{"id":1050,"date":"2026-08-19T15:29:48","date_gmt":"2026-08-19T13:29:48","guid":{"rendered":"https:\/\/jingdezhen2026.aic-iac.org\/?page_id=1050"},"modified":"2026-10-07T16:01:08","modified_gmt":"2026-10-07T14:01:08","slug":"","status":"publish","type":"page","link":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/clay-for-peace-exhibition\/","title":{"rendered":"","raw":""},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":2192,"featured_media":1093,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_en_post_content":"

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\r\n[caption id=\"attachment_93249\" align=\"alignnone\" width=\"2560\"]\"\" Anja Seiler and Rashi Jain collaborating on their artwork for the Clay for Peace exhibition[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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CLAY FOR PEACE<\/h3>\r\n

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Clay for Peace<\/em> was a special section of the IAC International Residencies Exhibition, bringing together collaborative works created by IAC resident artists during their time in China. The projects were developed in collaboration with fellow residents, Chinese IAC members, or local artists, bringing together different artistic practices, experiences and cultural perspectives.
Initiated by former IAC President Jacques Kaufmann, Clay for Peace<\/em> builds on the belief that artistic collaboration can be a powerful way to foster dialogue and mutual understanding across cultures. By working together with clay, artists were invited not only to share techniques and ideas, but also to create a space for exchange, encounter and connection.
As a UNESCO-affiliated NGO, the IAC is committed to promoting peace and intercultural understanding through ceramics. Clay for Peace<\/em> puts this commitment into practice, turning the shared making of ceramic works into a gesture of dialogue and solidarity.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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PANORAMA AND ABSTRACT EXPRESSION<\/h3>\r\n

Antonio Fois (United Kingdom) and Babs Haenen (Netherlands)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Babs Haenen is internationally recognised for her expressive ceramic practice, shaped by influences ranging from Italian painting to the organic forms and rhythms of nature. Antonio Fois\u2019s work is distinguished by its painterly sensibility, drawing inspiration from the visceral and emotionally charged imagery of Francis Bacon. Their collaboration emerged from a shared artistic language, bringing together complementary approaches to form, surface, and expression.<\/p>\r\n

In Panorama<\/em>, Haenen developed the work through a plaster drawing, pressing black and white porcelain slabs to create a dynamic relief-like surface. Fois subsequently intervened through the application of underglazes and glazes, enriching the work with painterly gestures and chromatic depth. The resulting piece reflects a dialogue between sculptural construction and painterly expression.
Abstract Expression<\/em> further explores this exchange. Composed of multiple coloured porcelain elements created by Haenen, the work was subsequently painted by Fois using underglaze colours and glazes. The interplay between ceramic form and painted surface generates a rich visual complexity, blurring the boundaries between sculpture and painting.
The collaboration was rooted not only in artistic affinity but also in a personal connection. Discovering shared interests and mutual friendships in London fostered a sense of familiarity and trust, creating a foundation for a meaningful creative partnership.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\"SIT DOWN PLEASE\": AN EXPERIENCE OF DIALOGUE<\/h3>\r\n

Marina Rodriguez (Argentina) and Rosana Tagliari Bortolin (Brazil)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u201cSit down, please\u201d is more than a request\u2014it invites people to share, listen, and reflect. By sitting on the ceramic bench and speaking into the amplifier, participants become part of the work. The space encourages active listening, amplifies voices, and values each contribution, promoting dialogue and collective understanding. This experience transforms the spectator into an active participant, reinforcing collaboration and the importance of expression in a shared environment.<\/td>\r\n<\/tr>\r\n
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FORMS OF DIALOGUE - \u5bf9\u8bdd\u7684\u5f62\u5f0f<\/h3>\r\n

Antonio Fois (United Kingdom) and Lin Tianyu (China)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

TianYu Lin and Antonio Fois are ceramic artists whose practices converge through a shared engagement with Chinese calligraphy, scholar's rocks, and the philosophical traditions embedded within these cultural forms. Their collaboration emerged through a series of conversations while both artists were based at Taoxichuan, where a mutual interest in language, materiality, and cultural heritage laid the foundation for an ongoing artistic exchange.
Although their circumstances changed after Lin completed his residency, the dialogue continued across distance. Each artist developed work independently while remaining connected through a sustained process of discussion, reflection, and mutual influence.
This mode of collaboration\u2014simultaneously shared and autonomous\u2014became central to the project itself. The project is framed by the concept of \u201cNew Epigraphy\u201d (\u65b0\u2fa6\u2f6f). Drawing inspiration
from the traditional Chinese discipline of jinshi (epigraphy), which studies ancient inscriptions on bronze and stone, New Epigraphy reinterprets these historical practices through a contemporary lens. It emphasises the materiality of writing, the temporality of ceramic processes, and the ways in which text and object co-create meaning. Within this framework, each artist responds to classical literary and philosophical sources while expanding the possibilities of ceramic sculpture as a medium for calligraphic expression.
The resulting works bring together Lin's interpretation of Li Bai's celebrated poem \u201cInvitation to Wine\u201d (\u5c06\u8fdb\u9152) and Fois's exploration of the Chinese character \u201c\u4e2d\u201d (Center). Through the intersection of language, writing, text, form, and ceramic practice, the collaboration reflects a shared inquiry into cultural traditions, systems of meaning, and the capacity of dialogue to generate new forms of artistic expression.<\/td>\r\n<\/tr>\r\n
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IN AN UNSTABLE WORLD, THE POSSIBILITY OF NEW LIFE IN A FIELD OF BROKEN HEARTS<\/h3>\r\n

Bernard Kerr (Australia) and Lana Rakanovic (Serbia)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

This work grew out of an ongoing dialogue that we had concerning differences between our life experiences, cultures and lifestyles and how we saw things happening in the world.
Issues of optimism and cynicism, of the human condition, of cultural determinism, power, corruption politics and the place of capitalism and socialism all were discussed as we grappled with how to make a ceramic work that addressed such a topic that, whilst deserving of the greatest attention, might easily become superficial and clich\u00e9.
We believe human conflict to be inevitable and Lana experienced aspects of the Balkan conflict and the break-up of the Nation of Yugoslavia in her childhood, the legacy of which still reverberates in the minds and perceptions of those who experienced it living in the Balkans today.
The one thing we agreed on was that whilst conflict was inevitable, the element of hope, of renewal and new growth was the only salvation for human beings. From the smallest beginnings, and dreams, hope and new life in an unstable world were the symbols of hope we decided to use in our work.
The vessel form is on a sloping conical base, so it is always unstable. We were inspired by seeing some children in chairs that had bases that allowed them to pivot. We also saw celadon cups made like this so that they were also self-righting.
The idea of sprouting seeds suggested new beginnings and hope and linked to Taoist ideas of the innate energy and naturalness or \u2018pu\u2019 and the \u2018xing\u2019 or innate good nature that is in us all.
The ground from which our seedlings emerge is constructed of broken hearts.
Each seedling is articulated with springs so that this is an interactive and kinetic work and refers to qi and energy embedded in all aspects of the universe. When we understand this, peace may become manifest in the world
I threw the forms required and Lana constructed the seedlings. We assembled the piece together. Working together was a good experience for both of us.<\/td>\r\n<\/tr>\r\n
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INTERRUPTED, YET CONNECTED<\/h3>\r\n

Piotr Marek Nowak (Norway) and Di\u00e0na Boitmane (Latvia)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Fragmented, displaced, and transformed, ink gestures traverse two porcelain forms, suggesting that connection endures through interruption, tension, and distance.
This collaborative work brings together the sculptural forms of Piotr Marek Nowak and the graphic interventions of Di\u00e0na Boitmane. The objects were casted in porcelain through a shared making process, while transferred ink gestures introduce a second visual language that continues the dialogue across the surfaces.
Within the framework of Clay for Peace, the work reflects on the possibility of transforming barriers into dialogue.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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EARTH TONES<\/h3>\r\n

Anja Seiler (Switzerland) and Rashi Jain (India)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Very intuitively we started to throw the forms we were individually working on- on a small scale in Yixing local clay. While Rashi was working on bodies related to the uncarved block , Anja was building amphora like huge vessels. While questioning ourselves how to create a connection between our practices and the pieces, we started to combine them in finding a position where one piece would shoulder the other one.<\/p>\r\n

The pieces lean on each other, hold and position themselves searching for harmony and balance. In order to truly communicate we associated the pieces in joining them in a way so that the two volumes would become one . We tried to find a way to make them sound using them as a rudimentary instrument , which would allow to send and receive tones. The openings function either as ear or mouth - depending on how you want to use their communicative potential. Rolling them in clay, then created traces which mark the coming together of a new form.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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PAGODA - LOST IN TRANSLATION<\/h3>\r\n

Heidi Mc Kenzie (Canada) and Alexander Perlin (Belarus)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

This collaborative Clay for Peace project was born out of a friendship that emerged at Wang\u2019ou Longquan Taoxichuan Cultural and Creative Centre. Heidi McKenzie from Canada, and Alexander Perlin from Belarus, found a meeting place where Alexander\u2019s extensive experience working as an artist in China and Heidi\u2019s idea to work with the visual voice prints came together. It was a third resident, Bernard Kerr from Australia, who pointed out that the voiceprint turned on its side resembles the Chinese pagoda. We decided upon the phrase, \u201clost in translation\u201d because it plays on the idea of how challenging, yet rewarding, our lived experience as foreigners communicating on a daily basis with the local community can be. Alex and Heidi expanded on this concept and used multiple press-moulds of bamboo-like nodes. They chose to make the pieces from local clay bodies, fired in the gas kiln with Longquan Ru and Iron celadons. It was Heidi\u2019s first time working with celadon glazing, and Alex\u2019s first time working with press moulds. The two artists worked together in all aspects of the creation of the work.<\/td>\r\n<\/tr>\r\n
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EMBRACING FLAWS<\/h3>\r\n

Pep Boadas (Spain) and FU-YU Jingdezhen porcelain factory<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

This installation emerges from a collaboration with the FU-YU porcelain factory, driven by a desire to connect with one of the city\u2019s ceramic realities and propose narratives that encourage the reuse of ceramic materials. These compositions aim to bridge two seemingly opposing worlds, creating spaces for common dialogue where material serves as the link between diverse realities. By focusing on waste, the installation tells stories through the imperfections and mistakes inherent in the creative process.
The project highlights the potential of discarded ceramics, transforming them into a medium for expression and connection. Each piece reflects the history embedded within these materials, inviting viewers to reconsider their relationship with waste and craftsmanship. Through this exploration, the installation not only honors traditional ceramic practices but also promotes innovation and sustainability.
By fostering a conversation around the beauty of imperfection and the value of reuse, this exhibition seeks to inspire a deeper understanding of the narratives that can arise from overlooked materials. It challenges us to see beyond the surface and appreciate the stories that shape our environment, encouraging a collective reflection on how we can reshape our relationship with materials in contemporary practice.<\/td>\r\n<\/tr>\r\n
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WINGED KEEL<\/h3>\r\n

Sharbani Das Gupta (United States) and Jiang Haochen (China)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

The form was made by Sharbani Das Gupta and glazed and fired by the glaze master ad artist Jian Haochen. It refers to ideas of stability and flight and the balance between the two. Derived from the form of the breastbone of a bird it has echoes of the massive keel which keeps a ship upright in the sea.<\/td>\r\n<\/tr>\r\n
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SISTERHOOD<\/h3>\r\n

Shayonti Salvi (India) and Yang Hongge (China)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Clouds drift through Boshan while monsoon rain falls across Mumbai. Between these two distant places, water becomes a quiet thread of connection \u2014 elemental and fluid. It is this same material that brings together two artists from China and India, each transforming silica through different traditions: one through glass, the other through clay. The collaborative work takes the form of the gourd, a symbol in Chinese culture associated with health, prosperity and protection from evil spirits. Historically carried as a vessel and medicine holder, the gourd embodies healing and the safeguarding of life. Here, it becomes both form and metaphor: a shared container for hope and coexistence.
At a time when tensions between nations continue to shape the world, the artists find camaraderie through material and process. Clay and glass demand patience, humility and surrender; they remind us that making is an act of listening as much as creation. Though fragile in their raw state, both materials require fire in order to transform. Wood-firing and kiln-forming become processes through which heat and flame alter the materials, leaving behind traces of rupture and beauty. Fire here becomes a paradox: an element of destruction that also creates strength and permanence, much like peace itself often emerges only through conflict and reconciliation.<\/td>\r\n<\/tr>\r\n
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ZEN, SITTING IN FORGETFULNESS - \u7985\u6b62 \/ \u7985\uff0c \u5750\u5fd8\u00a0<\/h3>\r\n

Agnes Husz (Hungary\/Japan) and Zhian Wang (China)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Created in collaboration between a Chinese calligraphy artist and a European ceramicist living in Japan, this installation reinterprets the traditional Japanes Tome-Ishi stop stone for our contemporary era, returning to its ancestral Chinese philosophical roots. Within a single unified artwork, the essences of Zen and Tao intersect. Organic, earthy textures of ink and fired clay clash intentionally against sleek white plastic, sparking contemplation on the balance between man-made industry and untamed nature.
Blown up into monumental scale, the tome-ishi transforms from a quiet garden marker into a stirring symbolic voice. It beckons us to slow down, pause our busy lives and turn inward, to find deep peace that harmonizes our inner selves and the world around us.<\/td>\r\n<\/tr>\r\n
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THE PHYSICS OF COEXISTENCE<\/h3>\r\n

Elizabeth Dychter (Uruguay) and Ji Hyun Chung (South Korea)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

We are testing the limits of clay and connection. The oval rings rest on our tables\u2014Elizabeth\u2019s jade clay, holding bright, painted traces, and Jihyun's Zisha clay, rich with iron and local history. The project is an exercise in structural correspondence; we are building a column by alternating our distinct mediums. There is an inherent displacement here, a subtle tension born from stacking two entirely different clay bodies with separate shrinkage rates and tempers. Yet, as the bands touch and rise toward the studio ceiling, they begin to support one another. It is a fragile equilibrium. The delicate, patterned surface of jade clay and the raw, unadorned strength of dark earth hold a quiet conversation through weight and counterweight, finding a way to coexist in a single, unified form.<\/td>\r\n<\/tr>\r\n
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A GARDEN OF TWO EARTHS<\/h3>\r\n

Mariel Tarela (Argentina) and Ji Hyun Chung (South Korea)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

On the wooden board, a quiet conversation unfolds between two different worlds. Mariel shapes her stories with pristine white clay, capturing a luminous, delicate stillness. Beside hers, I mold my thoughts using Zisha clay\u2014the deep, textured iron-rich earth that connects me to the historic rhythm of this land. Though our origins and mediums are starkly contrasted, our fingertips have found a shared language through the rhythmic pleats of these ceramic petals. Her white blossoms catch the light, while my dark clay absorbs it, creating a sensitive cartography of our shared residency experience. This is not just a collection of ceramic flowers; it is a cross-portrait of two artists holding space for each other, blending our distinct cultural trajectories into a single, resonant garden.<\/td>\r\n<\/tr>\r\n
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SUNA VENTO<\/h3>\r\n

Vilma Villaverde (Argentina) and Kiti Kurarova (Russia)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Creativity is the creation of communication. This project began with communication and interaction between two artists of different generations from different parts of the world with different approaches to work and materials.
The installation poetically combines natural and unnatural, geometric and non-geometric forms, emphasizing the need to reflect on their asymmetry. It also questions our relationship to a hybrid world in which the artificial blends with the natural and the human with the non-human, creating a hesitation between the authentic and the repeated object.
This project focuses our attention and allows for free interpretation of different subjects. And it uses the ability of art to unite people and keep everyone together despite initial differences.<\/td>\r\n<\/tr>\r\n
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DECONSTRUCTION<\/h3>\r\n

Vlad Basarab (Romania) and Neha Gavand Pullarwar (India)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

This project investigates the fragile condition of contemporary existence through the symbolic language of collapsing architecture and fractured landscapes. Drawing inspiration from the collapse of the Twin Towers, the disintegration of human-made structures is meant to make us reflect upon the vulnerability of the human condition and the instability of the systems upon which societies depend. Rather than focusing on the destructive aspects of war, the project examines the inherent human desire for peace, resilience, and need for collective healing in the aftermath of crisis.The installation consists of two ceramic towers, which evoke architectural structures on the verge of collapse. The two vertical elements are juxtaposed by two containers (handmade bowls)\u2014objects historically associated with nourishment, community, and sustenance. The bowls become metaphors for shared resources and collective responsibility, raising urgent questions about access to water in a time of increasing environmental uncertainty. One of the bowls will be made out of white porcelain and it will be filled with cracked clay, while the other one will be made of black stoneware and filled with water.
Cracked clay surfaces and fragmented architectural forms reference the growing reality of drought, desertification, and ecological imbalance, paired with a damaged humanity. The earth itself appears wounded, its fissures echoing both geological fractures and social divisions. Through the materiality of clay, the work connects the body, the land, and the built environment, all subjected to forces of pressure, change, and impermanence.
At its core, the project explores the tension between collapse and renewal. The ceramic bowl, despite its fragility, remains a powerful symbol of care, survival, and hope. Positioned beneath unstable structures, these vessels suggest the possibility of holding, preserving, and sharing what is essential for life. Through sculpture and installation, the work invites reflection on contemporary global challenges, particularly water scarcity, environmental degradation, and conflict, while intending to stimulate the audience to see in peace and interdependence as necessary foundations for the future.
The project transforms clay into a site of remembrance and resistance, where the cracks of the earth
become both warnings and consideration for collective transformation.<\/td>\r\n<\/tr>\r\n
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WORLD PEACE NOW - \u4e16\u754c \u548c\u5e73 \u5f53\u4e0b<\/h3>\r\n

Studio DeSimoneWayland (Netherlands) and Baya (China)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

This work is a collaboration between Studio DeSimoneWayland and Chinese calligraphy artist Baya Zhian.
Studio DeSimoneWayland selected a traditional Chinese Chrysanthemum plate, applied their signature textile structure to its surface, and cast it in unique Jade Porcelain from Jingdezhen. Because the studio primarily works with unglazed porcelain, these pieces have also been left unglazed to highlight the intricate details of the textile texture. In response, Baya Zhian painted three of the plates using cobalt underglaze, her exquisite calligraphy spelling out the Chinese characters \u4e16\u754c (World), \u548c\u5e73 (Peace), and \u5f53\u4e0b (Now).
Studio DeSimoneWayland then paired these with three additional plates spelling out the same message in English: World Peace Now. Leaving the cobalt underglaze unglazed results in a striking indigo blue that beautifully accentuates the textile structure of each unique piece. By rendering \"World Peace Now\" across two distinct cultures and languages, the installation serves as a powerful reminder that harmony requires both global unity and a collective grounding. This message is especially urgent in the current state of the world.<\/td>\r\n<\/tr>\r\n
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HIBAKIJOMOKU: SEEDS OF HOPE<\/h3>\r\n

Shalini Dam (India) and Maria Lamanna (Italy)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Hibakijumoku, is the Japanese term for Trees that survived the atomic bombings of Hiroshima and Nagasaki in 1945. This project is a collaborative artistic proposal, between Shalini Dam and Maria Lamanna, that bridges the primordial element of clay with the living legacy of peace. The project reconstructs a collection of seeds and leafs from Hibakujumoku, the atomic-bombed trees of Hiroshima and Nagasaki that survived the 1945 nuclear devastation. By integrating these symbols of botanical resilience with the universal medium of ceramics, this initiative embodies the core mission of the IAC\u2019s Clay for Peace platform: fostering cross-cultural dialogue, healing, and global reconciliation.
The installation consists of suspended Pods with the different Hibakijumoku seeds, Gingko, Persimmon, Camellia, Camphor\u2026 Above them hang the lenticular tiles symbolically representing their regeneration from one angle, and yet from another angle you see charred remains of trees. Illustrating both, the scattering of hope across borders and the lightness of peace on the one hand, but also reminding you of the weight of history on the the other.<\/td>\r\n<\/tr>\r\n
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SANBAO PORTALS<\/h3>\r\n

Mari Emori (United States) and Jackson Li (China)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Emori and Li collaborated to explore the same form through three different making techniques: hand-building, slab molding, and cast molding. Jackson Li glazed each piece.<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

\u200b<\/p>","_en_post_name":"clay-for-peace-exhibition","_en_post_excerpt":"Clay for Peace exhibition featured artworks created in collaboration between IAC artists.","_en_post_title":"Clay for Peace exhibition","_fr_post_content":"

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\r\n[caption id=\"attachment_93249\" align=\"alignnone\" width=\"2560\"]\"\" Anja Seiler et Rashi Jain collaborent sur leur \u0153uvre pour l'exposition \u00ab Clay for Peace \u00bb.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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CLAY FOR PEACE<\/h3>\r\n

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\u00ab Clay for Peace \u00bb constituait un volet sp\u00e9cifique de l'exposition des r\u00e9sidences internationales de l'AIC, r\u00e9unissant des \u0153uvres collaboratives cr\u00e9\u00e9es par des artistes en r\u00e9sidence de l'AIC durant leur s\u00e9jour en Chine. Ces projets ont \u00e9t\u00e9 \u00e9labor\u00e9s en collaboration avec d'autres artistes en r\u00e9sidence, des membres chinois de l'AIC ou des artistes locaux, m\u00ealant ainsi diverses pratiques artistiques, exp\u00e9riences et perspectives culturelles.
\u00c0 l'initiative de Jacques Kaufmann, ancien pr\u00e9sident de l'AIC, \u00ab Clay for Peace \u00bb repose sur la conviction que la collaboration artistique constitue un puissant vecteur de dialogue et de compr\u00e9hension mutuelle entre les cultures. En travaillant ensemble l'argile, les artistes \u00e9taient invit\u00e9s non seulement \u00e0 partager des techniques et des id\u00e9es, mais aussi \u00e0 cr\u00e9er un espace d'\u00e9change, de rencontre et de lien.
En tant qu'ONG affili\u00e9e \u00e0 l'UNESCO, l'AIC s'engage \u00e0 promouvoir la paix et la compr\u00e9hension interculturelle par le biais de la c\u00e9ramique. \u00ab Clay for Peace \u00bb concr\u00e9tise cet engagement en transformant la cr\u00e9ation collective d'\u0153uvres en c\u00e9ramique en un geste de dialogue et de solidarit\u00e9.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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PANORAMA ET EXPRESSIONNISME ABSTRAIT<\/h3>\r\n

Antonio Fois (Royaume-Uni) et Babs Haenen (Pays-Bas)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Babs Haenen est reconnue internationalement pour sa pratique expressive de la c\u00e9ramique, fa\u00e7onn\u00e9e par des influences allant de la peinture italienne aux formes organiques et aux rythmes de la nature. L\u2019\u0153uvre d\u2019Antonio Fois se distingue par sa sensibilit\u00e9 picturale, puisant son inspiration dans l\u2019imagerie visc\u00e9rale et charg\u00e9e d\u2019\u00e9motion de Francis Bacon. Leur collaboration est n\u00e9e d\u2019un langage artistique commun, r\u00e9unissant des approches compl\u00e9mentaires de la forme, de la surface et de l\u2019expression.<\/p>\r\n

Pour l\u2019\u0153uvre *Panorama*, Haenen a \u00e9labor\u00e9 la pi\u00e8ce \u00e0 partir d\u2019une matrice en pl\u00e2tre, en y pressant des plaques de porcelaine noire et blanche pour cr\u00e9er une surface dynamique \u00e9voquant le bas-relief. Fois est ensuite intervenu en appliquant des couleurs sous couverte et des \u00e9maux, enrichissant l\u2019\u0153uvre de gestes picturaux et d\u2019une profondeur chromatique. La pi\u00e8ce qui en r\u00e9sulte t\u00e9moigne d\u2019un dialogue entre construction sculpturale et expression picturale.
L\u2019\u0153uvre *Abstract Expression* approfondit cet \u00e9change. Compos\u00e9e de multiples \u00e9l\u00e9ments en porcelaine color\u00e9e r\u00e9alis\u00e9s par Haenen, elle a ensuite \u00e9t\u00e9 peinte par Fois \u00e0 l\u2019aide de couleurs sous couverte et d\u2019\u00e9maux. L\u2019interaction entre la forme c\u00e9ramique et la surface peinte engendre une riche complexit\u00e9 visuelle, estompant les fronti\u00e8res entre sculpture et peinture.
Cette collaboration s\u2019est fond\u00e9e non seulement sur une affinit\u00e9 artistique, mais aussi sur un lien personnel. La d\u00e9couverte d\u2019int\u00e9r\u00eats communs et d\u2019amiti\u00e9s partag\u00e9es \u00e0 Londres a favoris\u00e9 un sentiment de proximit\u00e9 et de confiance, jetant ainsi les bases d\u2019un partenariat cr\u00e9atif significatif.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\"SIT DOWN PLEASE\": UNE EXPERIENCE DE DIALOGUE<\/h3>\r\n

Marina Rodriguez (Argentine) et Rosana Tagliari Bortolin (Br\u00e9sil)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u00ab Asseyez-vous, s\u2019il vous pla\u00eet \u00bb est bien plus qu\u2019une simple invitation \u00e0 s\u2019asseoir : c\u2019est une incitation \u00e0 partager, \u00e0 \u00e9couter et \u00e0 r\u00e9fl\u00e9chir. En prenant place sur le banc en c\u00e9ramique et en s\u2019exprimant dans le dispositif d\u2019amplification, les participants deviennent partie int\u00e9grante de l\u2019\u0153uvre. L\u2019espace favorise l\u2019\u00e9coute active, amplifie les voix et valorise chaque contribution, encourageant ainsi le dialogue et la compr\u00e9hension collective. Cette exp\u00e9rience transforme le spectateur en participant actif, renfor\u00e7ant la collaboration et l\u2019importance de l\u2019expression au sein d\u2019un environnement partag\u00e9.<\/td>\r\n<\/tr>\r\n
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FORMES DE DIALOGUE - \u5bf9\u8bdd\u7684\u5f62\u5f0f<\/h3>\r\n

Antonio Fois (Royaume-Uni) et Lin Tianyu (Chine)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

TianYu Lin et Antonio Fois sont des c\u00e9ramistes dont les d\u00e9marches convergent autour d'un int\u00e9r\u00eat commun pour la calligraphie chinoise, les pierres de lettr\u00e9 (\"scholar's rocks\") et les traditions philosophiques inh\u00e9rentes \u00e0 ces formes culturelles. Leur collaboration est n\u00e9e d'une s\u00e9rie d'\u00e9changes alors qu'ils travaillaient tous deux \u00e0 Taoxichuan ; un int\u00e9r\u00eat partag\u00e9 pour le langage, la mat\u00e9rialit\u00e9 et le patrimoine culturel a jet\u00e9 les bases d'un dialogue artistique continu.
Bien que leurs situations aient \u00e9volu\u00e9 apr\u00e8s la fin de la r\u00e9sidence de Lin, le dialogue s'est poursuivi malgr\u00e9 la distance. Chaque artiste a d\u00e9velopp\u00e9 son travail de mani\u00e8re autonome tout en restant li\u00e9 \u00e0 l'autre par un processus soutenu de discussion, de r\u00e9flexion et d'influence mutuelle.
Ce mode de collaboration \u2014 \u00e0 la fois partag\u00e9 et autonome \u2014 est devenu central au projet lui-m\u00eame. Le projet s'articule autour du concept de \u00ab Nouvelle \u00e9pigraphie \u00bb (\u65b0\u91d1\u77f3). S'inspirant
de la discipline traditionnelle chinoise du \"jinshi\" (\u00e9pigraphie), qui \u00e9tudie les inscriptions anciennes sur bronze et sur pierre, la \u00ab Nouvelle \u00e9pigraphie \u00bb r\u00e9interpr\u00e8te ces pratiques historiques sous un angle contemporain. Elle met l'accent sur la mat\u00e9rialit\u00e9 de l'\u00e9criture, la temporalit\u00e9 des processus c\u00e9ramiques et la mani\u00e8re dont le texte et l'objet co-cr\u00e9ent du sens. Dans ce cadre, chaque artiste r\u00e9agit \u00e0 des sources litt\u00e9raires et philosophiques classiques tout en \u00e9largissant les possibilit\u00e9s de la sculpture c\u00e9ramique comme m\u00e9dium d'expression calligraphique.
Les \u0153uvres qui en r\u00e9sultent associent l'interpr\u00e9tation par Lin du c\u00e9l\u00e8bre po\u00e8me de Li Bai, \u00ab Invitation au vin \u00bb (\u5c06\u8fdb\u9152), \u00e0 l'exploration par Fois du caract\u00e8re chinois \u00ab \u4e2d \u00bb (Centre). \u00c0 travers la rencontre du langage, de l'\u00e9criture, du texte, de la forme et de la pratique c\u00e9ramique, cette collaboration refl\u00e8te une r\u00e9flexion commune sur les traditions culturelles, les syst\u00e8mes de signification et la capacit\u00e9 du dialogue \u00e0 engendrer de nouvelles formes d'expression artistique.<\/td>\r\n<\/tr>\r\n
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DANS UN MONDE INSTABLE WORLD, LA POSSIBILIT\u00c9 D'UNE NOUVELLE VIE AU MILIEU D'UN CHAMP DE C\u0152URS BRIS\u00c9S<\/h3>\r\n

Bernard Kerr (Australie) et Lana Rakanovic (Serbie)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Ce travail est n\u00e9 d'un dialogue continu sur les diff\u00e9rences entre nos parcours de vie, nos cultures et nos modes de vie, ainsi que sur notre perception de l'actualit\u00e9 mondiale.
Nous avons abord\u00e9 des th\u00e8mes tels que l'optimisme et le cynisme, la condition humaine, le d\u00e9terminisme culturel, le pouvoir, la corruption politique, ainsi que la place du capitalisme et du socialisme. Il s'agissait pour nous de trouver comment cr\u00e9er une \u0153uvre en c\u00e9ramique traitant d'un sujet qui, bien que m\u00e9ritant la plus grande attention, risquait facilement de tomber dans la superficialit\u00e9 ou le clich\u00e9.
Nous consid\u00e9rons le conflit humain comme in\u00e9vitable ; Lana a v\u00e9cu, durant son enfance, le conflit des Balkans et l'\u00e9clatement de la Yougoslavie, des \u00e9v\u00e9nements dont l'h\u00e9ritage marque encore les esprits et les perceptions de ceux qui les ont travers\u00e9s et qui vivent aujourd'hui dans cette r\u00e9gion.
Nous nous sommes accord\u00e9s sur un point : si le conflit est in\u00e9vitable, l'espoir, le renouveau et la renaissance constituent le seul salut pour l'humanit\u00e9. Partant de choses infimes, nous avons choisi d'utiliser les r\u00eaves, l'espoir et la vie nouvelle \u2014 dans un monde instable \u2014 comme symboles de cet espoir au sein de notre \u0153uvre.
Le r\u00e9cipient repose sur une base conique inclin\u00e9e, ce qui le rend intrins\u00e8quement instable. Nous nous sommes inspir\u00e9s de chaises pour enfants dot\u00e9es de bases pivotantes, ainsi que de tasses en c\u00e9ladon con\u00e7ues pour se redresser d'elles-m\u00eames.
L'id\u00e9e de graines en germination \u00e9voquait le renouveau et l'espoir, tout en faisant \u00e9cho aux concepts tao\u00efstes d'\u00e9nergie inn\u00e9e et de naturel (le \u00ab pu \u00bb), ainsi que du \u00ab xing \u00bb, cette bont\u00e9 inn\u00e9e pr\u00e9sente en chacun de nous.
Le sol d'o\u00f9 \u00e9mergent nos jeunes pousses est constitu\u00e9 de c\u0153urs bris\u00e9s.
Chaque pousse est mont\u00e9e sur ressort, faisant de cette \u0153uvre une cr\u00e9ation interactive et cin\u00e9tique qui renvoie au \u00ab qi \u00bb et \u00e0 l'\u00e9nergie impr\u00e9gnant tous les aspects de l'univers. Lorsque nous comprenons cela, la paix peut se manifester dans le monde.
J'ai fa\u00e7onn\u00e9 les formes n\u00e9cessaires au tour, tandis que Lana a r\u00e9alis\u00e9 les jeunes pousses. Nous avons ensuite assembl\u00e9 l'\u0153uvre ensemble. Cette collaboration a \u00e9t\u00e9 une exp\u00e9rience enrichissante pour nous deux.<\/td>\r\n<\/tr>\r\n
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INTERROMPUS, MAIS TOUJOURS CONNECT\u00c9S<\/h3>\r\n

Piotr Marek Nowak (Norv\u00e8ge) et Di\u00e0na Boitmane (Lettonie)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Fragment\u00e9s, d\u00e9plac\u00e9s et transform\u00e9s, des gestes \u00e0 l'encre parcourent deux formes en porcelaine, sugg\u00e9rant que le lien perdure malgr\u00e9 l'interruption, la tension et la distance.
Cette \u0153uvre collaborative associe les formes sculpturales de Piotr Marek Nowak aux interventions graphiques de Di\u00e0na Boitmane. Les objets ont \u00e9t\u00e9 moul\u00e9s en porcelaine selon un processus de cr\u00e9ation partag\u00e9, tandis que des gestes \u00e0 l'encre transf\u00e9r\u00e9s introduisent un second langage visuel qui prolonge le dialogue \u00e0 travers les surfaces.
Dans le cadre de \u00ab Clay for Peace \u00bb, l'\u0153uvre invite \u00e0 r\u00e9fl\u00e9chir sur la possibilit\u00e9 de transformer les barri\u00e8res en dialogue.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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[video width=\"1440\" height=\"2560\" mp4=\"https:\/\/jingdezhen2026.aic-iac.org\/wp-content\/uploads\/sites\/8\/2026\/09\/5D425466-435C-4F70-BE52-360298598BA9.mp4\"][\/video]<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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TEINTES DE LA TERRE<\/h3>\r\n

Anja Seiler (Suisse) et Rashi Jain (Inde)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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De mani\u00e8re tr\u00e8s intuitive, nous avons commenc\u00e9 \u00e0 r\u00e9aliser les formes sur lesquelles nous travaillions chacune de notre c\u00f4t\u00e9, \u00e0 petite \u00e9chelle, dans l\u2019argile locale de Yixing. Tandis que Rashi travaillait sur des corps inspir\u00e9s du \u00ab bloc non sculpt\u00e9 \u00bb, Anja cr\u00e9ait d\u2019immenses r\u00e9cipients ressemblant \u00e0 des amphores. Tout en nous demandant comment \u00e9tablir un lien entre nos pratiques et nos pi\u00e8ces, nous avons commenc\u00e9 \u00e0 les associer afin de trouver une position o\u00f9 l\u2019une soutiendrait l\u2019autre.<\/p>\r\n

Les pi\u00e8ces s\u2019appuient les unes sur les autres, se soutiennent et se positionnent \u00e0 la recherche d\u2019harmonie et d\u2019\u00e9quilibre. Afin de communiquer v\u00e9ritablement, nous avons associ\u00e9 les pi\u00e8ces en les assemblant de mani\u00e8re \u00e0 ce que les deux volumes ne fassent plus qu\u2019un. Nous avons tent\u00e9 de trouver un moyen de les faire r\u00e9sonner en les utilisant comme un instrument rudimentaire, capable d\u2019\u00e9mettre et de recevoir des sons. Les ouvertures font office soit d\u2019oreille, soit de bouche \u2013 selon la mani\u00e8re dont on souhaite exploiter leur potentiel communicatif. En les roulant dans l\u2019argile, nous avons ensuite cr\u00e9\u00e9 des traces qui marquent la naissance d\u2019une nouvelle forme.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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PAGODA - LOST IN TRANSLATION<\/h3>\r\n

Heidi Mc Kenzie (Canada) et Alexander Perlin (Bi\u00e9lorussie)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Ce projet collaboratif \u00ab Clay for Peace \u00bb est n\u00e9 d\u2019une amiti\u00e9 qui s\u2019est nou\u00e9e au Centre culturel et cr\u00e9atif Wang\u2019ou Longquan Taoxichuan. Heidi McKenzie, originaire du Canada, et Alexander Perlin, originaire de Bi\u00e9lorussie, y ont trouv\u00e9 un lieu de rencontre o\u00f9 la longue exp\u00e9rience d\u2019Alexander en tant qu\u2019artiste en Chine et l\u2019id\u00e9e d\u2019Heidi de travailler avec des \u00ab empreintes vocales visuelles \u00bb ont pu se conjuguer. C\u2019est un troisi\u00e8me r\u00e9sident, Bernard Kerr, originaire d\u2019Australie, qui a fait remarquer que l\u2019empreinte vocale, tourn\u00e9e sur le c\u00f4t\u00e9, ressemblait \u00e0 une pagode chinoise. Nous avons choisi l\u2019expression \u00ab lost in translation \u00bb (perdu dans la traduction) car elle joue sur l\u2019id\u00e9e du caract\u00e8re \u00e0 la fois difficile et enrichissant de notre exp\u00e9rience v\u00e9cue en tant qu\u2019\u00e9trangers communiquant au quotidien avec la communaut\u00e9 locale. Alex et Heidi ont d\u00e9velopp\u00e9 ce concept et ont utilis\u00e9 plusieurs moules \u00e0 pression repr\u00e9sentant des n\u0153uds semblables \u00e0 ceux du bambou. Ils ont choisi de r\u00e9aliser les pi\u00e8ces \u00e0 partir d\u2019argiles locales, cuites dans un four \u00e0 gaz avec des \u00e9maux \u00ab Longquan Ru \u00bb et des c\u00e9ladons ferreux. C\u2019\u00e9tait la premi\u00e8re fois qu\u2019Heidi travaillait avec des \u00e9maux c\u00e9ladons, et la premi\u00e8re fois qu\u2019Alex utilisait des moules \u00e0 pression. Les deux artistes ont collabor\u00e9 \u00e0 tous les aspects de la cr\u00e9ation de l\u2019\u0153uvre.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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ACCEPTER SES IMPERFECTIONS<\/h3>\r\n

Pep Boadas (Espagne) et Usine de porcelaine FU-YU de Jingdezhen<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Cette installation est le fruit d\u2019une collaboration avec la manufacture de porcelaine FU-YU, anim\u00e9e par la volont\u00e9 de se connecter \u00e0 l\u2019une des r\u00e9alit\u00e9s c\u00e9ramiques de la ville et de proposer des r\u00e9cits qui encouragent la r\u00e9utilisation des mat\u00e9riaux c\u00e9ramiques. Ces compositions visent \u00e0 jeter un pont entre deux mondes apparemment oppos\u00e9s, en cr\u00e9ant des espaces de dialogue commun o\u00f9 la mati\u00e8re sert de lien entre des r\u00e9alit\u00e9s diverses. En mettant l\u2019accent sur les d\u00e9chets, l\u2019installation raconte des histoires \u00e0 travers les imperfections et les erreurs inh\u00e9rentes au processus cr\u00e9atif.
Le projet met en lumi\u00e8re le potentiel des c\u00e9ramiques mises au rebut, en les transformant en un moyen d\u2019expression et de connexion. Chaque pi\u00e8ce refl\u00e8te l\u2019histoire ancr\u00e9e dans ces mat\u00e9riaux, invitant les spectateurs \u00e0 repenser leur rapport aux d\u00e9chets et \u00e0 l\u2019artisanat. \u00c0 travers cette exploration, l\u2019installation rend non seulement hommage aux pratiques c\u00e9ramiques traditionnelles, mais promeut \u00e9galement l\u2019innovation et la durabilit\u00e9.
En suscitant une r\u00e9flexion sur la beaut\u00e9 de l\u2019imperfection et la valeur de la r\u00e9utilisation, cette exposition vise \u00e0 inspirer une compr\u00e9hension plus profonde des r\u00e9cits qui peuvent \u00e9merger de mat\u00e9riaux n\u00e9glig\u00e9s. Elle nous invite \u00e0 voir au-del\u00e0 des apparences et \u00e0 appr\u00e9cier les histoires qui fa\u00e7onnent notre environnement, encourageant ainsi une r\u00e9flexion collective sur la mani\u00e8re dont nous pouvons red\u00e9finir notre rapport aux mat\u00e9riaux dans la pratique contemporaine.<\/td>\r\n<\/tr>\r\n
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QUILLE AIL\u00c9E<\/h3>\r\n

Sharbani Das Gupta (Etats-Unis) et Jiang Haochen (Chine)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

La pi\u00e8ce a \u00e9t\u00e9 model\u00e9e par Sharbani Das Gupta, puis \u00e9maill\u00e9e et cuite par Jian Haochen, ma\u00eetre \u00e9mailleur et artiste. Elle \u00e9voque les notions de stabilit\u00e9 et de vol, ainsi que l'\u00e9quilibre entre les deux. Inspir\u00e9e de la forme du sternum d'un oiseau, elle rappelle la quille massive qui maintient un navire \u00e0 la verticale en mer.<\/td>\r\n<\/tr>\r\n
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SORORIT\u00c9<\/h3>\r\n

Shayonti Salvi (Inde) et Yang Hongge (Chine)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Des nuages d\u00e9rivent au-dessus de Boshan tandis que la pluie de mousson s\u2019abat sur Mumbai. Entre ces deux lieux \u00e9loign\u00e9s, l\u2019eau devient un lien discret \u2014 \u00e9l\u00e9mentaire et fluide. C\u2019est cette m\u00eame mati\u00e8re qui r\u00e9unit deux artistes, l\u2019un originaire de Chine et l\u2019autre d\u2019Inde, qui transforment chacun la silice selon des traditions diff\u00e9rentes : l\u2019un \u00e0 travers le verre, l\u2019autre \u00e0 travers l\u2019argile. Leur \u0153uvre collaborative prend la forme d\u2019une calebasse, symbole de la culture chinoise associ\u00e9 \u00e0 la sant\u00e9, \u00e0 la prosp\u00e9rit\u00e9 et \u00e0 la protection contre les mauvais esprits. Utilis\u00e9e historiquement comme r\u00e9cipient et porte-m\u00e9dicaments, la calebasse incarne la gu\u00e9rison et la pr\u00e9servation de la vie. Ici, elle devient \u00e0 la fois forme et m\u00e9taphore : un r\u00e9ceptacle commun pour l\u2019espoir et la coexistence.
\u00c0 une \u00e9poque o\u00f9 les tensions entre les nations continuent de fa\u00e7onner le monde, les artistes trouvent une camaraderie \u00e0 travers la mati\u00e8re et le processus de cr\u00e9ation. L\u2019argile et le verre exigent patience, humilit\u00e9 et abandon ; ils nous rappellent que la fabrication est autant un acte d\u2019\u00e9coute que de cr\u00e9ation. Bien que fragiles \u00e0 l\u2019\u00e9tat brut, ces deux mat\u00e9riaux ont besoin du feu pour se transformer. La cuisson au bois et le fa\u00e7onnage au four deviennent des processus par lesquels la chaleur et la flamme alt\u00e8rent les mat\u00e9riaux, laissant derri\u00e8re elles des traces de rupture et de beaut\u00e9. Le feu devient ici un paradoxe : un \u00e9l\u00e9ment de destruction qui engendre \u00e9galement force et permanence, tout comme la paix elle-m\u00eame n\u2019\u00e9merge souvent qu\u2019\u00e0 travers le conflit et la r\u00e9conciliation.<\/td>\r\n<\/tr>\r\n
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ZEN, S'ASSEOIR DANS L'OUBLI - \u7985\u6b62 \/ \u7985\uff0c \u5750\u5fd8\u00a0<\/h3>\r\n

Agnes Husz (Hongrie\/Japon) et Zhian Wang (Chine)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Fruit d\u2019une collaboration entre un calligraphe chinois et un c\u00e9ramiste europ\u00e9en r\u00e9sidant au Japon, cette installation r\u00e9interpr\u00e8te la pierre d\u2019arr\u00eat traditionnelle japonaise \u00ab Tome-Ishi \u00bb \u00e0 l\u2019\u00e8re contemporaine, en renouant avec ses racines philosophiques chinoises ancestrales. Au sein d\u2019une \u0153uvre d\u2019art unique et unifi\u00e9e, les essences du zen et du tao se croisent. Les textures organiques et terreuses de l\u2019encre et de l\u2019argile cuite contrastent d\u00e9lib\u00e9r\u00e9ment avec le plastique blanc lisse, suscitant une r\u00e9flexion sur l\u2019\u00e9quilibre entre l\u2019industrie humaine et la nature sauvage.
Agrandie \u00e0 une \u00e9chelle monumentale, la \u00ab tome-ishi \u00bb passe du statut de simple rep\u00e8re de jardin discret \u00e0 celui d\u2019une voix symbolique \u00e9mouvante. Elle nous invite \u00e0 ralentir, \u00e0 faire une pause dans nos vies tr\u00e9pidantes et \u00e0 nous tourner vers notre for int\u00e9rieur, afin de trouver une paix profonde qui harmonise notre moi int\u00e9rieur et le monde qui nous entoure.<\/td>\r\n<\/tr>\r\n
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LA PHYSIQUE DE LA COEXISTENCE<\/h3>\r\n

Elizabeth Dychter (Uruguay) et Ji Hyun Chung (Cor\u00e9e du Sud)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Nous explorons les limites de l\u2019argile et du lien. Les anneaux ovales reposent sur nos tables : l\u2019argile \u00ab jade \u00bb d\u2019Elizabeth, parsem\u00e9e de traces de peinture vives, et l\u2019argile \u00ab zisha \u00bb de Jihyun, riche en fer et impr\u00e9gn\u00e9e d\u2019histoire locale. Ce projet est un exercice de correspondance structurelle ; nous construisons une colonne en alternant nos mat\u00e9riaux distincts. Il y a ici un d\u00e9calage inh\u00e9rent, une tension subtile n\u00e9e de l\u2019empilement de deux masses d\u2019argile totalement diff\u00e9rentes, aux taux de retrait et aux compositions distincts. Pourtant, \u00e0 mesure que les anneaux se touchent et s\u2019\u00e9l\u00e8vent vers le plafond de l\u2019atelier, ils commencent \u00e0 se soutenir mutuellement. C\u2019est un \u00e9quilibre fragile. La surface d\u00e9licate et orn\u00e9e de l\u2019argile de jade et la force brute et sans fioritures de la terre sombre entretiennent un dialogue silencieux \u00e0 travers le poids et le contrepoids, trouvant le moyen de coexister dans une forme unique et unifi\u00e9e.<\/td>\r\n<\/tr>\r\n
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UN JARDIN DE DEUX TERRES<\/h3>\r\n

Mariel Tarela (Argentine) et Ji Hyun Chung (Cor\u00e9e du Sud)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Sur la planche de bois, une conversation tranquille s\u2019engage entre deux mondes diff\u00e9rents. Mariel fa\u00e7onne ses histoires avec de l\u2019argile d\u2019un blanc immacul\u00e9, capturant une qui\u00e9tude lumineuse et d\u00e9licate. \u00c0 ses c\u00f4t\u00e9s, je donne forme \u00e0 mes pens\u00e9es \u00e0 l\u2019aide d\u2019argile Zisha \u2014 cette terre profonde et textur\u00e9e, riche en fer, qui me relie au rythme historique de cette terre. Bien que nos origines et nos mat\u00e9riaux soient diam\u00e9tralement oppos\u00e9s, nos doigts ont trouv\u00e9 un langage commun \u00e0 travers les plis rythm\u00e9s de ces p\u00e9tales de c\u00e9ramique. Ses fleurs blanches captent la lumi\u00e8re, tandis que mon argile sombre l\u2019absorbe, cr\u00e9ant ainsi une cartographie sensible de notre exp\u00e9rience commune de r\u00e9sidence. Il ne s\u2019agit pas simplement d\u2019une collection de fleurs en c\u00e9ramique ; c\u2019est un portrait crois\u00e9 de deux artistes qui se font mutuellement de la place, m\u00ealant nos parcours culturels distincts en un seul et m\u00eame jardin \u00e9vocateur.<\/td>\r\n<\/tr>\r\n
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SUNA VENTO<\/h3>\r\n

Vilma Villaverde (Argentine) et Kiti Kurarova (Russie)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

La cr\u00e9ativit\u00e9, c\u2019est la cr\u00e9ation de la communication. Ce projet est n\u00e9 de la communication et de l\u2019interaction entre deux artistes de g\u00e9n\u00e9rations diff\u00e9rentes, originaires de diff\u00e9rentes r\u00e9gions du monde et ayant des approches distinctes du travail et des mat\u00e9riaux.
L'installation associe de mani\u00e8re po\u00e9tique des formes naturelles et artificielles, g\u00e9om\u00e9triques et non g\u00e9om\u00e9triques, soulignant la n\u00e9cessit\u00e9 de r\u00e9fl\u00e9chir \u00e0 leur asym\u00e9trie. Elle interroge \u00e9galement notre rapport \u00e0 un monde hybride o\u00f9 l'artificiel se m\u00eale au naturel et l'humain au non-humain, cr\u00e9ant une h\u00e9sitation entre l'objet authentique et l'objet reproduit.
Ce projet concentre notre attention et permet une libre interpr\u00e9tation de diff\u00e9rents sujets. Il met \u00e0 profit la capacit\u00e9 de l'art \u00e0 unir les gens et \u00e0 les rassembler malgr\u00e9 leurs diff\u00e9rences initiales.<\/td>\r\n<\/tr>\r\n
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D\u00c9CONSTRUCTION<\/h3>\r\n

Vlad Basarab (Roumanie) et Neha Gavand Pullarwar (Inde)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Ce projet explore la fragilit\u00e9 de l\u2019existence contemporaine \u00e0 travers le langage symbolique d\u2019une architecture en ruine et de paysages fractur\u00e9s. S\u2019inspirant de l\u2019effondrement des tours jumelles, la d\u00e9sint\u00e9gration des structures cr\u00e9\u00e9es par l\u2019homme vise \u00e0 nous faire r\u00e9fl\u00e9chir \u00e0 la vuln\u00e9rabilit\u00e9 de la condition humaine et \u00e0 l\u2019instabilit\u00e9 des syst\u00e8mes dont d\u00e9pendent les soci\u00e9t\u00e9s. Plut\u00f4t que de se concentrer sur les aspects destructeurs de la guerre, le projet examine le d\u00e9sir inh\u00e9rent \u00e0 l\u2019\u00eatre humain de paix et de r\u00e9silience, ainsi que le besoin de gu\u00e9rison collective au lendemain d\u2019une crise. L\u2019installation se compose de deux tours en c\u00e9ramique, qui \u00e9voquent des structures architecturales au bord de l\u2019effondrement. Ces deux \u00e9l\u00e9ments verticaux sont juxtapos\u00e9s \u00e0 deux r\u00e9cipients (des bols fabriqu\u00e9s \u00e0 la main) \u2014 des objets historiquement associ\u00e9s \u00e0 la nourriture, \u00e0 la communaut\u00e9 et \u00e0 la subsistance. Les bols deviennent des m\u00e9taphores des ressources partag\u00e9es et de la responsabilit\u00e9 collective, soulevant des questions urgentes concernant l\u2019acc\u00e8s \u00e0 l\u2019eau \u00e0 une \u00e9poque marqu\u00e9e par une incertitude environnementale croissante. L\u2019un des bols sera en porcelaine blanche et rempli d\u2019argile fissur\u00e9e, tandis que l\u2019autre sera en gr\u00e8s noir et rempli d\u2019eau.<\/p>\r\n

Les surfaces d\u2019argile fissur\u00e9es et les formes architecturales fragment\u00e9es font \u00e9cho \u00e0 la r\u00e9alit\u00e9 croissante de la s\u00e9cheresse, de la d\u00e9sertification et du d\u00e9s\u00e9quilibre \u00e9cologique, associ\u00e9es \u00e0 une humanit\u00e9 meurtrie. La terre elle-m\u00eame semble bless\u00e9e, ses fissures faisant \u00e9cho \u00e0 la fois aux fractures g\u00e9ologiques et aux divisions sociales. \u00c0 travers la mat\u00e9rialit\u00e9 de l\u2019argile, l\u2019\u0153uvre \u00e9tablit un lien entre le corps, la terre et l\u2019environnement b\u00e2ti, tous soumis \u00e0 des forces de pression, de changement et d\u2019impermanence.
Au c\u0153ur de ce projet se trouve l\u2019exploration de la tension entre l\u2019effondrement et le renouveau. Le bol en c\u00e9ramique, malgr\u00e9 sa fragilit\u00e9, reste un puissant symbole de bienveillance, de survie et d\u2019espoir. Plac\u00e9s sous des structures instables, ces r\u00e9cipients sugg\u00e8rent la possibilit\u00e9 de contenir, de pr\u00e9server et de partager ce qui est essentiel \u00e0 la vie. \u00c0 travers la sculpture et l\u2019installation, l\u2019\u0153uvre invite \u00e0 r\u00e9fl\u00e9chir aux d\u00e9fis mondiaux contemporains, notamment la p\u00e9nurie d\u2019eau, la d\u00e9gradation de l\u2019environnement et les conflits, tout en cherchant \u00e0 inciter le public \u00e0 consid\u00e9rer la paix et l\u2019interd\u00e9pendance comme des fondements indispensables pour l\u2019avenir.
Le projet transforme l\u2019argile en un lieu de m\u00e9moire et de r\u00e9sistance, o\u00f9 les fissures de la terre deviennent \u00e0 la fois des avertissements et une invitation \u00e0 la r\u00e9flexion sur la transformation collective.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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LA PAIX DANS LE MONDE, MAINTENANT - \u4e16\u754c \u548c\u5e73 \u5f53\u4e0b<\/h3>\r\n

Studio DeSimoneWayland (Pays-Bas) et Baya (Chine)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Cette \u0153uvre est le fruit d\u2019une collaboration entre le Studio DeSimoneWayland et l\u2019artiste calligraphe chinoise Baya Zhian.
Le Studio DeSimoneWayland a s\u00e9lectionn\u00e9 une assiette traditionnelle chinoise orn\u00e9e d\u2019un chrysanth\u00e8me, a appliqu\u00e9 sa structure textile caract\u00e9ristique sur sa surface, puis l\u2019a moul\u00e9e dans une porcelaine \u00ab Jade \u00bb unique provenant de Jingdezhen. Le studio travaillant principalement avec de la porcelaine non \u00e9maill\u00e9e, ces pi\u00e8ces ont \u00e9galement \u00e9t\u00e9 laiss\u00e9es non \u00e9maill\u00e9es afin de mettre en valeur les d\u00e9tails complexes de la texture textile. En r\u00e9ponse, Baya Zhian a peint trois de ces assiettes \u00e0 l\u2019aide d\u2019un \u00e9mail sous gla\u00e7ure au cobalt, sa calligraphie exquise \u00e9pelant les caract\u00e8res chinois \u4e16\u754c (Monde), \u548c\u5e73 (Paix) et \u5f53\u4e0b (Maintenant).
Le Studio DeSimoneWayland a ensuite associ\u00e9 ces assiettes \u00e0 trois autres sur lesquelles figure le m\u00eame message en anglais : \u00ab World Peace Now \u00bb. Le fait de laisser la sous-gla\u00e7ure au cobalt non \u00e9maill\u00e9e donne un bleu indigo saisissant qui met magnifiquement en valeur la structure textile de chaque pi\u00e8ce unique. En rendant l\u2019expression \u00ab World Peace Now \u00bb \u00e0 travers deux cultures et deux langues distinctes, l\u2019installation rappelle avec force que l\u2019harmonie n\u00e9cessite \u00e0 la fois une unit\u00e9 mondiale et un ancrage collectif. Ce message rev\u00eat une urgence particuli\u00e8re au vu de la situation actuelle du monde.<\/td>\r\n<\/tr>\r\n
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HIBAKIJOMOKU: LES GRAINES DE L'ESPOIR<\/h3>\r\n

Shalini Dam (Inde) et Maria Lamanna (Italie)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u00ab Hibakijumoku \u00bb est le terme japonais d\u00e9signant les arbres qui ont surv\u00e9cu aux bombardements atomiques d\u2019Hiroshima et de Nagasaki en 1945. Ce projet est une proposition artistique collaborative, men\u00e9e par Shalini Dam et Maria Lamanna, qui \u00e9tablit un lien entre l\u2019\u00e9l\u00e9ment primordial qu\u2019est l\u2019argile et l\u2019h\u00e9ritage vivant de la paix. Le projet reconstitue une collection de graines et de feuilles issues des \u00ab Hibakijumoku \u00bb, ces arbres d\u2019Hiroshima et de Nagasaki qui ont surv\u00e9cu \u00e0 la d\u00e9vastation nucl\u00e9aire de 1945. En int\u00e9grant ces symboles de r\u00e9silience botanique au m\u00e9dium universel de la c\u00e9ramique, cette initiative incarne la mission fondamentale de la plateforme \u00ab Clay for Peace \u00bb de l\u2019IAC : favoriser le dialogue interculturel, la gu\u00e9rison et la r\u00e9conciliation mondiale.
L\u2019installation se compose de \u00ab Pods \u00bb suspendus contenant diff\u00e9rentes graines d\u2019Hibakujumoku : ginkgo, kaki, cam\u00e9lia, camphrier\u2026 Au-dessus d\u2019eux sont accroch\u00e9s des carreaux lenticulaires repr\u00e9sentant symboliquement leur r\u00e9g\u00e9n\u00e9ration sous un certain angle, tandis que sous un autre angle, on aper\u00e7oit les restes calcin\u00e9s des arbres. Elle illustre ainsi, d\u2019une part, la diffusion de l\u2019espoir au-del\u00e0 des fronti\u00e8res et la l\u00e9g\u00e8ret\u00e9 de la paix, tout en rappelant, d\u2019autre part, le poids de l\u2019histoire.<\/td>\r\n<\/tr>\r\n
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PORTAILS SANBAO<\/h3>\r\n

Mari Emori (Etats-Unis) et Jackson Li (Chine)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

Emori et Li ont collabor\u00e9 pour explorer une m\u00eame forme \u00e0 travers trois techniques de fabrication diff\u00e9rentes : le modelage \u00e0 la main, le modelage \u00e0 la plaque et le moulage. Jackson Li a \u00e9maill\u00e9 chaque pi\u00e8ce.<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

\u200b<\/p>","_fr_post_name":"clay-for-peace-exhibition","_fr_post_excerpt":"L'exposition \u00ab Clay for Peace \u00bb pr\u00e9sentait des \u0153uvres r\u00e9alis\u00e9es en collaboration par des artistes de l'AIC.","_fr_post_title":"Exposition Clay for Peace","_zh_post_content":"","_zh_post_name":"","_zh_post_excerpt":"","_zh_post_title":"","edit_language":"zh","footnotes":""},"class_list":["post-1050","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/1050","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/users\/2192"}],"replies":[{"embeddable":true,"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/comments?post=1050"}],"version-history":[{"count":33,"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/1050\/revisions"}],"predecessor-version":[{"id":1118,"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/1050\/revisions\/1118"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/media\/1093"}],"wp:attachment":[{"href":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/wp-json\/wp\/v2\/media?parent=1050"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}