image text special

'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

'Road To Know Where' by Joachim Coucke & Olga Fedorova at Tatjana Pieters, Gent

'Radiance Blast' by Milica Mijajlovic, Sybil Montet at VUNU gallery, Košice

'Impermanence' by Nicolas Lamas at In extenso, Clermont-Ferrand

'Mal', Off-Site Show at the James River Pipeline, Richmond

'Camouflage', Off-Site Show by prsntprsnt in Shui Long Wo, Sai Kung, Hong Kong

'LMXJVSD' by Marina G Guerreiro at Pols, Valencia

'Glossy Inviolability' by Zsófia Keresztes at Elijah Wheat Showroom, New York

'Eye to Eye Delirium' by Sofia Sinibaldi at Interstate Projects, New York

'A Tinkling Sound', a Group Show at Kunsthalle Wichita

'I am Thankful to be a Ghost Now', a Group Show at Aldea Gallery, Bergen

PALAZZINA #03: Melanie Akeret, Haydée Marin, Hannes Zulauf at Palazzina, Basel

'Tiredness Quotes' by Barbora Zentková & Julia Gryboś at Karlin Studios, Prague

'New Psychedelia of Industrial Healing' by Sharona Franklin at King’s Leap, New Y

'Another Night in Dream City' by Seán Boylan at Stranger, Baltimore

'I SAW A CROW, ORCA WAS I' by Alison Yip at Monte Clark Gallery, Vancouver

'DIGESTING DUCK ENTRY LEVEL POSITION' by Isabelle Frances McGuire at From the Des

'Access Modes for Encountering Large Industrial Bodies' by Kitty Maria at Het Res

'La ballade des sardines – Die Liebe der Sardinen' by Robert Brambora at Sans tit

More