{"id":1052,"date":"2022-07-07T10:46:03","date_gmt":"2022-07-07T08:46:03","guid":{"rendered":"https:\/\/geneve2022.aic-iac.org\/?page_id=1052"},"modified":"2022-08-25T21:33:49","modified_gmt":"2022-08-25T19:33:49","slug":"expositions-parcours-ceramique-carougeois","status":"publish","type":"page","link":"https:\/\/geneve2022.aic-iac.org\/en\/expositions-parcours-ceramique-carougeois\/","title":{"rendered":"EXHIBITIONS: Parcours C\u00e9ramique Carougeois","raw":"EXHIBITIONS: Parcours C\u00e9ramique Carougeois"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n
\"\"

Icaro Maiterena – \u201cMnemosyne fold V\u201d (Metamorphosis series) – 2020 – 42 x 21,5 x 25 cm – Ceramic, Porcelain, Reduction with salts<\/p><\/div>\n<\/td>\n<\/tr>\n

\n

\u00a0<\/h3>\n

Parcours C\u00e9ramique Carougeois<\/h3>\n

(Carouge Ceramic Trail)<\/p>\n

17 – 25 September 2022<\/h3>\n

 <\/p>\n

By postponing its 17th edition by one year, the Parcours C\u00e9ramique Carougeois has chosen to create a synergy with the 50th IAC Congress around the subject Materia Prima \u2013 Ceramics, an Alchemical Art<\/em>. Throughout the nine days of events, the Parcours C\u00e9ramique Carougeois intends to reaffirm the warmth and universal character of ceramics.<\/p>\n

For complete information on the 17th Parcours C\u00e9ramique Carougeois (Carouge Ceramic Trail), please visit its dedicated website > HERE <<\/a><\/span><\/p>\n

 <\/p>\n<\/td>\n<\/tr>\n

* Information from the Parcours C\u00e9ramique Carougeois website.
<\/span><\/span><\/td>\n<\/tr>\n
\u00a0<\/td>\n<\/tr>\n
\n

1. Halles de la Fonderie<\/h3>\n
\n<\/td>\n

\u00a0<\/td>\n<\/tr>\n
\n

Julie Lamarins<\/h3>\n

Duale m\u00e9tamorphose<\/em> is a series of wearable sculptures, all of them born from the need to make abstract concepts tangible in a human and sensitive way. From the expression of emotional states which become heavy burdens to carry, thus straining the body, to the intimate quest for balance which accompanies moving bodies, each sculpture is unique and has been created with hand and body imprints. Together, they reveal the metamorphic process of a being. The message is to let go of that which torments us in order to tame ourselves.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

Aline Morvan<\/h3>\n

The exhibition \u00c0 fleur de peau, aime<\/em> is an ode to all that is impermanent and to the intrinsic interconnection between life and death. The project questions the relationship we have with gestures of care, or as they are more commonly referred to nowadays, \u2018care practices\u2019. Morvan focuses on death and funeral rituals and, in particular, the washing of the body. Since ancient times, the bodies of the deceased have been prepared before they set out on their ultimate journey. The time that elapses in this process is suspended, it is a type of \u2018interval\u2019. The reflections contained in this project have been motivated by the impact of decisions made to face the COVID-19 crisis concerning the restriction of time spent with our elders, accompanying people on their final days, and the impossibility of honouring the dead.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u00cdcaro Maiterena<\/h3>\n

\u00cdcaro Maiterena\u2019s pieces depict Earth and its expression. Like fossilised poems, they evoke telluric energy and the transmutation of metals, as well as mineral and organic elements. In short, they invoke fire, movement and Life.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\u00a0<\/td>\n<\/tr>\n
\u00a0<\/td>\n<\/tr>\n
\n

2. Atelier Maison Potter<\/h3>\n
\n

Monique Wuarin<\/h3>\n

Artists\u2019 studios, just like crucibles, are the settings where a particular type of alchemy \u2013 ceramic arts \u2013 takes place. Monique Wuarin\u2019s artistic approach builds on the work with raw elements, elementary materials, their associations and experimentation with fire, the ultimate transmutator. In Particular, her art concentrates on the material realisation of an \u2018object\/sculpture\u2019 from raw materials.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

3. Nov Gallery<\/h3>\n
\n

Laurin Schaub<\/h3>\n

Inspired by this, Laurin Schaub creates functional porcelain objects with a deconstructive view of materia prima<\/em> and alchemy<\/em>. In his current works, the individual parts of the objects are always visibly separated from one another and reveal their construction. With the help of digital tools and simple ceramic shaping processes, Laurin Schaub has developed a new design language. Which is based on a poetic play with forms, structures and colors and opens up a view with scientific, philosophical and spiritual dimensions.<\/p>\n

> Details here<\/span><\/a><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

4. Art Now Projects<\/h3>\n
\n

Paul March<\/h3>\n

A \u201cnon-coherent\u201d proposal from the artist, Paul March. The materialization of an invisible forcefield evokes some disturbing analogies \u2013 intertwining a scientific and archaeological attitude with the intuitive approach of a poet. By using comparisons that defy established categories, March offers us a way of extracting ourselves from the Cartesian intellectual comfort zone to embrace a global vision. Here an\u201d alchemy\u201d ant interacts with electricity pylons lost in a forest, there gigantic spermatozoa fertilize the fissured earth; and beyond, cathode ray tubes are colonized by bees.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

5. L\u2019Antre-Peaux<\/h3>\n
\n

Anne Larouz\u00e9<\/h3>\n

Anne Larouze\u2019s fascination for the scales of squamates, the order of moulting reptiles, makes her follow the traces of living things within matter, thus recreating in each of her ceramic pieces a morphogenesis of order, disorder, growth, mutation, restrain, vagaries\u2026 The result are strange, yet wonderful landscapes springing from within thanks to living forces, which are here in dialogue with Chris Murner\u2019s furs and tanned leather.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\n
\"\"

Anne Larouze – “Plan\u00e8te” – Diam\u00e8tre 30 cm x Hauteur 15 cm – Faience feldspathique, encre de Chine, travail \u00e0 la plaque \u00a9Lightupstudio<\/p><\/div>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

6. Galerie Ligne Treize<\/h3>\n
\n

Sylvie Enjalbert<\/h3>\n

Sylvie Enjalbert\u2019s seemingly simple pots are the direct result of sober reflection. Her work questions the link between Mankind and the Universe, Mankind and Nature, Mankind and Divinity, and the notion of the Ordinary. Her body of work questions our human relationships throughout cultures and ages in order to find a shared ancestry, and a shared vision of the Cosmos.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

7. Les Insolites<\/h3>\n
\n

\u00cdcaro Maiterena<\/h3>\n

Earth, water, air, fire, ether. Kneading delicately. Hitting, a solenoid-like gesture, a vortex which generates pleaded telluric textures. An active volcano: immersing in FeCl3, a blowtorch, reduction firing. An object which is tangible, mineral, vegetable, and animal, and bears the imprint of lived experiences. Alterity \u2013 a symbiosis of unique features to attempt to understand our place in the greater scheme of things.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

8. Galerie Marianne Brand<\/h3>\n
\n

Violette Fassbaender & Arnold Annen<\/h3>\n

With their exhibition Agr\u00e9gats<\/em>, this ceramist couple aim to give shape and expression to the slow and mysterious evolution of the hardest stones. Paradoxically, under the impact of fire, they create translucent objects by transforming rough matter into eternal ice. They translate and make visible the forces inherent to matter, thus also unveiling the mystery of the erratic block and its formation process.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

9. Le Salon Vert<\/h3>\n
\n

Alice Walton<\/h3>\n

Alice Walton\u2019s pieces are fascinatingly complex, yet appeasing. The repetitive movement puts the artist in a space beyond time, like a meditation ritual. Once the piece is finished, it in turn takes the viewer into a hypnotic state, where the imagination feeds from suggestions which arise from the vi-bration of shapes and colours.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

10. Galerie S\u00e9ries Rares<\/h3>\n
\n

Anne-Sophie Guerinaud<\/h3>\n

Ceramics and drawings retrace the work of nature in the \u2018underground\u2019 and \u2018underwater\u2019 worlds. In these complex microcosms, Anne-Sophie Guerinaud\u2019s organic sculptures evolve around the dynamics of moving and merging bodies. Thus, the artist evokes the spiritual dimension of alchemy. The spirit is directly connected to matter with the hands as contact point.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

11. Galerie Kaolin<\/h3>\n
\n

Evrim Ozkan Yazici<\/h3>\n

Evrim Ozkan Yaici creates abstract and architectural shapes which integrate clay fragments through a slow, determined and yet humble process. Her pieces evoke in a metaphorical way the alchemical processes of the psyche, the transmutation of each individual who, despite bearing the burden of ordeals which have been solidified by the fire of life, becomes a new unique being.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\n
\"\"

Anne-Sophie Guerinaud – “Underwater Dance” – 20,5 x 13 x 1,2 cm – Porcelaine, moulage, modelage et pastillage<\/p><\/div>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

12. Les Vins Publics<\/h3>\n
\n

Natalia Abramishvili, Tatiana Bo\u00efko & Irene Venetsanou<\/h3>\n

“Our world has infinite shades of colour and their beauty never ceases to dazzle us. They enter our conscience. We are a set of colours, a vivid polychrome painting made of splashes of time. We are hues of colour, exploding and silent at the same time, and hold millions of words per minute in our head. We are a rainbow of stories, which are both unique and complex.”<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

13. Teo Jakob<\/h3>\n
\n

Claire Lindner<\/h3>\n

Attempting to evoke vegetable, animal, mineral and the human body together. Seeking to take living organisms into a universe where everything is mixed together: the inner and outer worlds, solids, liquids, air\u2026 An alchemy of states which serves as a gateway between organic worlds to remind us that they belong to each other, as if everything was made of the same substance.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

14. Aubert Jansem Galerie<\/h3>\n
\n

Jean-Paul Aza\u00efs<\/h3>\n

Jean-Paul Aza\u00efs is truly an alchemist ceramist. His relationship with earth, water, air and wood fire is conditioned by his observation of the intimate structure of nature and his interest in carbon and metals. His experiments have led him to praise the importance of muddy puddles in understanding the mystery behind the vitrified clay varnish of Gallo-Roman seals.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

15. Galerie h<\/h3>\n
\n

Emmanuel Boos<\/h3>\n

In his exhibition Impromptus, which is held in two different exhibition venues, Emmanuel Boos works with porcelain, a material which has a particular status due to its whiteness and refinement.<\/p>\n

> Details here<\/a><\/span><\/p>\n

Continuation of the exhibition at Peter Kammermann<\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

16. Peter Kammermann<\/h3>\n
\n

Emmanuel Boos<\/h3>\n

“t\u2019s as if porcelain had undergone an alchemic process by which mud had been turned into white gold, and therefore it didn\u2019t really belong to anything earth-related anymore. This is a vain and nonsensical claim. Porcelain is indeed white mud and porcelain studios are just as dirty as those of stoneware potters. Everything is covered in splashes and dust. Everything \u2013 the tools, the kilns \u2013 becomes a shade of yellow, of red even. Iron is always there, too, and this proximity with porcelain which seemed to have banished it astonishes me. So I use it. My porcelain is sometimes stained with ochre and the glazes I have developed for this exhibition are all iron-based: tenmoku, kaki and celadon. But my alchemy also happens in reverse. I throw my stones up in the air, but I also attempt to magnify their fall and crush in the hope of obtaining a delicate and wonderful balance between the sky and earth.”<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

17. Poesis<\/h3>\n
\n

Unurgent Argilla<\/h3>\n

Nina Salsotto Cassina is the artist behind the project Unurgent Argilla<\/em>. Her round pieces are made of clays and rocks gathered by herself. The resulting piece after firing is a tribute to its place of origin: Pantelleria, Mount Stromboli, Mount Etna or Mount Vesuvius. She captures the creative and geological processes that gave birth to each piece.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\n
\"\"

Emmanuel Boos – “Sans titre” (Backsteinduett VI) – 2022 – Porcelaine moul\u00e9e, gla\u00e7ures au fer – 215 x 105 x 55 mm chaque brique \u00a9 Sebastian Weindel<\/p><\/div>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

18. L\u2019\u00c9choppe des Arts<\/h3>\n
\n

Ingrid Van Munster<\/h3>\n

“Through a door come bags of clay and of crushed rocks, and some jars of metallic oxide. In the potter\u2019s cave, a gas kiln bubbles, and some tools are hanging on the wall where a tap burbles. With a wicked laugh, I take a piece out of the kiln. No, it\u2019s wrong! I hold my breath. Please let the other one be good. And this is gold for philosophising.”<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\n

19. Mus\u00e9e de Carouge<\/h3>\n
\n

International Ceramics Competition of the city of\u00a0Carouge<\/h3>\n

Alchemy and ceramics have always been very close, both technically and metaphorically. Whilst the practice of alchemy formerly sought to turn lead into gold, nowadays it questions the notions of success, wealth and origin which we attach to precious metals. Bling-Bling?<\/em> In the framework of this competition, numerous artists have delved into this question, which is also onomatopoeia for the sound produced by the clash of golden necklaces.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n<\/tr>\n
\n

20. Espace J\u00f6rg Brockmann<\/h3>\n
\n

Tami Izko<\/h3>\n

Tami Izko takes Via Spaventa to go to his studio every day. This is a street that lives up to its name: \u2018Scary Street\u2019. From cardboard she collected herself, she has created a series of porcelain sculptures to transmute and give a new sense to her experience of that street.<\/p>\n

> Details here<\/a><\/span><\/p>\n<\/td>\n

\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false,"raw":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n[caption id=\"attachment_1061\" align=\"alignnone\" width=\"1000\"]\"\" Icaro Maiterena - \u201cMnemosyne fold V\u201d (Metamorphosis series) - 2020 - 42 x 21,5 x 25 cm - Ceramic, Porcelain, Reduction with salts[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

\u00a0<\/h3>\r\n

Parcours C\u00e9ramique Carougeois<\/h3>\r\n

(Carouge Ceramic Trail)<\/p>\r\n

17 - 25 September 2022<\/h3>\r\n

 <\/p>\r\n

By postponing its 17th edition by one year, the Parcours C\u00e9ramique Carougeois has chosen to create a synergy with the 50th IAC Congress around the subject Materia Prima \u2013 Ceramics, an Alchemical Art<\/em>. Throughout the nine days of events, the Parcours C\u00e9ramique Carougeois intends to reaffirm the warmth and universal character of ceramics.<\/p>\r\n

For complete information on the 17th Parcours C\u00e9ramique Carougeois (Carouge Ceramic Trail), please visit its dedicated website > HERE <<\/a><\/span><\/p>\r\n

 <\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Information from the Parcours C\u00e9ramique Carougeois website.
<\/span><\/span><\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

1. Halles de la Fonderie<\/h3>\r\n
<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Julie Lamarins<\/h3>\r\n

Duale m\u00e9tamorphose<\/em> is a series of wearable sculptures, all of them born from the need to make abstract concepts tangible in a human and sensitive way. From the expression of emotional states which become heavy burdens to carry, thus straining the body, to the intimate quest for balance which accompanies moving bodies, each sculpture is unique and has been created with hand and body imprints. Together, they reveal the metamorphic process of a being. The message is to let go of that which torments us in order to tame ourselves.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

Aline Morvan<\/h3>\r\n

The exhibition \u00c0 fleur de peau, aime<\/em> is an ode to all that is impermanent and to the intrinsic interconnection between life and death. The project questions the relationship we have with gestures of care, or as they are more commonly referred to nowadays, \u2018care practices\u2019. Morvan focuses on death and funeral rituals and, in particular, the washing of the body. Since ancient times, the bodies of the deceased have been prepared before they set out on their ultimate journey. The time that elapses in this process is suspended, it is a type of \u2018interval\u2019. The reflections contained in this project have been motivated by the impact of decisions made to face the COVID-19 crisis concerning the restriction of time spent with our elders, accompanying people on their final days, and the impossibility of honouring the dead.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

\u00cdcaro Maiterena<\/h3>\r\n

\u00cdcaro Maiterena\u2019s pieces depict Earth and its expression. Like fossilised poems, they evoke telluric energy and the transmutation of metals, as well as mineral and organic elements. In short, they invoke fire, movement and Life.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

2. Atelier Maison Potter<\/h3>\r\n
\r\n

Monique Wuarin<\/h3>\r\n

Artists\u2019 studios, just like crucibles, are the settings where a particular type of alchemy \u2013 ceramic arts \u2013 takes place. Monique Wuarin\u2019s artistic approach builds on the work with raw elements, elementary materials, their associations and experimentation with fire, the ultimate transmutator. In Particular, her art concentrates on the material realisation of an \u2018object\/sculpture\u2019 from raw materials.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

3. Nov Gallery<\/h3>\r\n
\r\n

Laurin Schaub<\/h3>\r\n

Inspired by this, Laurin Schaub creates functional porcelain objects with a deconstructive view of materia prima<\/em> and alchemy<\/em>. In his current works, the individual parts of the objects are always visibly separated from one another and reveal their construction. With the help of digital tools and simple ceramic shaping processes, Laurin Schaub has developed a new design language. Which is based on a poetic play with forms, structures and colors and opens up a view with scientific, philosophical and spiritual dimensions.<\/p>\r\n

> Details here<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

4. Art Now Projects<\/h3>\r\n
\r\n

Paul March<\/h3>\r\n

A \u201cnon-coherent\u201d proposal from the artist, Paul March. The materialization of an invisible forcefield evokes some disturbing analogies \u2013 intertwining a scientific and archaeological attitude with the intuitive approach of a poet. By using comparisons that defy established categories, March offers us a way of extracting ourselves from the Cartesian intellectual comfort zone to embrace a global vision. Here an\u201d alchemy\u201d ant interacts with electricity pylons lost in a forest, there gigantic spermatozoa fertilize the fissured earth; and beyond, cathode ray tubes are colonized by bees.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

5. L\u2019Antre-Peaux<\/h3>\r\n
\r\n

Anne Larouz\u00e9<\/h3>\r\n

Anne Larouze\u2019s fascination for the scales of squamates, the order of moulting reptiles, makes her follow the traces of living things within matter, thus recreating in each of her ceramic pieces a morphogenesis of order, disorder, growth, mutation, restrain, vagaries\u2026 The result are strange, yet wonderful landscapes springing from within thanks to living forces, which are here in dialogue with Chris Murner\u2019s furs and tanned leather.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1062\" align=\"alignnone\" width=\"1000\"]\"\" Anne Larouze - \"Plan\u00e8te\" - Diam\u00e8tre 30 cm x Hauteur 15 cm - Faience feldspathique, encre de Chine, travail \u00e0 la plaque \u00a9Lightupstudio[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

6. Galerie Ligne Treize<\/h3>\r\n
\r\n

Sylvie Enjalbert<\/h3>\r\n

Sylvie Enjalbert\u2019s seemingly simple pots are the direct result of sober reflection. Her work questions the link between Mankind and the Universe, Mankind and Nature, Mankind and Divinity, and the notion of the Ordinary. Her body of work questions our human relationships throughout cultures and ages in order to find a shared ancestry, and a shared vision of the Cosmos.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

7. Les Insolites<\/h3>\r\n
\r\n

\u00cdcaro Maiterena<\/h3>\r\n

Earth, water, air, fire, ether. Kneading delicately. Hitting, a solenoid-like gesture, a vortex which generates pleaded telluric textures. An active volcano: immersing in FeCl3, a blowtorch, reduction firing. An object which is tangible, mineral, vegetable, and animal, and bears the imprint of lived experiences. Alterity \u2013 a symbiosis of unique features to attempt to understand our place in the greater scheme of things.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

8. Galerie Marianne Brand<\/h3>\r\n
\r\n

Violette Fassbaender & Arnold Annen<\/h3>\r\n

With their exhibition Agr\u00e9gats<\/em>, this ceramist couple aim to give shape and expression to the slow and mysterious evolution of the hardest stones. Paradoxically, under the impact of fire, they create translucent objects by transforming rough matter into eternal ice. They translate and make visible the forces inherent to matter, thus also unveiling the mystery of the erratic block and its formation process.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

9. Le Salon Vert<\/h3>\r\n
\r\n

Alice Walton<\/h3>\r\n

Alice Walton\u2019s pieces are fascinatingly complex, yet appeasing. The repetitive movement puts the artist in a space beyond time, like a meditation ritual. Once the piece is finished, it in turn takes the viewer into a hypnotic state, where the imagination feeds from suggestions which arise from the vi-bration of shapes and colours.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

10. Galerie S\u00e9ries Rares<\/h3>\r\n
\r\n

Anne-Sophie Guerinaud<\/h3>\r\n

Ceramics and drawings retrace the work of nature in the \u2018underground\u2019 and \u2018underwater\u2019 worlds. In these complex microcosms, Anne-Sophie Guerinaud\u2019s organic sculptures evolve around the dynamics of moving and merging bodies. Thus, the artist evokes the spiritual dimension of alchemy. The spirit is directly connected to matter with the hands as contact point.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

11. Galerie Kaolin<\/h3>\r\n
\r\n

Evrim Ozkan Yazici<\/h3>\r\n

Evrim Ozkan Yaici creates abstract and architectural shapes which integrate clay fragments through a slow, determined and yet humble process. Her pieces evoke in a metaphorical way the alchemical processes of the psyche, the transmutation of each individual who, despite bearing the burden of ordeals which have been solidified by the fire of life, becomes a new unique being.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1064\" align=\"alignnone\" width=\"1000\"]\"\" Anne-Sophie Guerinaud - \"Underwater Dance\" - 20,5 x 13 x 1,2 cm - Porcelaine, moulage, modelage et pastillage[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

12. Les Vins Publics<\/h3>\r\n
\r\n

Natalia Abramishvili, Tatiana Bo\u00efko & Irene Venetsanou<\/h3>\r\n

\"Our world has infinite shades of colour and their beauty never ceases to dazzle us. They enter our conscience. We are a set of colours, a vivid polychrome painting made of splashes of time. We are hues of colour, exploding and silent at the same time, and hold millions of words per minute in our head. We are a rainbow of stories, which are both unique and complex.\"<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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13. Teo Jakob<\/h3>\r\n
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Claire Lindner<\/h3>\r\n

Attempting to evoke vegetable, animal, mineral and the human body together. Seeking to take living organisms into a universe where everything is mixed together: the inner and outer worlds, solids, liquids, air\u2026 An alchemy of states which serves as a gateway between organic worlds to remind us that they belong to each other, as if everything was made of the same substance.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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14. Aubert Jansem Galerie<\/h3>\r\n
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Jean-Paul Aza\u00efs<\/h3>\r\n

Jean-Paul Aza\u00efs is truly an alchemist ceramist. His relationship with earth, water, air and wood fire is conditioned by his observation of the intimate structure of nature and his interest in carbon and metals. His experiments have led him to praise the importance of muddy puddles in understanding the mystery behind the vitrified clay varnish of Gallo-Roman seals.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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15. Galerie h<\/h3>\r\n
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Emmanuel Boos<\/h3>\r\n

In his exhibition Impromptus, which is held in two different exhibition venues, Emmanuel Boos works with porcelain, a material which has a particular status due to its whiteness and refinement.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n

Continuation of the exhibition at Peter Kammermann<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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16. Peter Kammermann<\/h3>\r\n
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Emmanuel Boos<\/h3>\r\n

\"t\u2019s as if porcelain had undergone an alchemic process by which mud had been turned into white gold, and therefore it didn\u2019t really belong to anything earth-related anymore. This is a vain and nonsensical claim. Porcelain is indeed white mud and porcelain studios are just as dirty as those of stoneware potters. Everything is covered in splashes and dust. Everything \u2013 the tools, the kilns \u2013 becomes a shade of yellow, of red even. Iron is always there, too, and this proximity with porcelain which seemed to have banished it astonishes me. So I use it. My porcelain is sometimes stained with ochre and the glazes I have developed for this exhibition are all iron-based: tenmoku, kaki and celadon. But my alchemy also happens in reverse. I throw my stones up in the air, but I also attempt to magnify their fall and crush in the hope of obtaining a delicate and wonderful balance between the sky and earth.\"<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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17. Poesis<\/h3>\r\n
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Unurgent Argilla<\/h3>\r\n

Nina Salsotto Cassina is the artist behind the project Unurgent Argilla<\/em>. Her round pieces are made of clays and rocks gathered by herself. The resulting piece after firing is a tribute to its place of origin: Pantelleria, Mount Stromboli, Mount Etna or Mount Vesuvius. She captures the creative and geological processes that gave birth to each piece.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1065\" align=\"alignnone\" width=\"1000\"]\"\" Emmanuel Boos - \"Sans titre\" (Backsteinduett VI) - 2022 - Porcelaine moul\u00e9e, gla\u00e7ures au fer - 215 x 105 x 55 mm chaque brique \u00a9 Sebastian Weindel[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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18. L\u2019\u00c9choppe des Arts<\/h3>\r\n
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Ingrid Van Munster<\/h3>\r\n

\"Through a door come bags of clay and of crushed rocks, and some jars of metallic oxide. In the potter\u2019s cave, a gas kiln bubbles, and some tools are hanging on the wall where a tap burbles. With a wicked laugh, I take a piece out of the kiln. No, it\u2019s wrong! I hold my breath. Please let the other one be good. And this is gold for philosophising.\"<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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19. Mus\u00e9e de Carouge<\/h3>\r\n
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International Ceramics Competition of the city of\u00a0Carouge<\/h3>\r\n

Alchemy and ceramics have always been very close, both technically and metaphorically. Whilst the practice of alchemy formerly sought to turn lead into gold, nowadays it questions the notions of success, wealth and origin which we attach to precious metals. Bling-Bling?<\/em> In the framework of this competition, numerous artists have delved into this question, which is also onomatopoeia for the sound produced by the clash of golden necklaces.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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20. Espace J\u00f6rg Brockmann<\/h3>\r\n
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Tami Izko<\/h3>\r\n

Tami Izko takes Via Spaventa to go to his studio every day. This is a street that lives up to its name: \u2018Scary Street\u2019. From cardboard she collected herself, she has created a series of porcelain sculptures to transmute and give a new sense to her experience of that street.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>"},"excerpt":{"rendered":"

The 17th edition of the Parcours C\u00e9ramique Carougeois has chosen to create a synergy with the 50th IAC Congress around the theme Materia Prima \u2013 Ceramics, an Alchemical Art.<\/p>\n","protected":false,"raw":"The 17th edition of the Parcours C\u00e9ramique Carougeois has chosen to create a synergy with the 50th IAC Congress around the theme Materia Prima \u2013 Ceramics, an Alchemical Art."},"author":2192,"featured_media":1061,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_fr_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n[caption id=\"attachment_1061\" align=\"alignnone\" width=\"1000\"]\"\" Icaro Maiterena - \u201cMnemosyne fold V\u201d (Metamorphosis series) - 2020 - 42 x 21,5 x 25 cm - Ceramic, Porcelain, Reduction with salts[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Parcours C\u00e9ramique Carougeois<\/h3>\r\n

17 - 25 septembre 2022<\/h3>\r\n

 <\/p>\r\n

En d\u00e9cidant de d\u00e9caler d\u2019une ann\u00e9e sa 17e \u00e9dition, le Parcours C\u00e9ramique Carougeois a choisi de cr\u00e9er une synergie avec le 50e Congr\u00e8s de l\u2019AIC autour du th\u00e8me Materia Prima\u00a0: c\u00e9ramique art alchimique<\/em>. Au travers de ces neuf jours d\u2019\u00e9v\u00e8nements, le Parcours C\u00e9ramique Carougeois entend confirmer l\u2019universalit\u00e9 de la c\u00e9ramique et de sa convivialit\u00e9.<\/p>\r\n

Pour des informations compl\u00e8tes sur le 17e Parcours C\u00e9ramique Carougeois, veuillez visiter son site d\u00e9di\u00e9 > ICI <<\/a><\/span><\/p>\r\n

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* Informations tir\u00e9es du site du Parcours C\u00e9ramique Carougeois.
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1. Halles de la Fonderie<\/h3>\r\n
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Julie Lamarins<\/h3>\r\n

Duale m\u00e9tamorphose<\/em> est une s\u00e9rie de sculptures port\u00e9es, chacune n\u00e9e du besoin de mat\u00e9rialiser l\u2019abstrait d\u2019une mati\u00e8re humaine et sensible. De l\u2019expression d\u2019\u00e9tats affectifs lourds \u00e0 porter engageant le corps dans un rapport de contrainte, \u00e0\u00a0une intime qu\u00eate d\u2019\u00e9quilibre accompagnant le corps en mouvement, chaque sculpture est singuli\u00e8re et g\u00e9n\u00e9r\u00e9e par l\u2019empreinte du corps et de la main. L\u2019ensemble r\u00e9v\u00e8le le processus de m\u00e9tamorphose d\u2019un \u00eatre. Enfin d\u00e9poser ses tourments pour mieux s\u2019apprivoiser.<\/p>\r\n

> D\u00e9tails ici<\/span><\/a><\/p>\r\n<\/td>\r\n

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Aline Morvan<\/h3>\r\n

L\u2019exposition carte blanche \u00c0 fleur de peau, aime<\/em> est une ode \u00e0 l\u2019impermanence et \u00e0 l\u2019entrem\u00eal\u00e2t indissociable entre la vie et la mort. Le projet questionne les rapports que nous entretenons avec les attentions et gestes de soins, plus commun\u00e9ment appel\u00e9es aujourd\u2019hui les pratiques du care<\/em>. C\u2019est aux rituels fun\u00e9raires qu\u2019Aline Morvan porte son attention et plus particuli\u00e8rement \u00e0 ce temps de la toilette mortuaire. Depuis toujours, on lave et pr\u00e9pare le corps du d\u00e9funt avant le dernier voyage. Les r\u00e9percutions qu\u2019ont eu les d\u00e9cisions prises pour faire face \u00e0 la crise de la COVID-19, sur l\u2019accompagnement des personnes en fin de vie et sur l\u2019impossibilit\u00e9 de les honorer a motiv\u00e9 les r\u00e9flexions cette exposition-performance.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\u00cdcaro\u00a0Maiterena<\/h3>\r\n

Les pi\u00e8ces d\u2019\u00cdcaro Maiterena nous parlent de la Terre et de son expression. Telles des po\u00e8mes fossilis\u00e9s, elles \u00e9voquent l\u2019\u00e9nergie tellurique et les transmutations des m\u00e9taux, des \u00e9l\u00e9ments min\u00e9raux et organiques. Elles invoquent le feu, le mouvement, la Vie en somme.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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2. Atelier Maison Potter<\/h3>\r\n
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Monique Wuarin<\/h3>\r\n

L\u2019atelier, tel un creuset, est le lieu o\u00f9 s\u2019\u00e9labore cette alchimie particuli\u00e8re qu\u2019est l\u2019art c\u00e9ramique. Partant d\u2019\u00e9l\u00e9ments bruts, de mati\u00e8res \u00e9l\u00e9mentaires, de leurs associations, d\u2019exp\u00e9rimentations en liaison avec le feu ultime transformateur, Monique Wuarin inscrit sa d\u00e9marche artistique, centr\u00e9e sur la r\u00e9alisation mat\u00e9rielle d\u2019un \u00abobjet\/sculpture\u00bb dans cet art des mat\u00e9riaux premiers.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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3. Nov Gallery<\/h3>\r\n
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Laurin Schaub<\/h3>\r\n

Avec A. PART<\/em>, Laurin Schaub cr\u00e9e des objets fonctionnels en porcelaine avec une perspective de d\u00e9construction de la materia prima et de l\u2019alchimie. Dans ses \u0153uvres actuelles, les diff\u00e9rentes parties des objets sont toujours visiblement s\u00e9par\u00e9es les unes des autres et r\u00e9v\u00e8lent la mani\u00e8re dont elles sont construites. \u00c0 l\u2019aide d\u2019outils num\u00e9riques et de proc\u00e9d\u00e9s simples de fa\u00e7onnage de la c\u00e9ramique, Laurin Schaub a d\u00e9velopp\u00e9 un nouveau langage de conception. Qui s\u2019appuie sur un jeu po\u00e9tique avec les formes, les structures et les couleurs et ouvre un regard aux dimensions scientifiques, philosophiques et spirituelles.<\/p>\r\n

> D\u00e9tails ici<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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4. Art Now Projects<\/h3>\r\n
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Paul March<\/h3>\r\n

Metamorphosis Vitalis<\/em>, une proposition \u00ab\u00a0m\u00e9ta-coh\u00e9rente\u00a0\u00bb par l\u2019artiste Paul March. Une mat\u00e9rialisation des lignes de force invisibles \u00e9voquant des analogies troublantes issues tout autant d\u2019une d\u00e9marche scientifique et arch\u00e9ologique que de l\u2019approche intuitive d\u2019un po\u00e8te. \u00c0 partir de comparaisons qui d\u00e9fient les cat\u00e9gories \u00e9tablies, Paul March nous extrait du confort intellectuel cart\u00e9sien pour embrasser une vision globale. Ici une fourmi \u00abalambic\u00bb interagit avec des poteaux \u00e9lectriques perdus dans les arbres, l\u00e0 des spermatozo\u00efdes gigantesques f\u00e9condent une terre craquel\u00e9e ; plus loin, des \u00e9crans cathodiques sont colonis\u00e9s par les abeilles\u2026<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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5. L\u2019Antre-Peaux<\/h3>\r\n
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Anne Larouz\u00e9<\/h3>\r\n

Fascin\u00e9e par les peaux \u00e9caill\u00e9es des squamates, cet ordre de reptiles qui muent, Anne Larouz\u00e9 se lance sur les traces du vivant dans la mati\u00e8re en recr\u00e9ant pour chaque pi\u00e8ce c\u00e9ramique, une morphog\u00e9n\u00e8se sp\u00e9cifique qui m\u00eale ordre et d\u00e9sordre, croissance, mutation, contrainte, al\u00e9as\u2026. Naissent alors des paysages \u00e9tranges et merveilleux, agis de l\u2019int\u00e9rieur par la force du vivant, qui dialoguent ici avec les peaux et les cuirs tann\u00e9s des maroquineries de Chris Murner.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1062\" align=\"alignnone\" width=\"1000\"]\"\" Anne Larouze - \"Plan\u00e8te\" - Diam\u00e8tre 30 cm x Hauteur 15 cm - Faience feldspathique, encre de Chine, travail \u00e0 la plaque \u00a9Lightupstudio[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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6. Galerie Ligne Treize<\/h3>\r\n
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Sylvie Enjalbert<\/h3>\r\n

\"L\u2019apparente simplicit\u00e9 de mes pots est le r\u00e9sultat direct d\u2019une r\u00e9flexion profonde. Mon travail questionne sur le lien entre l\u2019Homme et l\u2019Univers, entre l\u2019Homme et la Nature, entre l\u2019Homme et le divin, la notion de Commun : nos rapports humains \u00e0 travers les cultures et les \u00e2ges, retrouver une ancestralit\u00e9 partag\u00e9e, une m\u00eame vision du Cosmos.<\/p>\r\n

Transmuter le pr\u00e9sent \u00e0 chaque placement de doigts sur l\u2019argile pour r\u00e9enchanter le vivant de la cr\u00e9ation en nous.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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7. Les Insolites<\/h3>\r\n
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\u00cdcaro Maiterena<\/h3>\r\n

\"Terre, eau, air, feu et \u00e9ther. P\u00e9trissage d\u00e9licat. Coups, geste sol\u00e9no\u00efdal, vortex g\u00e9n\u00e9rant des textures telluriques pliss\u00e9es. Volcan actif : immersion dans le FeCl3, chalumeau, cuisson r\u00e9ductrice. Objet palpable, min\u00e9ral, v\u00e9g\u00e9tal, animal, trace de ce qui a \u00e9t\u00e9 v\u00e9cu. Alt\u00e9rit\u00e9 \u2013 symbiose de singularit\u00e9s essayant de comprendre notre place dans l\u2019ensemble.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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8. Galerie Marianne Brand<\/h3>\r\n
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Violette Fassbaender & Arnold Annen<\/h3>\r\n

Avec l\u2019exposition Agr\u00e9gats<\/em>, le couple de c\u00e9ramistes, tente de donner forme et expression \u00e0 la lente et myst\u00e9rieuse \u00e9volution que subissent les roches les plus dures. Sous l\u2019impact du feu, ils cr\u00e9ent ainsi paradoxalement des objets translucides en transformant la mati\u00e8re brute en glace \u00e9ternelle. Ils traduisent et rendent visibles les forces inh\u00e9rentes \u00e0 la mati\u00e8re, r\u00e9v\u00e9lant \u00e0 la fois l\u2019\u00e9nigme du bloc erratique et le processus de sa formation.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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9. Le Salon Vert<\/h3>\r\n
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Alice Walton<\/h3>\r\n

Les pi\u00e8ces d\u2019Alice Walton fascinent par leur complexit\u00e9 tout en laissant une sensation d\u2019apaisement. La r\u00e9p\u00e9tition du geste met l\u2019artiste dans un espace hors du temps, comme un rituel m\u00e9ditatif qui, une fois la pi\u00e8ce termin\u00e9e, conduit \u00e0 son tour le spectateur dans un \u00e9tat hypnotique o\u00f9 l\u2019imaginaire se nourrit des suggestions n\u00e9es de la vibration des formes et des couleurs.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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10. Galerie S\u00e9ries Rares<\/h3>\r\n
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Anne-Sophie Guerinaud<\/h3>\r\n

C\u00e9ramiques et dessins retracent le travail de la nature des mondes \u00absous-terrain\u00bb et \u00absous-marin\u00bb. Dans ces microcosmes complexes, les sculptures organiques d\u2019Anne-Sophie Guerinaud \u00e9voluent autour d\u2019une dynamique de corps mouvants et fusionnants. L\u2019artiste \u00e9voque ainsi la dimension spirituelle de l\u2019alchimie. L\u2019esprit est connect\u00e9 directement \u00e0 la mati\u00e8re, les mains comme seuls interm\u00e9diaires.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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11. Galerie Kaolin<\/h3>\r\n
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Evrim Ozkan Yazici<\/h3>\r\n

Evrim Ozkan Yazici cr\u00e9e des formes abstraites, architecturales dans lesquelles sont int\u00e9gr\u00e9es dans un processus lent, d\u00e9termin\u00e9 et pourtant humble, des fragments d\u2019argile. Ces pi\u00e8ces \u00e9voquent m\u00e9taphoriquement les processus alchimiques de la psych\u00e9, les transmutations que vivent chaque individu qui bien que portant les traces des \u00e9preuves solidifi\u00e9es par le feu de la vie, se reconstruisent en un nouvel \u00eatre unique.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1064\" align=\"alignnone\" width=\"1000\"]\"\" Anne-Sophie Guerinaud - \"Underwater Dance\" - 20,5 x 13 x 1,2 cm - Porcelaine, moulage, modelage et pastillage[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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12. Les Vins Publics<\/h3>\r\n
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Natalia Abramishvili, Tatiana Bo\u00efko & Irene Venetsanou<\/h3>\r\n

\"Les teintes de notre monde sont infinies et leur beaut\u00e9 ne cesse de nous \u00e9blouir. Elles p\u00e9n\u00e8trent notre conscience. Nous sommes un ensemble de couleurs, une saisissante peinture polychrome faite de touches temporelles. Nous sommes des nuances de couleur : \u00e9clatantes et silencieuses \u00e0 la fois, avec des millions de mots par minute dans notre t\u00eate. Nous sommes un arc-en-ciel d\u2019histoires, uniques et complexes.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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13. Teo Jakob<\/h3>\r\n
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Claire Lindner<\/h3>\r\n

\"Une alchimie des formes comme passerelle entre divers mondes organiques pour rappeler l\u2019appartenance de l\u2019un \u00e0 l\u2019autre, comme si tout \u00e9tait fait de la m\u00eame substance.<\/p>\r\n

Un univers o\u00f9 tout se m\u00e9lange : l\u2019int\u00e9rieur, l\u2019ext\u00e9rieur, le liquide, le solide, l\u2019air. Cette qu\u00eate du vivant n\u2019est pas une tentative d\u2019imitation de la Nature mais plut\u00f4t celle de faire na\u00eetre des images qui lui sont li\u00e9es afin de s\u2019en rapprocher, et de la craindre afin de la sublimer.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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14. Aubert Jansem Galerie<\/h3>\r\n
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Jean-Paul Aza\u00efs<\/h3>\r\n

\"Le travail solitaire, l\u2019interaction avec les \u00e9l\u00e9ments, l\u2019approche de l\u2019unit\u00e9 et de la diversit\u00e9 contribuent \u00e0 me transformer. Ces modifications de mon \u00eatre interagiront \u00e0 nouveau sur la mati\u00e8re. Ainsi s\u2019initie un va-et-vient constructif entre soi et un monde qui m\u2019\u00e9claire, me mod\u00e8le ; parfois pour mon grand bonheur, il fait na\u00eetre un sens, un Clou cuivreux-dor\u00e9 blotti dans son Creuset et un sentiment d\u2019accomplissement.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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15. Galerie h<\/h3>\r\n
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Emmanuel Boos<\/h3>\r\n

Pour son exposition Impromptus qui s\u2019\u00e9tend sur deux lieux d\u2019exposition, Emmanuel Boos travaille la porcelaine, un mat\u00e9riau au statut particulier par sa blancheur et sa finesse.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n

Suite de l\u2019exposition chez Peter Kammermann<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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16. Peter Kammermann<\/h3>\r\n
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Emmanuel Boos<\/h3>\r\n

\"C\u2019est un peu comme si elle n\u2019\u00e9tait plus vraiment de la terre et que l\u2019alchimie avait d\u00e9j\u00e0 eu lieu en transformant la boue en or blanc. Cette pr\u00e9tention est vaine et ridicule. Il s\u2019agit bien d\u2019une boue blanche et les ateliers de porcelaine n\u2019ont rien \u00e0 envier en salet\u00e9 \u00e0 ceux des potiers de gr\u00e8s. Les \u00e9claboussures, la poussi\u00e8re recouvrent tout. Tout y jaunit, y rougit m\u00eame : les outils, les fours. Le fer n\u2019est jamais loin et cette proximit\u00e9 avec la porcelaine qui paraissait l\u2019avoir banni me surprend. Alors j\u2019en rajoute. Ma porcelaine est parfois teint\u00e9e d\u2019ocre dans la masse et les \u00e9maux que j\u2019ai d\u00e9velopp\u00e9s pour cette exposition sont \u00e0 base de fer : tenmokus, kakis, et c\u00e9ladons. Mon alchimie se fait aussi \u00e0 l\u2019envers. Je jette mes pierres vers le ciel mais j\u2019essaye \u00e9galement d\u2019en magnifier la chute et l\u2019\u00e9crasement, esp\u00e9rant un \u00e9quilibre pr\u00e9caire et merveilleux entre le ciel et la terre.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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17. Poesis<\/h3>\r\n
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Unurgent Argilla<\/h3>\r\n

Derri\u00e8re le projet Unurgent Argilla<\/em> se cache la c\u00e9ramiste Nina Salsotto Cassina. Ses pi\u00e8ces tourn\u00e9es sont r\u00e9alis\u00e9es \u00e0 partir d\u2019argiles et de roches qu\u2019elle r\u00e9colte elle-m\u00eame. Apr\u00e8s cuisson, la pi\u00e8ce finale est un hommage \u00e0 son lieu d\u2019origine\u00a0: Pantelleria, le Stromboli, l\u2019Etna ou le V\u00e9suve. Elle immortalise les processus g\u00e9ologiques et cr\u00e9atifs qui lui ont donn\u00e9 naissance.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1065\" align=\"alignnone\" width=\"1000\"]\"\" Emmanuel Boos - \"Sans titre\" (Backsteinduett VI) - 2022 - Porcelaine moul\u00e9e, gla\u00e7ures au fer - 215 x 105 x 55 mm chaque brique \u00a9 Sebastian Weindel[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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18. L\u2019\u00c9choppe des Arts<\/h3>\r\n
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Ingrid Van Munster<\/h3>\r\n

\"Par une porte entrent des sacs de terre, des sacs de roches broy\u00e9es, quelques bocaux d\u2019oxydes m\u00e9talliques. Dans l\u2019antre de la poti\u00e8re bouillonne un four \u00e0 gaz ; quelques outils sont accroch\u00e9s au mur du robinet qui glougloute. \u00c9clatant d\u2019un rire diabolique, je sors une pi\u00e8ce du four. Ah, rat\u00e9e\u2026 Je retiens mon souffle, oh que cette autre me pla\u00eet, et c\u2019est un peu de l\u2019or si l\u2019on veut philosopher.\"<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

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19. Mus\u00e9e de Carouge<\/h3>\r\n
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Concours international de c\u00e9ramique de la Ville de\u00a0Carouge<\/h3>\r\n

Techniquement et m\u00e9taphoriquement, alchimie et c\u00e9ramique ont toujours \u00e9t\u00e9 en \u00e9troite relation. Mais la pratique de l\u2019alchimie, qui visait autrefois la transmutation du plomb en or, questionne actuellement les notions de succ\u00e8s, de richesse et de provenance des mat\u00e9riaux pr\u00e9cieux. Bling-Bling?<\/em> C\u2019est sur cette interrogation, sous forme d\u2019onomatop\u00e9e \u00e9voquant le bruit cr\u00e9\u00e9 par le choc des cha\u00eenes en or, que se sont pench\u00e9.es de nombreux\u00b7ses artistes dans le cadre de ce concours.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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20. Espace J\u00f6rg Brockmann<\/h3>\r\n
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Tami Izko<\/h3>\r\n

Chaque jour pour se rendre \u00e0 son atelier, Tami Izko emprunte la Via Spaventa. Une rue qui porte bien son nom : \u00ab la rue qui fait peur \u00bb. \u00c0 partir d\u2019un carton qu\u2019elle y a ramass\u00e9, elle a cr\u00e9\u00e9 une s\u00e9rie de sculptures en porcelaine pour transmuter, donner un sens nouveau \u00e0 son exp\u00e9rience de ce lieu.<\/p>\r\n

> D\u00e9tails ici<\/a><\/span><\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_fr_post_name":"expositions-parcours-ceramique-carougeois","_fr_post_excerpt":"La 17\u00e8me \u00e9dition du Parcours C\u00e9ramique Carougeois a choisi de cr\u00e9er une synergie avec le 50e Congr\u00e8s de l\u2019AIC autour du th\u00e8me Materia Prima\u00a0: c\u00e9ramique art alchimique.","_fr_post_title":"EXPOSITIONS: Parcours C\u00e9ramique Carougeois (PCC)","_es_post_content":"","_es_post_name":"","_es_post_excerpt":"","_es_post_title":"","_en_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n[caption id=\"attachment_1061\" align=\"alignnone\" width=\"1000\"]\"\" Icaro Maiterena - \u201cMnemosyne fold V\u201d (Metamorphosis series) - 2020 - 42 x 21,5 x 25 cm - Ceramic, Porcelain, Reduction with salts[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00a0<\/h3>\r\n

Parcours C\u00e9ramique Carougeois<\/h3>\r\n

(Carouge Ceramic Trail)<\/p>\r\n

17 - 25 September 2022<\/h3>\r\n

 <\/p>\r\n

By postponing its 17th edition by one year, the Parcours C\u00e9ramique Carougeois has chosen to create a synergy with the 50th IAC Congress around the subject Materia Prima \u2013 Ceramics, an Alchemical Art<\/em>. Throughout the nine days of events, the Parcours C\u00e9ramique Carougeois intends to reaffirm the warmth and universal character of ceramics.<\/p>\r\n

For complete information on the 17th Parcours C\u00e9ramique Carougeois (Carouge Ceramic Trail), please visit its dedicated website > HERE <<\/a><\/span><\/p>\r\n

 <\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Information from the Parcours C\u00e9ramique Carougeois website.
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1. Halles de la Fonderie<\/h3>\r\n
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Julie Lamarins<\/h3>\r\n

Duale m\u00e9tamorphose<\/em> is a series of wearable sculptures, all of them born from the need to make abstract concepts tangible in a human and sensitive way. From the expression of emotional states which become heavy burdens to carry, thus straining the body, to the intimate quest for balance which accompanies moving bodies, each sculpture is unique and has been created with hand and body imprints. Together, they reveal the metamorphic process of a being. The message is to let go of that which torments us in order to tame ourselves.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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Aline Morvan<\/h3>\r\n

The exhibition \u00c0 fleur de peau, aime<\/em> is an ode to all that is impermanent and to the intrinsic interconnection between life and death. The project questions the relationship we have with gestures of care, or as they are more commonly referred to nowadays, \u2018care practices\u2019. Morvan focuses on death and funeral rituals and, in particular, the washing of the body. Since ancient times, the bodies of the deceased have been prepared before they set out on their ultimate journey. The time that elapses in this process is suspended, it is a type of \u2018interval\u2019. The reflections contained in this project have been motivated by the impact of decisions made to face the COVID-19 crisis concerning the restriction of time spent with our elders, accompanying people on their final days, and the impossibility of honouring the dead.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\u00cdcaro Maiterena<\/h3>\r\n

\u00cdcaro Maiterena\u2019s pieces depict Earth and its expression. Like fossilised poems, they evoke telluric energy and the transmutation of metals, as well as mineral and organic elements. In short, they invoke fire, movement and Life.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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2. Atelier Maison Potter<\/h3>\r\n
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Monique Wuarin<\/h3>\r\n

Artists\u2019 studios, just like crucibles, are the settings where a particular type of alchemy \u2013 ceramic arts \u2013 takes place. Monique Wuarin\u2019s artistic approach builds on the work with raw elements, elementary materials, their associations and experimentation with fire, the ultimate transmutator. In Particular, her art concentrates on the material realisation of an \u2018object\/sculpture\u2019 from raw materials.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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3. Nov Gallery<\/h3>\r\n
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Laurin Schaub<\/h3>\r\n

Inspired by this, Laurin Schaub creates functional porcelain objects with a deconstructive view of materia prima<\/em> and alchemy<\/em>. In his current works, the individual parts of the objects are always visibly separated from one another and reveal their construction. With the help of digital tools and simple ceramic shaping processes, Laurin Schaub has developed a new design language. Which is based on a poetic play with forms, structures and colors and opens up a view with scientific, philosophical and spiritual dimensions.<\/p>\r\n

> Details here<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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4. Art Now Projects<\/h3>\r\n
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Paul March<\/h3>\r\n

A \u201cnon-coherent\u201d proposal from the artist, Paul March. The materialization of an invisible forcefield evokes some disturbing analogies \u2013 intertwining a scientific and archaeological attitude with the intuitive approach of a poet. By using comparisons that defy established categories, March offers us a way of extracting ourselves from the Cartesian intellectual comfort zone to embrace a global vision. Here an\u201d alchemy\u201d ant interacts with electricity pylons lost in a forest, there gigantic spermatozoa fertilize the fissured earth; and beyond, cathode ray tubes are colonized by bees.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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5. L\u2019Antre-Peaux<\/h3>\r\n
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Anne Larouz\u00e9<\/h3>\r\n

Anne Larouze\u2019s fascination for the scales of squamates, the order of moulting reptiles, makes her follow the traces of living things within matter, thus recreating in each of her ceramic pieces a morphogenesis of order, disorder, growth, mutation, restrain, vagaries\u2026 The result are strange, yet wonderful landscapes springing from within thanks to living forces, which are here in dialogue with Chris Murner\u2019s furs and tanned leather.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1062\" align=\"alignnone\" width=\"1000\"]\"\" Anne Larouze - \"Plan\u00e8te\" - Diam\u00e8tre 30 cm x Hauteur 15 cm - Faience feldspathique, encre de Chine, travail \u00e0 la plaque \u00a9Lightupstudio[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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6. Galerie Ligne Treize<\/h3>\r\n
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Sylvie Enjalbert<\/h3>\r\n

Sylvie Enjalbert\u2019s seemingly simple pots are the direct result of sober reflection. Her work questions the link between Mankind and the Universe, Mankind and Nature, Mankind and Divinity, and the notion of the Ordinary. Her body of work questions our human relationships throughout cultures and ages in order to find a shared ancestry, and a shared vision of the Cosmos.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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7. Les Insolites<\/h3>\r\n
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\u00cdcaro Maiterena<\/h3>\r\n

Earth, water, air, fire, ether. Kneading delicately. Hitting, a solenoid-like gesture, a vortex which generates pleaded telluric textures. An active volcano: immersing in FeCl3, a blowtorch, reduction firing. An object which is tangible, mineral, vegetable, and animal, and bears the imprint of lived experiences. Alterity \u2013 a symbiosis of unique features to attempt to understand our place in the greater scheme of things.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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8. Galerie Marianne Brand<\/h3>\r\n
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Violette Fassbaender & Arnold Annen<\/h3>\r\n

With their exhibition Agr\u00e9gats<\/em>, this ceramist couple aim to give shape and expression to the slow and mysterious evolution of the hardest stones. Paradoxically, under the impact of fire, they create translucent objects by transforming rough matter into eternal ice. They translate and make visible the forces inherent to matter, thus also unveiling the mystery of the erratic block and its formation process.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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9. Le Salon Vert<\/h3>\r\n
\r\n

Alice Walton<\/h3>\r\n

Alice Walton\u2019s pieces are fascinatingly complex, yet appeasing. The repetitive movement puts the artist in a space beyond time, like a meditation ritual. Once the piece is finished, it in turn takes the viewer into a hypnotic state, where the imagination feeds from suggestions which arise from the vi-bration of shapes and colours.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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10. Galerie S\u00e9ries Rares<\/h3>\r\n
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Anne-Sophie Guerinaud<\/h3>\r\n

Ceramics and drawings retrace the work of nature in the \u2018underground\u2019 and \u2018underwater\u2019 worlds. In these complex microcosms, Anne-Sophie Guerinaud\u2019s organic sculptures evolve around the dynamics of moving and merging bodies. Thus, the artist evokes the spiritual dimension of alchemy. The spirit is directly connected to matter with the hands as contact point.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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11. Galerie Kaolin<\/h3>\r\n
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Evrim Ozkan Yazici<\/h3>\r\n

Evrim Ozkan Yaici creates abstract and architectural shapes which integrate clay fragments through a slow, determined and yet humble process. Her pieces evoke in a metaphorical way the alchemical processes of the psyche, the transmutation of each individual who, despite bearing the burden of ordeals which have been solidified by the fire of life, becomes a new unique being.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1064\" align=\"alignnone\" width=\"1000\"]\"\" Anne-Sophie Guerinaud - \"Underwater Dance\" - 20,5 x 13 x 1,2 cm - Porcelaine, moulage, modelage et pastillage[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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12. Les Vins Publics<\/h3>\r\n
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Natalia Abramishvili, Tatiana Bo\u00efko & Irene Venetsanou<\/h3>\r\n

\"Our world has infinite shades of colour and their beauty never ceases to dazzle us. They enter our conscience. We are a set of colours, a vivid polychrome painting made of splashes of time. We are hues of colour, exploding and silent at the same time, and hold millions of words per minute in our head. We are a rainbow of stories, which are both unique and complex.\"<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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13. Teo Jakob<\/h3>\r\n
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Claire Lindner<\/h3>\r\n

Attempting to evoke vegetable, animal, mineral and the human body together. Seeking to take living organisms into a universe where everything is mixed together: the inner and outer worlds, solids, liquids, air\u2026 An alchemy of states which serves as a gateway between organic worlds to remind us that they belong to each other, as if everything was made of the same substance.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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14. Aubert Jansem Galerie<\/h3>\r\n
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Jean-Paul Aza\u00efs<\/h3>\r\n

Jean-Paul Aza\u00efs is truly an alchemist ceramist. His relationship with earth, water, air and wood fire is conditioned by his observation of the intimate structure of nature and his interest in carbon and metals. His experiments have led him to praise the importance of muddy puddles in understanding the mystery behind the vitrified clay varnish of Gallo-Roman seals.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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15. Galerie h<\/h3>\r\n
\r\n

Emmanuel Boos<\/h3>\r\n

In his exhibition Impromptus, which is held in two different exhibition venues, Emmanuel Boos works with porcelain, a material which has a particular status due to its whiteness and refinement.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n

Continuation of the exhibition at Peter Kammermann<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

16. Peter Kammermann<\/h3>\r\n
\r\n

Emmanuel Boos<\/h3>\r\n

\"t\u2019s as if porcelain had undergone an alchemic process by which mud had been turned into white gold, and therefore it didn\u2019t really belong to anything earth-related anymore. This is a vain and nonsensical claim. Porcelain is indeed white mud and porcelain studios are just as dirty as those of stoneware potters. Everything is covered in splashes and dust. Everything \u2013 the tools, the kilns \u2013 becomes a shade of yellow, of red even. Iron is always there, too, and this proximity with porcelain which seemed to have banished it astonishes me. So I use it. My porcelain is sometimes stained with ochre and the glazes I have developed for this exhibition are all iron-based: tenmoku, kaki and celadon. But my alchemy also happens in reverse. I throw my stones up in the air, but I also attempt to magnify their fall and crush in the hope of obtaining a delicate and wonderful balance between the sky and earth.\"<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

17. Poesis<\/h3>\r\n
\r\n

Unurgent Argilla<\/h3>\r\n

Nina Salsotto Cassina is the artist behind the project Unurgent Argilla<\/em>. Her round pieces are made of clays and rocks gathered by herself. The resulting piece after firing is a tribute to its place of origin: Pantelleria, Mount Stromboli, Mount Etna or Mount Vesuvius. She captures the creative and geological processes that gave birth to each piece.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1065\" align=\"alignnone\" width=\"1000\"]\"\" Emmanuel Boos - \"Sans titre\" (Backsteinduett VI) - 2022 - Porcelaine moul\u00e9e, gla\u00e7ures au fer - 215 x 105 x 55 mm chaque brique \u00a9 Sebastian Weindel[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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18. L\u2019\u00c9choppe des Arts<\/h3>\r\n
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Ingrid Van Munster<\/h3>\r\n

\"Through a door come bags of clay and of crushed rocks, and some jars of metallic oxide. In the potter\u2019s cave, a gas kiln bubbles, and some tools are hanging on the wall where a tap burbles. With a wicked laugh, I take a piece out of the kiln. No, it\u2019s wrong! I hold my breath. Please let the other one be good. And this is gold for philosophising.\"<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

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19. Mus\u00e9e de Carouge<\/h3>\r\n
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International Ceramics Competition of the city of\u00a0Carouge<\/h3>\r\n

Alchemy and ceramics have always been very close, both technically and metaphorically. Whilst the practice of alchemy formerly sought to turn lead into gold, nowadays it questions the notions of success, wealth and origin which we attach to precious metals. Bling-Bling?<\/em> In the framework of this competition, numerous artists have delved into this question, which is also onomatopoeia for the sound produced by the clash of golden necklaces.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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20. Espace J\u00f6rg Brockmann<\/h3>\r\n
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Tami Izko<\/h3>\r\n

Tami Izko takes Via Spaventa to go to his studio every day. This is a street that lives up to its name: \u2018Scary Street\u2019. From cardboard she collected herself, she has created a series of porcelain sculptures to transmute and give a new sense to her experience of that street.<\/p>\r\n

> Details here<\/a><\/span><\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_en_post_name":"expositions-parcours-ceramique-carougeois","_en_post_excerpt":"The 17th edition of the Parcours C\u00e9ramique Carougeois has chosen to create a synergy with the 50th IAC Congress around the theme Materia Prima \u2013 Ceramics, an Alchemical Art.","_en_post_title":"EXHIBITIONS: Parcours C\u00e9ramique Carougeois","edit_language":"en","footnotes":""},"class_list":["post-1052","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/1052","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/users\/2192"}],"replies":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/comments?post=1052"}],"version-history":[{"count":21,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/1052\/revisions"}],"predecessor-version":[{"id":1567,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/1052\/revisions\/1567"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/media\/1061"}],"wp:attachment":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/media?parent=1052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}