by courtesy of Adile Feyza ÇAKIR ÖZGÜNDOĞDU
special thanks to / şükranlarımla; Fatih KOYUN, Muhammet TEKEŞİN, Hamit AKAY, Melike ŞERBET
Kişisel Sergi / Solo Exhibition
Ondokuz Mayıs University Fine Arts Campus Gallery, Samsun, Turkey
22 Ocak-2 Şubat 2018 / 22nd Jan. – 2nd of Feb. 2018
The fourth venue of the Ceramics and its Dimensions: Shaping the Future exhibition in Spode-China-Halls during British Ceramics Biennial in Stoke-on-Trent (UK). The exhibition is open between September 23rd and November 5th 2017.
Ceramics and its Dimensions is a project that examines European ceramics from the perspectives of the past as well as of the future, with its new possibilities. The project has partner institutions in eleven different countries in Europe and it is co-funded through the Creative Europe program of EU and coordinated by Porzellanikon Staatliches Museum für Porzellan, Hohenberg a. d. Eger / Selb.
Ceramics and its Dimensions: Shaping the Future (Module 6) is one of the ten modules (sub-projects) of the project and led by Aalto University, School of Art, Design and Architecture, Department of Design (Helsinki, Finland). The sub-project consists of a workshop, a touring exhibition and a publication and it has been co-funded by the Finnish Ministry of Education and Culture.
Shaping the Future artists at Ceramic Values conference
Several artists of the Ceramics and its Dimensions: Shaping the Future exhibition presented their work and thoughts on ceramics at the Ceramic Values conference in Stoke-on-Trent, England.
The Ceramic Values conference opened a discussion about the values and roles ceramics has in the society. The three key themes were skills, values, and place. Several contributors from the Shaping the Future exhibition were among the speakers: professor Barbara Schmidt from Kunsthochschule Berlin Weißensee, professor Maarit Mäkelä, the lecturers Nathalie Lautenbacher and Anna van der Lei, and the students Tuuli Saarelainen and Saija Halko from Aalto University as well as Babette Wiezorek who recently graduated from Weißensee. Aalto University doctoral candidate Priska Falin conducted a workshop. Further, a Round Table discussion was held. Over 350 participants, who came from Taiwan, China, South Korea, Japan, and across Europe, attended the conference.
The conference took place on 5th and 6th of October 2017 and was part of the fifth British Ceramics Biennial (BCB) festival. BCB is a ceramics festival concentrated on contemporary ceramics. It consists of exhibitions, workshops, and competitions. This year the festival takes place between September 23rd and November 5th in Stoke-on-Trent. During BCB the touring Ceramics and its Dimensions: Shaping the Future exhibition – accompanied by the Future Lights (Module 8) ambassadors of 2015/2016 and 2016/2017 – opened its doors for the fourth time.
Discussing clay as a material, the craft and the role of place
In her presentation, Professor Barbara Schmidt talked about experimental approaches to ceramic from a product design point of view. She stated that experimental detours are important in teaching ceramics for product design students. Babette Wiezorek spoke about her master thesis that examines the possibility of integrating organic strategies into the system of a 3D printer. She presented her experiments with a self-built ceramic 3D printer.
Professor Maarit Mäkelä discussed the themes of creativity, materiality and place, and argued that in an artistic process material plays an important role like an actor itself. She talked about the mutual relationship in which she threw herself in with the material world when she spent one year working and collecting raw material samples in the volcanic nature of New Zealand. Some of the results of that year can be seen in the Ceramics and its Dimensions: Shaping the Future exhibition.
The students Tuuli Saarelainen and Saija Halko also discussed the role of place as they talked about their work “Spirit of the Place” which is also part of the exhibition. In their collaborative work, they wanted to turn their experiences of an old porcelain factory site into unique art objects.
Aalto University lecturers Nathalie Lautenbacher and Anna van der Lei held their presentations in the Ceramics and its Dimensions: Shaping the Future exhibition venue. Lautenbacher spoke about food related design and the values of handmade small scale production. She stated that craft doesn’t only mean tradition but that it is also the future. Anna van der Lei talked about a slightly different way of approaching the making of ceramics when she discussed her work “CHIL-DISH”. The work consists of tableware that is based on children’s drawings which have been modeled into 3D versions and then 3D printed in porcelain. She argues that when designing for children, they should themselves be included in the process at an early stage. “CHIL-DISH” is also part of the exhibition.
As part of the conference Priska Falin conducted an interactive clay workshop in collaboration with BCB Community and Education Programme Manager Dena Bagi. The Clay Pit workshop invites the participants to explore the possibilities of clay via a series of large clay pits, copious amounts of ceramic material, oversize clay tools and creative props. The workshop is part of the education and audience development program and it is open through the whole British Ceramics Biennial.
An old ceramics factory as exhibition venue
The presence of ceramics can be sensed everywhere in Stoke-on-Trent as old ceramics factories; old bottle kilns and architectural ceramic decorations are present all around. Although Stoke-on-Trent can be seen as the home of English pottery industry, factories have been shut down during the recent decades. The Spode-China Halls, in which the Ceramics and its Dimensions: Shaping the Future exhibition takes place, was a factory site still in operation just a bit less than a decade ago. Now it got a new life as a beautiful exhibition venue.
The robust interior of the old Spode factory brings the exhibition to a place very similar to that of the old Kahla porcelain factory site, where several of the works of the exhibition were initiated at an experimental workshop in spring 2016. In Stoke-on-Trent, the core of the exhibition has been joined by a local addition: a selection of prototypes, that are the results of Martin Smith and Steve Brown’s AHRC funded research project Extending the Potential for the Digitally Printed Ceramic Surface. The exhibition will be open at BCB until November 5th and next it will travel to Berlin and open there in January 2018.
Since its inception in 2011, ECAlab (Environmental Ceramics for Architecture Laboratory) has developed a number of research programmes which look to explore the possibilities of ceramics for sustainable technologies, while examining the role of emerging digital technologies alongside traditional ceramic craftsmanship skills. ECAlab is founded and directed by Rosa Urbano Gutiérrez and Amanda Wanner, and is part of an international network sponsored by ASCER (Association of Ceramic Tile Manufacturers of Spain), which includes groups from the schools of architecture of Harvard University (USA), Darmstadt University (Germany), and a number of universities in Spain (Alicante, Barcelona, Castellón, Madrid, and Valencia).
We have developed our own collaborative experience in the UK, bridging disciplinary boundaries and bringing together the University of Liverpool, Leeds Beckett University, Liverpool Hope University, and Glyndwr University with leading professionals, designers, engineers, architects and ceramicists to realise projects with an environmentally sustainable focus. Ultimately our aim is to develop new applications for ceramics within an architectural context and introduce emerging designers with new ways of thinking about this material. Our research-led teaching programme has developed through either summer workshops or integrated into the teaching curriculum at the LSA at undergraduate and postgraduate levels. The programmes include high-profile speakers, training in specialist software (parametric and algorithmic design, CAD/CAM techniques for ceramic materials, daylighting design and daylighting simulation tools), and training in ceramics manufacturing techniques. The resulting projects use digital platforms to design forms and utilise file to factory techniques, which are then ultimately interpreted by time served craftsmen to generate bespoke and crafted pieces. This final stage engages ceramic artists to share their expertise with us, to harness the unique qualitative expression of ceramics as a material. In the first 5 years we have engaged 140 students, and have produced 85 innovative digital designs and 42 full-scale physical prototypes that explore the innovative use of clay in architecture.