Mitesser gesucht

18.03.2018 – 08.04.2018

Mitesser gesucht

Kerstin Abraham
Margaret Curtis
Hans Fischer
Jean Nicolas Gérard
Hermann Grüneberg
Kati Jünger
Nina Lund
Iris Schöne
Medi Zimmermann

Opening:
Sunday 18.03.2018 at 11 am with the artists

Performance by Michael Kalmbach, Seyko Itoh: Miko&Seels Tischmanieren

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Conversation, wit and pleasure.

The double sensory pleasure of seeing and tasting.

The delight when you have eaten your way through a mountain of semolina pudding to get to the bottom of the bowl – The fright when the eater is eaten by the fish.

The dust of which we are made does not hold us together. But humour, wit and food certainly do.

Hans Fischer

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Cultural Intern

Since working in the HB workshops in 2008, I have been also practically aware that the contemporary in its freest form can be at home in the pattern, in decor. The contemporaneity lies in invention, which has completely adapted itself for this purpose, in production, in the making itself.
Some time ago I addressed to the question of when that which I draw is a free drawing – and when is it an ornament. And if I can gain a suitable ornament or pattern from my drawing – and vice versa.

Today, I like exhibiting drawings from my sample books together with the crockery, mostly plates, on which they appear as ornaments or patterns.
Most of the faïence-style crockery I have made myself. This has to do with what the faïence means to me (…).

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Then there are works which are the results of my work as a “travelling painter” at still existent European production sites where I adapted to the production technologies on site. Like the glaze-on-glaze painting at Zsolnay, for example. One uses “industry” as a pejorative, especially in ceramics. How exciting it is then to delve into the historically developed and finally differentiated industrial techniques, to lay a tiny individual trace.
Last but not least, there are my palimpsests on historic industrial production – here I bought the carrier material on the Internet and can only guess at and test the many different technologies that my painting technique has to fit each time. My favorites are from the time before the dishwasher (…).

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The pattern book templates, which I can use and vary again and again, are recognisable on the one hand. On the other hand, the circumstances of the application determine a new act of painting, which constantly leads to a new drawing. At the same time, the various forms, drawings, production and painting techniques, which must always relate to each other, create in their fullness such an area of conflict that I never tire of mixing and recombining the results. All the previous steps, which have completely filled me out, now prove to be precursors of an orderly activity which wants but cannot reach the “whole”.

Kerstin Abraham

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The pattern book templates, which I can use and vary again and again, are recognisable on the one hand. On the other hand, the circumstances of the application determine a new act of painting, which constantly leads to a new drawing. At the same time, the various forms, drawings, production and painting techniques, which must always relate to each other, create in their fullness such an area of conflict that I never tire of mixing and recombining the results. All the previous steps, which have completely filled me out, now prove to be precursors of an orderly activity which wants but cannot reach the “whole”.

Margaret Curtis

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Nutcracker, smoking males, schwibbogen – 2018 I want to penetrate with flying colours into the well protected idyll of german folk art. I want to cause a disturbance, where devotion prevails.

With doors wide open I invtite strangeness in the temple, in where the three saint kings from orient are already maximum.

In our dear, dark heimatstube, filled with the scent of firs and the sound of squeezebox – it should rattle!

Hermann Grüneberg

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Intuition is guiding the process in which my emotions, experiences and dreams are reflected.

The design is never planned – it somehow flows out of my hands and in the end every cup is a little universe of it`s own: sometimes sad, sometimes happy just as life
is.
Technically I cast my little precious flee market things into gypsum molds, which I use to press and apply onto the porcelain cups.
In contrast to this usage of preexisting things, my vases are constructed by a serial connection of ornaments.
I`m fascinated by the meditatively repeating patterns. This symmetry and continuity is accentuated with intuitively and a-rhythmic colors which again can be seen as a mirror of everyday life: the entwining of order and the chaos form the uniqueness of our being.

Kati Jünger

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“Without any doubt, terre vernissée is a traditional technique.
I love its ability to bring joy into everyday life, on the kitchen table as well as in the garden.This is why I do accept and use this tradition in my work as a potter.
But I am also questioning this tradition. Today, Terre vernissée is a living technique, bringing me emotions as intense as those that I get from contemporary painting or Asian ceramics which nurture me.”

Jean Nicolas Gérard

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Every firing is fresh and new, and often unexpectedly different than the one before;
the process is like an ongoing conversation, with past experiences and new ones both adding their salt.
I am continuously “on the pottery path” …
always on the lookout for good stoneware – for honest, simple pots.

Iris Schöne

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