[…] at CLAY. Next is a jar by sculptor Bjørn Poulsen, acquired via a gallerist. And finally, a number of historical pieces from the Art Nouveau period, including porcelain works by Effie Hegermann-Lindencrone, acquired at auction. How were these acquisitions financed? They were funded entirely by private foundations and our museum’s friends association. As we […]
[…] makers reinterpret Effie Hegermann-Lindencrone and Fanny Garde! Across a distance of just over a century, we know their work so well, yet so superficially. The two artists reproduced nature’s modest plants – seaweed, ferns, daisies, mushrooms – in ultra-glossy porcelain in objects that, at first glance, appear to show nature in a neat, tamed version.
[…] kingdom A somewhat more poetic experiment, which also brings to mind the contemporary climate - and perhaps especially the Arctic - debate, is French artist Benoît Pouplard's porcelain icebergs on display at Galerie NeC. Ice blue celadon glazes explosively leap out of the white porcelain, expressing the power of the elements, the meeting of […]
[…] Jacob explains. Do you have any new collaborative projects in the pipeline? Nina: ‘The City of Copenhagen has a pilot project involving the local citizens’ ceramic and porcelain waste. It would be brilliant if they had a crusher, and you could put all sorts of thing in and produce an aesthetic version of the […]
[…] Biennale for Craft & Design in 2017, illustrates the development of 3D printers in general and their specific use in the field of ceramics. In "Filigree Robotics", porcelain clay is printed directly onto a curved mould according to a generative algorithm, resulting in a series of lace-like ceramic objects. The piece was subsequently glazed […]
[…] prominent is terroir, as in Ane Fabricius Christiansen’s basic research experiments with local kaolin from Bornholm. The material has long been rejected as a basis for Danish porcelain production due to a high content of impurities, but here it is revitalized in organic, choral-like forms with an expression that is a far cry pure, […]
[…] project, she explores Norway’s extensive cobalt blue production during the long 19th century. She examines how this pigment became essential to Royal Copenhagen’s iconic blue and white porcelain. In the late 18th century, cobalt ore extracted from the Blaafarveværket mine outside Oslo was used to create vibrant blue glazes, playing a crucial role in […]
[…] it is crucial to look into alternative resources. Waste seems like an inexhaustible source of materials.’ Christina Schou Christensen has acquired a crusher that pulverizes glass and porcelain so that it can be used to make new products. (See also ‘The Aesthetic of Crushing’.) Lars Bertolt Winther argued that we should not put too […]
[…] been involved in establishing Det Tekniske Selskab and the arrangement with their schools of kunsthåndværk that replaced it. He had established close collaborations with the Royal Danish Porcelain Manufactory and many other workshops and companies. Around 1800, the term kunstflid (literally: ‘art craft’) was used to highlight the field’s aesthetic and professional aspects in […]