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current issue


Richard Hirsch - USA
Lutz Könicke - Germany
Martine Polisset - France
Martin Buberg  - Germany
Jochen Rüth  - Germany
Margarete Daepp - Switzerland

Enlightenment: 3.0 - Gustav Weiß Art appreciation

UNICUM - IIIrd International Ceramics Biennale - Ljubljana Slowenia
"The Dragon Dances", Hetjens Museum - Düsseldorf Germany
International Ceramics Symposia in Egypt  Egypt
INTONATION - Deidesheim Germany
Gold Coast Award - Gold Coast Australia
7th International Biennal de Ceràmica - El Vendrell Spain
Anniversary at Burg Giebichenstein - Halle an der Saale Germany
"The Village" - Thomas Weber - Höhr-Grenzhausen Germany
Parcours Céramique Carougeois - Carouge France
"Edition 2015" - Staufen Germany
59th Concorso Faenza - Faenza Italy 

BOOKS New books

Marc Leuthold - Evelyne Schoenmann  Interview / Developing skills

DATES / Exhibitions / Galleries / Museums
Exhibition diary International







Richard Hirsch

(Scott Meyer)
In September of 1978, Rick Hirsch set out for Japan. His proposal to the World Craft Council (WCC) had been accepted and he was travelling to Kyoto, home of the Raku family, there to demonstrate the process now widely known in the West as “American raku”. This would be a featured presentation at the Council’s conference.
Behind him, the American Crafts movement was in full flower. The accessibility of higher education to middle class Americans in the 1960’s had fostered a new fascination with the diversity of world cultures, belief structures, and aesthetics, along with a strong desire to return to the earth. Objects made by hand and ordained by natural processes celebrated at once what seemed most human, personal, spiritual and potentially politically relevant. Within American raku, almost twenty years of experimentation, energy, and fermentation of thought had yielded not only a fresh set of firing techniques, but a mind-set at home in Abstract Expressionism as well as in the tenets of Eastern thought. Without question, this hybrid had galvanized Western ceramics.

Martine Polisset

(Pascale Nobécourt)
For 35 years the French ceramicist Martine Polisset has concentrated on revealing the beauty of natural forms. We met at her studio in Biot, a medieval village overlooking the Côte d’Azur.
Martine Polisset’s studio is on a narrow street behind the church in the heart of the village, just a minute’s walk from the charming Place des Arcades where one of the last authentic Provençal restaurants of the village is to be found. Because times change and Biot is no longer what it was – a place full of indolent charm and a hangout where artists could savour the sweet life of the south of France – Martine sometimes says that she’ll leave. "But I have friends here, a nice house and a peaceful workshop. It’s not easy to leave a place that you’ve known all your life. My parents bought a plot to build on in the 50s; we came here for our summer holidays," said Martine.
Martine grew up in Paris, her father was an architect and her mother a fashion designer. As she had always liked drawing, she first went to Atelier Met de Penninghen, an art school in Paris, for foundation courses before specialising in ceramics at the Ecole les Métiers d’Art in Paris where she met Claude Champy, Bernard Dejonghe and Jacques Buchholtz. After graduation from the Ecole les Métiers d’Art in 1968, Martine worked at a ceramic studio in St. Maur outside Paris and perfected her painted glaze technique.

Jochen Rüth

(Walter Lokau)
From his early youth, when he first shaped a malleable lump of clay in his hands, Jochen Rüth had fallen under the spell of this pliant material, fascinated by the plasticity of matter made of mineral dust and water, created in the pre-human history of geological processes, which has been nature as much as it has been culture during the blink-of-an-eye presence of humanity, a product of decay and decomposition, the natural result of processes lasting millions of years of inorganic weathering of volcanic rock, which, dissolved in water, flushed and blown away to become deposited in steadily swelling layers, ultimately to be dug by human hand, to be shaped into usable things, moulded into elaborate shapes, has been dried and fired as ceramic for millennia, solidified again to form vessels and figures, and, after stone and bone, the oldest material providing evidence of human technology and skill.
Born in Würzburg in 1960, sculpture had been the artistic genre that he had had in mind but the obsessive autodidact had been unable to escape the draw of the potter's wheel, with which he had begun to experiment at the end of the seventies. However, he did not simply become a potter: he has always made pots, it is true, and he still makes them today – for preference powerfully thrown vases and bowls with milky, opaque, porous shino glaze, like a thick enamel clinging to the clay body, or raku teabowls, gratifyingly filling two hands, the glaze veined with its delicate blackened crackle.

Margareta Daepp

(Evelyne Schoenmann)
Linear. This is the first word that occurred to me when I saw the winning piece by Margareta Daepp, Bosporus Set Hexagon, at Officine Saffi in Milan in the early summer of 2014. The play of function and design, emptiness and fullness, multipart structure and Middle Eastern colour is fascinating. Linear, but not only because of the precise lines. When I later met Margareta in person, I realised that she consistently pursues her fascination with East and West.
This fascination may well have originated in her artist's residency in Shigaraki, Japan, in 2005. Firings typically happen there in an anagama (tunnel) kiln. This means that the ceramics are fired in direct contact with the flames, which lick around the pots. Since round objects are particularly suited to this, Margareta has been working with the form of the cylinder since then. She certainly has the courage to set her own working methods against traditional Japanese ones, working with slipcast forms, which are untypical in Japan. She has remained faithful to this method. This residency in Shigaraki has led to the production of seven two-part vessels, the Lotus series. One part is lacquered. All of the vessels bear the names of Japanese flowers. Margareta Daepp was given an introduction to urushi, the art of lacquering, from a female master, also during her stay in Shigaraki.

Porcelain from the Kangxi period and China Contemporary in Düsseldorf

(Antje Soléau)
The Hetjens-Museum in Düsseldorf is showing an exciting dialogue in porcelain in an exhibition running until 8 November 2015, a show dedicated to the cultural and economic exchanges between East and West that has been proceeding since the early Modern Age. Since Marco Polo's journeys in the 13th century, porcelain has been considered a prime collectible art and consumer item in the Western hemisphere which was thus highly prized by collectors. Various dynasties were actually in competition to see who could claim to have the finest and largest collection. This also lay behind the many attempts in Europe to reinvent porcelain or at least to discover the secret of its production.
During the reign of the Chinese emperor Kangxi (1661-1722), what had hitherto been one-way traffic became a lively exchange between East and West. Kangxi not only invited Jesuit scholars to his court, he also rejuvenated porcelain production in Jingdezhen, which had been renowned as a major ceramics centre since the Han dynasty in the 5th century, not only for his own purposes but also for export.

Anniversary at Burg Giebichenstein

(Doris Weilandt)
The renowned university of art in Halle, Burg Giebichenstein, cele-brates its hundredth birthday this year. The ceramics workshops were one of the contributors to the good reputation of its courses. Artists such as Marguerite Friedlaender, Gerhard Marcks, Hubert Griemert and Gertraud Möhwald helped to establish the international renown of this department. Because of them, the expression "Burgkeramik" became current, a trademark for an independent direction in ceramics. Right from the founding of the workshop, a special development became apparent. Inspired by reform movements like the Werkbund, the first director, sculptor Gustav Weidanz, sought a connection between craft and industry. In experiments with form and glaze, prototypes for small production series were created. Geometrical tea sets from cast earthenware that emerged in this process leave a lasting impression through their timeless modernity.

Awards at the 59th Concorso di Faenza

(Monika Gass)
In early May the prizes and the distinctions were awarded at the MIC, the International Museum of Ceramics, in the oldest ceramics competition in Europe.
The judges’ decisions were reached unanimously, if not without copious discussions: with Claudia Casali, director of the MIC Faenza, Monika Gass, director of the Keramikmuseum Westerwald in Höhr-Grenzhausen, Germany, Grant Gibson, director of the Crafts Council Magazine and Daniela Lotta, lecturer at the ISIA Faenza in art and design, professionals familiar with the international ceramics scene were at work.
More than 1300 pieces from 618 artists and 67 countries had been submitted. It is interesting to note that the most important prizes went to projects that demand contemporary comment and that their conception, flawless in execution and ceramic detail, lightheartedly challenges the pool of criticism of our everyday surroundings.

In Studio with Marc Leuthold

(Evelyne Schoenmann)
Marc Leuthold, Professor of Art, is extremely interested in cross-cultural issues. The Far East, Africa and the Mediterranean have influenced his work, and also socio-critical occurrences have a distinct voice in his installations. His intricately carved wheels are present in many of his works and we talk, among other things, about how they are made.

Schoenmann: Marc, let us begin with your impressive socio-critical installation "Torture". I must say I admire your statement and your courage. Can you tell us about the historical background of this work?

Marc: My courage?! Edward Snowden is the courageous one. I understand he is still living in the airport in Moscow. That is certainly an ironic situation: an American patriot seeking asylum in Russia. Jan Guy at the Sydney College of the Arts encouraged me to apply for a Research Fellowship at her school. In the application, I detailed my interest in creating that viewer-activated installation.

Top Copyright Verlag Neue Keramik 2007