Apply for a dense five weeks - working in the natural atmosphere of an innovative industrial ceramic manufactory, using the means of digital product development or to traditionally build up the ceramics by hand. Sharing experiences and competencies between generations and positions is programmatic for this seminar. Application ends 31 March.
“The love of handcraft is not to be viewed as a sentimental inclination, but rather as the most ideal possibility for people to engage with matter. This is an engagement that creative people cannot avoid if they do not wish to remain stuck at the surface level of phenomena…
Our task is to study and shape the foundation of handcraft, to rediscover the wealth of matter for all of us and to continue to impart it without reservation. One must call into question both the character and artistry of anyone who does not submit to the labour of mastering matter…
So I tear my earth open, melt it down, let it smoulder and hope to escape loneliness through the realisation of dreams and connections…”. Kurt Ohnsorg
Ohnsorg or: The Ultimate Possibility. Art made not just to sit on a wall, whence it might have a great fall and break. The Austrian Nobel Laureate Elfriede Jelinek on the occasion of the 40. anniversary of the death of Kurt Ohnsorg: about his ceramics works of art and about beauty. In Die Presse, print edition, 28. 8. 2010. Translated by Gitta Honegger.
Those wonderful things Ohnsorg crafted have a function, they serve a purpose, and it is a great achievement when beauty also has a purpose, even though it is in and of itself and would like to remain so by itself . . . . These objects are designed for use and yet at the same time they unequivocally alert us that this designation will be crossed out by the user as he is challenged to use them. The challenged one has explicitly been told and even shown the designation of these works, but now he can’t find the words for what it is and what he is supposed to use. When he tried to put an especially pretty arrangement of branches into the vase, its beauty hit him right in the face, for a brief moment he is blind, blinded, he must not approach the purpose of those objects, which is quite obvious, with such wide-eyed openness. . . .
What kind of nonsense is beauty up to now, not making us beautiful, which would be much more practical, because we could take it with us anywhere, but rather those objects? Are we supposed to learn from these pieces that they will never really be what they are by being used as that which they can be and are meant to be and is that something they no longer are, because they could at any time come to their end (in bits and pieces of splinters and shards), temporal as they are. . . . . These works of art cannot be explained; they can be placed in plain view, but not for placement. They are not products for placement. There they stand, but not on a stage, where they could hold their own any time, self-contained in both their fragility and certainty to have reached their final stage as intended for them by the artist. There is the possibility, no, the certainty that they will finally come to an end (as all living things do), by an act of violence or by falling, from way up high, which is possible for them, but certain for us. Perhaps this is it: while it is possible for beauty to come to an end, we have the added certainty of definitely coming to an end. That is the core, which is also contained in those works of art. They are not what they are. They are. Not like us and we know that. Those works know nothing, not even themselves, but they contain time, as they can contain themselves and also take in something, until it is over. Thus beauty is not nothing but the beginning of terror, beauty is no less than the possible end of terror.
CERAMICS ART SYMPOSIUM GMUNDEN
Initiated in 1963 by the renowned Austrian artist Kurt Ohnsorg, this Ceramic Symposium in Gmunden was the first to seek an international audience. Having had artistic guests for several weeks from all over the world such as Nigeria, India, Israel, the USA and Central Europe already 55 years ago, Dr. Conrad H. Lester, former Laufen group part owner and dedicated patron of the arts, has made this possible.
Inspired by Paul Lester, the son of Conrad H. Lester, the Association for the Promotion of European Ceramics Artists revived this symposium in 2003 under the lead of the Gmundner Keramik Manufaktur. The Cultural Department of the City of Gmunden, Austria organises this Symposium biennially in the Kunstwerkstatt.
will be the first year when the artists in residence programme will also be hosted in the Laufen manufactory, Laufen`s leading development centre, in Gmunden again.
This programme is open for established artists as well as emerging talents. Kurt Ohnsorg was interested in exchange, in sharing experiences and competencies between generations and positions. This is programmatic for this seminar.
We invite artists to apply for a dense five weeks - working in the natural atmosphere of an innovative industrial ceramic manufactory, using the means of digital product development or to traditionally build up the ceramics by hand.
Artists will have our full support to explore the materiality and aesthetics in the high temperature range. You are free to choose to work with the innovative SaphirKeramik amongst other ceramic materials and colours. Deadline for submitting applications sent to email@example.com is end of March. An international panel of experts will decide on the participants.