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NEW CERAMICS T h e E u rop e a n C e ra m i c s M a g a z i n e


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Galerie Marianne Heller „Summer Specials“ 28th June to 26th July 2015

“Well-known – Up-to-date” International ceramics; Accrochage

Finissage on 26th July 2015 with

“Marc Leuthold – USA” Lecture and exhibition

9th August to 20th September 2015

“Between Prag and Budweis” Works by Czech artists

12.Juli 13. September bis bis 1. November 16.August 2009 2009 Eröffnung : Sonntag, Sonntag, 13. September, 12.Juli 11.30 Uhr11.30 - 18 Uhr


Opening hours: Tel.: + 49 (0) 6221-6190 90 Tue - Fri 11-13 & 14.30-18 Uhr Öffnungszeiten: Sat 11-18 Di-Fr: 11 -13 Uhr und 14 -18 Uhr Sa: 11 -18 Uhr, und nach Vereinbarung Tel: + 49 (0) 6221-6190 90 zus.: So,12.07. + So,16.08. 11.30-18 Uhr

Galerie Marianne Heller Friedrich-Ebert-Anlage 2 Friedrich-Ebert-Anlage 2 Am Stadtgarten Am Stadtgarten D-69117 Heidelberg NEUE KERAMIK MÄRZ / APRIL 2010 D-69117 Heidelberg



4 / 2015



08 14 18 22 26 30

PROFILES Hans & Birgitte Börjeson Velimir Vukicevic Janet MacPherson Nathalie Doyen Frauke Albert Suvira McDonald


FORUM / EDUCATION “Form Follows Failure” – Gustav Weiß

36 37 38 40 42 43 44 46 48 52 54 56

EXHIBITIONS / EVENTS Galerie ATELIER NO 4 – Sankt Wendel “Bembel-Experiment” – Höhr-Grenzhaen / Frankfurt Salzburg Ceramics Prize – Salzburg 25 Years of the Keramikmuseum Berlin – Berlin Raval de l'Art – Roquetes, Tarragona Ceramic Portrait – Oldenburg CERAMIC ART – London In the Passage of Time – Cathy Fleckstein – Kellinghusen NCECA – Providence Woodfiring Conference – Guldagergaard COLLECT – London EXPONATE 2015 – Höhr-Grenzhausen

58 62

CERAMICS & TRAVEL Studying in Korea – Seoul Korea


DATES / Exhibitions / Galleries / Museums Exhibition diary

68 74 76





Denmark Serbia Canada Belgium Germany Australia

Art appreciation


Germany Germany Austria Germany Spain Germany UK Germany USA Denmark UK Germany


IN STUDIO Simcha Even-Chen – Evelyne Schoenmann Interview / Developing skills


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Variations by Hans & Birgitte Börjeson (DK) Page 8



Raku Festival in Sevenum


Dear Readers of NEW CERAMICS


t's all about joining in!" says Ed Knops, and every two years, together with his family and his wife Ine, he puts on a very special festival. I have rarely been so impressed by an event as I was by this year's Rakuvaria Festival in Sevenum on the premises of the Knops family – you can see some snapshots on the opposite page. Of course, major international events have their very special attraction, which stems primarily from the demonstrations and talks. On top of that there is the very important factor of meeting old friends and acquaintances again that you only see once a year, or perhaps even only every few years. The structure of these large-scale events – however important and informative they are – has something planned and rigid about it, and it is up to the visitors to bring some life to what happens. But in the case with Ed and Ine Knops it is different! Of course, it wouldn't work in Sevenum either without any planning, and I certainly do not envy the Knops family all the preparations and the clearing up afterwards. However, the individual components of the festival are such that visitors are not only recipients, but if they wish, they can also be active participants. And there is something going on wherever you look! An entertainer dressed as a butler was walking around making jokes with young and old, a band was playing in the background, there was mouth watering food from the wok, and work or demonstrations were going in most booths; or to recover from their exertions, visitors could take advantage of the deck chairs and simply chill out. All in all, there was a very lively but relaxed atmosphere. It was also possible to take part in the activities at the various booths, and many people, children or adults, may come into direct contact with clay for the first time like this. It is a festival and not a conference, and there is a lot of emphasis on the entertainment factor, but it is an effective way of filling people with enthusiasm for ceramics and introducing them to some of the many ways of working with clay. Of course all of this has a commercial background, but it is truly remarkable how a major event with guests from many different countries has developed from a private initiative. As people say when medals are being awarded: Ed and Ine Knops have rendered outstanding services to ceramics! And I very much regret not having attended the festival years ago, but I certainly won't be missing any in the future. And I would also like to pass this on as a recommendation to readers of NEW CERAMICS. The year has already been rich in events, exhibitions, trade shows, competitions and awards, and it is likely to continue that way. In this issue, we have once again tried to capture some of these occurrences to present them to you. There were so many things going on that we have had to reduce the size of the Profiles section, and we have postponed two artists' profiles – totalling eight pages – to the next issue. Some things have only been able to find space in the NEWS section. In July and the later part of the summer, further interesting event are to follow, where we will be in attendance, whether it is at major markets, perhaps in conjunction with ceramics fairs such as Oldenburg or Karlsruhe, or conferences such as Aberystwyth, which is actually a mixture of festival and conference. If you have not yet made up your mind about your summer holiday and you would like to do so on the spur of the moment, Aberystwyth on the coast of Wales is a lovely small town and Wales is delightful too – quite apart from the fascinating Festival that takes place there every two years in early July. You can find further details about Aberystwyth in the ad on page 70. Finally, one further suggestion: one of the best-known woodfire ceramists in the world, Peter Callas from the USA, will be in Europe in September. At the invitation of NEW CERAMICS he will be giving a talk about his work, his former cooperation with Peter Voulkos and firing in an anagama at the Keramikmuseum Westerwald in Höhr-Grenzhausen in the morning of 18 September. Everyone is welcome, admission is free of course. I wish you an eventful, interesting but relaxing summer and will be back again in September. Yours, Bernd Pfannkuche

With Yna van der Meulen and Mels Boom at their stand at the Rakuvaria Festival in Sevenum, the Netherlands








Dirk Allgaier is taking over the reins of the Stuttgart-based artbook publishers and is starting out in new premises. For over ten years, Dirk Allgaier has been one of the leading lights at the international publishing house with headquarters in the south of Stuttgart. On 1 April 2015, he has now become proprietor of Arnold Art Publishers. Founder Dieter Zühlsdorff is retiring. One of the new head's main objectives is to continue expanding company's international activities. Dirk Allgaier photo: Miriam Künzli for Art Aurea

On Feet of Clay – Ceramic Figurines

Humans have always been fascinated by creating their own image in clay. In ceramic art in the 20th century, artists’ study of this subject area had been particularly wide ranging. Along side Christian interpretations such as the mother of god, there are mythological representations as well as genre scenes and portraits. The exhibition with pieces from the museum's own holdings shows individual figures, couples or groups in various styles and ceramic techniques. The exhibition runs until 30 August 2015. Stiftung KERAMION - Zentrum für Gerda Smolik, The Blue Hare Behind Me, 2005, porcelain, h 24 cm moderne+historische Keramik, Bonn- Limoges photo: Ferdinand Neumüller straße 12, 50226 Frechen, Germany. Tel. +49 (0)2234 - 69 76 9-0, I

Pottbäckermarkt –

Niederrhein Keramikpreis for Frank Schillo from Köln

The Lower Rhine Ceramics Prize worth EUR 1,000 at the 24th Krefeld Pottbäckermarkt was sponsored by the Volksbank Krefeld for the first time. Mayor Karin Meincke presented the prize to freelance ceramist Frank Schillo from Cologne. Schillo impressed the expert judges with his wide range, covering classic sculptures, functional wares and gift articles. Besides the Keramikpreis, he also received the “Ceramics Oscar”, a blue vase with rings to denote the number of Pottbäcker markets there have been in Krefeld. The 24th Krefeld Pottbäckermarkt with close to 100 German and international exhibitors was once again well attended from start to finish. The exhibits included contemporary ceramic design, craft pottery, white porcelain and traditional wares.

Global Guests in Central Europe

The Heidelberg-based Marianne Heller Gallery is presenting an exhibition of international ceramics of truly global scope from 28 June – 26 July. From its own holdings, vessels and sculptures from the UK, South America, Australia and Japan will be on show, works by world stars of ceramic art such as Sandy Brown, Ken Eastman, Colin Pearson, Gustavo Perez and living national treasure Isezaki Jun. At the opening ceremony on 28 June, the outstanding Austrian ceramist Thomas Bohle presented a book on his work published by Arnoldsche Art Publishers, Stuttgart – as well as a small, exquisite exhibition of his spectacular, delicately glazed double-walled vessels (photo below). And for the closing of the exhibition on 26 July, the internationally renowned American ceramist Marc Leuthold, professor at New York State University, will present his work, which ranges between abstract and figural sculpture, in a lecture and with some examples at Galerie Heller. From 9 August – 20 September, Marianne Heller's now traditional 25-year cooperation with Czech ceramic artists will be continued with a further exhibition in the series Between Prague and Budweis with new work by: Miroslav Oliva, Elzbieta Grosseová, Jiri Laštovicka, Tomáš Proll, Eva Slavíková.


Students from the Institute of Ceramics and Glass Arts (IKKG), Höhr-Grenzhausen are presenting two exhibitions: 1. From 3 June – 5 June 2015 the annual “Academic Tour”takes place at the Ceratec-Center, Rheinstraße 60a in Höhr-Grenzhausen with works from the departments of fine art, glass and ceramics. Opening: Friday, 3 July 2015, 5 p.m. Sat. – Sun. 11 a.m. – 6 p.m. 2. - 3 Galleries 7 Positions - Exhibition of graduates' work at the Institut für Künstlerische Keramik und Glas, Hochschule Koblenz. 1 - Galerie Handwerk, Rizzastraße 24-26, 56068 Koblenz. Opens: 11 July 2015, 2 p.m. with Walerija Peter, Claudia Thumm, Yuhuan Zhang. 2 - 3.30 p.m., Galerie Barbara Gröbl, Casinostraße 37, 56068 Koblenz with Miki Lin and at 6 p.m. Kasino, Kasinostrasse 7, 56203 Höhr-Grenzhausen with Randolph Capelle, Clara Clauter, Verena Schatz. 11 – 19 July 2015 Sun. – Sun. noon – 5 p.m., closed on Mondays.

White Gold in Cologne

The Museum für Ostasiatische Kunst (Museum of Far Eastern Art) in Cologne is exhibiting its treasures of Chinese porcelain and celadon until 2 August under the title of White Gold. The majority of the exhibits was purchased in the field by the founder of the museum, Adolf Fischer in the early 20th century. In the exhibition, his collection is complemented by permanent loans from the Peter and Irene Ludwig Foundation and other mainly private foundations. The period covered by the exhibits – some very large scale – lies between 1400 and 1900. A highlight of the exhibition is the Chinese architectural ceramics never previously exhibited, which the museum founder collected in Northern China between 1900 and 1910 and which stem mainly from imperial palaces that were destroyed during the Opium War. A chapter of the accompanying catalogue (ISBN 978-3-86835-748-1, price: 29.90 €) is devoted to them. -so






Obituary for Lothar Scholz

On 3 April of this year, Lothar Scholz died a few weeks before his eightieth birthday. He was a notably creative, knowledgeable and hard-working tile-artist, who worked in his profession, which he saw as a vocation, until the last. Only recently, in the penultimate issue 2/2015, NEW CERAMICS published an appreciation of his life's work. In the 5/2013 issue, his own voice could be heard in his presentation of the tile museum, the Erste Deutsche Fliesenmuseum BOIZENBURG e.V., where he rendered outstanding services in founding it. The ceramic tile as a field of creative activity accompanied him from his apprenticeship in the 1950s into his old age. After graduating from the University of Fine art in Berlin Weißensee, he executed several hundred public commissions for architectural ceramics and mosaics both on the outside and interior walls of various buildings. This is still a unique achievement in Germany. He generally worked to his own designs, with the mastery of craft technique being his goal. Last year, the Friends of the Keramikmuseum Berlin visited the Tile Museum in Boizenburg. On this occasion, Lothar Scholz was able to make the acquaintance of Gustav Weiß, the founder of this magazine, and greeted him cordially in his home surroundings. It is regrettably the case that a part of Lothar Scholz's wealth of personal experience in engobe and glaze painting will not be passed on for posterity. I will always remember this modest artist and painter with the greatest respect and esteem. Klaus Dittrich

City’s pride in two of its artists

ERLANGEN - Monika Jeannette Schödel-Müller and partner Werner Bernhard Nowka receive municipal arts prize.

The city council of Erlangen recently followed the suggestion of its cultural affair committee in its decision. Cultural affairs officer, Dr Rossmeissl explained, “This artist couple (photo left) has lived in Erlangen since 1979. Their work is to be found worldwide in leading museums, where it is held in high esteem. The Arts Prize honours these artists and also expresses the city's pride that they have their home here.” This award is for the field of fine art and is worth EUR 10,000. It was presented at an accompanying exhibition before 250 invited guests at the Erlangen Kunstmuseum.

59th Faenza Prize

– Prizes awarded at the MIC in Faenza!!! Opening ceremony and prize-giving on 26 June 2016. The judges decisions were unanimous at the MIC, the International Ceramics Museum in Faenza in early May for the 2015 59th Faenza Prize. Awards and prizes went to the following artists: the Fondazione del Monte e Cassa di Risparmio di Faenza Prize worth EUR 15,000 for artists over 40 years of age went to Silvia Celeste Calcagno for her piece Interno 8 - La fleur coupée. The Faenza Prize for under 40-year-old,s worth EUR 10,000, was shared between Helene Kirchmair (Austria) for her piece Bobbles and Thomas Stollar (USA) for 1900 Steps #2. The Cersaie Prize, sponsored by EdiCer S.p.A., also worth EUR 10,000, went to Nicholas Lees from the UK for his piece Four Leaning Vessels. The EUR 1,000 Monica Biserni Prize for a young artist was awarded to Simon Zsolt József (HU) for Spherical Atlas. The Eleuterio Ignazi Memorial Prize to the value of EUR 500 went to Marie-Laure Gobat-Bouchat (CH) for Ecorces Vives. The two German artists, Monika J. Schoedel-Mueller & Werner B. Nowka, received the Faenza Rotary Club Prize of EUR 500 for Blossoms and Leaves. Omur Tokgoz from Turkey received the EUR 500 Prize of the Faenza Lions Club for Relativity 2. The Prize of Honour of the President of the Senate of the Republic went to Yves Malfliet from Belgium for his outstanding piece, Somewhere … Over the Mountain. Further Prizes of Honour went to Kathy Ruttenberg, USA for the work Lost at Sea, Ann Van Hoey, BE for The Earthenware Ferrari, Chiara Lecca for the Triptych of true fake marble and Giulio Mannino (IT) for Sol 6272 Hz. The youngest participant in the competition, Irina Razumovskaya from Russia, also received a prize for her work. The coveted Gold Medal of MIC 2015 was awarded to Erna Aaltonen from Finland. The judges (photo right) with Daniela Lotta, IT, Monika Gass, DE, Grant Gibson, UK, and Claudia Casali, IT, had a tough time even in the first phase of the judging because of the large number of 1300 entries. 618 people from 57 countries had entered. For the second round of judging, it was good to have time and to discuss questions like the evaluation criteria. Everyone interested in ceramics should see the exhibition in Faenza. Opening: 26 June 2015 6.30 p.m. Information and accompanying programme The exhibition runs until 19 January 2016.

The 15th Diessen Keramikpreis -

For the 15th time, the themed ceramics prize was awarded as a part of the Diessen Töpfermarkt. As in previous years, it was sponsored to the tune of EUR 3,000 by kiln builder Rohde Brennöfen from Prutting near Rosenheim in Bavaria. This year's theme was Culinary Delights; it picks up the theme of the first Diessen Ceramics Prize from 15 years ago, which was Handcrafted Tableware, consolidating the tradition that the market in Diessen is primarily about tableware, which has been cautiously extended to include art ceramics. This year's prizewinners are the young Korean artist Kiho Kang from Höhr-Grenzhausen and the doyen of Bavarian/ Swabian earthenware, Toni Maurer from Kempten in Allgäu. The two prizewinners could not be more different, as the director of the market, Wolfgang Lösche, emphasised at the award ceremony. Excellent or even outstanding standards of craftsmanship can be found in both winners’ work, however. The prize for the best stand sponsored by pottery supplier Andrea Wolbring went to Steffen Jacobs from Wegscheid. –so photo l. to r.: Georgos Kavgalakis, Steffen Jacobs, Toni Maurer, Kiho Kang, sponsor Benjamin Rohde, Mayor Herbert Kirsch, Irini Kavgalakis, Andrea Wolbring, Nikos Kavgalakis and market director Wolfgang Lösche







K.i.Ste - Ceramics in the Quarry 2015

2,000 visitors for ceramic art in Oberpullendorf

In the picturesque stone quarry, the Oberpullendorf arts association organised the 16th K.i.Ste – Keramik im Steinbruch (Ceramics in the Quarry). This is an exhibition of domestic and international artists unique in its kind in Austria. From 24 – 26 April, K.i.Ste. showed contemporary ceramic art in the former The organisers and exhibitors © photo - Stephanie Schorch basalt quarry, which is only open to the public for the three days of the ceramics exhibition. 33 artists from seven countries (Kazakhstan, Romania, Hungary, Czech Republic, Germany, Switzerland and Austria) presented their works in glorious sunshine, attracting 2,000 visitors to this impressive natural setting.

Fired Colour – with Ute Brade - Helmut Massenkeil - Johannes Nagel - Jean-Francois Thiérion - Masamichi Yoshikawa

The fascination of ceramic colours lies in their very nature. They are colours present in nature and they develop their full brilliance in fired clay or glass. They are already there but it is up to the artist to recognise and extract them, rearrange and recompose them and express their power and life through the firing. The colour can grow from the form and confirm it, but it may also reflect and comment on it. From 14 June – 5 July, Galerie Metzger is showing five different positions in which form and colour enter into an exciting duet, or perhaps a duel. Nele van Wieringen GALERIE METZGER, Angelika Metzger, Hauptstraße 18, D-63867 Johannesberg, Germany. Tel. +49 (0)6021/460224

EXOTIC - TEMPTING - GLAMOUROUS The worldwide brand Goldscheider Exhibition from 18

June – 11 October 2015. Sensuous, vulnerable, self-confident – women in the brilliant wealth of their characters are the subject of the sculptures from the Viennese factory of Friedrich Goldscheider. Between 1885 and 1938, the company put over 10,000 different pieces on the market – usually in ceramic but also in metal and cast stone. They met the taste of a wide audience, combining a sense of longing, lightness, elegance and glamour, leading people into the borderline area between art and kitsch, the twilight world of dance, theatre, film and fashionable society. With its branches in Leipzig, Paris and Florence, the company was present at major exhibitions and trade fairs. Innovative techniques, variations in the materials, size and brushwork, but above all a sixth sense for the zeitgeist guaranteed Goldscheider's products worldwide popularity and sales. GRASSI Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig, Germany. Tel.: +49 (0) 341/ 222 9100, I

International Ceramics Festival 2015 Aberystwyth -

Filipino Professor to build unique ‘birthing kiln’ at International Ceramics Festival and host a baby-making workshop! Professor Rita Gudiño, from the University of the Philippines’ College of Fine Arts (UP CFA), headlines this year’s much-anticipated International Ceramics Festival with her LUAL (birth) kiln building session and Sibol (clay) baby making workshop. Participants in her exclusive workshop will be able to make clay babies in a one day workshop at Aberystwyth on 23rd June 2015 to be fired in the LUAL kiln during a dramatic performance firing event at the festival. The LUAL, which is a raku kiln in the form of a birthing woman, Earth Mother and Birth Goddess will give birth to the clay figures fired within in Prof Gudiño’s art, which, she says, represents a metaphor of birthing. FRI 3 – SUN 5 JULY 2015 - Aberystwyth Arts Centre, Mid Wales, UK


Keramikpanorama Murten

The (Switzerland) enters its third round. After thorough deliberation and intense discussion, the committee has reached the decision to once again put on an international ceramics panorama covering all areas and trends in 2016. The juried exhibition will take place in Murten right by the lake. The organisation will be further simplified, taking advantage of past experience. As usual, entries can be submitted from December 2015 until the end of March 2016. The call for entries will be published in good time on We will once again be grateful for any ceramists willing to help. Simply drop us a line at:

Invitation to the exhibition “One more cup....”

Cups, mugs, bowls - vessels which can be used for taking in liquids – will be the focus of our summer exhibition 2016. We hereby invite national and international Arts & Crafts professionals and designers to show their drinking containers, one-offs as well as small series, We are looking forward to work made of various materials such as china, ceramics, wood, glass, metal or plastics; we also expect all sorts of forms: small or large, with or without handle, with saucer or without, for cold or for hot drinks. We are particularly interested in pieces of work which show contemporary, innovative or unusual design. (Applications from the area of Fine Art will not be admitted!) Closing date for entries: 31 January 2016. Entries sent in digital form including application, statements and photos will be treated preferentially. All further details can be found in the conditions of entry. Please make use of the prepared answer form available on



COMPETITIONS / EVENTS International understanding at the potter’s wheel -

Thomas Benirschke und Rasani Abdl Jalil have furthered their cooperation, in Tamesloth near Marrakesh, where Benirschke has been given further instruction in the coil and throw method. Jalil’s assistant wedges the clay with his feet, prepares the lumps of clay for throwing and drives the wheel with his feet. He and the master are an experienced team, having worked together for 38 years. We are looking forward to Thomas Benirschke’s latest report.


Silent Strength and Power Drink

– The classic teabowl and creative variations – theme of the Museumsfest and the Keramikmarkt and of the annual competition exhibition at the Keramikmuseum Westerwald! The subject of tea and teabowls appealed to numerous ceramists: 100 participants for the exhibition with 3 joint pieces and a total of 231 individual exhibits from 17 countries speak for themselves. The six l. to r. Major Michael Thiesen, Susanne Altzweig, Bernd Kathrin Najorka, Armin Rieger, Director of the prizes awarded by a panel of expert judges were Pfannkuche, museum Monika Gass, Robert Lawarre (USA) presented during the opening ceremony on 6 June 2015. The NEW CERAMICS Prize worth Euro 500 went to Katrin Najorka from Krauschwitz for a set of woodfired teabowls. The prize of the Kreissparkasse Westerwald, also worth Euro 500, went to Kiho Kang for a set of porcelain bowls and a teapot. The prize of materials worth Euro 250 sponsored by Georg & Schneider went to Petra Bittl from Bonn. The Helga Tritschler Altstadt Galerie Prize (Weinheim) was won by Claudia Schoemig from Berlin for three delicate, pure white, elegant teabowls. Once again for 2015, the municipal authorities of Höhr-Grenzhausen awarded a prize worth Euro 250, won by local ceramist Susanne Altzweig for a tea set in an inspiring spring green. And the SIBELCO Deutschland Prize worth Euro 500 was awarded to Keramikstudio Hasenberg from Siegburg. Their entry consisted of three richly decorated teabowls with a tray showing a sketch of the finished bowls. Guests from Korea, Chang-Hyun Jeon, Suk-Kyung Kim and HaRam Oh, who exhibited in a special presentation, also demonstrated a Korean style tea ceremony, introducing a special extra element to the event. The lecture by Prof. Voo from the University of Mungyeong was inspiring and well attended on both days. In addition, Sangwoo Kim, Korea and Switzerland, demonstrated the classic onggi coiling technique before an impressive number of visitors. The closing event with a tea ceremony is on 5 July 2015. The partner museum, Tienschuur Tegelen, NL, will be displaying a part of the exhibition from 15 January – 22 May 2016. I

Celebrating ceramics in the city – British Ceramics

Call for applications The

XXIVème Biennale Internationale de Vallauris – Création con-

Biennial returns to Stoke-on-Trent – 26 Sept. – 8 Nov. 2015 • Featuring 20 exhibitions and over 60 national and international ceramic artists • Survey shows AWARD and FRESH acknowledging innovation and identifying emerging talent • Powerful WW1 memorial incorporating thousands of white bone china flowers, to commemorate men of the North Staffordshire Regiment who fell in 1914-18 • New installation by leading multi-disciplinary artist, Bruce McLean • Chance to purchase exhibition pieces, one-off and editioned work. This autumn the UK’s largest ceramics festival, the British Ceramics Biennial (BCB), will return to Stoke-on-Trent for six weeks from 26 September to 8 November 2015. At the heart of this international cultural event stands the historic former Spode pottery factory, which will once again form the creative hub for the festival. For the first time the building’s imposing China Hall will be home to the Biennial’s centrepiece exhibition AWARD. Following selection by a panel of judges chaired by Alun Graves, Senior Curator at the V&A, the 11 artists shortlisted for its £5,000 prize will each present new works exemplifying the energy and vitality of British contemporary ceramics. Joining Award in the China Hall will be another festival highlight FRESH showcasing the most promising talent from the UK’s recent graduates working across ceramics disciplines.

temporaine et céramique will take place from July to November 2016. The Biennale is constructed in the form of scheduled exhibitions, including a competition and a group of exhibitions, thematic or monographic, which are not on a competitive basis, in order to highlight the richness and diversity of current creativity in ceramics at an international level. The competition is reserved for candidates who are nationals of a member country of the EU. After a selection made by a jury, it gives rise to an exhibition at the Musée Magnelli, Musée de la céramique, to a publication in the catalogue of the Biennale and to the award of prizes: «Grand Prix de la Ville de Vallauris» to a value of EUR 15,000 covering all categories / Three «prix Ville de Vallauris Golfe-Juan» to a value of EUR 5,000, or one per category / Prix “Jeune créateur (moins de 35 ans) [“Young artist”]”, to a value of EUR 3,000. Deadline: 15 September 2015. Application form: Tel. + 33 (0) 4 93 64 71 87 I

Association of German Ceramics Towns -

At the invitation of the mayors of Höhr-Grenzhausen, Thilo Becker and Michael Thiesen, on 6 June 2015, mayors and representatives of the ceramics towns Landshut, Siegburg, Brühl, Selb, Karlsruhe, Römhild, Kellinghusen, Ransbach-Baumbach, Neumünster, Rheinsberg, Brachtal and Mettlach met in Höhr-Grenzhausen (see photo below) for their first meeting to discuss the founding of an association of German ceramics towns. Giuseppe Olmeti, project supervisor of the European association of ceramics cities, which includes the organisations in Italy, Spain, France and Romania, explained the idea behind the European organisation in a talk, providing a sketch of the structure of the various national associations and also presented the achievements and plans of the European organisation in cooperation with the European Union in Brussels. Prof. Peter Quirmbach, chair of the BFZK, explained the concept behind the BFZK, which includes colleges, institutes and the Ceramics Museum in Höhr-Grenzhausen. In the subsequent discussion, all of the mayors present agreed with the principle of setting up a German association. It was decided that statutes for the association should be drawn up in Höhr-Grenzhausen and in consultation with the various municipalities, which in a follow-up meeting is to be further discussed and agreed upon. This means it is possible that from 2016, an association of German ceramics cities will be able to represent the interests of art and craft ceramics together with and in discussion with the other European associations. It is to be hoped that before then, other ceramics cities will signal their interest.





Birgitte and Hans Börjeson Jorunn Veiteberg


he pottery that comes from Birgitte and Hans Börjesons workshop is stamped ´Fulby´ the name of the Zealand village where they have lived and worked since 1963. The name is a signal that there is no point asking which of them does what, or asking for a pot made by either one individually. They work closely together, whether they are developing ideas, finding solutions to technical and artistic problems or realizing a particular piece, although as a rule Hans deals with the most physically demanding throwing jobs and Birgitte with the decoration. Working together like this and calling the pottery after the place where it is produced is a


The Art of Salting practice with deep roots in the history of the craft. Ever since they met in one of England's richest pottery regions in Cornwall, where they both worked at Crowan Pottery with Harry and May Davis, they have been able to develop the best of this tradition even further. Many people mainly associate Fulby pottery with salt-glazed stoneware. Although they also make dishes and bowls in porcelain with celadon glazes, it is in salt-glazing that they have made their mark most strongly and won most recognition, for example taking prizes at the First World Ceramic Biennale in Korea in 2001 and at Salzbrand in Koblenz in 2002. Salt-glazed




Salt-glazed pottery is easily recognized by its knobby surface, similar to the texture of orange peel. The technique was used in Höganäs, Sweden and in Germany from the fifteenth century on and is perhaps Germany's most important contribution to ceramic art.

pottery is easily recognized by its knobby surface, similar to the texture of orange peel. The technique was used in Höganäs, Sweden and in Germany from the fifteenth century on and is perhaps Germany's most important contribution to ceramic art. It quickly became popular in the production of utility ware, since salt-glazing is a relatively inexpensive way of getting a durable surface. When salt is thrown

opposite Extruded jugs with mat and glossy slips h 30 cm top

Pâté forms thrown and altered


Thrown and altered jugs, h 40 cm






Bowl, thrown and altered with sgraffito decoration, h 43 cm Ă˜ 60 cm


Tiles with sgraffito decoration 13 x 13 cm

opposite Form, h 26 cm, Ă˜ 40cm

into a hot kiln, it reacts chemically with the quartz in the clay during the evaporation process, thus forming a glaze. Variations in colour and texture can be achieved by using clays with different compositions. You can also use slips, as Hans and Birgitte often do, to produce additional variations in colour. They built their first salt-firing kiln at the beginning of the eighties, and the special colours and textures that the salt technique offers have continued to fasci-





nate them ever since. As in cooking, it is important to add just the right dose, although what one sees as the right amount is also a matter of personal taste. The culinary parallel is more relevant than one might think: just as salt is necessary to the glaze, salt-glazed stoneware is ideal for cooking. The Fulby assortment is particularly rich in casseroles, jugs, cups and pâté forms in various sizes. They are not only functional vessels for the food and liquids they contain; they are also a sensory stimulus to both eye and hand. In short, they help to give daily rituals an aesthetic boost. The Fulby jugs are particularly worth noting. They have been part of the assortment right from the start. The oldest ones are clearly related to the rustic brown jugs of the French country kitchen. But over the years their functionality has receded ever more into the background in favour of a more expressive style. In parallel with this there has been a simplification where each of the parts that define a jug – spout, body and handle, as well as inside and outside – has been more clearly accentuated by contrasts in colour and form. Todays jugs look like personalities. Some seem puffed up and arrogant, strutting with their spouts in the air; others look more aggressive, or round and jovial. There is a long tradition of interpreting pots as metaphors for different human types. Our very language reveals this; when




you describe a pot or jug you use words like neck, shoulder and body. So it is not so strange that we easily associate the shapes of the pots with human emotions and characteristics. The Börjeson's dishes and large bowls should be mentioned too. The dishes are square and their size indicates that they are decorative rather than purely functional. The geometrical patterns stem from many sources – perhaps a detail from a floor or wall seen on one of their many journeys, and presented in a new context. In principle, a pattern on a flat surface has no clear beginning or end. The gaze can stray freely over it, but shifting the focus moves the centres of gravity and a visual dynamic arises. This way of creating patterns differs from the decoration on a series of large bowls with figures that can almost be read as a comic strip. These are dramatic stories. Peaceful bird people are attacked by aggressive predators. Around them are texts and signs referring to different historical epochs, religions and civilizations. Together they tell a tale of the human folly of war and violence. The struggle between good and evil is portrayed as an eternal process, from the beginning of time to the present. Hans has said that in their works they “try to preserve the structure of the clay and convey the genesis of the pot as it developed in the wet clay”. You can see this in the finished jugs


PROFILE and dishes as traces of the circular throwing movements and in the visibility of the joints and construction. And most of all, the character of the material is evident from the thin, uneven edges of the large bowls. The salt-glaze emphasizes the process and accentuates the form. It does not work as a camouflaging layer, but rather as the skin of the pot transformed into a glaze. Hans and Birgitte's practice as potters spans a multitude of idioms. In addition to those already mentioned, they have been responsible for public decorations, benches, tiles, pavings and, not least, columns. Six columns more than two and a half metres tall were shown in an exhibition in Designmuseum Denmark in Copenhagen. They are built up with salt-glazed modules differing in colour and form, one supporting another, edge to edge without any use of mortar. The columns are decoration for an old peoples' home in Vlissingen in Holland, where they support a glass roof. The commission is the result of their many left

A glimpse of their showroom


Celadon bowl, h 18 cm, ø 50cm


years of participation in the ceramic fair Keramisto in Milsbeek, Holland. They are often to be found at ceramic fairs and art and craft fairs around Europe, and more than thirty years ago they took the initiative for the fair that has become an annual tradition at Vor Frue Plads in Copenhagen. These fairs provide an opportunity for close encounters with both colleagues and buyers, but they are also a presentation venue that many people feel lies outside the framework of cultural institutions. As with all artistic disciplines, there is a hierarchy in the ceramics world too. Different techniques and idioms enjoy different statuses, and if you want to carve out a career as an artist there are a number of rules for what you should or shouldn't do. In Ceramic Review, the master of functional ceramics and salt-glaze, Walter Keeler, claims that the world of ceramics seems to be divided into two camps: one for potters and one for artists. This tiresome distinction has helped to establish oppositions between making ceramics for everyday use and creating ceramic objects with no practical function. But as Keeler so rightly points out, the everyday utility article can reflect all





Photos – Ole Haupt –

aspects of life, including art. Similarly, it is a modernist myth that artistic renewal must mean a break with the traditions of the past. The Börjeson's pottery is an example of this. The dialogue with the profession's own traditions and the new currents of the age is an important platform for them. Yet the most important message that flows out of the workshop in Fulby is that drawing a boundary between pottery and art is uninteresting. Seeing a jug on a market stall can give you as great an artistic experience as seeing a column in the museum. The significance of things in our lives depends neither on their size nor on their status; it is related to the stories they carry with them – and the new stories we give them through our interpretation and use.

Birgitte was born in Copenhagen in 1939. Hans in Sweden in 1932 We started our workshop in Fulby, Denmark in 1963 after 4 years in craft schools in Copenhagen and Gothenburg and after working 2 years together at Harry and May Davis' Crowan Pottery in Cornwall. In our first 20 years we mostly made domestic wares with tenmoku and celadon rock glazes. In the 80s we built our first gas fired kiln for saltglazing – to work with saltglazing was just the right thing for us, we felt it gave us a more direct way of working with clay. Lots of firings full of experiments with slips and clays and ways of adding the salt into the kiln – now we have ended up with blowing 12 kilos of salt into the hottest zones – with a sandblasting pistol. It works very well. We found out that saltglaze is very resistant to the Nordic climate. So we got several outdoor commissions from architects and builders, columns, benches, reliefs and water fountains. At the same time we exhibited in galleries all over Europe – and got represented in museums in Copenhagen, Stockholm, Korea, China and Taiwan. We also did ceramic demonstrations in Ireland, Greece, France, England, Germany, South Africa and Aberystwyth. And through the years we have attended many ceramic fairs. Among them Gmunden in Austria, Rufford and Potfest in England, Cordes sur Ciel in France, St. Sulpice in Paris and Keramisto in Holland. It is a good opportunity for dialogue with both customers and colleagues and it is great fun. In 2001 we got a prize from The World Ceramic Biennale in Korea and in 2002 we got the first prize in The international Saltglaze Competition in Koblenz. We are members in IAC – the International Academy of Ceramics. Right from the very start 50 years ago we were convinced that we could make our living from potting and we have succeeded, so far.

Jorunn Veiteberg has a PhD in art history from the University of Bergen, Norway. She is currently working as a freelance writer and guest professor at the School of Design and Crafts at Gothenburg University, Sweden.

HANS & BIRGITTE BÖRJESON Fulby Gl. Skole Dansbrovej 2 DK-4180 Sorø, Denmark Tel. + 45 57 84 42 43 I



Exhibition of work by Hans and Birgitte Börjeson at the Keramikmuseum Westerwald, Höhr-Grenzhausen, opens on Sunday, 9 August at 11.30 a.m. Exhibition until 20 September 2015



VELIMIR VUKICEVIC Master of Illusionism

Blaženka Šoic Štebih



he great artist and educator is a member of the International Academy of Ceramics in Geneva, a member of various associations and donor to the KERAMEIKON collection of contemporary ceramics from all over the world. His work captures people's imaginations around the world and has repeatedly won awards – many pieces are in museums and collections, in Japan, Taiwan, Italy, the Czech Republic and Croatia. His approach to his art and the technique he uses distinguish him as an absolutely unique figure in the art world. What we can experience here, in his own words, is “an illusionistic





opposite “Beautiful Garbage 2“, 33 x 30 cm h 26 cm, slipcast porcelain painted with engobes, Japanese transfer paper and overglaze right “Egg”, h 29 cm, 18 x 18cm slipcast porcelain painted with engobes and Japanese transfer paper fired at 1250°C, OX Shadows are painted with black overglaze with airbrush and refired at 750°C

drawing on porcelain forms" or the “combination of porcelain form and ceramic painting to create a unique, new visual unit". The term illusionism as a specific skill in the arts can better be understood if the Latin word illusio on which it is based is explained; it means deception, apparition, delusion, dream … Through the method of linear or geometric perspective and construction, the impression, or rather the illusion of depth and space is created. This also happens with the assistance of vertical and horizontal lines that seem to converge at one point, and through the reduction in the dimensions of the object are in a proportional relationship to the distance from the foreground. The ancient Greeks and later the Romans used this technique, and in the 14th century, Giotto did so too Masaccio, who in the Renaissance painted his Holy Trinity in Florence, is considered to be the founder of the use of geometrical perspective, on which a new form of painting was based. Baroque illusionism is also well known, but elements of illusionistic painting survived into the Impressionist era. According to Radovan Ivancevic, the well-known Croatian art historian, this way of presenting reality is people's attempt to take things back into their own hands after in the Middle Ages everything was considered to be strictly defined and immutable. This new world view, the viewer's own standpoint (both figuratively and literally) seeks an emphasis on randomness and an individual and arbitrary choice of the angle of view from this or that standpoint at this or that moment. Geometric perspective does not however offer an objective representation of reality, as is often rather facilely stated. On the contrary: no other method of representation could be more subjective. As a schooled artist, Velimir Vukicevic is aware of the laws of linear or geometrical perspective and construction and it seems



that his choice of this means of artistic expression is based precisely on them: they afford him the greatest possible freedom and individuality. He skilfully and deliberately organises his planes, leading us into the virtual spaces and depths of his inner worlds. He is uninfluenced by the appearances of the outer world. His source is his inner world. “When I make my forms, I am actually seeking the surfaces that I will paint on," he says in an interview. And these forms are cubes, cylinders, twisted,


PROFILE stretched blocks, boxes, plates and bowls, but also undefined forms, which, in the interplay with the drawings or the superstructure that has been applied, form the perfect entity of a complete work of art. The plates and bowls look like boxes full of various balls of ribbons, rolled up and pulled apart is various ways, painted on or seemingly cut in strips from newspaper. There are also threads or elongated cylinders or rods of varying profiles. The boxes, with almost organic surfaces, are entwined with ribbons that seem to float in space above the surface that they are painted on, thus becoming space themselves. We are impressed and enthralled by the astonishing precision in the execution of the brushwork. The geometrically structured, transparent illustrations on the porcelain bowls, which are also geometrically formed, are an ideal decor. The define a perfectly designed piece of outstanding aesthetic value, although it may not be intended for use. The works whose elements in the form of wavy ribbons or rods that simply pass over into another dimension, entering a virtual three-dimen-

“Tricky Plate”, ø 50 cm, mould pressed porcelain plate painted with engobes Japanese transfer paper and overglaze

“Old News”, 50 x 50 cm, h 10 cm, slipcast bone china painted with Japanese transfer paper and overglaze






“Little Island of Security”, 49 x 49 cm h 52 cm, slab-built and slipcast parts stoneware clay and coloured bone china

Velimir Vukicevic was born in Belgrade, Serbia, in 1950, where he graduated from the ceramics department in the faculty of applied art in 1976, later taking an M.A. Freelance from 1974 – 1992, after he had become professor of Ceramic Sculpture at the University of Art in Belgrade. He put on numerous solo exhibitions as well as international group exhibitions. As a judge, he assisted at the Triennale of Jugoslav Ceramics in Belgrade as well as at CERAMICS MULTIPLEX 2012 in Varaždin, Croatia. His work is in many museums and collections in Japan, Taiwan, the Czech Republic and Croatia. He has been a member of the International Academy of Ceramics (IAC) since 2001.

sional existence from their own genuine three-dimensionality with the aid of ingenious drawing, also exercise a strong fascination on viewer. Although Velimir Vukicevic's palette is very varied, it never descends to banality and repeatedly impresses with the effective way the artist paints with light and shades of white. The play of light and shade is a calculated part of the illusion, conjuring up for us a sense of floating and disembodied upward movement. When observing and admiring the widely differing works by this artist, in some places I permitted myself to experience another dimension and to sense the acoustic illusion brought forth by the highly dynamic movement of all of the decorative elements. Sometimes a plane whirrs and bubbles with content, but it is never cacophonous. As critic Hans Peter Jakobson has said, “Velimir Vukicevic consciously accepts the concept of the decorative, so long disregarded in the 20th century, as a challenging, autonomous function of fine art. He makes use of it with the confidence and naturalness with which earlier ages took art and decoration to form a unity.” And finally I would like to allow the artist to speak, a man I have rightly called a master of illusionism: “While I respect the tradition and culture of the past, I try to think of the future as an adventure. I would like to believe that a dynamic development of civilisation and of ceramics as its inseparable constituent will not renounce individuality, creativity, imagination, emotion or the sense of material. These qualities are of great importance to me and my work as a ceramist. “The fantastic process of the materialization of an idea through its realisation has always fascinated me and motivates me to remain curious and to continue working." Blaženka Šoic Štebih is a ceramist, the president of KERAMEIKON and a member of IAC I



VELIMIR VUKICEVIC Katiceva 2 11000 Belgrad Serbia



Tame piglets and holy cows – The ceramics of the artist



anet MacPherson has a small collection of plastic or rubber toy animals: mice, rabbits, small pigs, horses and many more. Whilst she was working at the Zentrum für Keramik in Berlin, she bought an elephant. It was of the same proportions as the other creatures in her little herd, and after heading back to Canada from Berlin, it will be the basis for a new mould. After a plaster cast has been meticulously taken, the elephant will then


Anja Sommer

become part of her library of animals – readily anthropomorphised alter egos. On the basis of her decision to make her plaster moulds from commercially available figures, an abundance of choices and combinations follows for MacPherson. Once made, every choice – an elephant for example – is constantly reviewed and questioned. By experimentation, parts of her animals appear in new contexts and even lose their animal nature entirely. They





metamorphose into figures reminiscent of the protagonists in animated movies, or tin toys, hybrids of humans and animals or weeping madonnas in flowing robes. MacPherson's dainty animal figures are at once unsettling and fascinating. This effect is emphasised particularly by the juxtaposition of the delicate material porcelain and the act of cutting or tearing the cute little animals apart. Through the precision of the cast, the texture and finest markings of the animals' fur is visible. Its three-dimensional quality is enhanced because no glaze is used. It is only small details like hands or feet that are covered with coloured glazed or lustres, often in red. The disconcerting beings created in this manner are reminiscent of the mythical wolpertinger, a creature of folktale and fable from Bavaria – usually depicted as a cross between hare, bird and deer. Some historic portrayals show the wolpertinger as a chicken for mountain slopes, with one leg shorter than the other so that it can only stand straight on a hillside. An awkward creature badly designed by nature. It can only walk around the mountain in one direction. Superstition holds that all one has to do to catch this beast is to startle it so that it turns around, stands on the wrong leg and loses its balance and tumbles down the hillside so that it can easily be caught. There is something tragic in MacPherson's figures: the pig with matchstick legs that are far too thin for its body, teetering along blindfolded. Will it tumble down the slope or will it encounter a helping hand? The heads of two sheep bound together: two people inseparably joined under this cowl, involved in invisible deep strife, silently biting each others' faces? Not much can be seen for sure and this produces a sense of discomfort. A visit to a cattle fair in Ohio a few years ago – a parade of the finest domestic animals – put this image of bandaged or hooded animals in MacPherson's repertoire. It is in direct subjugation that the unequal relationship between animals and humans is defined. The bear muzzled by human hand loses its scariness and strength, becoming a humanised bear. The animal fur covered by hoods and blankets on the other hand is not only about effective protection from dirt but it is also about the unequal relationship between the judged on one side and the judge on the other. As if the animal were standing before a lifesize outline of the ideal form, defects are noted that deviate from the standard, perhaps in the length of the nose or the shape of the legs. A cattle show communicates precise characteristics for what is accepted as beauty, which develop over long periods by breeding, are strictly adhered to and noted down as instructions so that comparisons are possible at any time. It is like looking for animals in a catalogue. MacPherson makes use of this standardization by taking commercial toy animals for her moulds. Here too, the decision has been taken about what a sheep or a dog should look like. Even if particular species can be found, their shape is exaggerated to produce a sort of average form or appearance. The copy of an animal is on a knife edge between recognizability and simplification. opposite

“Procession Bridge”, detail, 2014, h 1.2 m x w 4 m x d 30 cm, porcelain, gold lustre, wood, paint


“Guardian 2”, 2014, h 60 cm x w 20 cm x d 20 cm porcelain and gold lustre





Disregarding early depictions of exotic creatures in mediaeval book illustrations, it soon becomes apparent that one and the same species has received a range of different forms. With their oral or written historical descriptions of the appearance animals, observers focused on various features that seemed particular to them personally – outlandish or inexplicable. MacPherson has made a clear decision to accept certain norms dictated by these plastic animals. What was standardised in the original becomes unmistakable and special through her choices: the pig's funny floppy ear, the strangely perfect curly wool of the sheep – even the so awkwardly-perfect looking folds of the Madonna's dress. She continues the story in her own words, only leaving us with quotations of the originals, precisely as it happened to the exotic creatures. Janet MacPherson's sheep in dog's clothing and rabbits with

duck's tales make reference to genetic manipulations in the laboratory. Some readers may remember the story in the media a few years ago of a mouse with a human ear affixed to its back. Ceramic artist Judith Runge from Halle in Germany has also been working with a repertoire of moulds of fruit similar to Janet MacPherson's animals. Banapples and strawnanas emerge – crosses and hybrids – crazy fruit that should be rejected. Which is not normal and certainly not edible. When we see the pig on stilt legs, we are torn between sympathy and doubt. Creatures that so obviously do not look right like MacPherson's have difficulty in gaining our trust. In her figures, humans are also placed in animal attire. She answers the question as to why dolls do not appear in her work, only body parts like hands or feet, saying they are too close to the human form. Like in fables, in MacPherson's ceramics the animals take over human actions like alter egos whose eccentricities and deformities are far easier to stand than if they were in purely human form. The genetic manipulations referred to above would be overwhelmingly horrible and didactic if they were assembled exclusively from humanoid forms. Besides animals, religious figures and symbols stand out in MacPherson's work: lambs, saints and madonnas. However, these are more reminiscent of sentimental statuettes from religious souvenir shops. They too consist of montages from various casts. The cow standing on its back legs (Guardian), the winged figure of a saint wearing something on its head resembling a gas

top “Of Human Hands” , 2014 H 10 cm x w 20 cm x d 9 cm, porcelain left

“Stalker”, 2014, h 6 cm x w 3 cm x d 10 cm, porcelain


“Bliss”, 2013, h 12cm x w 7cm x l 26 cm, porcelain






Janet MacPherson first studied ceramics at the School of Crafts and Design, Sheridan College, Oakville, Ontario, Canada. During this period, she made functional pottery and vessels for a pottery in Toronto. She subsequently studied at Ohio State University until 2010, starting to work with the figure. Her work has been exhibited in galleries and exhibition spaces in Canada and the USA. During the autumn, she was a guest at the Zentrum für Keramik in Berlin. JANET MACPHERSON 724 Manning Ave Toronto, ON M6G 2W4 Canada

mask or one of those rubber masks familiar from fancy dress costumes. The delicate hands and feet are coated with gold lustre, the eyes hidden behind tiny windows. Through her Catholic upbringing, as she recalls, her pictorial world is filled with religious symbols and signs. Martyrdom, saints weeping blood and hares as angels – fearsome monstrosities as if from the paintings of Bosch make frequent appearances in her work, although MacPherson's sculptures are not intended as objects of religious art. She does not delve into the interpretational and heavily meaningful depths of this pictorial world. These are freely and intuitively assembled quotations of religious symbols that have left an inexplicable impression on Janet MacPherson, attraction and perhaps a sense of horror. MacPherson works between historical quotation and her own emotional interaction with what her moulds give her. It is as if the saints were changing their costumes, trying on now fur, now wings. In her cartoon-like colour drawings, the nebulous world of lambs, relics and rarely seen saints like St. Apollonia, the patron saint of dentists make their return. Floral ornaments, rays of light and foliage are used in her decorative illustrations. Her finely hatched colour drawings look as if they have been framed with the wavy edges of the industrially made paper plates they are drawn on. Here too MacPherson comments on a form that has been reproduced thousands of times and makes it unique. For her working visit to Berlin, she has changed her working



technique because time is so short. She handbuilds and models her pieces instead of casting them in porcelain and assembling them. She covers the skin of the bowls and sculptures, like that of the lamb that hangs strangely from a tree as if it had grown from the earth with it, with fine sgraffito. The ornamentation familiar from her drawings thus returns and naturally places her work in the heavyweight tradition of such famous American ceramic artists as Akio Takamori. It is always exciting to follow Janet MacPherson's ceramic figures, which at times have the lightness and playfulness of finger exercises. The way she allows sanctified cows, hares and sheltered lambs to find their way to meet each other. And to be able to observe how she herself understands the metaphorical relationship between humans and animals. It makes us want to pursue how the saints and the Madonnas from her scenarios liberate themselves from their obligations in the hubbub of highly personal memories and experience. Ultimately like creatures of fantasy, comic figures, toy animals and religious knick-knacks functioning in the same artificial world and what they can say to each other – working with quotations is not entirely free of obligations. Anja Sommer studied ceramics in Germany, the USA and Finland. She lives and works in Berlin as an art mediator and also runs a gallery for contemporary art.



Nathalie Doyen COCOONED

recent work 2011-2015


like to model clay calmly and slowly. It is in this way, at this rhythm, that my concentration is at its best. My recent pieces are carried out with much precision and patience; with a lump of clay in my hands, I form a round shape, a sphere which I spread or flatten and in which I carve one, two or three gentle curves, shaped into shallow areas or into plump cheeks. Next, in the way that stones in nature are covered with lichens or mosses, I cover my still-raw model with a multitude of ‘mini balls’ made from clay rolled between my fingers. Once they are in position, these small stoneware lozenges stained with metallic oxides are textured one by one with fine holes pricked with a needle. Occasionally, I enhance the surface with a diluted pigment or oxide. From a technical point of view, this is simple. But the trick is to maintain sensitivity while making repetitive movements. The thing which really matters to me is the procedure: I have always worked calmly with clay, searching for tranquillity, but now I am looking further. The slow pace has become a process in itself. In this way, each day, during sessions of 2 to 6 hours, the rhythm of my work proves to be meditative, even hypnotic. “Over there” 2014 coloured stoneware 1200°C 30 x 22 x 16 cm Photo: Vincent Timsonnet






Assuming this slow motion is of great benefit to me. Very often, people who look at my ceramic sculptures say that they themselves become changed, moved, as though overwhelmed by what these pieces give off: the sensation of a time when one is cocooned, a dense and harmonious time, which our consumerist, competitive, hyperactive society, blinded by greed, tries to take away from us. This being so, in plastic art terms, the slow pace of making and covering the piece, progressing millimetre by millimetre, suits me perfectly. From then on I can work carefully at a sensitive tempo to create delicately nuanced textures. I try to make the piece hold on to my gaze so that a breath, a resonance, runs over it. In my head, before beginning a sculpture, I imagine its colours. I think about it for several days, letting my sight be captured by one hue or another among those that I observe around me. I choose between them and combine some of them. In this way, I achieve a palette of intended colours for mixing clays with oxides or pigments. top “Lota”, 2014, coloured stoneware and metallic oxides, 1200°C 11 x 11 x 10 cm. Photo: Vincent Timsonnet right “Treasure blue”, 2013, coloured stoneware and metallic oxides 1200°C, 10 x 10 x 9 cm. Photo: Nathalie Doyen





“Vanity ” 2013 coloured stoneware 1200°C 26 x 26 x 20 cm Photo: Vincent Timsonnet

I use oxides of cobalt, copper, chrome and manganese; and turquoise, light blue, moss green, maize, rose, orange or yellow stains. I measure these from 1 to 10%, sometimes mixing some of them together. Cobalt gives me a slate-blue clay, greyer with the addition of manganese, greener when mixed with chrome or copper. I fire my electric kiln to 1200°C. The colours of tinted clays alter during firing. Also, when I am modelling, I don’t have the colours in hand but in my head. Of course, it’s thrilling every ceramicist adores that. There are always surprises when the kiln is opened… I am also beginning to take an interest in wood firing. I don’t making any preparatory drawings. Suggestions come to me. I feel rhythms: an untroubled surface here, undulations there, a few patches marked out, fragments which seem to vibrate, links made as they flow, clearly defined motifs, blurred areas and so on. I imagine natural or architectural surface features. I improvise as the hours, days and weeks pass. The conjugation of the volume of the base, the colours of the clay and the textures’ rhythms guide my sight. The ‘curiosity’, ‘tranquillity’, ‘vanity’, ‘resurgence’, the ‘over-


there’, the ‘everything-over-there’, reflect the differing states of my soul. At the outset, this happens without my knowing it, then I recognise the emotion coming from it. I choose the dimensions of my pieces in relation to my body. These come from the palm to both hands, to the head and the volume which the arms can encircle. While out walking, I use a magnifying glass to examine vegetation, mosses, bark and stones. At home, I browse through a natural science encyclopaedia admiring scales, carapaces, lichens, leaves and animal skins. Clay is a fabulous medium: powder, slip, a ‘dough’, formless but so rich in plastic potential. It is more than a raw material, it defines every day of my life. As a child I used to make birds’ nests from grass and mud. In my adolescence, I used to go to workshops and took courses in modelling and throwing. I took advanced ceramics courses with Francis Behets and Richard Owscarek at the Académie des Beaux-art in Tournai. Since then, for almost 30 years, I have not stopped researching, creating and exhibiting. For a long time I was uneasy in spaces with large installations, set up in situ. I had to have air, I needed to extend my field of vision, to open out and be part of space.




left “Just over there”, 2014, coloured stoneware, 11 x 9 x 8cm Photo: Vincent Timsonnet

right “Treasure”, 2010, black stoneware and porcelain slip, 1200°C 8 x 6 x 5 cm Photo: Benoît Carpeau

For several years now, the way that I approach the object, the sculpture, brings me into a dialogue with it, an approach which is more intimate. Recent pieces are shown here. These ceramic pieces, though they may be small and detailed, refer equally to space, coming from it or recalling an imaginary landscape. These new pieces attract the eye with their gentle shapes and mineral colours. Their velvety texture is intriguing;


one approaches, is drawn by the ‘astonishing textile effect’. As Nicole Crestou says, ‘we need to touch in order to see, to feel in order to understand.’ Indeed, I have always been interested in the appearance of clay: its grain, its pores, the wrinkles, the nerves, the imprints which appear on its surface when I handle it. I often mark it with traces, etchings, with scratches enhanced with oxides and slips. It is at that key moment when I feel that I want to accentuate the depth of the texture, when I add a little material to the scratches and needle holes, that the outer skin of my sculptures evolves. The fine holes that I have made with my needle in the clay add an absorbent capillarity, a mysterious interface causing threads of shadow…

Nathalie Doyen was born in Algiers in 1964. She has exhibited in Belgium and abroad since 1987. She has been artist in residence in France, Portugal, Italy, China and in Quebec. She teaches ceramics at the Académie des Beaux-Arts in Namur, Belgium. Work on permanent exhibition in Belgium: in Brussels, at the Galerie de l’Ô - “Barbotine Murale”; in Mons at the WCC-BF in the creators' windows; in Morlanwelz at the Musée Royale de Mariemont -“Un souffle sous mes paupières” , installation acquired by the Belgian French Community. IN QUEBEC: in the regional park Bois de Belle-Rivière, Laurentides - “Prémeditation”, created in situ for the Laurentides Contemporary Art Museum Art3 trail, commissioned by Suzanne FerlandL, supported by Wallonie-Bruxelles International. IN CHINA: at the FuLe International Ceramics Art Museum, the FLICAM, Fuping, near Xian, the installation “Flow” and charger “Bien dans son Assiette”, created in residence, supported by Wallonie-Bruxelles International. Member of the Collège des Alumni de l‘Académie Royale de Belgique. Member of Smart asbl; member of the World Craft Council - French- speaking Belgium. 1983 to 1987: trained at the Académie des Beaux-Arts in Tournai X, taught by Francis Behets and Richard Owzcarek.

Nathalie Doyen 14, chemin de Latinne B4263 Tourinne-la-Chaussée, Belgium I Gallery contact:





On ceramist FRAUKE Walter Lokau



The mug with the golden handle or what is left of the Golden Age...

hen Frauke Alber (b. 1962) launched into her career, all was well with the world of ceramics in Germany, it seemed to be “golden" ... Frauke Alber's beginnings coincided with the zenith of what might be termed the “Golden Age” of German ceramics – a period that began in around 1960 and up to around 1990 unfurled


what was known as “studio ceramics”, assembled to form into large private collections and finding a place in museums. Ceramics was booming. Galleries, museums and institutions were devoting themselves with some enthusiasm to this subject and a growing audience of collectors eagerly acquired these new distinctive, individually designed pieces. Art schools ran ceram-





opposite page - golden bowls, porcelain all h 6 cm Ø 9.5 cm top - bowl, Ø 50cm, spotted vase h 35 cm, porcelain bottom - spotted bowls, porcelain h 6 cm, Ø 9.5 cm

ics courses or set them up. And no less sought after than the ceramic products themselves was training to become a ceramist. When the generation of those born around 1960 took the field, aspirants found themselves faced with the problem of finding a place to study or train. After graduating from school, Frauke Alber too travelled the length and breadth of Germany in search of an apprenticeship, which after much endeavour and good fortune, she found in Merzhausen near Freiburg im Breisgau, south western Germany, under potter Maria Philippi. Her apprenticeship from 1983 was demanding and meticulous but friendly. The indispensable gain from her training was that Frauke Alber learned the potter's trade from scratch. She qualified in 1985. At first, tableware was not an issue, only voluminous, sculptural forms as vessels, not without function but autonomous. She decided to apply for appropriate further education courses – she was accepted in Bremen, where just in that year, Fritz Vehring was appointed professor of ceramics. As a student, she initially made large scale raku vessels – a very characteristic form of hers that she still uses today in infinite variations: on a small foot, stretched, or later compressed egg shapes, rising with a with a rounded belly and a wide mouth, a narrow rim turned sharply inwards. But it was not so much the then-rampant Japanophilia that kindled her interest in raku. But it is one specific aspect that fascinated the young ceramist: it was the unpredictable, shimmering, uncommonly attractive interplay of colours resulting



from the application of glazes, thinly applied with a broad brush, often with gaps or poured on with overlaps that lent the static body of the vessels a beguiling painterly dynamism and abstract, gestural depth. The vessel was encompassed by painting in the round. Although Frauke Alber exhibited these pieces all over Germany and was successful in terms of sales, after a few years a sense of dis-




deep bowl, stoneware, porcelain slips, h 40 cm, Ø 38 cm


platinum mugs, porcelain, h 10 cm, Ø 8cm

satisfaction emerged: the play of colour in raku was something of a gimmick, in the long run almost too facile, deriving merely from something drawn from the flames. In addition, Albers was no longer satisfied with the dull, cardboard-like sound from lowfired raku ware; it had to become more substantial and controllable. This led from 1991 to the period of thrown stoneware vessels with a richer, more deliberate colour composition, applied in porcelain slips coloured with stains.

With block-like, boxy vessels, she even temporarily abandoned rotational symmetry, laying out the quadripartite painting with a vertical trend, corresponding to planes of the form divided by its sharp corners. 1991 was an eventful year for Frauke Alber: she set up the first studio of her own in Bremen – with the Ceramics Prize from the Frechen Cultural Foundation, she received one of the major prizes for emerging ceramic artists – four years later, she was also awarded the Bremen Talent Award from the Crafts – and she travelled to South America twice: once to Ecuador on a scholarship, the second time as part of an aid project in Mexico. The trips to Latin America, to be repeated in 1994 and 1998 with visits to Nicaragua, had an influence on her work: the architecture of ancient cultures with their stepped pyramids, cut off square, gave Albers the idea for works in brick for public spaces, counteracting the massive, angular, pointed forms with large, tall empty arches. There was also a kind of barrel or tower vessels, which were often over half a metre tall built up from heavily grogged clay, subsequently taking up architectural elements like the principle of the arch in idiosyncratic foot shapes. Frauke Alber's time at the Bremen University of the Arts ended in 1993, at the end in Fritz Vehring's masterclass. Then came – interruptions. In 1995 and 1997, her first two children were born, the third came in 2002. Alber withdrew somewhat from the world of ceramics through the necessary breaks. These few years are enough for her, in her attempts to reconnect with her prior successes and to reestablish contacts, to suddenly and very distinctly perceive the profound and dramatic transformation that the world of ceramics in Germany was undergoing. What was she to do? Although she had refused to become involved with functional ceramics after graduation, the situation now seemed so frustrating that she felt it was at least worth a try: for use at home and for herself, she had always thrown porcelain tableware, and at one of the earliest opportunities, it was possible to find on her market stall handily formed cylindrical mugs in unglazed porcelain with a sturdy ring handle in gold – an eyecatcher without any question.

FRAUKE ALBER There is nothing at all ignominious about producing beautiful ceramics in series. On the contrary: only in this way, and increasingly so, can the cause of ceramics be kept in the public's mind, who are not so much collectors obsessed with unique pieces as increasingly are people who reject mass produced products and select special, handcrafted things for daily use. Like many others of her generation, Frauke Alber now has a dual strategy: on the one hand, the popular functional tableware, on the other, ceramic artworks. Tableware, place settings, bowls and dishes, egg cups, cups, teapots, vases, all thrown in porcelain with clear, glossy or matt black glazes, some areas gilded in gold or platinum: the rims of the plates, the interior of the bowls, elements of the clearly structured cups that seem to be assembled from various shapes. It is the contrast between the noble metal and the white of the porcelain, the black of the matt glaze that enhances the pots, sometimes with what seems to be delicate irony. Yet for all their refinement, there is nothing dainty about them – everything must be functional, the handle of the cup has to be in the right place, it has to be easy to grasp. This is one side of the coin. The other side still consists of the one-off, unique pieces where the work of the 1990s continues uninterrupted: large, stoneware vessels, assembled invisibly from individual elements and coated with white porcelain slip, smaller ones made of porcelain. The gestural brushwork is now more sparing but more intense in colour: individual highlights, streaks, daubs, whisks, scraped thin with a rib, drawn out or sprayed on like a coloured mist, at the foot or the lip leaving the majority of the vessel free, transforming the heaviness of the vessel into lightness. And a new series of forms is awaiting further development: porcelain vessels like thick bamboo stems, assembled from similar concave or interlocking elements, the seams heavily emphasised. It is not only positive pragmatism that distinguishes Frauke Alber: she does not give up. Although she is one of the last generation that shared something of the “Golden Age”, she is not at all at odds with the course of time. Idealism is one thing, reality is something different. The success of her ceramics has proved her right and permits her to look into the ceramic future undaunted. For the past nine years now she has trained her own apprentices, one of the very few to train people in the potter's craft. Could one be more optimistic? Since Frauke Alber set out in her profession, thirty years have passed – which is hardest for her to believe herself! The “Golden Age” before that lasted about the same time. Who can predict the state of health of ceramics in another thirty years?!

Tubular vessels, porcelain, h 50 - 70cm

Frauke Alber, born in 1962, lives and works in Bremen. After an apprenticeship with Maria Philippi, she studied ceramics at the University of the Arts in Bremen under Prof. Fritz Vehring. In the 80s and 90s, she participated in various symposia, took part in ceramic aid projects in Latin America and exhibited her vessels in numerous solo and group exhibitions. She was awarded the Ceramics Prize of the Frechen Cultural Foundation and the Talent Award for Craft in Bremen. She has had studios in Bremen since 1991, often sharing with others. In 1995, 97 and 2002 her three children were born. Over the past fifteen years, Frauke Alber has made more and more porcelain tableware beside her individual pieces. Her work can be seen all over Germany in galleries and exhibitions, as well as at ceramics and craft markets. Since 2003, she has taken over an organisational role for the crafts, planning and organising Kunstwerk im Viertel, studio open days in Bremen, planning and organising the crafts market and actively participating in the applied artists' association, AKB, organising exhibitions and, since 2013 together with other colleagues, she has run the producers' gallery for craft and design, RAUM in Bremen. FRAUKE ALBER Keramik Schweizer Straße 4b 28203 Bremen GERMANY Tel.+Fax: +49 (0) 421-4989367

Dr. Walter H. Lokau has a PhD in art history. He lives in Bremen as a freelance writer.






Suvira McDonald Stone Samplers Michaela Kloeckner


ou would not think that Murwillumbah, a small country town in far northeastern New South Wales, Australia in the Tweed Shire, on the Tweed River, 848 km north-east of Sydney, 13 km south of the Queensland border and 132 km south of Brisbane, would be the home of the world class regional Tweed River Art gallery. Nestled between the lush, undulating foothills of Mt. Warning and the magnificent Border Ranges is an award winning building, whose design was inspired by the corrugated iron clad dwellings of the countryside, incorporating the hoop pines that once graced the hilly site. On Sunday 1 February 2004 it opened its doors, with the building's balconies and windows capturing the spectacular scenery, the clientele sipping coffee on its verandas and delighting in its wonderful blend of art and nature. The support of local artists has been paramount and on 19 December 2014, Stone Samplers, an exhibition with acrylic paintings by Karyn Fendler and Suvira McDonald’s ceramic sculptures, was officially opened. Multifaceted Suvira McDonald, who was once a professional dancer (, is an award-winning Australian artist with his studio located in Goonengerry, Byron Shire in New South Wales, Australia. Like many regional artists, Suvira has a diverse practice which enab les him to devote his full-time energy to art. His work has ceramics as its central medium and it includes tableware, sculptural forms and wall-mounted landscape imagery. He is formally educated in ceramics and studied at Lismore College of TAFE between 1992-6, proceeding as a Master's candidate to Southern Cross University in 1997 and completing his wood firing research there in 1999. He has exhibited widely since then and produces volumes for the table, walls, the home courtyard or garden and has also completed corporate commissions. The other strand of his art practice includes public art and sculpture using metal, wood and stone. He also curates exhibitions, project manages community art, teaches at tertiary level and writes. His focus shifts as commissions, exhibitions and projects demand. He maintains an art practice that identifies landscape and the exploration of materials as central concerns, which becomes evident in his latest show of 11 landscape sculptures, which initially were inspired by the Asian tradition of Schol-


“Timeless Crag”, 55 x 25 x 17 cm opposite - “Spirit Stone”, 45 x 26 x 20 cm

ars’ Rocks, complete with handmade wooden bases and stainless steel feet. Scholars Rocks (gõngshí – China, Suiseki – Japan), an Asian art tradition, have held a fascination for the artist for some time now and his interpretations have threaded through his work over many years. Evidence suggests Gongshi originated in the Yellow Mountains, which have deep spiritual significance in China. Chinese scholars often called these rare examples Spirit Stones and placed them in their studies for indoor








PROFILE contemplative viewing. In Japan, Suiseki forms a triad with Ikebana and Bonsai. McDonald’s sculptures have developed from this study over the past 6-8 years. Beginning with vessels directly related to particular landscapes, more recently his sculptures have taken a turn to a faceted stylisation of mountainous forms. McDonald also emphasises the presence of quartz veins in the rocks, which he translates as waterfalls. Further, the works also reference threatened climate stability as borne out by the glacial and parched-earth imagery. The timelessness evoked by rocks is inherent in this contemplation. All the pieces in the collection of ceramics are made using Keane’s white raku clay and fired to cone 10 in reduction, except for the sculpture Majestic, which is porcelain. The glazes are from Suvira’s personal glaze palette, some of which have been composed for the purpose of this show, others have been in his palette for a very long time. The works are mounted on cabinet timber bases, which is Suvira’s contemporary interpretation of the manner in which the traditional stone collectors of Asia have preserved and collected their specimens. He has specifically selected the pieces of timber, which have come from a number of sources. Some are very local like the camphor laurel with a distinct eucalyptus “Majestic” - 30 x 28 x 21cm “Broken Cascade” - 44 x 23 x 18 cm

scent, even classified as environmental weed because of its fast growth - others are rosewood. Spirit Stone 1 and 2 were my personal favourites as they evoked images of my childhood of sitting comfortably warm on a sofa next to the central heating in my parents lounge in Bavaria, Germany. I would look out into the blue and grey sky and the snow-covered mountains, where the snow had dusted all the trees white, like icing sugar and the waterfall was frozen solid in a milky, bluish colour and the snow kept falling gently. Suvira’s work is not only masterfully created and beautiful – it is so much more! The work has the subtle power to connect with viewers on a very deep emotional level and as such it becomes part of their personal story. Michaela Kloeckner is a ceramicist and free lance writer. She lives and works on the Gold Coast, Qld, Australia. Suvira McDonald holds a masters degree in ceramics from Southern Cross University, awarded in 2000. Since then he has taught at tertiary level and his practice includes a spectrum of arts-related activities including sculpture for the public domain, ceramic sculpture, tableware, exhibition curation, project management and consulting. His work is in collections worldwide and has produced work for public places at various sites in his local, Byron and the surrounding shires of Northern NSW, Australia. SUVIRA McDONALD Studio: 300 Mafeking Road Goonengerry NSW 2482 Australia PO Box 13 Federal 2480- NSW Australia Tel. +61-2 6684 9194





Form Follows Failure An exhibition from the ceramics course at Burg Giebichenstein Gustav Weiß Ceramics at Burg Giebichenstein retained its independence as a subject of study, whereas at other art schools it was merged with sculpture or industrial design. As it transpires, the special nature of ceramics has lived up to its status of independence.


he exhibition of Prof. Martin Neubert’s ceramics course took place to commemorate the hundredth anniversary of teaching art at the Crafts School in the University of Art in Halle at the same time, although the two things have little in common. The artists like Charles Crodel and all the others whose importance was mentioned by Dr Renate Luckner-Bien had hardly any influence on ceramics. Gertraut Möhwald, the only ceramist from Halle to gain major standing as an artist the world, followed the example of Antoni Gaudi’s Parc Guell, where his assistant Josep Juiol used colourful fragments of tiles to embellish the walls. She used ceramic shards in her heads, achieving the meaning philosopher David Hume had pronounced in the 18th century when he explained that in the human mind, there is a continuing succession of impressions and of reflection, memories and ideas but no constant perception that holds it all together. Through the advent of sense and meaning, ceramics became art. For eleven years, first as a lecturer, then as a professor, Martin Neubert has been battling with the unrelenting problem of accompanying young people in the development of their character in order to release them into the lawlessness and boundlessness of art, in a world where everything becomes a commodity. And now this exhibition. It was shown in April and May at Dringenberg Castle and the historic town hall. Besides ceramics and the anniversary, a third element was added through the choice of this venue, i.e. the desire to advertise “Kulturland Kreis Höxter” with its castles as an attraction for culturally interested tourists. All of that had to be squeezed into the opening speeches.



Sarah Bartmann: “Cake Teapots”


FORUM left -

View of the exhibition

below - Sarah Bartmann: “Upright creature with shining eyes”

For the ceramics exhibition, the title Form Follows Failure was chosen, adapted from Loius Sullivan's dictum from 1896, “Form Follows Function” as an orientation of architecture towards purpose and of design towards functional objects – a slogan that has been popular ever since.


That it was only about form was a limitation that can be accepted for design, not, however, for art. Form should have function as its goal. But now the “follow” should no longer be an orientation, but should follow a time of “real practical or ideational/ aesthetic failure” – a characterization of the

past that Gertraut Möhwald on cloud nine would not allow. That ceramics retained its independence among the arts in Halle of all places has its reasons. From the beginning, handicraft was the focus, still a craft though. It was merely renamed as applied art, which then meant it was art. Up until 1950, numerous potter's wheels were lined up there because throwing was accorded outstanding validity. The 20th century was dominated by the will – in the person of the principal, Herr Funkat – to contribute to overhauling traditional thinking through one's own creative powers. This overhaul was to be consummated by insights into nature. Until then, this had always been confronted with a sense of indifference far removed from knowledge, content in experience based on craft practice. Gertraut Möhwald had switched from sculpture to ceramics because an awareness of the closeness of nature was in the offing. She said a whole universe opened up to her. Wanting to know how something is made is rooted in every ceramist's genes. This is revealed in Martin Neubert's answer to the question of how he understands his job: “We reinvent an inventors' environment. Seek to find previously disregarded factors against the general desire for technical perfection, introduce elements of disturbance and confusion in the search. Every single exhibitor here has gone through a programme of investigation like this." This means to say that possibilities are not seen as given but rather that students are given responsibility for creating the possibilities in their own creative work. In the hope of discovering something that had been unused or which may even have seemed impossible. They are to grasp the new expectations that emerge on the horizon and fulfil them. To awaken the potential that dwells within everyone. To illustrate this, I would like to make reference to Jackson Pollock: his starting point was a technique that Max Ernst had experimented with before him, and he poured lines on a horizontal canvas, first mechanically and then by hand. His wife, also a painter, merely made ironic comments. He did not realise himself that these works represent the state of the



FORUM right -

Katja Jaroschewski: “All tubes – large and small“

below - Katja Jaroschewski: “As long as you have got your feet under my table” from the series “What Mum can do"

present because they have no centre and no limits. And now to the exhibited works. Teapots that stimulate the creative urge are among them as are imaginative abstract figurations, busts and faces. The degree of audacity and ability varies. Nobody will expect to follow the past with entirely new creations or reinterpretations. But they may expect the freedom to be defined by one's own ideas and not by external forces. Nothing can be taken for granted any more and anything can be skipped over, there are no longer any limits where asking questions or inexperience might stop. The new that art students learn here is that they no longer bother with conventional things and that they are themselves the starting point from which they can blaze their won trail according to their own judgment. What has been here before may in its way and for its time have been reasonable, but nevertheless there may be other forms of creativity along side it that are equally worthy of being brought to fruition and that are now incompatible with it. Some examples may go to show how young people can behave in a rebellious and recalcitrant manner to keep themselves free for their own ideas. Thus every positive act expresses itself simultaneously in negation. Creation is change and change is negation. From the point of view of the future the affirmative side dominates, from the point of view of the present it is the negation. A few pieces may be subjected to the scornful verdict of the predecessors who are branded as heretics. To take the wind out of their sails, Renate Luckner-Bien found a justification: “Perfection in any form is considered boring in the long run; it is only the imperfect that remains exciting.” No one has exposed the connection between creation and change more starkly or expressed it more forcefully than Nietzsche: “And he who has to be a creator in good and evil - truly, he has first to be a destroyer, and break values. Thus the



greatest evil belongs with the greatest good: this however is the creative good.” It would be something different to come to the insight that in the long history of tradition every possibility had been exhausted and the hands on the clock of the world had moved forward a little again, creating a new situation and offering a new chance. This could be described as a disenchantment with culture, which always leads to falling back to the origins. Martin Neubert's comment that “we take the material and

subtract backwards” might be interpreted thus. “Back” means origins and not tradition. Traditionalism would restrict creative force. It is not this alone that is the reason for the hostility to tradition in modern art. It no longer wanted to be a continuing development but a radical, revolutionary transformation aiming at subjective expression both in the creative process and in the aims.



Atelier No 4

A new gallery opens its doors Hannelore Seiffert


hilst galleries are closing all over the country, a new and unusual gallery has been making a mark in the Saarland region. In the picturesque town of St. Wendel, in an elegant Jugendstil mansion, four high, generously proportioned rooms have been in use for exhibitions. Barbara Lütjens, herself a well-known painter, has taken up the challenge and wishes to give outstanding ceramic artists a platform in three to four exhibitions a year. Barbara Lütjens is not entirely inexperienced in the gallery business: twenty years ago she successfully ran a gallery, but with a growing family she took an extended break, concentrating on her own art practice. The newly fledged gallery owner is familiar with the ceramics scene – the wellknown arts centre, the Bosener Mühle with its nationally and internationally renowned instructors is only a few kilometres away. She says, “Art has always been a part of my life. Now I would like to pretop Gallery Barbara Lütjens centre Beate Thiesmeyer, “Hare Child”, h 30 cm terracotta, slip painted, 1100°C , gas fired, 2014 left Michael Sälzer, “Tordu”, vessel sculpture, h 30 cm saltglazed, woodfired stoneware, 1350°C, 2014




sent the most interesting and stimulating contemporary ceramic artists with a wide cross section of their work.” This year, there is an exhibition with Beate Thiesmeyer and Michael Sälzer from 3 – 31 July (the beautiful garden is to be part of her plans for the exhibition). From 31 October – 28 November, Antje Scharfe and Hozana Gomes da Costa will be the guests. It is to be hoped that at the opening of these exhibitions, as before there will again be over 100 expectant art fans squeezing into the gallery space – and making purchases. Hannelore Seiffert, ceramist and collector of ceramics, is a member of the AIC/IAC in Geneva. She lives in Schiffweiler, Saarland. Atelier No 4 Barbara Lütjens Nikolaus-Obertreis-Straße 4 66606 Sankt Wendel, Germany Tel. +49151/41 40 83 83



“THE BEMBEL EXPERIMENT” – Cider Jugs in Other Cultures


This exhibition – which attracted a eadow orchards, healthy drinks, cider, cidre, apple juice and apple great deal of attention – was sponsored wine as the classic drinks in many areas by the Höhr-Grenzhausen municipal auof the world are often served in typical thority, the Friends of the Apfelweinmujugs. In the Westerwald region of Germa- seum, wine makers Kelterei Stier, and the ny, Bembel - apple wine jugs – of various companies Rastal, Sibelco Deutschland shapes and sizes were thrown, saltglazed and Grimscheid. Follow-up exhibitions and supplied en masse to greater Frank- are being planned in Frankfurt, southern furt, the state of Hesse and to southern Germany and Spain. Germany. Everyone is familiar with the classic blue-grey jugs. Together with the Initiative für das Apfelweinmuseum in Frankfurt and local sponsors, the BEMBEL experiment has been initiated in time for the ceramics festival, Höhr-Grenzhausen brennt – Keramik 2015, focusing on a jug in classic and modern guise, offering a platform at an international level. With unimagined success: more than 50 ceramists with over 100 exhibits took up the subject. In the exhibition at the Keramikmuseum Westerwald until 26 July, there are new and creative forms of the apple wine Bembel or the apple juice jug on show, with a humorous slant or in classic shape. Three prizes were awarded: to Beate Thiesmeyer, Germany, for her caricature "Homesick Bembel", to Robert Lawarre from Florida for his colourful modern ensemble, and Joachim Ermert, Germany, for his saltglazed Bembel with apples that is soon to go into production. At the invitation of the Museum, Tomoo Hamada from Mashiko, Japan, sent two jugs, as did Johan van Loon, NL, and Mehmet Taskin, NL/Turkey, Andrzej Bero, Poland, Lee Love and Elaine O. Henry, USA, Riita Talonpoika, Finland and Peter Meanly, UK, who is well known for his humorous Bellarmines. He is taking part in the exhibition with a splendid portrait of Federal Chancellor Angela Merkel, – and there are many others! The opening was celebrated in style with Apfelwein, Handkäs mit Musik (marinaded top Joachim Ermert (D), centre, handmade cheese and onions) and with his priezwinning Bembel above Bembelset by Robert Lawarre (USA) locally baked bread.



KERAMIKMUSEUM WESTERWALD Höhr-Grenzhausen facebook “” Infotext on the largest Bembel in the world and more on

Exhibition runs until 26 July 2015

top Beate Thiesmeyer (D) with Homesick Bembel above Portrait of the Chancellor by Peter Meanley (GB)



Salzburg Ceramics Prize Exhibition at the Trakelhaus, Salzburg Kurt Spurey


he Salzburg Ceramics Prize has been in existence since 1989 – it is the only one in Austria. Any artist either born in Austria or a resident of Austria for over five years is eligible to take part. From the 50 submissions, the judges (Dr. Barbara Rollmann-Boretty, Munich, Elmar Trenkwalder, Innsbruck, and Kurt Spurey, Vienna), selected 18 artists for the exhibition at the Landesgalerie im Traklhaus. The Exhibition An interesting, informative exhibition providing a good overview, running from


24 March – 25 April 2015 at the Galerie im Traklhaus. The composition of the exhibition provided an insight into the world of ceramic imagination that was in line with the diversity of the art. There were echoes ranging from art informel to amorphous sculptures, even a questioning the validity of ceramic vessels. It is an exhibition of good work, and yet in my opinion no piece stands out so that it would remain in mind individually. Which brings me to the dilemma of finding a winner. Of course prizes should be awarded and they were awarded.

The main prize went to Frank Louis. The two scholarships to Andreas Vormayr and Daniel Wetzelberger. So now I would like to turn my attention to the prizewinners. It has to be mentioned that not only the exhibited works but the artist's complete œuvre was taken into consideration in the judging. This applies especially to Frank Louis and Daniel Wetzelberger. In the case of Andreas Vormayer, he is still at the beginning of his career, so it is an encouragement to intensify his endeavours. That the main prize was awarded to Frank Louis is probably due to his floor-





opposite page l. to r - Andrea Baumann - Canan Dagdelen - Maria Meusburger below left - Daniel Wetzelberger - Andreas Vormayr right - Frank Louis

standing sculptures. The discussion of plane and space in the sculptures exhibited is very impressive. They dominate their space with a powerful sense of expressivity, particularly because they are formally rooted in a diffuse, amorphous area. Daniel Wetzelberger generates a floor relief from various “bones”, which are mainly of human origin, which through their arrangement of the bones, in themselves sculptural objects, yield a new totality. The arrangement of the parts to each other reveals a strongly structured pattern which seems possible in various combinations. The “bones” themselves



are not an imitation of nature, merely an approximation from memory. Andreas Vormayer studies basic technical forms, which are articulated by painting or the application of meandering elements. A few other artists should also be mentioned that did after all leave a certain impression. The subtly stacked porcelain bowls by Andrea Baumann reveal a high degree of craftsmanship but show a lack of originality. Maria Meusburgers ironic vessels are a confrontation with traditional forms of vessel ceramics and also a commentary of ceramic material. The material they are made of, aerated concrete, is a ceramic material. Canan Dagdelen, with room-filling work, often present on the international

stage, works consistently with motifs from her home country, Turkey. And goes into cultural and societal themes with some seriousness. In her case it is important to be familiar with her work overall in order to have a basis for a judgement. Only if one is familiar with her largescale installations is it possible to recognise Dagdalen's significance for the world of ceramics in Austria. That recognition was refused to her can only have to do with the “mathematics of the jury”. Heidrun Weiler’s work is based on a successful concept. The idea of adding a ceramic complement to a random found object, a glove, and to guide the viewer to follow the idea behind it through a photographic documentation is attractive. As an overview exhibition of the Austrian ceramic landscape, this was a show worth seeing that had enough potential for discussion. Kurt Spurey is a sculptor and a ceramist. He lives and works in Vienna.



25 Years Keramik Museum Berlin Siegfried Stöbesand


e are standing outside the Keramik-Museum Berlin: the oldest town house in the Charlottenburg district of Berlin, dated 1712. A historic gem on the Charlottenburg Architecture Route. It has a familiar, neighbourhood feel. Schustehrrusstraße 13; a house with twin living spaces separated by a central hallway. Saved from the wrecking ball in 1983 by a public outcry and lovingly restored from that time on. Strictly speaking and measured by etymological criteria, it is not of museum provenance; it does not function as a permanent repository for “sacred” ceramic relics, but it does as a functional place for a well-informed exchange of views about ceramics. Regularly changing presentations of the works and biographies of German ceramists and ceramics factories for functional design as well as a contemporary international overview of international art ceramics make up its manifesto; six exhibitions a year, with one of them showcasing a single ceramist in the Kabinett. photo - Gabriele Klimek

photo - DWJ-Schwarzer

We feel drawn to enter the house; a creaking door, wooden beams; the age of the building cannot be disguised, but that is its charm; we become curious. The activities of the museum are based on the voluntary work from among its currently 320 members, with a dozen of them contributing actively. Receiving practically no support from public institutions, the members repeatedly succeed in organising quality exhibitions with pieces from the collection and from collectors. From the moment we enter the foyer, we are greeted by people who are glad to tell us more; questions are answered with a friendly willingness that tends to be the exception in state-run institutions and which is evidence of a true passion for matters ceramic. Everyone puts their heart's blood into it. And this is what we immediately discover in Heinz-J. Thies, the spiritus rector of the Museum. We are astonished by how much knowledge about the culture of ceramics this man has stored in his memory; profound, obsessed with detail, precise.

The love of ceramics is his muse and his leisure, his inspiration and his motivation. His passion for ceramics began in the early 80s. Theis recalls the situation: he was in Paris; a bizarre art déco teapot captured his imagination. It was once owned by Karl Lagerfeld; the lid of the teapot had a small chip and was thus worthless for the perfectionist KL, so Theis received it as a gift. The pot was shaped like a car and had the number OK – T 42 (Okay, tea for two). Perhaps it was the ambiguity of this number plate, a recollection of the famous jazz standard, but more likely it was the combination of ceramic material and a valuable cultural souvenir: his curiosity for ceramics had been awakened. One piece followed another; anyone who collects is possessed by a passion, and collectors want to receive, to discover background information, want to exchange views with others and want to display what they have. He studied further, did an internship with Horst Kerstan and collected practical experience; inspired by Kerstan, he became acquainted with glazed Chinese ceramics and woodfired Japanese ceramics; his perspective broadened to become that of a ceramic cosmopolitan. We are now in the main exhibition gallery – approx. 100m² – with a view of the idyllically situated courtyard; flowers and climbing hydrangeas make this an oasis of calm. The adjacent exhibition galleries, the Kabinett, the picturesque ambiance all together make a tour of the museum an adventure for the senses. The Museum focuses on ceramic products from the German-speaking world since 1850. The idea of founding a museum dates back to 1985 and the Initiative for Founding the Ceramics Mu-




BERLIN seum was started in 1990. Art historians, collectors and artists were all involved, e.g. Rahel Bontjes van Beeck (1907 – 2001). However, this was a museum without a home. It had guest appearances at various venues. At the Martin Gropius Bau Museum, the life and work of Hedwig Bollhagen (1907 – 2001) were presented. This artist reveals another of Theis's passions. He tells of a meeting with her. He owns a piece that he bought at a flea market and with which he confronted Hedwig Bollhagen. It is a tobacco jar in the shape of a camel with a sultan – a brilliantly inventive piece of kitsch. One of the sins of my youth, she answered playfully. Theis is in possession of this monstrosity and is proud to have it in his stores. Not many people have seen the museums stores. We were granted the privilege of a visit. It is located right next to the Bröhan Museum, in the immediate neighbourhood. Over 7,000 pieces are stored there, each of them valuable, every selected object acceptable in terms of their intrinsic price, but invaluable in terms of their uniqueness. Like a walking encyclopedia, Theis strode between the rows of shelves, relating the relevant data on the ceramists and adding anecdotes. We were overwhelmed by these holdings. Gradually a library of ceramics is being compiled, which is to be made available for study and research. The sponsors have made this possible, in small steps it is true, but the Museum is becoming established in the Berlin museum landscape and there are hopes that it will soon be taken over by the city authorities. The stores may appear chaotic to those unfamiliar with it. “You must have chaos within you to give birth to a dancing star” (Friedrich Nietzsche). And I am reminded

photo - Gabriele Klimek


photo - Gabriele Klimek

of Otto Lindig's laconic, self-ironic comment describing his own work: “Basically making pots is always the same thing – and a very simple one at that – You take some earth. Dirt, as someone said to me – and you make a vessel from it as hollow as possible.” Chaos compiles its own sense of order, a new coherence emerges. Theis works tirelessly, sorting, cataloguing, photographing, classifying. Who will be able to get to grips with this system? Who will take over and continue this Sisyphean task? With the anniversary celebrations on 13 June 2015, the organisers hope to make a fresh start with lots of new members and visitors; networking through the Facbook page since early this year has already made a start. Back at the Museum, we could now enjoy the free-spirited atmosphere of this remarkable museum. Could not the capital of the republic further claims to its uniqueness by putting forward plans for some-

thing truly unparalleled in the German speaking world? It would be wonderful if the “silver jubilee” could thus be turned into gold. Siegfried Stöbesand, M.A. is a senior grammar school teacher. He lives in Laatzen.

opposite page - the Museum from the street - the main gallery from the courtyard above - the main gallery below l. - the romantic courtyard below r. - Museum director H.J. Theis with the piece by Hedwig Bollhagen mentioned in the text Keramik-Museum Berlin (KMB) Schustehrusstraße 13 - 10585 Berlin, Germany Fr, Sat, Sun, Mon 1 – 5 p.m. photo - Gabriele Klimek


The October courses on the human form at

Raval de l’Art


or Rainer G. Schumacher, it started as an experiment: would it be possible to teach people who already had experience with ceramics all the techniques necessary to express the human form as a theme in art during a fourteen day course? In this brief period, would it be possible to teach the necessary fundamental principles of anatomy? To give the participants the necessary skills for them to be able to give their work meaning? And while doing so, to enter into an intellectual dialogue with them about the human form in art?

It was possible, and more than that: for the participants of these two first courses, it was a very special, unforgettable time and a very instructive experience that helped them to develop professionally. Quite apart from the fact that after working hard in the studio, the participants had a wonderful time sitting around the table in a relaxed atmosphere, discussing their work or simply chatting under the blue skies of the still-warm Spanish autumn. Rainer G. Schumacher wants to pass on his knowledge to ceramists who are prepared to leave the familiar terrain of their work, to develop as artists and to give their work more meaning. The setting and the space for this is provided by the Raval de l'Art, a picturesquely situated finca belonging to the German-Spanish couple on the edge of the Ebro delta in eastern Spain. It has a sculpture park with work by Rainer G. Schumacher, two studios, an exhibition space for the unique vessels made by his wife, master ceramist Teresa-Marta Batalla, and their living quarters, large enough to accommodate all of the course participants comfortably. But it is not least the beauty of the landscape that contributes to the lasting impression of the place. This intensive course is about the representation of the human form in clay, in the form of freely handbuilt, hollow sculptures. For this, the sculptures are built up from the inside out, which broadens the spectrum of expressive possibilities of the surface and which is especially appropriate to clay as a material because of its flexibility. There were three participants from Germany and France respectively in the first two courses. All age groups from the mid twenties to the mid sixties were present. They came from various areas of art and had varying degrees of experience. This meant the instructor had to adjust hugely in the way he approached his different


students, for which they rewarded him by making rapid progress within a very few days. “Rainer was completely and undividedly open to his students' needs and had a profound influence on how we see our own work,” writes one of his students; others tell of a powerful presence and intensive support that they had never before experienced in a teaching environment. Seeing one's own development as an artist more clearly, to pursue one's own course and to think critically about how the art market influences us is one aspect of the various forms of encouragement that one can take home from the Raval de l'Art to one's own studio. The warmhearted hospitality and the outstanding individual attention that participants encounter there create an atmosphere where after hours in the studio they are glad to relax and simply let go. The next intensive course on the human form takes place in the first two weeks of October this year. Further details and application forms are available from

Ule Ewelt is a ceramist. She took part in the first October course in 2013. In 2014, she participated in the Christmas exhibition at the Raval de l'Art and taught her own workshop on animal sculptures here.




The Flow of Time Contemporary ceramic art from USA and Europe Marc Leuthold and Martin McWilliam in the Ceramic Portrait at the 2015 Oldenburg International Ceramics Fair


or the world of German ceramics, it is one of the most exciting events of the year: The Keramikerportrait at the International Ceramics Fair in Oldenburg. As had already been announced in some media, after the presentation of Japan and Turkey last year, this year's event was to be dedicated to the ceramic art of the USA, with workshops, presentations and talks, emphasis on "was”! But sometimes the best laid plans go awry. Even such a careful organiser as the Werkschule – Werkstatt für Kunst und Kulturarbeit can also fall victim to the unpredictable: thus Martin MacWilliam from the UK but who works in northern Germany will take the place of Ian Meares, after the experimental ceramic artist from the USA had been forced to withdraw at short notice for family reasons. This reshuffle should not detract from the attractiveness of the Ceramic Portrait on 1 and 2 August 2015 – the change of programme, which once again includes a master class, will certainly maintain the quality of the event. And it will even add to the internationality of the Fair! Trained at the renowned College of William and Mary in Williamsburg and the University of North Carolina in Chapel Hill, Marc Leuthold (b. 1962) now teaches at the State University of New York, after posts at Princeton University and The Parsons School of Design, also in New York. Since 1999 he has been a member of the Académie Internationale de la Céramique in Geneva. The work of the son of European immigrants is wide ranging, moving between abstract and figural sculpture, between discrete objects and thematically designed installations from various combinations of materials. These include on the one hand abstract porcelain agglomerations, emphasising their materiality, resembling three-dimensional scribbles or growing bowl or crystal formations. Thematically more pointed are the sharp cones, divided



by rings, not dissimilar to microphone or loudspeaker cones or flowers, some made in marbled porcelain – like generators of associations that do not refuse any symbolic resemblance. And finally there is the group of objects that has been a major theme of the artist's for the longest time: wheels, spiral formations with incised, delicate lamellar structures, in which faces can even be vaguely detected. In recent times, small, swiftly modelled figures after photos or other images have put in an appearance: a work of transitory character, between becoming and being, between nature and culture, even between worlds, influenced by the cultures of the Mediterranean region, Africa and Asia. Martin McWilliam too is a wanderer between cultures and genres. He was born in Cape Town in 1957, and after his return top the UK, graduated from Bournemouth College of Art, subsequently training at the famous Dartington Pottery Workshop founded by Bernard Leach. Years of travel took him around Europe and to Japan, where he became familiar with ancient firing techniques in traditional woodfire kilns, to which he has remained faithful ever sinces. Martin McWilliam has been working in northern Germany since 1983. In 2007 he too became a member of the Académie Internationale de la Céramique in Geneva. The work of Martin McWilliam is typified by seemingly contradictory elements. On the one hand, there is the seemingly outmoded working method: there are hardly any machines in the pottery, and firings take place in a noborigama kiln built after Japanese models, in which the work acquires unique colour through the play of the flames and deposits of ash. And on the other hand, we see the artist's forwardmoving artistic reflection on the theme of the vessel. Thus Martin McWilliam has over the years progressed from “genuine” vessels to richly varied series of handbuilt trompe


l’œil vessels – pictorial sculptures growing increasingly complex. This exceptional ceramic artist has not left it there: after firing, he works on his latest pieces with a hammer and chisel, making true sculptures from his modelled works, the composition playing with the contrast of modelled and sculpted elements. Thus a kind of archaeology of the work is accomplished, both as an artistic action and an anticipation of its being found by a future civilisation. Information on the Ceramic Portrait and the flyer as a .pdf download are availabe on (ed.)

top left - Marc Leuthold, Apocalypse Mitosis porcelain, 2013, h 28 cm top right Martin McWilliam, Core xv, 28 x 23 x 7 cm

Martin McWilliam with works Marc Leuthold at work


Regina Heinz


Ceramic Art London 2015

or the 11th time, Ceramic Art London took place from 17 – 19 April 2015 at the Royal College of Art, this year on a lovely spring weekend. Since it started 10 years ago CAL has built up a reputation as a leading showcase for contemporary ceramics of high standard with beautiful presentations and smart looking stands, attracting an international audience with collectors coming from as far as away as Brazil especially to meet the ceramic artists at this prestigious event. My visit to CAL has become standard in my calendar and almost feels like a family visit, as I know so many of the regular exhibitors really well. As I made my way through the fair, I was told that the numbers of visitors from the general public was up this year, the result perhaps of a well organised market-


ing campaign, which included large posters on London underground for the first time. CAL is a good opportunity to meet really established makers and this year in particular the fair had a very impressive list of high profile participants such as Peter Beard, Thomas Bohle from Austria, Gabriele Koch, Annie Turner, Eddie Curtis, Peter Hays, Chris Keenan, Sasha Wardell, Sophie McCarthy and Akiko Hirai, just to name a few. Yet there is always something new to discover. As a rule CAL keeps about 25% each year open for new and emerging artists and exhibitors from abroad. From Germany it was good to see Karin Bablock and Uwe Loellmann re-exhibiting, and great to meet Barbara Hast showing her beautiful porcelain work for the first time, Christiane Wilhelm presenting her elegant vessel forms, as well as Pit Arens and his unusual and creative teapot collection. New to the fair were also Hyejeong Kim, South Korea, Rizu Takahashi and Shinobu Hashomoto, Japan, Eric Hibelot, Catherine Sapy Capri and Nathalie Domingo from France, Monika Patuszýnska from Poland, Isobel Egan and Derek Wilson from Ireland. The Dutch ceramicist Willy van Bussel has shown at CAL before but likes coming back, as he reassured me; it is a good opportunity for him to make good gallery contacts and international sales. A high percentage of exhibits is vessel based but I had the impression that this year

in particular the selectors tried to include a wide range of contemporary styles and ceramic techniques. The displays featured animal sculptures, beautiful functional ware by James and Tilla Waters or Jeremy Nichols as well as sculptural pieces such as the fascinating objects with hand-painted optical patterns by Jin Eui Kim, a South Korean now based in Cardiff. The fair also included a colourful installation by Yun Wook Mun, another newcomer from South Korea. His conceptual work, playing with the idea of above - Nichola Theakston above left - view of the fair above - Yun Wook Mun




weight, is far removed from the traditional ceramic notion of containment. CAL always includes a well presented display of first and second year students of the ceramics MA course at the Royal College of Art and offers an informative lecture – or as it was called a “discovery” programme, covering interesting makers or new developments. CoCa was introduced by Helen Walsh, the ceramics curator of the new Centre of Ceramic Art at York Art Gallery, which incorporates four private collections and will open in Summer 2015 following an £8 million capital development project. I found most fascinating Kate Mallone’s story about her architectural project Savile Row, cladding a building in 10,000 hand-painted crystalline glazed tiles. I also listened with interest to Reino




left top to bottom - James Tilla Waters - Barbara Hast right top to bottom - Gabriele Koch - Willy van Bussel - Jin Eui Kim

Liefkins, Senior Curator at the V&A, who spoke about the ambitious renovation of a famous 18th century Meissen table fountain and watched a captivating film about the Korean potter and Onggi Master Lee Kang-Hyo. ceramics/potters/lee-kang-hyo.html I left CAL slightly exhausted but definitely better informed and enthusiastic

about ceramics, having seen so many good and diverse pieces. Once again CAL has kept its promise of being one of the best international ceramic fairs, well worth a visit. Regina Heinz is a ceramic artist born in Austria. She lives in London, where she also runs her studio.



In the passage of time - Au fil du temps:

Cathy Fleckstein at the Keramikmuseum Kellinghusen

Hans-Georg Bluhm

in Strasbourg and Kiel. In 1975, she enrolled to study ceramics under Johannes Gebhardt, head of ceramics at the Muthesius School, what was then the School of Arts and Crafts in Kiel. She had met a teacher who was to leave a lasting impression on her individuality as an artist. Impressions and casts In 1980, Cathy Fleckstein graduated from the Muthesius School. The subject of her final examination was Space and Plane. She found the source material for this in her spacious living and studio quarters situated in a neglected nineteenth century building, the Milchküche in Dahlmannstraße, Kiel. By applying clay, she took relief impressions of the individual corners and planes, documenting the status of the textures of the walls, including the split plaster and cracked paintwork. In this way she managed to capture an excerpt of space in three-dimensions. The rendering of ageing and the results of a process of decay was enhanced on the surface by oxides and engobes in a range of red and brown shades. Cathy Fleckstein had thus entered new territory in ceramic surface treatment. From her graduation pieces, an autonomous group of works developed: in the following years, she created an entire encyclopaedia of cracks, fractures, crevices and fissures Torn and split surfaces can also be found on smaller objects, such as the cubes from 1982, which in that year earned the young artist the Modern Ceramics Prize at the International Biennial of Ceramic Art in Vallauris – recognition and motivation at once.

photos - Bernd Perlbach


n Cathy Fleckstein, we meet one of the most distinctive ceramists in Germany. This summer, she turns 60, which is reason enough to take a closer look at the life and work of this major artist.


Background and training Cathy Fleckstein was born in Molsheim, a small town in Alsace, in 1955. After graduating from secondary school, she studied German and Romance philology

Ceramic Murals and Wall Pieces From 1984, Cathy Fleckstein has made mural pieces, a group of works that she has maintained up to the present. To do this, she uses a coarsely grogged stoneware as the base for a layer of a body she developed herself, on which coloured clays and materials as diverse





opposite pageWall Impression I - 1984, h 67 cm, stoneware right Hut - 2007, h 19 cm, Ø 29,5 cm stoneware below left Aufbruch (“Breaking up”) - 1982, h 14 cm stoneware below right Dreamy - 2013, h 20 cm, stoneware

as wood, paper, glass, ash, cinders, metal, earth from the garden and leftover pieces of plaster from the walls are combined to create an image. Looking at the wall pieces chronologically, changes in technique and composition become apparent: whereas the early works from the 1980s tend to have massive individual elements that appear raw and fissured, the newer works have become more delicate, more sensitive and thus more variegated. Today, Cathy Fleckstein also works with small – or even tiny – individual, variously shaped pieces of clay, sometimes as a counterpoint to large areas, and she assembles them on the prepared background to keep producing new variations.. The technical implementation is based on knowledge acquired through experimentation that provides her with a large stock of creative possibilities, which, as building blocks, as individual letters can be used for her words, sentences and stories. Stelae and Cones Parallel to the pictorial panels, since 1986/87 Fleckstein has been making sculptural pieces, including cones up to six feet tall, stelae and vessel forms. Here too, layered strips of clay predominate today, either cracked like bark or burnished



smooth. Surface treatment remains the central theme. In her own words: “I usually take my inspiration from nature. To me it is a mirror of the spiritual forces that I listen to. I start out from the point that touches me, for instance growth processes, especially germination, which have defined the cone cycle. At the base, this form is broad, rooted in the earth, it strives upwards and the lines come together to continue their path invisibly in the immaterial world.” Critical Appraisal Although since the early 1980s, Cathy Fleckstein has been recognised in numerous exhibitions and awards, and although she has been a member of both the renowned Académie Internationale de la Céramique since 1986 and of the German Gruppe 83, she does not see herself as part of the hurly-burly of the arts scene. Independently of fashionable trends,

she uncompromisingly pursues her ideas, on her own. She studies natural phenomena sensitively and meditatively, interpreting them in fascinating, large-scale narrative objects. She works systematically and with discipline, and has the ability to formulate her work poetically and with craftsmanlike precision in equal measure. We can look forward keenly to what she will be making in her studio in Preetz in the future! Hans-Georg Bluhm M.A. is the director of the Keramikmuseum Kellinghusen

Exhibition at Keramikmuseum Kellinghusen Haupttraße 18 25548 Kellinghusen, Germany Telefon: +49 (0)4822-376210 until 6 September 2015



NCECA 2015 ... personally speaking ... Evelyne Schoenmann


he acronym NCECA (National Council on Education for the Ceramic Arts) has exercised a great attraction on me for many years, actually since I have been a ceramist. To actually go there was on my bucket list in capital letters. NCECA has its roots in the USA, which is why its annual congress always takes place in a different American city. As this is not exactly just around the corner for me, the desire to participate had been on my to-do list for some time. Two events in quick succession finally made my mind up to make my wish come true – my second successive win in an American competition and my election onto the Advisory Board of Potters Council of the American Ceramic Society, ACerS. And so there I was boarding a plane to Boston on a sunny day in March. The 49th NCECA congress was in the sedate town of Providence, Rhode Island, around an hour's drive from Boston, from 25 – 28 March 2015. The NCECA stands for the worldwide furtherance and appreciation of ceramic art. On their website, for instance, it says, “We believe that learning through art touches lives and builds meaningful connections”. This speaks from my heart, and I would like to play my part in it. But the NCECA congress also stands for four days jam packed with talks, committees, demonstrations and exhibitions, workshops, events and panel discussions. In addition, there are social get-togethers, meeting old friends and making new ones, talking shop, going on strolls around Providence together and much more. My colleague Jimmy Clark gave enlightening insights on exhibitions in his fascinating article on the 2014 NCECA congress. Now I would like to take you on a journey to the centre of the 2015 congress. It really begins somewhat before the congress proper. In early March, I had received an invitation to the loading and firing of Chris Gustin's woodfired anagama/noborigama in Dartmouth, MA. After two weeks of uninterrupted, backbreaking stoking, shortly before the beginning of the congress, the kiln was opened and unpacked with the guests. In the immediate vicinity, in the Whale Museum in New Bedford, an exhibition was taking place where eight New England ceramists had entered into a dialogue with the exhibits in the Museum with their own work. After that, I found a workshop on the construction of woodfired kilns very instructive. It was given by John Baymore at Gorse Mill Studios in Needham, MA. I was also fascinated by the workshop at the same studio on making and firing traditional aka raku chawan. The intermediate firing in red-hot charcoal was new to me. On the day of the official opening of the congress, a bitterly cold Tuesday


top - entrance to the National Juried Student Exhibition centre - Gustavo Pérez demonstrating bottom - chawan lecture




Lily Manoogian - K12 exhibition

afternoon, I travelled to Providence with an NCECA old-stager, in a state of great excitement. I was kept entertained with useful information and anecdotes from previous congresses. After arriving at the congress centre, I immersed myself immediately in the hubbub, registered and took a look in the gigantic hall, where busy workmen were still busy setting up the sales and display stands for the art fair that was also taking place. The sheer size of the congress centre, covering three storeys with its numerous lecture theatres and exhibition galleries was overwhelm-




van Albrecht

ing. Luckily the organisers had provided useful floor plans. I would like to take this opportunity to thank the organising team of the NCECA, especially Cindy Bracker and Steve Hilton as well as all the volunteers! They provided us with a wonderful experience. The Wednesday started for me at 7.00 a.m. with the annual meeting of the committee of the Potters Council. After that I allowed myself to be swallowed up by the densely packed programme of the congress, true to its motto, Lively Experiments. I had actually, rather optimistically, compiled my daily programmes from the

overwhelming range of events weeks in advance. But at the congress itself, I was regularly distracted from my plan‌ For instance, on the Wednesday, I was unexpectedly confronted with the choice of taking a shuttle bus to view some wonderful exhibitions outside Providence or to attend various artists' talks at the annual Gallery Expo. In the late afternoon, the Potters Council gave its traditional members' reception, which was very well attended this year again, and was also open to nonmembers. Following this, the official opening of the congress took place in the packed



Work by above - Susan Harris left - Janet McPherson

assembly hall. Keynote speaker was Dr Frederick Douglas Opie, who spoke about the history of eating habits, cooking and of course of tableware. In the second part of the evening, the socalled Randall Session, the brilliant string quartet ETHEL performed and received thunderous applause for their outstanding show. In case you have not yet heard of ETHEL, it is worth finding out more! Things really began to move on Thursday and Friday with talks and demonstrations, well organised bus trips to further exhibition tours in and around Providence, panel discussions, etc. A few examples: • Half-hour demonstrations from people like Gustavo Pérez, Linda Christianson, Robert Lawarre III, Martha Grover, Winnie Owens-Hart, Tara Polansky, and many more. • Talks such as the packed lecture by Heidi McKenzie, or Marc Leuthold's wonderful slide show on Ceramic Art Leaving the Ghetto. Dr Gary Branfman pointed out the dangers of bad hand positions when throwing; John Baymore gave an introduction to the demanding and subtle requirements of chawan teabowls. • Talks about glazes, the tea ceremony in China, experiments in low firing techniques, kiln maintenance, risks and considerations when setting up your own studio, the potential of digital school rooms, Deconstructivism, etc. – a truly huge range of subjects. • On the ground floor, the accompanying ceramics fair took place with far more than a hundred booths from various universities and international schools of ceramics. Ceramics magazines were also represented, including our own NEW CERAMICS / NEUE KERAMIK. I should also mention the countless suppliers of clay and glazes, tools and machines ranging from wheels, clay mixers and pugmills to kilns – so it was a real shopping paradise for ceramists. • Among the many exhibitions, the following should be spotlighted: the Gallery Expo in the congress hall, the NCECA Biennial, the 23rd annual Cup Exhibition and Sale, the Gerry




CONFERENCE Williams Exhibition in Newport and the national Student Juried Exhibition at the Sol Koffler Gallery. At least thirty of the over 100 NCECA exhibitions took place in Providence itself. • Past Masters, a commemoration of recently deceased colleagues like Don Reitz, Norm Shulman, Gerry Williams and Lidya Buzio, was highly emotional as many of us had known the deceased well for many years. I would like to draw particular attention to the 18th K-12 exhibition with work from children in nursery school to 12th grade. Incredibly impressive work was on show from young artists between 5 and 18 years of age. The work was judged by various organisations and the young winners were awarded generous grants for their further training. In the evening there was entertainment such as Steve Branfman's Clay Stories, where well-know ceramists and members of the audience recounted their own personal five-minute clay tales, many of which were hilarious. In a video recording, the legendary Robin Hopper also gave us a story. Then a few of the attendees mounted the stage with their musical instruments to perform at the 5th Annual Potters' Jam Session. Saturday began in a somewhat more downbeat mode as we all knew that we would soon be saying goodbye to the friends we had met again as well as all the new acquaintances from all parts of the world. In addition, the return of the snow dampened the mood of the participants. But before departure, personal and highly committed speeches from six emerging artists were to be heard. One of them, Roberto Lugo, received a standing ovation from the enraptured audience when, looking at the potter's wheel, he emotionally expressed his conviction, “this machine kills hate”. Ceramic legend Jack Troy brought proceedings to a close. In a humorous and personal talk, Troy made the audience laugh and cry once more by reviewing a rich life for and with ceramics – and then, suddenly, it was all over. Embraces left and right, “We'll meet again soon, won't we?”, and the first attendees were already leaping up to catch their flights home, taking them to all points of the compass. What remained was the wonderful feeling of having been to a family celebration where simply everything had been right. Have I infected yout with NCECA fever? In 2016, the 50th conference will be taking place in Kansas City from 16 – 19 March. I would love to see you there!

Work by above - Jeremy Randall bottom left - Roberto Lugo bottom right - Gerry Williams

Evelyne Schoenmann is a ceramist. She lives and works in Basel, Switzerland, and Liguria, Italy.





2nd European Wood Firing Conference at Guldagergaard Mary Ann Steggles


n 2010 the very first European wood firing conference was held at Brollin, Germany. At the end, Priscilla Mouritzen, International Ceramic Research Center, Guldagergaard, in Skaelskor, Denmark, picked up the mantle of carrying on the tradition of a forum on all aspects of wood firing every four years. From the 28th through the 31st of August 2014, 160 people from 19 different countries gathered at Guldagergaard. When asked to write a review of the conference I began to consider what it was that made these two conferences so special, so important and what it was that lingered in my mind six months after I had returned to the Canadian prairies.


First there were a number of pre-conference events that helped to kick start enthusiasm. Besides the month-long making and firing activities at Guldagergaard, eighteen of us began our journey to Denmark by attending Chester Nealie's workshop at Markus Böhm's home and studio in Alt Gaarz, Germany. We scraped, glazed, wadded and tumble stacked, watched and listened as Nealie demonstrated everything from throwing, making brushes, loading the kiln to creating a fine handle for a teapot from the rushes growing in the garden. We laughed as he demonstrated the angle of the 'male and female' handles while also sharing the meal planning, cooking, and cleaning up. New friendships were made

that late summer before we departed, some for home and some for the ferry or plane to carry them to Denmark. The first afternoon in the quaint coastal village of Skaelskor could not have been more idyllic. The sky was blue, the air was crisp and events were planned for various venues throughout the town. The conference officially began at mid-afternoon in the upstairs hall of the local hotel with talks by Anne-Mette Hjortshoz and Perry Haas, which were followed by John Neely's keynote on his train kiln design. After a lively question and answer session everyone made their way to the Old Town Hall for a reception and the exhibition and sale Working in Ceramic Paradise, a display of work by wood firers who had given workshops for the German Potter's Association, above r. - A view of the firebox, Markus Böhm’s Bourry Box kiln, Alt Gaarz, Germany - Chester Nealie giving a demonstration at a pre-conference workshop, Crazy Things with Salt, at Markus Böhm’s studio, Alta Gaarz Germany. - View of the kiln yard, Guldagergaard below - A panorama of some of the 160 participants in the 2nd European Wood Firing Conference Skaelskor, Denmark



GULDAGERGAARD right t. to b. - Post firing critique, Kiln Yard Guldagergaard -

Oh Hyang Jong, Kwangju, South Korea, demonstrates the traditional Ongii technique for making the large fermenting jars

- Shozo Michikawa demonstrates his energetic cutting and throwing techniques to workshop attendees in the downstairs studio of Guldagergaard

Kalkspatz, over the years. Everyone chatted and laughed, exchanged cards and made their way across the street to a second exhibition, Feu du Sud-Ouest, fourteen pieces of work by artists from Guldagergaard. Indeed, by the time we were to go to the buffet dinner at Rod Pakhus it seemed that the entire village had become part of the conference! Friday was jam-packed. Indeed, all over the grounds of the former farm something was happening. Robert Sanderson gave an enlightening talk on the history of the Bourry-Box kiln in the auditorium while demonstrations by Shozo Michikawa, Perry Haas, Justin Lambert were taking place in the Studio downstairs. It was difficult to make decisions about what to attend and what had to be left out. Many times it was impossible and I found myself wishing that the conference had started early on Thursday simply to spread out the lectures. Kilns were being fired, demonstrations continued, the contest for The Log Book photo competition was underway and Micki Schloessingk, Chester Nealie and Markus Bรถhm discussed ideas for creating opportunities for apprenticeships to a packed audience in Apple House. On Saturday morning Euan Craig gave a very moving talk at the Skaelskor Library on the trials and tribulations of living in Japan after the Tohoku earthquake and tsunami of March 11, 2011 destroyed his studio in Mashiko. Just listening and reflecting on how nature can change so many lives in an instant made any complications with finding the key to the venue and the delay in the starting of the talk seem trivial. After all, the sleepy village



begged for everyone to simply 'slow down' and let life unfold. We ate sandwiches, examined the exhibition of objects brought by the participants and learned the difficulties that Antra Singha had to overcome to complete her commission Tetra. Ben Richardson inspired everyone with his passion and his tableware that had reversed the fortunes of his pottery in Tasmania. Ute Dreist, one of the participants at the Nealie workshop in Germany, inspired all with the sheer determination she exerts in her throwing and the firing of her Phoenix kiln. Coll Minogue gave an eloquent talk on the European attitudes towards wood firing which was followed by Priscilla Mouritzen and Sten Lykke giving the history of the wood firing in Europe including the time when a young Fred Olsen arrived in Denmark in the 1950s to build a wood kiln. Demonstrations by Oh Hyang Jong and John George Larsen enthralled viewers in the downstairs studio. During all of this votes were being cast for The Log Book wood fire photographic competition. The rain and the cold that arrived during the day and continued on in the evening did not seem to damper anyone's spirits. I missed Sunday. I wish I had been there for not only the closing remarks but also the talk given by a new friend, Julie Nema from Hungary. I also missed giving my talk on Canadian wood firing because the schedule was changed at the last minute and I had to be in Copenhagen to catch my plane back to Canada. I missed the announcement that the next European wood firing conference will be held in La Borne, France in 2018. Still, these were simply hiccups. I look forward to gathering once again with old friends and new ones because, in the end, it is the friendships forged, the ceramic work viewed and appreciated, and the firing of the kilns that bind all of us together as the international community of wood firers. Mary Ann Steggles is Associate Director of the School of Art, University of Manitoba where she teaches ceramics and ceramic history. She is a maker, a writer, and a curator of ceramic art.





OLLECT 2015, the leading international art fair for contemporary objects, as it’s called officially, was held for the twelfth time this year from May 8-11, 2015 at the Saatchi Gallery in King’s Road, Chelsea, an affluent district in the heart of London. The Saatchi Gallery, founded by the well-known businessman and art collector Charles Saatchi, is a modern whitewalled exhibition space and forms the perfect venue and backdrop for this prestigious event. Collect takes place every year only a few weeks after Ceramic Art London, but while CAL provides a platform for individual makers, Collect brings together international galleries covering a variety of disciplines. Spread over two floors, immaculate, spacious stands present artists and makers in the fields of ceramics, glass, jewellery, precious metal, wood, textiles and furniture. Similar to Ceramic Art London, Collect has become a standard fixture in my calendar and it’s always a pleasure to meet again some of my fellow ceramicists who are also exhibiting at Collect. However, with prices starting from £ 500, Collect addresses a different audience, encouraging purchases from national and international collectors and museum collections alike. According to the press release, the fair in 2015 received over 12,000 visitors including curators from 33 museums and public collections from across the UK as well as Belgium, Denmark, Germany, Sweden, The Netherlands and Norway, with sales set to exceed the 2014 total of £1.7 million. 14 works were purchased for UK public museum collections, including 8 pieces acquired by the V&A and those acquired by Crafts Council via the new Museum Purchase Fund. This year, 35 galleries from Europe, Asia and North America exhibited and it was interesting to see that the proportion of Asian galleries has risen steadily over the past few years. Familiar names included Yufuku Gallery, Ippodo Gallery and Exhibition Space APJ from Japan, LVS Gallery from South Korea, the Korean Craft and Design Foundation and Hanart TZ Gallery from Hong Kong. New exhibitors were the Japanese Micheko Gallery based in Munich and the Artcourt Gallery from Osaka. Also new were Gallery Ten from Edinburgh, Fatto ad Arte from Milan, Art Cart from Lithuania, Widell Projects, an artist-cooperative from


Saatchi-Gallery London Regina Heinz Stockholm and Cynthia Corbett Gallery from London. However, the main part of the fair is formed by returning established London and European exhibitors such as Adrian Sassoon, Contemporary Applied Arts, Joanna Bird Gallery, Sarah Myerscough Gallery, Ruthin Craft Centre, Galerie Rosemarie Jaeger from Germany, The Gallery at London Glassblowing, Sebastian Schildt from Stockholm and Galeri Format from Oslo, just to name a few. National organisations such as Ateliers d’Art from France, Design Flanders from Belgium, the WCC-BF Gallery, Belgium and the already mentioned Korean Craft & Design Foundation are also represented. Naturally I am most interested to look for and discover new ceramic work. The Italian gallery Officine Saffi had beautiful ceramic pieces on display, amongst them works by Michael Cleff and Monika Debus. I would also like to mention the beautifully crafted, precise porcelain objects by Min Soo Lee, presented by LVS Gallery from South Korea. Although I have seen it before, my absolute favourite again this year was work presented by Yufuku Gallery. In particular I admired the witty and skilfully made “dot” sculptures by Harumi Nakashima and the amazingly precise porcelain sculptures by Sueharu Fukami. Great also to see again Ann van Hoey, whom I met at the International Ceramics Conclave in Delhi in December last year. Her distinctive group of hand-made, car paint sprayed Ferrari Pots was exhibited by Design Flanders. My most rewarding discovery though this year was not in ceramics but in a different medium. To celebrate the 80th birthday of the famous British textile artist Ann Sutton, the contemporary art gallery Patrick Heide, London, was asked to mount an exhibition of her new experimental work. Drawings on paper and relief work using plastic tubing and fibres conceptualise the act of weaving and the playful and innovative pieces formed a refreshing contrast to the beautiful but sometimes sleek and contrived craft objects on show. In order to keep Collect fresh and interesting, every year the Crafts Council organises an alternative exhibition programme, which runs alongside the gallery exhibitions and offers an insight into new trends and alternative approaches to making or

using craft for installation work. The Sarah Myerscough Gallery presented 3D printed oak vessels by Gareth Neal and Zaha Hadid and the London based designer Tord Boontje displayed a selection of 11 chairs, called Chairy Tales, that celebrate his exploration of chair design. Further, the rarely seen dance piece, Sighted, by acclaimed artists Caroline Broadhead and Angela Woodhouse was performed twice each day by dancer Stine Nilsen. This silent solo piece is performed amongst hundreds of “shards” of mirrored acrylic. Also on show was I Am Here, portable art, wearable objects, author jewellery from 1970s to now, a preview of a Crafts Council Collections exhibition that will launch in September. Finally, each year under the umbrella title of Collect Open on the second floor of the Saatchi Gallery, individual makers have the opportunity to present innovative work and/or large scale installations. This year 14 artists and 4 design historians were selected by designer Tord Bontje. The work on show included beautiful boxes combining ceramics, glass, metal and stone by Andrea Walsh, architectural glass installations by Kate Maestri and large scale textile hangings by recent graduate Rita Parniczky called X-ray Fabric Series. I was most impressed though by the elegant large scale wall installation by Valeria Nascimento, Christina Vezzini and Chen Sheng Tsang. The trio, two ceramicists and one glass artist, have produced an elegant entwining wall installation using hundreds of porcelain, bone china and glass cups, which cascade vine-like over the wall surface. Collect offers a great opportunity to follow new trends in crafts and applied arts and to see works by international makers. With so many craft courses disappearing from the curriculum of (European) universities one sometimes wonders about the future of craft. Events like Collect succeed in providing much needed reassurance. Craft or Applied Art, or in other words, the creation of beautiful objects and experiences that address our senses and the beauty of materials are much alive and kicking. Regina Heinz is a ceramist and born in Austria. Today she lives in London where she has her studio. I Photos - Regina Heinz










ANN SUTTON_Installation






Exhibition by local graduates

Christoph Hasenberg

photos - Articus-Roettgen


his year's graduates from the Fachschule für Keramik (Ceramics Technical College) in Höhr-Grenzhausen are presenting the results of their courses in their graduation exhibition, Exponate 2015 (“Exhibits 2015”). The students' work is defined by a focus on the various ceramic core themes. .The graduates' approach is individually creative and technically autonomous. The exhibits on shwo at this exhibition lead the visitor into an intensive dialogue with the whole breadth of the creative potential of contemporary ceramics. Whereas Grit Uhlemann and Ursula Madré have dedicated their very different works to the field of surface treatment, Julia Saffer has developed new possibilities forthe making processes involved in ceramic sculpture. Ulla Litzinger and Julia

Brümmer interpret their ideas in the field of vessel making in entirely different ways. Nathalie Pampuch has devoted herself to the special opportunities of production in series for various kinds of functional ware. - Grit Uhlemann shows landscapes in porcelain. Nature represented here is expressed in relief surfaces with the formal vocabulary oscillating between peaceful forests and the ferocious seas. The surfaces resemble satellite photos without ever reproducing them. The wafer thin slabs prepared from paperclay are mounted in wooden frames and backlit with LEDs, producing an expressive aesthetic: these light objects are outstandingly suitable for individual interior design (photo below left) - Ursula Madré's work focuses on the theme of animals in the various facets of their expressive forms and the impressions

that they communicate to us humans, on the diverse range of manifestations and life forms, and on their beauty as well as their absurdity, as abused domestic creatures or beloved companions (photo opposite page, bottom right). To achieve this she uses various graphic, painterly and sculptural techniques. This produces sculptures, groups and images that can each be seen individually or which create small worlds and three-dimensional scenarios, producing a coherent and harmonious overall picture, which may make the observer either chuckle or think. Julia Saffer's sculptural work (above) is made after a formal and semantic study of enclosing, hermetic casings. During the initial stages of searching for a form, the existence of such shapes in nature as pupae and cocoons plays an important


part. Integrating these principles, the artist distills body forms from this, working from her own body. Lightness, rhythm and continuity are important aspects for Julia Saffer, which she allows to enter her work. The handbuilt forms symbolise the cycle of life to their maker, the many repetitions and recurring processes to which we are all subjected. With their soft, rounded forms, these works invite us to rest upon them. - Ulla Litzinger's work arose through a study of forming porcelain and its expressive and material qualities, with the experimental and unconventional interpretation being predetermined by a casting technique using cardboard moulds. The folds of the cardboard produce crystalline structures that reveal a nuanced diversity of geometric forms. This making technique has also produced fissured surfaces that in-



itiate an interesting interplay of light and shade. The works have mainly not been sanded or glazed so that the complete texture of the card and the forming process remain visible and tangible. This approach to surface treatment thus counteracts the conventional image of porcelain and lends it a new sense of value. For Julia Brümmer, the wheel defines the making process and her work could be subsumed under the heading of studies in form (photo opposite page bottom right). Her studies are based on a combination of the basic forms of cylinder, cone and sphere. Various angles of inclination, stretched or squeezed variations of the basic body offer countless possibilities and combinations. The aim is to achieve a form designed in accordance with the principles of a formal aesthetic.

For her graduation project, this ceramist decided on developing various tapes of lidded vessels which are not to be understood as individual pieces but in combination as families of forms. The interplay of the formal contrasts thus created breathes life into Julia Brümmer's vessels, making them seem almost anthropomorphic. They have liberated themselves entirely from the desire to be “needed and used”. - Nathalie Pampuch is pursuing the aim of giving vegan cuisine a new outward appearance. The offbeat, creative menus of vegan cooking are intended to be emphasised and enhanced by the innovative design of her tableware (below left). The design is based on a study of various fruit and nut forms. The protective function of the shells is used by Nathalie Pampuch as a principle for the use of her hardpaste porcelain tableware. The double-walled bowls, cups and plates with their dynamic edges and sunken rims protect hot food from cooling and prevent cold food from warming up. This means eating can take place without haste. In addition, the tableware is pleasant to handle due to its ergonomic design. Christoph Hasenberg is a ceramist and teaches at the Ceramics Technical College in Höhr-Grenzhausen.

The exhibition Exponate 2015 opens on 17 July 2015 at 7 p.m. at the Keramikmuseum Westerwald in Höhr-Grenzhausen, Germany. The exhibits subsequently go on show at the Kammerhofmuseum in Gmunden am Traunsee, Austria, from 28 August 2015



Studying in Korea

Land of Contrasts


y first encounter with Korea came when I met Kang-Hyo Lee in 1998 at the Eric Rihs gallery and pottery in Les Emibois, Switzerland. I was doing my ceramics apprenticeship at that time and had scarcely begun to work with clay. At his exhibition, the onggi master gave a personal demonstration of the production of onggis: in a dance with huge coils of clay, it took only one hour to produce a one-metre tall pot. Of course I was very much impressed, not only by the technique but by all the invisible things like the energy inherent in this dance and its whole charisma.

My second encounter with Korea came when I met Seung-Ho Yang in 2002, where I was doing a work experience in Switzerland and France. From him I learned about the beauty of natural and unsymmetrical forms and how they could “dance”, and I also learned the proper way to drink Korean green tea. I had never been to Korea at that time, but now it became my dream to discover the “The Land of the Morning Calm". The dream of actually going there came true in 2007 when I participated in the 2007 World Ceramic Biennale in Korea. I couldn't read anything but somehow I

Rebecca Maeder

managed because Koreans are very helpful and greet tourists with a friendly smile. In the countryside, you find huge rice fields, mountains with pine trees and twisting pathways where Buddhist temples stand by the cliffs in timeless peace; you see tea plantations covering the hillsides and traditional houses with their above belwo l. below r.

Insa-Dong, Seoul, with my father in December 2014 Gwanak-san (629 metres amsl), view of Seoul graduation ceremony Korean language course, August 2012


above l. to r. - our house in Jeolla-Do province - view from Gwanak-san (629 metres amsl) over Yeonju-dae and Seoul - Wonhyosa Temple in April, Mudeung-san - Yeonju-dae Hermitage on Gwanak-san (629 metres amsl)

slightly curving roofs and their warm floors. In the cities, tall buildings covered with neon advertising stretch up into the sky, and down below you get caught up in the hubbub of traffic and crowds of people rushing in all directions. When I returned home, I realised that Korea is a “Land of Contrasts”, but I was not yet aware that my heart was still there… Autumn 2010. Between working on porcelain balloons and the pitfired “zoophytes”, I was pondering on which direction my work should develop in. Should I drop one of these projects? Should I just



concentrate on one material? Right at this time, I was awarded the NASPA Prize for emerging artists, which took the form of a bursary. This made up my mind that I should continue my training in more depth. My choice of the country where I would go on with my studies fell of course on Korea, a country whose ceramic history is deeply rooted in the people and it is also my husband's home country. December 2010. Arrival in Seoul. So that I could make myself at home and gain the maximum benefit from my stay, I started to learn Korean. I found my self back on the school bench with a packed timetable in my hands, and right from the start I had to forgo working with clay. My classmates and teachers changed from level to level. There were six levels, each lasting ten weeks. That is easy to work out: after 60 weeks enriched with a large number of meetings, it should be possi-


ble to speak advanced Korean! I had not planned to learn Korean in such depth, but through the Korean Government Scholarship, which I received from September 2011, I became involved in the three-year scholarship programme and was able to take the remaining four language learning levels. I was initially delighted to learn Korean up to advanced level, but as a European, you are only at the beginning after completing the first six levels! You try to recognise and use the words or phrases that you have learned in order to make yourself understood. And then you suddenly realise that you cannot speak any better than a four-year-old apart from a few specialist terms. So there I was at 33 years of age stuck in the skin of a baby that was eager to discover its surroundings but making all the mistakes that it is supposed to make: it is not part of the Korean's make



above l. to r. - kiln room, Seoul National University - glaze room, Seoul National University - Rebecca Maeder - , 2014, porcelain, Ă˜ 75 cm - kiln room, Seoul National University


up to anticipate what the newcomer is about to do or to warn them what might happen. Which of course has its attraction and its point because you learn much better to sense things and not to rush into anything. You try not to act prematurely, you just let it happen as it is supposed to, quite naturally. By learning the language, I found out more and more about Korean culture, and kept finding out unknown differences to my own culture. Through the distance to Switzerland, I found out all sorts of things about my home country. All the positive and negative things about both countries became all the clearer because of the contrast, so in the end I valued

one country because I am familiar with the other and vice versa. Autumn 2012. Professor Kap-Sun Hwang had convinced me on his guided tour of the university: focus on porcelain, wonderful glazes, spacious facilities and a good infrastructure. He was not able to see how my work would continue to develop but I was confident that through our meeting it would find a clear direction. And so I started on my M.A. Course at Seoul National University. Korean culture, which was always new to me, completely new surroundings and new materials‌ So many unknowns, which on the one hand were very attractive but on the other required some getting used to.





left - Un autre monde, 2014, porcelain Ø 10 cm und Ø 8 cm, Rebecca Maeder below - Yin & yang, 2014, porcelain, h 20 cm Rebecca Maeder

March 2015. Back in Switzerland. I had brought back most of the pieces I had finished on my M.A. course. I can now show them in galleries and follow a pathway that I would never have set out on without the experience of studying abroad. I feel like I am facing a new beginning but with more experience behind me. I am gradually processing what I experienced so rapidly and intensively in Korea.

To familiarise myself with my surroundings and to discover the new possibilities that offered themselves to me, I started by making a few plaster moulds. I suddenly found myself making rectangular forms, whereas I had previously only made rounded ones. Perhaps it was the influence of the buildings in Seoul, mostly huge parallelotopes reaching up into the sky… And thus my work had taken a new direction only a few days after I had begun to work with clay again. It was the influence of my completely new surroundings that had motivated me to begun studying again abroad. Simplicity, flawlessness and a sense of the simple, unadorned, pure are the ancient aesthetic criteria that can be found in the traditional ceramics of Korea. Whilst I continued with my experiments, I also watched what the other students were doing. In almost every room there were pieces of work in porcelain, usually functional tableware, thrown, slipcast, handbuilt, all of the work had the typical simplicity of form, quality of finish and a velvety smooth surface, either from being sanded smooth or being coated with a silky glaze. Although I continued to make sculptural objects, I immersed myself in the new surroundings, which increasingly began to make their mark on me. And then there were the theory courses. Although at M.A. level, there were not many of them, they were a huge challenge for me because I had to concentrate very hard to catch at least the most important words. If I had understood something and wanted to say something on the topic, my possibilities were very restricted because of a lack of vocabulary. I had no alternative but to watch and to



pick up as much as I could everywhere and then to try and reconstruct a halfway plausible dialogue. Sometimes it was very frustrating, but in this way I learned to concentrate on the essentials, which were also taught to me in very focused fashion in personal conversations. So having a command of a few words was enough to guide my work in the right direction and to continue to follow my own course. At least, that was what was available to me. Another typically Korean influence was the rhythm of work. There is no weekend in the sense of work-free days. No, students are at the university from Mondays to Sundays, from morning to evening, sometimes even all night, from 1 January until 31 December with the exception of national holidays! Some people have called me a workaholic here, but I was nothing out of the ordinary there! I am a natural early riser and I set off for the university at the crack of dawn because that was the only time I was alone and could work in peace. The silence that surrounded me and working in high-energy daylight was then blown away when the first student arrived with a greeting of brilliant white neon light. I soon realised that my adaptability had limits. But since to adapt does not mean to change, I learned to accept things the way they were; things that disturbed me or which were unaccustomed ultimately became meaningless. But this took a long time. It took just as long until I could discover any charm in the city of Seoul; the idea of an old town or cultural heritage does not exist in a country that has seen its fair share of invasions and wars where more or less everything was destroyed.

But something in me has changed. The eyes through which I see Switzerland cannot forget the tightly packed skyscrapers. This country full of contrasts where tradition and modernity enter into a strange harmony is still in my mind's eye. The Switzerland where I now am is no longer the same… and it will never be what it was to me four years ago. Rebecca Maeder is a ceramist and lives and works in Switzerland and in Korea.



In Studio with Simcha


Simcha is multi-talented: she is a ceramist and a scientist, she judges competitions and gives workshops, she exhibits periodically and she is also a mother and grandmother. Is that why she makes Balance in Motion so effortlessly? Evelyne Schoenmann


imcha, like many other ceramists, you only found your way to ceramics after first pursuing a different career. You were a scientist and you used to work in parallel in both professional fields. How did you manage to bring science and art together? Parallel to my postdoctoral position at the Hebrew University Medical School in Jerusalem, I started to attend evening classes to learn more about the craft of ceramics. But back then, I would never have imagined that ceramics would one day be my second career, even my principle occupation. Working in both worlds for years was becoming increasingly difficult though. It was hard work: science all day and ceramics in the evenings and at week-

a place where three monotheistic religions have met for over a thousand years? The fact that I live in a geographical nucleus of three monotheistic religions has no influence on my work whatsoever. My pieces are autonomous objects that are independent of history. They are not functional, serve no practical purpose; you can merely look at them attentively and ponder on the solution to the problem of space, form and aesthetics.

ends. But at that time, I was not prepared to give up either. Eighteen months ago, the Hebrew University offered me the opportunity to run a new biotech start-up. This was very flattering, of course. But it would have meant giving up ceramics entirely. So I decided to follow my heart, to quit my job at the University after 22 years and to devote myself entirely to ceramics.

harmony of the connections between precise architectural elements with complex surface treatments and colour. It is possible to produce perfect objects that are both aesthetically appealing and intellectually stimulating. From 2006 – 2010, most of my works had a closed, cubic form. In time, they developed a softer, more sculptural exterior. All of my work deals with the theme of tension and balance on various levels: 1. Physical balance

How strongly does the geographical nucleus where you live influence your work –


The viewer, is burning to touch your works, to trace the outline with their finger. How did you develop the fascinating forms of your sculptures? Is there something in common between form and harmony? I have always been fascinated by the

2. Tension between intentional and random pattern 3. Ordered and amorphous patterns 4. Mobile and rigid 5. Planned and unforeseeable Each of these themes produces different degrees of balance. In 2011, I began to do Pilates exercises, a physical fitness system about mobility and the flow of energy in the body. From this point, I began to add the element of movement to the already present balance of my objects. This represented the birth of a number of more open, extensive movements that are more in flux, and it enabled me to extend the diversity of pictorial forms. My intentional departure from preexisting approaches to forming opened the

door to an abundance of dynamic, floating configurations. Rigid, level planes are rare in your work. Everything is in flux, is balanced, full of energy. You can sense a rhythm, like in a song. When you start a new work, do you already have a concept of what the sculpture should finally look like or do you allow spontaneous intuitions surprise you? Since 2011, I have been working on



INTERVIEW the relationship between “free” threedimensional space and open, twisted two-dimensional geometric surface: in this way, I give the piece a visual meaning without limiting its movement. The sculptures sound out the possibilities and limits of the material and its natural properties. They go to the point where clay threatens to collapse. They thus pose the fundamental question of where and how the chosen structure needs to be supported to protect the object as a whole from falling or collapsing. This collapse of the structure that threatens throughout the making process is subsequently, inevitably still visible in the finished object. Most of my works consist of several individual objects. Generally, I have an idea of what the finished piece should look like when I start work. But because of the way I form my objects, I can only really see what the composition of the finished object will look like after the bisque firing. It may happen that I alter my original idea while I am working. I can play with my works like with Lego: by creating new combinations of the individual components, I can create entirely new works.

tube-shaped and can be bent to the desired shape. To create uplift, I support individual areas with sponges. I then brush on three coats of slip in the same clay (the grog has been sieved out) and wait until the slip is dry. Then I burnish the piece with a spoon. After burnishing, I leave it until it is leatherhard and spray on three thin coats of terra sigillata. The piece is bisque fired to 1,000°C. Up to this point, the piece has always been lying on its side. Only after the first firing can I stand it upright and test the balance. If everything is to my satisfaction, I can begin to plan the design. In our example, I have chosen a grid pattern for the inside. The outside is to be black. With a pencil and graph paper, I now draw a grid on the inside of the bisque fired object and stick 0.5 mm black masking tape on the lines. The exterior is then completely covered with wider masking tape. The whole sculpture is then covered with a protective coating. This creates a “gap” between the clay and the glaze that is to be applied afterwards and prevents the clay combining with the glaze. Finally, I apply a coat of raku glaze. When it is dry, I carefully remove

crackle patterns form on the surface. After cooling I peel off the glaze, wash off the protective layer and leave the object to dry thoroughly. Finally, I apply a thin layer of wax to make a smooth surface.

In the photos, we see you working on the piece: "Balance in Motion". Could you explain the individual steps? This sculpture was made originally from one slab of clay. I used a mixture of stoneware and porcelain for it. I first smooth the surface of the slab, which is around 150 cm in length, and then I cut it to the length I want. After that I roll the slab on a cylinder covered with paper, which is then carefully removed after a suitably drying time. The slab is now

all the black masking tape from the sculpture. The areas without glaze thus created will turn black in the post firing reduction. The firing then takes place in a raku kiln to 980°C. When the desired temperature has been reached, I take the red-hot object from the kiln and place it in a smoke chamber to carbonise; it is filled with hardwood sawdust. Now the areas without glaze and the cracks that I wanted to develop turn black deep into the clay body. This is how the irregular,

Simcha Even-Chen 27/12 Aharoni Street, Rehovot 76281, ISRAEL Tel.+972 52 3904734



The black-white-grey colour scheme of your works predominates and is very intense. Are you planning to stick with this scheme or will we see coloured objects in future? The black-white-grey colour scheme comes from the naked raku technique and allows me to implement my ideas best. To introduce other colours here would distract the viewer from the main idea, I believe. So to answer your question: No, I see no reason to introduce colour. But that does not mean I will not use colour for other new projects. What are your plans for the future? Monika Gass from Keramikmuseum Westerwald has invited me to arrange a solo exhibition in spring 2016. This is the most significant project to date. Next year, I will be travelling to Turkey and to Latvia for a symposia. Another symposium on raku is planned for 2016 in Arizona, where I will be giving workshops.

Evelyne Schoenmann's next interview will be with Marc Leuthold, USA Evelyne Schoenmann is a ceramist. She lives and works in Basel, Switzerland, and Liguria, Italy




: special exhibition

| V: vernissage | Fi: finissage |  end of the exhibition

Copy date for entries: 01 August 2015

Stille Kraft & Powerdrink:



NL-1017 KH Gallery Carla Koch Veemkade 500. Detroit Building, 6th floor T: +31-20-67 37 310 O: Tue - Sat 12-18h, 1 Sun in the month 14-18h by appointment *A


D-10585 Keramik-Museum Berlin Schustehrusstraße 13, O: Fri - Mon 13 - 17h : Ausgewählte Werke. Objekte der Internationalen Keramik-Symposien in V-oglje/Slowenien -  10.08.

Galerie Workshop Fasanenstraße 11 T: +49-(0)30-3122567 O: Mon - Fri 10 - 19h, Sat 10 - 16h Permanent exhibition of glass and ceramics, textil and juwelery


klassische Teeschalen und deren kreative Variationen

Gastausstellung: Koreanische Teekeramik

Zentrum für Keramik - Berlin Pestalozzistraße 18 T: +49-(0)30-499 02 591 O: Tue - Fri 14 - 17h *A D-13187

D-10117 Galerie Arcanum - Charlottenstraße 34 T: +49-(0)30-33 02 80 95 : Peter Strang-Porzellan -  17.07.

6. Juni 2015 – 5. Juli 2015 Keramikmuseum Westerwald

Galerie Forum Amalienpark - Berlin-Pankow Breite Straße 2a T: +49-(0)30-20 45 81 66 O: Tue - Fri 14 - 17h D-13187


Bonstetten CH-8906

GG - GALERIE FÜR GEGENWARTSKUNST Elfi Bohrer. Im Dorfzentrum Burgwies 2 T: +41-(0)1-7003210. F: -7011027 O: Tue - Fri 14 - 18, Sat + Sun 13 - 17h *A : Heidi Spring - Objekte  12.07. : Gabriela Hagner, Brigitta Gabban - Malerei, Zeichnung  12.07. : Camille Hagner, Richard Jurtisch, Rebecca Maeder - Malerei, Objekte in Ton - 29.08. - 04.10.

Bozen I-39100 TonHaus

Rauschertorgasse 28 T+F: +39-(0)471-976681 O: Mon - Fri 9 - 12.30, 15 - 18, Sat 9 - 12.30h Ständige Präsentation von Keramik aus verschiedenen Werkstätten

Folgeausstellung - Keramiekcentrum Tiendschuur Tegelen 15. Januar 2016 - 22. Mai 2016

Filderstadt D-79794

Städtische Galerie Filderstadt

Bonländer Hauptstraße 32/1. O: Thu 10 - 12.30h, Fri + 15 - 18h, Sat 11 - 17h : Bernd Fischer - Faltungen -  26.07.


Kohlhökerstraße 17 T: +49 (0)421-23 26 44 00

D-60594 Museum für Angewandte Kunst Schaumainkai T: +49 (0)69-21234037 O: Tue + Thu to Sun 10 - 18h, Wed 10 - 20h


Frechen D-50226 Stiftung Keramion - Zentrum für moderne + historische Keramik

Bremen D-28203

JO GROSS Galerie

B-1050 Puls Contemporary Ceramics Edelknaapstraat 19 rue du Page (Châtelain) T: +32-26 40 26 55 O: Wed- Sat 13 - 18h : Turi Heiseelberg Pedersen und Skov Madsen  11.07.

Bonnstraße 12 T: +49 (0)2234-6976-90 F: -920 O: Tue - Fri 10 - 17, Sa 14 - 17 h

: "Ist Porzellan auch Keramik" -  10.01.2016


Keramik-Museum Bürgel Am Kirchplatz 2 T: +49-(0)36692-37333. F: -37334

D-79098 GALERIE FREDERIK BOLLHORST Oberlinden 25 T: +49-(0)151-15776033 O: Mon - Fri 10.30 - 13h, 14.30 - 18.30h Sa 10.30 - 16h



Bürgel D-07616

RO 010094 Galerie GALATEEA Keramik • Zeitgenössische Kunst Calea Victoriei 132 T: +40 (0)21 - 317 38 14. O: Tue - Fri 12 - 20h, Sat 11 - 19h Permanent Exhibition

Deidesheim 67146 Archiv-Atelier-Ausstellung

Stadtmauergasse 17 T: +49 (0)6326-1222 O: daily 14 - 18h : Archiv-Atelier-Ausstellung - 5.-27.09 - Fi: 05.09, 16h


D-40213 Hetjens-Museum Schulstrasse 4 T: +49-(0)211-8994210 O: Tue-Sun 11-17, Wed 11-21h : CHINA CONTEMPORARY -  08.11.


D-31089 Töpfermuseum Duingen Töpferstraße 8 T: +49-(0)170-7069219 O: Wed 15 17h, Sun 14-18h : Sybille Abel-Kremer - 30.8.2015


D-24340 Museum Eckernförde Rathausmarkt 8 T: +49-(0)4351-712547 O: Tue - Sat 14.30 - 17h, Sun 11 - 17h On holidays 14.30 - 17h


Augustinermuseum - Augustinerplatz T: +49-(0)761-201-2531 augustinermuseu@stadt.freiburg : Horst Kerstan - Keramik der Moderne  04.10.

Gelsenkirchen D-45894

Galerie Jutta Idelmann - Cranger Straße 36 T: +49-(0)209-595905 O: Do + Fr 16 - 19 u. Sa 14 - 16h *A

Genf CH-1202

Musée Ariana - Musée suisse de la céramique et du verre Avenue de la Paix 10 T: +41-(0)2241854-55 F: - 51 O: Tue - Sun 10 -18h; : "Luxury, Peace and Pleasure" - Swissceramics Competition -  01.11. : "Harmony in Glass" Anna Dickinson -  01.11.

Gmunden A-4810 Galerie im K.-Hof, Kammerhof Museum Gmunden O: Wed- Sun 10 - 17h first Wed. in the month 10 - 21h



O: opening time | T: Telephone | F: Fax | *A and by appointment



HOrst Kerstan Keramik der Moderne

20. Juni bis 4. Oktober 150521_MUFR_AZ_Neue_Keramik_190x124_4c_RZ.indd 1

Göttingen D-37075 Galerie Rosenhauer

Konrad-Adenauer-Straße 34 T: +49-(0)551-2052100 F: 0551-25421 O: (during exhibitions) Wed, Fri, Sat 15.30 - 18.30 Sun 11.30 - 13 + 15 - 18h

Hameln D-31785 Keramikgalerie Faita Alte Marktstraße 45 T: +49-(0)5151-959133 F: -821294 O: Mon - Fri 10 - 13 u. 15 - 18, Sat 10 - 16h *A : "Sommerbrand" - Beatrijs van Reeden, Ina Otto, Sabine Martin, Ule Ewelt sowie Künstler der Galerie  22.08.


D-30175 Handwerksform Hannover Berliner Allee 17 T: +49-(0)511-34859 F: -88 O: Tue - Fri 11 - 18, Sat 11 - 14h

Heidelberg D-69117 Galerie Marianne Heller Fried­rich-Ebert-Anlage 2 Am Stadtgarten T: +49-(0)6221-619090 O: O: Tue - Fri 11 - 13 a. 14 - 18h, Sat 11 - 18h : Thomas Bohle (Vorstellung der Monographie über das Werk) in Kooperation mit Arnoldsche Art Publisher & "Bekanntes - Aktuell" - Internationale Keramik; Accrochage -  26.07. : Marc Leuthold (USA) Professor an der State University New York, Vortrag und Präsentation der eigenen Arbeit - 26.07. : "Zwischen Prag und Budweis" - Pavel Drda, Elzbieta Grosseová, Ji í Lastovi ka, Tomás Proll, Eva Slaviková & Gast; Tschechien - 11.10. - 22.11.

Herbertingen-Marbach D-88518 moosgrün - raum für zeitgenössische Keramik - Moosheimerstraße 11/1 T: +49-(0)7586-5378 O: Tue - Fri 16 - 19h, Sat 10 - 16h



Hirschburg D-18311 Black Box Galerie

22.05.15 13:54

Zum Wallbach 15 T: +49 (0)1623 3766 757, O: Tue - Sat 11-17h : Lotte Buch / Keramische Objekte und Christin Wilcken / Malerei - 22.08.-31.10. : Podiumsgespräch zum Thema Improvisation mit beiden Künstlerinnen und dem Jazzmusiker Philipp Rückert, Jazzkonzert mit P. Rückert Quartett - 26.09., 17h


a.d.Eger D-95691 Porzellanikon - Staatliches Museum für Porzellan Hohenberg a.d. Eger/Selb Schirndinger Straße 48 T: +49 (0)9233 772211 O: Tue - Sun 10-17h

Höhr-Grenzhausen D-56203 Keramikmuseum Westerwald Lindenstraße 13 T: +49-(0)2624-9460-10 F: -120 O: Tue - Sun 10 - 17h *A : Wettbewerb und Ausstellung "Stille Kraft und Powerdrink", Keramik und Tee, die klassische Teeschale und deren kreative Variation - 05.07. : "EXPONATE 2015" - Absolventen und Absolventinnen der Fachschule für Keramik - 17.07. - 23.08., V: 17.07., 19h D-56203

KASINO – KERAMIKKULTUR Galerie – Laden – Werkstatt – Café Werkstatt + Ausstellung Sandra Nitz - Nicole Thoss Kasinostrasse 7 T: +49 2624 94 16 99 0 O: Tue - Fri 14 – 18h Sat 10 - 18h Sun 11 - 18h Gallery-Guests: Vladimir Groh & Yasuyo Nishida (Porzellan), Milan Pekar (Kristallglasur), Nela Trésková (Porzellan), Markéta Drzmisková (Porzellan), Lenka Sérová Maliská (Porzellan), Anna Polanská (Glas), Lada Semecká (Glas) Shop-Guests: Juliane Herden, Judith Radl, Nika Stupica, Martin Möhwald, Elke Sada, Cornelius Reer, Susanne Petzold, Jutta Becker, Clarissa Capelle : SOMMERGÄSTE - Porzellan und Glas aus Tschechien - 27.07. - 25.10. V: 26.07., 14:30h






Festival de Sculpture Céramique Contemporaine 05/07 20/08 2015

: special exhibition

| V: vernissage | Fi: finissage |  end of the exhibition

Langerwehe D-52379 Töpfereimuseum Langerwehe Pastoratsweg 1 T: +49-(0)2423–44 46 F: -59 90. O: Fri 10 - 13 u. 14 - 18h, Sat 12 - 17h, Sun + holidays 11 - 18h : neu gemacht - neu gedacht. keramikerinnung nordrhein 22 Mitglieder stellen aus -  23.08. : Sommerferienprogramm in der Kreativwerkstatt -  11.08. : "Auf dem Wege"- Grenzgänge der Kunst. Künstlerinnen der GEDOK Bonn. Zu Gast: Ekaterina Ominina, Keramikerin aus St.Petersburg - 03.10.2015 - 13.03.2016

Le Don du Fel

F-12140 GALERIE DU DON - 12140 Le Fel T: +33 05 65 54 15 15 : "LA DICTÉE DES PROCÉDÉS" - Ann van Hoey (B), Arnold Annen (CH), Seigo Kaneyuki (J), Mieke Everaet (B), Michal Fargo (IL) -  02.07. : "8ème FESTIVAL DE SCULPTURE CÉRAMIQUE EUROPÉENNE" - Akiko Hirai, Yoshimi Futamura, Setseko Nagasawa, Chieko Katsumata, Masamichi Yoshikawa, Takeshi Yasuda - 05.07. - 20.08.


D-04103 Grassi­museum Museum für Angewandte Kunst Johannisplatz 5-11 T: +49-(0)341-22 29 100 O: Tue - Sun 10 - 18, Wed + Thu 10 - 20h : EXOTIK / VERFÜHRUNG / GLAMOUR - Die Weltmarke Goldschneider -  11.10.

Keramikgalerie terra rossa Roßplatz 12 T/F: +49-(0)341-9904399 O: Mon - Fri 10 - 18, Sat 11 - 15h




NL-6269 VE Galerie & Atelier - Groot Welsden 48 T: +31-43-4582751 F: -4583029 O: Wed, Sat + Sun 13 - 17h *A





Johannesberg D-63867


Galerie Metzger Hauptstraße 18 T: +49-(0)6021-460224 O: Wed 15 - 19, Sat 15 - 17 Sun 11 - 17h open only during exhibitions *A : "Gebrannte Farben" - Ute Brade Helmut Massenkeil, Johannes Nagel Jean-Francois Thiérion, Masamishi Yoshikawa -  05.07.



D-76131 Staatliche Majolika Manufaktur Karlsruhe GmbH Ahaweg 6-8 T: +49-(0)721-91 237 70 O: Mon - Fri 8 - 16h


Museum Kellinghusen - Hauptstraße 18 T: +49-(0)4822-3762-10 F: -15 O: Thu - Sun 14 - 17h *A : "Cathy Fleckstein - Im Laufe der Zeit - Au fil du temps" -  06.09.




Museum für Angewandte Kunst Köln An der Rechtschule T: +49-(0)221-221 23860 O: Tue - Sun 11 - 17h, 1. Thu in the month 11 - 22h

Kopenhagen Landshut

DK-2000 Fredericsberg

Fachschule für Keramik Marienplatz 8, T: +49-(0)871-922388-0, O: dayly 10 - 16h : Abschlussausstellung der Absolventinnen und Absolventen der Staatlichen Meisterschule für Keramik und Design, Staatlichen Berufsfachschule und Berufs schule III für Keramik in der Fachschule für Keramik Landshut -  26.07.


84028 Staatliche


D-80333 Galerie für Angewandte Kunst Pacellistraße 6-8 T: +49-(0)89-290147-0 O: Mon - Sat 10 - 18h

Galerie Handwerk Max-Joseph-Straße 4 T: +49-(0)89-5119296 O: Tue, Wed, Fri 10 - 18h, Thu 10 - 20h, Sat 10 - 13h closed at holidays : "Das kleine Paradies" - Objekte für Garten, Terrasse und Balkon -  27.07. D-80333


D-48163 Kunsthaus Kannen Alexianerweg 9 T: +49-(0)2501-966 20 560 O: Tue - Sun 13 - 17h


B-4730 Töpfereimuseum Raeren Bergstraße 103 T: +32-(0)87-850 903 O: Tue - Sun 10 - 17h - Ausstellung im Haus Zahlepohl gegenüber der Burg

Römhild D-98631 Schloss Glücksburg

Griebelstraße 28 T: +49-(0)36948-80140 F: -88122 O: Tue - Fri 10 - 12 + 13 - 16h, Sat + Sun 13 - 17h

Rostock D-18055 Galerie Klosterformat

Klosterhof 5 T: +49-(0)381-5108577 F: -510 85 90 O: Tue - Sat 11 - 18 h : "Sommer-TRIO XII" - Pauline Ullrich, Plastik - Rosemarie Ullrich, Schmuck Klaus Ullrich, Malerei -  19.09. : "KUNST-FORMATE" - 18. Kunsthandwerkermarkt / Rostock - 21. + 22.08.


D-18055 Europäisches Museum für Modernes Glas Schloss Roseau O: daily 9:30 - 13h and 13:30 - 17h



Musée de la Faience 15/17 rue Poincaré

GALERIE KLOSTERFORMAT J.Lamberz, Klosterhof 5, 18055 Rostock (0049)381 5108577 /

Sommer-TRIO XII Pauline Ullrich-Rosemarie-Ullrich-Klaus Ullrich



O: opening time | T: Telephone | F: Fax | *A and by appointment



D-74837 Schloss Gottorf - Schlossinsel 1 T: +49-(0)4621-813222


D-70176 Kunst im Hinterhaus Breitscheidstraße 131 A T: +49-(0)711 - 695649

St. Wendel

66606 Galerie-Atelier No4 Nik. Obertreis Straße 4 T/F: +49 (0)49151-414 083 83 O: Tue - Sat 14 - 19h : Keramik: Beate Thiesmeyer - " figurativ" eine Welt von innen neue Objekte für drinnen und draußen. Keramik: Michael Sälzer- Spuren von Händen und Feuer archaisch salzglasierte Gefäßobjekte aus dem Holzofen. Malerei: Barbara Lütjens - Sommerleuchten - neue großformatige Bilder in Acyl 04.07. - 01.08. Visitenkarte_BL_A_No4_RZSonderfarbe.indd 1

18.07.14 19:51


CH-4500 Galerie Christoph Abbühl und Kunstforum Solothurn Schaalgasse 9 T/F: +41-(0)32 621 38 58 O: Thu + Fri 15 - 19h, Sat 14 - 17h *A : Claudi Casanovas -  11.07. : Takashi Suzuki - Rot, Blau und Licht - in der Galerie Christoph Abbühl Simon Horn - Gebaute Räume in der Galerie Kunstforum Solothurn  11.07. NL-5932 AG Keramikcentrum Tiendschuur Tegelen Pottenbakkersmuseum. Kasteellaan 8 T: +31-(0)77-3260213 F: -3260214 O: Tue - Sun 14 - 17h Visitenkarte_BL_A_No4_RZSonderfarbe.indd 1

18.07.14 19:51



D-95349 Töpfermuseum Thurnau Kirchplatz 12 O: April-Sept.: Tue - Fri 14 - 17h, Sat, Sun and holidays 11-17h, October - 6.January and March: Sat 13 - 16h, Sun and holidays 11-18h


D-04687 Galerie Schloß Altenhain Neuweißenborner Straße 20


D-16727 Ofen- und Keramikmuseum Velten Wilhelmstraße 32 T: +49-(0)3304-31760 F: -505887. O: Tue - Fri 11 - 17, Sat + Sun 13 - 17h

Waldkirch D-79183 Elztalmuseum


Kirchplatz 14, T: +49-(0)7681 / 47 85 30, - 2 55 62, O: Tue - Sat 15 - 17h, Sun 11 - 17h


D-92637 Internationales Keramik-Museum Zweigmuseum der Neuen Sammlung München, Luitpoldstraße 25 T: +49 (0)961-32020 O: Tue - Sun 10 - 12.30 + 14 - 16,30 *A Permanent: Highlights of world ceramics from the museums in Bavaria + contributions from the porcelain industry in Weiden

Schwäbisch Gmünd D-73525 Labor im Chor - Galerie und Forum für Angewandte Kunst Im Prediger, Eingang Bocksgasse T: +49-(0)175 889 4175 O: Wed 10-17h, Thu 13-17h, Sat 10-14h, Sun 14-17h


D-95100 Porzellanikon Selb Staatliches Museum für Porzellan Hohenberg a.d. Eger/Selb Werner-Schürer-Platz 1 T: +49-(0)9287-9180-00 F: -30 O: Tue - Sun 10 - 17h : "Ceramics and its Dimension" - European cultural Lifestyle in ceramics 01.08. - 15.11. V: 31.07., 18h


D-79219 Keramikmuseum Staufen Wettelbrunnerstraße 3 O: Wed - Sat 14 - 17h, Sun 11 - 13 and 14 - 17h and 14 - 17h and 14 - 17h : Beate Pfefferkorn -  16.08. : EDITION 2015 - Keramik aus Baden-Württemberg - 05.07. - 30.11.





Galerie Belinda Berger Mühlenbrink 17 T: +49-(0)4488-525391 F: -525392 O: Sat + Sun 16 - 18h *A Permanent exhibition of gallery artists


CH-8400 Atelier-Galerie raku-art Evi Kienast Tösstalstraße 14 O: Thu - Fri 14 - 18h, Sat 11 - 15h Contact und Infos:

Winzer/Flintsbach D-94577 Ziegel + Kalk Museum Museumstraße 2 12. T: +49 (0)9901-9357-0 O: 1st + 2nd Saturday in month & Sun- and Holidays 13 - 17 h

For further events see page 68 For advertisement please contact



13th edition 8th & 9th of August, 2015 1





NK 90x260_Mise en page 1 01/04/2015 09:33 Page 1

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Gŵyl Serameg Ryngwladol International Ceramics Festival 03 - 05 JULY 2015 ABERYSTWYTH ARTS CENTRE, WALES, UK

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Tip Toland (USA), Lisa Hammond (UK), Naidee Changmoh (Thailand), John Higgins (UK), Tony Clennel (Canada), Velimir Vukicevic (Serbia), Gareth Mason (UK), Vineet Kacker (India), Sergi Pahissa (Spain), Rita Gudino (Philippines), Jonathan Keep (UK), Gas Kimishima (UK), Christie Brown (UK), Thiébaut Chagué (France), Jo Taylor (UK)

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– published in the first week of September


1 RICHARD HIRSCH, one of the greatest American ceramic artists, was as a lecturer for many years, an inspiring and influential figure in the American ceramics world. This spring, he left the School for American Crafts at the Rochester Institute of Technology as an emeritus professor, where he had taught for almost thirty years. His early works in connection with raku were pivotal for the American crafts movement and even today they form a living bridge between East and West. In its sculptural message, his work is reminiscent of the surrealist painter and sculptor Max Ernst. Scott Meyer, professor of ceramics at the University of Montevallo, gives us an introduction to the work of Richard Hirsch.


2 MARGARETE DAEPP lives and works in Bern



and Geneva. After graduating from the School of Design in Bern, she continued her training under Setsuko Nagasawa at the Ecole des Arts Décoratifs in Geneva and opened a studio in Bern in 1984. In 1989, she relocated to Berlin and studied as a guest student under Rebecca Horn and Isa Genzken at the University of Fine Art. In 1993, she received an invitation as artist in residence to the European Ceramic Work Center in 's-Hertogenbosch, NL. From 1994-5 in New York. Since 1999, lecturer in the ceramics department at the CFP Arts Appliqués in Geneva. Two further residencies took Daepp to Japan in 2005 and 2013. Evelyne Schoenmann, herself a Swiss ceramic artist, takes a closer look at the working methods and the development as an artist of Margarete Daepp.


... and • THE NEWS • more ARTISTS’ PROFILES • FORUM • EXHIBITION REVIEWS • latest news from the GALLERIES and MUSEUMS • KNOWLEDGE & SKILLS and much, much more ...

NEW CERAMICS: ISSN 1860 - 1049 Verlag Neue Keramik GmbH | Steinreuschweg 2 D-56203 Höhr-Grenzhausen | Germany TEL.: +49 - (0)2624 - 948068 | FAX: - 948071 | Publisher: Bernd Pfannkuche Managing director and editor: Bernd Pfannkuche Advertisements: TEL.: +49-(0)2624-948068 | FAX: - 948071 Subscriptions: Leserservice NEUE KERAMIK Postfach 81 05 80 | D-70522 Stuttgart Tel.: +49 (0)711-7252-259 (Monday-Friday 08 am to 06 pm) Fax: +49 (0)711-7252-399 | Readers’ questions and communication: Gustav Weiß TEL.: +49-(0)30-84109218 Accounts: Ramona May | TEL.: +49-(0)6224-921018 Translations: Erban Translations, Paul Simon Heyduck Bernd Pfannkuche Scans and image processing: Huriye Hallac Layout: Bernd Pfannkuche, Huriye Hallac

And in the FORUM section of this issue, GUSTAV WEISS discusses creative optimism, which informed the age of the Enlightenment in all fields of thought, research and production technology. Title: Enlightenment 3.0. This retrospective view does not solely serve the broadening of our knowledge but also nudges us towards the future, into the third Enlightenment, in which we already unwittingly find ourselves.

Printed by Arnold, Am Wall 15 im GVZ, 14979 Großbeeren, Germany Whilst every care is taken with material submitted, no responsibility can be accepted by Neue Keramik - New Ceramics for accidental loss or damage. Unsolicited material can only be returned if provided with a stamped addressed envelope. All uncredited photographs are private property. Copyright © by Bernd Pfannkuche, Höhr-Grenzhausen, Germany. All right reserved. NEW CERAMICS is published six times a year. Subscriptions (6 issues) incl. postage and packing: World: surface mail E 53,- | US$ 69,- | £ 42,World: airmail E 66.- | US$ 86,- | £ 52,Subscriptions not cancelled at least two months before the end of the current subscription period will automatically be renewed. No refunds of subscriptions will be granted in case of circumstances beyond our control. Price of single copy: E 10.00. US $ 12.00. £ 7.50 Postage is calculated individually for single copies

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