Making or Unmaking: The Contexts of Contemporary Ceramics Conference

by | Sep 29, 2011 | | 0 Comments

The Contexts of Contemporary Ceramics

The Contexts of Contemporary Ceramics

Bergen, Norway
27th – 29th of October 2011

The opposition between studio and industrial ceramics that has had such a central place in the self-understanding of studio ceramicists, no longer seems meaningful. A shift from production to reproduction has taken place. Images and patterns from different sources are appropriated and manipulated. Mass-produced objects, often characterized by disuse, disruption and damage, have come to be increasingly used as raw materials. The relationship between artist and artisan has also changed. The conference focusses on the way in which these changes influence contemporary making, and how they contribute to the unmaking of conventional understanding of ceramics and craft practises in general. Speakers:
Glenn Adamson, Barnaby Barford, Marek Cecula, Nicole Cherubini, Mònica Gaspar, Tanya Harrod, Ben Highmore, Gitte Jungersen, Søren Kjørup,Carol McNicoll, Kevin Murrey, Andrew Livingstone, Michael Petry,Mike Press, Paul Scott, Ezra Shales, Richard Slee, Caroline Slotte, Linda Sormin, Hans Stofer, Clare Twomey, Jorunn Veiteberg and Anne Britt Ylvisåker. Exhibitions:
West Norway Museum of Decorative Art: Thing Tang Trash. Upcycling in Contemporary Ceramics (curator: Heidi Bjørgan); Galleri Rom 8: Kjell Rylander; Hordaland Art Centre: Shot: Textiles and Photography (curator: Glenn Adamson); Galleri Format: The Red Room (curator: Heidi Bjørgan); Galleri Fisk; S12: Young and Loving. Location:
Terminus Hall, Hotel Grand Terminus, Bergen, Norway. A research conference organized by K-verdi (www.k-verdi.no) at Bergen National Academy of the Arts, in collaboration with Art Museums of Bergen. Supported by the Norwegian Research Council, Bergen National Academy of the Arts, Bergen kommune, Hordaland Fylkeskommune and Norske Kunsthåndverkere.

Find all the details here.

British Ceramics Biennial Starts this Friday!

by | Sep 28, 2011 | | 0 Comments

Runs from September 30th to November 13th @ Stoke-On-Trent

BCB showcases excellence and the best of contemporary practice by makers and artists across the UK, building significant partnerships with other major festivals and centres for ceramic research, and making significant European partnerships. At the heart of the British Ceramics Biennial is AWARD at the Potteries Museum & Art Gallery, a major exhibition of work by artists, potters and designers working at the creative leading edge of contemporary ceramics practice. From the 28 finalists exhibited, one winner will be awarded a £10,000 prize. We’re delighted to welcome Spode, part of the Portmeirion Group, as the sponsor of this Award, and also the Spode Room, making them our leading sponsor partner in 2011. On the historic listed site of the original Spode Pottery factory in Stoke Town, FRESH will showcase the work of 40 recent UK graduates. FRESH will also highlight the Crafts Council’s “Firing Up” project to re-invigorate the learning of ceramics in secondary schools. ReFRESH will showcase examples of ground-breaking ceramic research. One of the largest shop floors at the original Spode site will be the home of A Great Wall. This large-scale installation will feature tableware to technical ceramics, highlighting the diversity, innovation and creativity of the UK ceramic industry. A new body of work by acclaimed ceramic artist Phil Eglin, Mould Store will see the artist re-use and reclaim the discarded ceramic moulds from the nine remaining stores at the original Spode site. Eglin joins five other artists who will create specific responses to the factory buildings to allow visitors to explore the ten-acre site. The work of ten international artists including Tony Cragg, Hella Jongerus, Betty Woodman and Anne Ausioos, produced during residencies at the European Ceramics Work Centre, will be brought to Stoke-on-Trent for Sunday Morning @EKWC. The exhibition is co-curated by Neil Brownsword, an internationally acclaimed artist from Stoke-on-Trent and winner of the overall 2009 BCB Award. OPEN will see the area’s museums, galleries and ceramic industries with their own programme across three weekends during the festival.Visit their website for all the details.
* Update – here‘s an article from the Guardian on the events.

British Ceramics Biennial and Ceramic Review Writing Prize

by | Sep 28, 2011 | , , , , , , , | 0 Comments

CR Writing Prize This year Ceramic Review is launching a new prize inspired by the British Ceramics Biennial to discover and stimulate new writing on ceramics. Entrants should write a short text that explores the BCB, Stoke-on-Trent’s ceramic heritage, or ceramics in general. Entrants are encouraged to be critical, theoretical, or experimental in their approach, and can submit up to 650 words. Writers, makers, and artists from all backgrounds are invited to submit their text to [email protected] by 13 November 2011. The winning entry will be published in an upcoming issue of the magazine and the winner will be awarded a two-year subscription. Bonnie Kemske, Ceramic Review Editor, explains the idea behind the prize: ‘People will always, and have always, talked about ceramics. With this prize we hope to give a greater voice to these discussions and to encourage a more critical approach and appreciation of the medium. Reviews, critical analysis, a short story, or a poem – we want to read it all.’ Guidelines for entry Entries should explore the BCB, Stoke-on-Trent’s ceramic heritage, or ceramics in general, and the competition is free to enter. Submit entries to [email protected] by 6pm on 13 November 2011. Entries should be by email only. Include your name, address, telephone number, and also the title of your entry in the body of the email. Do not send the entry text in the body of the email. Your submitted text of up to 650 words (poems can be no longer than 60 lines in length) should be sent as a Word document attachment to the email, headed with the title of the piece. No personal details should be included in the entry, but must be in the body of the email. You may submit one supporting image with your text; this should be submitted as a high-resolution digital image (300dpi) saved as a Jpeg, TIFF, or Photoshop file. You will receive confirmation of your submission via email. There is no restriction on the form or genre of your entry: we will accept poetry, short fiction, critical analysis, reviews, or experimental writing. All entries should be written in English, although the competition is open to international submissions. Entries should not have been published or accepted for publication elsewhere, including blogs, websites, and other social media, and not under consideration in any other competitions at time of entry. No corrections can be made after receipt of your entry. Eligibility You may submit either as an individual or as part of a collaboration, but each entrant may submit just one entry. There is no age restriction. The Judging Panel The Ceramic Review editorial team, and Amanda Fielding, independent curator and writer, and regular contributor to Ceramic Review. Prize There will be one overall winner to be notified by 30 November 2011. The winning entry will be published in a related issue of Ceramic Review by July 2012. The winner will also receive a two-year subscription (12 issues). Disclaimer The judges reserve the right not to select a winning entry if, in their opinion, no works entered reach a sufficiently high standard. The judging panel may select runners-up at their discretion and this may lead to publication. The judges are unable to comment on individual entries and cannot offer feedback. Copyright of the winning entry remains with the author, but Ceramic Review reserves the right to publish the winning entry/entries in its magazine and on its website, as well as retaining unrestricted rights to use the winning entries and any related material for PR purposes. Entries submitted posthumously will not be eligible. The judges’ decision (both as to eligibility and the winning entries) shall be final.See the website here.

Course of technical and creative understanding of the porcelain.

by | Sep 27, 2011 | | 0 Comments

creative understanding of the porcelain.
For nine months, from October 2011 to June 2012, Yukiko Murata teach a course devoted to deepen their knowledge and use of porcelain will be structured on a thematic session per month. On Thursday September 22 at 10:00 am and 20:00 pm, there will be an ongoing presentation of Yukiko Murata and Cortiella Rosa, professor and coordinator respectively. The nine thematic sessions have the following contents: Session 1: Analysis of shrinkage.
Session 2: translucency, fragility and resilience (technical SHINOGUI).
Session 3: Whiteness and vitrification (Zug-embedding technique-).
Session 4: Whiteness and vitrification (technical SOMETSUKE-under cover-)
Session 5: Whiteness and vitrification (technical UWAE third fire-Japanese-)
Session 6: Solutions for the lack of plasticity and resilience (technical paper pulp).
Session 7: Theory: oxidation and reduction
Session 8: Individual Project. From all the material worked, each participant will present their own project and advise technically viable.
Session 9: Project presentation, comments and visit the workshop Yukiko Murata. More information: Asimetric. Ceramics Workshop-School
C / Besalu, 1 bis, bjs.
08026 Barcelona Phone: 93 340 74 89 e-mail: [email protected] Ceramic Review

Call for papers: A World in Making: Cities Craft Design

by | Sep 27, 2011 | | 0 Comments

craft + design enquiry is pleased to announce a new call for papers for the fifth issue of the journal to be published in 2013.Guest Editor, Suzie Attiwill is calling for papers for this on the theme of A World in Making: Cities Craft Design as outlined below.On 12 March 1913, a naming ceremony took place in an empty paddock on a hill. This rural environment was to become a city, the capital city of Australia, the city of Canberra. The aspirations and the projections of the Griffins’ winning design for Canberra are an example of a world-in-making involving the practices of design and craft. This issue of craft + design enquiry will be published in 2013 – 100 years after this event and when, for the first time in history, more than half the world’s population live in cities. By 2030, this will increase to at least 60% with significant growth happening in cities of developing countries and the emergence of meta-cities with 20 million inhabitants. ‘The twenty-first century will be known as the century of the city’.1 This next issue of craft + design enquiry will focus on and highlight the role, contribution and potential of craft and design practices to the urban environment as well as the transformation of these practices – a world in making. ‘The thing is what we make of the world. … Things are our way of dealing with a world in which we are enmeshed rather than over which we have dominion. … It is our way of dealing with the plethora of sensations, vibrations, movements, and intensities that constitute both our world and ourselves’ … ‘We make objects in order to live in the world’.2 Situated in a journal published by Craft Australia, the nuances of craft – a practice which values making and materiality – will guide the selection of papers for publication. This emphasis on craft does not exclude design so much as bring focus to practices of design which engage ideas of making and materiality, where there is a sense of a hand(s) in making, a valuing of haptic encounters and an attention to the relation between people and surroundings. From small to large scale projects, from individuals to communities, an intimate approach to the question of how people inhabit and transform the urban environment is invoked. What are the potentials in this century of the city for craft and design practices? What is the contribution of craft and design to cities and liveability? What might a craft sensibility bring to urban inhabitation? What of an expanded idea of craft practice as a way of working and thinking which addresses spatial and temporal urban conditions? What of the emergence of new forms of practices to engage in the condition of the urban environment and the social, political and cultural forces of the twenty-first century?
Academics, practitioners, research students and others are invited to submit research papers and critical project works. A definition of research as ‘the creation of new knowledge and/or the use of existing knowledge in a new and creative way so as to generate new concepts, methodologies and understandings’ 3 is reiterated here to highlight the criticality of ‘new and creative’ in relation to research and to encourage the submission of research through craft and design practice, as well as about craft and design practices situated in a world in making – ‘the century of the city’. Authors are also encouraged to consider the inclusion of visual material as research. This issue of craft + design enquiry will be published in mid-2013. The CDE#5 Call for Papers closes on 30 June 2012.To submit a paper please register online by the closing date of 30 June 2012. Refer to author guidelines for further information.For inquiries relating to this issue or submission of papers, please contact the Guest Editor, Suzie Attiwill Administrative enquiries, please contact Jenny DevesVisit the website here.

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