Welcome to our new Exhibition Digest segment, where we simply direct our reader to the goods: stunning images, an exhibition brief and most importantly, where to gobble up more!
Pedrita Studio | Lost and Found
Underdogs Gallery, Lisbon
June 29 – July 28, 2018
Underdogs Gallery writes Pedrita Studio‘s pixelated mosaics explore the intersection of the analogue world and the digital world.
Inspired by a set of lost (and found) images that capture mundane episodes and various expressions which are certainly familiar to us – from the drollest spontaneity to the most staged of poses –, this meticulous body of work suggests an exercise in contemplation on the ideas of loss and recovery – of our individual memories, of our collective referents, of our cultural and identitarian heritage.
See and read more here.
Kate Newby | I can’t nail the days down.
Kunsthalle Wein, Vienna
May 16 – September 2, 2018
The New Zealand visual artist Kate Newby‘s shambolic exhibition I can’t nail the days down. is an exercise in awareness and attunement of the often overlooked and mundane, the gallery writes.
Kate Newby’s works are poetic confrontations with spatial conditions and the fleeting nature of interactions. Through small as well as radical interventions into existing environments, she directs our view to what is often overlooked in everyday life. The objects she creates are testimonials to individual experiences, with the specific context of creation remaining inseparably linked to the resulting work.
I can’t nail the days down, installation view
I can’t nail the days down, installation view
I can’t nail the days down, installation view
I can’t nail the days down, installation view
Click here to see and read more.
Mark Valenzuela | Cheap Tricks
Artinformal Makati, Makati City
March 14 – April 14, 2018
Mark Valenzuela‘s exhibition Cheap Tricks challenges viewers to examine power structures, dominance and our own socio-political context the gallery writes.
In Cheap Tricks consumerist culture collides with patriarchy and politics, as Valenzuela continues his interrogation of structures of power. Unidentifiable ceramic forms hang from butcher’s hooks attached to steel structures in a large-scale installation that dominates the room. The steel frames are modelled from a contraption used in Batangas, Philippines, for transporting livestock, locally known as paipitan. But while paipitan might carry animals off to the slaughter, here the slaughter seems to have already occurred. Around these central structures, large ceramic shark fins circle the floor; hungry predators waiting to consume their prey. Part paipitan, part abattoir, and part feeding ground, Valenzuela’s installation evokes violence, consumption and control.
Cheap Tricks, installation view, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Cheap Tricks, detail, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Cheap Tricks, detail, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Cheap Tricks, detail, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Cheap Tricks, detail, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Cheap Tricks, detail, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Cheap Tricks, detail, 2018, stoneware clay, underglaze, stain, kiln furniture, and steel
Read and see more here.
All photographs taken by Alycia Bennett.
Oren Pinhassi | Second Nature
Edel Assanti, London
July 6 – August 24, 2018
Edel Assanti writes Oren Pinhassi‘s Second Nature, which challenges us to question how we perceive, is the artists first UK solo exhibition.
Second Nature invites us into an environment that is at once familiar and foreign, in which traditional categories of architecture, nature and body are collapsed. These classical divisions, along with ensuing binary delineations of structure, space, gender and sexuality, are rejected by Pinhassi as delinquent features of a postmodern era in its twilight.
If the postmodernist era has been defined by an aversion to reimagining society’s structure, then Pinhassi’s intention is to overcome this cultural trauma by reawakening the utopian impulse, queering rigid classifications and transforming social spaces.
Second Nature, installation view
Drip Dry, 2018, Towel bar, plaster, burlap, sand and pigment, 35 3/8 x 23 5/8 x 3 1/2 inches
Second Nature, installation view
Second Nature, detail
From Pinhassi’s Ψ = Ψ0 + Ψπ + Ψp + Ψs + Ψu + Ψm, 56 Henry, April 7 – May 3, 2015
See more of Pinhassi’s work here.
Andile Dyalvane
Cape Town
Imiso Ceramics co-founder Andile Dyalvane embarked on making 100 bowls for the 2018 100% Design South Africa contemporary design showcase. The following images are a selection of works from that show and others by the artist.
From Artsy:
Drawing equally upon his Xhosa heritage and his contemporary urban milieu, Andile Dyalvane crafts earthy and elegant ceramic works. As he describes: “My current inspirations are drawn from my immediate environment, inner city urban life, and its relation to where I come from.” Together with fellow ceramicist Zizipho Poswa, Dyalvane runs a shop/studio, Imiso Ceramics. Melding images and experiences gleaned from his rural upbringing and his urban adulthood, he produces vessels, platters, and home furnishings covered with abstract designs and human figures. Every color and mark on his skillfully crafted pieces has meaning.
You can view more of Dyalvane’s work here.
This series will take the place of our former Spotted aggregations. We hope you enjoy our more streamlined approach. Love or loathe these exhibitions from the world of contemporary ceramic art and contemporary ceramics? Share your thoughts in the comments section below.
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