Taoxichuan Art Center – International Studio located in the city of porcelain – Jingdezhen, China is now open for the application of Artist-in-residency for the calendar year 2021 & 2022.
The mission of Taoxichuan Art Center is to provide a platform for artists to work at the well-supportive studio environment and explore a thousand-year history of porcelain in Jingdezhen.
For the past 5 years, over 100 artists coming from 30 countries took part in our artist-in-residence. We held more than 50 solo and group exhibitions, 30 workshops, 5 Spring and Autumn Art Fairs, and 2 Ceramic Film Weeks.
In 2021 and 2022, Taoxichuan Art Centre will continuously enrich our existing artist-in-residence program by adding 2 new locations in two of the famous Celadon historical kiln sites. One is in Longquan, Zhejiang Province. The other one is in Tongchuan, Yaozhou Kiln, outside of Xian in Shanxi Province.
We expand and designate the goal of the artist-in-residence program in four categories.
1. create and exhibit
2. masterclass teaching and research
3. design prototype for a line of industrial production
work
4. film production about ceramic art, design, craft, culture and history.
Hosted by: Weston Art Gallery Aronoff Center for the Arts 650 Walnut Street Cincinnati, Oh 45202 513-977- 4166 www.westonartgallery.com
ENTRY DEADLINE: Wednesday, October 7, 2020 (11:59pm MDT)
EXHIBITION DATES: February 5 – March 28, 2021
ABOUT THE NCECA ANNUAL
The NCECA Annual blends impactful attributes of invitational and open juried models of exhibition development. Exhibition curator Shannon Rae Stratton’s organizing concept is brought to life through the work of three invited artists. The curator will select additional works and artists for the exhibition through an open call for submissions.
Stratton shares the following about her vision for the exhibition:
According to physician’s Vivek H. Murthy and Alice Chen’s March article for the Atlantic, the corona virus could cause what is being called a “social recession.” They speak about how the longer we go without personal contact, the more social bonds fray and unravel, leading to harmful effects on mood, health, our ability to learn and work, and our overall sense of community. Their concern stems from an already growing body of national and global research on the epidemic of loneliness that reports, at the lowest 22% of American adults, and at the highest 50%, are struggling with loneliness. That is more adults than smoke or have diabetes.
Many artists working in craft value the field for its history of peer-to-peer exchange, mentorship, functionality and proximity to the body. It’s a field that identifies itself with connection and touch, with craft objects – whether functional design or conceptual art – often serving social functions.
While Murthy and Chen were concerned with fraying social bonds based on enforced separation, the legacy of settler colonialism and white suprematism that has shaped capitalism, Western culture and specifically the United States, has long disrupted social bonds, destroying communities, histories and traditions in its wake.
This call for artwork for the NCECA Annual invites artists to consider the tension between together and apart, interdependence, belonging, hospitality and modes of support that allow people to extend themselves with mindfulness and compassion towards each other and to the non-human world. As the list of untenable and ailing structures that have caused harm begin to crumble, what change can be supported through connection, compassion and empathy?
Living in a culture that places a high value on individuality has obscured the reality of interdependence – the fact that nobody thinks or creates in a vacuum. If anything, people are all vectors for one thing or another, transmitting ideas that have coalesced in and around us at any given time. Empathy is the nourishment required to sustain a tender “us” now and in the future.
Interested artists are encouraged to submit works that draw on their personal and cultural experience to explore themes of the social and how social connection, as a renewable resource, is a means for addressing the challenges we face both individually and as a society. We encourage submissions that deal with collective grief and mourning, rage, empowerment, joy, care and compassion – but all through work grounded in connection, interdependence and the social.
1919年創業の瀬戸の窯元、眞窯にうまれ、染付け窯屋をコンセプトに多くの作品を生み出してきました。 絵付けでは染付特有の”濃(ダミ)”という技法を駆使します。 太く大きな筆から呉須をスポイトのように流し出し、陶器の表面に絵を施していきます。 墨絵のように藍一色だけで様々な濃淡の青を表現できる多様さは他の器にはない美しさ。 時間をかけて習得されたクラフトマンの技術だけが、藍色の美しさをより際立たせます。 I was born at Shingama pottery in Seto, founded in1919. I have created many products up to the present with “sometsuke pottery” as my concept. For sometsuke painting(indigo dyeing), I utilize a technique called “dami”which is a characteristic of dyeing. Gosu is poured out from a large, thick brush like from a syringe and is painted on the surface of the porcelain. As in ink painting, the variety that can be expressed with the various shades of blue using the single color of indigo is beauty not found in other pottery. Only the skill of craftsmen learned over many years can make the beauty of indigo really stand out.
