AiR bornholm
prize winners
european ceramic context 2010
11.9 – 7.11 2010
European Ceramic Context 2010 forms part of a biennial symposium for European contemporary ceramics and glass on the island of Bornholm in Denmark. Through comprehensive exhibitions, workshops, master classes, lectures and an artist in residence program, an opportunity will arise to discuss and present the best of contemporary European ceramics and glass, with changing biannual exposure. All 27 members of the European Union as well as Iceland, Norway and Switzerland will be participating.
ECC news:
The ECC prize winners are in Ceramic Art Rafael Pérez from Spain and in New Talent Christin Johansson from Denmark. Read the Jurys motivation Read the opening speeches by HRH The Crown Princess, Lars Kærulf and Susanne Jøker Johnsen.
mail | sitemap | phone +45 5648 4386 | webdesign Helle Marietta Pedersen | webmaster typecase.dkabout
conference
12.9 – 13.9 2010
Contemporary European Ceramics, Post Industrial Industry and Cultural Economy This conference aims to address, investigate and discuss current themes related to Contemporary European Ceramics, the situation of ceramic art in Post Industrial Industry and what position do ceramic artists find themselves in the present Cultural Economy.
Venue The Danish Design School Bornholm. Tichets 120 Euro / 900 Dkr. for both days. Buy your ticket here!
Conference Programme:
sunday 12.9.201010.00 / Welcome and introduction by moderator John Gibson, Head of Ceramics Department, The Danish Design School Bornholm.
10.15 / Prof. Judith S. Schwartz, Department of Art and Art Professions, New York UniversityKeynote Address: Guiding a Global Career in a Post Industrial World The arts have changed radically in the past few years. The field is much bigger, the money greater, there are more artists, the modes of dissemination have changed and the ways we categorize various disciplines have changed as well. Thanks to technology, people can create and share art with the world in ways unimaginable just 10 years ago. Guiding a global career will address how artists, working in craft media, are beginning to reposition themselves and use technology to showcase themselves in new ways as they transcend regional markets and tastes and concentrate, instead, on developing their careers on a global stage.
11.30 / Christin Johansson Emerging artist presentation Read more about Christin.
12.00 / Lunch break
13.00 / Michael Moore, Head of the research Center for Applied Arts University of Ulster, UK Irish Ceramics and the Danish Influence. The Influence of Scandinavian Designers on the development of Irish Ceramics from 1963-2010. This paper will consider the role of Scandinavian Designers, in the most part Danish, who formed the team that assessed the standards of design in Ireland leading to the Design Report, 1962. It will track the impact the report had on Ceramics within Studio Practice and the formation of cultural institutions such as the Crafts Council of Ireland and the National Craft Gallery of Ireland. It will present an overview of current Irish Ceramic Practice from its origins in the mid C20th with a focus on influence of the Report to recent collaborations between contemporary Irish Artists and Danish Centre’s of Ceramics Research.
13.45 / Break for coffee
14.15 / Richard Launder and Julia Collura RL is based in London and at the National Academy of the Arts Bergen , Norway. JC is located to London, Arts Educational Schools/Central School of Speech & Drama, University of London FERRANIA:is the title of a collaborative work in progress – Visual Art (Launder) & Performing Art (Collura) collide, merge – hybridize into an on-going portfolio of films, performances, installations & individual works. Fragmented narrative (emergent from an improvisational session together) is the structure, which glues social and cultural critique along with humour and various “Dark Matter” phenomena. Core concepts of the work include commentary on environmental issues and societal pressures of beauty. FERRANIA: THE DANISH FRAGMENTS (15/27/9/16B/29) the 1st video from this project will be screened. Followed with a joint presentation, which will contextualize the concepts, taking the audience behind the scenes into material choice, the process of staging & performing for the video, & constructing a large multi-media installation. Both collaborative & work in progress strategies will be discussed in this paper; together with how interdisciplinarity combined with intimate knowledge & experience of specific disciplines (Art, Ceramics, Theatre, Music) are related to the expanded field, which is the contemporary art scene.that further fragments have been found & are to be un-earthed at undisclosed locations in Italy – to be continued.
15.00 / Jeremy Theophilus & Barney Hare duke, Co directors at British Ceramics Biennial The British Ceramics Biennial – a model for regeneration through contemporary practice The British Ceramics Biennial is a prestigious project that embraces the heritage of the Potteries as the home of British ceramics, that stimulates creativity and innovation across the breadth of its practice and sharpens Stoke-on-Trent’s creative edge as an international centre for excellence in contemporary ceramics. This presentation by its Co-Directors will show how the Biennial advances the City’s regeneration strategies, acting as a stimulus and a catalyst for the transformation of its economy, environment and quality of life. There is nothing like the British Ceramics Biennial in the UK: a first for Stoke-on-Trent and the start of what will doubtless be a significant journey towards a new way for the world to be thinking about the City, and for the City to be thinking about itself
Monday 13.9.2010
10.00 / Welcome and summary by moderator John Gibson, Head of Ceramics Department, The Danish Design School Bornholm.
10.15 / Prof. Andrew Burton, Newcastle University ‘Making Bricks’ considers basic methods of brick production and use in India from the perspective of the artist, showing how this has inspired a contemporary sculptural language. The project begins with the production of 50,000 tiny hand-made bricks which are used for a series sculptures. Collaboration – including with brick masons in Delhi and graffiti artists in Northern England and a dynamic relationship with subject matter were central themes. Each completed work is exhibited and then broken up or dismantled, the constituent parts recycled into new work. As each sculpture is held together with paint or with cement, the bricks gradually acquire a surface patina; a memory of accreted layers of matter. Through this process, Making Bricks examines how an artistic language might be developed that explores ideas around ceramics,recycling, the sustainability of sculpture and collaborative work. Issues of the permanence and ephemerality of ceramics are considered.
11.30 / Atelier NL Nadine Sterk & Lonny van Ryswyck Emerging Artist presentation Read more about Atelier NL
12.00 / Lunch break
13.00 / Dr. Vanessa Culter, Swansea Metropolitan University, Wales This paper intends to offer an overview of how ceramic artists can utilize the possibilities in working collaboratively with an Educational Institution to enable work to be produced. The paper sets the opinions and outcomes from the point of view of the institution and the artist, particularly the work of Chris Wight. By working outside his studiothis papers intends to give an insightto how an artist has been able to utilize and develop a body of work that would have been difficult to achieve without the aid of the knowledge and facilities made available by working with an Institution.
13.45 / Break for coffee
14.15 / Neil Brownsword, Buckinghamsire New University. Past and Present: A Creative Response to Britain’s Industrial Ceramic Heritage. For over a decade, Neil Brownsword’s work has been a sustained mediation on the decline of British ceramic manufacture in his home town of Stoke-on-Trent. Assuming the role of artist/archaeologist, Brownsword unearths/ salvages by-products from the histories ceramic production and regenerates these symbolically charged vestiges of labour into poetic abstract amalgams. Through its metaphoric exploration of fragmentation and the discarded, his work signifies the inevitable effects of global capitalism which continue to disrupt a heritage economy rooted in the area for nearly three centuries. This paper will illuminate the evolution and context of his creative practice to date.
15.00 / Panel debate and summery of conference.
16.00 / Conference ends.
Conference themes:
Ceramicists as well as other craft practitioners have traditionally worked in strong collaboration with the industry, designing and developing products for industrial mass production.This collaboration between individual artists has played a historic role when defining the identity of ceramics in Europe. The situation is different today, due to globalization and the changing economic situation. Over the past many years, ceramic production in industry has been minimised to the point where it is almost gone in many European countries. Ceramic products are now being produced cheaply in the Far East or in smaller production units locally. This conference aims to address and discuss how ceramicists, as well as craft practitioners in general, are recognised as a part of the cultural and creative economy.
Defining ceramic artists situation and identity in Post Industrial Industries.
What do craft practitioners do when Industry closes and the historical and cultural links are broken?
Is there another way forward for the Ceramic Industry?
Has less collaboration with Industry created a situation for the ceramic artist whereby new ways and new possibilities can be found to produce and express their works?
In which fields of reference can ceramic artists be active in today’s cultural and cultural economy?
What possibilities can the ceramic artist exploit with today’s digital media? How can viral communication and digital marketing be united with the physical aspects of ceramic art?
In a time of economic change many traditional physical outputs in the form of galleries museums magazines etc are downsizing their operations can we identify new forms of outputs that may exploit newer forms of network communication?
Can a return to the traditions of the past be the way forward to the future?
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mail | sitemap | phone +45 5648 4386 | webdesign Helle Marietta Pedersen | webmaster typecase.dk