{"id":982,"date":"2022-06-25T12:58:50","date_gmt":"2022-06-25T10:58:50","guid":{"rendered":"https:\/\/geneve2022.aic-iac.org\/?page_id=982"},"modified":"2024-07-09T14:46:21","modified_gmt":"2024-07-09T12:46:21","slug":"conferences-breakout-sessions","status":"publish","type":"page","link":"https:\/\/geneve2022.aic-iac.org\/en\/conferences-breakout-sessions\/","title":{"rendered":"Lectures: Breakout sessions","raw":"Lectures: Breakout sessions"},"content":{"rendered":"\n\n\n
\n
\"\"

Jane Perryman, “From Light to Dark from Dark to Light”.<\/p><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\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

\u00a0<\/h3>\n

Breakout sessions<\/h3>\n

The Breakout sessions have become a popular feature of past congresses that provide an opportunity for members to share their special interests not necessarily related to the congress theme. This year, 22 IAC members were selected to share critical research, new technologies, recent work, new initiatives, current publications, curatorial events, or other topics such as community action, social initiatives, and\/or reflections on past years of pandemic isolation.<\/p>\n<\/td>\n<\/tr>\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\n

Jana Bednarkova Kenney<\/h3>\n

(USA\/France)<\/p>\n

Lecture Title: “Winning Strategies – How to Create Successful International Ceramics Events”<\/p>\n

Now more than ever it is necessary to promote ceramic work better, specifically through the creation of new opportunities to exhibit and share this art with the public. In her presentation, Jana Kenney uses her experience from the first Contemporary Ceramics Art Fair in Paris and focuses on the idea and the process of creating new venues “from scratch”, for individual artists as well as well-known institutions.<\/p>\n<\/td>\n

\n

Andrew Burton<\/h3>\n

(UK)<\/p>\n

Lecture Title: “Recent work at the European Ceramics Work Centre”<\/p>\n

During a residency at the European Ceramics Work Centre in the Netherlands in summer 2021, Andrew Burton drew inspiration from his experience and the landscape abroad, as well as from the geomorphic forces that shape a more familiar landscape – Northern England In his work, he seeks to find resonances between clay and the earthscapes that we inhabit.<\/p>\n<\/td>\n<\/tr>\n

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

Ray Chen<\/h3>\n

(USA)<\/p>\n

Lecture Title: “Hybrid Technology – Trends and Immersive Virtual Reality”<\/p>\n

Technology is morphing our world with its influences permeating through daily artistic practices, digitalised for convenience and accessibility. Virtual exhibitions were used minimally by galleries and museums. Now, a new collective experience that was cultivated during the pandemic is emerging through online exhibition platforms. The IAC 50th North American Artist Members Exhibition, \u201cThe Age of Influence\u201d, is the latest visual and technological online exhibition, a project combining contemporary hybrid technology with virtual display to enrich the aesthetic experience into reality.<\/p>\n<\/td>\n

\n

Viviane Diehl<\/h3>\n

(Brazil)<\/p>\n

Lecture Title: “Art and Life: Ceramic Art, Aesthetic Experience, Knowledge and Environmental Challenges”<\/p>\n

In the ceramic art context, the aesthetic experience, form and content are inseparable with the ability to affect and transform those involved. This presentation features artistic narratives in ceramics that reverberate from the inventive creative process, the concepts involved, the technologies and materialities to trigger the aesthetic experience, producing senses and meanings that emerge from contemporary art in southern Brazil for knowledge production. Art and life are discussed through contemporary ceramic art language in the series \u201cForests\u201d.<\/p>\n<\/td>\n<\/tr>\n

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

Isabel Fern\u00e1ndez del Moral<\/h3>\n

(Spain)<\/p>\n

Lecture Title: “Transgressions. Contemporary Ceramics. New collection of the Design Museum of Barcelona”<\/p>\n

In summer 2022 the Design Museum of Barcelona will exhibit their new collection of Contemporary Ceramics. It complements the existing works, with more than one thousand pieces and 230 artists represented. The exhibition will focus on a creative moment of contrasts, critique and reflection on current issues, where material, technical and conceptual transgressions become evident. In every case, the creation is geared towards the control of the material and transmission of a strong conceptual load.<\/p>\n<\/td>\n

\n

Karin Flurer-Br\u00fcnger<\/h3>\n

(Germany)<\/p>\n

Lecture Title: “My Ceramics from a Charcoal Kiln”<\/p>\n

In Southwest Germany, there has been a tradition of making charcoal in a charcoal kiln for centuries.
For several years now, works by ceramists can be placed in the center of the kiln, protected by cages. These are exposed to the embers and smoke for 10 days. This creates fascinating luster on their surfaces. In this presentation, Karin Flurer-Br\u00fcnger introduces this rare firing practice and presents the works resulting from it.<\/p>\n<\/td>\n<\/tr>\n

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

Patricia Glave<\/h3>\n

(Switzerland)<\/p>\n

Lecture Title: “The Status of the Visual Artist and its Recognition”<\/p>\n

The crisis situation caused by Covid 19 highlighted what has long been a recurring problem for all of us: the lack of pay or wages for a significant part of the work done. This situation of increased precariousness, due to Covid-19, further highlighted the sad reality of the lack of status and the lack of social and intellectual recognition of the profession of visual artist. Visarte Vaud, an independent association of artists, architects and curators, has received financial support from Switzerland, to work on the status of the artist through a 3-pronged approach.<\/p>\n<\/td>\n

\n

Martin Harman<\/h3>\n

(UK)<\/p>\n

Lecture Title: “Exploring the Potential of a Virtual Gallery”<\/p>\n

In this presentation, Martin Harman shares his experience with creating his own virtual gallery space. As we experienced Covid lock-downs, art was gradually shifted online. During this time, technological innovations created new opportunities for artists and their work to be seen. While art exhibitions have a status quo as being shown in the physical world, artists can now create their own virtual gallery space to show their art to an audience without the acceptance of another party or a physical building and the associated costs.<\/p>\n<\/td>\n<\/tr>\n

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

Wen-Hsi Harman<\/h3>\n

(UK)<\/p>\n

Lecture Title: “Drawn by Stones”<\/p>\n

Drawn by stones<\/em> is a touring exhibition in Australia curated by Bridie Moran, who works with the 4A Centre for Contemporary Asian Art in Sydney. Artists working with clay were invited from Australia, Hong Kong and Taiwan to explore the concept of “nationhood” with history, stolen land, Indigenous sovereignty and national identity. With the British Library’s old map, Wen-Hsi Harman explored the purpose behind mapping other people’s land. Does mapping other people’s land mean mapping other people’s culture? By translating mapping as a human geography study of material (porcelain, enamel, gold luster), she created two porcelain artworks for the exhibition: Theory of Land<\/em> and Territory<\/em>.<\/p>\n<\/td>\n

\n

Agn\u00e8s Husz<\/h3>\n

(Japan)<\/p>\n

Lecture Title: “The Painful Forced Track that Opened the Door to New Possibilities”<\/p>\n

What was the painful forced track that opened the door to new possibilities? Through her own story, Agn\u00e8s Husz wants to show how she benefited from an anxious situation. Three years ago, it was not so natural for us to feel at home in the digital space to show our work in online exhibitions. Nowadays, it is more and more common for digital media to be included in the toolbox of all branches of art.
In her presentation, Agn\u00e8s Husz shows why and how she started using digital media in her project launched in 2019 during the Covid-19 pandemic, and how she works to grow this project even more globally today.<\/p>\n<\/td>\n<\/tr>\n

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

Rashi Jain<\/h3>\n

(India)<\/p>\n

Lecture Title: “Finding the Inner Voice: Creating Living Bridges between Tradition, Spirituality and Contemporary Clay Practice”<\/p>\n

India, the land of terracotta, temples and a rapidly evolving economy: a melting pot. As an individual, Rashi Jain is part of this churning and witnessing clay traditions transform before her eyes. With a life rich in personal and shared experiences, and through her continued practice of art and teaching, she imbibes methodologies that are carried forward through generations of Indian traditional potters; striving to transform into a “Living Bridge” of the clay heritage.<\/p>\n<\/td>\n

\n

Nelson LIM<\/h3>\n

(Singapore)<\/p>\n

Lecture Title: “STILL”<\/p>\n

STILL alludes to a state of balance, where the continuous interplay between order and chaos produces creativity and transformation. Continuing his artistic explorations of porcelain clay with various materials, Nelson Lim\u2019s current series is focused on fabrics as the transient support of the coloured slip before firing. Each crease retains the imprints of the fabrics\u2019 delicate textures. The porcelain terrain of each artwork thus becomes an expression of his process of \u201cspontaneous order,\u201d or the artist\u2019s ability to create harmony from randomness through his mastery of material and process.<\/p>\n<\/td>\n<\/tr>\n

\n
\"\"

Jain Rashi, making of Manasa Ghot (2022)<\/p><\/div>\n<\/td>\n

\n
\"\"

Nelson Lim, “STILL”<\/p><\/div>\n<\/td>\n<\/tr>\n

\n

Dr Christopher McHugh<\/h3>\n

(UK)<\/p>\n

Lecture Title: “Rethinking Made in Japan figurines in the Age of COVID-19 and Beyond”<\/p>\n

This presentation reflects on the discovery, in a Japanese factory storeroom, of a ceramic figurine based on The Doctor, a painting made in 1891 by Sir Luke Fildes. The ceramic figurine was commissioned for the US market and designed and mass-produced in Seto, Japan, in 1974. This lecture traces the material trajectory of this work from canvas to ceramic, discussing the design and manufacturing processes, as well as providing insights into the cultural dynamics which led to this and other figurines being produced in Japan. At a time of unprecedented global uncertainty, the ideal of a carer\u2019s understated heroism embodied in the figurine gains new resonance and currency, inviting us to reconsider the role of the past in the present.<\/p>\n<\/td>\n

\n

Heidi McKenzie<\/h3>\n

(Canada)<\/p>\n

Lecture Title: “Ceramic Bricks: Archive & Augmented Reality”<\/p>\n

The solo exhibition, Brick by Brick: Absence vs Presence, interrogates the place of \u201cthe other\u201d over the 110-year history of one of Canada\u2019s most prolific, now defunct, brick factories in Medicine Hat, Alberta, I-XL. The topic is equally related to new technologies, as Heidi McKenzie worked with larger-than life bricks as canvas for archival photography, and created augmented reality that animates and questions the absence of workers of colour. This exhibition also features photographic dyptichs, archival juxtaposed alongside contemporary, as well as two tons of bricks sculpted into a wave with video projection onto the surface of the wave.<\/p>\n<\/td>\n<\/tr>\n

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

Martin McWilliam<\/h3>\n

(Germany)<\/p>\n

Lecture Title: “Form against Time”<\/p>\n

In Martin McWilliam’s small personal univers, there is a space time reality locked up in those simple clay forms – the jar and the bowl as archetypal forms. What a major cultural change that must have been when humans began to store and share food in those simple forms. Shifting from trying to copy the work he liked so much to more the idea of them and all the beauty and shortcomings of clay, water and fire, Martin McWilliam now works on re-presenting, rather than imitating. His newest objects grow in geological-like layers, overlaid as if by running lava: a metaphor in time and space.<\/p>\n<\/td>\n

\n

Jane Perryman<\/h3>\n

(UK)<\/p>\n

Lecture Title: “From Light to Dark From Dark to Light”<\/p>\n

The twenty four hour light dark cycle is at the core of life on our planet controlling the circadian rhythms of humans, animals and plants known a chronobiology. Over the course of a year during the pandemic lock-downs, at two week intervals, Jane Perryman gathered data to document the angle of sunrise and sunset against the horizon, the change of daylight hours between the summer and winter solstices, and the angle of solar noon. These rule based structures are embodied into an installation of ceramics, text, poetry and sound exploring the universal concept of time and the celestial drama that sustains life on earth.<\/p>\n<\/td>\n<\/tr>\n

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

Nicole Seisler<\/h3>\n

(USA)<\/p>\n

Lecture Title: “Critical & Accessible: Reimagining Ceramics Education”<\/p>\n

The time is ripe for changes in education. None of the systemic problems of higher education are new, but the pandemic increased our awareness of them and the urgency with which we must confront them. In Spring 2020, the established means by which we teach, learn and connect underwent a seismic fracture. By reimagining how education in contemporary ceramics can be constructed and delivered and designing a series of alternative and accessible opportunities for practitioners to engage with the world through clay, Nicole Seisler addresses during her presentation why and how ceramics education can be revived.<\/p>\n<\/td>\n

\n

Visnja Slavica Gabout<\/h3>\n

(Croatia)<\/p>\n

Lecture Title: “Contemporary Ceramics and New Strategies”<\/p>\n

The book Contemporary Ceramics and New Strategies is an overview of contemporary Croatian ceramics and combines the results of several large group exhibitions of Croatian ceramics, performed in Croatia and abroad. Also it includes a dozen solo exhibitions of art ceramists-researchers. The book, as well as its predecessor Ceramics and Contemporary Art, problematizes contemporary ceramics as a medium and equal part of contemporary art, but also as a platform for developing new strategies in this artistic field.<\/p>\n<\/td>\n<\/tr>\n

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

Mariel Tarela<\/h3>\n

(Argentina)<\/p>\n

Lecture Title: “Stories of Casira: a Journey through Time”<\/p>\n

Casira can be reached after a long journey, crossing heterogeneous horizons. At 3,600 meters above sea level, it is close to the sky and has thin air. Fifty families inhabit the territory, they offer alcohol and coca leaves to mother earth, Pachamama, to transform the mountains into pots. Casira’s pots embody the memory; the instantaneous, the distant, and the presumptions of possible futures emerge in the delicate walls of these pots. The women potters raise their pieces by hand and burn them in kilns with dry dung from the animals they raise, care for, and eat. The sun breaks everything except the pots. The rains drag vestiges of Inca memory from one country to another, conspiring against borders. The touching and particular stories that this presentation gathers bring to light this unique potter village and its people.<\/p>\n

Book “Relatos sobre Casira” (Spanish)<\/a><\/span><\/p>\n<\/td>\n

\n

Adil Writer<\/h3>\n

(India)<\/p>\n

Lecture Title: “The Great Pause”<\/p>\n

The lock-down years were difficult: artists in social isolation, some living away from their homes\/studios with no access to materials and facilities, \u201czoom\u201ding around in a whirl where fatalities and co-morbidities ruled our radar. Adil Writer encourages us to look at the positive that took place during this “great pause”: the natural beauties that returned, but also the change in mindsets and explorations of different media. In his presentation, Adil Writer weaves together the stories of over 25 IAC members from South East Asian countries, showing their pandemic and post-pandemic works. These strong visuals and text form a compelling chapter of love in the time of Covid.<\/p>\n<\/td>\n<\/tr>\n

\"\"<\/td>\n<\/tr>\n
\n

Naho Yamashita<\/h3>\n

(Japan)<\/p>\n

Lecture Title: “Introduction of International Student Program at Ishoken (Tajimi City Ceramic Design and Technology Center, Japan)”<\/p>\n

Ishoken is located in Tajimi, the heart of the ceramics industry in Japan and the host city of the International Ceramics Competition Mino. In her presentation, Naho Yamashita introduces Ishoken’s new international exchange activities. The course currently welcomes 36 students from across the globe, who come to Ishoken to explore the abundance of historic and new ceramic culture in the Mino Area. These students from various backgrounds come together to become the next generation of ceramic artists through engaging with people all over the world.<\/p>\n<\/td>\n

\n

Zhao Bin<\/h3>\n

(China)<\/p>\n

Lecture Title: “Shapes of Time: my Works with Ceramic 3D Printing Technique”<\/p>\n

Ceramics as an ancient material is also deeply influenced by the development of modern techniques. For example, computer design software can replace the original hand drawing, and the lines are smooth, clean and tidy. The computer three-dimensional design modeling can enable to see more intuitively the three-dimensional shape of the product. Ceramic 3D direct printing equipment has jumped into the digital era by skipping a series of complex traditional production modes such as manual forming, molding, and casting. In this presentation Zhao Bin will present his recent works created combining handmade and computer 3D printing techniques.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false,"raw":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_1021\" align=\"alignnone\" width=\"2560\"]\"\" Jane Perryman, \"From Light to Dark from Dark to Light\".[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\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

\u00a0<\/h3>\r\n

Breakout sessions<\/h3>\r\n

The Breakout sessions have become a popular feature of past congresses that provide an opportunity for members to share their special interests not necessarily related to the congress theme. This year, 22 IAC members were selected to share critical research, new technologies, recent work, new initiatives, current publications, curatorial events, or other topics such as community action, social initiatives, and\/or reflections on past years of pandemic isolation.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Jana Bednarkova Kenney<\/h3>\r\n

(USA\/France)<\/p>\r\n

Lecture Title: \"Winning Strategies - How to Create Successful International Ceramics Events\"<\/p>\r\n

Now more than ever it is necessary to promote ceramic work better, specifically through the creation of new opportunities to exhibit and share this art with the public. In her presentation, Jana Kenney uses her experience from the first Contemporary Ceramics Art Fair in Paris and focuses on the idea and the process of creating new venues \"from scratch\", for individual artists as well as well-known institutions.<\/p>\r\n<\/td>\r\n

\r\n

Andrew Burton<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Recent work at the European Ceramics Work Centre\"<\/p>\r\n

During a residency at the European Ceramics Work Centre in the Netherlands in summer 2021, Andrew Burton drew inspiration from his experience and the landscape abroad, as well as from the geomorphic forces that shape a more familiar landscape - Northern England In his work, he seeks to find resonances between clay and the earthscapes that we inhabit.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Ray Chen<\/h3>\r\n

(USA)<\/p>\r\n

Lecture Title: \"Hybrid Technology - Trends and Immersive Virtual Reality\"<\/p>\r\n

Technology is morphing our world with its influences permeating through daily artistic practices, digitalised for convenience and accessibility. Virtual exhibitions were used minimally by galleries and museums. Now, a new collective experience that was cultivated during the pandemic is emerging through online exhibition platforms. The IAC 50th North American Artist Members Exhibition, \u201cThe Age of Influence\u201d, is the latest visual and technological online exhibition, a project combining contemporary hybrid technology with virtual display to enrich the aesthetic experience into reality.<\/p>\r\n<\/td>\r\n

\r\n

Viviane Diehl<\/h3>\r\n

(Brazil)<\/p>\r\n

Lecture Title: \"Art and Life: Ceramic Art, Aesthetic Experience, Knowledge and Environmental Challenges\"<\/p>\r\n

In the ceramic art context, the aesthetic experience, form and content are inseparable with the ability to affect and transform those involved. This presentation features artistic narratives in ceramics that reverberate from the inventive creative process, the concepts involved, the technologies and materialities to trigger the aesthetic experience, producing senses and meanings that emerge from contemporary art in southern Brazil for knowledge production. Art and life are discussed through contemporary ceramic art language in the series \u201cForests\u201d.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Isabel Fern\u00e1ndez del Moral<\/h3>\r\n

(Spain)<\/p>\r\n

Lecture Title: \"Transgressions. Contemporary Ceramics. New collection of the Design Museum of Barcelona\"<\/p>\r\n

In summer 2022 the Design Museum of Barcelona will exhibit their new collection of Contemporary Ceramics. It complements the existing works, with more than one thousand pieces and 230 artists represented. The exhibition will focus on a creative moment of contrasts, critique and reflection on current issues, where material, technical and conceptual transgressions become evident. In every case, the creation is geared towards the control of the material and transmission of a strong conceptual load.<\/p>\r\n<\/td>\r\n

\r\n

Karin Flurer-Br\u00fcnger<\/h3>\r\n

(Germany)<\/p>\r\n

Lecture Title: \"My Ceramics from a Charcoal Kiln\"<\/p>\r\n

In Southwest Germany, there has been a tradition of making charcoal in a charcoal kiln for centuries.
For several years now, works by ceramists can be placed in the center of the kiln, protected by cages. These are exposed to the embers and smoke for 10 days. This creates fascinating luster on their surfaces. In this presentation, Karin Flurer-Br\u00fcnger introduces this rare firing practice and presents the works resulting from it.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Patricia Glave<\/h3>\r\n

(Switzerland)<\/p>\r\n

Lecture Title: \"The Status of the Visual Artist and its Recognition\"<\/p>\r\n

The crisis situation caused by Covid 19 highlighted what has long been a recurring problem for all of us: the lack of pay or wages for a significant part of the work done. This situation of increased precariousness, due to Covid-19, further highlighted the sad reality of the lack of status and the lack of social and intellectual recognition of the profession of visual artist. Visarte Vaud, an independent association of artists, architects and curators, has received financial support from Switzerland, to work on the status of the artist through a 3-pronged approach.<\/p>\r\n<\/td>\r\n

\r\n

Martin Harman<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Exploring the Potential of a Virtual Gallery\"<\/p>\r\n

In this presentation, Martin Harman shares his experience with creating his own virtual gallery space. As we experienced Covid lock-downs, art was gradually shifted online. During this time, technological innovations created new opportunities for artists and their work to be seen. While art exhibitions have a status quo as being shown in the physical world, artists can now create their own virtual gallery space to show their art to an audience without the acceptance of another party or a physical building and the associated costs.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Wen-Hsi Harman<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Drawn by Stones\"<\/p>\r\n

Drawn by stones<\/em> is a touring exhibition in Australia curated by Bridie Moran, who works with the 4A Centre for Contemporary Asian Art in Sydney. Artists working with clay were invited from Australia, Hong Kong and Taiwan to explore the concept of \"nationhood\" with history, stolen land, Indigenous sovereignty and national identity. With the British Library's old map, Wen-Hsi Harman explored the purpose behind mapping other people's land. Does mapping other people's land mean mapping other people's culture? By translating mapping as a human geography study of material (porcelain, enamel, gold luster), she created two porcelain artworks for the exhibition: Theory of Land<\/em> and Territory<\/em>.<\/p>\r\n<\/td>\r\n

\r\n

Agn\u00e8s Husz<\/h3>\r\n

(Japan)<\/p>\r\n

Lecture Title: \"The Painful Forced Track that Opened the Door to New Possibilities\"<\/p>\r\n

What was the painful forced track that opened the door to new possibilities? Through her own story, Agn\u00e8s Husz wants to show how she benefited from an anxious situation. Three years ago, it was not so natural for us to feel at home in the digital space to show our work in online exhibitions. Nowadays, it is more and more common for digital media to be included in the toolbox of all branches of art.
In her presentation, Agn\u00e8s Husz shows why and how she started using digital media in her project launched in 2019 during the Covid-19 pandemic, and how she works to grow this project even more globally today.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Rashi Jain<\/h3>\r\n

(India)<\/p>\r\n

Lecture Title: \"Finding the Inner Voice: Creating Living Bridges between Tradition, Spirituality and Contemporary Clay Practice\"<\/p>\r\n

India, the land of terracotta, temples and a rapidly evolving economy: a melting pot. As an individual, Rashi Jain is part of this churning and witnessing clay traditions transform before her eyes. With a life rich in personal and shared experiences, and through her continued practice of art and teaching, she imbibes methodologies that are carried forward through generations of Indian traditional potters; striving to transform into a \"Living Bridge\" of the clay heritage.<\/p>\r\n<\/td>\r\n

\r\n

Nelson LIM<\/h3>\r\n

(Singapore)<\/p>\r\n

Lecture Title: \"STILL\"<\/p>\r\n

STILL alludes to a state of balance, where the continuous interplay between order and chaos produces creativity and transformation. Continuing his artistic explorations of porcelain clay with various materials, Nelson Lim\u2019s current series is focused on fabrics as the transient support of the coloured slip before firing. Each crease retains the imprints of the fabrics\u2019 delicate textures. The porcelain terrain of each artwork thus becomes an expression of his process of \u201cspontaneous order,\u201d or the artist\u2019s ability to create harmony from randomness through his mastery of material and process.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1029\" align=\"alignnone\" width=\"2560\"]\"\" Jain Rashi, making of Manasa Ghot (2022)[\/caption]\r\n<\/td>\r\n\r\n[caption id=\"attachment_1030\" align=\"alignnone\" width=\"2560\"]\"\" Nelson Lim, \"STILL\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Dr Christopher McHugh<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Rethinking Made in Japan figurines in the Age of COVID-19 and Beyond\"<\/p>\r\n

This presentation reflects on the discovery, in a Japanese factory storeroom, of a ceramic figurine based on The Doctor, a painting made in 1891 by Sir Luke Fildes. The ceramic figurine was commissioned for the US market and designed and mass-produced in Seto, Japan, in 1974. This lecture traces the material trajectory of this work from canvas to ceramic, discussing the design and manufacturing processes, as well as providing insights into the cultural dynamics which led to this and other figurines being produced in Japan. At a time of unprecedented global uncertainty, the ideal of a carer\u2019s understated heroism embodied in the figurine gains new resonance and currency, inviting us to reconsider the role of the past in the present.<\/p>\r\n<\/td>\r\n

\r\n

Heidi McKenzie<\/h3>\r\n

(Canada)<\/p>\r\n

Lecture Title: \"Ceramic Bricks: Archive & Augmented Reality\"<\/p>\r\n

The solo exhibition, Brick by Brick: Absence vs Presence, interrogates the place of \u201cthe other\u201d over the 110-year history of one of Canada\u2019s most prolific, now defunct, brick factories in Medicine Hat, Alberta, I-XL. The topic is equally related to new technologies, as Heidi McKenzie worked with larger-than life bricks as canvas for archival photography, and created augmented reality that animates and questions the absence of workers of colour. This exhibition also features photographic dyptichs, archival juxtaposed alongside contemporary, as well as two tons of bricks sculpted into a wave with video projection onto the surface of the wave.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Martin McWilliam<\/h3>\r\n

(Germany)<\/p>\r\n

Lecture Title: \"Form against Time\"<\/p>\r\n

In Martin McWilliam's small personal univers, there is a space time reality locked up in those simple clay forms - the jar and the bowl as archetypal forms. What a major cultural change that must have been when humans began to store and share food in those simple forms. Shifting from trying to copy the work he liked so much to more the idea of them and all the beauty and shortcomings of clay, water and fire, Martin McWilliam now works on re-presenting, rather than imitating. His newest objects grow in geological-like layers, overlaid as if by running lava: a metaphor in time and space.<\/p>\r\n<\/td>\r\n

\r\n

Jane Perryman<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"From Light to Dark From Dark to Light\"<\/p>\r\n

The twenty four hour light dark cycle is at the core of life on our planet controlling the circadian rhythms of humans, animals and plants known a chronobiology. Over the course of a year during the pandemic lock-downs, at two week intervals, Jane Perryman gathered data to document the angle of sunrise and sunset against the horizon, the change of daylight hours between the summer and winter solstices, and the angle of solar noon. These rule based structures are embodied into an installation of ceramics, text, poetry and sound exploring the universal concept of time and the celestial drama that sustains life on earth.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Nicole Seisler<\/h3>\r\n

(USA)<\/p>\r\n

Lecture Title: \"Critical & Accessible: Reimagining Ceramics Education\"<\/p>\r\n

The time is ripe for changes in education. None of the systemic problems of higher education are new, but the pandemic increased our awareness of them and the urgency with which we must confront them. In Spring 2020, the established means by which we teach, learn and connect underwent a seismic fracture. By reimagining how education in contemporary ceramics can be constructed and delivered and designing a series of alternative and accessible opportunities for practitioners to engage with the world through clay, Nicole Seisler addresses during her presentation why and how ceramics education can be revived.<\/p>\r\n<\/td>\r\n

\r\n

Visnja Slavica Gabout<\/h3>\r\n

(Croatia)<\/p>\r\n

Lecture Title: \"Contemporary Ceramics and New Strategies\"<\/p>\r\n

The book Contemporary Ceramics and New Strategies is an overview of contemporary Croatian ceramics and combines the results of several large group exhibitions of Croatian ceramics, performed in Croatia and abroad. Also it includes a dozen solo exhibitions of art ceramists-researchers. The book, as well as its predecessor Ceramics and Contemporary Art, problematizes contemporary ceramics as a medium and equal part of contemporary art, but also as a platform for developing new strategies in this artistic field.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Mariel Tarela<\/h3>\r\n

(Argentina)<\/p>\r\n

Lecture Title: \"Stories of Casira: a Journey through Time\"<\/p>\r\n

Casira can be reached after a long journey, crossing heterogeneous horizons. At 3,600 meters above sea level, it is close to the sky and has thin air. Fifty families inhabit the territory, they offer alcohol and coca leaves to mother earth, Pachamama, to transform the mountains into pots. Casira's pots embody the memory; the instantaneous, the distant, and the presumptions of possible futures emerge in the delicate walls of these pots. The women potters raise their pieces by hand and burn them in kilns with dry dung from the animals they raise, care for, and eat. The sun breaks everything except the pots. The rains drag vestiges of Inca memory from one country to another, conspiring against borders. The touching and particular stories that this presentation gathers bring to light this unique potter village and its people.<\/p>\r\n

Book \"Relatos sobre Casira\" (Spanish)<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

Adil Writer<\/h3>\r\n

(India)<\/p>\r\n

Lecture Title: \"The Great Pause\"<\/p>\r\n

The lock-down years were difficult: artists in social isolation, some living away from their homes\/studios with no access to materials and facilities, \u201czoom\u201ding around in a whirl where fatalities and co-morbidities ruled our radar. Adil Writer encourages us to look at the positive that took place during this \"great pause\": the natural beauties that returned, but also the change in mindsets and explorations of different media. In his presentation, Adil Writer weaves together the stories of over 25 IAC members from South East Asian countries, showing their pandemic and post-pandemic works. These strong visuals and text form a compelling chapter of love in the time of Covid.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Naho Yamashita<\/h3>\r\n

(Japan)<\/p>\r\n

Lecture Title: \"Introduction of International Student Program at Ishoken (Tajimi City Ceramic Design and Technology Center, Japan)\"<\/p>\r\n

Ishoken is located in Tajimi, the heart of the ceramics industry in Japan and the host city of the International Ceramics Competition Mino. In her presentation, Naho Yamashita introduces Ishoken's new international exchange activities. The course currently welcomes 36 students from across the globe, who come to Ishoken to explore the abundance of historic and new ceramic culture in the Mino Area. These students from various backgrounds come together to become the next generation of ceramic artists through engaging with people all over the world.<\/p>\r\n<\/td>\r\n

\r\n

Zhao Bin<\/h3>\r\n

(China)<\/p>\r\n

Lecture Title: \"Shapes of Time: my Works with Ceramic 3D Printing Technique\"<\/p>\r\n

Ceramics as an ancient material is also deeply influenced by the development of modern techniques. For example, computer design software can replace the original hand drawing, and the lines are smooth, clean and tidy. The computer three-dimensional design modeling can enable to see more intuitively the three-dimensional shape of the product. Ceramic 3D direct printing equipment has jumped into the digital era by skipping a series of complex traditional production modes such as manual forming, molding, and casting. In this presentation Zhao Bin will present his recent works created combining handmade and computer 3D printing techniques.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>"},"excerpt":{"rendered":"

The Congress includes 22 Breakout sessions by IAC members.<\/p>\n","protected":false,"raw":"The Congress includes 22 Breakout sessions by IAC members."},"author":2192,"featured_media":1021,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_fr_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_1021\" align=\"alignnone\" width=\"2560\"]\"\" Jane Perryman, \"From Light to Dark from Dark to Light\".[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\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

\u00a0<\/h3>\r\n

Breakout sessions<\/h3>\r\n

Les s\u00e9ances de d\u00e9bat (Breakout sessions) sont devenues une caract\u00e9ristique populaire des congr\u00e8s pass\u00e9s. Elles donnent l'occasion aux membres de partager leurs int\u00e9r\u00eats particuliers qui ne sont pas n\u00e9cessairement li\u00e9s au th\u00e8me du congr\u00e8s. Cette ann\u00e9e, 22 membres de l'AIC ont \u00e9t\u00e9 s\u00e9lectionn\u00e9.e.s pour partager des recherches critiques, de nouvelles technologies, des travaux r\u00e9cents, de nouvelles initiatives, des publications actuelles, des \u00e9v\u00e9nements de conservation, ou d'autres sujets tels que l'action communautaire, les initiatives sociales, et\/ou des r\u00e9flexions sur les ann\u00e9es pass\u00e9es d'isolement pand\u00e9mique.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Veuillez s\u2019il vous pla\u00eet noter que l\u2019information sur cette page est susceptible d\u2019\u00eatre modifi\u00e9e.<\/span><\/td>\r\n<\/tr>\r\n
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\r\n

Jana Bednarkova Kenney<\/h3>\r\n

(USA\/France)<\/p>\r\n

Titre de la conf\u00e9rence: \"Strat\u00e9gie gagnantes - Comment cr\u00e9er un \u00e9v\u00e9nement international de c\u00e9ramique r\u00e9ussi\"<\/p>\r\n

Aujourd'hui plus que jamais, il est n\u00e9cessaire de mieux promouvoir le travail de la c\u00e9ramique, notamment en cr\u00e9ant de nouvelles opportunit\u00e9s pour exposer et partager cet art avec le public. Dans sa pr\u00e9sentation, Jana Kenney s'appuie sur son exp\u00e9rience de la premi\u00e8re Foire d'art de la c\u00e9ramique contemporaine \u00e0 Paris et se concentre sur l'id\u00e9e et le processus de cr\u00e9ation de nouveaux lieux d'exposition \"\u00e0 partir de z\u00e9ro\", pour des artistes individuels comme pour des institutions de renom.<\/p>\r\n<\/td>\r\n

\r\n

Andrew Burton<\/h3>\r\n

(Royaume-Uni)<\/p>\r\n

Titre de la conf\u00e9rence: \"Travaux r\u00e9cents au European Ceramics Work Centre\"<\/p>\r\n

Lors d'une r\u00e9sidence au European Ceramics Work Centre aux Pays-Bas \u00e0 l'\u00e9t\u00e9 2021, Andrew Burton s'est inspir\u00e9 de son exp\u00e9rience et du paysage \u00e0 l'\u00e9tranger, ainsi que des forces g\u00e9omorphiques qui fa\u00e7onnent un paysage plus familier - le nord de l'Angleterre Dans son travail, il cherche \u00e0 trouver des r\u00e9sonances entre l'argile et les paysages terrestres que nous habitons.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Ray Chen<\/h3>\r\n

(USA)<\/p>\r\n

Titre de la conf\u00e9rence: \"Technologie hybride - Tendances et r\u00e9alit\u00e9 virtuelle immersive\"<\/p>\r\n

La technologie transforme notre monde et ses influences s'infiltrent dans les pratiques artistiques quotidiennes, num\u00e9ris\u00e9es pour des raisons de commodit\u00e9 et d'accessibilit\u00e9. Les expositions virtuelles ont \u00e9t\u00e9 peu utilis\u00e9es par les galeries et les mus\u00e9es. Aujourd'hui, une nouvelle exp\u00e9rience collective, cultiv\u00e9e pendant la pand\u00e9mie, \u00e9merge gr\u00e2ce aux plateformes d'exposition en ligne. La 50\u00e8me exposition AIC des membres artistes d'Am\u00e9rique du Nord, \"The Age of Influence\", est la derni\u00e8re exposition en ligne visuelle et technologique, un projet combinant la technologie hybride contemporaine avec l'affichage virtuel pour enrichir l'exp\u00e9rience esth\u00e9tique dans la r\u00e9alit\u00e9.<\/p>\r\n<\/td>\r\n

\r\n

Viviane Diehl<\/h3>\r\n

(Br\u00e9sil)<\/p>\r\n

Titre de la conf\u00e9rence: \"L'art et la vie: Art c\u00e9ramique, exp\u00e9rience esth\u00e9tique, connaissance et d\u00e9fis environnementaux\"<\/p>\r\n

Dans le contexte de l'art c\u00e9ramique, l'exp\u00e9rience esth\u00e9tique, la forme et le contenu sont indissociables et ont la capacit\u00e9 d'affecter et de transformer les personnes concern\u00e9es. Cet expos\u00e9 pr\u00e9sente des r\u00e9cits artistiques en c\u00e9ramique qui se r\u00e9percutent sur le processus cr\u00e9atif inventif, les concepts impliqu\u00e9s, les technologies et les mat\u00e9rialit\u00e9s pour d\u00e9clencher l'exp\u00e9rience esth\u00e9tique, produisant des sens et des significations qui \u00e9mergent de l'art contemporain dans le sud du Br\u00e9sil pour la production de connaissances. L'art et la vie sont discut\u00e9s \u00e0 travers le langage de l'art c\u00e9ramique contemporain dans la s\u00e9rie \"For\u00eats\".<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Isabel Fern\u00e1ndez del Moral<\/h3>\r\n

(Espagne)<\/p>\r\n

Titre de la conf\u00e9rence: \"Transgressions. C\u00e9ramique contemporaine. Nouvelle collection du Mus\u00e9e du Design de Barcelone\"<\/p>\r\n

Au cours de l'\u00e9t\u00e9 2022, le Mus\u00e9e du design de Barcelone exposera sa nouvelle collection de c\u00e9ramique contemporaine. Elle vient compl\u00e9ter les \u0153uvres existantes, avec plus de mille pi\u00e8ces et 230 artistes repr\u00e9sent\u00e9s. L'exposition se concentrera sur un moment cr\u00e9atif de contrastes, de critique et de r\u00e9flexion sur des questions d'actualit\u00e9, o\u00f9 les transgressions mat\u00e9rielles, techniques et conceptuelles deviennent \u00e9videntes. Dans tous les cas, la cr\u00e9ation est orient\u00e9e vers la ma\u00eetrise de la mati\u00e8re et la transmission d'une forte charge conceptuelle.<\/p>\r\n<\/td>\r\n

\r\n

Karin Flurer-Br\u00fcnger<\/h3>\r\n

(Allemagne)<\/p>\r\n

Titre de la conf\u00e9rence: \"Mes c\u00e9ramiques issues d'un four \u00e0 charbon\"<\/p>\r\n

Dans le sud-ouest de l'Allemagne, il existe depuis des si\u00e8cles une tradition de fabrication de charbon de bois dans un four \u00e0 charbon de bois.
Depuis quelques ann\u00e9es, les \u0153uvres des c\u00e9ramistes peuvent \u00eatre plac\u00e9es au centre du four, prot\u00e9g\u00e9es par des cages. Celles-ci sont expos\u00e9es aux braises et \u00e0 la fum\u00e9e pendant 10 jours. Cela cr\u00e9e un lustre fascinant sur leurs surfaces. Dans cet expos\u00e9, Karin Flurer-Br\u00fcnger pr\u00e9sente cette pratique de cuisson rare et d\u00e9voile les \u0153uvres qui en sont issues.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Patricia Glave<\/h3>\r\n

(Suisse)<\/p>\r\n

Titre de la conf\u00e9rence: \"Le statut de l'artiste visuel et sa reconnaissance\"<\/p>\r\n

La situation de crise provoqu\u00e9e par le Covid 19 a mis en \u00e9vidence ce qui est depuis longtemps un probl\u00e8me r\u00e9current pour nous tous : l'absence de r\u00e9mun\u00e9ration ou de salaire pour une partie importante du travail effectu\u00e9. Cette situation de pr\u00e9carit\u00e9 accrue, due \u00e0 Covid-19, a mis encore plus en \u00e9vidence la triste r\u00e9alit\u00e9 de l'absence de statut et du manque de reconnaissance sociale et intellectuelle de la profession d'artiste visuel. Visarte Vaud, une association ind\u00e9pendante d'artistes, d'architectes et de curateurs, a re\u00e7u un soutien financier de la Suisse, pour travailler sur le statut de l'artiste \u00e0 travers une approche sur 3 fronts.<\/p>\r\n<\/td>\r\n

\r\n

Martin Harman<\/h3>\r\n

(Royaume-Uni)<\/p>\r\n

Titre de la conf\u00e9rence: \"Explorer le potentiel d'une galerie virtuelle\"<\/p>\r\n

Dans cette pr\u00e9sentation, Martin Harman partage son exp\u00e9rience de la cr\u00e9ation de son propre espace de galerie virtuelle. Au fur et \u00e0 mesure que nous avons connu les fermetures de Covid, l'art s'est progressivement d\u00e9plac\u00e9 en ligne. Pendant ce temps, les innovations technologiques ont cr\u00e9\u00e9 de nouvelles opportunit\u00e9s pour les artistes et leur travail d'\u00eatre vus. Alors que les expositions d'art ont pour statut d'\u00eatre montr\u00e9es dans le monde physique, les artistes peuvent maintenant cr\u00e9er leur propre espace de galerie virtuelle pour montrer leur art \u00e0 un public sans l'acceptation d'une autre partie ou d'un b\u00e2timent physique et les co\u00fbts associ\u00e9s.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Wen-Hsi Harman<\/h3>\r\n

(Royaume-Uni)<\/p>\r\n

Titre de la conf\u00e9rence: \"Drawn by Stones\"<\/p>\r\n

Drawn by stones<\/em> est une exposition itin\u00e9rante en Australie organis\u00e9e par Bridie Moran, qui travaille au 4A Centre for Contemporary Asian Art de Sydney. Des artistes travaillant l'argile ont \u00e9t\u00e9 invit\u00e9s d'Australie, de Hong Kong et de Ta\u00efwan \u00e0 explorer le concept de \"nation\" avec l'histoire, les terres vol\u00e9es, la souverainet\u00e9 indig\u00e8ne et l'identit\u00e9 nationale. \u00c0 l'aide de l'ancienne carte de la British Library, Wen-Hsi Harman s'est interrog\u00e9e sur la raison d'\u00eatre de la cartographie du territoire d'autrui. Cartographier la terre d'autrui signifie-t-il cartographier la culture d'autrui ? En traduisant la cartographie comme une \u00e9tude de g\u00e9ographie humaine des mat\u00e9riaux (porcelaine, \u00e9mail, lustre d'or), elle a cr\u00e9\u00e9 deux \u0153uvres en porcelaine pour l'exposition : Theory of Land<\/em> (th\u00e9orie de la terre) et Territory<\/em> (territoire).<\/p>\r\n<\/td>\r\n

\r\n

Agn\u00e8s Husz<\/h3>\r\n

(Japon)<\/p>\r\n

Titre de la conf\u00e9rence: \"La douloureuse piste forc\u00e9e qui a ouvert la porte \u00e0 de nouvelles possibilit\u00e9s\"<\/p>\r\n

Quelle a \u00e9t\u00e9 la voie forc\u00e9e douloureuse qui a ouvert la porte \u00e0 de nouvelles possibilit\u00e9s ? \u00c0 travers sa propre histoire, Agn\u00e8s Husz veut montrer comment elle a tir\u00e9 profit d'une situation angoissante. Il y a trois ans, il n'\u00e9tait pas si naturel pour nous de nous sentir \u00e0 l'aise dans l'espace num\u00e9rique pour montrer notre travail dans des expositions en ligne. Aujourd'hui, il est de plus en plus courant que les m\u00e9dias num\u00e9riques fassent partie de la bo\u00eete \u00e0 outils de toutes les branches de l'art. Dans sa pr\u00e9sentation, Agn\u00e8s Husz montre pourquoi et comment elle a commenc\u00e9 \u00e0 utiliser les m\u00e9dias num\u00e9riques dans son projet lanc\u00e9 en 2019 pendant la pand\u00e9mie de Covid-19, et comment elle travaille \u00e0 faire grandir ce projet encore plus globalement aujourd'hui.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Rashi Jain<\/h3>\r\n

(Inde)<\/p>\r\n

Titre de la conf\u00e9rence: \"Trouver la voie int\u00e9rieure: Cr\u00e9er des passerelles vivantes entre tradition, spiritualit\u00e9 et pratique contemporaine de l'argile\"<\/p>\r\n

L'Inde, le pays de la terre cuite, des temples et d'une \u00e9conomie en pleine \u00e9volution: un melting-pot. En tant qu'individu, Rashi Jain fait partie de ce barattage et voit les traditions de l'argile se transformer sous ses yeux. Gr\u00e2ce \u00e0 une vie riche en exp\u00e9riences personnelles et partag\u00e9es, et \u00e0 sa pratique continue de l'art et de l'enseignement, elle s'impr\u00e8gne des m\u00e9thodologies transmises par des g\u00e9n\u00e9rations de potiers traditionnels indiens, s'effor\u00e7ant de devenir une \"passerelle vivante\" de l'h\u00e9ritage de l'argile.<\/p>\r\n<\/td>\r\n

\r\n

Nelson LIM<\/h3>\r\n

(Singapour)<\/p>\r\n

Titre de la conf\u00e9rence: \"STILL\"<\/p>\r\n

STILL fait allusion \u00e0 un \u00e9tat d'\u00e9quilibre, o\u00f9 l'interaction continue entre l'ordre et le chaos produit cr\u00e9ativit\u00e9 et transformation. Poursuivant ses explorations artistiques de l'argile \u00e0 porcelaine avec divers mat\u00e9riaux, la s\u00e9rie actuelle de Nelson se concentre sur les tissus comme support transitoire de l'engobe color\u00e9 avant la cuisson. Chaque pli conserve l'empreinte des textures d\u00e9licates des tissus. Le terrain en porcelaine de chaque \u0153uvre devient ainsi l'expression de son processus d'\"ordre spontan\u00e9\", ou de la capacit\u00e9 de l'artiste \u00e0 cr\u00e9er une harmonie \u00e0 partir du hasard gr\u00e2ce \u00e0 sa ma\u00eetrise du mat\u00e9riau et du processus.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1029\" align=\"alignnone\" width=\"2560\"]\"\" Jain Rashi, making of Manasa Ghot (2022)[\/caption]\r\n<\/td>\r\n\r\n[caption id=\"attachment_1030\" align=\"alignnone\" width=\"2560\"]\"\" Nelson Lim, \"STILL\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Dr Christopher McHugh<\/h3>\r\n

(Royaume-Uni)<\/p>\r\n

Titre de la conf\u00e9rence: \"Repenser les figurines Made in Japan\u00a0 \u00e0 l'\u00e8re du COVID-19 et au-del\u00e0\"<\/p>\r\n

Cette pr\u00e9sentation porte sur la d\u00e9couverte, dans le magasin d'une usine japonaise, d'une figurine en c\u00e9ramique inspir\u00e9e du Docteur, une peinture r\u00e9alis\u00e9e en 1891 par Sir Luke Fildes. Cette figurine en c\u00e9ramique, command\u00e9e pour le march\u00e9 am\u00e9ricain, a \u00e9t\u00e9 con\u00e7ue et produite en s\u00e9rie \u00e0 Seto, au Japon, en 1974. La pr\u00e9sentation retrace la trajectoire mat\u00e9rielle de cette \u0153uvre, de la toile \u00e0 la c\u00e9ramique, en discutant des processus de conception et de fabrication, et en donnant un aper\u00e7u de la dynamique culturelle qui a conduit \u00e0 la production de cette figurine et d'autres au Japon. \u00c0 une \u00e9poque d'incertitude mondiale sans pr\u00e9c\u00e9dent, l'id\u00e9al d'h\u00e9ro\u00efsme discret du soignant incarn\u00e9 par la figurine acquiert une nouvelle r\u00e9sonance et une nouvelle actualit\u00e9, nous invitant \u00e0 reconsid\u00e9rer le r\u00f4le du pass\u00e9 dans le pr\u00e9sent.<\/p>\r\n<\/td>\r\n

\r\n

Heidi McKenzie<\/h3>\r\n

(Canada)<\/p>\r\n

Titre de la conf\u00e9rence: \"Briques en c\u00e9ramique: Archives et r\u00e9alit\u00e9 augment\u00e9e\"<\/p>\r\n

L'exposition solo, Brick by Brick: Absence vs Pr\u00e9sence, interroge la place de \"l'autre\" au cours des 110 ans d'histoire de l'une des usines de briques les plus prolifiques du Canada, aujourd'hui disparue, \u00e0 Medicine Hat, en Alberta, I-XL. Le sujet est \u00e9galement li\u00e9 aux nouvelles technologies, puisque Heidi McKenzie a travaill\u00e9 avec des briques plus grandes que nature comme canevas pour des photographies d'archives, et a cr\u00e9\u00e9 une r\u00e9alit\u00e9 augment\u00e9e qui anime et questionne l'absence de travailleurs de couleur. Cette exposition pr\u00e9sente \u00e9galement des dyptiques photographiques, des archives juxtapos\u00e9es \u00e0 des \u0153uvres contemporaines, ainsi que deux tonnes de briques sculpt\u00e9es en une vague avec projection vid\u00e9o sur la surface de la vague.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Martin McWilliam<\/h3>\r\n

(Allemagne)<\/p>\r\n

Titre de la conf\u00e9rence: \"La forme contre le temps\"<\/p>\r\n

Dans le petit univers personnel de Martin McWilliam, il y a une r\u00e9alit\u00e9 spatio-temporelle enferm\u00e9e dans ces simples formes d'argile - la jarre et le bol comme formes arch\u00e9typales. Quel changement culturel majeur cela a d\u00fb \u00eatre lorsque les humains ont commenc\u00e9 \u00e0 stocker et \u00e0 partager la nourriture dans ces formes simples. Passant de la tentative de copier les \u0153uvres qu'il aimait tant \u00e0 l'id\u00e9e d'elles et \u00e0 toute la beaut\u00e9 et les d\u00e9fauts de l'argile, de l'eau et du feu, Martin McWilliam travaille maintenant \u00e0 la re-pr\u00e9sentation, plut\u00f4t qu'\u00e0 l'imitation. Ses objets les plus r\u00e9cents se d\u00e9veloppent en couches g\u00e9ologiques, comme si elles \u00e9taient recouvertes de lave en mouvement : une m\u00e9taphore dans le temps et l'espace.<\/p>\r\n<\/td>\r\n

\r\n

Jane Perryman<\/h3>\r\n

(Royaune-Uni)<\/p>\r\n

Titre de la conf\u00e9rence: \"De la lumi\u00e8re \u00e0 l'obscurit\u00e9 De l'obscurit\u00e9 \u00e0 la lumi\u00e8re\"<\/p>\r\n

Le cycle lumi\u00e8re-obscurit\u00e9 de vingt-quatre heures est au c\u0153ur de la vie sur notre plan\u00e8te, contr\u00f4lant les rythmes circadiens des humains, des animaux et des plantes, connus sous le nom de chronobiologie. Au cours d'une ann\u00e9e, pendant les lockdowns de la pand\u00e9mie, \u00e0 intervalles de deux semaines, Jane Perryman a recueilli des donn\u00e9es pour documenter l'angle du lever et du coucher du soleil par rapport \u00e0 l'horizon, le changement des heures de lumi\u00e8re du jour entre les solstices d'\u00e9t\u00e9 et d'hiver, et l'angle du midi solaire. Ces structures fond\u00e9es sur des r\u00e8gles sont incarn\u00e9es dans une installation de c\u00e9ramiques, de textes, de po\u00e8mes et de sons qui explorent le concept universel du temps et le drame c\u00e9leste qui soutient la vie sur terre.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Nicole Seisler<\/h3>\r\n

(USA)<\/p>\r\n

Titre de la conf\u00e9rence: \"Critique et accessible: R\u00e9imaginer l'enseignement de la c\u00e9ramique\"<\/p>\r\n

Le temps est venu de changer l'\u00e9ducation. Aucun des probl\u00e8mes syst\u00e9miques de l'enseignement sup\u00e9rieur n'est nouveau, mais la pand\u00e9mie a accru notre conscience de ces probl\u00e8mes et l'urgence avec laquelle nous devons les affronter. Au printemps 2020, les moyens \u00e9tablis par lesquels nous enseignons, apprenons et nous connectons ont subi une fracture sismique. En repensant la mani\u00e8re dont l'enseignement de la c\u00e9ramique contemporaine peut \u00eatre construit et dispens\u00e9 et en concevant une s\u00e9rie d'opportunit\u00e9s alternatives et accessibles pour les praticiens de s'engager dans le monde \u00e0 travers l'argile, Nicole Seisler aborde dans sa pr\u00e9sentation pourquoi et comment l'enseignement de la c\u00e9ramique peut \u00eatre relanc\u00e9.<\/p>\r\n<\/td>\r\n

\r\n

Visnja Slavica Gabout<\/h3>\r\n

(Croatie)<\/p>\r\n

Titre de la conf\u00e9rence: \"Contemporary Ceramics and New Strategies\"<\/p>\r\n

Le livre Contemporary Ceramics and New Strategies est une vue d'ensemble de la c\u00e9ramique croate contemporaine et combine les r\u00e9sultats de plusieurs grandes expositions collectives de c\u00e9ramiques croates, r\u00e9alis\u00e9es en Croatie et \u00e0 l'\u00e9tranger. Il inclut \u00e9galement une douzaine d'expositions individuelles de c\u00e9ramistes d'art-chercheurs. Le livre, ainsi que son pr\u00e9d\u00e9cesseur Ceramics and Contemporary Art, probl\u00e9matise la c\u00e9ramique contemporaine comme un m\u00e9dium et une partie \u00e9gale de l'art contemporain, mais aussi comme une plateforme pour d\u00e9velopper de nouvelles strat\u00e9gies dans ce domaine artistique.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Mariel Tarela<\/h3>\r\n

(Argentine)<\/p>\r\n

Titre de la conf\u00e9rence: \"Histoires de Casira: un voyage dans le temps\"<\/p>\r\n

On peut atteindre Casira apr\u00e8s un long voyage, en traversant des horizons h\u00e9t\u00e9rog\u00e8nes. \u00c0 3600 m\u00e8tres d'altitude, elle est proche du ciel et son air est t\u00e9nu. Cinquante familles habitent le territoire, elles offrent de l'alcool et des feuilles de coca \u00e0 la terre m\u00e8re, Pachamama, pour transformer les montagnes en pots. Les pots de Casira incarnent la m\u00e9moire ; l'instantan\u00e9, le lointain et les pr\u00e9somptions de futurs possibles \u00e9mergent dans les parois d\u00e9licates de ces pots. Les femmes poti\u00e8res \u00e9l\u00e8vent leurs pi\u00e8ces \u00e0 la main et les br\u00fblent dans des fours avec les excr\u00e9ments secs des animaux qu'elles \u00e9l\u00e8vent, soignent et mangent. Le soleil brise tout, sauf les pots. Les pluies entra\u00eenent les vestiges de la m\u00e9moire inca d'un pays \u00e0 l'autre, conspirant contre les fronti\u00e8res. Les histoires touchantes et particuli\u00e8res que cette pr\u00e9sentation rassemble mettent en lumi\u00e8re ce village de potiers unique et ses habitants.<\/p>\r\n

Livre \"Relatos sobre Casira\" (espagnol)<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

Adil Writer<\/h3>\r\n

(Inde)<\/p>\r\n

Titre de la conf\u00e9rence: \"La grande pause\"<\/p>\r\n

Les ann\u00e9es de fermeture ont \u00e9t\u00e9 difficiles: les artistes \u00e9taient isol\u00e9s socialement, certains vivaient loin de leur maison ou de leur studio, sans acc\u00e8s aux mat\u00e9riaux et aux installations, et \"virevoltaient\" dans un tourbillon o\u00f9 les d\u00e9c\u00e8s et les comorbidit\u00e9s dominaient notre radar. Adil Writer nous encourage \u00e0 regarder les aspects positifs de cette \"grande pause\": les beaut\u00e9s naturelles qui sont revenues, mais aussi le changement des mentalit\u00e9s et l'exploration de diff\u00e9rents m\u00e9dias artistiques. Dans sa pr\u00e9sentation, Adil Writer tisse les histoires de plus de 25 membres de l'AIC originaires de pays d'Asie du Sud-Est, en montrant leurs \u0153uvres pand\u00e9miques et post-pand\u00e9miques. Ces visuels et textes forts forment un chapitre fascinant sur l'amour \u00e0 l'\u00e9poque de la Covid.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Naho Yamashita<\/h3>\r\n

(Japon)<\/p>\r\n

Titre de la conf\u00e9rence: \"Introduction d'un programme d'\u00e9tudiants internationaux \u00e0 Ishoken (Centre de conception et de technologie c\u00e9ramiques de la ville de Tajimi, Japon)\"<\/p>\r\n

Ishoken est situ\u00e9 \u00e0 Tajimi, le c\u0153ur de l'industrie de la c\u00e9ramique au Japon et la ville h\u00f4te du concours international de c\u00e9ramique Mino. Dans son expos\u00e9, Naho Yamashita pr\u00e9sente les nouvelles activit\u00e9s d'\u00e9change international d'Ishoken. Le cours accueille actuellement 36 \u00e9tudiants du monde entier, qui viennent \u00e0 Ishoken pour explorer l'abondance de la culture c\u00e9ramique historique et nouvelle dans la r\u00e9gion de Mino. Ces \u00e9tudiants d'horizons divers se r\u00e9unissent pour devenir la prochaine g\u00e9n\u00e9ration d'artistes c\u00e9ramistes en s'engageant aupr\u00e8s de personnes du monde entier.<\/p>\r\n<\/td>\r\n

\r\n

Zhao Bin<\/h3>\r\n

(Chine)<\/p>\r\n

Titre de la conf\u00e9rence: \"Les formes du temps: Mes travaux avec la technique d'impression 3D de la c\u00e9ramique\"<\/p>\r\n

La c\u00e9ramique, mat\u00e9riau ancien, est aussi profond\u00e9ment influenc\u00e9e par le d\u00e9veloppement des techniques modernes. Par exemple, les logiciels de conception par ordinateur peuvent remplacer le dessin manuel original, et les lignes sont lisses, propres et nettes. La mod\u00e9lisation tridimensionnelle par ordinateur peut permettre de voir de mani\u00e8re plus intuitive la forme tridimensionnelle du produit. Les \u00e9quipements d'impression directe 3D en c\u00e9ramique ont fait le saut dans l'\u00e8re num\u00e9rique en sautant une s\u00e9rie de modes de production traditionnels complexes tels que le formage manuel, le moulage et la coul\u00e9e. Dans cet expos\u00e9, Zhao Bin pr\u00e9sente ses \u0153uvres r\u00e9centes cr\u00e9\u00e9es en combinant des techniques d'impression 3D artisanales et informatiques.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_fr_post_name":"conferences-breakout-sessions","_fr_post_excerpt":"Le Congr\u00e8s comprend 22 Breakout sessions (s\u00e9ances de d\u00e9bat) par des membres de l'AIC.","_fr_post_title":"Conf\u00e9rences: Breakout sessions","_es_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_1021\" align=\"alignnone\" width=\"2560\"]\"\" Jane Perryman, \"From Light to Dark from Dark to Light\".[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\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

\u00a0<\/h3>\r\n

Comunicaciones (Breakout sessions)<\/h3>\r\n

Las comunicaciones breves se han convertido en una caracter\u00edstica popular de congresos anteriores que brindan una oportunidad para que los miembros compartan sus intereses especiales no necesariamente relacionados con el tema del congreso. Este a\u00f1o, 22 miembros de la AIC han sido seleccionados para compartir investigaciones cr\u00edticas, nuevas tecnolog\u00edas, trabajos recientes, nuevas iniciativas, publicaciones actuales, eventos curatoriales u otros temas como acci\u00f3n comunitaria, iniciativas sociales y\/o reflexiones sobre a\u00f1os pasados de aislamiento pand\u00e9mico.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Tenga en cuenta que la informaci\u00f3n de esta p\u00e1gina est\u00e1 sujeta a modificaciones y actualizaciones.<\/span><\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Jana Bednarkova Kenney<\/h3>\r\n

(Estados Unidos\/Francia)<\/p>\r\n

T\u00edtulo de la conferencia: \"Estrategias ganadoras: c\u00f3mo crear un evento internacional de cer\u00e1mica exitoso\"<\/p>\r\n

Ahora m\u00e1s que nunca es necesario promover mejor el trabajo cer\u00e1mico, espec\u00edficamente a trav\u00e9s de la creaci\u00f3n de nuevas oportunidades para exhibir y compartir este arte con el p\u00fablico. En su presentaci\u00f3n, Jana Kenney utiliza su experiencia de la primera Feria de Arte de Cer\u00e1mica Contempor\u00e1nea en Par\u00eds y se enfoca en la idea y el proceso de crear nuevos lugares \u201cdesde cero\u201d, tanto para artistas individuales como para instituciones reconocidas.<\/p>\r\n<\/td>\r\n

\r\n

Andrew Burton<\/h3>\r\n

(Reino Unido)<\/p>\r\n

T\u00edtulo de la conferencia: \"Obra reciente en el European Ceramics Work Centre\"<\/p>\r\n

Durante una residencia en el European Ceramics Work Centre en los Pa\u00edses Bajos en el verano de 2021, Andrew Burton se inspir\u00f3 en su experiencia y el paisaje en el extranjero, as\u00ed como en las fuerzas geom\u00f3rficas que dan forma a un paisaje m\u00e1s familiar: el norte de Inglaterra. En su trabajo, busca encontrar resonancias entre la arcilla y los paisajes terrestres que habitamos.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Ray Chen<\/h3>\r\n

(Estados Unidos)<\/p>\r\n

T\u00edtulo de la conferencia: \"Tecnolog\u00eda h\u00edbrida: tendencias y realidad virtual inmersiva\"<\/p>\r\n

La tecnolog\u00eda est\u00e1 transformando nuestro mundo con sus influencias que impregnan las pr\u00e1cticas art\u00edsticas diarias, digitalizadas para mayor comodidad y accesibilidad. Las exposiciones virtuales fueron utilizadas m\u00ednimamente por galer\u00edas y museos. Ahora surge una nueva experiencia colectiva que se cultiv\u00f3 durante la pandemia a trav\u00e9s de plataformas de exposiciones en l\u00ednea. La 50\u00aa Exposici\u00f3n de miembros de artistas norteamericanos de la AIC, \"La era de la influencia\", es la \u00faltima exposici\u00f3n en l\u00ednea visual y tecnol\u00f3gica, un proyecto que combina tecnolog\u00eda h\u00edbrida contempor\u00e1nea con pantalla virtual para enriquecer la experiencia est\u00e9tica y convertirla en realidad.<\/p>\r\n<\/td>\r\n

\r\n

Viviane Diehl<\/h3>\r\n

(Brasil)<\/p>\r\n

T\u00edtulo de la conferencia: \"Arte y Vida: Arte Cer\u00e1mico, Experiencia Est\u00e9tica, Saber y Desaf\u00edos Ambientales\"<\/p>\r\n

En el contexto del arte cer\u00e1mico, la experiencia est\u00e9tica, la forma y el contenido son inseparables con la capacidad de afectar y transformar a los involucrados. Esta presentaci\u00f3n presenta narrativas art\u00edsticas en cer\u00e1mica que resuenan a partir del proceso creativo inventivo, los conceptos involucrados, las tecnolog\u00edas y materialidades para desencadenar la experiencia est\u00e9tica, produciendo sentidos y significados que emergen del arte contempor\u00e1neo en el sur de Brasil para la producci\u00f3n de conocimiento. El arte y la vida se discuten a trav\u00e9s del lenguaje del arte cer\u00e1mico contempor\u00e1neo en la serie \u201cBosques\u201d.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Isabel Fern\u00e1ndez del Moral<\/h3>\r\n

(Espa\u00f1a)<\/p>\r\n

T\u00edtulo de la conferencia: \"Transgresiones. Cer\u00e1mica Contempor\u00e1nea. Nueva colecci\u00f3n del Museo del Dise\u00f1o de Barcelona\"<\/p>\r\n

En verano de 2022 el Museo del Dise\u00f1o de Barcelona expondr\u00e1 su nueva colecci\u00f3n de Cer\u00e1mica Contempor\u00e1nea. Complementa las obras existentes, con m\u00e1s de mil obras y 230 artistas representados. La exposici\u00f3n se centrar\u00e1 en un momento creativo de contrastes, cr\u00edtica y reflexi\u00f3n sobre temas de actualidad, donde las transgresiones materiales, t\u00e9cnicas y conceptuales se hacen evidentes. En todos los casos, la creaci\u00f3n se orienta hacia el control del material y la transmisi\u00f3n de una fuerte carga conceptual.<\/p>\r\n<\/td>\r\n

\r\n

Karin Flurer-Br\u00fcnger<\/h3>\r\n

(Alemania)<\/p>\r\n

T\u00edtulo de la conferencia: \"Mis cer\u00e1micas de un horno de carb\u00f3n\"<\/p>\r\n

En el suroeste de Alemania ha existido la tradici\u00f3n de hacer carb\u00f3n en un horno de carb\u00f3n durante siglos. Desde hace varios a\u00f1os, las obras de los ceramistas se pueden colocar en el centro del horno, protegidas por jaulas. Estas se exponen a las brasas y al humo durante 10 d\u00edas. Esto crea un brillo fascinante en sus superficies. En esta presentaci\u00f3n, Karin Flurer-Br\u00fcnger introduce esta rara pr\u00e1ctica de cocci\u00f3n y presenta los trabajos resultantes de ella.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Patricia Glave<\/h3>\r\n

(Suiza)<\/p>\r\n

T\u00edtulo de la conferencia: \"El estatuto del artista visual y su reconocimiento\"<\/p>\r\n

La situaci\u00f3n de crisis provocada por el Covid 19 puso de manifiesto lo que durante mucho tiempo ha sido un problema recurrente para todos nosotros: la falta de pago o salario de una parte importante del trabajo realizado. Esta situaci\u00f3n de mayor precariedad, debido al Covid-19, puso en evidencia a\u00fan m\u00e1s la triste realidad de la falta de estatus y la falta de reconocimiento social e intelectual de la profesi\u00f3n de artista visual. Visarte Vaud, una asociaci\u00f3n independiente de artistas, arquitectos y comisarios, ha recibido apoyo financiero de Suiza para trabajar sobre el estatus del artista a trav\u00e9s de un enfoque triple.<\/p>\r\n<\/td>\r\n

\r\n

Martin Harman<\/h3>\r\n

(Reino Unido)<\/p>\r\n

T\u00edtulo de la conferencia: \"Explorando el potencial de una Galer\u00eda Virtual\"<\/p>\r\n

En esta presentaci\u00f3n, Martin Harman comparte su experiencia con la creaci\u00f3n de su propio espacio de galer\u00eda virtual. A medida que experimentamos los bloqueos de Covid, el arte se cambi\u00f3 gradualmente en l\u00ednea. Durante este tiempo, las innovaciones tecnol\u00f3gicas crearon nuevas oportunidades para que los artistas y su trabajo fueran vistos. Si bien las exposiciones de arte tienen el statu quo de mostrarse en el mundo f\u00edsico, los artistas ahora pueden crear su propio espacio de galer\u00eda virtual para mostrar su arte a una audiencia sin la aceptaci\u00f3n de otra parte o un edificio f\u00edsico y los costos asociados.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Wen-Hsi Harman<\/h3>\r\n

(Reino Unido)<\/p>\r\n

T\u00edtulo de la conferencia: \"Drawn by Stones\" (Dibujado por piedras)<\/p>\r\n

Drawn by stones<\/em> es una exposici\u00f3n itinerante en Australia comisariada por Bridie Moran, quien trabaja con el Centro 4A de Arte Asi\u00e1tico Contempor\u00e1neo en Sydney. Se invit\u00f3 a artistas de Australia, Hong Kong y Taiw\u00e1n que trabajaban con arcilla para explorar el concepto de \"naci\u00f3n\" con historia, tierras robadas, soberan\u00eda ind\u00edgena e identidad nacional. Con el mapa antiguo de la Biblioteca Brit\u00e1nica, Wen-Hsi Harman explor\u00f3 el prop\u00f3sito detr\u00e1s del mapeo de la tierra de otras personas. \u00bfMapear la tierra de otras personas significa mapear la cultura de otras personas? Al traducir el mapeo como un estudio de la geograf\u00eda humana del material (porcelana, esmalte, brillo dorado), cre\u00f3 dos obras de arte en porcelana para la exposici\u00f3n: Teor\u00eda de la tierra<\/em> y el territorio<\/em>.<\/p>\r\n<\/td>\r\n

\r\n

Agn\u00e8s Husz<\/h3>\r\n

(Jap\u00f3n)<\/p>\r\n

T\u00edtulo de la conferencia: \"La dolorosa v\u00eda forzada que abri\u00f3 la puerta a nuevas posibilidades\"<\/p>\r\n

\u00bfCu\u00e1l fue el doloroso camino forzado que abri\u00f3 la puerta a nuevas posibilidades? A trav\u00e9s de su propia historia, Agn\u00e8s Husz quiere mostrar c\u00f3mo se benefici\u00f3 de una situaci\u00f3n de ansiedad. Hace tres a\u00f1os, no era tan natural para nosotros sentirnos como en casa en el espacio digital para mostrar nuestro trabajo en exposiciones en l\u00ednea. Hoy en d\u00eda, cada vez es m\u00e1s com\u00fan que los medios digitales se incluyan en la caja de herramientas de todas las ramas del arte. En su presentaci\u00f3n, Agn\u00e8s Husz muestra por qu\u00e9 y c\u00f3mo comenz\u00f3 a usar medios digitales en su proyecto lanzado en 2019 durante la pandemia de Covid-19, y c\u00f3mo trabaja para hacer crecer este proyecto a\u00fan m\u00e1s globalmente en la actualidad.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Rashi Jain<\/h3>\r\n

(India)<\/p>\r\n

T\u00edtulo de la conferencia: \"Encontrando la Voz Interior: Creando Puentes Vivos entre la Tradici\u00f3n, la Espiritualidad y la pr\u00e1ctica Contempor\u00e1nea de la Arcilla\"<\/p>\r\n

India, la tierra de la terracota, los templos y una econom\u00eda en r\u00e1pida evoluci\u00f3n: un crisol. Como individuo, Rashi Jain es parte de este batido y testigo de c\u00f3mo las tradiciones de arcilla se transforman ante sus ojos. Con una vida rica en experiencias personales y compartidas, ya trav\u00e9s de su pr\u00e1ctica continua del arte y la ense\u00f1anza, absorbe metodolog\u00edas que se transmiten a trav\u00e9s de generaciones de alfareros tradicionales indios; esforz\u00e1ndose por transformarse en un \u201cPuente Vivo\u201d del patrimonio del barro.<\/p>\r\n<\/td>\r\n

\r\n

Nelson LIM<\/h3>\r\n

(Singapur)<\/p>\r\n

T\u00edtulo de la conferencia: \"TODAV\u00cdA\"\u00a0 (STILL)<\/p>\r\n

STILL alude a un estado de equilibrio, donde la interacci\u00f3n continua entre el orden y el caos produce creatividad y transformaci\u00f3n. Continuando con sus exploraciones art\u00edsticas de la arcilla de porcelana con varios materiales, la serie actual de Nelson Lim se centra en las telas como soporte transitorio de la barbotina coloreada antes de la cocci\u00f3n. Cada pliegue conserva las huellas de las delicadas texturas de las telas. El terreno de porcelana de cada obra de arte se convierte as\u00ed en una expresi\u00f3n de su proceso de \"orden espont\u00e1neo\", o la capacidad del artista para crear armon\u00eda a partir del azar a trav\u00e9s de su dominio del material y el proceso.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1029\" align=\"alignnone\" width=\"2560\"]\"\" Jain Rashi, making of Manasa Ghot (2022)[\/caption]\r\n<\/td>\r\n\r\n[caption id=\"attachment_1030\" align=\"alignnone\" width=\"2560\"]\"\" Nelson Lim, \"STILL\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Dr Christopher McHugh<\/h3>\r\n

(Reino Unido)<\/p>\r\n

T\u00edtulo de la conferencia: \"Repensando las figuras Made in Japan en la era de COVID-19 y m\u00e1s all\u00e1\"<\/p>\r\n

Esta presentaci\u00f3n reflexiona sobre el descubrimiento, en el almac\u00e9n de una f\u00e1brica japonesa, de una figurilla de cer\u00e1mica basada en El Doctor, un cuadro realizado en 1891 por Sir Luke Fildes. La figurilla de cer\u00e1mica se encarg\u00f3 para el mercado estadounidense y se dise\u00f1\u00f3 y fabric\u00f3 en serie en Seto, Jap\u00f3n, en 1974. Esta conferencia sigue la trayectoria del material de esta obra desde el lienzo hasta la cer\u00e1mica, analiza los procesos de dise\u00f1o y fabricaci\u00f3n, adem\u00e1s de brindar informaci\u00f3n sobre la din\u00e1mica cultural que condujo a la producci\u00f3n de esta y otras figurillas en Jap\u00f3n. En un momento de incertidumbre global sin precedentes, el ideal del discreto hero\u00edsmo de un cuidador encarnado en la figurilla gana nueva resonancia y actualidad, invit\u00e1ndonos a reconsiderar el papel del pasado en el presente.<\/p>\r\n<\/td>\r\n

\r\n

Heidi McKenzie<\/h3>\r\n

(Canad\u00e1)<\/p>\r\n

T\u00edtulo de la conferencia: \"Ladrillos cer\u00e1micos: archivo y realidad aumentada\"<\/p>\r\n

La exposici\u00f3n individual, Brick by Brick: Absence vs Presence<\/em>, cuestiona el lugar del \"otro\" a lo largo de los 110 a\u00f1os de historia de una de las f\u00e1bricas de ladrillos m\u00e1s prol\u00edficas y ahora desaparecidas de Canad\u00e1 en Medicine Hat, Alberta, I-XL. El tema est\u00e1 igualmente relacionado con las nuevas tecnolog\u00edas, ya que Heidi McKenzie trabaj\u00f3 con ladrillos gigantes como lienzo para fotograf\u00edas de archivo y cre\u00f3 una realidad aumentada que anima y cuestiona la ausencia de trabajadores del color. Esta exposici\u00f3n tambi\u00e9n presenta d\u00edpticos fotogr\u00e1ficos, archivo yuxtapuesto junto con contempor\u00e1neo, as\u00ed como dos toneladas de ladrillos esculpidos en una ola con proyecci\u00f3n de video sobre la superficie de la ola.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Martin McWilliam<\/h3>\r\n

(Alemania)<\/p>\r\n

T\u00edtulo de la conferencia: \"Forma contra el tiempo\"<\/p>\r\n

En el peque\u00f1o universo personal de Martin McWilliam hay una realidad espaciotemporal encerrada en esas simples formas de arcilla: la jarra y el cuenco como formas arquet\u00edpicas. Qu\u00e9 gran cambio cultural debe haber sido cuando los humanos comenzaron a almacenar y compartir alimentos en esas formas simples. Pasando de tratar de copiar el trabajo que tanto le gustaba a m\u00e1s la idea de ellos y toda la belleza y las deficiencias de la arcilla, el agua y el fuego, Martin McWilliam ahora trabaja en volver a presentar, en lugar de imitar. Sus objetos m\u00e1s nuevos crecen en capas similares a las geol\u00f3gicas, superpuestas como lava: una met\u00e1fora en el tiempo y el espacio.<\/p>\r\n<\/td>\r\n

\r\n

Jane Perryman<\/h3>\r\n

(Reino Unido)<\/p>\r\n

T\u00edtulo de la conferencia: \"De la luz a la oscuridad De la oscuridad a la luz\"<\/p>\r\n

El ciclo de luz y oscuridad de veinticuatro horas est\u00e1 en el centro de la vida en nuestro planeta y controla los ritmos circadianos de los humanos, los animales y las plantas, lo que se conoce como cronobiolog\u00eda. En el transcurso de un a\u00f1o durante los bloqueos por la pandemia, en intervalos de dos semanas, Jane Perryman recopil\u00f3 datos para documentar el \u00e1ngulo del amanecer y el atardecer contra el horizonte, el cambio de horas de luz entre los solsticios de verano e invierno y el \u00e1ngulo de mediod\u00eda solar. Estas estructuras basadas en reglas se encarnan en una instalaci\u00f3n de cer\u00e1mica, texto, poes\u00eda y sonido que explora el concepto universal del tiempo y el drama celestial que sustenta la vida en la tierra.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Nicole Seisler<\/h3>\r\n

(Estados Unidos)<\/p>\r\n

T\u00edtulo de la conferencia: \"Cr\u00edtico y accesible: reimaginar la educaci\u00f3n sobre cer\u00e1mica\"<\/p>\r\n

Ha llegado el momento de cambios en la educaci\u00f3n. Ninguno de los problemas sist\u00e9micos de la educaci\u00f3n superior es nuevo, pero la pandemia aument\u00f3 nuestra conciencia sobre ellos y la urgencia con la que debemos enfrentarlos. En la primavera de 2020, los medios establecidos por los cuales ense\u00f1amos, aprendemos y nos conectamos sufrieron una fractura s\u00edsmica. Al reinventar c\u00f3mo se puede construir y brindar educaci\u00f3n en cer\u00e1mica contempor\u00e1nea y dise\u00f1ar una serie de oportunidades alternativas y accesibles para que los profesionales se relacionen con el mundo a trav\u00e9s de la arcilla, Nicole Seisler aborda durante su presentaci\u00f3n por qu\u00e9 y c\u00f3mo se puede revivir la educaci\u00f3n en cer\u00e1mica.<\/p>\r\n<\/td>\r\n

\r\n

Visnja Slavica Gabout<\/h3>\r\n

(Croacia)<\/p>\r\n

T\u00edtulo de la conferencia: \"Cer\u00e1mica Contempor\u00e1nea y Nuevas Estrategias\"<\/p>\r\n

El libro Cer\u00e1mica contempor\u00e1nea y Nuevas Estrategias es una descripci\u00f3n general de la cer\u00e1mica croata contempor\u00e1nea y combina los resultados de varias exposiciones colectivas grandes de cer\u00e1mica croata, realizadas en Croacia y en el extranjero. Tambi\u00e9n incluye una docena de exposiciones individuales de ceramistas-investigadores de arte. El libro, al igual que su antecesor Cer\u00e1mica y Arte Contempor\u00e1neo, problematiza la cer\u00e1mica contempor\u00e1nea como medio e igual parte del arte contempor\u00e1neo, pero tambi\u00e9n como plataforma para desarrollar nuevas estrategias en este campo art\u00edstico.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Mariel Tarela<\/h3>\r\n

(Argentina)<\/p>\r\n

T\u00edtulo de la conferencia: \"Cuentos de Casira: un viaje en el tiempo.\"<\/p>\r\n

A Casira se llega tras un largo viaje, atravesando horizontes heterog\u00e9neos. A 3.600 metros sobre el nivel del mar, est\u00e1 cerca del cielo y tiene poco aire. Cincuenta familias habitan el territorio, ofrecen alcohol y hojas de coca a la madre tierra, Pachamama, para transformar las monta\u00f1as en ollas. Las ollas de Casira encarnan la memoria; lo instant\u00e1neo, lo lejano y las presunciones de futuros posibles emergen en las delicadas paredes de estas vasijas. Las mujeres alfareras levantan sus piezas a mano y las queman en hornos con esti\u00e9rcol seco de los animales que cr\u00edan, cuidan y comen. El sol lo rompe todo menos las macetas. Las lluvias arrastran vestigios de la memoria inca de un pa\u00eds a otro, conspirando contra las fronteras. Las conmovedoras y particulares historias que recoge esta presentaci\u00f3n sacan a la luz este singular pueblo alfarero y su gente.<\/p>\r\n

Book \"Relatos sobre Casira\" (Espa\u00f1ol)<\/a><\/span><\/p>\r\n<\/td>\r\n

\r\n

Adil Writer<\/h3>\r\n

(India)<\/p>\r\n

T\u00edtulo de la conferencia: \"La Gran Pausa\"<\/p>\r\n

Los a\u00f1os de confinamiento fueron dif\u00edciles: artistas en aislamiento social, algunos viviendo lejos de sus casas\/estudios sin acceso a materiales e instalaciones, dando vueltas en un torbellino donde las muertes y las comorbilidades dominaban nuestro radar. Adil Writer nos anima a mirar lo positivo que tuvo lugar durante esta \u201cgran pausa\u201d: las bellezas naturales que regresaron, pero tambi\u00e9n el cambio de mentalidad y las exploraciones de diferentes medios. En su presentaci\u00f3n, Adil Writer entreteje las historias de m\u00e1s de 25 miembros de la AIC de pa\u00edses del sudeste asi\u00e1tico, mostrando sus trabajos pand\u00e9micos y pospand\u00e9micos. Estas fuertes im\u00e1genes y texto forman un cap\u00edtulo convincente de amor en la \u00e9poca de Covid.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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

Naho Yamashita<\/h3>\r\n

(Jap\u00f3n)<\/p>\r\n

T\u00edtulo de la conferencia: \"Introducci\u00f3n del Programa de Estudiantes Internacionales en Ishoken (Centro de Tecnolog\u00eda y Dise\u00f1o Cer\u00e1mico de la Ciudad de Tajimi, Jap\u00f3n)\"<\/p>\r\n

Ishoken est\u00e1 ubicado en Tajimi, el coraz\u00f3n de la industria de la cer\u00e1mica en Jap\u00f3n y la ciudad anfitriona del Concurso Internacional de Cer\u00e1mica Mino. En su presentaci\u00f3n, Naho Yamashita presenta las nuevas actividades de intercambio internacional de Ishoken. Actualmente, el curso da la bienvenida a 36 estudiantes de todo el mundo, que vienen a Ishoken para explorar la abundancia de cultura cer\u00e1mica hist\u00f3rica y nueva en el \u00e1rea de Mino. Estos estudiantes de diversos or\u00edgenes se unen para convertirse en la pr\u00f3xima generaci\u00f3n de artistas de la cer\u00e1mica al relacionarse con personas de todo el mundo.<\/p>\r\n<\/td>\r\n

\r\n

Zhao Bin<\/h3>\r\n

(China)<\/p>\r\n

T\u00edtulo de la conferencia: \"Formas del tiempo: Mis trabajos con t\u00e9cnica de impresi\u00f3n 3D cer\u00e1mica\"<\/p>\r\n

La cer\u00e1mica como material antiguo tambi\u00e9n est\u00e1 profundamente influenciada por el desarrollo de t\u00e9cnicas modernas. Por ejemplo, el software de dise\u00f1o de computadora puede reemplazar el dibujo original a mano y las l\u00edneas son suaves, limpias y ordenadas. El modelado de dise\u00f1o tridimensional por computadora puede permitir ver de manera m\u00e1s intuitiva la forma tridimensional del producto. Los equipos de impresi\u00f3n directa en 3D de cer\u00e1mica han saltado a la era digital al omitir una serie de modos de producci\u00f3n tradicionales complejos, como la formaci\u00f3n manual, el moldeado y la fundici\u00f3n. En esta presentaci\u00f3n, Zhao Bin presentar\u00e1 sus trabajos recientes creados combinando t\u00e9cnicas de impresi\u00f3n 3D hechas a mano y por computadora.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_es_post_name":"conferences-breakout-sessions","_es_post_excerpt":"El Congreso incluye 22 sesiones de trabajo de los miembros de la AIC.","_es_post_title":"Comunicaciones (Breakout Sessions)","_en_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_1021\" align=\"alignnone\" width=\"2560\"]\"\" Jane Perryman, \"From Light to Dark from Dark to Light\".[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\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

\u00a0<\/h3>\r\n

Breakout sessions<\/h3>\r\n

The Breakout sessions have become a popular feature of past congresses that provide an opportunity for members to share their special interests not necessarily related to the congress theme. This year, 22 IAC members were selected to share critical research, new technologies, recent work, new initiatives, current publications, curatorial events, or other topics such as community action, social initiatives, and\/or reflections on past years of pandemic isolation.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Jana Bednarkova Kenney<\/h3>\r\n

(USA\/France)<\/p>\r\n

Lecture Title: \"Winning Strategies - How to Create Successful International Ceramics Events\"<\/p>\r\n

Now more than ever it is necessary to promote ceramic work better, specifically through the creation of new opportunities to exhibit and share this art with the public. In her presentation, Jana Kenney uses her experience from the first Contemporary Ceramics Art Fair in Paris and focuses on the idea and the process of creating new venues \"from scratch\", for individual artists as well as well-known institutions.<\/p>\r\n<\/td>\r\n

\r\n

Andrew Burton<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Recent work at the European Ceramics Work Centre\"<\/p>\r\n

During a residency at the European Ceramics Work Centre in the Netherlands in summer 2021, Andrew Burton drew inspiration from his experience and the landscape abroad, as well as from the geomorphic forces that shape a more familiar landscape - Northern England In his work, he seeks to find resonances between clay and the earthscapes that we inhabit.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Ray Chen<\/h3>\r\n

(USA)<\/p>\r\n

Lecture Title: \"Hybrid Technology - Trends and Immersive Virtual Reality\"<\/p>\r\n

Technology is morphing our world with its influences permeating through daily artistic practices, digitalised for convenience and accessibility. Virtual exhibitions were used minimally by galleries and museums. Now, a new collective experience that was cultivated during the pandemic is emerging through online exhibition platforms. The IAC 50th North American Artist Members Exhibition, \u201cThe Age of Influence\u201d, is the latest visual and technological online exhibition, a project combining contemporary hybrid technology with virtual display to enrich the aesthetic experience into reality.<\/p>\r\n<\/td>\r\n

\r\n

Viviane Diehl<\/h3>\r\n

(Brazil)<\/p>\r\n

Lecture Title: \"Art and Life: Ceramic Art, Aesthetic Experience, Knowledge and Environmental Challenges\"<\/p>\r\n

In the ceramic art context, the aesthetic experience, form and content are inseparable with the ability to affect and transform those involved. This presentation features artistic narratives in ceramics that reverberate from the inventive creative process, the concepts involved, the technologies and materialities to trigger the aesthetic experience, producing senses and meanings that emerge from contemporary art in southern Brazil for knowledge production. Art and life are discussed through contemporary ceramic art language in the series \u201cForests\u201d.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Isabel Fern\u00e1ndez del Moral<\/h3>\r\n

(Spain)<\/p>\r\n

Lecture Title: \"Transgressions. Contemporary Ceramics. New collection of the Design Museum of Barcelona\"<\/p>\r\n

In summer 2022 the Design Museum of Barcelona will exhibit their new collection of Contemporary Ceramics. It complements the existing works, with more than one thousand pieces and 230 artists represented. The exhibition will focus on a creative moment of contrasts, critique and reflection on current issues, where material, technical and conceptual transgressions become evident. In every case, the creation is geared towards the control of the material and transmission of a strong conceptual load.<\/p>\r\n<\/td>\r\n

\r\n

Karin Flurer-Br\u00fcnger<\/h3>\r\n

(Germany)<\/p>\r\n

Lecture Title: \"My Ceramics from a Charcoal Kiln\"<\/p>\r\n

In Southwest Germany, there has been a tradition of making charcoal in a charcoal kiln for centuries.
For several years now, works by ceramists can be placed in the center of the kiln, protected by cages. These are exposed to the embers and smoke for 10 days. This creates fascinating luster on their surfaces. In this presentation, Karin Flurer-Br\u00fcnger introduces this rare firing practice and presents the works resulting from it.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Patricia Glave<\/h3>\r\n

(Switzerland)<\/p>\r\n

Lecture Title: \"The Status of the Visual Artist and its Recognition\"<\/p>\r\n

The crisis situation caused by Covid 19 highlighted what has long been a recurring problem for all of us: the lack of pay or wages for a significant part of the work done. This situation of increased precariousness, due to Covid-19, further highlighted the sad reality of the lack of status and the lack of social and intellectual recognition of the profession of visual artist. Visarte Vaud, an independent association of artists, architects and curators, has received financial support from Switzerland, to work on the status of the artist through a 3-pronged approach.<\/p>\r\n<\/td>\r\n

\r\n

Martin Harman<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Exploring the Potential of a Virtual Gallery\"<\/p>\r\n

In this presentation, Martin Harman shares his experience with creating his own virtual gallery space. As we experienced Covid lock-downs, art was gradually shifted online. During this time, technological innovations created new opportunities for artists and their work to be seen. While art exhibitions have a status quo as being shown in the physical world, artists can now create their own virtual gallery space to show their art to an audience without the acceptance of another party or a physical building and the associated costs.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Wen-Hsi Harman<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Drawn by Stones\"<\/p>\r\n

Drawn by stones<\/em> is a touring exhibition in Australia curated by Bridie Moran, who works with the 4A Centre for Contemporary Asian Art in Sydney. Artists working with clay were invited from Australia, Hong Kong and Taiwan to explore the concept of \"nationhood\" with history, stolen land, Indigenous sovereignty and national identity. With the British Library's old map, Wen-Hsi Harman explored the purpose behind mapping other people's land. Does mapping other people's land mean mapping other people's culture? By translating mapping as a human geography study of material (porcelain, enamel, gold luster), she created two porcelain artworks for the exhibition: Theory of Land<\/em> and Territory<\/em>.<\/p>\r\n<\/td>\r\n

\r\n

Agn\u00e8s Husz<\/h3>\r\n

(Japan)<\/p>\r\n

Lecture Title: \"The Painful Forced Track that Opened the Door to New Possibilities\"<\/p>\r\n

What was the painful forced track that opened the door to new possibilities? Through her own story, Agn\u00e8s Husz wants to show how she benefited from an anxious situation. Three years ago, it was not so natural for us to feel at home in the digital space to show our work in online exhibitions. Nowadays, it is more and more common for digital media to be included in the toolbox of all branches of art.
In her presentation, Agn\u00e8s Husz shows why and how she started using digital media in her project launched in 2019 during the Covid-19 pandemic, and how she works to grow this project even more globally today.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Rashi Jain<\/h3>\r\n

(India)<\/p>\r\n

Lecture Title: \"Finding the Inner Voice: Creating Living Bridges between Tradition, Spirituality and Contemporary Clay Practice\"<\/p>\r\n

India, the land of terracotta, temples and a rapidly evolving economy: a melting pot. As an individual, Rashi Jain is part of this churning and witnessing clay traditions transform before her eyes. With a life rich in personal and shared experiences, and through her continued practice of art and teaching, she imbibes methodologies that are carried forward through generations of Indian traditional potters; striving to transform into a \"Living Bridge\" of the clay heritage.<\/p>\r\n<\/td>\r\n

\r\n

Nelson LIM<\/h3>\r\n

(Singapore)<\/p>\r\n

Lecture Title: \"STILL\"<\/p>\r\n

STILL alludes to a state of balance, where the continuous interplay between order and chaos produces creativity and transformation. Continuing his artistic explorations of porcelain clay with various materials, Nelson Lim\u2019s current series is focused on fabrics as the transient support of the coloured slip before firing. Each crease retains the imprints of the fabrics\u2019 delicate textures. The porcelain terrain of each artwork thus becomes an expression of his process of \u201cspontaneous order,\u201d or the artist\u2019s ability to create harmony from randomness through his mastery of material and process.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_1029\" align=\"alignnone\" width=\"2560\"]\"\" Jain Rashi, making of Manasa Ghot (2022)[\/caption]\r\n<\/td>\r\n\r\n[caption id=\"attachment_1030\" align=\"alignnone\" width=\"2560\"]\"\" Nelson Lim, \"STILL\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Dr Christopher McHugh<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"Rethinking Made in Japan figurines in the Age of COVID-19 and Beyond\"<\/p>\r\n

This presentation reflects on the discovery, in a Japanese factory storeroom, of a ceramic figurine based on The Doctor, a painting made in 1891 by Sir Luke Fildes. The ceramic figurine was commissioned for the US market and designed and mass-produced in Seto, Japan, in 1974. This lecture traces the material trajectory of this work from canvas to ceramic, discussing the design and manufacturing processes, as well as providing insights into the cultural dynamics which led to this and other figurines being produced in Japan. At a time of unprecedented global uncertainty, the ideal of a carer\u2019s understated heroism embodied in the figurine gains new resonance and currency, inviting us to reconsider the role of the past in the present.<\/p>\r\n<\/td>\r\n

\r\n

Heidi McKenzie<\/h3>\r\n

(Canada)<\/p>\r\n

Lecture Title: \"Ceramic Bricks: Archive & Augmented Reality\"<\/p>\r\n

The solo exhibition, Brick by Brick: Absence vs Presence, interrogates the place of \u201cthe other\u201d over the 110-year history of one of Canada\u2019s most prolific, now defunct, brick factories in Medicine Hat, Alberta, I-XL. The topic is equally related to new technologies, as Heidi McKenzie worked with larger-than life bricks as canvas for archival photography, and created augmented reality that animates and questions the absence of workers of colour. This exhibition also features photographic dyptichs, archival juxtaposed alongside contemporary, as well as two tons of bricks sculpted into a wave with video projection onto the surface of the wave.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Martin McWilliam<\/h3>\r\n

(Germany)<\/p>\r\n

Lecture Title: \"Form against Time\"<\/p>\r\n

In Martin McWilliam's small personal univers, there is a space time reality locked up in those simple clay forms - the jar and the bowl as archetypal forms. What a major cultural change that must have been when humans began to store and share food in those simple forms. Shifting from trying to copy the work he liked so much to more the idea of them and all the beauty and shortcomings of clay, water and fire, Martin McWilliam now works on re-presenting, rather than imitating. His newest objects grow in geological-like layers, overlaid as if by running lava: a metaphor in time and space.<\/p>\r\n<\/td>\r\n

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Jane Perryman<\/h3>\r\n

(UK)<\/p>\r\n

Lecture Title: \"From Light to Dark From Dark to Light\"<\/p>\r\n

The twenty four hour light dark cycle is at the core of life on our planet controlling the circadian rhythms of humans, animals and plants known a chronobiology. Over the course of a year during the pandemic lock-downs, at two week intervals, Jane Perryman gathered data to document the angle of sunrise and sunset against the horizon, the change of daylight hours between the summer and winter solstices, and the angle of solar noon. These rule based structures are embodied into an installation of ceramics, text, poetry and sound exploring the universal concept of time and the celestial drama that sustains life on earth.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Nicole Seisler<\/h3>\r\n

(USA)<\/p>\r\n

Lecture Title: \"Critical & Accessible: Reimagining Ceramics Education\"<\/p>\r\n

The time is ripe for changes in education. None of the systemic problems of higher education are new, but the pandemic increased our awareness of them and the urgency with which we must confront them. In Spring 2020, the established means by which we teach, learn and connect underwent a seismic fracture. By reimagining how education in contemporary ceramics can be constructed and delivered and designing a series of alternative and accessible opportunities for practitioners to engage with the world through clay, Nicole Seisler addresses during her presentation why and how ceramics education can be revived.<\/p>\r\n<\/td>\r\n

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Visnja Slavica Gabout<\/h3>\r\n

(Croatia)<\/p>\r\n

Lecture Title: \"Contemporary Ceramics and New Strategies\"<\/p>\r\n

The book Contemporary Ceramics and New Strategies is an overview of contemporary Croatian ceramics and combines the results of several large group exhibitions of Croatian ceramics, performed in Croatia and abroad. Also it includes a dozen solo exhibitions of art ceramists-researchers. The book, as well as its predecessor Ceramics and Contemporary Art, problematizes contemporary ceramics as a medium and equal part of contemporary art, but also as a platform for developing new strategies in this artistic field.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Mariel Tarela<\/h3>\r\n

(Argentina)<\/p>\r\n

Lecture Title: \"Stories of Casira: a Journey through Time\"<\/p>\r\n

Casira can be reached after a long journey, crossing heterogeneous horizons. At 3,600 meters above sea level, it is close to the sky and has thin air. Fifty families inhabit the territory, they offer alcohol and coca leaves to mother earth, Pachamama, to transform the mountains into pots. Casira's pots embody the memory; the instantaneous, the distant, and the presumptions of possible futures emerge in the delicate walls of these pots. The women potters raise their pieces by hand and burn them in kilns with dry dung from the animals they raise, care for, and eat. The sun breaks everything except the pots. The rains drag vestiges of Inca memory from one country to another, conspiring against borders. The touching and particular stories that this presentation gathers bring to light this unique potter village and its people.<\/p>\r\n

Book \"Relatos sobre Casira\" (Spanish)<\/a><\/span><\/p>\r\n<\/td>\r\n

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Adil Writer<\/h3>\r\n

(India)<\/p>\r\n

Lecture Title: \"The Great Pause\"<\/p>\r\n

The lock-down years were difficult: artists in social isolation, some living away from their homes\/studios with no access to materials and facilities, \u201czoom\u201ding around in a whirl where fatalities and co-morbidities ruled our radar. Adil Writer encourages us to look at the positive that took place during this \"great pause\": the natural beauties that returned, but also the change in mindsets and explorations of different media. In his presentation, Adil Writer weaves together the stories of over 25 IAC members from South East Asian countries, showing their pandemic and post-pandemic works. These strong visuals and text form a compelling chapter of love in the time of Covid.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Naho Yamashita<\/h3>\r\n

(Japan)<\/p>\r\n

Lecture Title: \"Introduction of International Student Program at Ishoken (Tajimi City Ceramic Design and Technology Center, Japan)\"<\/p>\r\n

Ishoken is located in Tajimi, the heart of the ceramics industry in Japan and the host city of the International Ceramics Competition Mino. In her presentation, Naho Yamashita introduces Ishoken's new international exchange activities. The course currently welcomes 36 students from across the globe, who come to Ishoken to explore the abundance of historic and new ceramic culture in the Mino Area. These students from various backgrounds come together to become the next generation of ceramic artists through engaging with people all over the world.<\/p>\r\n<\/td>\r\n

\r\n

Zhao Bin<\/h3>\r\n

(China)<\/p>\r\n

Lecture Title: \"Shapes of Time: my Works with Ceramic 3D Printing Technique\"<\/p>\r\n

Ceramics as an ancient material is also deeply influenced by the development of modern techniques. For example, computer design software can replace the original hand drawing, and the lines are smooth, clean and tidy. The computer three-dimensional design modeling can enable to see more intuitively the three-dimensional shape of the product. Ceramic 3D direct printing equipment has jumped into the digital era by skipping a series of complex traditional production modes such as manual forming, molding, and casting. In this presentation Zhao Bin will present his recent works created combining handmade and computer 3D printing techniques.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_en_post_name":"conferences-breakout-sessions","_en_post_excerpt":"The Congress includes 22 Breakout sessions by IAC members.","_en_post_title":"Lectures: Breakout sessions","edit_language":"en","footnotes":""},"class_list":["post-982","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/982","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=982"}],"version-history":[{"count":40,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/982\/revisions"}],"predecessor-version":[{"id":1576,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/982\/revisions\/1576"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/media\/1021"}],"wp:attachment":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/media?parent=982"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}