Tanya Harrod followed with a beautiful lecture on the theme of the rag-picker, covering many examples of art projects that extracted works of beauty from the slums. She spoke highly of the work by Brazilian artist Vik Munos, featured in the film Wasteland, who donated money from the sale of his works to the favela dwellers who made it possible. While critical of those who mindlessly use the poor of the world to make high-end design, Harrod praised those who embrace the act of making with all its responsibilities. Caroline Slottee and Paul Scott provided examples of work with readymade ceramics and Ezra Shales considered the role of museum as a contested site for these works.
On the second day, Monica Gaspar introduced the concept of the infra-ordinary as a space opened up by use of the readymade. She provided a feast of contemporary work associated with her recent exhibition ‘Re-defining the Applied’, which reflected a shift away from the object itself to the way in which we inhabit. A highlight was the film by Swede Olas Stephenson where a gang breaks into a house to create musical symphonies using objects from each room. Andrew Livingston followed with a bold attempt to place use of the readymade in the context of sustainability. It made perfect sense, but the ethical logic seems at odds with the aesthetic context of the conference. Barnaby Barford’s artist talk presented narrative as an alternative context of the readymade. His film for the exhibition brilliantly demonstrated the power of pathos in the leftover figurine.
The day ended with Jorunn Veiteberg herself who expounded the thesis behind the conference. She loyally used local artists to illustrate her thesis that the ceramic readymade is following Duchamp’s liberating gesture with ‘Fountain’ to liberate the art object from the ‘fetish’ of the handmade. Veiteberg argued that re-purposing existing ceramics opens up new possibilities of creative intervention.
The last day began with Michael Petry, author of The Art of Not Making. His ebullient talk covered many instances of artists using skills of craftspersons, praising those who acknowledged their contributions. As one of those grateful artists themselves, Petry spoke very much from the commissioner’s perspective, focusing more on the grand ambitions of the artists than any creative input from technicians. The Polish ceramist Marek Cecula followed with a wonderful account of his career in ceramics, parallel to his remarkable personal journey as a survivor of the holocaust who returned to make work about the value of human labour. Linda Sormin followed in the afternoon with a lively short account of her practice in making ceramic interventions in museum spaces around the world.
As the second last presentation, I attempted to introduce the relational dimension of the readymade. This regarded the commissioned object, rather than the found object. I focused particularly on the work of artists who have their work made in Asia. Rather than a post-industrial aesthetic, I considered a ‘para-industrial’ condition where work responds to the scene of making ‘elsewhere’.
Rather than leave space for questions at the end of each paper, the conference was programmed with generous breaks where participants could discuss issues among themselves. While this was quite convivial, it was difficult to tell what the conference had achieved at the end. Making or Unmaking? provided a symbolic departure from the studio model of the ceramicist, whose work reflects the personal experience of clay. But it left hanging the question of where this is going. Is it opening ceramics up as an installation-based art form? Is it part of the elegiac moment in Europe as it sees its manufacturing capacities drift off to Asia? Does it reflect a sustainability ethic that eschews making anything new, in favour of re-purposing the old? These questions needed airing, either in response to papers or in panel discussions.
Most pressing is the gradual loss of a global dialogue around ceramics. Last month’s Gyeonggi Ceramix Biennale in Korea did not have one entry from Britain, and there was little opportunity for dialogue between representatives of east and west. As globalisation continues to expand, it seems a mistake to turn inward. Modern ceramics has such a rich history of borrowing between cultures.
Norway has set the pace. We now need to pass the baton.
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