Friction within Cohesion
The term ceramic art does not immediately refer to a field with clearly defined boundaries. Especially in the development of modern and contemporary art in the West, the term ceramic art is often considered as part of the ‘crafts’ lexicon. The term art in modern art refers to the attempts for autonomy by avant-garde art, which we know as “art for art’s sake”. Contemporary art, despite its attempt to upturn the paradigms of modern art, can be considered as an extension of modern art, and has become the mainstream that fills the void left by modern art. The development of ceramic art in the West occurs outside modern art trajectory, firmly ensconced within craft development, and it is often placed under the auspices of contemporary craft. Even today, ceramic art education in Western higher education institutions is part of the institutions’ Craft Department. It demonstrates how the term art in ceramic art is merely a reference to our generic understanding of art—and not art in the specific terminology of modern art. What is practiced by Western modern and contemporary art has more or less influenced the categorization or classification of modern art outside of the Western world—an influence that we also experience here in Indonesia.
The trajectory of ceramic art that resides outside of modern art’s realm and contemporary art’s paradigm has placed ceramic art in a dilemma. On the one hand, ceramic art has become an entity that possesses an infrastructure separate to contemporary art; but on the other hand, due to contemporary art’s paradigm—its freedom and plurality—ceramic medium and ceramic artists can claim to be part of it. This is demonstrated by the fact that several international ceramic artists are also well-known names in the world of contemporary art. A similar theme can be witnessed in Indonesia’s contemporary art scene. Such an occurrence can be considered as ceramic art’s bipolarity, where on the one hand it is travelling a different way compared to contemporary art—placing more emphasis on technical aspects and skills; and yet on the other hand, contemporary art has become a target area for ceramic artists, as well. Meanwhile, within the scope of contemporary art itself, the utilization of ceramic medium by contemporary artists—i.e. non-ceramists—has become a frequent occurrence.
This symposium attempts to dissect the phenomenon of ceramic art’s multipolarity. It also attempts to look at the “varied” extensions of ceramic art within the practice of contemporary art, design, and craft. Thus, we need to examine how the realm of contemporary art—in this case: contemporary artists—have utilized ceramics as their alternative medium.
National Gallery of Indonesia
Medan Merdeka Timor no. 14
Wednesday, 24 September 2014
09.30 am to 03.05 pm
Wendy Gers (France) – The Impact of Digital Technology on Ceramic Art Praxis
Rifky Effendi (Indonesia) The Tendencies of Ceramic Art Praxis in Contemporary Art within a Biennial/Triennial Framework
Arif Yudi (Indonesia) – Possibilities and Strategies Related to the Introduction and Socialization of Ceramic Art in a Ceramic Tile Industrial Center
Ahmad Abu Bakar (Singapore) – Cross-media Approaches in Creating Works
Endang Lestari (Indonesia) – Insights from Observations and Research Conducted in Bayat, Klaten: A Strategy to Preserve Tradition in Contemporary Era
Asmudjo J Irianto (Indonesia) – Possibilities of Expanding Ceramic Art Practices to the Global Contemporary Art World
Rizky A. Zaelani – (Indonesia) – Lecturer at Visual Art Study Program, Bandung Institute of Technology
II. ARTIST’S TALK
National Gallery of Indonesia
Medan Merdeka Timor no. 14
Thursday, 25 September 2014
10.30 am to 3 pm
Madhvi Subrahmanian (Singapore) – Traditions and Transitions: Tracing Clay Practices in India from Ancient to Contemporary
Delia Prvacki (Singapore) – Designing ceramic artpiece
Kandura Keramik (Indonesia) – Craft and Community
Amornthep Mahamart (Thailand)– Residency at Bayat Village, Klaten, Central Java
Sarah Younan (Wales) – Residency in Bandung, West Java
Wasinburee Supanichvoraparch (Thailand) – Thailand Pavilion on 55th Venice Biennale (to be confirmed)
Thursday, September 25 2014 (Student)
1. Altered Form Bowl (Steven Low Thia Kwang) / to be confirmed
2. Wheelthrown Joint Structure (Kristina Rutar)
The program will targeted art college students, especially in ceramic. According to that, technical stuff will be the main point to be explored. Steven Low Thia Kwang will be ask to share his knowledge about making wheel thrown bowl and also techniques to altering the form. Meanwhile Kristina Rutar will be asked to teach about wheelthrown altering method by emphasizing on the structure of the form. The workshop program will be held at the same time, with limited participant by registered. Besides sharing techniques, both of the instructor is also could share their stories while doing residency program at JCCB#3.
Saturday, September 27 2014
1. Freeform Handbuild Figure (Bonggal Hutagalung dan Arghya Adyaksa Nindita)
This program is open for public, but with limited participants by registered. The instructor will be asked to teach about the basic clay hand building form. Step by step the participant will be guided to understand the basic techniques to build a simple figures. The result of the program will be continued to raku firing workshop. Due to these reason, the workshop will using earthenware clay as main materials.
Sunday, September 28 2014
1. Raku Glaze & Firing Technique (Haryo Adiputro S) to be confirmed
Raku Firing, was known as one from so many method about firing in ceramic worlds. It was famous among the potters as a simple and unique way to doing experimentation on material and techniques. But, above that there is a few techniques that should be learned to get the best result. With supervising and guidance from the instructor, participant will be brought to understand the ceramic firing process, what else they need to consider, and also the materials that can be used during the process.
Saturday, October 4 2014 (Student)
Ceramic Molding and Casting Technique (Natas Setiabudhi)
Molding technique is one of the important thing to learn, especially when it is interested to work in the industry with mass production scale. Natas Setiabudhi will share molding and casting techniques including master manufacturing process, the materials needed to get quality liquid clay is good as well as what are the procedures in the process of printing the clay. Because the form is quite difficult, this program will open only for students who are interested in studying the printing technique of ceramic or ceramic study ever before.
Saturday, October 11 2014
1. A Piece of Jewelerry (KAR)
2. Ceramic Ocarina (Geoffrey Tjakra)
Public programs on the last day will be open to the public. Visitors will be invited to choose one of the two programs are available. The first is a program of making ceramic accessories with presenters from KAR. Participants will be invited to understand the techniques of ceramic accessories such as the formation of the pendant, brooches, etc. Whereas the second programme is made wind instrument Ocarina using clay. By utilizing the nature of clay, participants will be invited to understand the technique of making this mellifluous-voiced instrument.