{"id":571,"date":"2024-07-19T15:22:46","date_gmt":"2024-07-19T13:22:46","guid":{"rendered":"https:\/\/alcobaca-caldas2024.aic-iac.org\/?page_id=571"},"modified":"2024-09-16T17:49:54","modified_gmt":"2024-09-16T15:49:54","slug":"","status":"publish","type":"page","link":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/lectures-breakout-sessions\/","title":{"rendered":"","raw":""},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":2192,"featured_media":608,"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_608\" align=\"alignnone\" width=\"1333\"]\"\" Kay Aplin at her home - The Ceramic House, Stanmer Villas, Brighton. Picture by Jim Holden.[\/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\r\n\r\n\r\n\r\n\r\n
\r\n

\u00a0<\/h3>\r\n

Breakout sessions<\/h3>\r\n

THE GLOBAL TAXI SERVICE OF THE PORTUGUESE<\/p>\r\n

In current understandings of world history, the age of Europe began with the great explorer Vasco da Gama leaving from Portugal to further the trade in spice and exports from \u201cthe East\u201d. The historian Christopher Harding speaks of \u201cthe global taxi service of the Portuguese\u201d; they provided the ships which enabled Europe to benefit from the developments in the rest of the world and eventually to create empires. In the late 15th century the Portuguese were the dominant nation in Europe controlling exploration and the discovery of new markets and of \u201cnew worlds\u201d (though these \"new worlds\" were already known by some).<\/p>\r\n

In this series of short presentations by IAC members, the Committee wishes to provide a series of vignettes (blinks of the eye), that will illuminate the explorations that are occurring now and inform us of both old and new knowledge transmitted in the digital age.<\/p>\r\n

The four themes framing the presentation are:<\/p>\r\n

    \r\n
  • NEW LANDS<\/li>\r\n
  • OLD WORLDS \u2013 NEW WORLD<\/li>\r\n
  • LOCAL AND GLOBAL<\/li>\r\n
  • EXPLORATION<\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Avi Ambesury<\/h3>\r\n

(Australia)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"The Self-Reconciliation Project\"<\/p>\r\n

The idea for 'The Self-Reconciliation Project' came to Avi Amesbury from researching 100 years of her family's history, from their arrival in Australia to the birth of her mother. As one of the first settler families to arrive in Western Australia's wheat belt, Amesbury's family was given free land while the Noongar Ballardong people of the area were persecuted and driven out. As a descendant, the project examines her own 'white' past and her journey of self reconciliation.<\/p>\r\n<\/td>\r\n

\r\n

Kay Aplin<\/h3>\r\n

(UK)<\/p>\r\nNEW LANDS<\/span>\r\n

Title: \"Architectural Ceramics - Responding to Place\"<\/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

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Shlomit Bauman (Benyamini Contemporary Ceramics Center)<\/h3>\r\n

(Israel)<\/p>\r\nOLD WORLDS - NEW WORLDS<\/span>\r\n

Title: \"XYZT: Material Investigations\"<\/p>\r\n

For several years now, planning with 3D software, scanning and printing has become common for artists and designers. The exhibition XYZT was the result of a cooperative project between the Benyamini Ceramics Center and the Computational Archaeological Laboratory of the Hebrew University and deals with the different uses of similar technological tools in the two fields of knowledge: while archaeologists learn about the different facets of human society through the material cultural remains, artists and designers create contemporary material culture.<\/p>\r\n<\/td>\r\n

\r\n

Sharbani Das Gupta<\/h3>\r\n

(United States)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"Common Ground, Indian Ceramics Triennale 2024\"<\/p>\r\n

Three members from the Indian Ceramics Triennale curatorial team, Sharbani Das Gupta, Anjani Khanna and Madhvi Subrahmanian present a documentary of the recent 2nd edition of the ICT 'Common Ground'<\/em>. Metaphorically and literally, the show explored the ground on which we meet. Though we are separated by privilege, politics, and access to knowledge, and the ground on which we walk is uneven, we remain bound by a common humanity, and a common future. The art crossed mediums and disciplines, hand-made and technological, ancient and modern expression. It was a space for dialogue and multiplicity, and investigated what it means to make with clay today. As much a journey for the curators as the artists, this film documents the experience and shares the exuberance and generosity of the artists.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Norma Grinberg<\/h3>\r\n

(Brazil)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"Perpetual Movement\"<\/p>\r\n

The presentation revisits Norma Grinberg's exhibition, which aims to contribute to human rights education, to promote respect for diversity and human dignity. It is an opportunity to reflect on the situation of individuals, refugees, minorities and gender in the world, through the installation composed of sculptural works in a poetic, sensitive and contemporary language.<\/p>\r\n<\/td>\r\n

\r\n

Holly Hanessian<\/h3>\r\n

(USA)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"The New Ceramic Locavore\"<\/p>\r\n

Agriculture and clay materials travel thousands of miles before they reach us. The carbon footprint of moving our food and clay materials from multiple global points to the final distribution point is enormous. Ceramic artists are starting to see environmental value in mining wild clay locally. This idea has grown expansively like the farm to table movement. Holly Hanessian presents on how global and local economies affect our environment and looks at how the social and political history of importing the exotic (porcelain from great distances) fulfilled cultural desires, while treating regionally mined earthenware with lesser value.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Yanze JIANG<\/h3>\r\n

(China)<\/p>\r\nNEW LANDS<\/span>\r\n

Title: \"Chinese shan shui<\/em> Culture and its Influence in Contemporary Ceramic Art\"<\/p>\r\n

In this presentation, Yanze JIANG talks about her studio practice, the inspiration she got from her experiences working in ceramic factories, as well as the influence of traditional Chinese Shan-shui culture. The concept of Shan-shui is never really mountains and rivers in China, but is more about a strong philosophical spirit and the expression of cosmology. Through her work, she conveys the paradoxical relationship between the development of city\/modern life and the preservation of natural environment\/traditional value and esthetic. Has the ancient Chinese principle of the supposed harmony between mankind and nature been irrevocably shattered? How does the traditional Chinese Shan-shui culture influence people\u2019s concept, aesthetic and value in modern life?<\/p>\r\n<\/td>\r\n

\r\n

St\u00e9phanie Le Follic-Hadida<\/h3>\r\n

(France)<\/p>\r\nNEW LANDS<\/span>\r\n

Title: \"Ceramics and Science: IAC Geology Missions\"<\/p>\r\n

Are presented here two current projects under the banner of \"Geology Missions\" and the actors and IAC members making them possible. In Lebanon, an effort to give a voice to artists who are prevented from expressing themselves artistically and to offset Lebanon's economic and social instability has led to prospecting for local clay and transforming into usable clay for Lebanese artists. In Benin, a project of collecting, transforming and finding ways of firing sustainably is underway. These missions are made possible thanks to the efforts of Exp\u00e9dit Ago, Avi Amesbury, Shooli Azadeh, Doug Casebeer, Robert Harrison, King Houndekpinkou, Jacques Kaufmann, St\u00e9phanie Le Follic-Hadida, Haloren Mellendorf, Samar Mogharbel, Charles & Adrian M\u00fcller, Rita de Nigris, Joao Rolaca, Katherin L. Ross, Nicole Seisler, Hitomi Shibata and Guangzhen Zhou.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Boo Yun Lee<\/h3>\r\n

(Republic of Korea)<\/p>\r\nEXPLORATION<\/span>\r\n

Title: \"Epochal Reforms and Exploration of Joseon White Porcelain in Korea\"<\/p>\r\n

In this presentation, Professor Boo Yun Lee follows the emergence and development of Joseon white porcelain in Korea, from 1392 until the modern times. From a reformed government ideology, through a Pottery War, Joseon white porcelain has a rich history spanning many centuries.<\/p>\r\n<\/td>\r\n

\r\n

Lihong LI<\/h3>\r\n

(China)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"My POP\"<\/p>\r\n

Li Lihong discusses his recent works in the form of POP advertising in promotional materials. The medium of Chinese ceramics is combined with traditional ceramic painting and the styling of international brand logos to reflect the dialectical thinking of globalisation and nationalisation in the contemporary world. The concept of \"globalisation\" carries a sense of uncertainty. The new cultural conflict has made the issue of ethnic and cultural mixing more acute. What is emphasised here is the dialectical effect of the collision between local culture and global culture. When tradition needs to be updated, it is inevitable that there will be pain, and this pain is the sign of the arrival of modernity.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Nelson Lim<\/h3>\r\n

(Singapore)<\/p>\r\nOLD WORLDS - NEW WORLDS<\/span>\r\n

Title: \"Construction of Memories\"<\/p>\r\n

In his practice, Nelson Lim explore the fusion of ancient clay and industrial materials, symbolising the tension between tradition and progress. Through meticulous experimentation, he manipulates these materials, reflecting on our evolving relationship with technology and the enduring power of craftsmanship. As AI enters the artistic realm, he ponders its impact on traditional techniques and the essence of artistic expression.<\/p>\r\n<\/td>\r\n

\r\n

Langmin LIN<\/h3>\r\n

(China)<\/p>\r\nEXPLORATION<\/span>\r\n

Title: \"Porcelain Gene: An Exploration of Methodology for Ceramic Art Creation\"<\/p>\r\n

\"Porcelain gene\" originates from the excess materials produced in the traditional porcelain making process, which are often abandoned by producers as ineffective substances. With the effective guidance of artists, these primitive materials can be transformed into an open \"porcelain gene\". Unlike the ceramic components pre-designed by artists or the combination of these components, the \"porcelain gene\" creative methodology is closer to the natural essence of ceramics. Its randomness and richness promote a more diverse artistic expression of ceramics. At the same time, the creative methodology also contributes to the sustainable utilisation of clay.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_609\" align=\"alignnone\" width=\"2560\"]\"\" McWilliam's artwork in the County Museum for Art and Culture Oldenburg.[\/caption]\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Martin McWilliam<\/h3>\r\n

(Germany)<\/p>\r\nOLD WORLDS - NEW WORLDS<\/span>\r\n

Title: \"The Vessel and the Space - Ceramic Interventions by Martin McWilliam in the Historic Museum Oldenburg\"<\/p>\r\n

A conversation between Martin McWilliam and Dr Anna Heinze, Deputy Director of the County Museum for Art and Culture Oldenburg, relates the challenges and successes of setting up McWilliam's recent exhibition. Given the rapid changes in times and an increasingly experience-oriented society, museums face a need to continually rethink and reinvent themselves. With this in mind, Heinze and McWilliam thought of a new experience for ceramic lovers, bringing together local history and contemporary art.<\/p>\r\n<\/td>\r\n

\r\n

Mirta Morigi<\/h3>\r\n

(Italy)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"Fiftieth anniversary of Mirta Morigi Ceramiche\"<\/p>\r\n

Mirta Morigi tells the story of her home: Faenza, kown to the world as a centre for ceramics in Europe; from the city's influence on her education, through her successes, up to the recent natural disaster that struck Faenza, Morigi shares the complex journey. Located at the foot of the Tuscan-Romagnol Apennines, surrounded by clay gullies which provided the raw material, Faenza has a long history of ceramics dating all the way back to the 13th century. In May 2023, the Faenza was flooded and the rain dissolved the gullies and brought masses of clay into the city and what was just a motto \u201cHabemus tesaurus in vasis fictilibus<\/em>\u201d became an unimaginable reality.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Samuel Nortey<\/h3>\r\n

(Ghana)<\/p>\r\nLOCAL AND GLOBAL<\/span>\r\n

Title: \"The Colonial Art Legacy and Influence in Present Ghana\"<\/p>\r\n

Before the arrival of the Europeans, the people of the Gold Coast (now Ghana) had unique skills, techniques, and purposes in producing their artworks. These artworks were useful and inextricably intertwined in their daily activities. When the British colonised the Gold Coast, they took interest in the formal education of the people and introduced an art curriculum for their training. That art curriculum was very mechanical, striving towards industrialisation with no room for creativity, something that the Indigenous people were practicing but needed mastering. This presentation looks at art in the Gold Coast and its role among the people, the introduction of formal art education, and developments thereafter.<\/p>\r\n<\/td>\r\n

\r\n

Am\u00e9lie Proulx<\/h3>\r\n

(Canada)<\/p>\r\nNEW LANDS<\/span>\r\n

Title: \"The Expansion of my Library of Raw Materials\"<\/p>\r\n

Hands that collect, manipulate, display, assemble, hold: so many evocations of the gestures that permitted this vast project to take form. Throughout her recent research, Am\u00e9lie Proulx meticulously collected hundreds of rocks and minerals to integrate them into her porcelain and explore the possibilities of firing them. With the use of websites archiving former prospections and mining sites in Qu\u00e9bec (Canada), she travelled across the province to find alternative raw materials to incorporate in her work. This project started with the premise to work with more local materials and become more self-sufficient and less dependent on raw-material suppliers. It turned into a project in which many different rocks that she had collected became both new raw materials at the foundation of her latest body of work and the focus of that work, as well.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Jer\u00f3nimo Sainz de Ag\u00fcero<\/h3>\r\n

(Mexico)<\/p>\r\nEXPLORATION<\/span>\r\n

Title: \"Queering Clay\/Ceramics\"<\/p>\r\n

\"To queer\" pottery has become an every day common approach to respond, confront, think and create outside the cis-heternormative rules and structures that sustain Design, Art, Trade and many other Systems related with pottery. In this lecture, Jer\u00f3nimo Sainz de Ag\u00fcero presents several creations regarding pottery and\/or Clay\/Ceramic artworks that explore some way of queering clay\/ceramics in Mexico. The presentation briefly covers some of the main ideas regarding \u201cto queer\u201d pottery and the distinctions with an LGBTQIA+ approach to clay. Not all LGBTQIA+ identities make queer pottery, and not all queer pottery has been made by LGBTQIA+ identities.<\/p>\r\n<\/td>\r\n

\r\n

Judith Schwartz<\/h3>\r\n

(USA)<\/p>\r\nOLD WORLDS - NEW WORLDS<\/span>\r\n

Title: \"Old World New World: MoCA-NY and Ceramic World Destinations\"<\/p>\r\n

In this presentation, Judith Schwartz introduces a new inter-global communication platform for the ceramic community. Old World New World represents the innovative format that MoCA\/NY has created\u2013 it is a dynamic map, a living network that showcases the diverse tapestry of who we are as creators and appreciators of ceramic art. From contemporary studios to ancient landmarks, we celebrate this rich artistic expression throughout history and around the world. The presentation amplifies artists whose work focuses on themes such as colonisation and identity politics and paints a vivid picture of the global ceramic landscape. Old World New World allows for a discussion of how locality, history, tradition, culture, and context inform current ceramic artists' work and foster cultural exchange. It is a dialogue between past and present, recalling the old world and summoning the new; propelling us into the future.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Aurelija\u00a0Seilien\u0117 (Panev\u0117\u017eys Civic Art Gallery)<\/h3>\r\n

(Lithuania)<\/p>\r\nOLD WORLDS - NEW WORLDS<\/span>\r\n

Title: \"Open Windows: Expanding the World of Panev\u0117\u017eys International Ceramic Symposiums\"<\/p>\r\n

This presentation discusses the upcoming Panev\u0117\u017eys International Ceramic Symposium, themed \"Open Windows\", focusing on its significance as a platform for exploration into new artistic territories. A historical overview of the symposium, its thematic alignment with the year 2025, the featured collection, ancillary symposium events, and a call for participation will be outlined. Since its inception in 1989, the Symposium has been a stalwart in the global ceramic art landscape, attracting 186 artists from 37 countries. The 2025 edition endeavours to put a spotlight on ceramic art from unexplored regions, shedding light on how indigenous traditions intersect with the contemporary global milieu.<\/p>\r\n<\/td>\r\n

\r\n

Anne-Brit Soma Reienes<\/h3>\r\n

(Norway)<\/p>\r\nNEW LANDS<\/span>\r\n

Title: \"Sensing possibilities\"<\/p>\r\n

Sensing possibilities<\/em> is a performative, artistic research-project based on the plasticity of clay and what this plasticity does, conducted by Anne-Brit Soma Reienes, ceramic artist, researcher and teacher. This artistic research entangles material, pedagogy, and bodily knowledge, as the artist uses a performative method to open new perspectives on how children are exposed to clay in Norwegian kindergartens. By introducing clay as a way of being present together, this method contributes to a new clay-paradigm that has a process-based focus. This aligns with children\u2019s ways of being in the world.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Annika Teder<\/h3>\r\n

(Estonia)<\/p>\r\nENVIRONMENT<\/span>\r\n

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

This presentation is captured in this one message: \"When corals die, the colours die, the fish die, the oceans die: NATURE IS ON EDGE.\" The world is one entity; everything is connected to everything else. On the island of Saaremaa in Estonia, the dolomite cliffs show remains of ancient reefs with distinctive fossil fauna. These reefs are marine ecosystems from Silurian period over 400 million years ago... Coral reefs are now endangered due to the changes in the water temperature and salinity content, pollution and over-fishing. Changes in the earth\u2019 s sensitive ecosystem impact all of us. If the coral reefs perish, the remaining ecosystem will also be in danger. The composition presented in this presentation is a symbolic coral reef . This sculptural coral form grows out of the dialogue between the medium of clay and the artist's hand.<\/p>\r\n<\/td>\r\n

\r\n

Adil Writer<\/h3>\r\n

(India)<\/p>\r\nOLD WORLDS - NEW WORLDS<\/span>\r\n

Title: \"A CLAY CONNECT ~ A Film by Adil Writer\"<\/p>\r\n

Adil Writer's presentation connects archival videos and images, along with new, live footage of his long-standing collaboration with a traditional local potter, Palanisamy. As stories of traditional pottery are fused with contemporary ceramics, Writer's lecture takes the audience on a \u201cCool Tour\u201d of southern India, encompassing international anagama workshops at the iconic Golden Bridge Pottery in Pondicherry. Writer then leads us to Palanisamy\u2019s pottery village, to a century old Iyennar horse shrine, and finally to the Muthu temple complex with its thousands of brick-clay-cement figurines. Connecting these many landmarks will be stories of loss of artisanal skills in the 21st century, and how plastic and cement are nudging aside traditional clay skillsets.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Naho Yamashita<\/h3>\r\n

(Japan)<\/p>\r\nNEW LANDS<\/span>\r\n

Title: \"Joint research with the ceramics industry using 3D modelling at Ishoken (Tajimi City Ceramic Design and Technical Center Japan)\"<\/p>\r\n

Ishoken is located in the Mino ware production area of Tajimi, the centre of the Japanese ceramics industry and host of the International Ceramics Competition Mino. There are four production areas in Tajimi, where the tableware industry and the tile industry coexist. In recent years, Ishoken has introduced 3D modelling equipment, such as 3D printers and 3D scanners, and is actively promoting design support for the city's ceramic industry. In this lecture, Naho Yamashita will describe how 3D modelling is being introduced into the respective ceramic industries and connecting two industries that have never interacted before.<\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_en_post_name":"lectures-breakout-sessions","_en_post_excerpt":"The Congress includes 24 Breakout sessions by IAC members.","_en_post_title":"Breakout Sessions","_fr_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_608\" align=\"alignnone\" width=\"1333\"]\"\" Kay Aplin at her home - The Ceramic House, Stanmer Villas, Brighton. Picture by Jim Holden.[\/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\r\n\r\n\r\n\r\n\r\n
\r\n

\u00a0<\/h3>\r\n

Breakout sessions<\/h3>\r\n

LE SERVICE DE TAXI MONDIAL DES PORTUGAIS<\/p>\r\n

Selon les conceptions actuelles de l'histoire mondiale, l'\u00e2ge de l'Europe a commenc\u00e9 avec le d\u00e9part du Portugal du grand explorateur Vasco de Gama pour d\u00e9velopper le commerce des \u00e9pices et les exportations en provenance de l'\u00ab Orient \u00bb. L'historien Christopher Harding parle du \u00ab service de taxi mondial des Portugais \u00bb ; ils ont fourni les navires qui ont permis \u00e0 l'Europe de profiter des d\u00e9veloppements dans le reste du monde et, finalement, de cr\u00e9er des empires. \u00c0 la fin du XVe si\u00e8cle, les Portugais \u00e9taient la nation dominante en Europe, contr\u00f4lant l'exploration et la d\u00e9couverte de nouveaux march\u00e9s et de \u00ab nouveaux mondes \u00bb (m\u00eame si certains connaissaient d\u00e9j\u00e0 ces \u00ab nouveaux \u00bb mondes).<\/p>\r\n

Dans cette s\u00e9rie de courtes pr\u00e9sentations par les membres de l'AIC, le Comit\u00e9 souhaite fournir une s\u00e9rie de vignettes (clins d'\u0153il) qui \u00e9claireront les explorations qui se produisent actuellement et nous informeront des connaissances anciennes et nouvelles transmises \u00e0 l'\u00e8re num\u00e9rique.<\/p>\r\n

Les quatre th\u00e8mes qui encadrent la pr\u00e9sentation sont les suivants :<\/p>\r\n

    \r\n
  • NOUVELLES TERRES<\/li>\r\n
  • ANCIENS MONDES - NOUVEAUX MONDES<\/li>\r\n
  • LOCAL ET GLOBAL<\/li>\r\n
  • EXPLORATION<\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Avi Ambesury<\/h3>\r\n

(Australie)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"The Self-Reconciliation Project\"<\/p>\r\n

L'id\u00e9e du \u00ab Self-Reconciliation Project \u00bb (Projet d'auto-r\u00e9conciliation) est venue \u00e0 Avi Amesbury en faisant des recherches sur 100 ans d'histoire de sa famille, depuis son arriv\u00e9e en Australie jusqu'\u00e0 la naissance de sa m\u00e8re. La famille d'Avi Amesbury, l'une des premi\u00e8res familles de colons \u00e0 arriver dans la ceinture de bl\u00e9 de l'Australie occidentale, a re\u00e7u des terres gratuites alors que le peuple Noongar Ballardong de la r\u00e9gion a \u00e9t\u00e9 pers\u00e9cut\u00e9 et chass\u00e9. En tant que descendante, le projet d'Amesbury examine son propre pass\u00e9 \u00ab blanc \u00bb et son parcours de r\u00e9conciliation.<\/p>\r\n<\/td>\r\n

\r\n

Kay Aplin<\/h3>\r\n

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

Titre : \"Architectural Ceramics - Responding to Place\"<\/p>\r\n

Du point de vue de sa pratique personnelle de la c\u00e9ramique architecturale, Kay Aplin pr\u00e9sente comment, au cours de trois d\u00e9cennies, ses \u0153uvres d'art public ont r\u00e9pondu \u00e0 la th\u00e9matique du lieu, en utilisant le carreau comme forme de base. En d\u00e9veloppant ce point, elle retrace son propre parcours, du point de d\u00e9part d'une formation en art public et en design \u00e0 une pratique artistique consistant \u00e0 r\u00e9aliser des installations \u00e0 base de carreaux et \u00e0 la cr\u00e9ation de son gesamtkunstwerk, The Ceramic House, une vitrine vivante de sa pratique de la c\u00e9ramique architecturale. Dans chaque sc\u00e9nario, l'\u0153uvre est sp\u00e9cifique \u00e0 un site et le \u00ab lieu \u00bb, dans des contextes locaux et mondiaux, est essentiel.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Shlomit Bauman (Benyamini Contemporary Ceramics Center)<\/h3>\r\n

(Isra\u00ebl)<\/p>\r\nANCIENS MONDES - NOUVEAUX MONDES<\/span>\r\n

Titre : \"XYZT: Material Investigations\"<\/p>\r\n

Depuis plusieurs ann\u00e9es, la planification \u00e0 l'aide de logiciels 3D, la num\u00e9risation et l'impression sont devenues monnaie courante pour les artistes et les concepteurs. L'exposition XYZT est le r\u00e9sultat d'un projet de coop\u00e9ration entre le Benyamini Ceramics Center et le Computational Archaeological Laboratory de l'Universit\u00e9 h\u00e9bra\u00efque. Elle traite des diff\u00e9rentes utilisations d'outils technologiques similaires dans les deux domaines de connaissance : tandis que les arch\u00e9ologues \u00e9tudient les diff\u00e9rentes facettes de la soci\u00e9t\u00e9 humaine \u00e0 travers les vestiges culturels mat\u00e9riels, les artistes et les concepteurs cr\u00e9ent une culture mat\u00e9rielle contemporaine.<\/p>\r\n<\/td>\r\n

\r\n

Sharbani Das Gupta<\/h3>\r\n

(Etats-Unis)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"Common Ground, Indian Ceramics Triennale 2024\"<\/p>\r\n

Trois membres de l'\u00e9quipe curatoriale de la Triennale indienne de la c\u00e9ramique, Sharbani Das Gupta, Anjani Khanna et Madhvi Subrahmanian, pr\u00e9sentent un documentaire sur la r\u00e9cente deuxi\u00e8me \u00e9dition de l'ICT \u00ab Common Ground<\/em> \u00bb. M\u00e9taphoriquement et litt\u00e9ralement, l'exposition a explor\u00e9 le sol sur lequel nous nous rencontrons. Bien que nous soyons s\u00e9par\u00e9s par les privil\u00e8ges, la politique et l'acc\u00e8s au savoir, et que le terrain sur lequel nous marchons soit in\u00e9gal, nous restons li\u00e9s par une humanit\u00e9 et un avenir communs. L'art a crois\u00e9 les m\u00e9diums et les disciplines, le fait main et la technologie, l'expression ancienne et moderne. Il s'agissait d'un espace de dialogue et de multiplicit\u00e9, o\u00f9 l'on s'est interrog\u00e9 sur ce que signifie faire de l'argile aujourd'hui. Ce film documente l'exp\u00e9rience et partage l'exub\u00e9rance et la g\u00e9n\u00e9rosit\u00e9 des artistes, qui sont autant de voyages pour les commissaires que pour les artistes.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Norma Grinberg<\/h3>\r\n

(Br\u00e9sil)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"Perpetual Movement\"<\/p>\r\n

La pr\u00e9sentation revisite l'exposition de Norma Grinberg, qui vise \u00e0 contribuer \u00e0 l'\u00e9ducation aux droits de l'homme, \u00e0 promouvoir le respect de la diversit\u00e9 et de la dignit\u00e9 humaine. C'est l'occasion de r\u00e9fl\u00e9chir \u00e0 la situation des individus, des r\u00e9fugi\u00e9s, des minorit\u00e9s et du genre dans le monde, \u00e0 travers l'installation compos\u00e9e d'\u0153uvres sculpturales dans un langage po\u00e9tique, sensible et contemporain.<\/p>\r\n<\/td>\r\n

\r\n

Holly Hanessian<\/h3>\r\n

(Etats-Unis)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"The New Ceramic Locavore\"<\/p>\r\n

Les produits agricoles et les mat\u00e9riaux argileux parcourent des milliers de kilom\u00e8tres avant de nous parvenir. L'empreinte carbone du transport de notre nourriture et des mat\u00e9riaux argileux depuis de multiples points du globe jusqu'au point de distribution final est \u00e9norme. Les artistes c\u00e9ramistes commencent \u00e0 voir la valeur environnementale de l'extraction locale d'argile sauvage. Cette id\u00e9e s'est d\u00e9velopp\u00e9e de mani\u00e8re expansive, \u00e0 l'instar du mouvement \u00ab de la ferme \u00e0 la table \u00bb. Holly Hanessian explique comment les \u00e9conomies mondiales et locales affectent notre environnement et comment l'histoire sociale et politique de l'importation de produits exotiques (porcelaine provenant de grandes distances) a r\u00e9pondu \u00e0 des d\u00e9sirs culturels, tout en accordant une valeur moindre \u00e0 la fa\u00efence extraite au niveau r\u00e9gional.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Yanze JIANG<\/h3>\r\n

(Chine)<\/p>\r\nNOUVELLES TERRES<\/span>\r\n

Titre : \"Chinese shan shui<\/em> Culture and its Influence in Contemporary Ceramic Art\"<\/p>\r\n

Dans cette pr\u00e9sentation, Yanze JIANG parle de sa pratique en studio, de l'inspiration qu'elle a tir\u00e9e de son exp\u00e9rience dans les usines de c\u00e9ramique, ainsi que de l'influence de la culture traditionnelle chinoise Shan-shui. Le concept de Shan-shui n'est jamais vraiment li\u00e9 aux montagnes et aux rivi\u00e8res en Chine, mais plut\u00f4t \u00e0 un esprit philosophique fort et \u00e0 l'expression de la cosmologie. \u00c0 travers son travail, elle transmet la relation paradoxale entre le d\u00e9veloppement de la ville\/la vie moderne et la pr\u00e9servation de l'environnement naturel\/la valeur et l'esth\u00e9tique traditionnelles. L'ancien principe chinois de l'harmonie suppos\u00e9e entre l'homme et la nature a-t-il \u00e9t\u00e9 irr\u00e9vocablement bris\u00e9 ? Comment la culture traditionnelle chinoise Shan-shui influence-t-elle le concept, l'esth\u00e9tique et les valeurs de la vie moderne ?<\/p>\r\n<\/td>\r\n

\r\n

St\u00e9phanie Le Follic-Hadida<\/h3>\r\n

(France)<\/p>\r\nNOUVELLES TERRES<\/span>\r\n

Titre : \"Ceramics and Science: IAC Geology Missions\"<\/p>\r\n

Sont pr\u00e9sent\u00e9s ici deux projets en cours sous la banni\u00e8re des \u00ab Missions g\u00e9ologiques \u00bb ainsi que les acteurs et les membres de l'AIC qui les rendent possibles. Au Liban, un effort pour donner une voix aux artistes qui sont emp\u00each\u00e9s de s'exprimer artistiquement et pour compenser l'instabilit\u00e9 \u00e9conomique et sociale du Liban a conduit \u00e0 la prospection d'argile locale et \u00e0 sa transformation en argile utilisable pour les artistes libanais. Au B\u00e9nin, un projet de collecte, de transformation et de recherche de modes de cuisson durables est en cours. Ces missions sont rendues possibles gr\u00e2ce aux efforts d'Exp\u00e9dit Ago, Avi Amesbury, Shooli Azadeh, Doug Casebeer, Robert Harrison, King Houndekpinkou, Jacques Kaufmann, St\u00e9phanie Le Follic-Hadida, Haloren Mellendorf, Samar Mogharbel, Charles & Adrian M\u00fcller, Rita de Nigris, Joao Rolaca, Katherin L. Ross, Nicole Seisler, Hitomi Shibata et Guangzhen Zhou.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Boo Yun Lee<\/h3>\r\n

(R\u00e9publique de Cor\u00e9e)<\/p>\r\nEXPLORATION<\/span>\r\n

Titre : \"Epochal Reforms and Exploration of Joseon White Porcelain in Korea\"<\/p>\r\n

Dans cette pr\u00e9sentation, le professeur Boo Yun Lee suit l'\u00e9mergence et le d\u00e9veloppement de la porcelaine blanche Joseon en Cor\u00e9e, de 1392 jusqu'\u00e0 l'\u00e9poque moderne. D'une id\u00e9ologie gouvernementale r\u00e9form\u00e9e \u00e0 une guerre de la poterie, la porcelaine blanche de Joseon a une riche histoire qui s'\u00e9tend sur plusieurs si\u00e8cles.<\/p>\r\n<\/td>\r\n

\r\n

Lihong LI<\/h3>\r\n

(Chine)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"My POP\"<\/p>\r\n

Li Lihong pr\u00e9sente ses travaux r\u00e9cents sous la forme de publicit\u00e9 sur le lieu de vente (POP) dans des documents promotionnels. La c\u00e9ramique chinoise est combin\u00e9e \u00e0 la peinture traditionnelle sur c\u00e9ramique et au style des logos de marques internationales pour refl\u00e9ter la pens\u00e9e dialectique de la mondialisation et de la nationalisation dans le monde contemporain. Le concept de \u00ab mondialisation \u00bb est porteur d'un sentiment d'incertitude. Le nouveau conflit culturel a rendu la question du m\u00e9lange ethnique et culturel plus aigu\u00eb. Ce qui est soulign\u00e9 ici, c'est l'effet dialectique de la collision entre la culture locale et la culture globale. Lorsque la tradition doit \u00eatre actualis\u00e9e, il est in\u00e9vitable qu'il y ait de la douleur, et cette douleur est le signe de l'arriv\u00e9e de la modernit\u00e9.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Nelson Lim<\/h3>\r\n

(Singapour)<\/p>\r\nANCIENS MONDES - NOUVEAUX MONDES<\/span>\r\n

Titre : \"Construction of Memories\"<\/p>\r\n

Dans sa pratique, Nelson Lim explore la fusion de l'argile ancienne et des mat\u00e9riaux industriels, symbolisant la tension entre la tradition et le progr\u00e8s. Gr\u00e2ce \u00e0 une exp\u00e9rimentation m\u00e9ticuleuse, il manipule ces mat\u00e9riaux, r\u00e9fl\u00e9chissant \u00e0 l'\u00e9volution de notre relation avec la technologie et au pouvoir durable de l'artisanat. \u00c0 l'heure o\u00f9 l'IA entre dans le domaine artistique, il s'interroge sur son impact sur les techniques traditionnelles et sur l'essence de l'expression artistique.<\/p>\r\n<\/td>\r\n

\r\n

Langmin LIN<\/h3>\r\n

(Chine)<\/p>\r\nEXPLORATION<\/span>\r\n

Titre : \"Porcelain Gene: An Exploration of Methodology for Ceramic Art Creation\"<\/p>\r\n

Le \u00ab g\u00e8ne de la porcelaine \u00bb trouve son origine dans les mat\u00e9riaux exc\u00e9dentaires produits au cours du processus traditionnel de fabrication de la porcelaine, qui sont souvent abandonn\u00e9s par les producteurs en tant que substances inefficaces. Avec l'aide efficace des artistes, ces mat\u00e9riaux primitifs peuvent \u00eatre transform\u00e9s en un \u00ab g\u00e8ne de porcelaine \u00bb ouvert. Contrairement aux composants c\u00e9ramiques con\u00e7us par les artistes ou \u00e0 la combinaison de ces composants, la m\u00e9thodologie cr\u00e9ative du \u00ab g\u00e8ne de porcelaine \u00bb est plus proche de l'essence naturelle de la c\u00e9ramique. Son caract\u00e8re al\u00e9atoire et sa richesse favorisent une expression artistique plus diversifi\u00e9e de la c\u00e9ramique. En m\u00eame temps, la m\u00e9thodologie cr\u00e9ative contribue \u00e9galement \u00e0 l'utilisation durable de l'argile.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_609\" align=\"alignnone\" width=\"2560\"]\"\" McWilliam's artwork in the County Museum for Art and Culture Oldenburg.[\/caption]\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Martin McWilliam<\/h3>\r\n

(Allemagne)<\/p>\r\nANCIENS MONDES - NOUVEAUX MONDES<\/span>\r\n

Titre : \"The Vessel and the Space - Ceramic Interventions by Martin McWilliam in the Historic Museum Oldenburg\"<\/p>\r\n

Une conversation entre Martin McWilliam et Anna Heinze, directrice adjointe du mus\u00e9e d\u00e9partemental d'art et de culture d'Oldenburg, \u00e9voque les d\u00e9fis et les succ\u00e8s de la r\u00e9cente exposition de Martin McWilliam. Compte tenu de l'\u00e9volution rapide des temps et d'une soci\u00e9t\u00e9 de plus en plus ax\u00e9e sur l'exp\u00e9rience, les mus\u00e9es doivent sans cesse se repenser et se r\u00e9inventer. C'est dans cette optique que Heinze et McWilliam ont imagin\u00e9 une nouvelle exp\u00e9rience pour les amateurs de c\u00e9ramique, en associant l'histoire locale et l'art contemporain.<\/p>\r\n<\/td>\r\n

\r\n

Mirta Morigi<\/h3>\r\n

(Italie)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"Fiftieth anniversary of Mirta Morigi Ceramiche\"<\/p>\r\n

Mirta Morigi raconte l'histoire de sa ville natale : Faenza, connue dans le monde entier comme un centre de la c\u00e9ramique en Europe ; de l'influence de la ville sur son \u00e9ducation, en passant par ses succ\u00e8s, jusqu'\u00e0 la r\u00e9cente catastrophe naturelle qui a frapp\u00e9 Faenza, Morigi partage son parcours complexe. Situ\u00e9e au pied de l'Apennin toscan et romagnol, entour\u00e9e de ravins argileux qui fournissent la mati\u00e8re premi\u00e8re, Faenza a une longue histoire de la c\u00e9ramique qui remonte au XIIIe si\u00e8cle. En mai 2023, Faenza a \u00e9t\u00e9 inond\u00e9e et la pluie a dissous les ravines et apport\u00e9 des masses d'argile dans la ville, et ce qui n'\u00e9tait qu'une devise \u00ab Habemus tesaurus in vasis fictilibus<\/em> \u00bb est devenu une r\u00e9alit\u00e9 inimaginable.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Samuel Nortey<\/h3>\r\n

(Ghana)<\/p>\r\nLOCAL ET GLOBAL<\/span>\r\n

Titre : \"The Colonial Art Legacy and Influence in Present Ghana\"<\/p>\r\n

Avant l'arriv\u00e9e des Europ\u00e9ens, les habitants de la C\u00f4te d'Or (aujourd'hui le Ghana) poss\u00e9daient des comp\u00e9tences, des techniques et des objectifs uniques pour produire leurs \u0153uvres d'art. Ces \u0153uvres d'art \u00e9taient utiles et inextricablement li\u00e9es \u00e0 leurs activit\u00e9s quotidiennes. Lorsque les Britanniques ont colonis\u00e9 la C\u00f4te d'Or, ils se sont int\u00e9ress\u00e9s \u00e0 l'\u00e9ducation formelle de la population et ont introduit un programme d'enseignement artistique pour leur formation. Ce programme \u00e9tait tr\u00e8s m\u00e9canique, ax\u00e9 sur l'industrialisation et ne laissait aucune place \u00e0 la cr\u00e9ativit\u00e9, une discipline que les indig\u00e8nes pratiquaient mais qu'ils devaient ma\u00eetriser. Cette pr\u00e9sentation se penche sur l'art en Gold Coast et son r\u00f4le au sein de la population, sur l'introduction d'un enseignement artistique formel et sur l'\u00e9volution de la situation par la suite.<\/p>\r\n<\/td>\r\n

\r\n

Am\u00e9lie Proulx<\/h3>\r\n

(Canada)<\/p>\r\nNOUVELLES TERRES<\/span>\r\n

Titre : \"The Expansion of my Library of Raw Materials\"<\/p>\r\n

Des mains qui recueillent, manipulent, exposent, assemblent, tiennent : autant d'\u00e9vocations des gestes qui ont permis \u00e0 ce vaste projet de prendre forme. Tout au long de ses r\u00e9centes recherches, Am\u00e9lie Proulx a m\u00e9ticuleusement collect\u00e9 des centaines de roches et de min\u00e9raux pour les int\u00e9grer \u00e0 sa porcelaine et explorer les possibilit\u00e9s de leur cuisson. \u00c0 l'aide de sites Web archivant les anciennes prospections et les sites miniers du Qu\u00e9bec (Canada), elle a voyag\u00e9 \u00e0 travers la province pour trouver des mati\u00e8res premi\u00e8res alternatives \u00e0 incorporer dans son travail. Ce projet a d\u00e9but\u00e9 avec l'id\u00e9e de travailler avec des mat\u00e9riaux plus locaux et de devenir plus autosuffisant et moins d\u00e9pendant des fournisseurs de mati\u00e8res premi\u00e8res. Il s'est transform\u00e9 en un projet dans lequel de nombreuses roches diff\u00e9rentes qu'elle avait collect\u00e9es sont devenues \u00e0 la fois de nouvelles mati\u00e8res premi\u00e8res \u00e0 la base de son dernier corpus d'\u0153uvres et le centre d'int\u00e9r\u00eat de ce travail.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Jer\u00f3nimo Sainz de Ag\u00fcero<\/h3>\r\n

(M\u00e9xique)<\/p>\r\nEXPLORATION<\/span>\r\n

Titre : \"Queering Clay\/Ceramics\"<\/p>\r\n

La poterie \u00ab queer \u00bb est devenue une approche quotidienne commune pour r\u00e9pondre, confronter, penser et cr\u00e9er en dehors des r\u00e8gles et des structures cis-h\u00e9t\u00e9ro-normatives qui soutiennent le design, l'art, le commerce et de nombreux autres syst\u00e8mes li\u00e9s \u00e0 la poterie. Dans cette conf\u00e9rence, Jer\u00f3nimo Sainz de Ag\u00fcero pr\u00e9sente plusieurs cr\u00e9ations concernant la poterie et\/ou des \u0153uvres d'art en argile\/c\u00e9ramique qui explorent une mani\u00e8re de rendre l'argile\/la c\u00e9ramique queer au Mexique. La pr\u00e9sentation couvre bri\u00e8vement certaines des id\u00e9es principales concernant la poterie \u00ab queer \u00bb et les distinctions avec une approche LGBTQIA+ de l'argile. Toutes les identit\u00e9s LGBTQIA+ ne font pas de la poterie queer, et toutes les poteries queer n'ont pas \u00e9t\u00e9 faites par des identit\u00e9s LGBTQIA+.<\/p>\r\n<\/td>\r\n

\r\n

Judith Schwartz<\/h3>\r\n

(Etats-Unis)<\/p>\r\nANCIENS MONDES - NOUVEAUX MONDES<\/span>\r\n

Titre : \"Old World New World: MoCA-NY and Ceramic World Destinations\"<\/p>\r\n

Dans cette pr\u00e9sentation, Judith Schwartz introduit une nouvelle plateforme de communication internationale pour la communaut\u00e9 des c\u00e9ramistes. Old World New World repr\u00e9sente le format innovant que le MoCA\/NY a cr\u00e9\u00e9 - il s'agit d'une carte dynamique, d'un r\u00e9seau vivant qui pr\u00e9sente la tapisserie diversifi\u00e9e de ce que nous sommes en tant que cr\u00e9ateurs et appr\u00e9ciateurs de l'art de la c\u00e9ramique. Des ateliers contemporains aux sites anciens, nous c\u00e9l\u00e9brons cette riche expression artistique \u00e0 travers l'histoire et le monde. La pr\u00e9sentation amplifie les artistes dont le travail se concentre sur des th\u00e8mes tels que la colonisation et les politiques d'identit\u00e9 et brosse un tableau vivant du paysage mondial de la c\u00e9ramique. Old World New World permet de discuter de la mani\u00e8re dont la localit\u00e9, l'histoire, la tradition, la culture et le contexte informent le travail des artistes c\u00e9ramistes actuels et favorisent les \u00e9changes culturels. Il s'agit d'un dialogue entre le pass\u00e9 et le pr\u00e9sent, rappelant l'ancien monde et convoquant le nouveau, nous propulsant vers l'avenir.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Aurelija\u00a0Seilien\u0117 (Panev\u0117\u017eys Civic Art Gallery)<\/h3>\r\n

(Lituanie)<\/p>\r\nANCIENS MONDES - NOUVEAUX MONDES<\/span>\r\n

Titre : \"Open Windows: Expanding the World of Panev\u0117\u017eys International Ceramic Symposiums\"<\/p>\r\n

Cette pr\u00e9sentation aborde le prochain symposium international de c\u00e9ramique de Panev\u0117\u017eys, dont le th\u00e8me est \u00ab Open Windows \u00bb (Fen\u00eatres ouvertes), en mettant l'accent sur son importance en tant que plateforme d'exploration de nouveaux territoires artistiques. Un aper\u00e7u historique du symposium, son alignement th\u00e9matique sur l'ann\u00e9e 2025, la collection pr\u00e9sent\u00e9e, les \u00e9v\u00e9nements auxiliaires du symposium et un appel \u00e0 participation seront d\u00e9crits. Depuis sa cr\u00e9ation en 1989, le symposium a \u00e9t\u00e9 un pilier du paysage mondial de l'art c\u00e9ramique, attirant 186 artistes de 37 pays. L'\u00e9dition 2025 s'efforcera de mettre en lumi\u00e8re l'art c\u00e9ramique de r\u00e9gions inexplor\u00e9es, en \u00e9clairant la fa\u00e7on dont les traditions indig\u00e8nes s'entrecroisent avec le milieu mondial contemporain.<\/p>\r\n<\/td>\r\n

\r\n

Anne-Brit Soma Reienes<\/h3>\r\n

(Norv\u00e8ge)<\/p>\r\nNOUVELLES TERRES<\/span>\r\n

Titre : \"Sensing possibilities\"<\/p>\r\n

Sensing possibilities est un projet de recherche artistique performatif bas\u00e9 sur la plasticit\u00e9 de l'argile et sur les effets de cette plasticit\u00e9, men\u00e9 par Anne-Brit Soma Reienes, artiste c\u00e9ramiste, chercheuse et enseignante. Cette recherche artistique associe le mat\u00e9riel, la p\u00e9dagogie et la connaissance du corps, car l'artiste utilise une m\u00e9thode performative pour ouvrir de nouvelles perspectives sur la mani\u00e8re dont les enfants sont expos\u00e9s \u00e0 l'argile dans les jardins d'enfants norv\u00e9giens. En pr\u00e9sentant l'argile comme un moyen d'\u00eatre pr\u00e9sent ensemble, cette m\u00e9thode contribue \u00e0 un nouveau paradigme de l'argile ax\u00e9 sur le processus. Cela correspond \u00e0 la fa\u00e7on dont les enfants sont pr\u00e9sents dans le monde.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Annika Teder<\/h3>\r\n

(Estonie)<\/p>\r\nENVIRONNEMENT<\/span>\r\n

Titre : \"Inspiration\"<\/p>\r\n

Cette pr\u00e9sentation est r\u00e9sum\u00e9e dans ce seul message : \u00ab Lorsque les coraux meurent, les couleurs meurent, les poissons meurent, les oc\u00e9ans meurent : LA NATURE EST EN DANGER \u00bb. Le monde est une entit\u00e9 unique ; tout est li\u00e9 \u00e0 tout. Sur l'\u00eele de Saaremaa, en Estonie, les falaises de dolomie pr\u00e9sentent des vestiges d'anciens r\u00e9cifs avec une faune fossile caract\u00e9ristique. Ces r\u00e9cifs sont des \u00e9cosyst\u00e8mes marins datant de la p\u00e9riode silurienne, il y a plus de 400 millions d'ann\u00e9es... Les r\u00e9cifs coralliens sont aujourd'hui menac\u00e9s en raison des changements de temp\u00e9rature et de salinit\u00e9 de l'eau, de la pollution et de la surp\u00eache. Les modifications de l'\u00e9cosyst\u00e8me sensible de la Terre ont un impact sur chacun d'entre nous. Si les r\u00e9cifs coralliens disparaissent, le reste de l'\u00e9cosyst\u00e8me sera \u00e9galement en danger. La composition pr\u00e9sent\u00e9e dans cet expos\u00e9 est un r\u00e9cif corallien symbolique. Cette forme sculpturale de corail na\u00eet du dialogue entre l'argile et la main de l'artiste.<\/p>\r\n<\/td>\r\n

\r\n

Adil Writer<\/h3>\r\n

(Inde)<\/p>\r\nANCIENS MONDES - NOUVEAUX MONDES<\/span>\r\n

Titre : \"A CLAY CONNECT ~ A Film by Adil Writer\"<\/p>\r\n

La pr\u00e9sentation d'Adil Writer associe des vid\u00e9os et des images d'archives \u00e0 de nouvelles s\u00e9quences en direct de sa collaboration de longue date avec un potier local traditionnel, Palanisamy. Alors que les histoires de la poterie traditionnelle se m\u00ealent \u00e0 la c\u00e9ramique contemporaine, la conf\u00e9rence d'Adil Writer emm\u00e8ne le public dans un \u00ab Cool Tour \u00bb du sud de l'Inde, comprenant des ateliers internationaux d'anagama \u00e0 l'embl\u00e9matique Golden Bridge Pottery de Pondich\u00e9ry. Il nous conduit ensuite au village de potiers de Palanisamy, \u00e0 un sanctuaire de chevaux Iyennar vieux d'un si\u00e8cle, et enfin au complexe du temple de Muthu avec ses milliers de figurines en argile et en ciment. Ces nombreux points de rep\u00e8re seront reli\u00e9s par des r\u00e9cits sur la perte des comp\u00e9tences artisanales au 21e si\u00e8cle et sur la fa\u00e7on dont le plastique et le ciment \u00e9cartent les savoir-faire traditionnels li\u00e9s \u00e0 l'argile.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Naho Yamashita<\/h3>\r\n

(Japon)<\/p>\r\nNOUVELLES TERRES<\/span>\r\n

Titre : \"Joint research with the ceramics industry using 3D modelling at Ishoken (Tajimi City Ceramic Design and Technical Center Japan)\"<\/p>\r\n

Ishoken est situ\u00e9 dans la zone de production de c\u00e9ramique Mino de Tajimi, le centre de l'industrie japonaise de la c\u00e9ramique et l'h\u00f4te du concours international de c\u00e9ramique Mino. Il existe quatre zones de production \u00e0 Tajimi, o\u00f9 coexistent l'industrie de la vaisselle et celle des carreaux. Ces derni\u00e8res ann\u00e9es, Ishoken a introduit des \u00e9quipements de mod\u00e9lisation 3D, tels que des imprimantes et des scanners 3D, et promeut activement le soutien \u00e0 la conception pour l'industrie c\u00e9ramique de la ville. Dans cette conf\u00e9rence, Naho Yamashita d\u00e9crira comment la mod\u00e9lisation 3D est introduite dans les industries c\u00e9ramiques respectives et comment elle relie deux industries qui n'ont jamais interagi auparavant.<\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_fr_post_name":"lectures-breakout-sessions","_fr_post_excerpt":"Le Congr\u00e8s comprend 24 Breakout sessions par des membres de l'AIC.","_fr_post_title":"Breakout Sessions","_pt_post_content":"","_pt_post_name":"","_pt_post_excerpt":"","_pt_post_title":"","edit_language":"pt","footnotes":""},"class_list":["post-571","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages\/571","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/users\/2192"}],"replies":[{"embeddable":true,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/comments?post=571"}],"version-history":[{"count":46,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages\/571\/revisions"}],"predecessor-version":[{"id":1132,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages\/571\/revisions\/1132"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/media\/608"}],"wp:attachment":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/media?parent=571"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}