy
KAT18 – Antje Soléau – Project
EXHIBITIONS / EVENTS
Symposium – Maihar, Madhya Pradesh – India
Pottery and gallery – Le Don du Fel – France
International Ceramics Biennale – Gyeonggi – Korea
Galerie Klosterformat – Rostock – Germany
Ceramics Festival – Aberystwyth – UK
Galerie Faita – Hameln – Germany
Future Lights – Fiskars / Frankfurt – Finland / Germany
Karin K. Nilsson – Hsu Yunghsu – Shao Ting-Ju – Sweden / Taiwan
Corrie Bain – Evelyne Schoenmann Interview / developing skills
DATES / Exhibitions / Galleries / Museums
COURSES / SEMINARS / MARKETS
Symposium – Maihar, Madhya Pradesh – IN, Pottery and gallery – Le Don du Fel – FR, International Ceramics Biennale – Gyeonggi – KR, Galerie Klosterformat – Rostock – D, Ceramics Festival – Aberystwyth – UK, Galerie Faita – Hameln – Germany, Future Lights – Fiskars / Frankfurt – FN / D
Dates and Exhibitions from Amsterdam to Winzer
Forum: Art and Religion – Gustav Weiß Art philosophy
Exhibitions: International Ceramics Biennale – Gyeonggi – KR, Ceramics Festival – Aberystwyth – UK,
KAT18 – Antje Soléau -D
Artist Journal: Karin K. Nilsson – Hsu Yunghsu – Shao Ting-Ju– SE / TW
In Studio: Corrie Bain – ES[/rs_section_title]
Lush vegetation on top of old volcanos surrounds his studio – volcanos that are inactive but not extinct, a precision that seems quite relevant in this context. No wonder the artist is a medium for expressing nature, a statement especially true for potters, but exact for Casanovas.
Nearby, the town where he grew up in a family of artists, being his grandfather, a renowned sculptor of the Art Nouveau period. This town, Olot, is actually well known for its traditional painting school, which had his peak during the second half of the 20th century.
The most recent pieces she has made, a series of “Frames”, demonstrate a new level of maturity and sophistication in her work, a culmination of a long road of enquiry, and no doubt an exciting beginning for further sculptures.
On her method of working she says: My best works are made when I am in a particular state of mind; relaxed and calm, thoughtful but not too forcefully engaged. When I achieve this state, the work flows almost automatically, like I’m not really in control but an observer of what is being achieved from my efforts. I am overseeing the process but not forcing the result. (Eddie Curtis)[/rs_section_text_block]
Whereas the wheel can be assigned to the field of technology in human development, to the expansive, warlike impulse, and thus represents the male principle, the connotations of the vessel are entirely opposed to this. Gathering, preserving, containing and giving define the character of the vessel. The handmade vessel represents the female principle.
Ipek Kotan was not preordained to become a ceramist. From the outside, at least, nothing pointed to a career in the crafts, let alone the arts, for her at her birth in Istanbul, Turkey, in 1977. In retrospect, however, it seems as if the impressive nature of prehistoric vessels of the Mesopotamian culture in Turkish museums had implanted a love of ceramics in her as a child who was always attracted by fine art – an early influence, perhaps, that was later to bear fruit.
Idea and Perception: “Art raises its head where religions decline”, wrote Nietzsche. “Feeling, forced out of the religious sphere through the Enlightenment, throws itself into art.” Max Pechstein spoke of this too. Neither yet knew what potential for miracles early human history contained. All the great religions of the world offer a key that is supposed to enable us to enter into the unknowable, where belief becomes certainty. It is merely a virtual key, impressed and drawn into the Talmud, the Bible and the Qur’an. We cannot overcome this frontier, but according to Max Pechstein, the realm of creative imagination brings us closer to God when we create.
The virtual key, h 22 cm. Photo – Christian Weiß
Irene Stamp, Recipe Plate
The Biennale, now taking place for the ninth time this year, was placed under the motto of Narrative Ceramics by this year’s director Kwanho Woo. On the theme Narrative – Ode to Life, there were the following themed exhibitions:
Story-Telling about Life juxtaposed fourteen contemporary artists who work narratively with works from the 1960s and 70s.
Memory – Remembering Life showed old Asian ceramics in all its facets and by means of 140 ceramic artefacts, e. g. funerary gifts, to give an insight into people’s lives in the past. It also gave eleven contemporary artists’s answers to this. Pray – Cherishing Life presented 118 urns by contemporary artists as commemorative objects that do not make death a taboo but that celebrate a life that has been lived (“We can cherish life more if we reflect on death”).
Detail from the exhibition Story-Telling about Life – installation by Ting Ju SHAO
It takes place every three years in the Arts Centre on the campus of Aberystwyth University, surrounded by the picturesque Welsh scenery. It offers teachers, students, artists, collectors, potters, amateurs and crafts lovers the opportunity to spend some instructive time intensively involved in ceramics with a programme full of variety and the opportunity to see the work of renowned potters working in all kinds of ways – from Wales, the UK and the rest of the world.
The artists present themselves and their works in talks and films, as well as giving practical demonstrations and insights into their individually developed skills and techniques, on the stage of the Arts Centre. For instance, Eddie Curtis shared the stage with Gerrit Grimm – with much verbal humour and repartee – so that the almost full house in the auditorium enjoyed the liveliest entertainment. The audience could interact freely with the artists, asking questions about their working methods, their ideas and processes. In addition, the demonstrators continues to work on these pieces at their own workplaces giving interested viewers the opportunity to discuss things in person.
Demonstration by Eddie Curtis and Gerit Grimm
Karin Karinson was born in Sweden in 1970.
Karinson collected second-hand, mass-produced ceramics, and assembled them with clay, glass, and glaze. The ready-made products assumed to be tasteless and cheap were hence transformed into artworks with new appearances, changed fields, broad visions, and diverse connotations, which established different dialogues and interactions with the viewers.
Hsu Yunghsu was born in Taiwan in 1955.
The basic techniques such as coiling and kneading of clay slabs or strips, combined with the repetition of mussels, construct the life of the works. The artist’s ingenuity and every trace of where the fingers meet or press the clay can be perceived in the sculpture.
Corrie, our readers will ask themselves: a Scottish ceramist explaining Buncheong technique? But you lived quite a few years in Korea, didn’t you? And also in other countries around the world. Would you tell us your story?
I was born in a remote part of Northern Scotland, and grew up in a small village on an island in Greece. Being surrounded by artists and having a ceramist as a father meant I was in contact with clay since early childhood. I began drawing lessons when I was 12, which led me to art school. I studied a Bachelor of Arts in Design and Applied Arts specialising in Ceramics at Edinburgh College of Art, was an exchange student at Alfred University of Ceramics in New York, and achieved an Honours Degree in 2003.