All posts by “thunceramicresidency

Artist in Residence 2018

21.05.2018

Hella Gerlach

Hella Gerlach (b. 1977) is a German artist based in Berlin. She studied experimental sculpture at the Kunstakademie Düsseldorf, art history at the University of Cologne and design at the Cologne International School of Design.

Sculpture, object, installation, scent, performance and sound…The interrelationship between architectural, physical (human) and social bodies lies at the core of Hella Gerlach’s artistic practice. She produces ephemeral works out of ceramic and industrially manufactured fabrics. Her sculptures recall theories of embodiment, which underscore the physical, epistemological and situational aspects of subject formation. For Gerlach sculpture is not a static object. Her works aim instead to provoke a particularly physical or embodied experience/dialogue with the viewer (or user) through the deployments of elastic materiality, evocative surfaces, kinetic movement, ephemeral scents and sounds, and interactive devices. Together, these contrive to interweave the body of the viewer, the artwork and the space of display into a connected field of action.

Recent and forthcoming exhibitions took place at the Kunstverein Jesteburg (2018), Berliner Festspiele (2017), Kunstverein Braunschweig (2016), Bargehouse, London (2016), Palazzo Fruscione, Salerno (2016), Asia-Pacific-Center, Seoul (2015), Galeria Acappella, Naples (2015) Kunstverein Hildesheim/Roemer-Pelizaeus Museum, Hildesheim (2014), Kunstverein Langenhagen, (2013) Goethe Institut, Glasgow (2013) Kunstverein Schwerin/Museum Schloss Schwerin (2013) Mark Morgan Perez Garage, Buenos Aires (2010).

Artist in Residence 2018

21.05.2018

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Paloma Proudfoot (b.1992) is an English artist living and working in London. Proudfoot studied her BA (Sculpture) at Edinburgh College of Art graduating in 2014 before completing her MA (Sculpture) at Royal College of Art in 2017.

Proudfoot uses sculptural objects as characters, a set of players that repeat, morph and re-emerge across different works through installation and performance. Using slip-casting to make hollow ceramic husks, Proudfoot manipulates these casts creating concave cheeks, gutted bellies and protruding spouts. These shallows and openings transform the objects into vessels, creating opportunities to fill their emptiness with materials that perish or metamorphose over time. Drying and decaying eggs, flowers, berries, home-brewed alcohol and bath salts mould over and alloy to the ceramics exposing their vulnerability and interrupting the immutability of the medium. Transposing her experience in clothes-making techniques to clay, Proudfoot also uses pattern-cutting methods to slab build figurative work, playing between the two-dimensional pattern pieces and three-dimensional forms they make up.

Recent and forthcoming solo exhibitions include The Detachable Head Serves as a Cup, Cob Gallery, London (2018); The Bin Room, Stryx Gallery, Birmingham (2017); There is One Missing From Your Bunch, May Projects, London (2016) and The Jockey, Edinburgh Sculpture Workshop (2015). Recent and forthcoming group exhibitions include Becoming Plant, Tenderpixel, London; La Louisiana, Sans Titre, Paris; The Clean Carcass of the Host, Marso Galeria, Mexico City (with Galerie Sultana and Sans Titre for Condo Mexico) (all 2017).

Curator 2018

21.05.2018

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Melissa Canbaz is a writer and curator based in Berlin, where she currently works at Haus der Kulturen der Welt. She is one of the founding members of the working group Stations, a nomadic platform that engages with discussions around forms of collaboration and dialogue within the context of exhibition making. Her recent curatorial projects are the group show Llave Cadena (Transpositions) at Alto Refugio in Buenos Aires (2017), with works by Victoria Colmegna, Chris Kraus, Valentina Liernur and Amelie von Wulffen, and the solo show with Jonas Lipps at Gallery Celine in Glasgow (2017). She is a regular contributor to various magazines and artists’ publications.

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Dolomiten

Read about the 2017 exhibition and a short interview with Leo   here.

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Alto Adige Innovazione

You can read more about Beckett and ceramics here.

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Corriere del Trentino

Silvia  wrote an article about the inspiration of our residents for the Corriere del Trentino! Read about it here.

TCR2018

Seeing a stone seat by the kerb I sat down and crossed my legs, like Walther.

Published on the occasion of the third exhibition of the Thun Ceramic Residency in July  2017. Includes the essay “Seeing a stone seat by the kerb I sat down and crossed my legs, like Walther.” by Eva von Ingram Harpf, independent curator and founder of y-contemporary. Please email us if you want to order one. Price:  €3 + Shipping

TCR second Publication

1000 Things Happening at The Same Time

Published on the occasion of the second exhibition of the Thun Ceramic Residency in October  2016. Includes the essay “1000 Things Happening at The Same Time” by Samuel Leuenberger, founder of the exhibition space SALTS and curator of Art Basel Parcours. Please email us if you want to order one. Price:  €3 + Shipping

Artist in Residence 2017

09.06.2017

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Giles Round (b. 1976) lives and works in London, United Kingdom. He graduated from a BA at Middlesex and subsequently an MA from the Royal College of Art, London. His works are dense with historical references, often comic and materially various. Giles creates sculptures and assemblages composed of an array of materials, which includes ready made and ceramic objects, architectural screens and paintings. In his exhibitions he arranges these objects so as to divide space and invite a directed movement around a room. He appropriates craft and design into an art context in an attempt to collapse the hierarchies of applied and fine arts. More mischevous undertones are often camouflaged by safe and interior aesthetics.A firm believer that design and architecture play an active role in well-being, Giles’ work uses these tactics to create immersive and thought-provoking viewer experiences.

Recent solo and collaborative exhibitions include: They bow. Curtain. No applause., Spike Island, Bristol (2017); Design Work Leisure, part of ‘Underline’, Art on the Underground, London, (2015–2016); Printshop!, with Edwin Pickstone, Tramway, Glasgow, (2016); Ettore. Sorry!, J.W.Anderson Workshops, London, (2016); Ljubljana, 1955, Galerija Jakopič, part of Over you/you, 31st Biennial of Graphic Arts, Ljubljana, (2015); AGAIN! SORRY! AGAIN! SORRY!, YOUNG TEAM, London, (2015); The Grantchester Pottery paints the stage, Jerwood Visual Arts, London, (2015)

Seeing a stone seat by the kerb I sat down and crossed my legs, like Walther.

curated by Eva von Ingram Harpf

OPENING: 18.07.2017

Exh. Opening Hours:   Wednesday, 19.07 – Friday, 21.07.2017 from 3-7pm and until August 14.08.2017 open by appointment

Lindsay Lawson
Jimena Mendoza
Giles Round

Taking its title from Samuel Beckett’s fascination with the South Tyrolian Middle High German lyric poet Walther von der Vogelweide, Seeing a stone seat by the kerb I sat down and crossed my legs, like Walther. is the third exhibition of the Thun Ceramic Residency.

This year’s artists in residence, Lindsay Lawson (b. 1982), Jimena Mendoza (b. 1979) and Giles Round (b. 1976) will exhibit a selection of the over one hundred artworks they made during their stay in Bolzano throughout the past two months. Similar to previous iterations, the artists drew influence from their unique surroundings. Ranging from the rocky cliffs rising above the city, to excursions which led them to discover cultural peculiarities from Val Gardena to Verona, the exhibited works are a condensation of their own individual practices mixed with their experiences whilst in residence at THUN.

These year’s exhibition venues tie in closely with the history of the ceramic company: situated opposite of each other on a curvy road in Aslago/Haslach is the first ever showroom of THUN ceramics, operating from 1965-1990, as well as the St. Gertrude Chapel, a sanctuary built in 1777.

When Samuel Beckett writes the sentence Seeing a stone seat by the kerb I sat down and crossed my legs, like Walther. in his short story ‘The Calmative’, he borrows the image of the thinking poet, who famously was depicted in just such a pose whilst contemplating about the fundamental questions of human consciousness.

Language can often prove powerful, yet needing definition it mints an image. It is exactly these images that the three artists provide to this year’s audience.

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