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'Glazed & Confused', a Group Show at Fonda, Leipzig

We are going to mold a piece of clay today. Then 5,50€ glaze it!
 But remember to keep your experiments safe. And always let the clay slide between your fingers – and be careful, we don’t want any entrapped air in there. 
Dreaming of lines, that aren’t straight, edges that wriggle along, Patrick Swayze hugging me from behind, guiding my hands, throwing a sort of vase in a shape that has never been seen before. Erecting it.
 Burn the vase, paint it and send it straight back to hell so it can come back purified and have me and you and everyone else inside.
 “How dare you building up like that and then not deliver? You have stolen my dreams that
 I tried to catch, but still, I don’t know if I even want them back. I am living, L-I-V-I-N-G!“ 

We all suspected “Glazed and Confused” was going to incarnate a zeitgeist we wanted to inhabit yet never could (and never will)....................................................................................... 

Maybe as an antipole to the fast-paced digitalized world we live in, we discover this “Return To Craft” that demands patience and practice. An accelerationist, playful approach striving against the perfection of ceramic craft as we know it from the industrial production and distribution of ceramic goods can be observed: Imperfection, Dysfuntionality or an intuitive interaction with the inherent material character of clay could be read as a statement against mass production, as it inherently retains traces of its sculptor. 

The portrayed motives share a fantastic and uncanny vibe making it a tool for manifesting personal fictions without pushing a certain narrative or instruction on how they have to be read. 

Originating from the need to make the porous vessel suitable for holding liquids, glazing the pottery with a layer of glass becomes an important aesthetic factor, adding the shiny aura, that implements value, making it seem both solid and fragile at the same time. This finishing stresses the three-dimensionality of the object, portraying it as highly photogenic and weirdly linking it back to a computer-rendered digital image. 

12.12.19 — 8.1.20

Chin Tsao, Ana-Marija Vasicek, Nschotschi Haslinger, Nico Ihlein, Leon Höllhumer, Mylasher, Sofie Fatouretchi, Philipp Zöhrer

FONDA

'The Chase' by Jürgen Baumann at Material, Zurich

'The Host' by Pakui Hardware at eastcontemporary, Milan

'Chlamydomonas Nivalis' by Alberto Tadiello at Umberto Di Marino Gallery, Napoli

'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London

'Ghost Member: Prosthesis/ Symbiosis as a shelter' by Naomi Maury at L'Assaut de

'I show you the signs of life' by Alina Izmaylova at Kerka gallery, Saint-Petersb

'I Don't Want No Trouble' by Lucas Erin at All Stars, Lausanne

'The Grime and the Schmutz' by Béla Feldberg at Jo-Anne, Frankfurt am Main

'Night of Hinnā' by Monia Ben Hamouda at Bungalow, ChertLüdde, Berlin

'Getting Down to Business' by Rebecca Rothenborg at Galerie Roland Puschitz, Vien

'Why Me?' by Pietro Agostoni at Associazione Barriera, Turin

'Holloway - ‘Das Gift’ is a Gift' by Céline Struger at Loggia, Vienna

'Under the Moon' Group Show at Camp Eternal Hell Chamber, New York

'SUPER-NATURAL', Group Show at OLHÃO, São Paulo

'Body Electric' by Zuza Golinska at Galerie Anton Janizewski, Berlin

'Almost Collapsing Balance' by Liao Wen at Capsule Shanghai

Curated by: 'HARDCORE FREEDOM' by Esben Weile Kjær at Zeller van Almsick, Vienna

anonymous, naïve ca. 1970– at Money Gallery, Saint Petersburg

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