Feliz Natal, Buon Natale, Merry Christmas
Marepe, Feliz Natal, Buon Natale, Merry Christmas 1
Marepe, Feliz Natal, Buon Natale, Merry Christmas 2, 3
Marepe, Feliz Natal, Buon Natale, Merry Christmas 4, 5
Marepe, Feliz Natal, Buon Natale, Merry Christmas 6
Marepe, Feliz Natal, Buon Natale, Merry Christmas 7
Marepe, Feliz Natal, Buon Natale, Merry Christmas. 2nd Biennial of Ceramics in Contemporary Art. Villa Groppallo, Vado Ligure
Marepe, Feliz Natal, Buon Natale, Merry Christmas. 2nd Biennial of Ceramics in Contemporary Art. Villa Groppallo, Vado Ligure
Feliz Natal, Buon Natale, Merry Christmas
The fast pace of the contemporary world and the new demands posed by a globalized art circuit has often led artists not only to establish ephemeral relationships while carrying out their art production, but also to adapt their work to other contexts. As a consequence, the content of their work is exhausted, particularly by means of a quick production process that we could call “instant art” – one in which they resort to conceptual discourse in an attempt to defend original ideas to the detriment of the technical aspect of the work. Therefore, we can easily understand the latest generations of artists placing ceramics in the middle ground, for the production of the designed object involves processing stages and technical details that are rendered step-by-step, day-by-day, until reaching the kiln — and then there is the kiln timing.
I view my experience at the San Giorgio plant in Albissola Marina as a small oasis. There, I indulged in the particularly comfortable condition of working side-by-side with very special people in relationships, including those at the workplace, that were permeated with affection. At the same time, I learned their timing and their way of dealing with art.
Frequently, the space and atmosphere of the Italian studio brought to mind the sculpture department in the School of Fine Arts that I attended in my college days in Bahia (Brazil).
Both places were founded on the same principles, so I took particular pleasure in sharing with my new teachers my personal way of working with clay.
During my seven-day visit to San Giorgio I reflected on my career and our discussions on contemporary art, but mainly the pace of my own work.
I enjoyed the close contact with Giovanni Poggi’s lovely family — Piero, Silvana, Luisa, young Simona, and Matteo, whom I met the day before I left — and the revelation of their art through work and trade, which constitute a rare and enviable alchemy in today’s world.
The opportunity to work at the traditional ceramics factory taught me that art should not be placed beyond human possibilities; that is to say, beyond the natural demands of body and soul for action and rest in dealing with it; nor should art-making be detached from affection. I also contemplated the implications of contemporary art and the needs of the modern world and tradition. I shall cherish my short experience at the factory as something precious that will guide me through the pressures of everyday art-making as an actual process of production, rather than a utopian fancy. In this process, I shall reconsider ceramics as a highly significant medium that must be experienced and prescribed for art’s sake. I trust that the 2nd Biennale of Ceramics in Contemporary Art will duly play its role as the driving force for a new way of dealing with the world.
I wish to express my heartfelt gratitude to curator Hans-Ulrich Obrist for offering me the opportunity to enjoy such a pleasant visit to the San Giorgio plant and to participate in this edition of the Biennale.
Marepe
Feliz Natal, Buon Natale, Merry Christmas by Marepe was made in Albisola in 2003 during the 2nd Biennial of Ceramics in Contemporary Art.
