{"id":669,"date":"2026-04-30T17:20:36","date_gmt":"2026-04-30T15:20:36","guid":{"rendered":"https:\/\/jingdezhen2026.aic-iac.org\/?page_id=669"},"modified":"2026-05-19T09:57:20","modified_gmt":"2026-05-19T07:57:20","slug":"","status":"publish","type":"page","link":"https:\/\/jingdezhen2026.aic-iac.org\/zh\/member-spotlight-presentations\/","title":{"rendered":"","raw":""},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":2192,"featured_media":801,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_en_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_801\" align=\"alignnone\" width=\"2458\"]\"\" Karina Garrett in her home studio in Argentina[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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\u00a0<\/h3>\r\n

Member Spotlights<\/span><\/h3>\r\n

Jingdezhen, often called the \u201cporcelain capital\u201d of China, has for centuries embodied a unique convergence of craftsmanship, material knowledge, and cultural continuity. As such, Jingdezhen stands today as a powerful source of inspiration for contemporary ceramic artists worldwide\u2014especially those exploring process-based, reflective, and experimental approaches in their work. In many ways, it anticipates the very spirit of the Spotlight video format: a space where making becomes thinking, and material becomes language.<\/p>\r\n

Spotlights are short, five-minute videos presenting artists who work with clay and their personal approach to this medium. Together, they form a mosaic of perspectives that reveal clay not only as a material, but also as a means of thinking, dialogue, and artistic expression. It becomes a medium through which artists reflect on time, memory, and the relationship between humans and natural processes. Every intervention into its form carries traces of decision, intuition, and chance, revealing the creative process itself as a form of thinking.<\/p>\r\n

In this context, ceramics emerges as an open language capable of expressing both personal and universal themes. Spotlights thus do not only present individual artists, but also create a space for shared understanding of what it means to work with clay today.<\/p>\r\n

Themes for the 2026 Congress:<\/p>\r\n

    \r\n
  • CHRONOLOGY OF CLAY - A focus on a\u00a0processual approach\u00a0to\u00a0transformation in ceramics.<\/li>\r\n
  • TRADITION, CHANGE, NEW TECHNOLOGIES - Innovation revolutionising ceramics.<\/li>\r\n
  • DIALOGUE WITH FIRE - Experimental ways in which ceramics can be directed through chance, chaos and control.<\/li>\r\n
  • SHAPE AND STORY - New ways in which ceramics is used as\u00a0the medium for\u00a0personal narratives.<\/li>\r\n
  • MANIFESTO: IDEAS AND SOCIAL CHANGE - Contemporary issues and concerns influencing ceramics.\u00a0<\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n

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 <\/p>\r\n* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n

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Atelier Terre Maison Giscard<\/h3>\r\n

(France)<\/p>\r\nMANIFESTO: IDEAS AND SOCIAL CHANGE<\/span>\r\n

Title: \"Heritage and Innovation\"<\/p>\r\n

The Atelier Terre is developing a community outreach project inspired by the brick-based architecture of Toulouse. The project was initiated when the Atelier relocated to a heritage building \"Manufacture Maison Giscard\". This factory from the 1800's built on a clay quarry, manufactured clay architectural ornaments. The site harbors a rich collection of ornaments and also innovative molds permitting economical reproduction of these motives from the past. The Atelier set about discovering the imprint of our predecessors on the factory ; press molds were made of the ornaments like an archaeological inventory, creating an alphabet of the site. The \"letters\" are then recomposed in collective works with a contemporary interpretation. The approach allows dynamic conception of our heritage by reimagining the original purpose of the ornaments to become a support for creation. The Atelier is using this process to initiate the public to clay, to increase heritage awareness and strengthen ties.<\/p>\r\n<\/td>\r\n

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Kay Aplin<\/h3>\r\n

(UK)<\/p>\r\nSHAPE AND STORY<\/span>\r\n

Title: \"Interbeing\"<\/p>\r\n

From the perspective of her personal practice of architectural ceramics, Kay Aplin presents how, over the course of 3 decades, her public art works have responded to place thematically, utilising the tile as a basic form. Expanding upon this, she will trace her own journey from the starting point of an education in Public Art and Design to a fine art practice making tile-based installations and the creation of her gesamtkunstwerk, The Ceramic House, a living showcase of her architectural ceramics practice. In each scenario, the work is site-specific and 'place', in local and global contexts, is key.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Jane Bamford<\/h3>\r\n

(Australia)<\/p>\r\nTRADITION, CHANGE, NEW TECHNOLOGIES<\/span>\r\n

Title: \"Tasmania's Spotted Handfish\"<\/p>\r\n

In 2018 Jane Bamford began a commission with CSIRO, Australia to design and make ceramic artificial spawning habitat (ASH) for the spotted handfish (Brachionichthys hirsutus). These ceramic ASH are SCUBA deployed by CSIRO divers into \u2018ASH fields\u2019 to support this critically endangered marine species. Creating ceramic ASH is a significant ongoing project which intersects her ceramic practice with current scientific research and practice. In September 2018 the first wild spawning of spotted handfish around ceramic ASH was recorded.
This film tells the story of Jane\u2019s art\/science collaboration and how clay is used in marine conservation.<\/p>\r\n<\/td>\r\n

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Tom\u00e1s Carpio<\/h3>\r\n

(Ecuador)<\/p>\r\nDIALOGUE WITH FIRE<\/span><\/span>\r\n

Title: \"On the way to La Victoria\"<\/p>\r\n

Tom\u00e1s Carpio explores traditional ceramics in Ecuador and the lives of those striving to survive amid ongoing changes. Departing from conventional formats and linear narratives, it aims to create a poetic and sensory experience. The project will take place in Jatumpamba, Las Nieves, and Cera, in the Andean region of Azuay and Loja, where traditional ceramic practices are at risk of disappearing. It establishes close contact with the few hands and women keeping this tradition alive, showing the relationship between clay, manual gestures, food, and the local culture in crisis. The short prioritizes silence and contemplation, using a visual language perceived almost as sound, without a linear storyline, capturing reality in an intimate and sensory way. Its core elements are material, artisanal practice, and the connection with the community and its cultural memory.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Roxana Cervantes Barajas<\/h3>\r\n

(Mexico)<\/p>\r\nSHAPE AND STORY<\/span>\r\n

Title: \"Terra Sigillata: La piel y el coraz\u00f3n de mi proceso escult\u00f3rico\" (Terra Sigillata: The skin and heart of my sculptural process<\/em>)<\/p>\r\n

I am interested in showing how ceramics represent, for me, a medium of expression that materializes personal narrative concerns.
The video would address the different stages of my large-scale sculptural creation process:
Creative development, sketches, and models that shape the conceptual ideas and processes of the work, which are nourished by my concern for the deterioration of the rural environment affected by the uncontrolled expansion of urban areas.
Exploration of ceramic materials, particularly the preparation of terra sigillata from clays collected in the Tierra Caliente region of Michoac\u00e1n, where I am originally from.
Construction of the piece, showcasing the techniques I use and the finishes of the ceramic surfaces.<\/p>\r\n<\/td>\r\n

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Srinia Chowdhury<\/h3>\r\n

(India)<\/p>\r\nMANIFESTO: IDEAS AND SOCIAL CHANGE<\/span>\r\n

Title: \"Making the Invisible Visible: Clay, Identity, and Social Reflection\"<\/p>\r\n

In my studio, clay behaves like the human body \u2014 it remembers every touch, pressure, and fracture. I use this memory as a language to explore identity, belonging, and resilience. Each mark, incision, and layer of clay records emotion, turning the surface into an intimate map of lived experience.<\/p>\r\n

My work draws from Indian mythology and traditional sculptural vocabularies, yet it unfolds in a contemporary dialogue between control and surrender, fragility and strength. Fire becomes a collaborator: unpredictable, transformative, and honest.<\/p>\r\n

I see art as a tool to contemplate and question the social realities we live within \u2014 to turn silent experiences into visible forms. This presentation reflects on my studio practice and recent residency in Jingdezhen, where material heritage met innovation in my process. Through film and stills from the studio, I share how clay itself becomes a manifesto \u2014 where transformation is both material and human.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Andile Dyalvane<\/h3>\r\n

(South Africa)<\/p>\r\nDIALOGUE WITH FIRE<\/span>\r\n

Title: \"iNGQWEji (Bird's Nest)\"<\/p>\r\n

Inqwegi (Nest) is a communal pilgrimage inspired by a 2021 journey to North West, South Africa. Andile Dyalvane's 'Inqwegi' study explores the themes of migration, community, and the natural world. The pilgrimage, initiated by Mkhulu Sisonke Papu and Dr Nkosenathi Koela, paid homage to Baba Sanusi Credo Mutwa and honoured Nkuthazo Dyalvane's ancestors. The experience of communal cohesion and the natural world sparked creative germination. Dyalvane's work captures the essence of the journey, showcasing the rhythms of the landscape, the movement of creatures, and the power of community. 'Inqwegi' has evolved through various studies, including a residency at the Academy of Ceramics in Austria and collaborations with glass in Spain and Italy. The solo exhibition culminates five years of work, offering a deeply conscious body of work that maps the journey of building together.<\/p>\r\n

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Karina Garrett<\/h3>\r\n

(Argentina)<\/p>\r\nCHRONOLOGY OF CLAY<\/span>\r\n

Title: \"Sacred Vessels\"<\/p>\r\n

The proposal is to showcase the author's 30 years of research, recovery and teaching of ceramic techniques originating in South America. The video illustrates how a pot is made using techniques that are 3,000 years old, from the search for raw materials in the landscape to firing with fire. This knowledge, generated from ceramic practice and experimental archaeology, is transmitted in ceramic residencies, talks and workshops at CASA DE YOKAVIL, in north-western Argentina.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Sin-Ying Ho<\/h3>\r\n

(United States)<\/p>\r\nTRADITION, CHANGE, NEW TECHNOLOGIES<\/span><\/span>
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Title: \"A Continuing Journey of Jingdezhen Qing Hua and Longquan Celadon\"<\/p>\r\n

This spotlight presentation delves into the creative journey behind Meteorites \u2013 past, present and future, highlighting how Longquan Celadon becomes a vessel for both heritage and innovation. Through a detailed exploration of the making process, I share my encounters with firing techniques and the nuanced transformations they bring to celadon\u2019s iconic glaze. Historical excavations are woven into the narrative, offering archaeological insights that enrich the storytelling and deepen the connection to cultural memory. The presentation will mention a multisensory exhibition, integrating video projection and an original soundtrack, to evoke the cosmic metaphor of the meteorite and the timeless resonance of ceramics shaping story. By fusing ancient craftsmanship with contemporary symbols like binary code and AI, this work challenges temporal and cultural boundaries, inviting viewers to reflect on how tradition evolves and co-creates meaning in the present. It is a celebration of continuity.<\/p>\r\n<\/td>\r\n

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Weihong Huang (PuMu)<\/h3>\r\n

(China)<\/p>\r\nDIALOGUE WITH FIRE<\/span>\r\n

Title: \"My Story with High Temperature Color Glaze\"<\/p>\r\n

My spring began not with a field trip,
but a journey through hospitals.
Swollen lymph nodes, uncertain diagnoses\u2014
I faced choices between scars and uncertainty.
During a puncture, the doctor\u2019s voice was calm:
\u201cRisks near vital vessels.\u201d
And I understood\u2014
some mysteries in life remain unresolved.<\/p>\r\n

Numbness spread through my right collarbone and hand.
That\u2019s when I made a pact with myself:
If I lost my artistic hand,
I\u2019d train the other, from zero.
If I had five years left,
I\u2019d give them all to art.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Nurdian Ichsan<\/h3>\r\n

(Indonesia)<\/p>\r\n

CHRONOLOGY OF CLAY<\/span><\/span><\/p>\r\n

Title: \"Making: Continuum of Clay - Ceramic\"<\/p>\r\n

The presentation is based on my curatorial framework for the 4th Jakarta Contemporary Ceramic Biennale in 2016. I then applied the framework to articles published in Ceramic Art and Perception (2019) and the Craft Research journal (2025). The central idea is that ceramic practice is a creative activity deeply connected to the material. I explore how material entangle us through two ideas: clay impulses and ceramic clues. Both concepts interact and affect the artist during the creative process, and they also impact the viewer's appreciation of the work. Clay impulses are largely based on physical interaction with clay, where forming is a personal understanding that generally involves the making process. Meanwhile, ceramic clues are derived from our daily experience with ceramic objects. The first is related to clay as an experiential material, while the second refers to our understanding of ceramics as cultural objects. In this perspective, clay-ceramic is a continuity.<\/p>\r\n<\/td>\r\n

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Cecile Kemperink<\/h3>\r\n

(Netherlands)<\/p>\r\n

SHAPE AND STORY<\/span><\/p>\r\n

Title: \"When Ceramic Meets Dance\"<\/p>\r\n

This project explores the dialogue between sculpture, dance, choreography, and video art. It is an encounter between movement and material\u2014where different disciplines inspire each other and merge into new rhythms and forms.<\/p>\r\n

How do a dancer, choreographer, and video artist interact with a ceramic sculpture? How does movement arise from form, and how does form respond to movement?
Through collaboration, we explore the origins, meanings, and relationships of motion. Each artist brings their own vision and sensitivity, creating a space for shared discovery across disciplines. The result is an installation featuring the sculpture and three video screens, each revealing a distinct aspect of our creative exchange.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Bernard Kerr<\/h3>\r\n

(Australia)<\/p>\r\nSHAPE AND STORY<\/span>\r\n

Title: \"Ceramic Works 1999-2025\"<\/p>\r\n

My current work investigates the relationships between objects and images and relates to how ceramics are perceived and operate within culture. I refer to the conventions and histories of painting and sculpture in the ceramic medium. I am interested in the ideas related to formless or partially formed but indeterminate ceramic objects reference the potentiality that underlies physical substances and from which things are created or emerge. These philosophical and alchemical concepts posit a fundamental substrate of existence that lacks inherent properties, requiring a \u201cform\" or active principle to become actual and give rise to specific, distinguishable objects or things. Increasingly I am drawn to amorphous forms and glimpses of possible interpretations linked to the body or half recognized objects at the edge of perception; at the point of realization or meaning and categorization.<\/p>\r\n<\/td>\r\n

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Jason Lim<\/h3>\r\n

(Singapore)<\/p>\r\nSHAPE AND STORY<\/span>\r\n

Title: \"Hard work and work smart\"<\/p>\r\n

Tintinnabulation is a series of hand-formed ceramic bells that explore the elemental dialogue between sound, silence, and the unseen. The work draws inspiration from the bronze bells of the Shang dynasty \u2014 instruments once used to summon spirits and mark ritual time \u2014 and from oracle-bone script, the earliest written language in China. Each bell bears three-dimensional inscriptions of ancient characters \u2014 wood, water, fire, mountain, earth, heart, sun, and moon \u2014 embodying the forces through which matter becomes voice.<\/p>\r\n

Accompanied by a sound composition made from recordings of the bells I created, the work evokes the tenderness of love that cannot be returned \u2014 the ache of resonance seeking its echo. Through the interplay of clay, vibration, and air, Tintinnabulation becomes a meditation on impermanence: a moment where sound becomes memory, and silence transforms into the breath between earth and sky.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Shayonti Salvi<\/h3>\r\n

(India)<\/p>\r\nTRADITION, CHANGE, NEW TECHNOLOGIES<\/span><\/span>
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Title: \"Soft Matter, Strong Minds: A Clay-Built Institution\"<\/p>\r\n

An environmentally \u2018un-friendly\u2019 building, set in the heart of Mumbai city, with an enclosed glass facade reflecting all the other concrete surrounding it - this describes the existing building chosen for the Waldorf institution. We made traditional presentations in watercolour paintings, in keeping with the entire \u2018locally-handmade\u2019 sentiment, that forms any truly sustainable venture. Employing and training local contractors to get the desired finish with the earth materials we needed. Every student in the school has helped build their space. The school included \u2018sustainable architecture\u2019 as part of the children\u2019s curriculum over the two years it took to finish this phase of work. Wattle and Daub bamboo framework finished in raw clay with structural additives, lime plaster, in-situ IPS flooring, terracotta floor tiles, second hand wood, doors and windows. I present this story.<\/p>\r\n<\/td>\r\n

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Thomas Schmidt<\/h3>\r\n

(United States)<\/p>\r\nTRADITION, CHANGE, NEW TECHNOLOGIES<\/span><\/span>
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Title: \"Digital Materialities - Bridging Technology and Tradition in Contemporary Ceramics\"<\/p>\r\n

This presentation will highlight how digital tools\u20143D modeling, scanning, and printing\u2014transform both my artistic practice and pedagogy. Tracing my career from the Alfred\/CAFA Ceramic Design for Industry program in Beijing to my current role at UNC Charlotte, I\u2019ll discuss how emerging technologies enable new forms of material inquiry and collaboration. Through projects in algorithmic clay printing and bio-hybrid research combining ceramics and mycelium, I explore how digital processes can interface with natural growth systems, expanding the possibilities of craft and design. In the classroom, these tools empower students to merge traditional making with computational methods, fostering an understanding of technology as an extension of the hand rather than a replacement for it. Together, these experiences reflect an evolving dialogue between material intelligence, digital fabrication, and sustainable, experimental practices in contemporary ceramics.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Hitomi & Takuro Shibata<\/h3>\r\n

(United States)<\/p>\r\nCHRONOLOGY OF CLAY<\/span><\/span>\r\n

Title: \"Clay and Place: Our Journey from Shigaraki to Seagrove\"<\/p>\r\n

Scientific research in ceramic art is often overlooked due to the limitations of time, energy, and space. For over three decades, Takuro Shibata and I have been devoted to experimenting with wild clays and wood firing techniques in both Shigaraki\u2014one of Japan\u2019s oldest pottery villages\u2014and Seagrove, North Carolina, the largest pottery community in the United States.<\/p>\r\n

Historically, potters around the world relied on local resources, personally digging, sieving, processing, drying, and wedging clay for their work. Today, however, a significant disconnect exists between contemporary pottery studios and the ceramic materials industry.<\/p>\r\n

Our ongoing exploration of clay has gained wide recognition, and our book Wild Clay has been met with great success. Through our research and experiment, we aim to inspire and empower potters worldwide to engage with natural, local materials\u2014fostering creative independence and reducing reliance on large corporations and industrial suppliers.<\/p>\r\n<\/td>\r\n

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Giorgos Vavatsis<\/h3>\r\n

(Greece)<\/p>\r\nCHRONOLOGY OF CLAY<\/span><\/span>\r\n

Title: \"Mineral Diaries\"<\/p>\r\n

I propose a combination of video and photos of works, where video will show the process of choosing the landscape, collecting the rocks,minerals and clays, and the working methods I mostly use on transforming them into a ceramic form, and photos will end the presentation in a gallery show form. There will be no words or speeking, only sounds.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Zhaojing Wang<\/h3>\r\n

(China)<\/p>\r\nSHAPE AND STORY<\/span>\r\n

Title: \"The Chinese as imagined by Europeans: The Misinterpretation of China from the 'Porcelain Room'\"<\/p>\r\n

This study examines how European courts and elite circles perceived, constructed, and misread the image of \u2018China\u2019 against the backdrop of the Age of Exploration during the 17th and 18th centuries. The porcelain cabinet, as a highly ritualised space centred on porcelain, ceramic reliefs, and \u2018Chinese-style\u2019 ornamentation, emerged as one of the most captivating cultural phenomena of the period.
This study addresses three core questions: first, what constitutes a porcelain room; second, why do these rooms feature numerous representations of \u2018Chinese people\u2019; and third, what kind of Chinese people are depicted within them. Following this logic, the author's perspective narrows from grand European palaces to the porcelain reliefs adorning individual rooms, examining how these imagined Chinese figures emerged from European cultural curiosity and misinterpretation. Viewed thus, the porcelain room transcends mere opulent decoration to stand as a tangible artefact of cross-cultural exchange.
It chronicles the misreadings born of exoticism and cultural disparity amid civilisational collision, while offering contemporary observers a moment for reflection on cultural dialogue: understanding remains relative, whereas misreading is almost invariably absolute.<\/p>\r\n<\/td>\r\n

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 <\/p>","_en_post_name":"member-spotlight-presentations","_en_post_excerpt":"The Congress Academic Programme includes 19 Member Spotlight movies by IAC members","_en_post_title":"Member Spotlight Presentations","_fr_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_801\" align=\"alignnone\" width=\"2458\"]\"\" Karina Garrett dans son studio en Argentine[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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\u00a0<\/h3>\r\n

Member Spotlights<\/span><\/h3>\r\n

Jingdezhen, souvent surnomm\u00e9e la \u00ab capitale de la porcelaine \u00bb de Chine, incarne depuis des si\u00e8cles une convergence unique entre savoir-faire artisanal, connaissance des mat\u00e9riaux et continuit\u00e9 culturelle. \u00c0 ce titre, Jingdezhen constitue aujourd\u2019hui une puissante source d\u2019inspiration pour les c\u00e9ramistes contemporains du monde entier, en particulier ceux qui explorent dans leur travail des approches ax\u00e9es sur le processus, la r\u00e9flexion et l\u2019exp\u00e9rimentation. \u00c0 bien des \u00e9gards, elle anticipe l\u2019esprit m\u00eame du format vid\u00e9o \u00ab Spotlight \u00bb : un espace o\u00f9 la cr\u00e9ation devient r\u00e9flexion, et o\u00f9 la mati\u00e8re devient langage.<\/p>\r\n

Les Spotlights sont de courtes vid\u00e9os de cinq minutes pr\u00e9sentant des artistes qui travaillent l\u2019argile et leur approche personnelle de ce m\u00e9dium. Ensemble, elles forment une mosa\u00efque de perspectives qui r\u00e9v\u00e8lent l\u2019argile non seulement comme un mat\u00e9riau, mais aussi comme un moyen de r\u00e9flexion, de dialogue et d\u2019expression artistique. Elle devient un m\u00e9dium \u00e0 travers lequel les artistes r\u00e9fl\u00e9chissent au temps, \u00e0 la m\u00e9moire et \u00e0 la relation entre les humains et les processus naturels. Chaque intervention sur sa forme porte les traces d\u2019une d\u00e9cision, d\u2019une intuition et du hasard, r\u00e9v\u00e9lant le processus cr\u00e9atif lui-m\u00eame comme une forme de r\u00e9flexion.<\/p>\r\n

Dans ce contexte, la c\u00e9ramique appara\u00eet comme un langage ouvert, capable d\u2019exprimer \u00e0 la fois des th\u00e8mes personnels et universels. Les Spotlights ne se contentent donc pas de pr\u00e9senter des artistes individuels, mais cr\u00e9ent \u00e9galement un espace de compr\u00e9hension partag\u00e9e de ce que signifie travailler l\u2019argile aujourd\u2019hui.<\/p>\r\n

Th\u00e8mes du Congr\u00e8s 2026 :<\/p>\r\n

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  • CHRONOLOGIE DE L'ARGILE - Une approche ax\u00e9e sur les processus de transformation en c\u00e9ramique.<\/li>\r\n
  • TRADITION, CHANGEMENT, NOUVELLES TECHNOLOGIES - L'innovation qui r\u00e9volutionne la c\u00e9ramique.<\/li>\r\n
  • DIALOGUE AVEC LE FEU \u2013 Approches exp\u00e9rimentales permettant de diriger la c\u00e9ramique \u00e0 travers le hasard, le chaos et le contr\u00f4le.<\/li>\r\n
  • FORME ET HISTOIRE \u2013 Nouvelles fa\u00e7ons d\u2019utiliser la c\u00e9ramique comme support de r\u00e9cits personnels.<\/li>\r\n
  • MANIFESTE : ID\u00c9ES ET CHANGEMENT SOCIAL \u2013 Enjeux et pr\u00e9occupations contemporains influen\u00e7ant la c\u00e9ramique.<\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n

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 <\/p>\r\n* Veuillez noter que les informations figurant sur cette page sont susceptibles d'\u00eatre modifi\u00e9es et mises \u00e0 jour.<\/span><\/td>\r\n<\/tr>\r\n

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Atelier Terre Maison Giscard<\/h3>\r\n

(France)<\/p>\r\nMANIFESTE : ID\u00c9ES ET CHANGEMENT SOCIAL<\/span>\r\n

Titre : \"H\u00e9ritage et Innovation\"<\/p>\r\n

L'Atelier Terre d\u00e9veloppe un projet de sensibilisation communautaire inspir\u00e9 de l'architecture en brique de Toulouse. Ce projet a vu le jour lorsque l'Atelier s'est install\u00e9 dans le b\u00e2timent class\u00e9 \u00ab Manufacture Maison Giscard \u00bb. Cette usine du XIXe si\u00e8cle, construite sur une carri\u00e8re d'argile, produisait des ornements architecturaux en terre cuite. Le site abrite une riche collection d'ornements et de moules innovants qui permettent de reproduire \u00e0 moindre co\u00fbt ces motifs historiques. L\u2019Atelier s\u2019est donn\u00e9 pour mission de mettre au jour les traces laiss\u00e9es par nos pr\u00e9d\u00e9cesseurs dans l\u2019usine ; des moulages ont \u00e9t\u00e9 r\u00e9alis\u00e9s \u00e0 partir des ornements, \u00e0 la mani\u00e8re d\u2019un inventaire arch\u00e9ologique, cr\u00e9ant ainsi un alphabet du site. Ces \u00ab lettres \u00bb sont ensuite r\u00e9invent\u00e9es dans le cadre d\u2019\u0153uvres collaboratives, avec une interpr\u00e9tation contemporaine. Cette approche permet une r\u00e9invention dynamique de notre patrimoine en r\u00e9interpr\u00e9tant la fonction initiale des ornements pour en faire un support de cr\u00e9ation. L'Atelier utilise ce processus pour initier le public \u00e0 l'argile, sensibiliser au patrimoine et renforcer les liens communautaires.<\/p>\r\n<\/td>\r\n

\r\n

Kay Aplin<\/h3>\r\n

(Royaume-Uni)<\/p>\r\n

FORME ET HISTOIRE<\/span><\/p>\r\n

Titre : \"Interbeing<\/em>\"<\/p>\r\n

\u00c0 travers le prisme de sa pratique personnelle de la c\u00e9ramique architecturale, Kay Aplin explique comment, depuis trois d\u00e9cennies, ses \u0153uvres d\u2019art public ont su s\u2019adapter th\u00e9matiquement \u00e0 leur environnement, en utilisant le carreau comme forme de base. Dans le prolongement de cette r\u00e9flexion, elle retracera son propre parcours, depuis ses d\u00e9buts dans le domaine de l\u2019art public et du design jusqu\u2019\u00e0 sa pratique artistique consistant \u00e0 r\u00e9aliser des installations \u00e0 base de carreaux, en passant par la cr\u00e9ation de son \u0153uvre d\u2019art total, The Ceramic House, v\u00e9ritable vitrine vivante de son travail en c\u00e9ramique architecturale. Dans chaque cas, l\u2019\u0153uvre est sp\u00e9cifique au site et le \u00ab lieu \u00bb, dans ses contextes locaux et mondiaux, rev\u00eat une importance capitale.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Jane Bamford<\/h3>\r\n

(Australie)<\/p>\r\nTRADITION, CHANGEMENT, NOUVELLES TECHNOLOGIES <\/span>\r\n

Titre : \"Le poisson-main tachet\u00e9 de Tasmanie\"<\/p>\r\n

En 2018, Jane Bamford a entam\u00e9 une collaboration avec le CSIRO, en Australie, afin de concevoir et de fabriquer des habitats de reproduction artificiels (HRA) en c\u00e9ramique pour le poisson-main tachet\u00e9 (Brachionichthys hirsutus). Ces HRA en c\u00e9ramique sont d\u00e9ploy\u00e9s en plong\u00e9e par les plongeurs du CSIRO dans des \u00ab champs d\u2019HRA \u00bb afin de soutenir cette esp\u00e8ce marine en danger critique d\u2019extinction. La cr\u00e9ation d\u2019HRA en c\u00e9ramique constitue un projet d\u2019envergure en cours qui fait le lien entre sa pratique c\u00e9ramique et la recherche et les pratiques scientifiques actuelles. En septembre 2018, le premier frai sauvage de poissons-mains tachet\u00e9s autour d\u2019un HRA en c\u00e9ramique a \u00e9t\u00e9 enregistr\u00e9.
Ce film raconte l\u2019histoire de la collaboration entre l\u2019art et la science men\u00e9e par Jane et explique comment l\u2019argile est utilis\u00e9e dans la conservation marine.<\/p>\r\n<\/td>\r\n

\r\n

Tom\u00e1s Carpio<\/h3>\r\n

(Equateur)<\/p>\r\nDIALOGUE AVEC LE FEU<\/span><\/span>\r\n

Titre : \"En route vers La Victoria\"<\/p>\r\n

Tom\u00e1s Carpio explore la c\u00e9ramique traditionnelle en \u00c9quateur et la vie de ceux qui luttent pour survivre au milieu de changements incessants. S\u2019\u00e9loignant des formats conventionnels et des r\u00e9cits lin\u00e9aires, il vise \u00e0 cr\u00e9er une exp\u00e9rience po\u00e9tique et sensorielle. Le projet se d\u00e9roulera \u00e0 Jatumpamba, Las Nieves et Cera, dans la r\u00e9gion andine d\u2019Azuay et de Loja, o\u00f9 les pratiques c\u00e9ramiques traditionnelles sont menac\u00e9es de disparition. Il \u00e9tablit un contact \u00e9troit avec les quelques hommes et femmes qui perp\u00e9tuent cette tradition, mettant en lumi\u00e8re la relation entre l\u2019argile, les gestes manuels, l\u2019alimentation et la culture locale en crise. Le court-m\u00e9trage privil\u00e9gie le silence et la contemplation, utilisant un langage visuel per\u00e7u presque comme un son, sans intrigue lin\u00e9aire, capturant la r\u00e9alit\u00e9 de mani\u00e8re intime et sensorielle. Ses \u00e9l\u00e9ments centraux sont la mati\u00e8re, la pratique artisanale et le lien avec la communaut\u00e9 et sa m\u00e9moire culturelle.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Roxana Cervantes Barajas<\/h3>\r\n

(Mexique)<\/p>\r\nFORME ET HISTOIRE<\/span>\r\n

Titre : \"Terra Sigillata : La peau et le c\u0153ur de mon processus sculptural\"\u00a0<\/p>\r\n

Je souhaite montrer en quoi la c\u00e9ramique repr\u00e9sente, pour moi, un moyen d\u2019expression qui donne corps \u00e0 des pr\u00e9occupations narratives personnelles.
La vid\u00e9o aborderait les diff\u00e9rentes \u00e9tapes de mon processus de cr\u00e9ation sculpturale \u00e0 grande \u00e9chelle :
Le d\u00e9veloppement cr\u00e9atif, les croquis et les maquettes qui fa\u00e7onnent les id\u00e9es conceptuelles et les processus de l\u2019\u0153uvre, nourris par ma pr\u00e9occupation face \u00e0 la d\u00e9gradation de l\u2019environnement rural, affect\u00e9 par l\u2019expansion incontr\u00f4l\u00e9e des zones urbaines.
L'exploration des mat\u00e9riaux c\u00e9ramiques, en particulier la pr\u00e9paration de la terra sigillata \u00e0 partir d'argiles collect\u00e9es dans la r\u00e9gion de Tierra Caliente, au Michoac\u00e1n, d'o\u00f9 je suis originaire.
La construction de l'\u0153uvre, mettant en valeur les techniques que j'utilise et les finitions des surfaces c\u00e9ramiques.<\/p>\r\n<\/td>\r\n

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Srinia Chowdhury<\/h3>\r\n

(Inde)<\/p>\r\nMANIFESTE : ID\u00c9ES ET CHANGEMENT SOCIAL<\/span>\r\n

Titre : \"Making the Invisible Visible: Clay, Identity, and Social Reflection\"<\/p>\r\n

Dans mon atelier, l\u2019argile se comporte comme le corps humain : elle garde en m\u00e9moire chaque contact, chaque pression et chaque fracture. J\u2019utilise cette m\u00e9moire comme un langage pour explorer l\u2019identit\u00e9, l\u2019appartenance et la r\u00e9silience. Chaque marque, chaque incision et chaque couche d\u2019argile enregistre une \u00e9motion, transformant la surface en une carte intime de l\u2019exp\u00e9rience v\u00e9cue.<\/p>\r\n

Mon travail s\u2019inspire de la mythologie indienne et des vocabulaires sculpturaux traditionnels, tout en s\u2019inscrivant dans un dialogue contemporain entre ma\u00eetrise et abandon, fragilit\u00e9 et force. Le feu devient un collaborateur : impr\u00e9visible, transformateur et honn\u00eate.<\/p>\r\n

Je consid\u00e8re l\u2019art comme un outil permettant de contempler et de remettre en question les r\u00e9alit\u00e9s sociales dans lesquelles nous vivons \u2014 afin de transformer des exp\u00e9riences silencieuses en formes visibles. Cette pr\u00e9sentation porte sur ma pratique en atelier et ma r\u00e9cente r\u00e9sidence \u00e0 Jingdezhen, o\u00f9 le patrimoine mat\u00e9riel a rencontr\u00e9 l\u2019innovation dans mon processus. \u00c0 travers des films et des images fixes de l\u2019atelier, je partage la mani\u00e8re dont l\u2019argile elle-m\u00eame devient un manifeste \u2014 o\u00f9 la transformation est \u00e0 la fois mat\u00e9rielle et humaine.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Andile Dyalvane<\/h3>\r\n

(Afrique du Sud)<\/p>\r\nDIALOGUE AVEC LE FEU<\/span>\r\n

Titre : \"iNGQWEji<\/em> (Nid d'oiseau)\"<\/p>\r\n

\u00ab Inqwegi \u00bb (Nid) est un p\u00e8lerinage communautaire inspir\u00e9 d\u2019un voyage effectu\u00e9 en 2021 dans la province du Nord-Ouest, en Afrique du Sud. L\u2019\u00e9tude \u00ab Inqwegi \u00bb d\u2019Andile Dyalvane explore les th\u00e8mes de la migration, de la communaut\u00e9 et du monde naturel. Ce p\u00e8lerinage, initi\u00e9 par Mkhulu Sisonke Papu et le Dr Nkosenathi Koela, rendait hommage \u00e0 Baba Sanusi Credo Mutwa et honorait les anc\u00eatres de Nkuthazo Dyalvane. L\u2019exp\u00e9rience de la coh\u00e9sion communautaire et du monde naturel a suscit\u00e9 une germination cr\u00e9ative. Le travail de Dyalvane capture l\u2019essence du voyage, mettant en valeur les rythmes du paysage, le mouvement des cr\u00e9atures et la force de la communaut\u00e9. \u00ab Inqwegi \u00bb a \u00e9volu\u00e9 \u00e0 travers diverses recherches, notamment une r\u00e9sidence \u00e0 l\u2019Acad\u00e9mie de c\u00e9ramique en Autriche et des collaborations autour du verre en Espagne et en Italie. L\u2019exposition personnelle couronne cinq ann\u00e9es de travail, proposant un ensemble d\u2019\u0153uvres profond\u00e9ment r\u00e9fl\u00e9chies qui retracent le parcours de cette construction collective.<\/p>\r\n

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Karina Garrett<\/h3>\r\n

(Argentine)<\/p>\r\nCHRONOLOGIE DE L'ARGILE<\/span>\r\n

Titre : \"Vaisseaux sacr\u00e9s\"<\/p>\r\n

Le projet vise \u00e0 mettre en valeur les 30 ann\u00e9es de recherche, de red\u00e9couverte et d'enseignement consacr\u00e9es par l'auteur aux techniques c\u00e9ramiques originaires d'Am\u00e9rique du Sud. La vid\u00e9o montre comment un pot est fabriqu\u00e9 \u00e0 l'aide de techniques vieilles de 3 000 ans, depuis la recherche des mati\u00e8res premi\u00e8res dans la nature jusqu'\u00e0 la cuisson au feu. Ce savoir, issu de la pratique de la c\u00e9ramique et de l'arch\u00e9ologie exp\u00e9rimentale, est transmis dans le cadre de r\u00e9sidences c\u00e9ramiques, de conf\u00e9rences et d'ateliers organis\u00e9s \u00e0 la CASA DE YOKAVIL, dans le nord-ouest de l'Argentine.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Sin-Ying Ho<\/h3>\r\n

(Etats-Unis)<\/p>\r\nTRADITION, CHANGEMENT, NOUVELLES TECHNOLOGIES <\/span>\r\n

Titre : \"Une histoire qui se poursuit : le Qing Hua de Jingdezhen et le c\u00e9ladon de Longquan\"<\/p>\r\n

Cette pr\u00e9sentation exclusive explore le parcours cr\u00e9atif qui se cache derri\u00e8re \u00ab Meteorites \u00bb \u2013 pass\u00e9, pr\u00e9sent et futur \u2013, en mettant en lumi\u00e8re la mani\u00e8re dont le c\u00e9ladon de Longquan devient \u00e0 la fois le vecteur d\u2019un h\u00e9ritage et d\u2019une innovation. \u00c0 travers une exploration d\u00e9taill\u00e9e du processus de fabrication, je partage mes d\u00e9couvertes concernant les techniques de cuisson et les transformations subtiles qu\u2019elles apportent \u00e0 la gla\u00e7ure embl\u00e9matique du c\u00e9ladon. Des fouilles historiques s\u2019int\u00e8grent au r\u00e9cit, offrant des perspectives arch\u00e9ologiques qui enrichissent la narration et renforcent le lien avec la m\u00e9moire culturelle. La pr\u00e9sentation \u00e9voquera une exposition multisensorielle, int\u00e9grant une projection vid\u00e9o et une bande-son originale, afin d\u2019\u00e9voquer la m\u00e9taphore cosmique de la m\u00e9t\u00e9orite et la r\u00e9sonance intemporelle de la c\u00e9ramique qui fa\u00e7onne l\u2019histoire. En fusionnant l\u2019artisanat ancestral avec des symboles contemporains tels que le code binaire et l\u2019IA, cette \u0153uvre remet en question les fronti\u00e8res temporelles et culturelles, invitant les spectateurs \u00e0 r\u00e9fl\u00e9chir \u00e0 la mani\u00e8re dont la tradition \u00e9volue et co-cr\u00e9e du sens dans le pr\u00e9sent. Il s\u2019agit d\u2019une c\u00e9l\u00e9bration de la continuit\u00e9.<\/p>\r\n<\/td>\r\n

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Weihong Huang (PuMu)<\/h3>\r\n

(Chine)<\/p>\r\nDIALOGUE AVEC LE FEU<\/span>\r\n

Titre : \"Mon exp\u00e9rience avec les gla\u00e7ures color\u00e9es \u00e0 haute temp\u00e9rature\"<\/p>\r\n

Mon printemps n\u2019a pas commenc\u00e9 par une sortie scolaire,
mais par un p\u00e9riple \u00e0 travers les h\u00f4pitaux.
Ganglions enfl\u00e9s, diagnostics incertains\u2026
J\u2019ai d\u00fb choisir entre les cicatrices et l\u2019incertitude.
Pendant une ponction, la voix du m\u00e9decin \u00e9tait calme :
\u00ab Il y a des risques au niveau des vaisseaux vitaux. \u00bb
Et j\u2019ai compris\u2026
que certains myst\u00e8res de la vie restent sans r\u00e9ponse.<\/p>\r\n

Un engourdissement s\u2019est propag\u00e9 dans ma clavicule droite et ma main.
C\u2019est alors que j\u2019ai conclu un pacte avec moi-m\u00eame :
si je perdais ma main d\u2019artiste,
j\u2019entra\u00eenerais l\u2019autre, en partant de z\u00e9ro.
S\u2019il ne me restait que cinq ans \u00e0 vivre,
je les consacrerais tous \u00e0 l\u2019art.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Nurdian Ichsan<\/h3>\r\n

(Indon\u00e9sie)<\/p>\r\n

CHRONOLOGIE DE L'ARGILE<\/span><\/span>
Titre : \"Cr\u00e9ation : Continuum d'Argile - C\u00e9ramique\"<\/p>\r\n

Cette pr\u00e9sentation s'appuie sur le cadre conceptuel que j'ai \u00e9labor\u00e9 pour la 4e Biennale de la c\u00e9ramique contemporaine de Jakarta en 2016. J'ai ensuite appliqu\u00e9 ce cadre \u00e0 des articles publi\u00e9s dans Ceramic Art and Perception<\/em> (2019) et dans la revue Craft Research<\/em> (2025). L\u2019id\u00e9e centrale est que la pratique c\u00e9ramique est une activit\u00e9 cr\u00e9ative profond\u00e9ment li\u00e9e \u00e0 la mati\u00e8re. J\u2019explore la mani\u00e8re dont la mati\u00e8re nous lie \u00e0 travers deux concepts : les impulsions de l\u2019argile et les indices c\u00e9ramiques. Ces deux concepts interagissent et influencent l\u2019artiste au cours du processus cr\u00e9atif, et ils ont \u00e9galement un impact sur l\u2019appr\u00e9ciation de l\u2019\u0153uvre par le spectateur. Les impulsions de l\u2019argile reposent en grande partie sur l\u2019interaction physique avec l\u2019argile, o\u00f9 le modelage est une compr\u00e9hension personnelle qui implique g\u00e9n\u00e9ralement le processus de fabrication. Quant aux indices c\u00e9ramiques, ils d\u00e9coulent de notre exp\u00e9rience quotidienne des objets en c\u00e9ramique. Le premier est li\u00e9 \u00e0 l\u2019argile en tant que mat\u00e9riau exp\u00e9rientiel, tandis que le second renvoie \u00e0 notre compr\u00e9hension de la c\u00e9ramique en tant qu\u2019objets culturels. Dans cette perspective, l\u2019argile-c\u00e9ramique s\u2019inscrit dans une continuit\u00e9.<\/p>\r\n<\/td>\r\n

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Cecile Kemperink<\/h3>\r\n

(Pays-Bas)<\/p>\r\nFORME ET HISTOIRE<\/span>\r\n

Titre : \"Quand la c\u00e9ramique rencontre la danse\"<\/p>\r\n

Ce projet explore le dialogue entre la sculpture, la danse, la chor\u00e9graphie et l\u2019art vid\u00e9o. Il s\u2019agit d\u2019une rencontre entre le mouvement et la mati\u00e8re, o\u00f9 diff\u00e9rentes disciplines s\u2019inspirent mutuellement et se fondent en de nouveaux rythmes et de nouvelles formes.<\/p>\r\n

Comment un danseur, un chor\u00e9graphe et un vid\u00e9aste interagissent-ils avec une sculpture en c\u00e9ramique ? Comment le mouvement na\u00eet-il de la forme, et comment la forme r\u00e9pond-elle au mouvement ?
\u00c0 travers cette collaboration, nous explorons les origines, les significations et les relations du mouvement. Chaque artiste apporte sa propre vision et sa sensibilit\u00e9, cr\u00e9ant ainsi un espace de d\u00e9couverte commune entre les disciplines. Le r\u00e9sultat est une installation compos\u00e9e de la sculpture et de trois \u00e9crans vid\u00e9o, chacun r\u00e9v\u00e9lant un aspect distinct de notre \u00e9change cr\u00e9atif.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Bernard Kerr<\/h3>\r\n

(Australie)<\/p>\r\nFORME ET HISTOIRE<\/span>\r\n

Titre : \"Travaux de c\u00e9ramique 1999-2025\"<\/p>\r\n

Mon travail actuel explore les relations entre les objets et les images, et s\u2019int\u00e9resse \u00e0 la mani\u00e8re dont la c\u00e9ramique est per\u00e7ue et s\u2019inscrit dans la culture. Je m\u2019inspire des conventions et de l\u2019histoire de la peinture et de la sculpture pour les transposer dans le m\u00e9dium c\u00e9ramique. Je m\u2019int\u00e9resse aux concepts li\u00e9s aux objets c\u00e9ramiques informes ou partiellement form\u00e9s mais ind\u00e9termin\u00e9s, qui renvoient \u00e0 la potentialit\u00e9 sous-jacente aux substances physiques et \u00e0 partir de laquelle les choses sont cr\u00e9\u00e9es ou \u00e9mergent. Ces concepts philosophiques et alchimiques postulent un substrat fondamental de l\u2019existence d\u00e9pourvu de propri\u00e9t\u00e9s intrins\u00e8ques, n\u00e9cessitant une \u00ab forme \u00bb ou un principe actif pour se concr\u00e9tiser et donner naissance \u00e0 des objets ou des choses sp\u00e9cifiques et distincts. Je suis de plus en plus attir\u00e9 par les formes amorphes et les aper\u00e7us d\u2019interpr\u00e9tations possibles li\u00e9es au corps ou \u00e0 des objets \u00e0 demi-reconnus, \u00e0 la limite de la perception ; au point de la prise de conscience, du sens et de la cat\u00e9gorisation.<\/p>\r\n<\/td>\r\n

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Jason Lim<\/h3>\r\n

(Singapour)<\/p>\r\nFORME ET HISTOIRE<\/span>\r\n

Titre : \"Travailler dur et travailler intelligemment\"<\/p>\r\n

\u00ab Tintinnabulation \u00bb est une s\u00e9rie de cloches en c\u00e9ramique fa\u00e7onn\u00e9es \u00e0 la main qui explore le dialogue fondamental entre le son, le silence et l\u2019invisible. L\u2019\u0153uvre s\u2019inspire des cloches en bronze de la dynastie Shang \u2014 instruments autrefois utilis\u00e9s pour invoquer les esprits et marquer le temps des rituels \u2014 ainsi que de l\u2019\u00e9criture sur os oraculaires, la plus ancienne forme d\u2019\u00e9criture en Chine. Chaque cloche porte des inscriptions en trois dimensions de caract\u00e8res anciens \u2014 bois, eau, feu, montagne, terre, c\u0153ur, soleil et lune \u2014 incarnant les forces par lesquelles la mati\u00e8re se transforme en voix.<\/p>\r\n

Accompagn\u00e9e d\u2019une composition sonore r\u00e9alis\u00e9e \u00e0 partir d\u2019enregistrements des cloches que j\u2019ai cr\u00e9\u00e9es, l\u2019\u0153uvre \u00e9voque la tendresse d\u2019un amour qui ne peut \u00eatre partag\u00e9 \u2014 la douleur d\u2019une r\u00e9sonance en qu\u00eate de son \u00e9cho. \u00c0 travers l\u2019interaction de l\u2019argile, de la vibration et de l\u2019air, Tintinnabulation devient une m\u00e9ditation sur l\u2019impermanence : un moment o\u00f9 le son devient m\u00e9moire, et o\u00f9 le silence se transforme en souffle entre la terre et le ciel.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Shayonti Salvi<\/h3>\r\n

(Inde)<\/p>\r\nTRADITION, CHANGEMENT, NOUVELLES TECHNOLOGIES <\/span>\r\n

Titre : \"Une mati\u00e8re souple, des esprits forts : une institution b\u00e2tie sur l'argile\"<\/p>\r\n

Un b\u00e2timent \u00ab peu respectueux de\u00a0 \u00a0 l\u2019environnement \u00bb, situ\u00e9 au c\u0153ur de la ville de Mumbai, dot\u00e9 d\u2019une fa\u00e7ade vitr\u00e9e qui refl\u00e8te tout le b\u00e9ton qui l\u2019entoure : voil\u00e0 comment se d\u00e9crit le b\u00e2timent existant choisi pour l\u2019\u00e9tablissement Waldorf. Nous avons r\u00e9alis\u00e9 des pr\u00e9sentations traditionnelles sous forme d\u2019aquarelles, en accord avec l\u2019esprit \u00ab fait main localement \u00bb qui caract\u00e9rise tout projet v\u00e9ritablement durable. Nous avons employ\u00e9 et form\u00e9 des entrepreneurs locaux afin d\u2019obtenir la finition souhait\u00e9e avec les mat\u00e9riaux naturels dont nous avions besoin. Chaque \u00e9l\u00e8ve de l\u2019\u00e9cole a contribu\u00e9 \u00e0 la construction de son espace. L\u2019\u00e9cole a int\u00e9gr\u00e9 l\u2019\u00ab architecture durable \u00bb au programme scolaire des enfants pendant les deux ann\u00e9es qu\u2019a dur\u00e9 cette phase des travaux. Charpente en bambou et torchis recouverte d\u2019argile brute avec des additifs structurels, enduit \u00e0 la chaux, rev\u00eatement de sol IPS coul\u00e9 sur place, carreaux de sol en terre cuite, bois de r\u00e9cup\u00e9ration, portes et fen\u00eatres. Je vous pr\u00e9sente cette histoire.<\/p>\r\n<\/td>\r\n

\r\n

Thomas Schmidt<\/h3>\r\n

(Etats-Unis)<\/p>\r\nTRADITION, CHANGEMENT, NOUVELLES TECHNOLOGIES <\/span>\r\n

Titre : \"Mat\u00e9rialit\u00e9s num\u00e9riques - \u00c0 la crois\u00e9e de la technologie et de la tradition dans la c\u00e9ramique contemporaine\"<\/p>\r\n

Cette pr\u00e9sentation mettra en lumi\u00e8re la mani\u00e8re dont les outils num\u00e9riques \u2014 mod\u00e9lisation, num\u00e9risation et impression 3D \u2014 transforment \u00e0 la fois ma pratique artistique et ma p\u00e9dagogie. En retra\u00e7ant mon parcours, depuis le programme \u00ab Ceramic Design for Industry \u00bb de l\u2019Alfred\/CAFA \u00e0 P\u00e9kin jusqu\u2019\u00e0 mon poste actuel \u00e0 l\u2019UNC Charlotte, j\u2019aborderai la fa\u00e7on dont les technologies \u00e9mergentes ouvrent la voie \u00e0 de nouvelles formes d\u2019exploration des mat\u00e9riaux et de collaboration. \u00c0 travers des projets d\u2019impression algorithmique de l\u2019argile et de recherche bio-hybride combinant la c\u00e9ramique et le myc\u00e9lium, j\u2019explore la mani\u00e8re dont les processus num\u00e9riques peuvent interagir avec les syst\u00e8mes de croissance naturels, \u00e9largissant ainsi les possibilit\u00e9s de l\u2019artisanat et du design. En classe, ces outils permettent aux \u00e9tudiants de fusionner la fabrication traditionnelle avec des m\u00e9thodes computationnelles, favorisant ainsi une compr\u00e9hension de la technologie comme une extension de la main plut\u00f4t que comme un substitut \u00e0 celle-ci. Ensemble, ces exp\u00e9riences refl\u00e8tent un dialogue en constante \u00e9volution entre l\u2019intelligence des mat\u00e9riaux, la fabrication num\u00e9rique et les pratiques durables et exp\u00e9rimentales dans le domaine de la c\u00e9ramique contemporaine.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Hitomi & Takuro Shibata<\/h3>\r\n

(Etats-Unis)<\/p>\r\nCHRONOLOGIE DE L'ARGILE<\/span><\/span>\r\n

Titre : \"L'argile et le lieu : notre p\u00e9riple de Shigaraki \u00e0 Seagrove\"<\/p>\r\n

La recherche scientifique dans le domaine de l\u2019art c\u00e9ramique est souvent n\u00e9glig\u00e9e en raison des contraintes de temps, d\u2019\u00e9nergie et d\u2019espace. Depuis plus de trente ans, Takuro Shibata et moi-m\u00eame nous consacrons \u00e0 l\u2019exp\u00e9rimentation d\u2019argiles sauvages et de techniques de cuisson au bois, tant \u00e0 Shigaraki \u2014 l\u2019un des plus anciens villages de potiers du Japon \u2014 qu\u2019\u00e0 Seagrove, en Caroline du Nord, la plus grande communaut\u00e9 de potiers des \u00c9tats-Unis.<\/p>\r\n

Historiquement, les potiers du monde entier s\u2019appuyaient sur les ressources locales, creusant, tamisant, traitant, s\u00e9chant et malaxant eux-m\u00eames l\u2019argile pour leur travail. Aujourd\u2019hui, cependant, il existe un foss\u00e9 important entre les ateliers de poterie contemporains et l\u2019industrie des mat\u00e9riaux c\u00e9ramiques.<\/p>\r\n

Nos recherches continues sur l\u2019argile ont \u00e9t\u00e9 largement reconnues, et notre livre Wild Clay a rencontr\u00e9 un grand succ\u00e8s. \u00c0 travers nos recherches et nos exp\u00e9riences, nous souhaitons inspirer et donner les moyens aux potiers du monde entier de s\u2019engager en faveur des mat\u00e9riaux naturels et locaux, afin de favoriser l\u2019ind\u00e9pendance cr\u00e9ative et de r\u00e9duire la d\u00e9pendance vis-\u00e0-vis des grandes entreprises et des fournisseurs industriels.<\/p>\r\n<\/td>\r\n

\r\n

Giorgos Vavatsis<\/h3>\r\n

(Gr\u00e8ce)<\/p>\r\nCHRONOLOGIE DE L'ARGILE<\/span><\/span>\r\n

Titre : \"Carnets min\u00e9raux\"<\/p>\r\n

Je propose une combinaison de vid\u00e9os et de photos de mes \u0153uvres, dans laquelle les vid\u00e9os montreront le processus de s\u00e9lection du paysage, la collecte des roches, des min\u00e9raux et des argiles, ainsi que les techniques que j'utilise principalement pour les transformer en objets en c\u00e9ramique, tandis que les photos cl\u00f4tureront la pr\u00e9sentation sous la forme d'une exposition en galerie. Il n'y aura ni texte ni voix off, seulement des sons.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n

Zhaojing Wang<\/h3>\r\n

(Chine)<\/p>\r\nFORME ET HISTOIRE<\/span>\r\n

Titre : \"Les Chinois tels que les imaginaient les Europ\u00e9ens : la perception erron\u00e9e de la Chine depuis la \u00ab salle de la porcelaine \u00bb\"<\/p>\r\n

Cette \u00e9tude examine la mani\u00e8re dont les cours europ\u00e9ennes et les cercles d\u2019\u00e9lite ont per\u00e7u, construit et mal interpr\u00e9t\u00e9 l\u2019image de la \u00ab Chine \u00bb dans le contexte de l\u2019\u00e8re des grandes d\u00e9couvertes aux XVIIe et XVIIIe si\u00e8cles. Le cabinet de porcelaine, en tant qu\u2019espace hautement ritualis\u00e9 ax\u00e9 sur la porcelaine, les reliefs en c\u00e9ramique et les ornements de \u00ab style chinois \u00bb, s\u2019est impos\u00e9 comme l\u2019un des ph\u00e9nom\u00e8nes culturels les plus fascinants de cette p\u00e9riode.
Cette \u00e9tude aborde trois questions fondamentales : premi\u00e8rement, qu\u2019est-ce qui constitue une salle de porcelaine ; deuxi\u00e8mement, pourquoi ces salles comportent-elles de nombreuses repr\u00e9sentations de \u00ab Chinois \u00bb ; et troisi\u00e8mement, quel type de Chinois y est repr\u00e9sent\u00e9. Suivant cette logique, le champ d\u2019analyse de l\u2019auteur se restreint des grands palais europ\u00e9ens aux reliefs en porcelaine ornant des pi\u00e8ces individuelles, examinant comment ces figures chinoises imaginaires ont \u00e9merg\u00e9 de la curiosit\u00e9 culturelle et des interpr\u00e9tations erron\u00e9es des Europ\u00e9ens. Consid\u00e9r\u00e9e sous cet angle, la salle de porcelaine transcende la simple d\u00e9coration opulente pour s\u2019imposer comme un artefact tangible des \u00e9changes interculturels.
Elle retrace les interpr\u00e9tations erron\u00e9es n\u00e9es de l\u2019exotisme et des disparit\u00e9s culturelles au c\u0153ur d\u2019un choc des civilisations, tout en offrant aux observateurs contemporains un moment de r\u00e9flexion sur le dialogue culturel : la compr\u00e9hension reste relative, tandis que l\u2019interpr\u00e9tation erron\u00e9e est presque invariablement absolue.<\/p>\r\n<\/td>\r\n

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\u200b<\/p>\r\n

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