"CERAMICA MULTIPLEX" The International Festival Of Postmodern Ceramics 2005 Vara din - Croatia

The topic of the exhibition provokes artists to survey differ- ences in the approach to ceramics in the East and in the West. Zen Buddhism was brought to China by an Indian missionary and then spread through Korea and on to Japan where it became a philosophy and integral part of the lifestyle. In Japan, and in other places in the Far East, this defined the meditative approach to ceramics - "You will be able to draw bamboo only once you have become bamboo”.

American ceramics was a stark contrast to this meditative approach. It is not burdened by traditional affiliation to craft workshops and so ceramists learnt their trade at art schools where they came into close contact with other branches of art. Clichés and prejudices did not inhibit the new genera- tion, so that ceramics could be freely influenced by modern art. The "Clay Movement” was founded in Los Angeles in 1954 and is a group that has freed itself of influences from Europe and from the Far East. Led by Peter Voulkos, the "Clay Movement” and its abstract expressionism have pro- "Punk Art", on the other hand, dates back to the hippy movement. By making fun of garishness, it attempted to shock, but was negatively received in the world and branded "Americanism". The disappearance

duced many talented ceramists.

of the "flower power” generation also signified the disappear- ance of shocking ceramics, and ingenious, often ironic, surre- alistic "Super Objects” became the trademark of American ceramics. Paul Soldner, one of P. Voulkos's pupils, introduced the technique of raku to America, by abandoning the authen- tic Japanese form and by introducing bright-coloured glazes and additional reductions. Curiosity, the willingness to take risks and audacity are the three basic characteristics embodied by American raku, which is why it has become so popular all

over the world.

European ceramics is to be found somewhere in between these two great sources of influence and its motto is "Observe the world and find your own path”. European ceramics is still fighting a battle, a battle that Japan and America won long ago, that is, the battle for the acceptance of ceramics as an art in its own right. In Europe the path from craft to a separate individuality has been dramatic, especially as this individuality marks a break with tradition and the bond to a particular milieu. By employing the boons of technological innovations which developed in Europe (Seger, Boetger, Wedgwood), but which are also beneficial to ceramics world- wide, individuality has come to be considered a priority in European ceramics, and is more important even than the concepts of a relaxed freedom and a meditative approach founded on religious tradition. Goethe noted that although Nature and Art seemed to be fleeing from each other, before there is time to take this in, they find each other again. Why should ceramics in Europe not be the art of ideas which con- tain the experience of nature and art? (according to the book by G. Weiss, Abenteur Erde und. Feuer - Das ist Keramik, Bern-Stuttgart-Wien, 2000.)

This exhibition is open to international contributors. If you'd like to enter, do it by January 23, 2005. An entry form and more information can be found at the festival's website at: http://www.keramiekon.com

(Most of the text in this article came from the festival's sub- mission package.)

Martin Hunt

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