Getulio Alviani
Getulio Alviani, Tensione
Getulio Alviani, Tensione
Getulio Alviani, Tensione
The project developed by Getulio Alviani is part of the decades-old experimentation about Exact Art, of which the artist is one of the most significant theorists. During the Biennale of Ceramics in Contemporary Art, Alviani submitted a drawing from 1964 to be printed on a rectangular ceramic surface, with one measurement double the other; a surface that is an exact positive-negative, white-black. This surface, galvanised in this manner, may give rise to various combinatory assemblies and form very different textures that may not seem to consist of a single identical modulus.
Paolo Bertozzi e Stefano dal Monte Casoni
Paolo Bertozzi e Stefano dal Monte Casoni, Caly Island. Photography: Bernardo Ricci
With a tribute to Piero Manzoni, the theme of reproduction and reinterpretation continues like a foray that includes the re–appropriation of the vision of contemporary art. Along the lines of the “commedia dell’arte”, the irreverent nobility of the image of contemporariness is returned, with a subject-specific performance in a language of great tradition.
Jurgen Bey
Jurgen Bey, Vase-Cupboard-Indian-view
Jurgen Bey, Vase-Cupboard-Indian-view
Jurgen Bey’s project takes into account the fact that ceramic, being a fragile material, is protected, and thus shipped packed in wooden crates. Starting from this assumption, the author has made the traditional packing crate a part of the work, transforming it into a cupboard whose interior conceals a flower vase, which can be displayed by opening the doors. Hence, the packing crate becomes a part of the vase: crate and vase should not be considered as two separate works, but as giving life to a single project, developed simultaneously, thus transforming the packaging into a design element.
Alessandro Biamonti
Alessandro Biamonti, 3 KG
If I think of the future I see objects that represent themselves, capable of generating direct relationships, although ready to be redesigned based on a constantly changing reality. I imagine that they are everywhere and have meaning in any context.
For this project I thought of weights. They can be filled with water or sand to do their job, but they are also beautiful, and in proportion, to be admired. We leave traces – it’s inevitable.
Alessandro Biamonti
Claudio Bracco
Claudio Bracco, Il piatto per l'ultimo pisello
Doctor Watson is trying to finish his plate of peas but the fork would seem to have become totally useless: the pea slides all around the smooth surface of the plate. Suddenly, Sherlock Holmes grabs the fork, turns the convex part around, mashes the pea and then gobbles it up. This is what I remember of the beginning of a film I saw when I was really small and after so many years I felt it was necessary to pay tribute to poor Doctor Watson.
Claudio Bracco
Andrea Branzi
Andrea Branzi, Intrecci 1
Andrea Branzi, Intrecci 2
This project is inspired by a general theme, not directly related to ceramics, meaning that it’s part of a series of models, some theoretical and some real, in which flowers intertwine with vases, establishing new relationships with them.
I also tackled such a theme with a focus on glass, creating small vertical gardens, similar to fences or espaliers, where the vegetable part (bamboo canes or vine trellises) is like the weft and the glass entwines it like a warp, creating a kind of hybrid and semi-transparent fabric.
I focused on these operations in order to integrate the various components comprising the reality that surrounds us, where things and the environment are different elements, the subject and the object are separate, and the flowers and vases do not mingle. It would be interesting, if possible, to create an intermediate fabric, starting from yarns that correspond to separate identities, but that can also be entwined without losing their individuality, creating, overall, a new and more expressive material.
In other words: weaving the world and its diversities, including ceramics, to create a new cognitive fabric.
Andrea Branzi
Enzo Cucchi
Enzo Cucchi, Pietro
How was this project born?
Pietro was supposed to be born.
It’s not the first time that Cucchi interacts with ceramic. What was his dialogue with the material this time?
It excites me because afterwards there is the pleasure of washing the hands…
Has working with ceramic laboratories or, more generally, to be part of a project whose objective is to link the centuries-old elaboration of Ligurian ceramic with contemporariness, affected his work?
Craftsmen keep me company.
Both the tree (Christmas) and the skull encompass various meanings. Which one dominates in this project?
The skull is attached to the tree but, when it falls, it’s not Christmas.
Enzo Cucchi
Jacqueline de Jong
Jacqueline de Jong, Baked Potatoes. Asger Jorn House Museum, Albissola Marina. Photography: Fulvio Rosso
Jacqueline de Jong, Baked Potatoes. Asger Jorn House Museum, Albissola Marina. Photography: Fulvio Rosso
Jacqueline de Jong, Baked Potatoes. Casa Asger Jorn, Albissola Marina
Jacqueline de Jong, Baked Potatoes. Asger Jorn House Museum, Albissola Marina. Photography: Fulvio Rosso
Jacqueline de Jong, Baked Potatoes. Asger Jorn House Museum, Albissola Marina. Photography: Fulvio Rosso
I visited Albisola for the first time in the summer of 1960. I went to Alba to work with Pinot Gallizio (he had just been excluded from the Situationist International and I was asked by Guy Debord to be the Dutch section of the I.S.).
After working a week, I took a bus at 4 in the morning to Albisola to meet Asger Jorn. On several occasions after this meeting AJ took me to Albisola. On one of those occasions, around 1964, A.J., the mayor of Albisola and I signed the documents to donate the garden and houses after Jorn’s death, but only if they became an art centre/museum and public garden.
46 years later I was invited to do something with Jorn’s Home. I decided to make a “Potato-Installation” to modify the fence around the pond, making it into a sort of “ceramic vegetable garden fence”.
I made 60 ceramic potatoes. I found out that real potatoes, which were like shrunken potatoes with “potato hair”, as I call their long sprouts, cannot be used in ceramic, and so I had to invent remakes. I call them Baked Potatoes.
Jacqueline de Jong
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