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TOY - Christmas exhibition - December 2016

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TOY Exhibition 1 – 23 December 2016
Christmas reception with glogg & lottery - Thursday 1 December 16-19.00

Christmas exhibition attracts with new 'Toy' - ceramics for child and adult.
The exhibition is teeming with Christmas gifts for children and young at heart, everything from quirky toys, cunning games & doll's tableware.
Russian dolls, trolls, domino game, professor cube, do-it-yourself kits?
Maybe a Twisted vase, a tableau of Hysteria, Agriculture, USA-journey?
- Or an erotic 'family' car?
The bids are many, imagination without limits when young at heart are to be spoiled for Christmas.
The exhibition is not The Experimentarium, but close, when a flock of ceramic artists of all ages are playing.

Designer Ursula Munch-Petersen also exhibits a selection of colourful functional ware from her own studio.
Few have as Ursula managed to combine design with craftsmanship, a sense of great crafts for daily use.


DOLL WARE, VASES AND PLATES

URSULA MUNCH-PETERSEN shows her 'Doll set', where small modelled figures on teapot lids reflect the child's pleasure in discovering the world.
SØREN THYGESEN has worked with a twisting machine in a childish world of figures like heart, duck .. A tour in the twister turns into a nice little vase.
KIRSTEN Høholt draws everyday ruminations and puns
CHARLOTTE THORUP surprises with striped 'Magic Stone' that rattles.

RUSSIAN DOLLS, TROLLS & CARS

JETTE Lowen DALL & KSENIA SHIGAEVA's 'Thumbelina's Boyfriends' fuses two cultures - Russian Dolls and H.C.Andersen in a new narrative.
Akio TAKAMORI's beautiful Russian Lady is included in the story of dolls.
PHILIP Ragan mixes in 'Trollz & Chatterbox' social commentary with satire.
OLE VESTERLUND's 'Pot Mouse' is a' living family member in the objects world
- for better or worse.
BIRGITTE CHRISTENS''Hacking Gubbe' is a play with ceramic pencils.
STEN LYKKE MADSEN's 'Car production' a funny erotic 'family car'.

GAMES & CONSTRUCTION KITS

LOTTE WESTPHAEL has created a domino game in porcelain, an abstraction of the classic game. Rules being negotiated in 'Playing by Different Rule'.
MIKAEL JACKSON abstracts the 'Professor cube'.
THEIS LORENTZEN has transformed a tea set in porcelain into an utopien assemble-yourself kit.
HEIDI HENTZE's 'Plate Game' challenges the viewer to play.
SANDRA TRUJILLO uses dot-to-dot pattern as a fun game for children to learn a series of numbers, while creating a visual image in 'Toy Sample'.

TABLEAUX & SETUPS

INGER HEEBØLL's Either Or invites for an innocent tableaux surprises.
ULLA BECH BRUUN assembles cast toys, a roaring tyrannosaurus head and a stylized, 'perfect' female body - 'Hysteria I'.
VIBEKE RYTTER shows buildings and signs in 'Journey to America'.

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of the Ann Linnemann Gallery in 2016.

BIOGRAPHY and MORE INFORMATION.. - Alphabetical list by first name

BIRGITTE CHRISTENS DK - Hacking Gubbe
"Play with oxide pencils on porcelain, drawings and doodles. Fantasy Figure. The work here is the opposite of my very thoughtful works, created from quick sketch and as few interferences of my thoughts as possible. In order to create something of my hands are not thought out in every detail. The coarse and crude expressions with doodles that provides the work a naive style. Is opposite what we normally associate with porcelain. It is fine and pompous. I pull it deliberately in the opposite direction-unpretentious. It is interesting to show the audience that porcelain has many forms and that it needs not be solemn and tranquil, but a hacking old man with strange spine, scars and brain mass.
Technology Modeling and drawing on clay. Fired with transparent shiny glaze.
BIRGITTE CHRISTENS born in Denmark in 1982, lives and works in Copenhagen. EDUCATION Master Degree HDK 2007-09, Bachelor KHiB 2004-07, Exchange CSM, London 2006. SELECTED Danish Arts Foundation Work Grant 2016. Charlottenborg Spring Exhibition, `Blue Legs` 2016. Danish Biennial of Crafts and Design 2015. EKWC artist in residence, Netherlands 2015.
(Photo: F.Petersen - Birgitte Christens (EKWC)
www.birgittechristens.dk

CHARLOTTE THORUP DK - Magic Stone
"I have focused on the three sensations: to feel, hear and see. I think this is an important part of a toy. I have chosen modulating oval half-spheres in stoneware and porcelain, and fired those together using the glaze, creating an oval shape. After firing, this has become a closed oval form causing the desire to take it in hand and feel closer to it. As a surprise I have put small balls of clay inside which give a rattling sound when examined. Finally, each MAGIC STONE is unique caused by a different colour composition of glazes that are laid in a pattern of stripes around the form capturing the interest of the eye. "
CHARLOTTE THORUP was born in 1973. Graduated from the Glass & Ceramics School - Bornholm (Now KADK) 2000. SELECTED EXHIBITIONS 'Danish Contemporary' Lacoste Gallery USA 2016. Arts&Crafts Award, Officinet 2015. Unique Ceramics, Køge; New Meets Old, Hiorts Factory, Ronne; Lust structures, R2 Gallery, Svaneke; Fantastic Tales, Ceramic House, England 2014. Definition, Finland 2013. Danish National Museum 2012. The Next Generation, Roskilde 2011. Wawerhythmfold Gallery Klejn, Bornholm 2010. LandMarks, Flow Gallery, London 2009. Ann Linnemann Gallery: A touch of .. 2011, Behold 2012, Form Language 2014, solo 2016.

HEIDI HENTZE DK – Record
Inspired by architecture and origami Heidi Hentze develops, with superior technical ability the classical slab-building technique, material and gravity in her geometric constructions of paper-thin porcelain sheets.
For this exhibition, she challenges the viewer to play around with and collect their own sculpture from cut-out high fired porcelain sheets. This becomes exclusive toy, and it is no less delicate, when the piece in a simple and minimalist way challange a new dialogue with the user.
HEIDI HENTZE was born in 1975. EDUCATED Glass and Ceramics School - Bornholm (Now KADK) 2006. SELECTED EXHIBITIONS Ann Linnemann Gallery: "GEOMETRY OF MATERIAL" solo 2016, "MASTER PIECES Miniatures" 2013, "FRAGILE" 2012. ”Danish Contemporary” Lacoste Gallery, Boston, USA 2016. The "Biennale of Craft and Design 2013" and "SEA" ACAB's 10-year anniversary, Round Tower, Copenhagen. "Form.Frei" Gottorf Castle, Schleswig, DE. "59th Premio Faenza", International Competition, Italy. "Ceramics of Europe" European Parliament, Strasbourg, FR. "10th International Ceramics Competition, Mino," Japan. "13th Westerwald Prize ", Höhr-Grenzhausen, DE. "COLLECT", Saatchi Gallery, London. "Fantastic Tales" Brighton, UK 2014. Art Festival 2013 Funasaka, Japan. "Collect in the Country in 2013," Cultural Connections, UK. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award, OJD Foundation.

INGER HEEBØLL DK – Either Or

"I work with a figurative and narrative universe that is often based on very specific environments. With the pieces "Either Or" I have used places in our environment, where there is a difference whether you're on one side or the other - markings, transitions, boundaries. In unglazed red clay, I am finding the most simple and fundamental expression of the material that allow the material's simple possibilities of structure and surface to be reflected contributing to letting the story be the central of the piece.
I would like to invite the viewer with into my imaginative and narrative universe. Trough the recognizable and figurative, to arouse curiosity of exploring detail as well get associations and "make up" the story - and open up multiple interpretations of the pieces. The pieces are adapted from observations of my surroundings, and a comment on the way that we adapt our surroundings and society.
- Unglazed red clay formed into small tableaux."
INGER HEEBØLL born in 1969. EDUCATION Danish School of Design 1998. SELECTED Arts and Crafts Award, Bronze Medal 2016. "2016 International Cone Box Show" Kansas City. Biennial of Craft and Design 2015. Carlsberg, Work Grant Danish Arts Foundation 2015. Biennial of Craft and Design in 2013, nominated for the Biennial Prize 2013. "The Artists Summer Exhibition" Tistrup 2011, "Fabula - Nordic Baltic Ceramics" Art Centre, Tarbekunstimuuseum -Tallinn, Bryggens Museum - Bergen, "VK Exhibition" Lerchenborg, Kalundborg, 2nd prize 2001. "YoungCeramics.dk" CLAY Danish Museum of Ceramics 1999.
http://www.danskekunsthaandvaerkere.dk/kunsthaandvaerker/inger-heeb-ll

JETTE LÔWÉN DALL DK & KSENIA SHIGAEVA RUS - The Boyfriends of Thumbelina
"It all started with a mutual interest in each other's ceramic work. In a long conversation between two cultures, ceramists and friends, we are merging the essential Russian, Russian Dolls with the Danish H.C. Andersen paper cuts & adventures creating a new narrative. We have learned from one another along the way and have found a new mutual expressions.
The tale of Thumbelina in this piece, gives the viewer a new perspective to the story. A girl with many lovers, is a relevant tale, the eternal pursuit of the Prince and the perfect. Art Noveau and Russian animated movies on H. C. Andersen's story has also been a great inspiration. The Frog, Cockchafer, Mole, Fairy Prince and Thumbelina as the smallest, are cast in two colours of clay, an exterior and one inside. Then the motives are carved out, like paper cuts. They fit inside each other like the matryoshkas of wood. The matryoshkas are in coloured stoneware, a total of five dolls/objects in a set.
JETTE LÖWÉN DALL born 1979, Denmark. EDUCATION Kolding School of Design, Ceramics 2002-07. SELECTED EXHIBITIONS Hjorts Ceramics Factory Bornholm 2016. Officinet (w. Malene Hartmann Rasmussen) 2015. Form Language Ann Linnmann Gallery 2014. Miumi. Officinet 2013. Glaze Rejoice/ Christmas Calendar, Vejen Art Museum 2012. Only if you think it is, MiUMI, CLAY Museum 2011. Holbaek Art Association w. Flemming Quist Moller, Æglageret 2010. Artists Summer Exhibition, Janus, Tistrup. Showtime, Gallery Craft2eu 2009, Collage Gallery Craft2eu Hamburg 2008. Design Boom, Macef, Milan 2007. GRANTS Danish Arts Foundation, Danish Crafts, Augustinus Foundation, BG Foundation, LF Foghts Fund, Valdemar Petersen and Wife Esther Moesman Petersen's Award.www.jettelowen.dk
KSENIA SHIGAEVA born in Russia 1982. EDUCATION Bergen Academy of Art and Design, Norway ceramics (final year BA) 2008-09. Camberwell College of Arts, University of Arts London, UK BA ceramics (first two years) 2006-08. University for the Creative Arts - Canterbury, UK, Foundation, 2005-06. MSc Physics, Saratov State University, Russia, 1999-2004. International Ceramic Research Center - Guldagergaard, part-time studio technician and plaster courses leader 2012-14, Artist in Residence 2010 & Project Network 2009-10. SELECTED EXHIBITIONS 300 + X, Porzellanikon, Selb, Germany; Project Network, CLAY Museum, Denmark 2010. Non Object Ive, Lodz International Design Festival Lodz, Poland; Serving Forms, Porsgrunn & Tarnsal, Bergen, Norway 2009. Make or Break, Village Underground; 140, Area 10, London, UK 2008.www.ksceramics.ru

KIRSTEN HØHOLT DK – Free Range
"I combine drawing and ceramics, often choosing the plate, because it's a nice format to draw on whilst 'platter' is a funny thing. In a playful stroke I depict and comment everyday contemplation and language subtlety, proverbs and puns.
I want my works to make people smile. With something positive and comments - without being too political or shake your finger at - I hope that the pieces evoke an unpretentious familiarity. The subjects is applied to the clay directly with among others mono printing and layering slips, combined with glazes and ceramic transfers. "
KIRSTEN HØHOLT born in 1979. Educated at Bath Spa University (ceramics) Somerset UK 2000-04. MEMBER of Formateket since 2008 and The Danish Arts and Crafts Association since 2012. ARTIST-IN-RESIDENCE La Muse, France; 'Network Europe', International Ceramic Centre DK 2004; Workshop at Mark Smith, UK 1999. GRANTS Danish Arts Foundation 2015, Obel Family Foundation 2002. EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, Boston USA 2016. Ann Linnemann Gallery: 'Throwing the case' 2014 'Masterpieces' 2013. 'Formateket' 2010; 'New designers', London 2004. Jug Exhibition, Blaze, Bristol 2006. 'Young Danish ceramics' Gallery Rasmus 2009. 'Network Europe' International Ceramic Museum CLAY 2005.

LOTTE WESTPHAEL DK - Playing by Different Rules
"Playing by different rules" is a quite classic domino game, made in porcelain. It is also an abstraction of the play. The game rules are under negotiation and up for discussion. The pieces have different colours, some one-colour, others bi-colour. How does the game shapes itself, if you play by different rules? Can you play by colour? Can you play after what is being a beautiful pattern? The game can be seen as a social commentary on the social conventions that we have with each other. Are we playing the same game?
I am engaged in repetitions being broken up, and by irregularities in a pattern. I work with colored porcelain slab technique with colour plane shifts, and base them on the colour surface, with domino piece's "eyes" as a decorative element.
The composition appears through the game's set of rules, and are left to the play and the players.
LOTTE WESTPHAEL born in 1965. EDUCATION Design School in Kolding, ceramic artist 1988-92 and the Department of Unique 1992-93. SELECTED "Dead Pigs Laughing" performance and solo exhibition Kählers workshops. "Syncope vase" Charlottensborg Spring Exhibition 2016. Danish Arts&Crafts Award, bronze medal 2016 exhibited in Officinet and the Danish Cultural Institute, St. Petersburg. Winner "Across" and "To wrap a package" Skals Design and Crafts School 2016, 2013. "Villvin Award" Arts and Crafts Fair 2016 Risør, Norway. Synkoper, Lerverk, Gothenburg 2016. Study travel to studios in Japan. Project funding, Danish Arts Foundation: "[Albers] translated into transparency" with reference to Josef Albers colour theories and graphic works, and Anni Albers woven textiles, 2017.

MIKAEL JACKSON DK – Professor Cube
An abstract fantasizing of 'the Professor Cube' is made of composite cubes in ceramic materials.
Michael Jackson is engages with geometry and abstraction with the intention of repetition, simple elements put together in imaginative constructions. He explores abstract concepts and interpret these in geometric, architectural compositions. His work often consists of putting together elements where the artistic studies are characterized by the set of rules that he sets for himself. The start may be the development of a single component and then make a certain amount, which can be assembled in many waysas if it were building blocks. "
MIKAEL JACKSON born in 1972. He has a studio in Copenhagen and is working at the Danish Art Academy of Design (KADK). EDUCATION Royal College of Art, London, MA Ceramics, UK 2006-08. Konstfack, Stockholm 2005-06. Design School Kolding, BA 2002-05. EXHIBITIONS “Danish Contemporary” Lacoste Gallery, Boston USA 2016. "WORK OF ART", solo, Odder Art Club 2015. Copenhagen Ceramics, duo; "Bright", Gallery R2, Svaneke 2014. "Architectonics" solo, Ann Linnemann gallery; "Biennale Internationale de Vallauris", FR 2013. Puls Contemporary Ceramics; "Inhabitants", Copenhagen Ceramics; "Heliotropes" Ann Linnemann Gallery 2012. "Phoenix Landscapes", Aarhus; Gallery Covenants, Invited by Cramer & Tillitz, Kolding; "Biennial of Craft & Design," Kolding Castle 2011. "Across" New Tap, Carlsberg; "Moving in with Inhabitants", Jantzens Hotel; "Kristine Tillge Lund Invites ..." Puls Contemporary Ceramics, Belgium 2010. GRANT Danish Arts Foundation 2013.

OLE VESTERLUND DK - Pot Mus
"Objects as carriers of human culture, identity and history. Form, colour and expression serve a decorative synthesis of the work's subjects, while the refinement and expressions are set against the crude, balancing and voluminous shapes. My works are based on craft art's archetypes, body and toys.
The piece 'Pot Mus' appears between the decorative spacious object and a vase and free form. It is linked to emotional characters where 'owned' object besides its functional nature of the vessel has more value, is a creature to live with and having an emotional and experiential connection. Like the objects that become part of the child's play and 'toy family' is Pot Mouse a 'living' family member in the objects' world - for better or worse.
By working with two-sided statements I challenge the viewer through works that are at once seductive and endearing at the same time challenging and questioning. The viewer explores and forms own images and interpretations ."
Mixed media: Glazed earthenware, decoration and plastic beads.
OLE VESTERLUND born 1971 in Denmark. EDUCATION The Danish Design School 2008. SELECTED EXHIBITIONS "Cone Box Show" NCECA, Kansas 2016 "Aquarium", Ann Linnemann Gallery 2015 "Palais Ideal" Museum Jorn, Silkeborg 2014. "Orders" Copenhagen Ceramics 2012. "How queer everything is today " Råhuset and" Spring Exhibition " Charlotteborg 2006.www.olevesterlund.dk

PHILIP RAGAN USA - Trollz & Chatterbox
”My pieces blend social commentary with satire while utilizing playful references to culture.
I explore the relationship between how we play and how we live… - identify trends in the evolution of toys which I find intriguing and then try to connect them with trends I see in culture and society… - recognize the duality of toys and play shaping self-identity and influencing how we live our life.
My intent is that each piece brings awareness to specific connections between life and play while evoking a sense of nostalgia in the viewer.
Through social commentary and re-appropriation of toy references, I address themes of social interactions, polarization of gender identity, and technology as they impact early development.
I am inspired by walking down aisles in toy stores and comparing what I see with what I played with as a child.
I look for toys that catch my eye and ask myself what makes me want to play with them.”
TROLLZ address the extreme polarization of society’s ideal body image by taking an androgynous toy and giving it the stereotypical versions of gender depicted in action figures and dolls.
Porcelain, glaze, luster, found objects - 2015 (photo: Philip Ragan)
CHATTERBOX augments a classic toy by referencing the amount of technology in today’s toys.
Stoneware, underglaze, glaze, transfer, wood - 2015 (photo: Wesley Smith)

PHILIP Ragan born in 1989, Mitchell, South Dakota, USA.
EDUCATION Southern Illinois University of Carbondale, 1st year MFA program, BFA University of North Dakota 2016. EXHIBITIONS "What Goes Bump In The Night" - Clay Arts Vegas, Las Vegas, Nevada 2016. "Cup Show" - Clay Arts Vegas, Las Vegas, Nevada 2016. juried Student Art Exhibition - University of North Dakota, Grand Forks, North Dakota 2016,12,11.


SANDRA TRUJILLO USA – Toy Sample
“The porcelain bust's dot-to-dot pattern is a fun game for children to learn a string of numbers and simultaneously create a visual image. Here the character is confused by the game. They are separated into two pieces at the neck. The busts are few of several art pieces that were a humorous look at the self. My work oscillates between senses and expression.
The distinctive or special may be the patience expressed in the hand decorated form, where color and humor appeal to an audience. The stories that we tell inspires me.
Slipcasted porcelain forms, handpainted overglaze enamel decoration with mother-of-pearl luster.”
SANDRA TRUJILLO born in 1967, Vallejo, California, USA. EDUCATION University of California at Berkeley BA religious studies; University of Colorado in Boulder, MFA ceramics. SELECTED - Portugal: Foundation OBRAS 2017,13,10. Zentrum für Ceramics Berlin, Germany 2015. Georgia College, Professional Faculty Research Leavenworth 2012 - Holland: Foundation OBRAS. Portugal: Foundation OBRAS. Anadolu University, Eskişehir, Turkey 2011. Fulbright-Hays Group Projects Abroad Program: Czech Republic and Hungary 2009. NICHE - American Craft Council 2009. Watershed for the Arts, New Castle, ME, Fellowship & residency 2006. Quarry Tile Co. Spokane, WA , Artist in Residence & Fellowship 2004. Archie Bray Foundation for the Ceramic Arts. Helena, MT 2002-04. Lilian Fellowship 2002-03. Guldagergaard International Ceramic Center, DK 2002. Mendocino Art Center, CA 2002.

STEN LYKKE MADSEN DK - Car Produktion

The exhibition pieces fantasize on the car, playful toy and an amusing erotic 'family car'.
Sten Lykke Madsen is known for his fabulous, humorous characters, the subtle way leading the viewer into a different world of hybrid between animal and human. He address with inexhaustible imagination and humour new forms and marks to give the viewer new experiences.
STEN LYKKE MADSEN born in 1937. EDUCATION School of Applied Arts _ 1954-58. EMPLOYEE the Bing & Grondahl and Royal Copenhagen 1962-2003, guest teacher Kolding School of Design 1981-2005. TRAVELS eg. Japan 1979 and 2006. ARTIST-IN-RESIDENCE China 2004 International Ceramic Research Center, Guldagergaard from 2003. COUNTLESS EXHIBITIONS in Denmark and abroad: Retrospective solo exhibition Clay Ceramics Museum 2016. Gallery Nørby 1999. Charlottenborg 1975. Puls Contemporary Ceramics, Belgium 2010, SOFA Chicago 2005. Ceramic Ways Exhibitor and Co-founder since 1985 Anniversary Exhibition, Sophienholm 2015. Concorso Internazionale della Ceramica, Faenza, gold winner 1975, 1967. WALL DECORATION Sølvgade 1993 Vesterbrogade, Copenhagen 1978. FOUNTAIN Store Torv, Holstebro 1986. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award and many others.

SØREN THYGESEN DK – Twisted
"The project is about to wiggle/ twist the known symbols from our daily lives. The twist starts and ends in the same shape/symbol. From A to A, occurs conoid shapes that are a kind of natural and organic geometry.
In my studio and at the Tommerup Workshops, I like the feeling of finding something - constantly looking for something that I can use and refine. For example, the idea that arose with the cutting machine, the simple joy of the clean cut with a cutting wire.
I have worked with the twisting maschine in a childish world of recognizable shapes like heart, duck, cartoon characters, speech bubbles, etc.. A tour of the 'wringer' leads to abstract vase forms."
SØREN THYGESEN graduated from Kolding Design School 1987. Own studio since 1987. Employed by Kähler Ceramics, Næstved 1996-2000 designer for Kähler 2007. Associated the Tommerup Ceramic Workshop since 2000 .. EXHIBITIONS Biennale of Craft and Design 2016. The Morsø Art Association 2009. Politiken Talent Award 2008. Charlottenborg Spring Exhibition 2008, 05, 04, 03. Autumn Art Exhibition 2006 05. Gallery Nørby 2005. Funen Art SAK 2004. Danish Ceramics Triennial, Trapholt 1994. GRANTS Danish Arts Foundation work grant 2001, 2000, 2016. Ole and Yelva Nimbs Fund, honorary award 2004. Ole Haslund Award 1989. Krøjer's Foundation 1987 AWARDS 1st prize Biennial for Craft and Design 2016, Danish Ceramics Triennial Trapholt 1994, Danish Arts Foundation 1993, the exhibition Jutland Roots Aarhus 1990.

THEIS LORENTZEN DK – Sprue for Two??
"To materialize mental space - creating works that crystallize space and conditions as they are available and not only exists in us, but between us. To make the mental space possible to reach with words, possible to share.
"Sprue for Two - DIY is a humorous commentary on the mass-produced one-off and pseudo-creative do-it-yourself kits. I have transformed the typical dinnerware porcelain or 'burger-set' in to an absurd utopian assemble-yourself tableware set.
I combine the efficiency and industrial design language of slip-casting with the template-based creativity in kit form and the indomitable can-good spirit in do-it-yourself mentality. I combine and blend the handmade and unique with elements of industrial techniques, prefabrication and informative instruction manuals."
THEIS LORENTZEN born in 1973. EDUCATION Royal College of Art, London (2016-). Danish Design School, Bornholm BA 2009-12 (KADK). Kerteminde art school 1998-99, Nic. O. Schmidt bronze foundry 1999. Precious metals Francois Deletaille 2000-07. SELECTED EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, Boston USA 2016. Ann Linnemann Gallery 2014. Grønbechsgard 2010,12 and Formland 2011, Graduation Exhibition Bornholm Art Museum and School of Library 2012; Upcoming Designers (Formland) 2012. ASSISTANT for A.Tophøj 2012 (Elite Folklore - Copenhagen Ceramics), Ole Jensen 2012 (Form & Fantasy), Anne Tophøj & Steen Ipsen 2011 (Extrudox A/S - Ann Linnemann Gallery) TEACHER Denmark Design School, Bornholm 2012-13, Kofoed School and AOF-school 2013; - EMPLOYEE at Ditte Fischer 2013, Product design for Kähler Ceramics 2013.

ULLA BECH-BRUUN DK – Hysteria I
HYSTERIA is a series of casts of toys put together to form a hybrid; a roaring tyrannosaurus head on a stylized, 'perfect' female body with movable arms, legs and visible, almost Frankenstein's metal joints. Sculptures arranged on wooden boards in small tableaux, each steeped in, yes - hysteria. A mental state arising out of the womb. Hysteria explores with a 'blink of the eye' this particular female state.
Sitting 'Hysteria I' surrounded by tiny teacups. Cast porcelain, metal and leather on wooden board. "
ULLA BECH BRUUN born in 1979, Tórshavn, Faroe Islands. EDUCATION Royal Danish Academy of Fine Arts MFA 2012. Master of Psychology, University of Copenhagen 2006. SELECTED EXHIBITIONS 'Transfer' Eurohíd Foundation & Hungarian National Museum - Esztergom Castle Museum Rondella Gallery, Budapest, HU 2016. 'Its CLAY' Ann Linnemann Gallery 2015. 'Zimmer Frei' Koldinghus, 'Form Language' Ann Linnemann Gallery 2014. 'Trusted doubt' Vejen Art Museum,'SKIN' w. Mikkel S.Andersen BKS Garage Copenhagen, 'Landscape/Mind 'group w. Francois Top and Timo Andersen NEXUS Aabenraa 2013. 'Pupae' solo in co-operation Copenhagen Philharmonics Radio Concert Hall 2012. 'Departure 2012' Royal Danish Academy of Fine Arts Nikolaj. 'Konstance Luns Cabinet' solo Gallery Q 2011. 'Images Between Man' Rohde Contemporary DK 2010.www.ullabech-bruun.dk

URSULA MUNCH-PETERSEN DK – My Doll's Tableware

Ursula Munch-Petersen exhibits her 'Doll's Tableware'. The small individually modelled figures on teapot lids reflect the youngest children's pleasure in discovering the world. The exhibition includes parts to the doll set; and the gallery also sells other of Ursula's functional wares from her studio. She has created numerous pieces for everyday use, experiments and prototypes for the design of industrial or workshop production, as well as unique works and public commissions.
Many know LÆRKE STELLET and URSULA - dishes, bowls, cups and jugs of strong colours and distinctive characteristic forms.
URSULA MUNCH-PETERSEN was born in 1937 on the Danish island of Bornholm. After an active life as a craftsman and designer travelling, teaching and exhibiting in Denmark and abroad including Latvia, Lithuania, Ukraine, USA, Mexico and China, she has now studio and lives in Copenhagen and the island of Møn. EDUCATION School of Applied Arts 1956-60. EMPLOYEE Artist studio Bing & Grondahl 1961-68 and since designer for Royal Copenhagen, Kaehler. COUNTLESS EXHIBITIONS & GRANTS Danish Arts Foundation, Nationalbankens Jubilæumsfond, Bindesbøll Award, Ole Haslund Artist Grant, Arts and Crafts Council, Knight of the Dannebrog .. SELECTED WORKS 'Mit Dukkestel' 2003 'Ursula' Royal Copenhagen 1992 Lærkestellet 1994. COMMISSION 'Timetable' for Hærvejen, Jutland 2010.

VIBEKE RYTTER DK - The Journey to America
”I work in the area of architecture and ceramic installation, space and object from 2D drawing to 3D modelling in clay, which are fired several times and eventually combined with digital drawings/photos via transfer in ceramic colours. Image symbol: Journey to America - Journey and hope for the new country. Economic crisis in the USA = roadworks. People move from their homes, can not afford the rent, and living on the road in the camper/tent -basal living conditions. Traffic lights = stop and live otherwise. Reduction of speed, momentum in our ways of life that bothers stress. Back to basic ways of life/slow-living."
VIBEKE RYTTER was born in 1967. EDUCATION The Danish Design School, ceramics & glass 1986-90 and the Royal Danish School of Architecture in Copenhagen 1997-04. In 2001-02 she was a guest student at the Academy of Fine Art by Professor Morten Stræde, - and from 2011 conducting a research project 'Glazed Lightweight-Construction Components' at the Danish School of Architecture and the Technology Institute. She has received several travel and work-grants from the Danish Arts Foundation, Beckett Foundation and National Bank Jubilee Fund. She has travelled and studied in the United States, Cuba, Russia, Greenland, Iceland, the Faeroe Islands, Italy, Tanzania ... - and participated in several exhibitions in Denmark and abroad. solo at Ann Linnemann Gallery 'Gentrification' 2015.www.Vibekerytter.dk

EXHIBITION CALENDAR 2017

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For pieces in the gallery collection - LINK: COLLECTABLES
(Program - subject to change)

3 - 24 JANUARY TOY - The Gallery is open by appointment - Office closed.

2 FEBRUARY – 3 MARCH DIALOGUE - Love Difference - Danish/International
This exhibition focuses specifically on diversity
- contrasts and relationships between pieces in the collection, current and new arrivals.
Thoughtful combinations, hidden or unknown harmonies, dialogue between tradition & contemporary, nature & culture, decoration, pattern, image.. - bearing in mind the current world situation.
Photos: Market place, Italy - Amare le differenze - neon signs, all languages.

9 MARCH – 22 APRIL NEW VIEWS - Ann Linnemann DK
More information follows..


27 APRIL – 10 JUNE CLASSICS - Kirsten Coelho AU & Steven Rolf USA
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15 JUNE – 19 AUGUST VOCIFEROUS VOID – Topographies of The Obsolete
Karen Harsbo DK, Neil Brownsword UK, Anne Helen Mydland N



24 AUGUST – 15 SEPTEMBER MORE THAN VESSEL - Hans Munck Andersen DK


21 SEPTEMBER – 21 OCTOBER NATIONAL ANATOMIC ATLAS Sophus Ejler Jepsen DK


26 OCTOBER – 25 NOVEMBER NATURALLY Marianne Nielsen DK


1–23 DECEMBER A WORLD CUP.. - Danish/International OPEN CALL !
OPEN CALL! - A World Cup'. More information follows..
APPLICATION Deadline 20 SEPTEMBER 2017.
Please send: APPLICATION FORM

New opening hours in December.. (closed between Christmas and New Year)



DIALOGUE - Love Difference Feb-Mar 2017

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DIALOGUE Amare le Differenze - Love Difference
Exhibition 2 February - 11 March 2017
Opening reception Thursday 9 February at 16-19.00
About love for diversity.. - ceramic pieces set in dialogue.
The exhibition focuses on variety - contrasts and relationships between pieces in the collection, - previous and newcomers.
A display of thoughtful combinations, hidden and unknown harmonies, dialogue between tradition and present, nature and culture, figure and raw material - form, pattern, decoration, image..

Keeping in mind the current world situation, the pieces invite the viewer on a journey into new stories of various expressions - on the motives endless ways for finding their own clues.
AMARE LE DIFFERENZE
LOVE DIFFERENCE
ATT ÄLSKA OLIKHETER
AT ELSKE FORSKELLIGHED
A market building in Italy shows off its peaceful message in neon lights.
Enlightening in all languages stands the old building as an important landmark for a message that is well worth holding on to.
- What is national identity, closed borders and fear of dissimilarity worth it compared to the value of diversity?
- How do we maintain this value if we can not embrace differences?


Throughout history, people has always crossed boundaries out of interest for commerce or adventure, for curiosity or advance, escape from war, hunger and poverty or simply for survival of its kind or the family.
It is impossible to shut down in a world where so many have access to all knowledge and information.
The picture is evident in contemporary art, where the international World order is challenged and constantly in movement.
The exhibition is a comment on Global diversity - in ceramic materials.




Playing by Different Rules
Rules are negotiated in Lotte Westphael's dominoes in porcelain.


The exhibition presents combinations of various different pieces:
Karen Bennicke & Heidi Hentze, Anne Fløcke & Esben Klemann, Hans Vangsø & Ole Vesterlund, Anne Mette Hjortshøj & Sophus Ejler Jepsen, Christina Schou Christensen & Marianne Nielsen, Kurt Weiser & Mikael Jackson, Marianne Krumbach & Samuel Chung..
- and a colourful collage of objects made by: Akio Takamori, Bente Skjøttgaard, Charlotte Thorup, Esben Klemann, Inger Heebøll, Kirsten Christensen, Kirsten Høholt, Kirsten Justesen, Lis Biggas, Lotte Westphael, Louise Sidelmann, Malene Müllertz, Mariko Wada, Martin Bodilsen Kaldahl, Per Ahlmann, Sandra Trujillo, Sten Lykke Madsen, Stephen Bowers, Søren Thygesen, Theis Lorentzen, Ursula Munch-Petersen, Vibeke Rytter, Ulla Bech-Bruun..

The gallery also features a large international collection of ceramic art: Ann Linnemann, Asger Kristensen, Barbro Åberg, Bente Hansen, Dorte Kristoffersen, Elisa Helland-Hansen, Gerd Hiort Petersen, Gunhild Rudjord, Gunhild Aaberg, Helle Hove, Inge Lise Koefoed, Jonathan Keep, Karen Harsbo, Kim Holm, Kirsten Coelho, Lea Mi Engholm, Lis Ehrenreich, Lisbeth Holst-Jensen, Lone Borgen & Stephen Parry, Lone Skov Madsen, Lotte Westphael, Louise Birch, Louise Gaarmann, Marek Cecula, Mette Augustinus Poulsen, Mette Marie Ørsted, Morten Modin, Neil Brownsword, Nina Malterud, Ninna Gøtzsche, Pernille Pontoppidan Pedersen, Prue Venables, Richard Shaw, Sophia Nuske, Ueda Mayu, Vibeke Krog..

BIOGRAPHIES – Alphabetic by first name

ANNE FLØCHE (b. 1952) was educated at the Jutland Art Academy DK 1973-78. She has exhibited several times in Denmark: Sophienholm, Design Museum Denmark, Trapholt Art Museum, Denmark's International Ceramic Museum.. and internationally at museums and galleries in Sweden, Germany, England, France, USA, China and SOFA/USA og COLLECT/London. In 2015 also at Hu Gallery, Nagoya, Japan. PUBLIC COLLECTIONS Danish National Art Foundation, National Art Foundation Sweden, Design Museum Denmark, NY Carlsberg Foundation, Trapholt Art Museum, Denmark's International Ceramic Museum – Grimmerhus, Ulster Museum of Fine Arts, Sieg Collection – Pennsylvania, Scandinavian Embassy – Berlin.. AWARDS Ole Haslunds Arist Grant, Denmark's National Bank's Anniversary Fund, Danish National Art Foundation, Beckett-Foundation, Højgaard's Foundation..
RESIDENCY AWARDS Danish National Studios for Arts and Crafts- Gl.Dok Architecture Centre DK 2004,07, The Danish Institute in Damascus 2006, San Bao International Ceramics Centre - China 2009.. www.annefloche.dk

ANNE METTE HJORTSHØJ (b. 1973) www.goldmarkart.com - EDUCATION Royal Danish Art Academy, Bornholm 1997–2000. SELECTED EXHIBITIONS Chawan Expo, Hemiksen, Belgien, SALT, Keramisk Center Höganäs, Sweden 2015. Japanism, Bornholm Ceramic Museum, Hjorts Fabrik, Denmark 2014. International Chasabal Festival, Mungyeong, South Korea 13, 12, 11, 10, 09, 08. Contemporary Ceramics Gallery, Israel 2013. SOGO Tokyo, Japan, “Three Cups”, Vessels for Tea, Dragon Tearoom and Gallery, Colorado, USA, Solo show, Goldmark Gallery, Uppingham, England 2012. Japan/Bornholm, Galleri Vang, ”Next Generation”, Palæfløjen, Roskilde, Denmark 2011. ”Wall of Fame”, First Decade, Selected Graduates, DKDS Bornholm, Ganjin Celedon Festival, International Ceramic Artist Exhibition 2010. LECTURES/WORKSHOPS 2nd European Woodfire Conference, Skælskør Denmark 2015. Tel Aviv Museum, Israel 2014. International teabowl festival, Mungyeong, South Korea 2013.

BENTE SKJØTTGAARD was born in Danmark 1961. She lives and works in Copenhagen. www.skjoettgaard.dk
EDUCATION Kolding Design School, Kolding Denmark 1982-86. Bezalel Academy of Arts and Design, Jerusalem 1985. JURY Biennale Internationale de Vallauris 2014, Frankrig. Co-manager, Copenhagen Ceramics, Smallegade 46 Frederiksberg, 2012- . SELECTED SOLO EXHIBITIONS Galerie Pierre Marie Giraud, Bruxelles, ”Cumulonimbus” Copenhagen Ceramics, Frederiksberg DK 2014. ”Aire de Repos” Galerie Maria Lund, Paris 2013. Bodil Manz and Bente Skjøttgaard: “Cuts and interventions”, Copenhagen Ceramics 2012. ”Fokus on Traces” Vejen Art Museum, Vejen DK, Puls contemporary ceramics, Bruxelles 2011. ”Dans le nuages” Galerie Maria Lund, Paris, ”Cumulus” Ann Linnemann Gallery 2010. ”Traces” selected by the Danish Art Foundation, Project 'Hærvejen'

BIRGITTE CHRISTENS born in Denmark in 1982, lives and works in Copenhagen. EDUCATION Master Degree HDK 2007-09, Bachelor KHiB 2004-07, Exchange CSM, London 2006. SELECTED Danish Arts Foundation Work Grant 2016. Charlottenborg Spring Exhibition, `Blue Legs` 2016. Danish Biennial of Crafts and Design 2015. EKWC artist in residence, Netherlands 2015. www.birgittechristens.dk

CHARLOTTE THORUP was born in 1973. Graduated from the Glass & Ceramics School - Bornholm (Now KADK) 2000. SELECTED EXHIBITIONS 'Danish Contemporary' Lacoste Gallery USA 2016. Arts&Crafts Award, Officinet 2015. Unique Ceramics, Køge; New Meets Old, Hiorts Factory, Ronne; Lust structures, R2 Gallery, Svaneke; Fantastic Tales, Ceramic House, England 2014. Definition, Finland 2013. Danish National Museum 2012. The Next Generation, Roskilde 2011. Wawerhythmfold Gallery Klejn, Bornholm 2010. LandMarks, Flow Gallery, London 2009. Ann Linnemann Gallery: A touch of .. 2011, Behold 2012, Form Language 2014, solo 2016. www.charlottethorup.dk

CHRISTINA SCHOU CHRISTENSEN was educated at the Art Academy Design school Bornholm 2012. She has participated in several juried exhibitions Spring Exhibition Charlottenborg and received Awards including the Danish Art Foundation. She participated in the exhibition MindCraft at Design Museum Danmark and in Milan, 2016. www.christinaschouchristensen.dk

ESBEN KLEMANN was educated at the Royal Danish Art Achademy in Copenhagen. He is known for his sculptural and architectural art work. Two Concrete Barriers, Vanløse Culture Centre – Entrance at Paschal, Denmark A/S, AArhus 2010 – Concrete Element, Bornholm Art Museum 2009 -'Step Elements' Eventyrhaven Odense County 2008 – Concrete Elements, Technology Institute, Tåstrup - 'The Bank' outdoor ceramic relief at parking building, Miami USA 2007. Recent exhibitions: 'Sculpture by the Sea'Århus 2011, Solo Exhibition, Agallery and 'Across' Tappehallerne Carlsberg, København 2010. Honorary Award, The Arts Foundation of 1973 for painters and sculptors – The Danish National Art Foundation, Fine Art Department. www.esbenklemann.dk

HANS VANGSØ has been exhibited internationally in Europe's leading galleries: Gallerie Besson, London 2004,09; Meister der Moderne, Munich 2013; Oxford Ceramics Gallery 2013,14; Galerie Puls, Brussels 2011; Atelje 42, Stockholm 2011; Collect, Victoria and Albert Museum, London 2006,07,08; Scottish Gallery, Edinburgh 2012; Sigtuna Museum, Sweden 2001; From the Kilns of Denmark, New York, 2002, Berlin 2004, Paris 2004; Oakwood Gallery, Nottingham, England 2004; Carlin Gallery, Paris 2005; Kaolin, Stockholm 2006; Gallery Pagter, Kolding 2013; Ann Linnemann Gallery, Copenhagen 2008,15; and Snyderman Galleries, Philadelphia USA SOFA 2007,09; Gallery Lacoste, Boston 2012,14 ...
He is represented in Danish and international collections: the Design Museum Denmark, Danish Arts Foundation, Trapholt Art Museum and the Denmark's Ceramics Museum etc..
www.hansvangsoe.dk

HEIDI HENTZE was born in 1975. EDUCATED Glass and Ceramics School - Bornholm (Now KADK) 2006. SELECTED EXHIBITIONS Ann Linnemann Gallery: "GEOMETRY OF MATERIAL" solo 2016, "MASTER PIECES Miniatures" 2013, "FRAGILE" 2012. ”Danish Contemporary” Lacoste Gallery, Boston, USA 2016. The "Biennale of Craft and Design 2013" and "SEA" ACAB's 10-year anniversary, Round Tower, Copenhagen. "Form.Frei" Gottorf Castle, Schleswig, DE. "59th Premio Faenza", International Competition, Italy. "Ceramics of Europe" European Parliament, Strasbourg, FR. "10th International Ceramics Competition, Mino," Japan. "13th Westerwald Prize ", Höhr-Grenzhausen, DE. "COLLECT", Saatchi Gallery, London. "Fantastic Tales" Brighton, UK 2014. Art Festival 2013 Funasaka, Japan. "Collect in the Country in 2013," Cultural Connections, UK. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award, OJD Foundation.. www.heidihentze.dk

INGER HEEBØLL born in 1969. EDUCATION Danish School of Design 1998. SELECTED Arts and Crafts Award, Bronze Medal 2016. "2016 International Cone Box Show" Kansas City. Biennial of Craft and Design 2015. Carlsberg, Work Grant Danish Arts Foundation 2015. Biennial of Craft and Design in 2013, nominated for the Biennial Prize 2013. "The Artists Summer Exhibition" Tistrup 2011, "Fabula - Nordic Baltic Ceramics" Art Centre, Tarbekunstimuuseum -Tallinn, Bryggens Museum - Bergen, "VK Exhibition" Lerchenborg, Kalundborg, 2nd prize 2001. "YoungCeramics.dk" CLAY Danish Museum of Ceramics 1999.
http://www.danskekunsthaandvaerkere.dk/kunsthaandvaerker/inger-heeb-ll

KAREN BENNICKE exhibits in Denmark and internationally. She works thematic with sculpture, wall objects and architectural commissions. She is a member of the Danish Fine Artists Association - BKF (Billedkunstnernes Forbund), the Danish Artist Society (Kunstnersamfundet) and International Academy of Ceramics – IAC. www.karenbennicke.dk

KIRSTEN HØHOLT born in 1979. Educated at Bath Spa University (ceramics) Somerset UK 2000-04. MEMBER of Formateket since 2008 and The Danish Arts and Crafts Association since 2012. ARTIST-IN-RESIDENCE La Muse, France; 'Network Europe', International Ceramic Centre DK 2004; Workshop at Mark Smith, UK 1999. GRANTS Danish Arts Foundation 2015, Obel Family Foundation 2002. EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, Boston USA 2016. Ann Linnemann Gallery: 'Throwing the case' 2014 'Masterpieces' 2013. 'Formateket' 2010; 'New designers', London 2004. Jug Exhibition, Blaze, Bristol 2006. 'Young Danish ceramics' Gallery Rasmus 2009. 'Network Europe' International Ceramic Museum CLAY 2005. www.kirstenhoholt.dk

KIRSTEN JUSTESEN was born in 1943. She currently lives and works in Copenhagen.
She attended the Royal Academy of Fine Arts, Copenhagen, Sculpture and Mural Department, and holds an BA in Art Theory. She has been a visiting professor frequently lecturing at the departments of Art, Theatre and Language at universities and art schools in Scandinavia the USA, and the Middle East.
Rutgers University, New Brunswick USA, sup. professor at The Royal Academy of Fine Arts, Stockholm, 1994. BEZALEL The Academy of Fine Arts, Jerusalem and The Academy of Fine Arts Umeå, Sweden, Bergen and Oslo, Norway. www.kirstenjustesen.com

KURT WEISER was born in Michigan 1950, lives and has his studio in Arizona and Montana, USA.
EDUCATION Interlochen Arts Academy, MI, 1967-69; Kansas City Art Institute, MO, BFA 1972; University of Michigan, Ann Arbor, MI, MFA 1976.
AWARDS Aileen Osborn Webb National Artist Award, 2003; American Craft Council College of Fellows, 2003; Arizona Commission on the Arts, Artist Fellowship, 1999; National Endowment for the Arts, Artist Fellowship, 1992, 1989. USA Artists Fellowship 2012.. SELECTED COLLECTIONS Victoria and Albert Museum; the Los Angeles County Museum of Art; Carnegie Museum of Art; Museum of Contemporary Ceramics, Shigaraki, Japan; Mint Museum of Craft and Design; Racine Art Museum and the National Museum of History in Taipei.

LOTTE WESTPHAEL born in 1965. EDUCATION Design School in Kolding, ceramic artist 1988-92 and the Department of Unique 1992-93. SELECTED "Dead Pigs Laughing" performance and solo exhibition Kählers workshops. "Syncope vase" Charlottensborg Spring Exhibition 2016. Danish Arts&Crafts Award, bronze medal 2016 exhibited in Officinet and the Danish Cultural Institute, St. Petersburg. Winner "Across" and "To wrap a package" Skals Design and Crafts School 2016, 2013. "Villvin Award" Arts and Crafts Fair 2016 Risør, Norway. Synkoper, Lerverk, Gothenburg 2016. Study travel to studios in Japan. Project funding, Danish Arts Foundation: "[Albers] translated into transparency" with reference to Josef Albers colour theories and graphic works, and Anni Albers woven textiles, 2017. www.westphaell.dk

MALENE MÜLLERTZ was educated at Kunsthåndværkerskolen 1965-70, employed artist at Bing & Grøndahls Porcelainsfabrik 1970-73, Art Academy Architect School, industriel design 1973-75, artist at Royal Copenhagen 1977 and 82, own studio since 1975. She is a member of Danish Artist Association and 'Keramiske Veje'. CV – www.malenemullertz.dk

MARIANNE NIELSEN graduated from the Kolding School of Design 1999, in 2012 she received the Danish Arts Foundation's three-year Artist Award. Selected exhibitions: 'Lunch of the green', solo exhibition, Shop for Tableware, Copenhagen - 'Mind Craft', Milan Design Week, Milan, Italy 2014 - Biennial for Crafts and Design 2013, the Round Tower - 'Terres. Copenhagen Ceramics Invites .. 'Galerie Maria Lund, Paris, France 2013 -' all Elite Folklore 'with Anne Tophøj, Copenhagen Ceramics, Copenhagen 2012 - Martin Bodilsen Kaldahl Invites ..' Puls Contemporary Ceramics, Brussels, Belgium - 'Across' New Tap, Carlsberg, Copenhagen 2010 Artist residency at the Danish Institute in Damascus 2006, a freelance designer for Kähler Ceramics since 2009, designer at the Royal Copenhagen Porcelain 2001-02.
www.mariannenielsen.com

MARIANNE KRUMBACH was born in Denmark. EDUCATED Designskolen Kolding 1996-2001, Københavns Universitet, Bachelor in Danish and Art History 1991-94. Previously, she exhibited at 'Wild & Vigorous' with Marianne Nielsen. She participated in the exhibition MindCraft at Design Museum Danmark and in Milan, 2016. www.mariannekrumbach.dk

MIKAEL JACKSON born in 1972. He has a studio in Copenhagen and is working at the Danish Art Academy of Design (KADK). EDUCATION Royal College of Art, London, MA Ceramics, UK 2006-08. Konstfack, Stockholm 2005-06. Design School Kolding, BA 2002-05. EXHIBITIONS “Danish Contemporary” Lacoste Gallery, Boston USA 2016. "WORK OF ART", solo, Odder Art Club 2015. Copenhagen Ceramics, duo; "Bright", Gallery R2, Svaneke 2014. "Architectonics" solo, Ann Linnemann gallery; "Biennale Internationale de Vallauris", FR 2013. Puls Contemporary Ceramics; "Inhabitants", Copenhagen Ceramics; "Heliotropes" Ann Linnemann Gallery 2012. "Phoenix Landscapes", Aarhus; Gallery Covenants, Invited by Cramer & Tillitz, Kolding; "Biennial of Craft & Design," Kolding Castle 2011. "Across" New Tap, Carlsberg; "Moving in with Inhabitants", Jantzens Hotel; "Kristine Tillge Lund Invites ..." Puls Contemporary Ceramics, Belgium 2010. GRANT Danish Arts Foundation 2013.

OLE VESTERLUND born 1971 in Denmark. EDUCATION The Danish Design School 2008. SELECTED EXHIBITIONS "Cone Box Show" NCECA, Kansas 2016 "Aquarium", Ann Linnemann Gallery 2015 "Palais Ideal" Museum Jorn, Silkeborg 2014. "Orders" Copenhagen Ceramics 2012. "How queer everything is today " Råhuset and" Spring Exhibition " Charlotteborg 2006. www.olevesterlund.dk

PER AHLMANN - b. 1965, Lemvig, Denmark. EDUCATION Institut for Unika, Designskolen Kolding 1995.
SOLO EXHIBITIONS - Jens Nielsen & Olivia Holm-Møller Museet, Holstebro 2015 - “Scalp” KANT, Copenhagen 2014 - “Checkpoint” Copenhagen Ceramics 2013 - Galleri Pagter, Kolding – m. Cai-Ulrich von Platen 2012 - “Emergens” Danmarks Keramikmuseum CLAY 2009 - “Lir og løgne” Galleri KANT, Fanø 2008 - Galleri Nørby, Copenhagen 2006 - INTERNATIONAL - Contemporary Ceramic Creation, Camard & Associés, Paris 2010,09 - “Biennale Internationale Vallauries” France 2008 - COLLECT international art fair for contemporary objects, London 2007 - Puls Gallery, Contemporary International Ceramics, Brussels 2007 - SOFA Sculpture Objects & Functional Art Chicago 2006. He has received the Danish Art Foundation 3-year stipend. www.perahlmann.dk

SAMUEL CHUNG was born in 1970. He has a Master of Fine Art (1994-97) from Arizona State University, where he has taught since 2007. Samuel Chung has exhibited in the United States, China, Korea, Italy and Denmark. He is active in the organization NCECA, which annually organizes international symposia for teachers and professional potters and ceramic artists in various states in the United States, and he has received several awards, scholarships, guest artist poons and worked as artist-in-residence in China and Denmark.

SANDRA TRUJILLO was born in 1967, Vallejo, California, USA. EDUCATION University of California at Berkeley BA religious studies; University of Colorado in Boulder, MFA ceramics. SELECTED - Portugal: Foundation OBRAS 2017,13,10. Zentrum für Ceramics Berlin, Germany 2015. Georgia College, Professional Faculty Research Leavenworth 2012 - Holland: Foundation OBRAS. Portugal: Foundation OBRAS. Anadolu University, Eskişehir, Turkey 2011. Fulbright-Hays Group Projects Abroad Program: Czech Republic and Hungary 2009. NICHE - American Craft Council 2009. Watershed for the Arts, New Castle, ME, Fellowship & residency 2006. Quarry Tile Co. Spokane, WA , Artist in Residence & Fellowship 2004. Archie Bray Foundation for the Ceramic Arts. Helena, MT 2002-04. Lilian Fellowship 2002-03. Guldagergaard International Ceramic Cen(er, DK 2002. Mendocino Art Center, CA 2002.

SOPHUS EJLER JEPSEN was born in 1971, lives and works in Askov by Vejen,Denmark. EDUCATION Royal Danish Academy of Fine Arts, Copenhagen MFA 2005. SELECTED EXHIBITIONS 'Over The Moat' Sønderskov Castle, 'Not at Home' Brænderigården Viborg and Ringsted Gallery 2015 - 'Miles away & Tanton' Copenhagen Ceramics, 'Regional Concrete' Kongeåen/ Vejen Art Museum and Aarhus Art Building 2014 - 'Sculpturepress.org' John & Olivia Museum Holstebro, 'Forest Someone' Alt_Cph and 'With clay as a hostage' Vestjyllands Kunstpavillon 2013 - Frontier Lands Exhibition Aabenraa 2013,14 - 'Shadow and Mirror' Vejen Art Museum in 2011.. www.sophusejlerjepsen.dk

STEN LYKKE MADSEN was born in 1937. EDUCATION School of Applied Arts _ 1954-58. EMPLOYEE the Bing & Grondahl and Royal Copenhagen 1962-2003, guest teacher Kolding School of Design 1981-2005. TRAVELS eg. Japan 1979 and 2006. ARTIST-IN-RESIDENCE China 2004 International Ceramic Research Center, Guldagergaard from 2003. COUNTLESS EXHIBITIONS in Denmark and abroad: Retrospective solo exhibition Clay Ceramics Museum 2016. Gallery Nørby 1999. Charlottenborg 1975. Puls Contemporary Ceramics, Belgium 2010, SOFA Chicago 2005. Ceramic Ways Exhibitor and Co-founder since 1985 Anniversary Exhibition, Sophienholm 2015. Concorso Internazionale della Ceramica, Faenza, gold winner 1975, 1967. WALL DECORATION Sølvgade 1993 Vesterbrogade, Copenhagen 1978. FOUNTAIN Store Torv, Holstebro 1986. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award and many others.

STEPHEN BOWERS lives and works in Australia. He brings together in his painted ceramic vessels many of the traditions from the history of ceramics. In any one piece, one might find traces of many familiar styles and decorations.
While maintaining a respect for the master techniques, Stephen Bowers' flamboyant and exuberant ceramics combine a classical ceramic heritage with inspiration from indigenous sources and are spiced with dashes of wit. His work is distinguished by intricately painted underglazes which "wear its expertise lightly. He is acknowledged for his detailed pieces, exhibiting in the USA, UK and Australia.

SØREN THYGESEN graduated from Kolding Design School 1987. Own studio since 1987. Employed by Kähler Ceramics, Næstved 1996-2000 designer for Kähler 2007. Associated the Tommerup Ceramic Workshop since 2000 .. EXHIBITIONS Biennale of Craft and Design 2016. The Morsø Art Association 2009. Politiken Talent Award 2008. Charlottenborg Spring Exhibition 2008, 05, 04, 03. Autumn Art Exhibition 2006 05. Gallery Nørby 2005. Funen Art SAK 2004. Danish Ceramics Triennial, Trapholt 1994. GRANTS Danish Arts Foundation work grant 2001, 2000, 2016. Ole and Yelva Nimbs Fund, honorary award 2004. Ole Haslund Award 1989. Krøjer's Foundation 1987 AWARDS 1st prize Biennial for Craft and Design 2016, Danish Ceramics Triennial Trapholt 1994, Danish Arts Foundation 1993, the exhibition Jutland Roots Aarhus 1990. www.sorenthygesen.com

THEIS LORENTZEN born in 1973. EDUCATION Royal College of Art, London (2016-). Danish Design School, Bornholm BA 2009-12 (KADK). Kerteminde art school 1998-99, Nic. O. Schmidt bronze foundry 1999. Precious metals Francois Deletaille 2000-07. SELECTED EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, Boston USA 2016. Ann Linnemann Gallery 2014. Grønbechsgard 2010,12 and Formland 2011, Graduation Exhibition Bornholm Art Museum and School of Library 2012; Upcoming Designers (Formland) 2012. ASSISTANT for A.Tophøj 2012 (Elite Folklore - Copenhagen Ceramics), Ole Jensen 2012 (Form & Fantasy), Anne Tophøj & Steen Ipsen 2011 (Extrudox A/S - Ann Linnemann Gallery) TEACHER Denmark Design School, Bornholm 2012-13, Kofoed School and AOF-school 2013; - EMPLOYEE at Ditte Fischer 2013, Product design for Kähler Ceramics 2013.

ULLA BECH BRUUN born in 1979, Tórshavn, Faroe Islands. EDUCATION Royal Danish Academy of Fine Arts MFA 2012. Master of Psychology, University of Copenhagen 2006. SELECTED EXHIBITIONS 'Transfer' Eurohíd Foundation & Hungarian National Museum - Esztergom Castle Museum Rondella Gallery, Budapest, HU 2016. 'Its CLAY' Ann Linnemann Gallery 2015. 'Zimmer Frei' Koldinghus, 'Form Language' Ann Linnemann Gallery 2014. 'Trusted doubt' Vejen Art Museum,'SKIN' w. Mikkel S.Andersen BKS Garage Copenhagen, 'Landscape/Mind 'group w. Francois Top and Timo Andersen NEXUS Aabenraa 2013. 'Pupae' solo in co-operation Copenhagen Philharmonics Radio Concert Hall 2012. 'Departure 2012' Royal Danish Academy of Fine Arts Nikolaj. 'Konstance Luns Cabinet' solo Gallery Q 2011. 'Images Between Man' Rohde Contemporary DK 2010. www.ullabech-bruun.dk

URSULA MUNCH-PETERSEN was born in 1937 on the island Bornholm. Following has her studio experience on The Hjorts Factory in Ronne and education at the Arts&Crafts School (now: Royal Academy Design school) 1956-60, she was employed at Artist Studios of the porcelain factory Bing & Grondahl 1961-68, and designer for The Royal Copenhagen and Kaehler. She has received numerous grants and awards including The Danish Arts Foundation, Denmark's National Banks Foundation, Bindesbøll Medal, Ole Haslund's Artist Award, Arts&Crafts Council, - is a Knight of the Dannebrog. Following an active life as a craftsman and designer with travelling, teaching and exhibitions in Denmark and abroad among others Latvia, Lithuania, Ukraine, the USA, Mexico and China, she has her studio and home in Copenhagen and at the island of Møn. She designed among others faïence tableware 'Ursula' Royal Copenhagen in 1992, pieces in The Larch Set 1994 - and recent public commission is 'Timetable' for the Ancient Roman Road, Jutland 2010.

VIBEKE RYTTER (b. 1967) Vibeke Rytter graduated from the Danish Design School, ceramics & glass 1986-90 and the Royal Danish School of Architecture in Copenhagen 1997-04.
In 2001-02 she was a guest student at the Academy of Fine Art by Professor Morten Stræde, - and from 2011 conducting a research project 'Glazed Lightweight-Construction Components' at the Danish School of Architecture and the Technology Institute.
She has received several travel and work-grants from the Danish Arts Foundation, Beckett Foundation and National Bank Jubilee Fund. She has travelled and studied in the United States, Cuba, Russia, Greenland, Iceland, the Faeroe Islands, Italy, Tanzania ... - and participated in several exhibitions in Denmark and abroad. www.Vibekerytter.dk

WILD VIEWS - Ann Linnemann Mar/Apr 2017

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WILD VIEWS - Ann Linnemann
Exhibition 17 March – 22 April 2017
Opening reception Thursday 16 March at 16-19.00

Nature meets culture through works of landscape, buildings, windows, views.
The exhibition pieces Views and Forms of Forest refer to cultural and conceptual themes, reflecting painting from the Renaissance till now - and examine the picturesque qualities of ceramic glazes.
Nature representation, pattern and ornamentation are all illusions based on different realities.

VIEWS - Wild Views
The motifs are derived from visual impressions on travels to various places in the world. Everywhere nature breaks out and speaks of the country's culture and history.
This meeting of cultural and visual experiences has left its imprint as reflections on the surface. The horizon draws a line around the form - and the story is experienced spatially from many angles.
- A house facade in Italy at sunset reveals details of the window shutters in long abstract formations. The Middle East is compressed at the Sinai Peninsular as vertically striped rocks. The Amazon river mirrors the dense leaf foliage of the jungle behind the religious mysticism. Manhattan trees in Central Park contrast the city facades. Australia's endless plains are framed by straight lines. China holds a celadon-green forest of bamboo scaffolding. One evening in Copenhagen reflects the shadows of the large trees and bright blue sea.


FORMS OF FOREST - Fragments
The rhythm of trees creates geometric lines. The naturalistic breaks with the systematic. The perspective is dissolved into distances and sizes. The colours are balanced, nuanced and contrasted. The seasons are experienced in simple colour combination and pattern. Consciously and unconsciously creating new stories based on the landscapes of the forest.
The dreamy and inconcrete are hiding in the physical realities of the object.

RENAISSANCE
Renaissance artists mastered painting the nature and landscape as a background in the religious narrative. Some exhibition pieces relate directly to these backgrounds and the method's impressionistic painting, while others reflect on the concept, where two different visions or world views are combined.

PAINTING BACKGROUNDS
The horizontal and vertical meet in my motives. For this exhibition, I have concentrated on the landscape and the forest where the two planes also are combined with a third element, windows or views.
Each theme and motif have been developed through prior research. Previous pieces refer to Pompeian illusion painting, which has led to studies of the Italian Renaissance masters and Golden Age painting, landscapes by Vilhelm Hammershøj, Claus Johansen, Théodore Rousseau, David Hockney and many more. Many motives have derived from personal travels and investigation of a country's history and culture.

MATERIAL CHARACTERISTICS
The complex lies in the picturesque possibilities of ceramic glazes and differences that occur when the 'colour' finally has to be effected by firing, while in the painting process colourless and 'invisible', a greyish chemical pulp which does not float with the paint-brush as oil paint, but rather reacts as in fresco-painting - that is, apart from the unpredictable in the later melting of the colours.
All pieces are glaze painted in multiple layers and then fired several times, until the desired result is achieved.
It is a slow and reflective process where the final work occurs in a constant dialogue with the natural characteristics of the materials, glaze recipes, interaction and densities.
The organic and cylindrical forms are hand-thrown porcelain, painted with alkaline ash glazes, fired at 1280C.

ANN LINNEMANN has studied and traveled all over the world, from Japan to The US and Canada, she is recognized for her professional commitment and ceramic work. She has held several lectures and a guest presentation at the NCECA conference. An increasing interest in the development of ceramics, promotion and international exchange has involved project management of symposiums, seminars as a director of international Ceramic Center in Denmark, exhibitions and gallery activities.
She lives in Copenhagen and works in her studio and gallery, Ann Linnemann Gallery, specializing in contemporary ceramic art, presenting exhibitions by Danish and international artists.
Her art work concentrates on ceramic sculpture and glaze-painted vessel forms with references to historical themes and concepts. She has an interest in the secret layers of meaning. The dreamy and intangible concealed in the object's physical reality, and a dialogue with the viewer through the stories underlying the actual presence. The form language may be complex, often with alteration and further processing of hand-thrown basic form, where a symbiosis of idea, function, form, material and throwing technique is essential.


BIOGRAFI - see link: Biography - Ann Linnemann

IN A NOW - Functional April-June 2017

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IN A NOW - Contemporary Function
Ursula Munch-Petersen DK & Steven Rolf USA
Exhibition 27 April - 10 June 2017
Contemporary art & function.. from pottery to industrial design.
The meeting between Danish ceramic artist designer Ursula Munch-Petersen and a younger American potter Steven Rolf sets the handmade and industrial product in a dialogue on ceramics for everyday use. (Portrait photos: Torsten Cott)

The exhibitors challenge function, design, tradition and the contemporary.
Ursula Munch-Petersen grew up with the Danish design & craft tradition for function, while Steven Rolf relates to American craft and Minnesota ceramics.

They both focus on utility and an idealistic relationship with the user, a high level of conscience and honesty to functional qualities and personal refinement of characteristics with traces of touch of hand and mind.

The excitement is finding interesting contexts in the meeting of the opposite, as in language tracing the wandering of words and meaning, or in the multi cultural to experience common reference points.

Inspiration from Japan and British Studio Pottery towards modern functional ware and contemporary concepts are also presented in the form of Tableau or Still-life of pieces by the Australian and Danish ceramic contemporary artists: Kirsten Coelho, Prue Venables, Anne-Mette Hjorthøj..
The exhibitors are united in their love of form, function and material in spite of distance, expression or cultural differences.

URSULA MUNCH-PETERSEN is acknowledged for her user-friendly design for industry.
From beautiful craftsmanship her work has become industrial design products, - still holding a sense of the handmade.
A honest relationship between touch of hands and use of common sense.

Ursula Munch-Petersen has created a myriad of works, tableware, experiments and prototypes of design for industrial or studio production, as well as unique pieces and public commissions.
Few has as Ursula succeeded in combining new design with craftsmanship.

This exhibition holds a selection of the previously made industrial pieces, which after the industry's quality 'failure' and 'outsourcing' have become valuable collectables, - jugs, plates, sets of bowls from a past Royal Copenhagen production and pieces from Ursula's studio.
The LAERKE tableware and URSULA - dishes, bowls, cups and jugs of strong colours and characteristic forms.



STEVEN ROLF - USA
“As a potter, I make one of a kind functional objects that are meant to be used daily.
I have made a study of making objects that fit ones hand and hopefully engage the users eye, head, and heart as well.

My work celebrates the common daily routine of eating, drinking, storing and pouring.
Beautiful objects have the power to trigger thoughts and emotions. Interesting and beautiful clay pots do this for me because they are made of mud, and mud leaves a trail and a record of the makers touch capturing his or her ideas at the moment of making.
Pots additionally deal with containment. This containment relates to use, the body, volume, space and even containment of ideas as metaphor.

My work employs the physical process of layering which describes a sense of growth of the pot, both inward and outward. The addition and subtraction of the material leave a record of time in the work. Layering of wet clay over leather-hard clay is similar to the transformation of a landscape, such as an eroding riverbed.
As a maker of one-of-a-kind functional objects, I use the premise that I transmit feeling through the subtle touch in working.
My hope is that my pots will be used frequently in the daily routine of those who bring them into their homes and they will build their own connections in the way that they incorporate my work into their lives.”

URSULA MUNCH-PETERSEN - DK
"I have worked with clay and ceramics for over 60 years.
There have been numerous exhibitions along the way, and remains from here have ended up at the loft.
My work has been almost evenly divided between modelled objects and commissions - and tableware.
The one has not engaged more or been more important than the other.
Everyday objects require probably the most if you produce it yourself. With things in production, part of the work is collaboration with place of production and marketing.
For major public commissions, collaboration with studios is needed for extra space and kiln capacity. I have worked at The Tommerup Ceramic Workshop with great pleasure and the same for the National Studios for Arts and Crafts.
From one to the other, experience is new every time a new project arises.”

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of the Ann Linnemann Gallery in 2017.

BIOGRAPHIES

URSULA MUNCH-PETERSEN was born in 1937 on the Danish island of Bornholm. Following her studio experience on The Hjort Factory in Rønne and education at the Arts&Crafts School (now: Royal Danish Academy Design school) 1956-60, she was employed at Artist Studios of the porcelain factory Bing & Grondahl 1961-68, and designer for The Royal Copenhagen and Kaehler. She has received numerous grants and awards including The Danish Arts Foundation, Denmark's National Banks Foundation, Bindesbøll Medal, Ole Haslund's Artist Award, Arts&Crafts Council, - is a Knight of the Dannebrog. Following an active life as a craftsman and designer with travelling, teaching and exhibitions in Denmark and abroad among others Latvia, Lithuania, Ukraine, the USA, Mexico and China, she has her studio and home in Copenhagen and at the island of Møn. She designed among others faïence tableware 'Ursula' Royal Copenhagen in 1992, pieces in The Larch Set 1994 - and recent public commission is 'Timetable' for the Ancient Roman Road, Jutland 2010.
www.ursulamunchpetersen.dk

STEVEN ROLF lives and works as a studio potter in River Falls, Wisconsin, US, creating one-of-a-kind functional pots. His work reflects an ongoing search to unite his ideas with the generosity and the intimacy that the functional pot offers. “I continually play with shape and surface within parameters set by the intended purpose of the pot. These parameters open a world of exploration for me.”
He holds an MFA from the New York State College of Ceramics at Alfred University, a BFA from the Kansas City Art Institute, and a BS in Broad Area Arts from the University of Wisconsin River Falls. He also apprenticed under Wang Hui Ming, a master painter and wood engraver.
He exhibits his work throughout the United States and has received a number of national and international awards. He also lectures and teaches workshops throughout the country. His work resides in noted private and museum collections including: Museum of Contemporary Craft, Portland OR, Minneapolis Institute of the Arts, Minneapolis MN., Ulsan City Museum, Ulsan Korea, American Museum of Ceramic Art, Pomona California, and numerous kitchen cupboards.
www.scrolfpotter.com

VOCIFEROUS VOID June-August 2017

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VOCIFEROUS VOID
Topographies of The Obsolete

Neil Brownsword UK, Anne Helen Mydland N & Karen Harsbo DK
Exhibition 15 June – 19 August 2017
Opening reception Thursday 15 June, 16-19.00

Mindful ceramic-political exhibition on post-industrial contemporary.
The derelict porcelain industry of the West is the focal point for the exhibition.
Three Norwegian-British-Danish artists visualise the relevant theme, philosophies and ideas behind an international collaboration project.

The exhibition shows thoughtful artistic visions and a special survey of the post-industrial landscape and related stories about the Western abandoned porcelain industry, based on a once-famous British ceramic capital, Stoke-on-Trent and the factory Spode, which was the key stone of the city's industrial heritage, acting at the same place for over 230 years, where abandoned buildings now bear witness of catastrophic fluctuations in global success.
www.topographies.khib.no - artists, projects, publications, event archive.

By honing in on the history and singularity of the site, Topographies questions:
- what is, and how ceramic and clay may be understood as both material and subject in contemporary art practice. Can we understand conceive/perceive the material (clay/ceramics) to be a site, to constitute a site? Moreover, how do ceramics and clay form and construct our understanding of the site?


Rapid advances in design and manufacturing technologies revolutionized production, but also led to the simplification and substitution of the people embodied skills.

Cities and people are loosing their specialised skills and functions.
For years, porcelain industry has struggled with fashion in a flux market.
Customers demand low prices, factories replace quality with quantity.
Industries move around the world to find the lowest cost and highest profit.
Large areas in Britain are left with empty buildings and unemployment.
The vest is richest, but surrounds itself with cheap, worthless items.
Slow-living and local production has not yet reached the majority..


NEIL BROWNSWORD examines the legacy of globalisation in relation to Stoke-on-Trent’s ceramic manufacturing sector, and the impact this has had upon people, place and traditional skills. Using film and performative installation he deconstructs and re-orchestrates complex craft knowledge within industrial production to pose questions surrounding the value and repurposing of inter-generational skill.

ANNE HELEN MYDLAND understands Spode's deserted display cases as monuments and echoes of the alchemical processes of transforming dust of bones and minerals into translucent bodies. Deconstructing the foundation of what made the success of Spode and ‘the Potteries’. Pointing to the displayed presence of absence.

KAREN HARSBO relates conceptually to the "Topographies of the Obsolete", based on other materialities than ceramics - actual clothing and shoes from the porcelain industry and reference to the post-industrial global change of work situation - and hereby social issues.


HISTORY - VOCIFEROUS VOID Topographies of The Obsolete
- Exploring the Site Specific and Associated Histories of Post-Industry.
The artistic research project was initiated by Professors Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design, (KHiB) in collaboration with partner universities/institutions in Denmark, Germany, Switzerland, France and the UK.

In 2012 the British Ceramics Biennial invited Bergen Academy of Art and Design (KHiB) to develop a site-specific artistic response to the former Spode Factory in Stoke-on-Trent as a key element of their 2013 exhibition programme, resulting in the exhibition: ‘Vociferous Void’.
The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.

The original Spode Factory, situated in the heart of Stoke-on-Trent, was once a keystone of the city’s industrial heritage, which operated upon its original site for over 230 years.
Amongst Spode’s contributions to ceramic history are the perfection of under-glaze blue printing and fine bone china.

In 2008 Spode’s Church Street site closed, with most of its production infrastructure and contents left intact. The site and its remnants has been the point of departure for the interdisciplinary artistic research of over 50 participating artists, historians and theoreticians over six residencies. It has spurred a program of exhibitions, publications and seminars.

Topographies of the Obsolete is an ongoing framework, formulating topics and research strands which are treated as questions and approaches that are addressed through artistic practice.
By honing in on the particular history and the singularity of this site, Topographies questions: what is, and how ceramic and clay may be understood as both material and subject in contemporary art practice. Can we understand conceive/perceive the material(clay/ceramics)to be a site, to constitute a site? Moreover, how do ceramics and clay form and construct our understanding of the site?
www.topographies.khib.no - artists, projects, publications, event archive.

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design for Project Funding in 2017.

ARTISTS & PROJECT DESCRIPTIONS


KAREN HARSBO has a philosophical and conceptual focus. She is intrigued by ceramic history, routes, roads, mapping, floor plan, buildings, construction, reflection, fractals, signal flags, mirage, intricate map of 'mind', unorthodox mix of material and also works with 3D-printing in clay.
”My pieces for this exhibition relate conceptually to the theme and as a starting point to other materialities than ceramics – such as actual work clothes and shoes from the porcelain industry. The pieces reference the post-industrial global change of work situations and hereby social issues."
The textile context is explained in 'Lunar-labor': http://topographies.khib.no/projects/lunar-labour/
The ceramic parts have photos of work shoes, fired into modelled copies of antique Spode-plates.
Textile and ceramic objects/ picture-plates.
http://topographies.khib.no/participants/karen-harsbo-kdk/

KAREN HARSBO works as associate professor at the Royal Danish Academy of Art's ceramics Laboratory.
Karen graduated from the Danish School of Arts and Crafts (now the Art Academy's design school); but for several years she has had her main interest in the contemporary art world, specializing in ceramic materials, artistic and practical advice to the graduate students.
She has her own artistic practice, exhibitions and commission projects, as well as working as a curator in a very active and productive professional life.
In 2011, she curated (with A.Tovborg) an international exhibition: THE MAGIC OF CLAY – Ceramics in Contemporary Art, Holtegaard Museum, Denmark.


ANNE HELEN MYDLAND
”Spode works had its own collection room; The Art Gallery was a grand room built in the early 1940s specifically for the owners of Spode, the Copeland family, to display their private collection of ceramic ware from Europe, Asia and the Spode factory itself. The interior is lavishly designed with exotic wood panelling and built-in brass framed cabinets, constructed so as to give the illusion of being paintings. This room was for management, board meetings, private and VIP occasions. Parallels with the chambers of curiosity (Wunderkammer) of the 1600s are easily drawn. Now deserted, its collection removed, and in a state of decadent decay, the gallery appeared to be a prime example of the fetishization of the past, a place where only memory resides, and a symbol of the region which still proudly calls itself “The Potteries” though most of the ceramic production is long gone and has moved elsewhere. But the room was not the memory, but more the casing of it.
I have tried to understand these deserted displays- as monuments and echoes of the alchemical processes of transforming dust of bones and minerals into translucent bodies. Deconstructing the foundation of what made the success of Spode- and ‘the Potteries’. Pointing to the displayed presence of absence.”
Spode works: Monuments and echoes (2017) - Fired Feldspar and Stoneware.

ANNE HELEN MYDLAND is Professor of Clay and Ceramics, Department of Fine Art, Bergen Academy of Art and Design, Norway.
Her artistic practise and research explores how private and public narratives and memory functions and are manifested through objects. In montages and installations using found objects and sites, she is explores different ways we perceive, and relate to objects, both as evidence, cultural signifiers and personal relics and souvenirs.
She is initiator and co-project leader of the on-going artistic research project ‘Topographies of the Obsolete- exploring the site specific and the landscape of post-industry’.
http://topographies.khib.no/participants/anne-helen-mydland-khib/
Anne Helen Mydland holds an MA Degree from Bergen Academy of Art and Design (2000), and has since worked as both artist and curator. Mydland has exhibited widely in Norway and internationally, and her works have been purchased for leading collections and institutions, not least for the Museum of Contemporary Art (NO).


NATIONAL TREASURE – by Neil Brownsword
http://topographies.khib.no/participants/neil-brownsword-khibbucks/
"For centuries the transmission of manual dexterity in North Staffordshire’s ceramic industry has remained an intergenerational practice. However the continuity of skill supply to this sector has been severely disrupted over the last three decades, as 10’s of thousands of employees have been displaced following its subsequent contraction.
Rapid advances in design and manufacturing technologies have without doubt revolutionized production, but they have also led to the simplification and substitution of the people embodied skills once needed to sustain product leadership.

Companies that survived the impact of foreign competition have in recent years embraced factory tourism as a means to capitalise on profit. Communities of labour that once coexisted in spaces devised to accommodate the flows of manual production have radically downsized, succumbing to the veneer of the visitor centre experience. In these situations the reality of mass automation and cheap outsourcing is obscured by clever marketing strategies that heighten the hand made/hand decorated to strengthen sales.

Many high-end skills that were once the flagship of renowned manufactories are nowadays deemed as outmoded or economically unviable to accommodate rapid shifts in consumer buying trends. As older tiers of highly specialised labour gradually diminish, there remain few apprenticeships to secure the effective transfer of this knowledge for the future iii.
In an attempt to elevate the status of these threatened or redundant practices the primary objective of National Treasure has been to re-stage the performance of high-end ceramic skill at a variety of loaded locations.

The work has involved the hire of a small group of china painters – Peter and Marie Graves and Anthony Challinor, once employed by renowned manufactures that include Spode, Royal Douton and Coalport. These remain amongst the last generation of china painters in Stoke-on-Trent whose profession has gradually been displaced by the changing tides of fashion and by ceramic print technologies for mass production.
Although National Treasure parodies museological and factory tourist models of the ‘artisan on display’, there are numerous factors that distinguish this work from these traditional formats.

To amplify tension points that subvert passive spectatorial consumption, the china painters were set to work in a post-industrial context amongst the wreckage and disorder of the former Spode factory. Separated behind glass as they plied their skills the viewer is confronted with an ethical burden that evokes both admiration and discomfort. Objectified as ‘exhibits’ themselves against a backdrop of abandonment and destruction, serves a poignant reminder to the industry’s recent economic downturn and human fallout.
Whilst in residence the artisans were instructed to paint on the backs of damaged and discarded plates found on-site at the Spode factory, with imagery that aped 18th century ceramics’ romanticization of British ruins.
Though depicting picturesque decay was not the objective. Spaces where painters would traditionally assign their personal insignia to indicate their identity and pride in their workmanship, were instead graced with images documenting the ruination and post-industrial wastelands of Stoke-on-Trent.

Apart from my request of a monochromatic or full colour painted facsimile of the supplied photographic imagery, it remained key that the painters were free from interference to retain their aesthetic identity. Working within their own structures for as much or as little time as they liked, each artisan would occupy the space intermittently, dissolving the hierarchical relationships between employer and employee. In their absence, the vacant but illuminated workspaces together with the residues of half completed vignettes and palettes of colour only added to the works metaphoric ‘presence’.

Paradoxically the delegation of this work itself became a form of outsourcing. However with the appropriation of people and their skill as a ‘raw material’ the ethical implications of this process remained paramount. Artisans were employed at their indicated rate of pay and informed explicitly of the ideas and their role in the work. Full recognition of their identity was credited in the installation during their activation of it. Also as they were the very people immediately affected by the issues the work raises, their willingness to participate in it only strengthened its realisation.

The status given to individuals with exceptional artistic ability has long been a concern of many Oriental countries as a means to preserve and cultivate cultural heritage, but this value system remains alien to Britain. National Treasure attempts to raise greater awareness of an intangible cultural heritage that is in dire need for greater recognition and protection, not from the point of nostalgia but as a means of preserving a sense of identity and continuity to be shared and passed on.

Collectively this performative installation is a strategy to invite eulogy and to heighten public awareness of what are frequently overlooked forms of human intelligence from a rapidly disappearing culture of labour. The work attempts to highlight what’s going and what’s gone, with the hope to sustain and re-purpose what remains of these cultural assets for future generations."
National Treasure, Neil Brownsword with Anthony Challiner - 3 painted dishes

NEIL BROWNSWORD is an artist, researcher and educator who holds Professorial positions in ceramics at Bucks New University and University of Bergen, Norway. His practice examines the legacy of globalisation in relation to Stoke-on-Trent’s ceramic manufacturing sector, and the impact this has had upon people, place and traditional skills. Using film and performative installation he deconstructs and re-orchestrates complex craft knowledge within industrial production to pose questions surrounding the value and repurposing of inter-generational skill.
His work is represented in public/private collections internationally, including the Victoria and Albert Museum, Middlesbrough Institute of Modern Art, Korea Ceramic Foundation, Yingee Ceramic Museum Taiwan, Fu Le International Ceramic Art Museum China. In 2009 he was awarded the ‘One Off Award’ at the inaugural British Ceramic Biennial, and the Grand Prize at the Gyeonggi International Ceramic Biennial, South Korea in 2015.


BIOGRAPHIES

KAREN KITANI HARSBO
Associate professor, the Royal Danish Academy of Art's ceramics Laboratory
Born 1963 in Japan

EDUCATION
1982-87 School of Arts & Crafts (now: KADK Royal Academy, Design)

SELECTED EXHIBITIONS
2017 Pakhus Gallery, Odherred, DK
2016 Skovhuset, Værløse, ”Pathways”, & Huset i Asnæs.
2015 Silkeborg Bad Kunstcenter, ”Sanatorium”.
2014 Copenhagen Ceramics, ”Out & Home” w.Marianne Krumbach
2014 Bornholms Art Museum, ”European Ceramic Context”.
2014 Ceramic House Gallery, UK”, Contemporary Danish Ceramics”.
2013 British Ceramic Biennial, Stoke-on-Trent, UK.
2012 SAK, Svendborg – Room Mates
2010 Happenstance (w. N.Brownsword), Ann Linnemann Gallery, Copenhagen
Japan Journey, The Japanese Embassy, DK.
2008 Sculpture Biennial – King's Garden Copenhagen
Inner Mongolia Art Museum, Hohot, China
2007 Yalu River Art Museum, Dandong, China
Collaborative Relations, International Ceramic Research Center DK
2006 Galleri Mortensen & Markmann (w. painter Lotte Holten)
2005 Spejlinger, Rundetårn, Copenhagen
2004 Porcelain, Grønbechsgaard, Hassle, Bornholm
2003 Bageværk, Vejen Art Museum. Royal Copenhagen – Porcelain
CLAY Museum of Ceramics - Network, Funen.
2000 Trapholt Art Museum – Ceramic Triennial

CURATOR
2011 THE MAGIC OF CLAY - Gl. Holtegaard (with A.Tovborg)
2005 DER VAR ENGANG... Marienlyst Slot, Helsingor
2004 PORCELÆN Grønbechsgård, Hassle, Bornholm
2003 THE WHITE GOLD - Royal Copenhagen
BAGEVÆRK Vejen Art Museum

SELECTED COMMISION PROJECTS
2009 Urban-planen, Amager CrossOver -
2006 Ballerup Stenhavestien – Østerhøj -
2005 Eggerslevmagle Skole, Skælskør, Invisable School Group K+


NEIL BROWNSWORD
Artist, researcher and educator, Professor in ceramics.
BORN 25th November 1970, Stoke-on-Trent, Staffordshire.

EDUCATION
1989–90 BTEC National Diploma, G. A. D. (Distinction). Newcastle-U-Lyme College, Staffordshire.
1990–93 BA (Hons) Ceramics. First Class, with Historical & Theoretical Studies commendation. University of Wales, Cardiff.
1993–95 M.A. Ceramics and Glass. Royal College of Art, London. Examiners Award.
1999–06 PhD, Brunel University, London.

CURRENT TEACHING POSITIONS
2015-.. Bucks New University, High Wycombe, Professor of Ceramics and Glass.
2011-.. Bergen Academy of Arts and Design, Norway, Professor II, Department of Fine Arts.

SELECTED EXHIBITIONS
2017 Neil Brownsword: Factory, Korean Ceramic Foundation. Blas & Knada, Stockholm (solo).
2016 Central China Ceramics Biennale, Henan Museum, China.
2015 Re-Apprenticed: Observation, Raphael Gallery, Victoria and Albert Museum.
2014 Neil Brownsword, The Broadcaster, Lincoln.
2013 Topographies of the Obsolete: Vociferous Void, British Ceramics Biennial, Stoke-on-Trent.
2011 British Ceramics Biennial 2, Selected artist for response to the Spode site.
2010 Happenstance: Neil Brownsword & Karen Harsbo, Ann Linnemann Gallery, Copenhagen.
2009 Elegy. Neil Brownsword, Blas & Knada, Stockholm (solo).
2008 Neil Brownsword: Poet of Residue, Galerie Besson, London (solo).
2005 Collaging History, Museum, Stoke-on-Trent. Blas & Knada, Stockholm (solo).
2002 Sofa, International Trade Fair, New York Represented by Nancy Margolis, New York.
2000 British Ceramics. Clay - Museum of Ceramics, Denmark.
2000 Neil Brownsword, Gallery for New Ceramics, Copenhagen (solo).


ANNE HELEN MYDLAND
Artist, Professor Clay&Ceramics, artistic research director
Born 1971, Skien, Norway.

EDUCATION
1995-2000 Bergen Academy of Art & Design, Specialised Art, ceramics.
1997 (Fall) Universidad de Sevilla, Bella Artes, Spain.
1993 (Fall) Universidad do Porto, Arkeologi, Portugal.
1991-95 Bergen University. Art History/Archaeology, People Culture (part)

TEACHING
2011- Professor 100% Bergen Academy of Art & Design
2010-11 Førsteamanuensis 100% Bergen Academy of Art & Design, director of Ceramics.
2015 (Spring) Constituent Dean, Art Department, KHIB.
2011- 2015 Artistic director, Art Department, KHIB.
2007-10 Første Amanuensis 50% Bergen Academy of Art & Design.
2007-08 Konstfack, Teacher at ceramics and glass, Stockholm.
2003-07 Associate Professor 50%, Specialised Art, ceramics.

SELECTED SOLO EXHIBITIONS
2015 'Either way… TEMP- Bjørgan, Moen Mydland Thomassen’ KABUSO, Øystese.
2010 'Made in China: 2# still life’, Art1, Bærum.
2004 'Relikvier', Trøndelag Centre for Contemporary Art & Rogaland Art Center.
‘Bare TEMP’, Visningsrommet USF, Bergen.
2003 ’Relikvier’, Art Association (Kunstnerforbundet), Oslo.

AWARDS
2009 Diversestipend
2007 NBK stipend for andre Faggrupper; Utsmykking
2001/02/04 Statens arbeidsstipend for yngre kunstnere,
2003 Debutantstøtte, Norsk Kulturfond, Utstyrsstøtte, Norsk kulturråd
2002 Bergen Kommunes etableringsstipend
2000 Statens reise og studiestipend. Norsk kulturråd.

SALON - Hans Munck Andersen Aug-Sep 2017

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THE SALON - MORE THAN A VESSEL
Hans Munck Andersen DK
Exhibition 24 August - 15 September 2017
Salon Art – refined contemporary craft crossing its own tracks.
The renowned ceramic artist Hans Munck Andersen presents new masterpieces.
Intensity and natural growth dynamics meet beautifully completed craft finesse, extremes in material and form - pleasure in detail.

The ceramic objects and patterned bowls stand individually or are complemented by details, shapes and motifs, merge into new unities and reveal a more than double-sided artistic activity.

There are an organic cubist approach in the works Redesign, where the motifs come out of past techniques and 'recycled' elements of his own bowls. He creates renewal in these multi fragmented reminisces of Japanese tradition and an eternal joy of form.

Hans Munck Andersen calls his pieces for Salon Art in a kind humorous reference to the Art Academic lack of acceptance of the Salon (des Refusés) - and of art pieces for the living room.
www.gerdoghans.dk - See VIDEO Hans & Gerd..

Hans Munck Andersen ..Snail-pace aesthetics
“Nature provides a source of inspiration. The principle of natural growth dynamics is very fascinating to me. The combination of the twisted coils and the spiral growth of my porcelain bowls, conveys an expression, far away from something constructed or mechanic dynamic. It rather has an expression as if it was created by nature.
Yet another source of inspiration is the colourful, Islamic ornaments and occasionally I use the colour combinations in my work. It is a time consuming work process, and I am convinced that this shows in my finished works. I cultivate the 'aesthetic of slowness in a fast-paced world'.
In 1970 when I was artist in residence at the Royal Porcelain Factory in Copenhagen, I became aware of the statuettes of Biscuit Porcelain by Jean Gauguin. These marbled figurines brought me to the coloured porcelain coils. At that time I had my focus on Pop Art and this came to be expressed in my work.
Later on, my interest in Minoan ceramics as well as coloured glass of classical Antiquity and of art nouveau were determinant in the development of my own technique. A technique almost similar to the Japanese Neriage method, which I became acquainted with during my first visit to Japan in 1980. As time went by, this method became my major source of inspiration.
Within the last couple of years, I have once again taken up the sculptural aspects of my craft. In porcelain paper-clay slabs, I build up cubist-like objects, with architectural lucidity and at the same time sensual body-likeness. These are created in a sort of de-constructionist kind of way where fragments are split up and then reunited in contradictory, complex connections, whereby new pictures are created.”

Hans Munck Andersen lives and works in his studio on the Danish island of Bornholm. He was born in 1943, graduated from the School of Arts&Crafts in Copenhagen 1963-68 and continued his studies at the Danish Art Academy of Architecture and Design Department 1972-73. He has had his own studio since 1973. In 1988-89 he was censor of the Artists Summer Exhibition and in 1988-92 examiner at the Danish Design School in Kolding.
He exhibits Internationally: Hetjens Museum, Dusseldorf 1970, English Ceramic Design, USA 1981-83, IAC Member's Works, Saga Art Museum Japan 1996, Gallery Nørby 1997/2000, the Glyptotek 2002, Bornholm Art Museum 2007, International Ceramic Museum, Grimmerhus 2010... And he is represented at the Design Museum Denmark (Art, Craft and Design), Bornholm Art Museum, North Jutland Art Museum, Gothenburg Röhsska Museum, Berlin Kunstgewerbermuseum, Oslo Art and Design Museum, New York National Museum of Design, Hannover Kestner Museum, Westerwald Museum Höhr -Grenzhausen, Ichon World Ceramic Center Kyonggi, Korea ...


Grateful thanks to the National Art Foundation for the support of Ann Linnemann Gallery exhibitions in 2017.

BIOGRAPHY
Hans Munck Andersen
Born April 21, 1943
Member of IAC The International Academy of Ceramic Art and ACAB, Bornholm

1963-68 Design School in Copenhagen
1972-73 School of Architecture Design Department
1973-.. Own studio
1988-89 Examiner, The Artists Summer Exhibition
1988-92 Examiner, Arts and Crafts School, Kolding

SELECTED EXHIBITIONS
1970 Hetjens Museum, Dusseldorf
1981-83 English Ceramic Design , USA
1996 IAC Member's Works, Saga Art Museum, Japan
2000 97 Gallery Nørby, Copenhagen
2002 Glyptotek, Copenhagen
2007 Bornholm Art Museum
2010 International Ceramic Museum, Grimmerhus
2013 Round Tower, Copenhagen
2013 Ann Linnemann Gallery - Contemporary Ceramics Copenhagen
2016 Svanekegaarden Art and Culture Association

SELECTED COLLECTIONS
Design Museum Denmark
Bornholm Art Museum
North Jutland Art Museum
Röhsska Museum, Gothenburg
Berlin Kunstgewerbermuseum
Art and Design, Oslo
National Museum of Design, New York
Kestner Museum, Hannover
Ceramics Museum Westerwald, Höhr-Grenzhausen
Ichon World Ceramic Center Kyonggi, Korea

NATIONAL ANATOMIC ATLAS Sept-Oct 2017

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NATIONAL ANATOMIC ATLAS
Sophus Ejler Jepsen DK
Exhibition 21 September – 21 October 2017
Opening reception on Thursday 21 September at 16-19.00


Geology history nature romantics and other reminiscences - about borders.
Sophus Ejler Jepsen has long collected rocks and clay in Norway, Denmark and Germany and now begun firing samples of an overall narrative of the landscapes, resources and culture of an area that “still and too often maintains national borders despite of obvious connections”.
A fragmented picture full of large and small ceramic experiments in a sort of cabinet of curiosities.

MINERALS - GEOLOGY - HISTORY - NATURAL ROMANTICS - COUNTRY LIMITS..

Pieces and titles have a special poetic mysticism that leads the viewer travelling to familiar and unfamiliar places:
Arches over Fanefjord - Small quarries in Paradise Hills - Animalish Brushes - Odense hopscotch - Brush Paw Trails - Colours of the Sand floor - The paved road to St. Egidia - Masonry's Calligraphy - Ph. O. Runge's hunting in the scrub - Annaberg-Buchholz's vaults..

SOPHUS EJLER JEPSEN - selected previous pieces and projects

ALONG THE DOTTED LINES is a series of porcelain bowls for the child's morning compleit. MentoR attempts by his instructions and examples to guide the child, Telemachus. The child follows an Around the World Sailing in an atlas, Marco Polo's caravan to Mongolia, fox tracks in the snow, the treasure hunt for a birthday or the bending lines in the folding instructions to a newspaper hat.
TANTON is a romantic drama based on Adelbert von Chamisso amazing life and work; written and sketched forward in a ceramic scale of plaster, cement and porcelain glaze - Copenhagen Ceramics 2014.
PORCELAIN IN A BOX as well as a multitude of studies concerning casting of porcelain in cardboard, boxes and paper moulds, with subsequent decoration in blue under-glaze, which selects and indicates signs and traces of folding from the casting and firing processes. Poster-bag-inventory-flyer The White Gold, Royal Copenhagen 2003.
OUT-DOORS project and commission..


Sophus Ejler Jepsen (b.1971) lives and works in Askov by Vejen.
EDUCATION Royal Danish Academy of Fine Arts, Copenhagen MFA 2005
SELECTED EXHIBITIONS 'New Nordic Ceramics' Flensborg 2017; Comission – Lisbjerg School, Aarhus 2017; 'Dinner party for politicians and feminists', Women Museum, Aarhus 2015; ''Over The Moat' Sønderskov Castle, 'Not at Home' Brænderigården Viborg and Ringsted Gallery 2015 - 'Miles away & Tanton' Copenhagen Ceramics, 'Regional Concrete' Kongeåen/ Vejen Art Museum and Aarhus Art Building 2014 - 'Sculpturepress.org' John & Olivia Museum Holstebro, 'Forest Someone' Alt_Cph and 'With clay as a hostage' Vest-Jutland Art Pavilion 2013 - Frontier Lands Exhibition Aabenraa 2013,14 - 'Shadow and Mirror' Vejen Art Museum in 2011..

www.sophusejlerjepsen.dk

Grateful thanks to The Danish Arts Foundation of Crafts and Design for Project Funding to the Gallery in 2017.

BIOGRAPHY

SOPHUS EJLER JEPSEN
Born 1971. Lives and works in Askov, Vejen, Denmark

EDUCATION
MFA The Royal Danish Art Academy, Copenhagen 2005

FUNDS & AWARDS
Danish Art Foundation 2012
Knud Nissen's Award 2011
Trekantområdet's artist award 2010
Viggo Jarl's honorary award 2007
Ole Haslund's Artist Award 2007

MUSEUMS AND COLLECTIONS
Danish Art Foundation, Vejen Art Museum and private collections

COMISSIONS
Lisbjergtrappen, Lisbjerg Århus Nord, ...
ABC facade-signs, Andst Børne og skoleCenter, Andst by Vejen 2016
Skygge og Spejl, Stenhus Gymnasium, Stenhus by Holbæk 2016
Botanicerende Betontrappe, Ravninge by Kongeåen 2014

SELECTED EXHIBITIONS
2017
New Nordic Ceramics, Flensborg
Commission project, Lisbjerg School, Aarhus
2016
Lisbjergtrappen - 24 steps on the Way(Vej), Vejen Art Museum
Jylland, SAK Art Building
Middagsselskabet, SAK Kunstbygnng + Svendborg City Council
Troldværket, Troldetræf, Museum Square, Vejen
Sommer-Skulptur-Søby Biennalen 2016, Søby, Søbygaard, Ærø & Andst, Kolding
Danish Folk Art, Hungary National Museum, Esztergom
2015
Dinner Party, Vejen Art Museum + Vejen City Council
Skulpturby Selde, Selde by Skive
Middagsselskabet, Kvindemuseet Aarhus + Aarhus ByCity Council
Over Voldgraven, Sønderskov Castle
Not at Home, Brænderigården, Viborg
It is Clay ..., Ann Linnemann Gallery,
2014
Milevidt&tanton, Copenhagen Ceramics
Egnsbeton, Kongeåen/Vejen Art Museum, Vejen
Grænselandsudstillingen, Åbenrå
Jylland, Århus Kunstbygning
2013
Sculpturepress.org, Jens & Olivia's Museum, Holstebro
With Clay as Hostage, Vest Jutland Art pavilion, Videbæk
Grænselandsudstillingen, Åbenrå
Skovsnogen, Alt_Cph
2011
Shadow and Mirror, Vejen Art Museum

ARCHIVES LABORATORY Project 2015-16

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ARCHIVES LABORATORY
Textile and ceramics meet in new materialities - concrete and inconcrete.
An interdisciplinary experimental collaborative project of material combinations and techniques, such as cylinder-drilling in cast concrete, glaze, clay.. made in a studio residency at The Danish Art Workshops SVFK Copenhagen in 2015.

Anne Fabricius Møller & Ann Linnemann - Exhibition in 2016 - LINK
The exhibition was a presentation of the project, showing the laboratory-like character of the experiments and work in progress.

A fascination with secret layers, geological research and collecting things has resulted in a collaboration in which sand, cement, old shards, cups and other easily available materials are cast and/or melted into unique small existences, which are core-drilled, and archaeological surprises have emerged.


Cup-drilled columns, some are several cuts out of one casting, creating new spatialities, as from the recycled teapot that is cast in concrete, to seabed-like associations in the ceramic drillings.


Much fell apart in the process, some fell out reasonably, but small revelations also jumped out of the project.


Unpredictable areas and substances, also much stuff in the bottom of a bucket.


Some casts are in a geological-like state as if extracted from the real world.


The project used gravel, various powders, metal oxids, glazes, clay, pottery shards, - Ann Linnemann's cups, jugs, bowls and Anne Fabricius Møller's accumulations.
Grateful thanks MT Højgaard for the loan of drilling equipment and The Danish Art Workshops SVFK in Copenhagen for studio space in the spring of 2015.
and to the Danish Arts Foundation Project Fund for exhibition funding in 2016.





RESEARCH
The project is inspired by drilling with 'Cup-drills' (cylinder/core drills) for example occurring at construction sites, brickwork for pipes and installations, geological ground investigations, ice core drilling, biological research, time survey, archaeological studies, and not least the left-over drill holes and the drilling cores.
Key words: geological deposits - archaeological accumulations - time layers - time pockets - memories & secrets - conscious & unconscious - precision & randomness..
"We worked with material tests and experiments based on our individual experiences, but with the object being to challenge these experiences through interdisciplinary collaboration, differences in material knowledge, craftsmanship and artistic approach, mindset and philosophical aspects of the project itself."
THE PROJECT
Collection and accumulation of materials - layer by layer.
Material and form studies are mainly in clay and other ceramic materials, fired shards, but also concrete, sand, stone, cement, wood, and other matters.
We drilled with a cylindrical Cup-drill into mixed substances, which we then fired at different temperatures or fired before drilling.
Because of melting risk in the kiln we made clay containers that were labelled and filed in a coded system.

Anne Fabricius Møller - www.aaa-fff-mmm.dk
"Generally, I am inspired by what is at hand and daily chores, mechanics, tool geometry, botany, spontaneous processes, time, nature, and that of the good stuff, I can dig up from my own stash."
Ann Linnemann - LINK - ceramic pieces
"I am interested in the secret layers of the work. The dreamy and nebulous hiding in the object's concrete reality. The dialogue with the viewer and the story that underlies the experience, - and material, archaeology, scientific research...”

WILD CUPS - ATRIUM 2016-2017

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Wild Cups - Ann Linnemann
Hand-thrown porcelain, assembled shards
- refired, 1280C. Wild plants - Weeds

Influence of nature on the human-made..
WILD CUPS reuse porcelain shards and 'weeds' in a personal UP-CYCLING project.




Wild Pots up-cycling
Hand-thrown porcelain, assembled shards - refired, 1280C. Wild plants - Weeds



"My own hand-thrown broken ceramic pieces and weeds from outside my studio in the middle of Copenhagen are given a new joint life, - in decay and life cycle."
Inspired by the power of plants and their ability to grow out of impossible and unexpected places, to wither and resurrect, - the viewer is presented for a positive way to relate to the 'wild' plant life of the city.


ATRIUM - exhibition project group of Danish ceramic artists
Summer 2017 - Det Ny Kastet, Tistrup DK
2017 - Huset i Asnæs, NordSjælland DK
2016 - Officinet, Danish Arts, Craft & Design Association, Copenhagen DK

VIEWS & FORMS OF FOREST - 2017

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VIEWS - Vilde Udsigter

Hand-thrown porcelain, altered - painted with ask glazes - 1280C.

FORMS OF FORREST - Former for Skov



Hand-thrown porcelain, altered - painted with ask glazes - 1280C.

Nature meets culture - landscapes, trees, windows, views.
The exhibition pieces Views and Forms of Forest refer to cultural and conceptual themes, reflecting painting from the Renaissance till now - and examine the picturesque qualities of ceramic glazes.
See exhibition 2017 - more information

Flower Vases - Marianne Nielsen Nov 2017

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Marianne Nielsen
Flower Vases
Exhibition 2-25 November 2017
Reception Thursday 2 November at 16-19.00
Juxtaposition of culture and nature - new thoughtful entities.
Marianne Nielsen is acknowledged for her fine modelled ceramic work concerning universal phenomena in small and large scale: mountains, feathers and flowers.

Her pieces seem easily accessible; but conceal a personal and thoughtful depth where the beautiful and banal are just the point.
By isolating the subjects from their genuine context, she is able to emphasize their culturally underlying meaning and iconic strength.
The exhibition's vases with flowers, made in ceramics, are each image of a genre.
Where we immediately understand that the flower is an imitation, the vase will generally not be perceived as such.

Marianne Nielsen consider the vase as something primary, a composition of ornamental parts. Ornaments that refer to existing styles but do not directly deny them because they appear detached from the context or whole that they would normally be in.

She does not aspire to create a rounded defined object, but seeks openness in perceptions where conventions do not blur the eyes.
The works contain a clash between the sharp, geometric shape of the vase and the soft organic of the flower.
The meeting between the soft and the hard is interesting - two parts that do not "match". A reflection of opposition pairs: nature and culture, organic and geometric, evolved and produced, motif and pattern.
Something imagined - and something that is. But most of all, a contradiction between the vase impermanence and flower's timelessness.

The pieces at Marianne Nielsen's solo exhibition is a development from the flower vases exhibited at the Biennial for Craft and Design: ”Liquid Life” in Copenhagen, Spring of 2017.


Marianne Nielsen - about her work
"It has long been naturalistic made individual items that make up my work.
I think there is an honesty and strength in the single object. And so..it is the link with nature that does not need any more - it's greatness lies in the way it is.
The reason why I do not just use the real items to exhibit, is that I find the artificial, imitation so very interesting. The obvious assumption that one readily accepts, partly since it belongs to the long tradition in ceramics.
It presents the idea of things - the things are transformed into concepts. This is not a carrot, it is my idea of the carrot.
I feel that the issues I work with becomes clarified. You look at the pieces because one can not do otherwise (neither eat nor smell), but also because they have moved into a category where this is what you do. And this is another aspect of the project, to move something on to a place where it does not belong. Given different meanings and values, and in ceramics, their significance evolves too.
We see nature with our human gaze that draws it into our culture. This transition from nature to culture is an important part of my thinking.
My choice of subject is not wild nature, but something that in one way or another has a cultural reference. My ceramics have a contrary to what it represents.
The anthropogenic is clarified in the contrast to the nature theme. It is not self-grown, but the result of selection and processing."

Photos of new and previous pieces – please also notice the later descriptions.

Marianne Nielsen (b.1971) graduated from The Kolding School of Design in 1999, and received The Danish Arts Foundation's three-year Artist Award in 2012.
She lives and has her studio in Copenhagen.
SELECTED EXHIBITIONS - 2017 ”Large formats – Clever Hands”, CLAY Museum of Ceramics, DK; ”Flower Power” Vejen Art Museum; "Liquid Life" Biennial for Arts, Craft & Design, Copenhagen; ”TILSTEDEt”, Bagsværd Church. 2016 ”Danish Contemporary”, Lacoste Gallery, USA; Galleria Salvatore Lanteri, Milan; Galerie für Angewandte Kunst, Munich. 2015 'Homeliness', private apartment, Copenhagen; Nordic Craft Pavilion, 'Révélations', Grand Palais, Paris. 2014 'Lunch of the green', solo exhibition, Shop for Tableware, Copenhagen - 'Mind Craft', Milan Design Week, Milan, Italy. 2013 Biennial for Crafts and Design 2013, the Round Tower - 'Terres. Copenhagen Ceramics Invites .. 'Galerie Maria Lund, Paris, France. 2012 ' Elite Folklore', Copenhagen Ceramics, Copenhagen. 2011 Martin Bodilsen Kaldahl Invites..' Puls Contemporary Ceramics, Brussels, Belgium. 2010 'Across' New Tap, Carlsberg, Copenhagen.
Artist residency at the Danish Institute in Damascus 2006. Freelance designer for Kähler Ceramics since 2009. Designer at the Royal Copenhagen Porcelain 2001-02.

www.mariannenielsen.com

Marianne Nielsen received exhibition funding from the Danish Art Foundation.
Also Thanks to The Danish Art Foundation for the Gallery funding in 2017.

Between imitation and abstraction by Peder Rasmussen
Text about Marianne Nielsen - extract
”...There are ceramists whose primary reason for working with vases, jars and dishes is an excitement with the material itself and the many textural possibilities. And then there are ceramists whose reason is form, always subordinating colours and glazes to their ideas of form. There are those who just want something to decorate – and there are those who want to provide their surroundings with sensible objects for everyday use.
And then there is a fifth kind of ceramist – a rare kind – who wants nothing at all … apart from working with the phenomena of ceramics. Phenomenologists, of a sort, who for the sake of comprehension simply choose to express their observations and considerations through ceramics. Marianne Nielsen belongs to this latter category – and hence the conventional ceramics descriptions fall short in her company. But are her works not beautiful? Yes, that just is not her primary concern; rather, beauty is a by-product. Is their shape not harmonious…? Yes, absolutely, but that is not the point – the point is rather that they are interesting to behold.
Fortunately, she is an avid writer: As a ceramist I essentially address the underlying cultural meaning of ceramics. I wish to present the traditional creative process that forms the basis for our understanding of the objects’ identity. Highlighting the iconic power of the most trivial objects.
She views her works, for example, as presentations of beauty. Either in a concrete sense – or, in particular, by representing beauty in the form of an implicit use of symbols....
.. The craftsmanship is outstanding, but otherwise the classic ceramic virtues are downplayed – and in that sense she often demands more from her audience than most ceramists do.
Thus, through what she once referred to as her interest in identity codes, Marianne Nielsen repeatedly – and with great talent – refers to the many ways in which the conversion of the natural character of Nature – and of culture – dominates our encounter with the world: as hair is civilised into a hairdo, clay is shaped through a technique – form is stylised by the artist … and the beholders are assured through their senses … and become aware. ”

Read the article at Marianne Nielsen's website: www.mariannenielsen.com/tekster.htm

MARIANNE NIELSEN – PREVIOUS PROJECTS, WORKS AND EXHIBITIONS.

2017 - From the exhibition series: TILSTEDEt, Gallerigangen, Bagsværd Church. Curator Katrine Borup.
Photo Benita Marcussen.
"Modelled, glazes stoneware".
2017 - Flower vase. Exhibition: Biennial for Craft & Design.
A vase with a flower. The vases are shaped not to resemble any known vase; instead they are more like representations of ornamentation and style. Photo Ole Akhøj
2016 - Flowers: wall objects, modelled glazed stoneware. Exhibitions: Galleria Salvatore Lanteri, Milan and Lacoste Gallery, Boston, 2016. Photo Ole Akhøj
2005-16 - Mountains. Cast glazed porcelain, 11-26 cm.
Photo Ole Akhøj.
2015 - Vessels. Exhibition HOMELINESS w. Kristine Tillge Lund. Exhibition in private home in Copenhagen. Inspired by granite and sandstone jars, the "exterior" jar is moved indoors.

2014 – "Meeting Beauty". Exhibition: Ann Linnemann Gallery.
Exhibition pieces from opposite ends of the expressions palette depicting nature in the tale of beauty.

2013 – "Squander". Exhibition: Gallery Pagter, Kolding.
with Alexandra Gaul (DE) & Johan Peter Hol (NL).
The flowers, we do not associate with nature, but as we best know from the culture - gladioli, chrysanthemum, daffodil. Even though they are alive, they seem almost synthetic. They have been bred for a more intense expression than their natural starting point; stronger colours and flowers. Nature exceeds its boundary to culture, and this meeting point of contradiction interests me.

2012 - " Elitist Folklore". Exhibition: Copenhagen Ceramics, with Anne Tophøj.
Flowers hold a modest position in the arts as something banal, soft, often assigned the subordinate part.
For these pieces I have let the flower be on its own, allowing it to make up the entire work. The works are also about what is not directly present – the references linked to flowers, both as representatives of beauty and nature.

2011 - Feathers, wall objects, modelled stoneware, 55 cm.
When the feather is isolated from the bird, its natural purpose disappears. I see the single feather as almost being passed from being nature to become an artefact.

2011 – Leaves on wall, modelled porcelain. Danish Art Foundation purchase.
Exhibition: Ann Linnemann Gallery, Contemporary Ceramics Copenhagen.

2010 – Wall objects, modelled porcelain.
Exhibition: Ann Linnemann Gallery, Contemporary Ceramics Copenhagen.

2009 - Variations of hair. Modelled glazed stoneware.
Hair is interesting because it is both intimate, personal and universal. The hair style as an image expressing our culture: cultivation of the nature we are as people. Photo Ole Akhøj.

2008 - Knitting. Modelled glazed porcelain, D. 26 cm.
Photo Ole Akhøj.
2008 - The plates are part of a folklorist theme.
A sort of pop culture that has been established through long-standing tradition. This may involve braids, balls of yarn, or the placement of a handle on a cup. Photo Ole Akhøj

2007 - Vases/Trees. Glazed stoneware.
Four vases taking their starting point from the model of a tree, as we know it from model railways and architectural models. The model, I find interesting because it so directly is an imitation, it is representing. In this way, paradoxically, it becomes “it self”.

2006 – Inspiration from the Souq in Damascus.
Investigation in relation between decoration and dish.
On the dishes there is both a formal pattern and a representation of a motif. I am fascinated of how we create understandable notions out of simple geometrical constellations of shapes.

2004 - ”Ceramic Categories”, hand build, glazed stoneware.
From an exhibition in a WWII bunker in Copenhagen w. ceramic group "CeramicsUnderGround"
2000 - " Dinnerset for the Future".
Freelance design for Royal Copenhagen.
In a time of global gastronomical exchange and altered modes of living, food culture has lost its traditional platform: time, place, content and dimension of meals are no longer fixed. We manifest our identity largely by our consumer choices. The service is of few pieces, each with its own essential character, but yet confessing a common denominator in shape and of such simple design that the food plays the lead in the application situation. The dinner set is not in production.

BIOGRAPHY
Marianne Nielsen - b. 1971
www.mariannenielsen.com

SELECTED EXHIBITIONS
2017
"Liquid Life", The Biennial for Craft & Design 2017, Copenhagen, DK
"Handbuild, glazed stoneware", Bagsværd Church, DK
New York Ceramics and Glass Fair 2017, USA
2016
”Hairy Matters”, PLADS Artspace, Aarhus, DK
”Danish Contemporary”, Lacoste Gallery, Concord, MA, USA
”Copenhagen Ceramics Invites”, Galleria Salvatore Lanteri, Milan, Italy
“Danish arts and crafts”, Galerie für Angewandte Kunst, Munich, Germany
2015
”Homeliness”, private flat, Copenhagen, DK
”magic language///game of whispers”, Nordic Craft Pavilion,
“Révélations”, Grand Palais, Paris, France
Biennale Internationale Design, Saint-Etienne, France
2014
"3 days in Paris", Galerie Maria Lund, Paris, France
Meeting Beauty, w. Jørgen Hansen, Ann Linnemann Gallery, Copenhagen, DK
”Céramique 14”, Paris, France
”Lunch of the green”, solo, Butik for Borddækning, Copenhagen, DK
MINDCRAFT14, Milan Design Week, Milan, Italy
2013
Biennial for Crafts and Design 2013, Rundetaarn, Copenhagen, DK
”Terres. Copenhagen Ceramics invites”, Galerie Maria Lund, Paris, France
”Écrits, Mythes & Legendes”,
17. Biennial internationale de ceramique de Châteauroux, France
Chi Chi Potter, Copenhagen, DK
2012
"Elitist Folklore" w. Anne Tophøj, Copenhagen Ceramics, DK
"Behold", Ann Linnemann Gallery, Copenhagen, DK
"Mechanic Picnic", Lunchmoney Gallery, Aarhus, DK
2011
"Martin Bodilsen Kaldahl invites...", Puls Contemporary Ceramics, Belgium
The Biennial for Crafts and Design 2011, Koldinghus, Kolding, DK
"Wild & vigorous" w. M. Krumbach, Ann Linnemann Gallery, Copenhagen, DK
2010
"Across", Ny Tap, Copenhagen, DK
”The Cultivated Nature", CLAY Museum of International Ceramic Art, DK
Exhibition w. Marianne Krumbach, Designer Zoo, Copenhagen, DK
"Contrast", w. Steen Lykke Madsen, Ann Linnemann Gallery, Copenhagen, DK
2009
Exhibition w. Marianne Krumbach, The Cobra Room, Sophienholm, DK
Spring Exhibition, Charlottenborg, Copenhagen, DK
Exhibition w. Marianne Krumbach and Anders Bockelie, Nicholaj, Kolding, DK
2008
Exhibition w. Gitte Jungersen, Blås & Knåda, Stockholm, Sweden
“Nothing To Display”, Koppe Gallery, Copenhagen, DK
2007
The Biennial Of Crafts and Design, Trapholt Art Museum, Kolding, DK
“Ceramics in Kolding”, Koldinghus, Kolding, DK
2006
“Damascus – Copenhagen”, The Danish Institute in Damascus, Syria
“Home from Damascus”, Gallery Nørby, Copenhagen, DK
“Wofür brennen wir”, Künstlerhaus 188, Halle, Germany
“Ceramics Above Ground”, Blås & Knåda, Stockholm, Sweden
2005
“Conversation Pieces”, Gallery Nørby, Copenhagen, DK
2004
“Stuff - Ingenuity & Critique”, HarbourFront Centre, Toronto, Canada
“Ceramics Below Ground”, Bunker DG 177, Copenhagen, DK
2003
Solo exhibition, Gallery Nørby, Copenhagen, DK
“Western”, Autumn Exhibition, Charlottenborg, Copenhagen, DK
2002
“Visite” - Danish + German Ceramics, Banegaarden Art&Culture, Aabenraa, DK
“Tableware”, CLAY Museum of International Ceramic Art, DK
Summer Exhibition, Galleri Nørby, Copenhagen, DK
“The tradition of the future.
Innovation in everyday life”, Maison Du Danemark, Paris, France
Ambiente-fair, Frankfurt, Germany
2001
“Happy Christmas Clay”, Puls Contemporary Ceramics, Brussels, Belgium
“Christmas plaque”, Museum for Decorative Arts, Copenhagen, DK
“New Nordic Ceramics”, Gallery Nørby, Copenhagen, DK
Ambiente-fair, Frankfurt, Germany
2000
“K.E. Den Frie”, Copenhagen, DK
“Challenges”, Royal Copenhagen, Copenhagen; Trapholt Art Museum, Kolding, DK
Summer Exhibition, Galleri Nørby, Copenhagen, DK
“Ceramics without Precedent”, Udstillingssted For Ny Keramik, Copenhagen, DK
“Danish Porcelain 1775 - 2000”, Museum for Decorative Arts, Copenhagen, DK
“The Danish Wave”, eight cities in China: Guangzhou, Shanghai, Beijng, Qingdao, Dalian, Nanjing, Wuhan, Chengdu
“Talente”, Handwerkskammer, Munich, Germany
1999
Christmas Exhibition, Gallery Nørby, Copenhagen, DK
Design School Kolding´s Diploma Exhibition, Edison, Copenhagen, DK
1998
“Fast Forward”, Hordaland Art Centre, Bergen, Norway
“Design projects”, Museum for Decorative Arts, Copenhagen, DK
1997
“Young Designers Award´97” SNBA National de Belas Artes, Portugal
“Brick furnitures”, Trapholt Museum of Art, Kolding, DK

EDUCATION AND PROFESSIONEL EXPERIENCE
2009-.. Freelance designer for Kähler Design
2007 Artist-in-residence: Collaboration symposium, International Ceramic Research Centre, DK
2006 Residence at The Danish Institute in Damascus
“4th. International Symposium of Ceramics”, Halle, Germany
2002 - Artist-in-residence: Tableware symposium, International Ceramic Research Centre, DK
2001-02 Employed as designer at Royal Copenhagen
1999 Freelance design: “The Dinner Set for the Future” for Royal Copenhagen
Graduation from The Design School Kolding, Institute for Product (Now KADK)
1997 Participant “Young Designers Award ´97”, Caldas da Reina, Portugal
1994 Admission at The Design School Kolding, Ceramics and Glass

AWARDS
Danish Arts Foundation, Three-Year Award 2012, artist award 2017, 2011, 2002, 1999. Annie & Otto Johs. Detlefs´ Ceramics Award, travel grant 2011. Ole Haslund Artist Award, travel grant 2009. Danish Crafts 2008, 2003. Grosserer L.F. Foght´s Foundation 2008, 2005, 2000. The Danmarks Nationalbank's Anniversary Foundation 2008, 2006, 2003, 2002, 1999.

WORLD CUP - Ceramic Art - Dec 2017

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OVERCUPS - Ole Jensen. Photo: Ole Akhøj.

WORLD CUP International competition & exhibition
Exhibition 1 - 22 December 2017
Opening reception Friday 1. December, at 16-19.00

Would it be a Super Cup for Everyday and Party – or a Holy Grail-?
International exhibition and competition, 'World Cup' is about original creation, a cup for drinking, measuring, a mug, bowl, Holy Grail, trophy, prize..
From the earthly simple to the high flying.

A cup is a symbol of the personal, intimate and cosy togetherness.

The title plays with the words to expand the concepts, encourage innovation, put usable and traditional in relation to contemporary art, intimate and private in connection with career and competition culture.

The exhibition shows more than 50 varied take on the theme from beautifully painted porcelain, tea bowls, imaginative designs to taste sensation, functional and conceptual - or a medallion for kindness.

See photos, descriptions, biographies for all at the end of the page.

PRIZE WINNERS - Jury: Bodil Manz, Ursula Munch-Petersen and the audience.
Thanks to The Danish Art Foundation for the Gallery funding in 2017.

ALL EXHIBITORS - titles (alphabetic by first name)
Ane Davidsen - Overthrown
Ane-Katrine von Bülow - Cups for the Parliamentary Reading Rooms - Mr. & Mrs.
Ann Linnemann - Wild Cup
Anne Fabricius Møller og Ann Linnemann - ArchivesLab
Anne Fabricius Møller - Laid
Anne Fløcke – H2O World's Water
Anne Mette Hjortshøj - Tea bowls
Bodil Manz - no title
Charlotte Overgaard Christensen - Daily cups
Charlotte Thorup – Behold
Christian Bruun – Venus, Colour, Whisky
Christina Schou Christensen - Floating Cups
Christine Urfe Bendt - Morphing
Dorte Kristoffersen - Crow, who has found some garbage & Introvert
Dorte Kristoffersen & Ninna Gøtzsche - Table for one
Elisa Helland-Hansen (Norge) – Weight
Elisabeth Lau Kieffer - The Choosy Cup
Gry Fager - Blue GRANDMA
Guillermo Cuellar (USA) – Wood fire
Hans Vangsø – Tenmuko Tea bowl
Inger Heebøll - Cup of the World
Jane Holmberg - Earth Cup
Jeanette Hiiri - The Winner is
Jonathan Keep (UK)– Morphology
Karen Bennicke - A cup is a cup is a cup
Kim Holm – Tea bowls
Kirsten Høholt - Drawing Cup
Ksenia Shigaeva (Rusland) - Button Cups
Kurt Weiser(USA) – Blue Painted
Lis Biggas – Cups
Lisbeth Holst-Jensen – Motive Cup
Lone Borgen – Image Cup
Lotte Westphael – The World Is Shaking.. Seismographic
Louise Sidelmann – Honorary Medal for KINDNESS
Malene Müllertz - Geometric
Marek Cecula (Polen/USA) – InDustReal, Random, Nectar, Craft
Margot Thyssen (Belgien) - Mo Shan & Twins
Michiko Takahashi Nilsen (Japan/Norway) - Skål!
Mikael Jackson – No titel
Metha Stuart Wallace - Tumbler with holder
Mona Vander - Spacious
Ole Jensen – OverCup
Ole Vesterlund - Volume 1 of 1, Pinch of Clay
Paul Scott (UK) & Ann Linnemann – Landscape Blue
Pia Bastrup - Around the World & Time for reflection
Prue Venables (Australien) - Oval
Randy Johnston (USA) – Yunomi
Robert Banker (USA) – Carved
Sam Chung (USA) – Cloud Cups
Samuel Johnson (USA) – Dark
Sandra Luehrsen (USA) - Luehrsen Cactus Juice 9
Sten Lykke Madsen – Thimbles Cup
Stephen Bowers (Australien) – Painted
Steven Rolf (USA) – Cup & Wine
Søren Thygesen – Cup Dog
Theis Lorentzen - Sprue for Two DIY
Thora Finnsdottir Søe (Reykjavik) - Trophy Cup
Ursula Munch-Petersen – Cups & Doll's set

A PRIVATE CUP COLLECTION: Akio Takamori, Japan/USA – Anne Fabricius Møller - Bodil Manz - Elisa Helland-Hansen, Norway – Gail Nichaels, AU - Jane Reumert - Jane Sawyer, AU - Yanze Jiang, China - Jindra Vikova, CZ - Jonathan Keep, UK - Kirsten Coelho, AU - Kurt Weiser, USA – Les Manning, CA - Lisbeth Holst-Jensen - Marek Cecula, PL/USA - Marianne Nielsen – Pieter Stockmans, Belgium - Prue Venables, AU - Samuel Chung, USA - Satoru Hoshino, Japan - Stephen Bowers, AU – Steven Rolf, USA - Sys Thomsen - Ursula Munch-Petersen - Warren McKenzie, USA

EXHIBITORS - Pieces and selected biography

Ane Davidsen - Overthrown
"An over turned, excitable, fragmented everyday life that can feel like joining a World Cup, with many layers. In our everyday life that speed, we spin around to follow, sometimes we throw it all up for it to land on the new - in its own right. We all deserve a trophy to cope with everyday life. "
ANE DAVIDSEN (b. 1972) Educated at the Designskolen Kolding 1996-2001. EXHIBITIONS 13th Biennial of Ceramics Manises, Spain 2017. “Fortællerspor”, CLAY Museum 2011. Galleri Pagter, Kolding, w. Helle Vibeke Jensen 2009. "Biennale for Crafts and Design"; ”Keramik i Kolding” 2007. ”Keramik under jorden – över jord”, Blås och Knåda, Stockholm 2006. Galleri Pagter, Kolding w. Michael Geertsen, Sales to Statens Kunstfond 2005. ”Keramik under jorden”, Bunker DG177, Copenhagen 2004. ”Det er så yndigt...”, Officinet, Copenhagen 2002. ”Hjem kære skov” w. Love Nyblom, Clay Keramikmuseum DK 2001. www.anedavidsen.blogspot.com

Ane-Katrine von Bülow
- Cups for Parliamentary Reading Rooms - Mr. & Mrs.
"My overall idea is to work with contrasts and the meeting between them. Here the cup is white and white and the foot is black and matte. The cup is flimsy and the foot massive. In the Mr. & Mrs. pair is the one's foot round and the other's foot square. For Parliamentary Reading Rooms is one cup on foot without saucer that can both be for tea and coffee. Simple - easy to read – graphic in it's expression."
ANE-KATRINE VON BÜLOW (b. 1952) Educated at the Royal Art Academy, Copenhagen 1974-80. Medlem af Butik for Borddækning fra 2012. EXHIBITIONS Hjorts Fabrik ” Grafik på Keramik” 2017. Modern Masters, Galerie Handwerk, München 2016. Westerwald Keramikmuseum 2014/15. Galleri Pagter, w. L.Kath; Officinet ”Ornamental Play 2” w. A.Bache 2014. Danish Crafts Collection 17, Paris 2013/14. Galleri Oxholm “Ornamental Play 1” w. A.Bache; Höganäs Museum "Diversiteter" 2013. GRANTS Statens Kunstfonds arbejdslegat 2000/08/11/13/15/17. Nationalbankens Jubilæumsfond 2002/06/13/15. www.anekatrinevonbulow.dk

Ann Linnemann - Wild Cups
"WILD CUPS use porcelain shards and 'weeds' in contemporary relevant Upcycling - about nature's influence on the man-made. Ceramic cup and growth are given a new common life, - in decay and life cycle. Inspired by the plants and their ability to grow in impossible unexpected places, to fade and resurrect, - the viewer is presented for a positive way to relate to the wildlife of the city."LINK
ANN LINNEMANN (b. 1957) EDUCATION Royal Academy of Design (KADK) 1983-89. Potters Certificate, Herman A. Kähler 1979-83. Scholar Arizona State University, USA 1993-94. EXHIBITIONS Contemporary Ceramics Copenhagen, solo, 2017. Lacoste Gallery, USA 2016. Helen Stephens Gallery, Sydney, AU solo 2009. 'Kilns of Denmark' travelling exhibition, USA, Europa 2001-04. Danske Keramiktriennale, Trapholt Art Museum; Galleri Nørby solo 1997. GRANTS National Art Foundation, Ole Haslunds Artist Award, Helpmann Academy Award AU, Triennalepris Trapholt, Danmarks Nationalbanks Foundation, Banff Arts Residency Award.
Ann Linnemann

Anne Fabricius Møller & Ann Linnemann - Archives Lab
"Interdisciplinary collaborative project in experimental material blends and techniques, drilling in glaze, clay and cast concrete. The fascination of secret layers, geology and collection mania degenerated into a project in which sand, cement, old shards, cups and other 'easy' available materials were cast and melted into compact little worlds. Some are stalled in a stage like geological extracts from the 'real' world."LINK

Anne Fabricius Møller - Laid
"The word 'laid' is used as a clue to the prefabricated cup's treatment and origin: Coated, Destroyed and Disposed. The repaired discarded cup. The barnacles and mussel-coated cup. The purchased broken cup. 'Laid' is a new 'glaze' to old cups. '
ANNE FABRICIUS MØLLER (b. 1959) EDUCATION Skolen for Brugskunst, (KADK) 1982-86. EXHIBITIONS Hjemlighed, privat hjem, Kbh; Snedkernes Efterårsudstilling, Øregaard Museum; Tisch Towel, Butik for Borddækning 2015. Trapholt, Kolding; Mindecraft 14, Milano; Snedkernes Efterårsudstilling, KADK; Street Print, La Sala Vincon, Barcelona 2014. ‘Wireless’, Kunstsenter Tønsberg/Frederikstad, Norge; Silkeborg-udstillingen 2013, Kunstcentret Silkeborg Bad; Biennalen for Kunsthåndværk og Design, Rundetårn 2013. GRANTS Kunstforeningen af 14. August legatet. Statens Kunstfond, Biennaleprisen, Nationalbankens Jubilæumsfond. MEMBER of Butik for Borddækning og Snedkernes Efterårsudstilling.
www.aaa-fff-mmm.dk

Anne Fløche – H2O Water of the World
"H2O, Water of the World, a glass of water, the simplest, the most necessary, - as a substance, as a form."
ANNE FLØCHE (b. 1952) EDUCATION Jyske Kunstakademi 1973-78. EXHIBITIONS Sophienholm, Kunstindustrimuseet, Trapholt Museum, Danmarks Keramikmuseum og internationale museer og gallerier i Sverige, Tyskland, England, Frankrig, USA, Kina. ART FAIR - SOFA/USA, COLLECT/London. Gallery Nagoya, Japan 2015. GRANTS Ole Haslunds Kunstnerlegat, Danmarks Nationalbanks Jubilæumsfond, Statens Kunstfond, præmiering, Silkeborg Bad, Beckett-Fonden, Højgaard's Fond. AWARD RESIDENCES Statens Værksteder DK 2004,07, Det Danske Institut, Damaskus 2006, San Bao International Ceramics Centre, China 2009. COLLECTIONS Statens Kunstfond, Statens Konstråd Sverige, Designmuseet Danmark, NY Carlsbergfonden, Trapholt Kunstmuseum, Danmarks Keramikmuseum, Ulster Museum of Fine Arts, Sieg Collection Pennsylvania, Scandinavian Embassy Berlin. www.annefloche.dk

Anne Mette Hjortshøj - Tea bowls
"I work as a potter, - looking more backward than forward in my work to get my work to make sense, from one firing to the next. To marvel at the detail, texture and balance between form, surface and function is apparently 'never ending' addiction. Wanting to cut the unnecessary away and preserve the necessary in a story where the balance between nature, culture, geology and mystics are the main elements, is a goal."
ANNE METTE HJORTSHØJ (b. 1973) EDUCATION Glas og keramikskolen, Bornholm 1997–2000. EXHIBITIONS Chawan Expo, Belgien; SALT, Keramisk Center Höganäs, Sverige 2015. Japanism, Bornholm Keramik Museum, Hjorts Fabrik 2014. International Chasabal Festival, SydKorea 13, 12, 11, 10, 09, 08. Contemporary Ceramics Gallery, Israel 2013. SOGO Tokyo, Japan; “Three Cups”, Dragon Tearoom Gallery, USA; Solo show, Goldmark Gallery, UK 2012. Japan/Bornholm, Galleri Vang; ”Next Generation”, Palæfløjen 2011. ”Wall of Fame”, Selected Graduates, DKDS Bornholm; Ganjin Celedon Festival, International Ceramic Artist Exhibition 2010. www.goldmarkart.com - video

Bodil Manz
“Graphic Artist of Ceramics par excellence, whether drawing in a slender, delicate line as a personal signature, or using coloured ceramic transfers in an infinite variety of richness.”
BODIL MANZ – graduated from the Kunsthåndværkerskolen 1965, Has travelled and exhibited all over the world from Escula de Disefio y Artesanians, Mexico 1966, University of California, Berkeley 1967 to Bahrein, China, Japan and Korea. Studio w.. Richard Manz (1933-99) since meeting at Gustavsberg Porcelain Factory in 1967, collaborative commission projects include National Museum, Bahrein 1987-88 and production of tableware. Thorvald Bindesbøll Award 2001, Danmarks Nationalbanks Honorary Award 2010, Grand Prize, 4th.World Ceramic Biennial 2007, Korea. She is well-known for numerous exhibitions in Denmark and internationally. Member of Keramiske Veje and International Academie de la Ceramique IAC. LINK

Charlotte Overgaard Christensen - Everyday Cups
”Koppen et vidunderligt hverdagsobjekt, dagens kar. Inspiration i japansk hverdagsskønhed, eksperimentelt. Anderledes end tidligere er arbejdet med objektet. Mod en forskydning, sprække i hverdagsvæggen, bærere af betydning. Forkærlighed for det tørre, formbevægelse, helst en sitren. Det ukendte i det kendte. Åbne til nye rum og indkapsle erkendelse. Drejet/ støbt porcelæn, begitning, glasur.”
"The cup is a wonderful everyday object, vessel of the day. Inspiration in Japanese everyday beauty, experimental. Unlike previous work with the object. Towards a displacement, cracks in the daily wall, carriers of importance. Love for the dry, form movement, preferably a twitch. The unknown in the known. Open to new spaces and encapsulating knowledge. Turned/cast porcelain, clay, glaze."
CHARLOTTE OVERGAARD CHRISTENSEN (b. 1953) educated at Århus Art Academy 2014. EXHIBITIONS Kunstnernes Sommerudstilling 2016, 2017. www.charlotteovergaardchristensen.com

Charlotte Thorup – Behold
”BEHOLD - small cups in a row. Stoneware and porcelain. From a cup, I have let myself be inspired by the simple shape – a container. An interest in showing this universal form of repetition. This has become a mini wall object, where the viewer is presented to this shape in a repeated motive."
CHARLOTTE THORUP (b. 1973) educated at the Glass & Ceramics School - Bornholm (Now KADK) 2000. SELECTED EXHIBITIONS 'Danish Contemporary' Lacoste Gallery USA; Uneven Spaces, solo, Ann Linnemann Gallery 2016. Arts&Crafts Award, Officinet 2015. Unique Ceramics, Køge; New Meets Old, Hiorts Factory, Ronne; Lust structures, R2 Gallery, Svaneke; Fantastic Tales, Ceramic House, England 2014. Definition, Finland 2013. Danish National Museum 2012. The Next Generation, Roskilde 2011. Wawerhythmfold Gallery Klejn, Bornholm 2010. LandMarks, Flow Gallery, London 2009. Ann Linnemann Gallery: A touch of .. 2011, Behold 2012, Form Language 2014, solo 2016. LINK

Christian Bruun – Venus, Colour, Whisky
"Venus Thin hand-thrown porcelain cup with a handle that allows for functionality and personality. 25 years of repetitions gave the cup its shape. The strong snail-house means that the handle does not deform in the firing. Your's 'holding in the hand' evokes an emotional relationship. "Have you taken my cup?" You ask if the cup is not there. Everyday values: catching the light, arbitrariness as quality. "
"COLOR - The traces in the surface tell the story. A heart scratched into the bark of the tree. P+E was a volatile relationship - or is it the grandchildren now playing in the tree's shadow? By putting the colour in the clay before the cup is made, we can see how the clay moves under the fingers. Hand-thrown cup in white and coloured porcelain."
"WHISKEY - The little whiskey cup is quick, unpretentious and anonymous. The cup is thrown from a lump of clay. Closely cut off a big clutch and made to take advantage of the space where nothing else can stand between the "real" things in the kiln when fired with wood. Like putting sand grains into mussels to make beads. Inconsistent makes it easy to love."
CHRISTIAN BRUUN (b. 1963) EDUCATION Skolen for Brugskunst 1986-91. Has exhibited in Danmark and abroad included Designmuseum Danmark, Learning from Japan, Galleri Bo Bjerggard, Ekely, Crimson Laural Gallery Bakerswille North Carolina USA, Galleri Giga, Stord, Norge. Represented at Designmuseum Danmark, Keramikmuseet Clay and collections. Commissions Bloxhub Copenhagen, the Withe House Esbjerg , Dokk 1 Aarhus, Merriott Hotel Copenhagen. GRANTS Statens Kunstfond, Augustinusfonden, Nationalbankens Jubilæumsfond, Kunsthåndværkerprisen. - www christianbruun.com

Christina Schou Christensen - Floating Cups
"Floating Cups are inscribed in the concept of upcycling, as they are just worn out cups that get 'a better life'. The cups associates to earlier times. Perhaps grandmother's coffee set - or a service bought at the flea market. They exalt something else that can awaken curiosity and wonder. The inspiration comes from my experience with glazes - and available porcelain. The glaze is melted in the firing."
CHRISTINA SCHOU CHRISTENSEN (b. 1973, Bornholm) EDUCATION Art Academy Design school Bornholm 2012. She has participated in several juried exhibitions Spring Exhibition Charlottenborg. She participated in the exhibition MindCraft at Design Museum Danmark and Milan, 2016. Private and public collections, Danish Art Foundation, 14. August. GRANTS Anni and Otto Detlefs Foundation, Danish Art Foundation, Nationalbankens Jubilæumsfond. www.christinaschouchristensen.dk

Christine Urfe Bendt - Morphing
"In this work, I am concerned with morphing the angular control and organic wildness. I wish my idea of a 'World Cup' to make this transformation present and physical - right where the hand and eye meet the object. The work is done in extruded and manipulated stoneware, red-clay Terra Sigillata, low-fired. "CHRISTINE URFE BENDT (b.1968) EDUCATION Århus Art Academy 2017. EXHIBITION Début Kunstnernes Sommerudstilling 2015. Kunstnernes Efterårsudstilling, Den Frie, Copenhagen 2017. Artist Studio Award Århus Kommunes kunstnerværksted, Den Blå Hest 2017-23.

Dorte Kristoffersen - Crow, who found some trash & Introvert
"I like the overwhelming meeting of two worlds, - to make two incompatible universes to unite. As when a crow with trash in the beak functions as a handle on one of the cups. Or when the story about a state of hiding from the world, combine with a joy for 'Bauhaus'like rigor - in' Introvert '. They are an everyday drama, you can sit holding in your hand. "
DORTE KRISTOFFERSEN (b. 1960) EDUCATION Fine artist at the Jyske Kunstakademi 1987-92. EXHIBITIONS “Fomo”, Gellerup, "Bord til to" w. N.Gøtzsche, Rådhushallen, Århus 2017. ”Hairy Matter” HINT Artspace, Århus 2016. "The Craft Factor", "Bordets herlige særligheder" og “Koppen”, DesignerZoo, Copenhagen 2014-16. Ann Linnemann Gallery, Copenhagen 2014. Det Ny Kasted, Thisted 2013. ”Prokk”, Århus Kunstbygning 2012. ”Biennalen for Kunsthåndværk og Design” Koldinghus 2011. Charlottenborg Forårsudstilling, Kunstnernes Efterårsudstilling, Påskeudstilling 1984-89. Sale to Århus Kommunes Billedkunstudvalg and received Århus Kommune's artist stipends. www.dortekristoffersen.dk

Dorte Kristoffersen & Ninna Gøtzsche - Table for one
"We have collaborated on this table setting with the desire to create an experience of something marvellous and disturbing that is not just to place. - Who is the setting for? The raw and mountain-like ceramics get wilder with the invasive attack from a marble decoration, like an 18th century imitation of marble painted on wood panelling - both clumsy, "bad taste" and beautiful."
NINNA GØTZSCHE (b. 1979, Lemvig) EDUCATION Glas-og Keramikskolen Bornholm 2001-04. EXHIBITIONS Galleri Pagter, Kolding 2016. Kunstnernes Sommerudstilling, Tistrup 2015,14. Formsprog-Tankespind, Ann Linnemann Galleri; Forårsudstillingen Charlottenborg; Afarternes Oprindelse, Tistrup; Ann Linnemann Galleri 2014. SOFA Chicago, Cultural Connections CC, US 2013; Collect, Saatchi Gallery, CC, UK 2013,12,11,10. Ætlinge, solo, Officinet, 2012. SOFA New York, CC, USA 2012. Rising of Danish Studio Pottery, Brewery Arts Centre, UK; Art of Dining, Gallery at Bevere, UK 2008. www.formuleret.dk

Elisa Helland-Hansen (Norway) - Weight
"Through many years of use, I've noticed that the weight of a cup has its own value and makes sense for the sensual experience of drinking. Drinking from a heavy cup can give peace of mind for a heavy day. Coffee in a floral cup can comfort in a fragile state. Or I can hold a cup that really annoys me - wrong weight for the needs of the moment."
ELISA HELLAND-HANSEN (b. 1950, New York) EDUCATION Bergens Kunsthåndverkskole, keramikkavdelingen 1975-78. Universitetet I Bergen, psykologi grunnfag 1972. SOLO EXHIBITIONS (*w. søster Ida H-H) Galleri G, Rosendal 2013. Galleri Vedholmen*, Lepsøy 2012. Ann Linnemann Galleri, Copenhagen 2011. Vandhuset, Hjørring 2010. Sogn og Fjordane Kunstmuseum*, Førde 2009. Kunstnerforbundet*, Oslo 1988, 1996, 2009. Kaolin, Stockholm 2008. Galleri Villvin, Risør 1993, 2007. Sintra, Gøteborg 2003. Blås & Knåda, Stockholm, 1994, 99. Nordenfjeldske Kunstindustrimuseum 1986. www.elisahh.no

Elisabeth Lau Kieffer - The Choosy Cup
”The CHOOSY CUP is designed with inspiration from the world of wines. It has been my wish to create a teacup, with the same characteristic, so it can provide a sensual taste experience of good quality tea. For the final cup, the design is based on the necessary requirements. The idea emerged that the CHOOSY CUP should have a partner, which has resulted in several suggestions for 'something' it could stand on.”
ELISABETH LAU KIEFFER (b.1943) EDUCATION Skolen for Brugskunst, Copenhagen 1980-84. Working at Kunstakademiet, Mur og Rum 87/88. Assistant for Poul Gernes and supervisor for commission Ny Holte Skole 1988/89. Keramisk udsmykning, Munkerup skole. Ansat VUC Ballerup. Eget værksted i Raadvad fra 1991. EXHIBITIONS Galleri Nørby 1997,98. MEMBER of ”Verden på et Fad” Exhibition 2010,12; Butik for Borddækning, Copenhagen 2010; 'Forbundne Kar' 2014. GRANTS Honory award Johannes Krøyers fond, Bergia fonden, Augustinusfonden, Statens Kunstfond. www.elisabethlaukieffer.dk

Guillermo Cuellar – Wood fired
“Utilitarian hand made studio pottery. I believe exquisite beauty can be found in unique pieces made for use. All work is based on function. Forms, glazes and decoration evolve gradually over time based on variations on functional traditional themes. Inspiration is drawn from historical work of Korean, Japanese, American, European origin.”
GUILLERMO CUELLAR (b. 1951, Venezuela) studied ceramics at Cornell College, Mt. Vernon, Iowa, MA 1976. In 1986-02 studio in Turgua, Caracas. Assistant to Warren MacKenzie, Caracas 1981,1984-2006. Taught workshops sponsored by Venezuelan Association of the Arts of Fire. EXHIBITIONS Venezuelan National Art Gallery, Museo de Arte Contemporaneo de Caracas Sofia Imber, Museo de Arte Contemporaneo de Puerto Rico, Smithsonian Institution, Northern Clay Center, and private galleries in the USA, UK, Venezuela, Chile. In 2005 he established home/studio, Upper St. Croix River Valley, Minnesota. www.guillermopottery.com

Gry Fager - Mormor Blue, GRANDMA
“The 'conversation kitchen' serving as the core and the heart of the house, several new demands must be met by the items which are being stored and utilized in the kitchen. These items must not only serve a practical function, but also contribute to aesthetics, a sense of satisfaction and the joy of simply residing in the room. In the process of developing these products, there is an awareness of using recognizable patterns in a new and unconventional way. Product, Normann Copenhagen.”
GRY FAGER (b. 1982) EDUCATION Glas og Keramikskolen 2006, Danmarks Designskole 2008. EXHIBITIONS in Denmark and abroad; Bornholms Kunstmuseum 2006, Danmarks Keramik Museum CLAY 2008; Talente, Handwerkskammer München, Germany 2009; Dansk Design Center, Wondercool 2011; Galleri Handwerk, Tyskland 2012; Design Museum Danmark, ‘Dansk Design Nu’ 2014. www.gryfager.dk

Hans Vangsø - Tea bowl
The pieces introduce us to a primary strength, where connections of coincidences characterizes. He is fascinated by materials and firing process. The thrown items are often manipulated by cutting, slabbing and likewise to angular shapes. The glazes are feldspar, ash and clay glazes. Some stand with the raw surface, but everything has been fired at least twice with experimental additions of metal oxides and combustible materials.
HANS VANGSØ was educated at the Århus Kunstakademi. EXHIBITIONS NOMA in Japan, Mandarin Hotel, Tokyo; Galerie Hu, Nagoya 2015, Gallerie Besson, London 2004,09; Meister der Moderne, München 2013; Oxford Ceramics Gallery 2013,14; Galerie Puls, Bruxelles 2011; Atelje 42, Stockholm 2011; Collect, V&A Museum, London 2006,07,08; Scottish Gallery, Edinburg 2012; Sigtuna Museum, Sverige 2001; From the Kilns of Denmark, New York 2002, Berlin 2004, Paris 2004; Oakwood Gallery, Nottingham, England 2004; Carlin Gallery, Paris 2005; Kaolin, Stockholm 2006; Galleri Pagter, Kolding 2013; Ann Linnemann Galleri, København 2008,15; samt Snyderman Galleries, Philadelphia USA SOFA 2007,09; Galerie Lacoste, Boston 2012,14... - Danish and international COLLECTIONS Designmuseum Danmark, Statens Kunstfond, Trapholt Kunstmuseum, Danmarks Keramikmuseum. www.hansvangsoe.dk

Inger Heebøll - Cup of the World
"In time there is a great expectation of efficiency and optimization. 'Cup of the World' is an insistence on letting things take time. A cup that can be manufactured anywhere - and referring to early-made ceramics - can help to emphasize that we as people have a common starting point and cohesion across national borders and despite the competition that is being spoken in the name of globalization."
INGER HEEBØLL (b. 1969) EDUCATION Danish School of Design 1998. SELECTED Arts and Crafts Award, Bronze Medal 2016.ATRIUM Det Ny Kastet, Thisted 2017. Ann Linnemann Gallery; '2016 International Cone Box Show' Kansas City. Biennial of Craft and Design 2015. Biennial of Craft and Design, Carlsberg 2013, nominated for the Biennial Prize 2013. 'The Artists Summer Exhibition' Tistrup 2011, 'Fabula - Nordic Baltic Ceramics" Art Centre, Tarbekunstimuuseum -Tallinn, Bryggens Museum - Bergen, "VK Exhibition" Lerchenborg, Kalundborg, 2nd prize 2001. "YoungCeramics.dk" CLAY Danish Museum of Ceramics 1999. GRANTS Danish Arts Foundation 2015. LINK

Jane Holmberg - Earth Cup
"Different shades of red-clay and white-clays twisted into each other form the basis of the Earth Cup. The graphic patterns and colour marrows remind you of the colours of the desert, red soil and sandy layers. The term appears almost textile and arouses associations of primitive tribal folk crafts. The ancient technique and the raw clay contain a dimension of primary power, something original, I am inspired by. "
JANE HOLMBERG (b. 1973) EDUCATION Designskolen Kolding i 2001. Has for some years produces her own designs, but lately works with pieces in the cross felt of sculpture and function. EXHIBITIONS “Rotation” solo Officinet, Kbh 2017. “Stabling” Biennalen 2015, Carlsbergbyen. Crafts Collection 16, 2012. KeramikUnderJorden, Bunker DG 177, Kbh. 2004. Forårsudstillingen Charlottenborg 2004. Studio at DesignerZoo 2007-10. GRANTS Statens Kunstfond. “Clay&Colour” Kunsthåndværkerprisen, bronze 2015. Statens Kunstfond, prize for `Konfekt/Effekt´ 2008. Instagram: jane_holmberg

Jeanette Hiiri - The Winner is..
"A pun based on the word 'Cup', here in the sense of competition and the pursuit of success, has become a series of winning garlands in stoneware, where the material, texture and structure are at the center. The clay is unglased but in tones that emphasize the technique of building the piece in layers. Everything is being judged today and already from childhood begins endeavours for acknowledgement - and the Winner is .. "
JEANETTE HIIRI (b. 1971, Borås) EDUCATION Danmarks Designskole, Copenhagen 1998-03. Own studio 2003. EXHIBITIONS MuFei gallery, Jingdezhed, China 2016. Grønbechgaard, Bornholm 2012. Officinet, Copenhagen 2011. Svensk Finsk Form, Borås Museum 2009. The Works, Nordisk travelling exhibition 2006-07. Art Copenhagen, Forum, Copenhagen 2004. Network Europe 2003. Charlottenborg Forårsudstilling, Copenhagen 2002. Kunsthåndværkerprisen, Bronze 2004.

Jonathan Keep - Morphology
"Porcelain and 3D computer print, only one of each, printed directly in porcelain. Ideally and artistically, he works with transformation from digital codes of everything from pieces of music to decoding nature objects. It is astonishing poetic objects created by contexts and phenomena in a sophisticated combination of new technological and ceramic knowledge."www.keep-art.co.uk

Karen Bennicke - A cup is a cup is a cup
"How much should be changed before a cup is transformed from utilitarian to object? - The recognition is still intact, but the function is cumbersome or completely absent. 'A cup is a cup is a cup' ... examines the cup morphology by asking questions to all its elements: body, handle, base ... Inside-outside. Tactility. The idea is to present the viewer for a more aware perception of the cup as a phenomenon."
KAREN BENNICKE (b. 1943) EDUCATION various potteries/studios in South Zealand 1958-61. Own studio since 1961, from 1972 with her husband, Peder Rasmussen. EXHIBITIONS in Denmark and internationally. Member of the Danish Fine Artists Association - BKF, Danish Artist Society and International Academy of Ceramics – IAC. COLLECTIONS in Denmark, Norway, Sweden, Germany, England, Latvia, Japan. AWARDS Nationalbankens Anniversary Foundation, Inga og Ejvind Kold Christensen, Annie og Otto Johs. Detlefs, Danish Arts Foundation stipend and Honorary Award, Thorvald Bindesbøll Award. www.karenbennicke.dk

Kim Holm – Tea bowls
"The form, the cylinder, the round or rounded vessel, is a ceramic classic that brings both recognition and surprise. With simple intervention, Kim Holm succeeds in varying his theme, so not two jars are the same. In addition, the glaze, which in some jars add close up to the surface, in others runs, drips or crawl, to eventually engage in a beautiful symbiosis."www.kimholm.net

Kirsten Høholt – Drawing Cup
"I combine drawing and ceramics in personal tactile images on hand-thrown utility items. One is to draw on paper and frame it. This is to touch, - a tactile drawing. The drawing means a lot to me. To play with image metaphors. I simply like drawing and I like making ceramics. I have chosen to use a hand-thrown form because I want to create as much life as possible."
KIRSTEN HØHOLT (b. 1979) Educated at Bath Spa University, UK 2000-04. MEMBER of Danish Arts and Crafts Association since 2012. ARTIST-IN-RESIDENCE La Muse, France; 'Network Europe', International Ceramic Centre DK 2004; Workshop at Mark Smith, UK 1999. GRANTS Danish Arts Foundation 2015, Obel Family Foundation 2002. EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, Boston USA 2016. Ann Linnemann Gallery: 'Throwing the case' 2014 'Masterpieces' 2013. 'Formateket' 2010; 'New designers', London 2004. Jug Exhibition, Blaze, Bristol 2006. 'Young Danish ceramics' Gallery Rasmus 2009. 'Network Europe' International Ceramic Museum CLAY 2005. www.kirstenhoholt.dk

Ksenia Shigaeva (Rusia) - Button Cups
“Button Cups emerge through exploration of alternative ways of holding a cup with a hot drink. Here the buttons serve not only as a decoration but also as holding points – the position of the buttons allows to embrace the cup without touching its hot surface. Apart from being interesting from visual and conceptual points of view the design has proved to be functional on everyday basis.”
KSENIA SHIGAEVA (b. 1982, Russia) Bergen Academy, Norway BA 2008-09. Camberwell College, University of Arts London 2006-08. University for Creative Arts, Canterbury, UK 2005-06. Saratov State University, Russia 1999-04. Ceramic Research Center, DK, Training 2012-14, Artist in Residence 2010, Project Network 2009/10. EXHIBITIONS House of Artists, ARCH Moscow 2017. Ann Linnemann Gallery 2016. 'Porzellanikon' Selb, D; Project Network, CLAY Museum 2010. Lodz International Design, Poland; Porsgrunn; Tarnsalen, Bergen 2009. 'Make or Break', Village Underground; 140, Area 10, London, UK 2008. www.ksceramics.ru

KURT WEISER – Blue painted
"For years my ceramic work was an attempt to express the nature of this beautiful material in one way or another. I realized that the materials are there to allow you to say what you need to say, not to tell you what to say. So I decided to express some ideas about nature, myself and my place in it. "
KURT WEISER (f. 1950) lives and has a studio in Arizona and Montana, USA. EDUCATION Interlochen Arts Academy, MI, 1967-69; Kansas City Art Institute, MO, BFA 1972; University of Michigan, Ann Arbor, MI, MFA 1976. COLLECTIONS V&A Museum; Los Angeles Museum of Art; Carnegie Museum of Art; Museum of Contemporary Ceramics, Shigaraki, Japan; Mint Museum of Craft and Design; Racine Art Museum, National Museum of History, Taipei. AWARDS Aileen Osborn Webb National Artist Award, 2003; American Craft Council College of Fellows, 2003; Arizona Commission on the Arts, Artist Fellowship, 1999; National Endowment for the Arts, Artist Fellowship, 1992,89. USA Artists Fellowship 2012. 1988 Professor, Arizona State University, now Regents Professor. LINK

Lis Biggas - Cups
"A big cup with saucer. To the warm morning dawn. You sit down - fill up once and have enough.
- A mug with a handle (photo). Now it's in the middle of the day, you're in motion and take the mug with you - grab the handle.
- The little mug. It's been evening and you have to enjoy a strong little hot drink, you sit and hold the mug."
LIS BIGGAS (b. 1951) EDUCATION Skolen For Brugskunst (KADK) 1985. EXHIBITIONS 'Atrium', Huset i Asnæs 2017. Ann Linnemann Galleri 2014. Biennalen for Kunsthåndværk og Design 2013. 'Across' Carlsberg Ny Tap 2010. Clausens Kunsthandel, Copenhagen 2009. Galleri Nørby 2005. 'Dansk Keramik fra 1850–1997', Sophienholm 1997. 'Den Danske Keramiktriennale', Kunstmuseet Trapholt; 'Den Keramiske Kande', Marienlyst Slot; 'Dagligdagens rum og ritualer', Den Frie 1994. GRANTS Gertrud og Myre Vasegård Legat, Statens Kunstfond Arbejdslegat 2009. www.lisbiggas.dk

Lisbeth Holst-Jensen – Motive Cup
"Motives are dependent on what I see in my surroundings. I am often taken up by a detail, a structure that I spread out, which sets the agenda for the composition. I draw or paint themes through, and thereby work towards simplification and a degree of abstraction that makes the subject ambiguous and spacious for interpretations. The result often contains a tension field, telling a story."
LISBETH HOLST-JENSEN (b. 1952) EDUCATION Kunsthåndværkerskolen, Copenhagen 1971-74. Eksam. Art Art History, Copenhagen University 1975-79. Previous teacher at Skolen For Brugskunst (KADK). SOLO EXHIBITIONS 'Graphic Tales, Ann Linnemann Gallery 2012; Danmarks Keramikmuseum CLAY, 2007; Georg Jensen, 2004; Galleri Nørby, 2001; Bornholms Museum, 1999. LEGATER Statens Kunstfond og Danmarks Nationalbanks Jubilæumsfond, COLLECTIONS Statens Kunstfond, Kunstmuseet Trapholt, Ny Carlsbergfondet. RESIDENCY STIPENDS Art Studios Copenhagen 1998,01; San Cataldo, Italy 2002,08. LINK

Lone Borgen – Image Cup
"A abstract dreamy narrative universe - layer upon layer reveal an artistic dialogue. Quite close up, due to ceramic transfer, the viewer is brought into a world that is beautiful, but at the same time awkward and at times disturbing. One that is intended to evoke emotions and tell stories. Glaze firing, transfers, digital colour laser printing, gold lustre."
LONE BORGEN (b. 1952, Denmark) EDUCATION Croydon College of Art, England 1976. After 8 years in England, studio in Danmark from 1977. Previous guest teacher at Kolding Kunsthåndværkerskole. Study trips in Europa, Mexico 1982-83, Kenya 1997. Collaboration w. Stephen Parry, UK from 2006. EXHIBITIONS Orangeriet Espergærde 2013,12,10. Danmarks keramikmuseum CLAY; Galleri Noerballe 2012. Galery Norfolk UK 2011. Gallery Clifford 2011,08. Baunehøj Mølle, Grenå; Galerie du Don, Frankrig 2010. Gallery Uggeby 2010,09. GRANTS Ole Haslunds Legat 1986, Statens Kunstfond 1977, Århus Kommune 1997. MEMBER of Danske Kunsthåndværkere from 1978. www.loneborgen.dk

Lotte Westphael – The World Is Shaking.. Seismographic
"Seismographs measure the earth's movements, shakes. The world is in motion. Social order unstable: political, climatic, economic. The sync's cylinders have bands of parallel strips that form a rhythmic course with associations to the earth's shaking, heartbeat, life-existence. "low-tech" porcelain, dyed, inlaid clay. Inspired by woven textile from the Bauhaus period, Anni Albers and Japanese textiles."
LOTTE WESTPHAEL (b. 1965) EDUCATION Kunsthåndværkerskolen i Kolding 1988-92, Institut for Unika 1992-93. Study trips in Japan. EXHIBITIONS ”[Albers] Translated into Transparency”, Dina Vejling, Odense 2017. Charlottensborg Forårsudstilling 2016. ”Toy - Playing By Different Rules”, Ann Linnemann Gallery 2016. INTERNATIONAL Lerverk, Gøteborg 2016. Danske Kulturinstitut, St.Petersborg; Galerie de LÓ, Brussel; Triennial of Silicate Arts, Ungarn; Cluj Biennial Ceramics, Rumænien. Solo, Kaolin, Stockholm 2019. GRANTS Danish Art Foundation, Japan-stipend 2017, work-stipend 2017, project funding 2016. Kunsthåndværkerprisen 2016. ”Villvinprisen”, Risør, Norway. www.westphaell.dk

Louise Sidelmann - Honorary Medal for KINDNESS
"My inspiration for the World Cup is the competition itself, - to get a medal. I see the medal as a symbol that some have done something extraordinary, - has created a change. It is a reminder of the importance of the existence of kindness in life and the world. For the honorary medal band I have been inspired by the emblem's multicolored bands. This is my free interpretation of medal design."
LOUISE SIDELMANN (b. 1976, Lemvig) EDUCATION Designskolen Kolding, ceramics 2002-07. EUC, Stukkatør 2000-01. Aarhus Kunstakademi 1998-99. EXHIBITIONS 'Dialog', Ann Linnemann Galleri 2017. 'Landskaber', Kammer Galleriet Lemvig 2016. 'FormSprog-TankeSpind', Ann Linnemann Galleri; Curated by museum director Lars Kærulf Møller, Copenhagen 2014. Officinet, Copenhagen 2013. Møstings Hus 2012. 'FORM-ART', Glinde, Tyskland 2011. Limfjordens Efterårsudstilling, Gimsinghoved; 'Forårsudstillingen', Charlottenborg 2009. 'Ler08', SAK, Svendborg; 'Projekt Netværk', Danmarks Keramikmuseum CLAY 2008. FACEBOOK

Malene Müllertz - Geometric
Malene Müllertz is known for a geometric sensuous form language, fine net structures carved in stoneware, beautiful textural glaze nuances and lines of decorations that blend into unities.
The cups are inspired by angular Japanese cups, added graphical gold motifs on the edge.
MALENE MÜLLERTZ - EDUCATION Kunsthåndværkerskolen 1965-70. EMPLOYED as artist at Bing & Grøndahls Porcelain Factory 1970-73, Kunstakademiets Arkitektskole, industriel design 1973-75, Royal Copenhagen Porcelain 1977 and 82. Own studio since 1975. EXHIBITIONS in Denmark and international. MEMBER of 'Kunstnersamfundet' and 'Keramiske Veje'. www.malenemullertz.dk

Marek Cecula – InDustReal, Random, Nectar, Craft
In Dust Real is a collection of classic porcelain from various European factories, placed it in a traditional Japanese anagama wood kiln, where ash burned and changed the glaze and colours on the plates, without intervention by the designer. The identical, mass-produced objects were transformed into a unique series of widely varying patterns. The key fire element plays a role, which is both creative and destructive.”
Random tampers with the monotony of mass production and introduces a process of industrial originality. Three randomly generated numbers create a thousand possible combinations - unpredictable and seldom repeated. The black digits on white porcelain are a stark visual declaration; they are also an identification system, so you can recognize your cup among many others - your personal number, helping you navigate the kitchen cupboard or an office meeting. Porcelain, ceramic decal, 12 x 11 x 11 cm/400ml – 2014.”
Nectar cups are an example of a product which bridges contemporary studio design with traditional porcelain. tall, streamline mug gets decorative handle from one of the classic teacups produced by Ćmielów Porcelain manufactory. This composition makes new original products by mixing time and design. Nectar cups come in 4 pastel colors with matt surface and glazed interior.”
Craft collection - The feel of touch is combined with the ergonomics of the form. In spite of the floating wave of objects produced in 3D printers, "CRAFT" collection is a return to handcrafted product where emotions, sensitivity, and tactility are directly transferred in to the user’s hands. Subtlety is the theme of direction in development of the tableware produced by Modus, Cmielów Design Studio. Tinted porcelain – 2016.”
MAREK CECULA (b. 1944, Poland) is a world-renowned artist, ceramicist, educator and curator. He is the recipient of numerous prestigious awards. Cecuła spent his first 16 years in Kielce, Poland, before emigrating to Israel. He moved to Brazil 12 years later, and to New York City in 1976 where he set up Modus Design Studio and Contemporary Porcelain Gallery. He was Head and Coordinator of the Ceramics Department at Parsons School of Design in New York 1985-04 and Visiting Professor at the National Academy of the Arts in Bergen 2004-10. In 2012 he opened Design Centrum Kielce and a year later, the Ćmielów Design Studio. He currently holds the post of Visiting Professor at Royal College of Art, London. www.ceculamarek.com

Margot Thyssen (Belgium) - Mo Shan & Twins
“My work consist of transparent porcelain using the multi-layer slip casting technique. A combination of playing with plain form and clean lines, “Mo Shan & Twins” are unique objects, both in form and in pattern as the final result is each time different and surprising. The outer side provides an agreeable soft sensation achieved through polishing. Vessels are made in small edition. Unglazed, polished.”
MARGOT THYSSEN (b. 1964, Belgium) EDUCATION Institute of Fine Arts and Crafts, Antwerp - Graphic Designer 1983; Higher Level, Ceramics/Art History 2013; Master in Ceramics 2016. Independant ceramist since 2013. EXHIBITIONS Contour –Blancoo Antwerp B; Ceramic Event VIII Brussels 2017. 'Ceramics Triennal 2015', Coda Museum, NL; 'Madame est servie', WCC.BF, B 2015. 'The table of 24' Design Flanders Gallery; 'Du Bol 2016', Alliages, France. 'Mo Shan' permanent expo, Changchun Ceramic Gallery, China. AWARDS Henry van de Velde Label 2014; 'Westerwaldpreis 2014', Germany. www.margotthyssen.be

Metha Stuart Wallace - Tumbler with holder
"Tumbler with Holder combines cast, high-fired earthenware with recycled cup-holder. The differences in material, sustainability and manufacturing allow for dialogue between the two opposites and their cohesion. Inspired by the idea of discarded things that calls for recycling, asking questions about combination and usability and how 'making' can allow new ways to see old things.”
METHA STUART WALLACE (b. 1970) EDUCATION Danmarks Designskole, Copenhagen 1998-99; Sunderland Universitet, UK 1989-93. EXHIBITIONS in Denmark and International. COLLECTIONS Shipley Art Gallery; Craft Collection, Gateshead; Glasmuseum, Ebeltoft. MEMBER of Butik for Borddækning, Copenhagen. Instagram: Metha_stuart_wallace

Michiko Takahashi Nilsen (Japan/Norway) - Skål!
“Many memories have gone by. Some thoughts cross over. Between nature and me. Between clay and me. Between fire and my ceramic. Between two different cultures. Between art and function. My forms are born from such thoughts. It is in a way my diary. The form is abstract, but remind nature form. The combination of form and the special surface created by wood firing.”
MICHIKO TAKAHASHI NILSEN (b. 1965, Japan). University of Westminster, London BA hons 1991-93; PCL Harrow College, London BTEC-HND 1989-91; Tamagawa University, Tokyo BA 1984-88. SOLO SHOWS Bærum Kunsthåndverk, Sandvika 2015. Kunsthåndverkerne, Oslo 2010. KunstnerSenteret, Buskerud; Vestfold Kunstnersenter, Tønsberg 2007. SYMPOSIUM International Potters Exchange, China 2017. Project manager 'Ikebana + Kunsthåndverk = Sant', Norway 2015. III International Hacettepe Univ. Macsabal Wood Firing, Turkey; Macsabal Woodfire, China 2013. 15th Osan International Macsabal Woodfire, South Korea 2012. Goshogawara International Woodfire Festival, Japan 2009.

Mikael Jackson
"My work is the result of an abstract study in the dynamics of controlled form. The objects are formal explorations. From the distance you can get the impression that each complexity is randomly organized, but closer to the careful system that each object depends on. Through interaction and mutual influence, I explore the order and construction of structures, geometric elements such as free-standing and bearings. "
MIKAEL JACKSON (b.1972, Denmark) EDUCATION Royal College of Art, London, MA 2006–08; Konstfack, Stockholm 2005–06; Designskolen-Kolding, BA 2002–05. Værksted i København, arbejder på Kunstakademiets Designskole (KADK). EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, USA 2016. Odder Kunstforening, solo 2015. Copenhagen Ceramics, duo; Galleri R2, Svaneke 2014. Ann Linnemann Galleri, solo; 'Biennale Internationale de Vallauris', FR 2013. Copenhagen Ceramics; Ann Linnemann Gallery, Copenhagen 2012. Puls Contemporary Ceramics, Belgien 2012,10. Huset, Aarhus; Galleri Pagter, Kolding; Biennalen for Kunsthåndværk & Design, Koldinghus 2011. 'Across', Ny Tap, Carlsberg 2010. National Art Foundation 2013. LINK

Mona Vander - Spacious
"My idea is to make the traditional cup, but change it slightly so that it is no longer a cup, but just looks like a cup. The title refers to being spacious, but the spacious does not exist. I take something useful and make it useless. I hope to awaken the humour, but at the same time the annoyance that the title and the cups are opposites. Recognizable everyday life, yet not recognizable.”
MONA VANDER (b. 1970) EDUCATION Kunsthåndværkerskolen/Designskolen Kolding 1990-94; Fynske Kunstakademi 1998-99, 2001-02. EXHIBITIONS Kunstnernes Sommerudstilling, Tistrup 2013. Forårsudstillingen Charlottenborg 2014. KP15, SPRING & SOLO 2015. Biennalen for Kunsthåndværk og Design 2017 Museumsbygningen, Copenhagen. www.monavander.dk

Ole Jensen – OVER CUP
"To make a thing that highlights and elevates the primary character of the cup, - to accommodate, in a simple and clear manner. The new cups are made with simple modelling. There is no particular equilibrium technique. Modelling technology allows for reinforcing and maintaining the overall idea without being seduced by a refined technique. The cups maintain the character of the idea and sketch in their final expression. Perhaps it is special that they are so simple and straightforward, - yes, almost primitive in their expression. Three thin legs raise the cup's cheek. Red clay, mat high-fired glaze, white, yellow, transparent."
OLE JENSEN (b. 1958) EDUCATION Design School Kolding, 1981-85, Royal Danish Art Academy 1985-89. EXHIBITIONS Mindcraft 2016,15,09,08, Milano; The Opening (m. Claydies), Copenhagen Ceramics, 2012; Form og Fantasi (m. Louise Birch), Ann Linnemann Galleri, 2012; Röhsska Museum, Gøteborg, 2006; Galleri Nørby, 2003; Udstillingsted for Ny Keramik, 2000. AWARDS Thorvald Bindesbøll 2004; Torsten and Wanja Söderberg 2006; National Art Foundation 2009; Danmarks Nationalbanks Foundation 2012. COLLECTIONS Designmuseum Danmark; Ny Carlsbergfondet; Victoria & Albert Museum, London; Röhsska Museum, Gøteborg; Indianapolis Museum of Art, Indiana. DESIGN for Royal Copenhagen, Louis Poulsen, Normann Copenhagen and Muuto. www.olejensendesign.com

Ole Vesterlund - Volume 1 of 1, Pinch of Clay
"The amount of coffee I drink from my 'everyday cup' has a fixed density of 200 gr. cup. As in a recipe, I let this amount / weight of liquid determine the amount of clay for the individual 'world cup'. The cup thus becomes a universal cyclical character, in a game of eternity and rebirth - as the cup is, in fact, "born" of the amount of liquid that all cups can contain on average. There are cups in a play and interaction between what came first? The coffee or the cup, or the cup and the coffee. My cup is based on the design of Wileroy and Boch. "
OLE VESTERLUND (b. 1971) EDUCATION Danmarks Design School 2008. EXHIBITIONS “ConeBox Show”, NCECA, Kansas 2016, “Aquarium”, Ann Linnemann Gallery, Copenhagen 2015, “Palais Ideal”, Museum Jorn, Silkeborg 2014. ”Orders”, Copenhagen Ceramic 2012. “How queer everything is today”, Råhuset and ”Forårsudstillingen”, Charlotteborg, Copenhagen 2006. LINK - www.olevesterlund.dk

Paul Scott & Ann Linnemann – Landscape Blue
Landscape Blue reflects a dialogue between industry and crafts, everyday functions and the fine tea set with gold rims, childhood memories, sensual abstract concept and the daily cup of tea. The history of the porcelain, social politics and 'nature-human' are ongoing themes that unfold for the closer viewer.
All parts are hand-thrown by Ann Linnemann with silk screen print by Paul Scott.
PAUL SCOTT (UK) is internationally recognized for his research in ceramics and printing techniques. His artistic practice is multifaceted; - as well as creating individual pieces, installations and art objects for exhibition, he also works with commission assignments for architectural projects, and is a writer, researcher, lecturer and curator. www.cumbrianblues.com

Pia Baastrup - Time for reflection
"Traditions in most countries are changing rapidly. For more people in the world, tea becomes a drink that forms part of everyday life. It has become popular to enjoy a good cup of tea and new tea houses invite within a moment away from our busy lives. To signal relaxation and give thought to attention. A ceramic set for solitary time with calm and immersion. Slab technique: cup and spoon, porcelain, glaze. Tray, clay, glaze."
Pia Bastrup - Around the world
”Globaliseringen medfører en voksende udveksling mellem verdens forskellige lande. Det inspirerer, hvordan vi spiser og drikker i dag. Vi har taget drikke fra andre lande til os, fx espresso, grøn te, sake og chai. Nogle skal drikkes af en lille kop og andre af større eller en stor kop. Kopper i 2 modeller og 4 størrelser til drikke fra hele verden rundt, porcelæn med glasur, pladeteknik.”
"Globalization is resulting in a growing exchange between the world's countries. This inspires how we eat and drink today. We have taken drinks from other countries to us, espresso, green tea, sake and chai. Some should be in a small cup and others large or wide cups. Cups in 2 models and 4 sizes to drink from around the world, porcelain glaze, slab technique."
PIA BAASTRUP (b. 1957) is a self taught ceramisist 1995-2000. EXHIBITIONS in Denmark and abroad, Galleri Vilvin, Norge 2017; Butik for Borddækning, Copenhagen 2017,15,14,13,11,09,08; Form Design Center, Sweden 2016; Musee La Piscine, France 2013; Galleri Craft2eu, Germany 2013,10; Det Danske Hus, Paris 2013. COMMISSIONS Danske Ambassade Washington, USA 2016; Nordea-fonden, Denmark 2015; Danske Hus, Paris, France 2011. GRANTS Danish Arts Foundation, Danish Crafts, Otto Bruuns Fond, Gross. L. F. Foghts Fond. Prisen Håndfuglen 2015. www.piabaastrup.dk

Prue Venables – Oval
"Prue Venables (AU) makes the choice of porcelain all natural for anyone looking for strength and timeless purity. Her elegant work is convincingly useful with carefully considered underlying echoes of the purposeful crispness and functionality seen in laboratory equipment. She wears her masterful technique with ease."Exhibition in Denmark - LINK

Randy Johnston - Yunomi
“My work has specific modern connotations and addresses the development of abstraction within the aesthetic of utilitarian objects. Essential to a strong representation of each form is a feeling for its overall spatial structure. Surface textures and marks are not an afterthought, but a tangible component of completion and fulfillment. High fire reduction firings in wood and gas.”
RANDY JOHNSTON (born in USA) Professor, University of Wisconsin, USA. MFA, Southern Illinois University, 1990. BFA, University of Minnesota 1972. Studied with Warren MacKenzie and Shimaoka Tatsuzo (student of Shoji Hamada) 1975. His work is exhibited internationally. AWARDS include Visual Artist Fellowships from the National Endowment for the Arts. COLLECTIONS Minneapolis Art Institute, Boston Museum of Fine Arts, Los Angeles County Museum, Nelson Aitkins Museum and numerous International Public and Private collections. www.mckeachiejohnstonstudios.com

Robert Banker – Carved
“My wheel thrown cups are carved with traditional chip carving methods usually associated with wooden objects. The textures are experienced with your fingers as well as your eyes. This work is outgrown of my interest in pattern that is suggestive of patterns of growth in the natural world.”
ROBERT BANKER (b. 1960, USA) has a MFA University of Minneapolis 1997; BFA Alfred University, New York USA 1988. Teaches at Rochester Community and Technical Collage, pottery studio in Oronoco, Minnesota 2004-present. Teacher at University of Alaska Anchorage Art Department 1998-2003; Art studies/workshops in the USA, Europe, Denmark and Tokoname Ceramic Art IWCAT'89, Japan. Architect Ithaca, New York 1989-97; Teacher at Langeland Art School 1992/93. Previous assistant for Warren MacKenzie, USA.

Samuel Chung - Cloud Cup
"I'm curious about the relationships I see among many different creative expressions from both past and present, trying to create a new ceramic language for the future. 'Cloud' is a motive that has occurred by searching for a design related to my Korean origin. I integrate this motif with traditional Korean form to give the works a new context. "
SAMUEL CHUNG (b. 1970) has a Master of Fine Art (1994-97) from Arizona State University, where he has taught since 2007. Samuel Chung has exhibited in the United States, China, Korea, Italy and Denmark. He is active in the organization NCECA, which annually organizes international symposia for teachers and professional potters and ceramic artists in various states in the United States, and he has received several awards, scholarships, guest artist positions and worked as artist-in-residence in China and Denmark. EXHIBITIONS in Ann Linnemann Gallery 'Planes of Clay' w. Gerd Hiort Petersen 2014 and DIALOGUE 2017. LINK - www.samchungceramics.com

Samuel Johnson – Dark
“I have been exploring darkness in the work as a metaphor. This current work is made by reducing oxygen from the cooling phase of the firing and bathing the work in smoldering wood embers.. producing bands of color, iridescence, and dark surfaces that seem like shadow or silhouettes. The cups are unglazed, raw, yet fully functional as drinking vessels.”
SAMUEL JOHNSON (b. 1973, Minnesota) Associate Professor of Art,College of Saint Benedict and Saint John’s University. MA/MFA, University of Iowa 2005. Student at the Danish Design School in Copenhagen 2000, and studio guest of Koie Ryoji, Japan 2001. Apprentice w. Richard Bresnahan 1996-99, Several exhibitions and solo exhibitions. In the collection of North Dakota Museum of Art and featured in the book, Stoked: Five Artists of Fire and Clay, Ceramics Now, 2014, Mastering the Potter’s Wheel, 2016. www.samuel-johnson.com

Sandra Luehrsen USA - Cactus Juice 9
“Exploring the cycles of life on Earth here and life in the hereafter - if there is one. Mystery abounds! Nature shows us that there must be something bigger than us. I left the Midwest to live in the wild and khaki colored desert of the Southwest. The exotic desert flora fascinates me. Each day witness how all of us – people, animals, plants, microbes – survive and adapt to the environment as harsh and forbidding as it may be.”
SANDRA LUEHRSEN (born in Chicago) BA/MA, at Northern Illinois University, DeKalb, IL; MFA, Arizona State University, USA. SOLO EXHIBITIONS Chandler Centre for the Arts, 2007. Kin Spirits, West Valley Art Museum, 2008. Too Big to Fail, Central Arizona College, 2010. COLLECTIONS Auckland Institue and Museum, Auckland, NZ. Kamm Teapot Foundation, NC. ASU Art Museum; West Valley Art Museum AZ. Wyeth-Ayers Laboratories, PA. Prudential Life Insurance, NY. RESIDENCIES Watershed 1995. Arizona State University 2003. www.SLuehrStudios.com

Sten Lykke Madsen – Thimbles Cup
"When I first made my thimble cup with fables, I was inspired by the square Japanese wooden cup when you drink of the corners and that a cup not necessarily have to be round." Sten Lykke Madsen is known for its fabulous, humorous characters in a different world of hybrid between animals and humans.
STEN LYKKE MADSEN (b. 1937) EDUCATION School of Applied Arts 1954-58. EMPLOYEE Bing & Grondahl, Royal Copenhagen 1962-2003, guest teacher Kolding School of Design 1981-2005. TRAVELS Japan 1979 and 2006. ARTIST-IN-RESIDENCE China 2004 International Ceramic Research Center, DK from 2003. EXHIBITIONS in Denmark and abroad: Retrospective solo exhibition Clay Ceramics Museum 2016. Gallery Nørby 1999. Charlottenborg 1975. Puls Contemporary Ceramics, Belgium 2010, SOFA Chicago 2005. Ceramic Ways Exhibitor and Co-founder since 1985 Anniversary Exhibition, Sophienholm 2015. Concorso Internazionale della Ceramica, Faenza, gold winner 1975, 1967. WALL DECORATION Sølvgade 1993 Vesterbrogade, Copenhagen 1978. FOUNTAIN Store Torv, Holstebro 1986. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award. LINK

Stephen Bowers - Painted
"My goal is to make people see - and to look again, to encourage observing, responding, considering, and rethinking. I work with pieces that contain craft skills, are informed of ideas that originate in theory and studies of image motives, their historical reverberation, reproduction and perception, referring to the context and cross-over of visual arts with tradition, trade, travel, politics, science and discovery."
STEPHEN BOWERS (b. 1953, Australia) brings together in his painted ceramic vessels many of the traditions from the history of ceramics. In any one piece, one might find traces of many familiar styles and decorations. While maintaining a respect for the master techniques, Stephen Bowers' flamboyant and exuberant ceramics combine a classical ceramic heritage with inspiration from indigenous sources and are spiced with dashes of wit. His work is distinguished by intricately painted underglazes which "wear its expertise lightly. He is acknowledged for his detailed pieces, exhibiting in the USA, UK and Australia. LINK

Steven Rolf – Cup & Wine
"As a potter, I make unique functional things that are meant to be used daily. I have done the task of making works that fit the hand and hopefully engage the user's eyes, head and heart as well. My work rejoices the very ordinary daily thing to eat, drink, store and pour. Beautiful objects have the ability to activate thoughts and feelings. "
STEVEN ROLF lives and works in Wisconsin, USA. MFA Alfred University; BFA Kansas City Art Institute, BS University of Wisconsin. Apprentice w.Wang Hui Ming, Master painter and wood carver. He lectures and give workshops, exhibits internationally and has received national and international awards. COLLECTIONS Museum of Contemporary Craft, Portland; Minneapolis Institute of the Arts, Minneapolis; American Museum of Ceramic Art, California; Ulsan City Museum, Korea, - and numerous kitchen cabinets. LINK - www.scrolfpotter.com

Søren Thygesen – Cup Dog
"Inspired by H.C. Andersen's fairy tale about the dog with 'eyes as big as tea cups' and traditional English cup heads with portraits and animals, this cup is originally designed and produced for a restaurant in Odense. "
SØREN THYGESEN graduated from Kolding Design School 1987. Own studio since 1987. Employed by Kähler Ceramics, Næstved 1996-2000 designer for Kähler 2007. Associated Tommerup Ceramic Workshop since 2000 .. EXHIBITIONS Biennale of Craft and Design 2016. The Morsø Art Association 2009. Politiken Talent Award 2008. Charlottenborg Spring Exhibition 2008, 05, 04, 03. Autumn Art Exhibition 2006 05. Gallery Nørby 2005. Funen Art SAK 2004. Danish Ceramics Triennial, Trapholt 1994. GRANTS Danish Arts Foundation work grant 2001, 2000, 2016. Ole and Yelva Nimbs Fund, honorary award 2004. Ole Haslund Award 1989. Krøjer's Foundation 1987 AWARDS 1st prize Biennial for Craft and Design 2016, Danish Ceramics Triennial Trapholt 1994, Danish Arts Foundation 1993, the exhibition Jutland Roots Aarhus 1990. LINK

Theis Lorentzen - Sprue for Two DIY
"A humorous comment on mass-produced one-off and pseudo-creative DIY kits. The typical dinnerware porcelain cup and pitcher or 'burger-set' is turned into an absurd utopian assemble-yourself setting. "I combine the efficiency and industrial idiom of moulding with the template-based creativity kits and the indomitable can-good spirit of do-it-yourself mentality."
THEIS LORENTZEN (b. 1973) MFA-student Royal Collage of Art, London. BA Danmarks Designskole, Bornholm 2009-12 (KADK). Kerteminde kunsthøjskole 1998-99, Nic. O. Schmidt bronzestøberi 1999. Ædelmetalstøber Francois Deletaille 2000-07. EXHIBITIONS 'Danish Contemporary' Lacoste Gallery, USA 2016. Ann Linnemann Gallery, 2014. Grønbechsgård 2010,12. Formland 2011. Bornholm Art Museum, Kunstakademiets Bibliotek; Upcoming Designers, Formland 2012. ASSISTANT for A.Tophøj and Ole Jensen 2012, Tophøj & Steen Ipsen 2011. Product design for Kähler Ceramics 2013. LINK

Thora Finnsdottir Søe (Reykjavik) - Trophy Cup
“A playful cup that gives associations towards a trophy, a prize. A sampling technique. Different parts and shaping contexts are joined to create a visual challenge, encouraging to place the pieces in a frame of contexts. Inspired by shapes created during our history as a culture giving form to things in our everyday life. -The transformation of well-known shapes into new pieces, telling a new story containing the old original tale.”
THORA FINNSDOTTIR SØE (b. 1974, Reykjavik) graduated from The Royal Danish Academy Of Fine Arts, 2009. RESIDENCY, Baer Art Center, Iceland 2017; EXHIBITIONS “MeeTings”, Gallery Kirsuberjatred, Iceland 2017. International Triennial of Ceramics, Slovenia UNICUM 2015. “Formsprog-Tankespind” Gallery Ann Linnemann, Copenhagen 2014. “Flashbulb memories”, Gallery Officinet, Copenhagen 2014. Spring exhibition, Charlottenborg, Copenhagen; Summer exhibition, Janusbygningen, Tirstrup, DK 2008. “Græsko” Cowparade Copenhagen 2007. Founder of “Finnsdottir Ceramic Tales” 2009. www.finnsdottir.dk

Ursula Munch-Petersen - Cups & Doll's set
“Danish design, craftsmanship, tradition of function and an idealistic relationship with the user, a high level of awareness and honesty in relation to daily functional qualities, a refined recognizable character with traces of the touch of hand and mind. From beautiful crafts, her studio production has become good industrial products, often featuring the same feelings as in good craftsmanship - the work of the hand and sense for use.”
URSULA MUNCH-PETERSEN (b. 1937, Bornholm) Recognized craftsman and designer, travelling, teaching and exhibitions in Denmark and abroad: Letland, Litauen, Ukraine, USA, Mexico, China.. EDUCATION Kunsthåndværkerskolen 1956-60. EMPLOYE Bing & Grøndahl 1961-68, freelance designer for Royal Copenhagen and Kähler. EXHIBITION PROJECTS 'My Doll's tableware' 2003, 'Ursula' Royal Copenhagen 1992, 'Lærkestellet' 1994. COMMISSIONS 'Tidstavlen' Hærvejen, Jylland 2010. GRANTS Danish Arts Foundation Danmarks Nationalbank's Anniversary Foundation, Bindesbøll Award, Ole Haslund Award, Knight of Dannebrog. www.ursulamunchpetersen.dk

EXHIBITION CALENDAR 2018

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See pieces in the gallery collection: LINK
(Program - subject to change)

16 - 20 JANUARY WORLD CUP - exhibition continued.See LINK

25 JANUARY – 24 FEBRUARY
Sergei Isupov Estonia/USA
Russian avant-garde artist, emigrated to the United States, presents new thoughtful surreal pieces.
For this exhibition, Sergei Isupov has specifically worked on figurines and wall objects. Isupov has his studio in Massachusetts, USA and Estonia. He is acknowledged for his original works, and fascinating themes from Russian history to the wonderful diversity of today - and life.

1 MARCH – 14 APRIL
MASTER PIECES - 10 years Anniversary exhibition
Miniature, clay model, sketch - Danish/International
The gallery celebrates its 10th anniversary with a string of master pieces made by the many exhibitors of the years.
An exhibition of specially rare and unknown pieces, miniatures or particularly important clay sketch for inspiration. In the true spirit of the place, it is possible to look into a treasury of ideas and ceramics of traditional, conceptual and humorous nature.

APRIL – JUNE (dates not settled yet)
OSTRACON - Peter Brandes
Peter Brandes focuses on ceramics, historical, archaeological - pottery, jars, democracy.
His focal point is Ostracon: a piece of pottery, usually broken off from a vase or other earthenware vessel. Ostraca refer (in ancient Greece) a potsherd, especially one used as a ballot, a vote was inscribed. Brandes exhibits ceramic fragments used as notebooks, democratic voting slips and much more, but also painted jars and other ceramics by this highly acknowledged Danish artist.

14 JUNE – 18 AUGUST
LEGENDARY - Niels Lauesen's ceramics & sketches
- together with his previous students: Ole Jensen, Søren Thygesen, Turi Heisselberg, Marianne Nielsen.
Niels Lauesen (1941-2014) was a fantastic inspiring, knowledgeable teacher and ceramist. The exhibition will show a large collection of Niels' works and sketchbooks. In addition, his former students from the Kolding Arts and Crafts School will visualize their experience based on this meeting with special thanks to a talented teacher and artist.

23 AUGUST – 29 SEPTEMBER
SPATIAL DRAWINGS - Martin Bodilsen Kaldahl
The ceramic sculptures of Martin Bodilsen Kaldahl are emphasizing their fundamental existence in space. Through his precise formal elaboration of the material even a casual and banal gesture in space is attributed significance. With a vigilant eye for the monumental within the insignificant the artist works to create the conditions for shaping an intuitive, spatial form.

25 OCTOBER – 24 NOVEMBER
GEOMETRIC SCALES
- Karen Bennicke & Yoshikawa Masamichi

Geometry and experimental interest are common denominators for Japanese Masamichi and Danish Karen Bennicke. The exhibition will present new pieces by both and set the world-renowned ceramic artists in a special dialogue. Each with their personal form language, the meeting will tell about diversities, reveal cultural references, contradictions and contexts.

1 – 22 DECEMBER
FUNCTION MATTERS - Danish/Internationalt
Ursula Munch-Petersen and International artists (see later).
The exhibition relates concrete and abstract to the function of usage and tradition, contemporary needs and contemporary terms of function, functional ceramics, daily objects, conceptual ideas, tableau, Still Life. From Japanese inspiration and British Studio Pottery to today's unique functions and conceptual ideas.

PERMANENT EXHIBITION COLLECTION - ARTISTS - COLLECTABLES
- Akio Takamori - Ann Linnemann - Anne Fløcke - Anne Mette Hjortshøj - Asger Kristensen - Barbro Åberg - Beate Andersen - Bente Hansen - Bente Skjøttgaard – Better Lübbert - Bodil Manz - Charlotte Thorup - Christina Schou Christensen – Dorte Kristoffersen - Elisa Helland-Hansen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hiort Petersen - Gunhild Rudjord - Gunhild Aaberg - Hans Munck Andersen - Hans Vangsø - Heidi Hentze - Helle Hove – Inge Lise Koefoed - Inger Heebøll - Jonathan Keep - Karen Bennicke - Karen Harsbo - Kim Holm - Kirsten Christensen - Kirsten Coelho - Kirsten Høholt - Kirsten Justesen - Kurt Weiser - Lea Mi Engholm – Lesley Baker - Lis Biggas - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Borgen & Stephen Parry - Lone Skov Madsen - Louise Birch - Louise Gaarmann - Louise Sidelmann - Malene Müllertz - Margaret O'Rorke - Marianne Krumbach - Marianne Nielsen - Marek Cecula - Mariko Wada - Martin Bodilsen Kahldahl – Mette Augustinus Poulsen - Mette Marie Ørsted - Mikael Jackson - Morten Løbner Espersen – Morten Modin - Neil Brownsword - Nina Malterud - Ninna Gøtzsche - Ole Jensen - Ole Vesterlund – Per Ahlmann - Pernille Pontoppidan Pedersen - Prue Venables - Richard Shaw - Samuel Chung - Sandra Davolio - Sophus Ejler Jepsen - Sten Lykke Madsen - Stephen Bowers - Steven Rolf - Søren Thygesen - Theis Lorentzen - Turi Heisselberg Pedersen – Ueda Mayu - Ulla Bech-Bruun - Ursula Munch-Petersen - Vibeke Krog - Vibeke Rytter..

SERGEI ISUPOV Exhibition Jan-Feb 2018

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All photos of previous works - exhibition pieces will be updated later.

Sergei Isupov Estonia/USA
Exhibition 25 January - 24 February 2018
From Russian avantgarde to international contemporary ceramic art.
World renowned contemporary artist Sergei Isupov exhibits new thoughtful surreal pieces in Copenhagen, Denmark.

For this exhibition Sergei Isupov has specifically worked with a number of figurines and wall objects in smaller formats.
He is acknowledged for his original painted ceramic pieces of fascinating themes from the Russian history to a wonderful contemporary diversity - about life.

He works in porcelain and uses traditional hand-modelling and sculpture techniques, but here the traditional ends to make room for a surprising imagery that unfolds on the 3D forms of the pieces. Each side represents a new motif and nothing is as expected at first glance.
Isipov tells multilateral stories, combining surface and form with narrative painting, oxide, colour stains and clear glaze.

His ceramic works are masterfully performed - and it is with great pleasure that the Gallery has been given this opportunity to show these amazing art pieces for a Danish audience.

Grateful thanks to The Danish Art Foundation for project funding in 2018.


BIOGRAPHY

SERGEI ISUPOV Estland/USA
Born in 1963 in Stavrapole, Russia, Sergei Isupov lives and has a studio in Massachusetts, USA and Estonia.
Isupov graduated from the Art Institute of Tallinn, Estonia in 1990, BA/MFA Ceramics.
In 1994 he emigrated to the United States.

He has an extensive international professional experience with artworks represented at several exhibitions and in public collections, including the Museum of Arts and Design (NY), Racine Art Museum (WI), Museum of Fine Arts Boston (MA), Museum of Fine Arts, Houston (TX) USA and National Gallery of Australia.

His artworks are represented in publications, catalogs, journals such as Postmodern Ceramics, Sex Pots: Eroticsm in Ceramics, Ceramic Surface; Shy Boy, She Devil, and Isis: The Art of Conceptual Craft; Confrontational Ceramics etc.
He teaches, holds workshops and lectures internationally in museums, universities and art centers, also invited guest artist/ artist-in-residence at Archie Bray Foundation, Helena (MT), International Ceramics Studio, Kecskemét, Hungary and International Ceramic Research Center, Denmark.
In 2001 he received The Louis Comfort Tiffany Biennial Award.

MASTERPIECES March-April 2018

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MASTERPIECES 10 Years Anniversary Exhibition
Exhibition 1 March - 14 April 2018
Opening reception Thursday 1 March at 16-19.00

A Treasury of Masterpieces - inspiration, models and clay sketches
The gallery celebrates its 10th anniversary with a string of art pieces by more than 60 exhibitors, showing their private selection of special and unknown pieces, significant model sketches for inspiration, proposals for major projects.

In the spirit of the Gallery, it is possible to look into a treasury of ideas and ceramics of traditional, conceptual and humorous nature.

I have been working on the site for 20 years. The first years with my own studio and private showroom, but from 2008 also exhibiting and promoting ceramic contemporary art and unique crafts by Danish and international colleagues. The exhibitions have continuously informed the audience of contemporary ceramic art. It has been a busy and eventful time with many interesting visits, amazing art pieces and stories from the real life :-)

The Gallery is small, but the 'ceiling is high' when it comes to quality - promoting, professional and idealistic. In collaboration with the artists, the Gallery has exhibited almost 100 exhibitions, often in a combination of recognised established and new talents, international names in relation to Danish colleagues and thematic exhibitions, - focusing on current traditional and experimental contemporary ceramic art and unique pieces.

THANK YOU to all the exhibitors who have shown their great pieces in the Gallery over the years. Also grateful thanks to the Danish Art Foundation, Ellen & Knud Dalhoff Larsens Fond, Danmarks Nationalbank's Anniversary Foundation, L.F.Foghts Fond, OJD Fonden, and art associations, private collectors, faithful customers, colleagues, friends and family for invaluable support.

EXHIBITORS and their MASTERPIECES
(Hight x Width x Depth)

Ane Davidsen - Overthrown - sketch, 2017
Stoneware, thrown, modelled
23 x 19 x 17 cm
One of the first pieces creating the ideas of many more.
Born 1972, DK - www.anedavidsen.blogspot.com

Ane-Katrine von Bülow - Graphic Bowl, 2004-18
Porcelain, graphic print, glaze, gas kiln 1280C.
12,5 x 25 cm
The starting point for all my graphic porcelain is the conch shell, using the industrial stretch mesh as tangible material, the ornament is created, rewritten and worked endlessly. (Photo O.Akhøj)
Born 1952, DK - www.anekatrinevonbulow.dk

Anne Fløche - The simplest, 2016
33 x 37 cm
Simplicity, tranquility. Shape, color and drawing are united.
Born 1952, DK - www.annefloche.dk

Anne Fabricius Møller & Ann Linnemann
- Archive Lab, 2015
Ceramic shards, glazes, melted, coredrilling
12 x 9 x 9 cm + søjle
A study that can move in many directions. Interdisciplinary collaboration with material blends of glaze and clay, core-drilling.
Born 1959, DK - www.aaa-fff-mmm.dk

Ann Linnemann - Wild Cups, 2017
Porcelain shards, fused. Weed, moss
9 x 10 cm
A new upcycle project inspired by wild plants in urban culture - on nature's conquest of human-made. Ceramic cup shards and growth in a common life, - about decay and life cycle.
Born 1957, DK - Ann Linnemann studio

Annemette Kissow – Egg cup, 2016
Porcelain, modelled and cast
5 x 19 x 19 cm
The work is a derelict and shattering from my everyday function-product casting. I have played with the forms that I make for Michelin restaurants and put them together challengingly.
Born 1965, DK - www.annemettekissow.dk

Asger Kristensen - Vessel
Stoneware, oxydation 1280 C.
14 x 22 cm
A special glaze expression inspired a start of my project on thrown vessels. Fascination of the SkarpSalling Kar, a historic vessel of great artistic craftsmanship, always part of new interpretation.
Born 1951, DK - www.havlitstentoj.dk

Barbro Åberg – Entangled, 2017
Clay, perlite, terra sigillata, stains, earth colours
18 x 16 x 17 cm
Three-dimensional drawing, a work that points towards airy constructions.
Born 1958, Sweden - www.barbroaberg.com

Beate Andersen - A play of dimensions, 2017
Stoneware, painted dekoration
18 x 16 cm
Inspired by rhythmic motifs and - a play of dimensions.
Born 1942, DK - www.beate-andersen.dk

Bente Hansen
- Jewelery for a jewelry box, 2017-18
Stoneware, transfer decoration, thrown model
5 small ovals. Hight 6-12 cm
Metamorphoses through countless firings, in various temperatures. (Photo: Ole Akhøj)
Born 1943, DK - www.bentehansen.dk

Bente Skjøttgaard - Mnemiopsis leidyi, 2018
Stoneware & glaze, modelled
H 24 x Ø 25 cm
Often inspiration is gained in nature's own formal principles and phenomena, and this time the starting point is the American Ribbegople Mnemiopsis leidyi, also known as the Kill Mount.
Actually, I was initially fascinated by its simple shape with the 8 ribs that I could instantly transform into ceramic form with ample opportunity for artistic variations, but its silent weightlessness is also a challenging reference to work with in my material. (Photo: Ole Akhøj)
Born 1961, DK - www.skjoettgaard.dk

Better Lübbert - Flora Remix, 2017
Porcelain, thrown, silkscreen print, brush, 1265C
H 30 x D 22 cm
With references to the history of my subject area and my own family history, I have chosen this jar for Masterpieces. A mix between factual registration and free imagination.
Born 1955, DK - www.better-lubbert.com

Birgitte Christens - Side Effect, 2017
Porcelain, blue Japanese wave decal, glaze
10 x 31 x 38 cm.
The piece was a great and exciting challenge, inspired by inhibited lung function. A pain, a feeling of suffocation. Decal print is a Japanese traditional pattern transformed.

Birgitte Christens - Child´s Pose (figure), 2017
Modelled porcelain paper, oxide crayon, glaze. Japan.
10 x 15 x 35 cm.
The work is a rethink of old drawings. I am inspired by the yoga position The Children's Position, the colorful graphic surface is inspired by the painter Egon Schiele. An expression translated into 3D and ceramics, as an extension of my other body pieces.
Born 1982, DK - www.birgittechristens.dk

Bodil Manz - My Masterpiece, 2016
Cylinder, porcelain, paint & transfer, lustre..
10,5 x 11,5 cm
The cylinder was cast, dried, bisqued. After high glaze firing, it appeared full of iron stains. On my way to the bin, I thought - no. Tried my red Japanese color in a new low firing. Next fired yellow and turquoise transfers. It looked no good, - I became stubborn, in a way found it's ugliness interesting, perhaps even beautiful. Fired with luster, again in a different temperature. After 5 firings, it has become my little problem child. Masterpiece - yes, maybe only for myself.
Born 1943, DK - www.bodilmanz.com

Charlotte Thorup - Planes, 2017
Stoneware & porcelain, modelled, gas fired
32 x 28 x 7 cm
Rhythmic planes captured in a simple structure.
Born 1973, DK - www.charlottethorup.dk

Christian Bruun - Thrown form, blue, 2016
Cut, thrown stoneware, wood fired 1360C
40 x 27 x 27 cm
Throwing is my language. The piece tells me about relationship of structure and shape, change in the firing, and other matters I do not completely control, maybe more in a dialogue. The piece is a study for a series of larger jars created in collaboration with potters in Vietnam.
Born 1963, DK - www.christianbruun.com

Dorte Kristoffersen
– Fusion, between body and object, 2018
Porcelain basket, woven/braided lamb intestines
10 x 15 cm
Heavy, lazy, liquid clay is braided in fragile lamb intestines. The body meets the material.
Born 1960, DK - www.dortekristoffersen.dk

Dorthe Søndergaard - Skal
Porcelain and metal wire
10 x 16 x 13 cm
When I lost my sister and my husband a few years ago, the thin porcelain became a symbol of the fragility of life. Shown in this work, the decoration is also a picture of fertility and life.
DORTHE SØNDERGAARD (b. 1961, DK..Norway) was educated at the Design School in Copenhagen (KADK) 1981-87. Designer for LEGO a/s 1987-94. Living in Norway since 1995. EXHIBITIONS Galleri Svalbard, Bærum Kunsthall, Heine Onstad Kunstcenter, Oppland Kunstcenter, Galleri Format, Ann Linnemann Gallery. OUTDOOR COMMISSIONS Norske konsulat Spanien, Udenrigsministeriet Oslo, Statens Vejvæsen. SALES TO Inkøbsfondet for Norsk Kunsthåndværk, Norsk Kulturministerium, Norsk Forskningsråd. GRANTS & AWARDS Knud Højgård's Foundation, Statens Exhibition stipend, Norsk Kulturråd. MEMBER Norske Billedkunstnere, Norske Kunsthåndværkere.

Esben Klemann - Net construction
Modelled stoneware, glaze (wall pieces)
1. Light - 2. Red - 3. Dark, 15-25 cm
Challenged by the qualities of the material and testing limits on its ability, the small wall objects can be seen as drafting larger works, but are also art objects in their own right.
Born 1972, DK - www.esbenklemann.dk

Flopper – Storm, 2012
Black clay sculpture, glass/aquarium
5 x 35 x 36 cm
Sculpture made of unfired clay and dissolved in water in an aquarium, that is then dried up with the 'sculpture' located in the frame/tray and fired all together at 1260C.
FLOPPER/CHRISTIAN MASTRUP (b. 1974, DK) was educated at the Royal Danish Art Academy 2006-12; Nordic Sound Art, Skandinavia 2010-12. EXHIBITIONS Kunsthal Copenhagen, Krabbesholm højskole, 2018. Window 107, Istedgade 2017. Galleri Ruth: Lofoten 2017, Himmerland 2016. Ann Linnmann Gallery 2015. Vejen Art Museum 2014. Sejerøfestival 2014. Installation, Kulturnatten Assistenskirkegården 2014,13. Solo, Mohs Galleri 2013. Museet for Samtidskunst 2012. Nikolai Kunsthal 2012. Lakfestival 2012. HOUHOT Art Academy Mongoliet 2011. Singuhr Sound Gallery, Berlin 2011., Japanske Ambassade 2011. Installation Furesø Kommune 2009. Kellokoski skulptursymposium, Finland 2009 Half-Machine Copenhagen 2003-08. Technical installations at Signa Sørensen 2004-06.

Gunhild Aaberg - Black P
Modelled stoneware with slip
23 x 9 x 9 cm.
"Black P" is one of my many clay sketches used as inspiration and testing of ideas that may develop into future pieces. (Photo: Sigge Kærn)
Born 1939, DK - www.gunhildaaberg.dk

Gurli Elbækgaard - information follows..
www.elbaekgaard.dk

Hans & Birgitte Børjesen, FULBY Ceramics - information follows..
www.fulby.com

Hans Munck Andersen – Makværk, 2016
- by a Master "gemacht"
Molded porcelain, inlaid clay and painted
15 x 14 x 20 cm
Organic cubic approach in the pieces, ReDesign, made of 'recycled' parts of own bowls.
Born 1943, DK - www.gerdoghans.dk

Hans Vangsø - Small black bottle, 2017
Stoneware, black glaze
14 x 11,5 cm
A strong primordial force, where connections of coincidence create the character. Fascination of materials and firing process.
Born 1950, DK - www.hansvangsoe.dk

Heidi Hentze - Nature morte, 2018
Porcelain, slap technique, nature objects from New Zealand and Nexø
15 x 13 x 8 cm
Geometry and nature in playful interaction.
Born 1975, DK - www.heidihentze.dk

Helle Vestergaard - Underwater Flower, 2014
Modelled porcelain, raw clay, silk mat glaze
12 x 11 x 10 cm
This little piece contains all the fine and special of porcelain. From the series "Underwater Flowers"
Born 1965, DK - www.hellevestergaard.com

Inge-Lise Koefoed - Empty House, 2014
Modelled stoneware, oil/acrylic paint
11 x 8 x 17 cm/ 11 x 10 x 10 cm
Cross-border material composition - oil/acrylic color on clay. The cocoon's colors are inspired by the fully developed butterfly or beetle.
www.inge-lisekoefoed.dk

Inger Heebøll – Collapse, 2016
Modelled, unglazed, red earthenware
10 x 21 x 21 cm.
Suddenly and inexplicably, societies of bees become extinct: Colony Collapse Disorder.
A specific explanation is not known. My modelling of dead bees are - in addition to working with the complex shape and surface, commenting on the prevailing hunt, there is in our society for optimizing yield and growth that affects the delicate balances in nature and may have fatal consequences.
Born 1969, DK - Inger Heebøll

Jane Holmberg – Stacking, 2017
Thrown white and red earthenware
29 x 24 x 24 cm
The piece is a preliminary study of a stacked pillar. As a study, it contains the essence of possibilities and paths where I can go with the project, reminding me that it might just have begun. (Photo: Ole Akhøj)
Born 1973, DK - Instagram: jane_holmberg

Jeanette Hiiri Marquart - Bits and pieces, 2002-18
Porcelain, glaze. Frame cast in porcelain
30 X 20 X 10 cm
My fascination with material, texture and texture in clay and glaze. The tactile, combinations. Showing that small samples are significant, they are put in a "gold frame" of porcelain. Four small miniatures gathered in one Masterpiece.
Born 1971, Borås.. DK - www.jeanettehiiri.com

Jesper Palm - A Morter, 2018
Oil painting
40 x 30 cm
Diversity has always been a topic for me. Therefore, as a consequence, I painted a Nature Morte.
Born 1957, DK - www.jesperpalm.dk

Jette Löwén Dahl - Crystals en Masse, 2007
Cast porcelain, crystal glaze.
30 x 30 x 25 cm
My masterpiece is a vase with crystal glaze. It's one of the samples I can not sell. It is wild, reminding me of sea bed with seaweed a warm summer day in an adventurous lake. Often admired in my studio, especially by colleagues. The vase was an experiment that ended up perfect.
Born 1979, DK - www.princessofkeramos.blogspot.com

Jonathan Keep – Sound Surface Vase
3D printed porcelain, celadon glaze
Hight 17 cm
Ideally and technically, everything are transformed, from sound and other natural phenomena to digital codes, which are then 3D-printed directly of porcelain.
Born South Afrika..UK - www.keep-art.co.uk

Karen Bennicke - FORMSCAPE, 2003
Auto-lackered MDF and glazed earthenware
38 x 25 x 25 cm
Despite its outward attitude, the sculpture is maintained in its own space. Object and podium become one piece. (Own photo)
Born 1943, DK - www.karenbennicke.dk

Karen Kitani Harsbo - Pathtown no 2, 2016
"Handheld" and digital 3D printed porcelain
20 x 20 x 20 cm
Imaginary town – illusion of the future or ruins of the past. An idea for a possible future architectural design located elsewhere in our galaxy or maybe an ancient ruin complexes.
In my studies of digital and bodily 3d print with porcelain, I am particularly pleased with how this little sculpture fell out.
Born 1963, Japan..DK - www.karenharsbo.dk

Karin Michelsen - A multi coloured family, 2015
Porcelain, modelled, molded, wood-fired
8 x 20 x 20 cm
The lidded jars always fall out differently. They become little personalities for me, boosting my imagination.
Born 1947, DK - www.karinmichelsen.dk

Kim Holm - No title, 2018
Thrown cylinder, stoneware, 1170C
23 x 25 cm
I consider this piece a signature piece for me, as the cylinder, cut ornaments and working with glazes and firing constantly intrigues me.
Born 1952, DK - Kim Holm

Kirsten Høholt - Drawing and plate, 2015
Handthrown porcelain, ceramic colour, decals
28 cm
My images are everyday reflections, thoughts and conversations. Words, phrases, metaphors, sound, clear and muddled impressions, distinct stories - and feelings.
Born 1979, DK - www.kirstenhoholt.dk

Kirsten Justesen – Models and sketches
1. Three travel sketches from Tunesia, 1971. White clay
2. ANAT/ EFEU – Steel net
Processing for temporary installation, Eventyrhaven, Odense 1993-95
3. Katrine - Model balzer wood, sketches on paper
FOUNTAIN project Katrinegården, Hjørring 1985
Born 1943, DK - www.kirstenjustesen.com

Kurt Weiser – Vase, 2010
Salt fired earthenware
Hight 30 cm
KURT WEISER (b. 1950, USA) was educated at the Interlochen Arts Academy, MI, 1967-69; Kansas City Art Institute, MO, BFA 1972; University of Michigan, Ann Arbor, MI, MFA 1976. He lives and has his studio in Arizona and Montana, USA. COLLECTIONS V&A Museum; Los Angeles Museum of Art; Carnegie Museum of Art; Museum of Contemporary Ceramics, Shigaraki, Japan; Mint Museum of Craft and Design; Racine Art Museum, National Museum of History, Taipei. AWARDS Aileen Osborn Webb National Artist Award, 2003; American Craft Council College of Fellows, 2003; Arizona Commission on the Arts, Artist Fellowship, 1999; National Endowment for the Arts, Artist Fellowship, 1992, 89. USA Artists Fellowship 2012. 1988 Professor, Arizona State University, currently Regents Professor. Exhibitions in Ann Linnemann Gallery 2016,10.

Lea Mi Engholm - Black drops #6, 2017
Porcelain, modelled
11 x 12 x 14 cm
With simple grips, I explore the clay's expressions in a partially controlled process that also involves the qualities of the coincidences.
Born 1977, DK - www.leamiengholm.dk

Lis Biggas - Center piece model, 2018
Stoneware decorated with sinter slip
18 × 20 cm
Examination of supporting and lifting a dish or bowl up so that the structure becomes a visible and integral part of the whole.
Born 1951, DK - www.lisbiggas.dk

Lis Ehrenreich - Albarello form on pedestal, 2018
Thrown, high-fired earthenware, two parts
The southern European pharmacy jar, albarello, has for many years been the basis for my jars, together with structural relief patterns and dusty liquid glaze deposits. Currently I am occupied making pedestals for my works.
LIS EHRENREICH (b. 1953) was educated at the Jutland Art Academy, Aarhus 1976-81 and has since then had her studio in Aarhus. EXHIBITIONS in Danish and International Galleries, Gallerie Besson, London and Kaolin, Stockholm. REPRESENTED at museums in Europe and USA.

Lisbeth Holst-Jensen - Oval Vase, 2017
The motif is painted with clay colors, transferred to clay slaps, oval form, stoneware
28,5 x 31,5 x 10,5 cm
I chose this piece because it is a new area for me to work with, - and here the colour choices, motives and relationship with the oval form go into a higher unit.
Born 1952, DK - www.lisbethholst-jensen.dk

Lone Borgen - Fear of missing out, 2017
Stoneware and porcelain, thrown and modelled
28 x 32 cm
The challenge of craftsmanship to be in the spirit of presence. Inspired by the cultural city of Aarhus and the subject Danish Crafts and Design Association discussed in connection with the events.
Born 1952, DK - www.loneborgen.dk

Lone Skov Madsen
- White object with yellow dots, 2017
Stoneware, modelled and cut, 1260C
17 x 14, 5 x 12 cm
Dette værk er opstået ved en tilfældighed.
I was sitting a long time with a bigger work that did not work out, at last I realized it would not succeed. I ended up having to cut it and thus created this work. Somehow it got a certain bias, which I think is really nice.
Born 1964, DK - www.loneskovmadsen.dk

Lotte Westphael – Polyrytme, 2017
Porcelain, slap technique, inlaid colored porcelain.
15 cm x 18 cm + 2 small samples
Polyrytm is part of "Polyrytmic style exercises" where I work systematically with repetition and rhythm in a complex combination of different lines. The small samples show that the applied stripes have different widths in the front and the back, and that these can be used to create pattern.
Born 1965, DK - www.westphaell.dk

Louise Gaarmann – Landskab, 2014
Earthenware, cut out with a knife from a 10 kg clay block
4 x 14 x 24 cm
I was born and raised at the moor, the flat landscape that seems infinite. The eyes look out and over it. To me it's a poetic sight. The lean earth where little humble things grow up bearing a stormy life and power in itself.
Born 1975, DK - www.louisegaarmann.dk

Louise Sidelmann – Sketch, 2007
Porcelain with charmotte
6,5 x 14,5 cm
An experimental work of glaze and the immediate expression. I have done this work at the design school, it felt like magic. Now it's ready to be seen by others. When does an object go from being sketch to become a definitive piece?
LOUISE SIDELMANN (b. 1976, DK) was educated at the Design School Kolding 2002-07, Pre-School Euc Haslev 2000-01, Aarhus Art Academy 1998-99. EXHIBITIONS Ann Linnemann Galleri: ´World-Cup´ 2018, ´Dialogue´ 2017, ´FormSprog-TankeSpind´ 2016. ´Landskaber` Kammer Gallery Lemvig 2016. Officinet Copenhagen ´Til ingen verdens nytte? ´curated by Lars Kærulf Møller 2014 and ´Illusion´2013. ´Sikken Fest´, Møstings Hus 2012. ´Form Art´, Glinde, Germany 2011. ´Limfjordens efterårsudstilling, Gimsinghoved; ´Forårsudstillingen´, Charlottenborg 2009. `Ler08´,SAK, Svendborg. ´Projekt netværk´, Danmarks Keramikmuseum CLAY 2008.

Malene Müllertz
- Light blue Trilubite net with yellow tips
Thrown, drawn, carved, oval bottom, 1270C
19 x 16 cm
Spherical or watery deep-sea jellyfish is wearer of flow, creating a rush of time from when the world was quite young. (Photo: O.Akhøj)
Born 1949, DK - www.malenemullertz.dk

Malene Møller-Hansen - Stiletto tea pot, 2018
Earthenware, thrown and modelled
30 x 28 x 13 cm
The teapot is a symbiotic relationship between free and playful, but at the same time leans up of the good and classic workmanship. - And then I'd like to be able to walk in stilettos ..
Born 1952, DK - www.malenemoellerhansen.dk

Mette Augustinus Poulsen - Vessel of black iron glaze and brown decoration, 2018
High-fire earthenware, thrown, reduction 1160C
13,5 x 19 cm
I have chosen this piece because it challenged me in a new way. A new combination of black and brown.
Born 1945, DK - www.mette-augustinus-poulsen.dk

Mette Marie Ørsted – No title, 2013
Modelled, porcelain, glaze
12 x 12 x 12 cm
Exploring the architectural space in conjunction with the spacious, poetic narrative and pure geometric form. References to cultural experience, urban communities and life forms, abstract visions.
METTE-MARIE ØRSTED (b. 1952, DK) was educated at the Design School Copenhagen (KADK) 1973-77. EXHIBITIONS Ceramic Concretion Ann Linnemann Gallery 2013; Butik for Borddækning, Copenhagen 2010, 2008; Gallery Pagter, Kolding 2007; Kander klippet med en saks, Gallery Nørby 2005. Biennial for Arts, Crafts and Design 2007,02, Trapholt and Koldinghus; Design Museum Denmark. AWARDS Danish Arts Foundation, Gertrud Vasegård Award, Bergiafonden, Nordea Danmark Fonden, Danmarks Nationalbank's Anniversary Foundation, Danish Ceramic Triennial Award. Own studio since 1990. Member of the Danish Arts, Crafts and Design Association.

Mikael Jackson - Sculptural geometric
MIKAEL JACKSON (b. 1972) was educated at Royal College of Art, London, MA 2006–08; Konstfack, Stockholm 2005–06; Design School Kolding, BA 2002-05. Studio in Copenhagen, working at the Art Academy of Design (KADK). EXHIBITIONS “Danish Contemporary” Lacoste Gallery, USA 2016. "WORK OF ART", solo, Odder Art Club 2015. Copenhagen Ceramics, duo; "Bright", Gallery R2, Svaneke 2014. "Architectonics" solo, Ann Linnemann gallery; "Biennale Internationale de Vallauris", FR 2013. Puls Contemporary Ceramics; "Inhabitants", Copenhagen Ceramics; "Heliotropes" Ann Linnemann Gallery 2012. "Phoenix Landscapes", Aarhus; Gallery Covenants, Invited by Cramer & Tillitz, Kolding; "Biennial of Craft & Design," Kolding Castle 2011. "Across" New Tap, Carlsberg; "Moving in with Inhabitants", Jantzens Hotel; "Kristine Tillge Lund Invites ..." Puls Contemporary Ceramics, Belgium 2010. AWARDS Danish Arts Foundation.

Mona Vander – Rotate, 2017
Hand-thrown stoneware sculpture
5.5 x 9 x 9 cm
A small outline of a rotated figure which is at a standstill, with three supporters. The idea is that the small clay sketch, maybe one day may be the pathway to the masterpiece. I'm always on my way! When it is not a sketch anymore, is it then a masterpiece? Is it a masterpiece when it dares to stand all alone in the world?
Born 1970, DK - www.monavander.dk

Niels Stock Bach - Chrysanthemum, 2017
Stoneware, thrown, modelled, glazed
12 x 25 x 18 cm
The jar, the flower, the glaze - a contribution from each of three ceramic artists, assembled in one piece. (Photo: Ole Akhøj)
MARIANNE NIELSEN (b. 1971, DK) - www.mariannenielsen.com
HELENE STOCKMARR GERDORF (b. 1971, DK) - www.helenestockmarr.dk
MARIANNE KRUMBACH (b. 1970, DK) - www.mariannekrumbach.dk

Ninna Gøtzsche - Tektonika, 2018
Vase, thrown porcelain, coarse recycle clay
23 x 17 cm
Tektonika is inspired by the way the tectonic plates push towards each other through the surface of the earth. At the same time there is a meeting between unordered coarse surfaces and the fine twisted porcelain. I work with the contrast between the perfect and the imperfect, on the edge of when the shape is resolved.
Born 1979, DK - www.formuleret.dk

Ole Akhøj - No title, 2012
Photo
Born 1949, DK - www.oleakhoej.dk

Ole Vesterlund - Formatus Arabiae, 2014
Earthenware, pressed and modelled
42 x 19 cm
The work brings together several themes for my work. Formatus Arabiae is balancing, bodily and has references to formly archetypes.
Born 1971, DK - www.olevesterlund.dk

Peder Rasmussen - The boy who left home.
Thrown corpus, modelled figure
19 x16 cm.
Earthenware with majolika glaze and black glaze.
Born 1948, DK - www.pederrasmussen.dk

Per Ahlmann – Arousal, 2007
Stoneware, faience
37 x 40 x 45 cm
The work "Arousal" represents a point in my work, where my background as a ceramicist and my fascination with the sculpture as a form of expression unite in a complexity that I then sought.
Born 1965, DK - www.perahlmann.dk

Prue Venables AU - Sieve
Born 1954, UK.. AU - www.pruevenables.com

Richard Shaw - Windy Lady, 2016
Modelled, recycled parts, painted, print
Born 1941, USA - www.richardshawart.com

Samuel Chung – Cloud Vessels
Hand thrown porcelain, brush painted, glazed
Born 1970, USA - www.samchungceramics.com

Sandra Davolio - In the beginning was clay..
1997 - 2003
Porcelain, modelled, two parts
1: 4 x 4 x 38 cm - 2: 12 x 12 x 16 cm
My first attempt with "winged" works. The black is raku fired and dates back to the 90's, when I lived in the countryside. The white is a "city" version, inspired by my relocation to the city.
Born 1951, Italy..DK - www.sandradavolio.dk

Sergei Isupov - A Wave of Emations, 2017
Modeled porcelain, brush painted, glazed
Born 1963, Russia..USA - www.sergeiisupov.com

Steen Ipsen - Black Organic 4, 2016
29 x 27 cm
(Photo: Ole Akhøj)
Born 1966, DK - www.steen-ipsen.dk

Sten Lykke Madsen - Figure
Modelled, wood fired
STEN LYKKE MADSEN (b. 1937, DK) was educated at the School of Applied Arts, Copenhagen 1954-58. EMPLOYEE Bing & Grondahl and Royal Copenhagen 1962-03, guest teacher Kolding School of Design 1981-05. TRAVELS eg. Japan 1979 and 2006. ARTIST-IN-RESIDENCE China 2004 International Ceramic Research Center, Guldagergaard from 2003. EXHIBITIONS 'Ceramic Ways' exhibitor and Co-founder since 1985, CLAY Museum 2017, Sophienholm 2015. solo Denmark Ceramics Museum Clay 2016. Ann Linnemann Galleri 2011,10,08. Puls Contemporary Ceramics, Belgium 2010, SOFA Chicago 2005. Gallery Nørby 1999, Charlottenborg 1975. Concorso Internazionale della Ceramica, Faenza, gold winner 1975, 1967. WALL DECORATION Sølvgade 1993 Vesterbrogade, Copenhagen 1978. FOUNTAIN Store Torv, Holstebro 1986. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award and many others.

Stephen Bowers AU
- Ming, Morris, Phone app, 2016
Earthenware, marbeled, brush painted
STEPHEN BOWERS (b. 1953, AU) lives and works in Australia. He brings together in his painted ceramic vessels many of the traditions from the history of ceramics. In any one piece, one might find traces of many familiar styles and decorations. While maintaining a respect for the master techniques, Stephen Bowers' flamboyant and exuberant ceramics combine a classical ceramic heritage with inspiration from indigenous sources and are spiced with dashes of wit. His work is distinguished by intricately painted underglazes which "wear its expertise lightly. He is acknowledged for his detailed pieces, exhibiting in the USA, UK and Australia.

Steven Rolf USA – Bowl
Hand thrown, altered, glazed
www.scrolfpotter.com

Søren Thygesen - Inside Out, a cube, 2018
Ceramic concrete
30 x 30 x 30 cm
The cube is molded in ceramic concrete and the expression is from the inside. It is a bodily cube, as the appearance of my fingers, skin, fist appears very clearly. The title is therefore "inside out".
SØREN THYGESEN (b. 1961, DK) graduated from Kolding Design School 1987. Own studio since 1987. Employed by Kähler Ceramics, Næstved 1996-00 designer for Kähler 2007. Associated Tommerup Ceramic Workshop since 2000. EXHIBITIONS Biennale of Craft and Design 2017,16,15. Ann Linnemann Gallery 2013. Morsø Art Association 2009. Politiken Talent Award 2008. Charlottenborg Spring Exhibition 2008,05,04,03. Autumn Art Exhibition 2006 05. Gallery Nørby 2005. Funen Art SAK 2004. Danish Ceramics Triennial, Trapholt 1994. GRANTS & AWARDS 1st prize Biennial for Craft and Design 2016, Danish Ceramics Triennial Trapholt; Danish Arts Foundation; Ole and Yelva Nimbs Honorary Award; Ole Haslund's Artist Award; Krøjer's Foundation.

Trine Bach Jakobsen – No title
24 x 15 cm
Mixed clays, aged feet.
The work has aged, recycled clay, coffee dregs and lava sand. The archetypes of which convey the idea of nature, embrace.
Born 1960, DK - www.trinebach.dk

Ursula Munch-Petersen - Ceramics as soil and water, 2004
Modeled stoneware, glaze
Universal elements as water, earth and fire are translated to the main ceramic elements glaze, clay and firing.
Born 1937, DK - www.ursulamunchpetersen.dk

Vibeke Rytter - Computer animated vases, 2018
H. 20–27 cm
Computer animated vases appear as sketches and unpolished vases in an innovative expression - working towards a complete design.
Born 1967, DK - www.vibekerytter.dk

Peter Brandes - OSTRACA April-June 2018

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PETER BRANDES - OSTRACA Potsherds
Exhibition 26 April - 9 June 2018
Opening reception Wednesday 25 April 16-19.00

OSTRACA - An artist's game of dice with the visible and invisible.
Peter Brandes focuses on ceramics - history, archaeology, contemporary..
from potsherds to ceramic paintings, vessels - and democracy.

Ostracism = written in, Greek poll conducted on potsherds.
Ostracon is a piece of pottery, usually broken off from a vase or other earthenware vessel. Ostraca refer (in ancient Greece) to potsherd, especially one used as a ballot, where a vote was inscribed.


The central point of the exhibition is ceramic fragments used as notebooks, sketches, referendums and much more - and also presenting painted jars by the renowned Danish fine artist.
A poetic fragmented puzzle about ceramics, art and philosophy.


PETER BRANDES is a significant Danish visual artist who works in many materials and disciplines. He was early on fascinated by clay, but emerges as a ceramic artist from the late 1980s, and has since created a number of pieces from extensive commissions, freestanding sculptures, church interiour and small-scale works such as jars and dishes to monumental jars in collaboration with the Tommerup Ceramic Workshop. www.keramos.dk
In series of works, he explores the possibilities of ceramic material in relation to drawing, graphics, book art, photography with a fine feel for materials and processes. The themes revolve around classical antiquity and the Jewish and Christian imagery.

OSTRACA - by Peter Brandes
Clay is a part of the Earth, it is the fire as well, if you go far enough into the Earth's interior.
In a ceramic kiln I can get these two elements to meet, so to speak.
The boundary where the interior of the earth meets the outer surface of the earth is the field where a metamorphosis occurs and earth and fire become ceramics.
In my family, it is now the fifth generation, who has a brickyard in Vedstårup at Funen, and in my childhood I saw with respect and admiration into a tunnel-kiln's clay and fire.
That was probably the beginning of my amazement and love for ceramics.
I have done small and huge vases, figures, reliefs and plates especially in the Tommerup Ceramic Workshop and in transition also at the Royal Copenhagen Porcelain Factory.

This small exhibition has a title: Ostraka, the Greek word for potsherds.
Around the year 480 BC, Athens was a major city and filled with potsherds. When the plates or vases had broken, shards piled up huge waste stacks here and there, and people got the idea to use these shards to scratch messages or names.
It became those day's yellow memorabilia, the paper was not yet invented.

When dawn of Greek democracy originated in the early 480 BC, for the first time in our cultural history, a majority decision was made to determine who was losing and who was winning.
The vote took place in the way that in a potsherd was incised the name of a candidate. It could be one to be exiled or one selected for a position.
Thus arose the first ballot boxes and the democratic form of voting was after the potsherd named ostracism.
Democracy was linked to broken pottery. A potsherd was recycled.
Egyptian visual artists and architects used to the greatest extent also the potsherds to outline impressions, expressions and images.

Thorvald Bindesbøll, Scandinavia's most significant ceramist, had for a while the younger painter and ceramist Svend Hammershøi as an assistant. He tells in his little memory book: Thorvald Bindesbøll in Memoriam that "Bølle" owned a large collection of potsherds set in a wooden box under his bed in the family apartment on Vesterbro. They were collected with the friend and painter August Jerndorff in the muddy soil from the canals of The embankmens in Copenhagen when they were drained before the turn of the century (1900). For generations, scratched or broken ceramic objects were thrown into the canals and now appeared to the attentive collector who Bindesbøll was.

Potsherds that I and my wife have collected for years are like part of a whole that is no more.
This initiates the imagination and the natural desire, as a puzzle, assembling the pieces to reach an overall picture or form.
Seen as fragmentation, these shards in itself hold a monumental force that precisely in the lack of a completed statement are open to numerous interpretations.
I am convinced that one of Bindesbøll's great inspiration source, on the path to his ornamental wealth, is the enigma of the potsherd.

For many years, I have on the remains of ceramic sheets recorded or scratched impressions. With coloured clay if the piece was unfired or glazes if it was fired.
That way, new potsherds or Ostraca originated as fragments in themselves from the beginning. An involuntary chosen form as a starting point and a derivative of other ideas than if it was a defined form like a vase or a dish.


At this exhibition in the gallery's intimate space, I hope that these smaller shards will appear as they were the node drafts from a musician or written words from an author.
This is a case of refined ceramic expressions. A painter's dice game with experiences from one's visible and invisible surroundings.

PPETER BRANDES was born in 1944 in Assens, Denmark. He is a painter, graphic artist, sculptor and photographer. Has illustrated a number of books, including Homers Illiaden and INANNA, retelling of Suzanne Brøgger
Artistic breakthrough in the 1980s at the Galerie Moderne, Silkeborg, Denmark.
Peter Brandes' ceramic works, which among others include giant jars, are often carried out in collaboration with the Tommerup Ceramic Workshop. keramos.dk


Grateful thanks to The Danish Art Foundation for project funding in 2018.

PETER BRANDES OSTRAKA Potsherds 2018
In connection with the exhibition at Ann Linnemann Gallery in 2018, a Danish catalogue will be published, which includes the above images and text by Peter Brandes.

BIOGRAPHY

SELECTED EXHIBITIONS
Decembristerne 1978-80; Danish Graphic artists 1980-81, 1983-84, 1989; Da. Grafik, Nat.mus., Sth. 1980; Billedkunst. Hvordan..., Vejle Art Museum 1982-83; Grønningen 1984-88 (medl. fra 1985), 1990-93; Bien. der europäischen Graphik, Baden-Baden 1985; FIAC, Paris 1986-87; Ny da. glaskunst, Centre Internat. du Vitrail, Chartres 1988; Da. billedkunstnere fotograferer, Mus. for Fotokunst 1989; Art Cologne, Köln 1989; Basel Art Fair 1990-91; Verdensudst., Sevilla 1992. Separatudstillinger: Kerteminde Bibl. 1969; Satyricon Arlequiniania, Gal. Westing, Odense 1970; Breve fra Nordafrika, smst. 1971; Tema og variationer, Haderslev Mus. 1972; Ainigma, Kunstnernes egen Kunsthdl., Kbh. 1975, 1979; Erindringsbilleder, Sønderjyll. Kunstmus. 1976; Gal. Schiang, Odense 1977; Mus. des Beaux Arts, Lille 1979; Som følge af Kong UBU, Glyptoteket m.fl. 1980; Det Hellige Victoria Bjerg, Gal. Specta, Århus 1981; Glyptoteket 1982 (fotografi); Før Naxos efter, Randers Kunstmus. m.fl. 1983; Gal. Specta 1984; Fortid, Glyptoteket 1986; Det da. Hus, Paris 1988 (s.m. Poul Pedersen); Omkring en skulptur, Trapholt 1988-89; Køge Skitsesaml. 1989; Kunsthallen, Kbh. 1990; Gal. der Spiegel, Köln 1990, 1993; Gal. Ariel, Paris 1991; P.B. og antikken, Brandts Klædefabrik 1991; Fortid II, Mus. for Fotokunst m.fl. 1991-92; Talbot Rice Gal., Edinburgh 1992; Grafik og keramiske arbejder, Sophienholm 1993; endvidere en række udstillinger i Galerie Moderne, Silkeborg.

FUNDS AND AWARDS
Statens Kunstfond 1977-78, Det 3-årige stipendium 1982; 1.Pr. på grafikbien. i Baden-Baden 1985; Det Rønnenkampske Legat 1985; Rockwool Pr. 1986; Ole Haslund 1986. m.fl.
Photo of previous pieces

LEGENDARY - Niels Lauesen JUN-AUG 2018

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LEGENDARY - Niels Lauesen ..and previous students
Ole Jensen, Marianne Nielsen, Turi Heisselberg Pedersen, Søren Thygesen.
Exhibition 4 June – 18 August 2018 ..in July only by appointment
Opening reception Thursday 14 June at 16-19.00

NIELS LAUESEN art pieces, models & sketches, - a playful legend.
Niels Lauesen was a great inspirational, omniscient teacher and skilled ceramist. This exhibition presents for the first time a large retrospective of Niels' works, models and sketchbooks. His pieces are exhibited together with selected former students, now internationally renowned ceramic artists, who in various ways relate to their teacher.

Niels Lauesen had a playful side, which in the midst of all seriousness added a personal depth to his work. He was always progressive, but was in his time not as well known for his art work, which were all too seldom exhibited, - as he was known for his wise words and loved by his many students and collaborators.

The pieces talk about the artist and the time in which they were created, but also show, in the context of his former students' works, the influence Niels has had on his contemporary and hereafter.
Where does inspiration come from.. what traces do we follow from a teacher to become a master our self?
The exhibition's theme is emphasised by the works of Niels' former students at the Kolding Design School, who are well under way with their careers, known in Denmark and internationally for their personal expression. They display their experiences and inspiration from this important meeting, with special thanks to their talented teacher and inspirational artist.
In some parts the traces are clear and others more hidden; but the exhibition gives the viewer insight into a fine and important lesson about the creative art's playful origin and the importance of passing on experiences.
Niels Lauesen (1941-2011) was educated at the Arts and Crafts School in Copenhagen (now KADK) and continued at the Royal Danish Academy of Fine Arts. For a number of years, in addition to his own ceramic work, he taught at the Arts and Crafts School/School of Applied Arts in Copenhagen and since the 80's at the Kolding Arts and Crafts School (now Kolding Design School).
Niels Lauesen was an engaged promoter and teacher, also involved in the CLAY Ceramics Museum's Exhibition Committee, Adviser to the Guldagergaard Ceramic Research Center and the Lejre Cultural Center.
Exhibitions: Trapholt Art Museum, Vejen Art Museum, Gallery Nørby, Exhibition Space for New Ceramics in Copenhagen. Danish Arts Foundation Awards etc.
Literature: About Wegerknapf's life and life - after C.J. Wiecks, in collaboration with Peter Hentze (1943-2017).


OTHER EXHIBITORS – previous students, Kolding Arts, Crafts and Design School.

NIELS LAUESEN - by Ole Jensen
Niels's ceramics are one long study of form. Whether it was hand-thrown animals, geometric principles or tradition-bound functional pieces, Niels's works are characterized by research.
I think, Niels had trouble with glazing. It becomes too complete and final. Especially the raw non-glazed things appear as pure and unspoiled form. The matte surfaces catch the light gently and the things appear as universal objects in the borderland between nature, foreign beings and human-made. Certainly made without any other intentions than to become wise on form. And this is precisely why he was an ideal teacher in form, as a language and linguistic formulation of form.
When I sit working with clay, and especially when a surprisingly clear expression occurs in the process, - a marked spout, a voluminous edge or simply attention to a phenomenon, then Niels very often still comes past. We get an enthusiastic talk about how amazing it is that something so simple can form such an expression and about the infinite possibilities of creating conciseness. We talk about rhythm, transitions and musicality. If I turn my thoughts into questioning, if it is a fashionable good style and might it be sold, then Niels is away again! This is not his area!
Niels has never talked about pure function and practical application. But always about form and expression. And I am grateful for that.
So, it all - even making functional things - has become much more fun.

OLE JENSEN - born 1958, ceramist and designer. Graduated at the Design School Kolding, 1981-85 and the Royal Danish Academy of Fine Arts, Copenhagen, 1985-89. Exhibitions include: Pottery Exhibition for New Ceramics, 2000; Functional Ware, Gallery Nørby, 2003; Röhsska Museum, Gothenburg, 2006; Mindcraft 2008 and 2009, Milan; Form and Fantasy (with Louise Birch), Ann Linnemann Gallery, 2012; The Opening (with Claydies), Copenhagen Ceramics Gallery, 2012; Mindcraft 2015 and 2016, Milan. Sunshine, Køppe Contemporay Objects, 2018. Has received: Thorvald Bindesbøll Medaljen, 2004; Torsten and Wanja Söderbergs Award, 2006; Danish Arts Foundation Lifelong Honorary Award, 2009; Danmarks Nationalbank's Anniversary Foundation Honorary Award, 2012. Represented in particular: Design Museum Denmark; New Carlsberg Foundation; Victoria & Albert Museum, London; Röhsska Museum, Gothenburg; Indianapolis Museum of Art, Indiana. Design for: Royal Copenhagen, Louis Poulsen, Normann Copenhagen and Muuto.
www.olejensendesign.com

NIELS LAUESEN - by Marianne Nielsen
For "Niels' exhibition" I have decided to partake with two earlier series of works: "Ceramic Categories" and "Plates". Both series measure objects without being.
My interest is not the function of use, but a fascination with the importance of the convention in our understanding of objects.
From Niels, I learned that you should not be afraid of the banal. All values we hold on items are not absolute and that discussion takes me up in my work. Especially to emphasize the strength of the modest everyday objects as the plate with its decoration.

MARIANNE NIELSEN - Born 1971. Graduated from the Kolding School of Design 1999. EXHIBITIONS "Planted" m. Lotte Agger, Galerie Pi, Copenhagen 2018. "Flowers Vases" solo, Ann Linnemann Gallery 2017. "Large formats - clever hands," Tommerup Ceramic Workshop 30 anniversary exhibition cLAY Ceramics Museum 2017. "Modelled, glazed stoneware", Bagsvaerd Church 2017. "Danish Contemporary" Lacoste Gallery, Concord, USA 2016. "homeliness", exhibition in private homes, Copenhagen 2015. "Copenhagen Ceramics Invites" Galleria Salvatore Lanteri, Milan, Italy 2016. "Lunch of the Green", Solo, Shop for Table Cover, Copenhagen 2014. Mindcraft 2014, Milan. "All Elite Folklore" w. Anne Tophøj, Copenhagen Ceramics, Copenhagen 2012. Received the Danish Arts Foundation's three-year work grant in 2012.
www.mariannenielsen.com

NIELS LAUESEN - by Søren Thygesen
Niels and Tom Schroeder came one evening into the plaster room. They were very busy with a formative phenomenon they had discussed. They talked about physics and rotation, and a basin should be made of thin-flowing plaster, which would be forced through the centrifuge on the plasterboard to form perfect paraboloids.
An eye opener for me and very inspiring to see teachers so absorbed by form examination.
"Physics and methodology is interesting, but you can also just make them by hand," said Niels with a smile.
Niels was an excellent teacher who guided his students to acknowledgement and continued curiosity. He spoke about form like music with pure tones and corresponding lines.
Niels got his own small studio on Agtrupvej, and I remember, he was engaged in a bowl form, which referred to the growth principles of seashells.
Niels had a sketchbook filled with ceramic ideas, and he said he lived well in imagining the finished works. However, he had a production, and what I've seen is full of music and exciting line progress. I am fortunate to have one of his pitchers, and it is a display of hand throwing and composition. A rotation animal kicking..
SØREN THYGESEN - Born 1961. Educated to Kolding Design School 1987. Own studio since 1987. Affiliated Kähler Ceramics, 1993-2006 Næstved, Kähler Design from 2007 Tommerup Ceramic Workshop from 2002. EXHIBITIONS "Wise hands - Large Formats" CLAY Ceramics Museum 2017 18th Biennale for Crafts and Design 2017,15. Ann Linnemann Gallery 2013. Morsø Art Society 2009. Charlottenborg Spring Exhibition 2008,05,04,03. The Autumn Exhibition of the Artists Award 2006.05. Gallery Nørby 2005. "Funen Art" SAK Svendborg 2004. Danish Ceramics trienale, Trapholt 1994. GRANTS Danish Arts Foundation's Scholarship 2018,16,01,00. Ole and Yelva Nimbs Fund 2004. Ole Haslund Artist Award 1989. Krøyers Award 1987. AWARDS Biennale for Craft and Design in 2015, the Danish Keramiktrienale 1994, the Danish Arts Foundation 1993.

NIELS LAUESEN - by Turi Heisselberg Pedersen
In addition to being highly absorbed by exploration, yes, near fundamental research in form and geometry, Niels Lauesen was a true reservoir of practical knowledge of techniques, specialist knowledge and smart tricks within all branches of the subject. Perhaps because he, through the years as a teacher, was keenly interested in the students' projects and thoughts and unreservedly shared his own experience.
For Niels there were no reservations or concerns whether a technique or phrase was "in" or "out". It was about what shapes and ideas a technique could generate. It was an added value of beauty for him if he could solve a form problem particularly well through an absolute use of a particular technique. You will see, for example, a remarkable example in Niels' hand-thrown vessels, where the handles are made from bowl-forms.
Niels Lauesen was an incredibly gifted, musical and open minded teacher, researcher and potter who has influenced me both in my ceramic practice and as a teacher. He will always be part of my inner ceramic compass.
TURI HEISSELBERG PEDERSEN - Born 1965. Educated at Kolding School of Design, Denmark 1986-90. Lives and works in Copenhagen. She has been lecturing at Kolding School of Design, 1994 – 2007. Co-founder of Exhibition Room for New Ceramics, Copenhagen 1996-2000. Turi Heisselberg Pedersen is represented in museums and private collections worldwide: Musée National de la Ceramique Sevrè, Paris, France; Le Musée Magnelli, Musée de la Ceramique, Vallauris, France; Designmuseum Denmark, Copenhagen, Clay International Ceramic Museum, Denmark, Schloss Gottorf, Schlesvig-Holsteinisches Landesmuseum, Germany; Statens Kunstfond; Annie and Otto Johs. Detlefs’ Foundation, Denmark. Turi has received Bayerischer Stattspreis, gold medal, Munich 2016, Annie & Otto Johs. Detlefs, Ceramic Price, travelling grant 2016, Ole Haslunds Artists Grant, and in 2010 Le prix dans la section ’contenant’, XXIst International Biennal of Vallauris (BiCC) France. Turi Heisselberg Pedersen has exhibited solo and in groups in museums and galleries: Puls- Contemporary Ceramics ; brussels, Tresor Contemporary Crafts and Design, Basel with Puls Contemporary Ceramics, Galerie Maria Lund, Paris, J. Lohmann Gallery, New York (Collective Design and The Salon Art+Design) Mouvement Modernes, Paris, Museum für Kunst und Gewerbe, Hamburg, Designmuseum Denmark, Copenhagen, Clay Museum for International Ceramics, Middelfart, Denmark. Galleri Kaolin, Stockholm, Galleri Nørby, Chp. Gallerie Pierre, Paris, France. Biennale internationale de ceramique Chateauroux, France, International Biennale of Vallauris, Fr., American Craft Museum in New York, Mingei International Museum, Fitchburg Art Museum, Crocker Art Museum, Racine Art Museum, U.S.A. Röhsska Museum, Göteborg, Sweden and Keramion, Frechen, Germany.
www.turiheisselberg.dk

THE ENCHANTING PARABOLOID - Helle Hove Interviews Niels Lauesen
CeramicsTECHNICAL No. 28, 2009
Ceramist Helle Hove met her former teacher at the Designskolen Kolding, ceramist Niels Lauesen, in his apartment-cum-studio in Copenhagen for a conversation about one of his great passions.

He can say ‘hyperbolic paraboloid’ so it sounds like an old friend and has no qualms about calling the shape of a venerable old bowl ‘frivolous’ if it helps the listener get the point.
Lauesen has taught for more than thirty years, and his fervour about form has been important to a whole generation of Danish ceramists. Examples from geometry, music and animal anatomy come tumbling out as Lauesen shows you around in the studio.
Thoughts and theories are typically rounded off with an amiable ‘…Isn’t that your experience too?’, revealing his way of approaching the students. All around modelled grasshoppers and other ingenious animals pop up. On the shelves of the studio stand thrown and modelled vases, jugs and bowls. These are the things that give us pause, for the talk is about lines and curves.

FALSE CURVES
You can draw lines on paper, but they’re there too in the contours of all forms – furniture, cars, houses and vases. It’s the quality of these lines that interests Lauesen.
“With the carafes on the shelf there I’ve abandoned myself to the flow of the lines,” says Lauesen. “I’ve concentrated on the form, on getting the contour to curve in and out in a good way. It may seem old-fashioned because of the nature of the curves – the cute curvaceousness that’s been a no-no for many years. But in my view, for a long time now there has been too much use of the circle segment and the straight line in the contours of modern design. Industrial production has led to far too many false curves.”
What do you understand by a false curve?
“The cafeteria tray with its straight sides and rounded corners is a good example of a false curve. It pretends to be an unbroken progression, but in reality it’s composed of straight lines and circle segments, like a blunted rectangle. If it had been a food additive it would long ago have been banned as visual pollution. As the opposite of that we have the Super Ellipse, whose curves change gradually in a fluid, uninterrupted progression.”
For Lauesen it’s very important to distinguish between the two types of curves. He has difficulty concealing his urge to tell us all to polish our spectacles and look better at the things around us.

THE HIDDEN SPIRAL
He himself is clearly a ceramist who wants to understand. So at present his wheel is occupied by a strange steel-wire frame. It’s the starting-point for his photo experiments: lines, spirals and circles in white steel wire are set up in succession on the wheel – not as a vertical profile, but borne up by fine steel wires so they tilt and twine in three dimensions. With the camera on a long exposure Lauesen can turn his ‘three-dimensional line’ around so that the finished photo gives off the sense of a spatial form.
It all came from the work with one of the carafes.
“It gave me an ‘Aha!’ experience,” says Lauesen. “I discovered that I was far too hooked on the idea of the form of the vase as a silhouette. When I began to see its principle three-dimensionally instead, I could suddenly see that it isn’t always the profile that’s the key to the form. In the case of the carafe it was a quite simple bent spiral that lay there as the basic principle of the form. The profile was a sophisticated sequence of lines that curved both out and in, but the way I built up the carafe with my hand was in reality a spiral motion that was very simple.”
Since then Lauesen has been hunting intensively for that kind of geometrical ‘key’; for principles that support the difficult work of avoiding the ‘false’ curves. He describes how he stood in the dark photographing his steel wire figures and suddenly saw that a circle – a quite ordinary circle – can draw curved lines that look like bowls as long as it is tipped and displaced before it is rotated.

THE POTENTIAL OF THE COMPUTER
“I got quite cross with myself that I wasn’t familiar with that phenomenon,” exclaims Lauesen. “But there are lots of things you need to have physically in front of you before you really understand them.”
“We often think two-dimensionally, but we sense three-dimensionally,” explains Lauesen. “And in reality that’s an argument for modelling! When you model, your hands themselves discover movements that dance better with the form than the vertical profile.”
“I work with a colleague to get some of my experiments visualized digitally. The computer is really a fantastic tool. But it surprises me that the schools can have such great, indeed almost naïve, faith that the computer can make the direct contact of the hands with the materials superfluous.”
Aren’t the computer programs reaching an acceptable standard?
“On the computer you’ll typically define two-dimensional profiles, then rotate or pull them. Just the way you think and the way the industry’s old modelling tools function. A bit primitive in terms of form. When you model, though, the hand can work along three-dimensional lines that are clumsy for the mind, but profoundly logical in form – I’m not talking about emotions but about geometrical principles that are simply more advanced.”
That is why Niels Lauesen has great expectations of 3D scanning. With a 3D scanner you can photograph your hand-modelled form, transfer it to the computer, work on it and send it to production.
“It’ll give us fantastic freedom,” he tells me. “We can skip a whole stage that has traditionally had great limitations. Suddenly we can get the rich, sophisticated forms and lines of craftsmanship, the original design of the hand, into industrial production.”

HELLE HOVE (Helle Hove (b.1970) is a Danish ceramist. She works with large scale site specific projects and is especially interested in light/shadow and the use of patterns and ornamental structures.
www.hellehove.dk

Grateful thanks to The Danish Art Foundation for project funding in 2018.
Also a warm thanks to Tine Lauesen for lending pieces to the exhibition.


NECROLOGY - by Helle Hove, Bente Skjøttgaard and Ole Jensen

Ceramics Niels Lauesen is dead, but for many Danish ceramics he will continue to be the inner conversation partner when things are to be given form.

Niels Lauesen was educated at the Arts and Crafts School (now Danish Academy of Fine Arts, School of Design) with study leader Richard Kjærgaard, and at the same time as other significant ceramic designers, such as Snorre Stephensen, Erik Magnussen and Ursula Munch-Petersen. Niels subsequently continued his studies at the Royal Danish Academy of Fine Arts in Professor Helge Bertram, and quickly got on the educational career first at the School of Applied Arts, which changed its name to the School of Functional Arts and later at the Design School in Kolding (now Kolding School of Design).
The teaching at Kolding started in the early 80's with course work together with visual artist Peter Hentze. Later Niels became a permanent teacher at the ceramics department in Kolding, where his "Socratic" form of education flourished. His enthusiastic presence, the continuous conversation - always with humour and warmth, but also with a base of strong views on form, a universal wonder and passion to reach the core of the formal issues - made an imprint on entire generations of young ceramists.

In almost provocative manner, Niels managed with courses such as 'Thrown animals', 'Modelled Flowers', 'Teapots' and 'Rosettes' to open the eyes to the universal forms that are always available. He had a pedagogic talent to give encouragement and find bright spots in even the most unwelcome beginners work by showing what important matters were attached. The foundation for his thinking lay in the geometry and nature's own design, but also the music and the hand's grip on the clay were sources of insight. If one thing came to look old-fashioned, saleable or modern did not interest Niels much. He at least avoided being reluctant to relate to it and considered it almost as poor and restrictive measurements in relation to discussing the real potential of the form.

Niels was in many ways a modest and reluctant person. If you google him, it does not draw a fair picture of his significant efforts for the ceramics and design culture in Denmark. An effort that was based on an intellectual surplus to put nuanced words to form considerations - all in all, in confidence that concrete form ultimately may be a language in itself.

SPATIAL DRAWINGS - Kaldahl Aug-Sep 2018

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Photos of new and previous pieces: Ole Akhøj

SPATIAL DRAWINGS - Martin Bodilsen Kaldahl
Exhibition 23 August – 29 September 2018
Opening reception Thursday 23 August at 16-19.00

Making conditions for an intuitive, spatial form.
Martin Bodilsen Kaldahl's ceramic sculptures emphasize their fundamental existence in space.
This exhibition shows new works for wall in dialogue with free-standing objects. The pieces have their own graphic expression and a singular material choice of terracotta, alternating with grey, metallic black or glazes appearing in bright colours with great texture and colour depth.
Through the formally precise processing of the materials, even the smallest random and insignificant movement in space becomes even more important. With a sharp eye for the monumental in the insignificant, the artist works to create the conditions for an intuitive, spatial form.

SPATIAL DRAWINGS by Martin Bodilsen Kaldahl
The motif is always clear in its simplicity.
You see what you see.
A line is a line. One point, one point.
A rhythm is a rhythm.

I am concerned with basic formal issues in my work with ceramics - the potential of the form for emotional influence of the viewer. How to create and retain the immediate sensation, which allows individual experience and knowledge?
In the works, the very basic existence of the objects are investigated. How do they fold into space - specifically in the making - and how do they reach the viewer?
With an eye for the monumental in the inconspicuous, efforts are set into creating conditions for an intuitive, spatial form. I'm trying, so to speak, to make a slow, constructed 3D doodle, where even the most banal and random spatial gesture is given special importance through a precise processing of the material.

The exhibition in Ann Linnemann Gallery displays new wall pieces in dialogue with individual free-standing objects.
There are pure sculptural lines, in which the relationship between the wall and the object is in focus, while others are rather agglomerates of line paths and streaks of pipe joints put together in a chaos principle.

KALDAHL works out of a loose overall idea, but puts his pencils up for himself to deliberately release some of the control. Let something happen by itself.
Out of volumes of small pieces of clay pipes, small pieces are built, which are later combined and grow into larger and more complex structures that move randomly dancing, rising and falling as they rhythmically pave their way into space. It's all and nothing at the same time.
The objects exist in their given form, but they might as well have looked completely different. They are the result of a distracted perception - a pure sculptural manifestation, created as an image of the moment.
But they also reflect a time dimension of their own creation, which emphasizes the relationship between the simple starting point and the very long process, and incorporates the pieces into a tradition where the careful processing is an evident prerequisite.

MARTIN BODILSEN KALDAHL (b. 1954) graduated from the Royal College of Art, London, MA 1990. COLLECTIONS Victoria & Albert Museum, London; Musée des Arts Decoratifs, Paris; Nationalmuseet, Oslo; Röhsska Museet, Göteborg; Design Museum Danmark; Trapholt Art Museum; Clay Ceramic Museum Denmark; MIMA, UK. EXHIBITIONS Galleri Format, Oslo ( solo); Hot Danes, Puls Contemporary Ceramics, Bruxelles; Galleria Salvatore Lanteri, Milan; Sarah Myerscough Gallery, London; Céramiques, Galerie NeC, Paris ( solo); Galleri Format, Oslo; MarsdenWoo Gallery, London; Danish Design at the House, Sydney Opera House; Contemporary British Studio Ceramics, Mint Museum, North Carolina, US; Mindcraft 09, Milan; Design Museum Denmark. TEACHER Danish Royal Art Academy Design School. External Examiner, Royal College of Art, London 2015-17. Co-Manager Copenhagen Ceramics 2011.

Grateful thanks to The Danish Art Foundation for project funding in 2018.

GEOMETRIC SCALES Oct-Nov 2018

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Photos of new and previous work - exhibition images follow later on

GEOMETRIC SCALES
Karen Bennicke & Masamichi Yoshikawa
4 October – 24 November 2018
Opening reception Thursday 4 October at 16-19.00

Geometric scales – a duet of architectural ceramic objects.
Geometry and experimental interests are shared by Japanese Masamichi Yoshikawa and Danish Karen Bennicke.
The exhibition sets the two world-renowned ceramic artists in a special material and form dialogue, where the exhibitors in their personal language of form reveal differences, visualize cultural references, show exciting contradictions and fine connections.
The exhibitors explore geometrical form characteristics and glaze effects, but the pieces reflect as much the philosophical, cultural and aesthetic approaches.

Masamichi Yoshikawa insists on submersion, intimacy and reflection in his Japanese philosophical thinking.
The sculptural focal point is a symbiosis of modelled constructions in white porcelain and celadon glaze, thin and deep blue-green layers or with drip of the glaze's abundance.
The nature of the materials takes over the geometric sharp edges of the forms, associating lakes, waterfalls and raindrops in the poetic abstract landscapes of the pieces.

Karen Bennicke works in spatial vision - constructions reminiscent of architecture. Her pieces associate the functional concrete in harmonious balance with the illogical indefinable and intuitive.
"There are contradictory opposites embedded in the work by Karen Bennicke. The immediately sensual encounter the speculative constructed.
Often intuition is a starting point, but at the same time working with complex geometries - and mathematical calculations underlying the constructive form and spatial formations.
Karen Bennicke works as an engineer with the inspiration of the technical sciences, where everything from urban planning to dish antennas, satellites and space rockets are traceable into the form universe."
Quote by museum director Anne-Louise Summer from the book: Karen Bennicke - Spatial destabilization.

Karen Bennicke DK
"I am fascinated by form.
Seeing it everywhere.
Playing with it,
pinching one eye,
and finding connections and contradictions. In search of expression."

"My pieces are spatial visions - architectures with memories of architecture. They establish a kind of form-carrying membrane between the interior and the exterior space.
Light, and thus of course shadow, are the most important factors in an intuitive mathematical construction of the pieces. They operate in an area between something recognizable, often with functional references and something indefinable that takes place between the harmonic and the almost chaotic.
I try to eliminate the distance between the logical, concrete world of form we know from our everyday lives, and the illogical, unknown and absurd."

KAREN BENNICKE (b. 1943) was educated from potteries in the South Zealand 1958-61. Own studio since 1961. Numerous exhibitions in Denmark and abroad, represented in museums and collections in Denmark, Norway, Sweden, Germany, England, Latvia and Japan. Received grants and awards from eg Danish Arts Foundation, Danmarks NationalBank's Jubilee Foundation, Inga and Ejvind Kold Christensen Honorary Award, Annie and Otto Johs. Detlefs Ceramics Award, the National Arts Foundation Honorary Award and Bindesbøll Award. Member of the Artists' Association BKF, International Academy of Ceramics IAC. Publication: Karen Bennicke – Spatial Destabilization. www.karenbennicke.dk

Masamichi Yoshikawa - Japan
“Through my art, I strive to describe the eternal becoming of life in clear and transparent forms.
水炎(Suien) — Water flame, The appearance of water and ice.
Yoshikawa concentrates on Seihakuji, celadon blue glazed contemporary ceramic pieces in porcelain. He lives in Tokoname, a famous traditional pottery town on a peninsula in the Aichi area, south of Tokyo.

While celadon porcelains are traditionally celebrated for thin and sharp forms, Yoshikawa creates sculptural forms in porcelain after his own Japanese aesthetic: thick, bold, and covered with pooling and dripping Seihakuji glaze. - wikipedia.org/wiki/celadon
He visited Europe in the 1960s and was captivated by the medieval castle architecture. In addition to his domestic eastern influence, his works reveal this western influence. When he first visited Europe 40 years ago, he was fascinated by William Turner's paintings, as well as the castles in Europe, still considered in his architectural pieces as crenel-like ornaments.

His works consist mainly of vases/containers that he creates on the potter's wheel, or he builds them from slabs of porcelain. His non-turned works are mostly geometric and asymmetrical. He uses clear white 'Hakiju' Korean porcelain, often combining with 'Qingbai', transparent light blue glaze. At times, he cuts a drawing, calligraphy in the still raw clay surface, which he fills with cobalt. His unique technique and reinterpretation of the classic form has received both national and international recognition and fame.

MASAMICHI YOSHIKAWA was born in 1946 in Chigasaki, Kanagawa, Japan. He graduated in Design & Interior in Japan in 1968. From 1968-71 he worked with Junpei Sugie, Tokoname. Since 1969 he has participated in numerous exhibitions around the world (Japan, France, England, Italy, The Netherlands, Denmark) and has received several awards. The Metropolitan Museum of Modern Art in New York and museums, where he has exhibited in Europe, has acquired his works in their collections. Since 1975 he has had his own studio workshop in Tokoname.

Grateful thanks to The Danish Art Foundation for project funding in 2018.
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