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Ceramica 110.Pmd R E V I S T A I N T E R N A C I O N A L KERAMOS FUNDADA EN 1978 N.º 110 2008 6,90 EUROS WWW.REVISTACERAMICA.COM REVISTA INTERNACIONAL KERAMOS•FUNDADA EN 1978 SUMARIO EDITOR Y DIRECTOR: Antonio Vivas Zamorano N.° 110 - 2008 SUBDIRECTORES: Javier Ramos Arana Wladimir Vivas Martínez COORDINADORES: CATALUÑA: Nuria Pie 22 JUAN QUEZADA Y EL MILAGRO DE MATA ORTIZ AMÉRICA: Roberta Griffith ADMINISTRACIÓN Y ALMACÉN: 26 ELISA ARIMANY Calle Guadiana, 38 28864 AJALVIR (Madrid) 36 RAKÚ:TÉCNICAS DE PELADO CON PORCELANA Tel. 91 884 30 73 - Fax 91 884 30 73 Móvil 650 47 20 07 62 ETRUSCOS E-mail: [email protected] Internet: www.revistaceramica.com 73 TENDENCIAS CONTEMPORÁNEAS EN LA CERÁMICA VENEZOLANA ENVÈOS ESPECIALES: Apartado de Correos 7008 78 EL ESCULTOR LU BIN 28080 Madrid - España Paseo Acacias, 9, 3.º L. 81 ANTON REIJNDERS Y NETTY VAN DEN HEUVEL 28005 Madrid - España Tel. 91 517 32 39 85 INICIOS EN LA CERÁMICA ARTÍSTICA CONTEMPORÁNEA IMPRESIÓN: EN MONTEVIDEO Gráficas Lormo, S. A. Isabel Méndez, 15, 28038 MADRID Depósito Legal: M. 31176-1978 ISSN: 0210-010-X SUSCRIPCIONES: SECCIONES 12 ejemplares, 82,80 euros 8 ejemplares, 55,20 euros 4 ejemplares, 27,260 euros 4 GALERÍA Suscripciones al extranjero por correo ordinario, 6,00 euros más por cada cuatro BOLETÍN DE SUSCRIPCIÓN ejemplares. 40 EJEMPLARES ATRASADOS (por unidad): 42 REVISTA DE LIBROS 1 al 19, 2,10 euros 50 al 59, 4,50 euros 20 al 29, 2,70 euros 60 al 69, 5,10 euros NOTICIAS 30 al 39, 3,30 euros 70 al 99, 5,70 euros 53 40 al 49, 3,90 euros 100 al 109,6,30 euros 110 - 6,90 euros 66 PANORAMA DE ACTUALIDAD: ÍNDICES: 1 al 12, núm. 12, pág. 7 (2ª edición). 1 al 24 en INTERNET, 66 núm. 26, pág. 49. 1 al 24 en núm. 24, pág. 89 (2ª edición). 25 al 28 en núm. 28, pág. 82. 29 CURSOS, 68 al 32 en núm. 32, pág. 81. 33 al 36 en núm. 36, Wolfgang Vegas. «Tendencias contemporáneas en la pág. 15. 37 al 40 en núm. 40, pág. 70. 1 al 44 cerámica venezolana», pág. 73 en núm. 44, pág. 75. 45 al 52 en núm. 52, pág. FERIAS Y CONGRESOS, 70 72. 53 al 60 en núm. 60, pág. 38. 61 al 68 en núm. 68, pág. 39. 69 al 76 en núm. 76, pág. 40. 77 al 80 en núm. 81, pág. 68. 77 al 84 en núm. 90 CONCURSOS 84, pág. 40. 85 al 88 en núm. 88, pág. 32. 85 al 92 en núm. 92, pág. 41. 93 al 96 en núm. 96, 94 ÍNDICE DE ANUNCIANTES pág. 54. 93 al 100 en núm. 100, pág. 85. 101 al 104 en núm. 104, pág. 87. 101 al 108 en núm. 108, pág. 31. Revista CERÊMICA no se hace responsable de las opiniones expresadas en las colaboraciones firmadas, que no reflejan necesariamente la Colaboradores en este número: opinión de la dirección de la Revista, ni de posibles resultados, errores, omisiones o Monona Êlvarez, Emili Sempere, Ine y Ed Knops, M. Riu de Martín, Nelly Babieri, Miryam van Lier, Alexandra accidentes que puedan surgir de la lectura o Novoa y Silvia Rosell.. desarrollo práctico de la información contenida en revistas o libros propios o ajenos, actuales o atrasados. Portada. Arriba, izquierda:Juan Quezada. «Olla». «Juan Quezada y el milagro de Mata Ortiz», pág. 22. Arriba, Todos los derechos reservados. Queda prohibida derecha: Netty van den Heuvel. «Red Coral Piece», 2005. Gres, porcelana y esmalte. 18 þ 15 þ 18 cm. Pág. 81. la reproducción o difusión, total o parcial, por Abajo: Lu Bin. Pág. 78. cualquier medio ,ya sea electrónico, mecánico, fotocopias o grabación, sin la autorización escrita del editor. 3 Desde el inicio de los tiempos, cien mil millones de seres visto, los mensajes deben ser como la publicidad, se deben entender humanos han habitado esta magnífica nave espacial llamada Tierra, en segundos, desgraciadamente algunos piensan que aprender de- de los cuales aproximadamente setenta millones han sido ceramistas masiado es peligroso, que la lectura da dolor de cabeza y que la o alfareros; los que han hecho aportaciones de gran trascendencia a felicidad se encuentra en el centro comercial más cercano. Todo esto lo ancho y largo de la historia de la cerámica no superarán los veinte es consecuencia de la desertización cultural y luego nos sorprende- mil; en la actualidad hay más ceramistas que nunca, que además mos de que la gente no entienda la cerámica. Son esencialmente disfrutan de una notable libertad creativa y eso se nota y mucho en la consumidores en vez de ciudadanos; por tanto, el discurso que rodea aportación de la cerámica al mundo de las artes, otra cosa es que se al arte y la cerámica les es ajeno, ya que no es facil entender las reconozca. Desgraciadamente, las sociedades inmersas en la mo- paradojas del arte actual, las sutiles diferencias, saber diferenciar un dernidad soportan a sus artistas e intelectuales con un cierto desdén, auténtico innovador de un impostor con pretensiones mediáticas. Tanta en realidad se debería juzgar a los países y sus gobernantes por insistencia por parte de las vanguardias por apostar por la ruptura cómo se trata a los artistas y ceramistas en su tiempo. con todo hace de este hecho algo cotidiano, y si es una norma dejará En ocasiones, un escritor como Jorge Luis Borges encuentra su de ser rompedor. Ahora la intencionalidad, el título, la explicación o la paraíso particular trabajando como humilde auxiliar de bibliotecario, idea provocan la obra, cuando la explicación debería nacer a partir felizmente rodeado de libros, pero hete ahí (¿qué demonios querrá decir hete ahí?) que el régimen del general Perón le destituye de su Arriba: Montse Udina (1959-2005). Exposición de cerámica y vidrio empleo en la biblioteca «Miguel Cane» por razones políticas y es «Panys i Claus», ACC, Barcelona. degradado, por falta de entusiasmo por el peronismo, a la condición de inspector municipal de aves y gallineros; lástima que las gallinas En la otra página. Catherine Vanier. Engobes y óxidos. Galería Loes & no sabían leer, si no, hubieran estado encantadas con Borges. Desde Reinier, Deventer, Holanda. 1946 ha llovido mucho, pero la comisión de barbaridades de esta naturaleza son el pan nuestro de cada día. En un concurso norteame- ricano se preguntaba a una «famosa» sobre qué país europeo tenía como capital a Budapest; a pesar de múltiples ayudas por parte del presentador (es un decir) de un concurso casi trucado, no pudo contestar, entre otras cosas porque pensaba que Europa era un país. Últimamente, las pruebas, los hechos, no existen, sólo existen las opiniones, el esfuerzo por comprender algo complicado no está bien 4 de la obra, como sugería Paul Valéry. Con la complicidad de los influyente del siglo XX; comentarios más o menos exagerados de la gestores oficiales del arte, la vanguardia corre el peligro de convertir- prensa marcan la pauta: «Una pieza de porcelana sacudió el Esta- se en el arte oficial, al calorcito del presupuesto. El artista sólo busca blishment artístico en 1917», «absoluta contemporaneidad», el beneplácito del «Star System», aportando a cambio glamour y el «Duchamp definió el arte de nuestros días». Por aquellas fechas, impacto que produce la provocación o lo novedoso. Basta ver los Picabia, Duchamp y la ceramista Beatrice Wood eran algo más que gigantescos cuadros de David sobre Napoleón en el Louvre para íntimos, según atestigua la foto de los tres publicada en el número 61 darse cuenta de lo triste que debe ser alimentar el ego de los podero- de esta Revista en Coney Island en 1917; ocurre que la First Exhibition sos; Gauguin ya advertía de los excesos de la porcelana de Sèvres of the Society of Independent Artists ofrecía su espacio a cualquier por la adicción a los oropeles de los «Reyes Sol» de turno. La dife- artista, que pagando seis dólares podría participar; en el jurado esta- rencia estriba que en esa época los monarcas eran los auténticos ba Arensberg, un coleccionista que tenía «picassos» en el pasillo de dueños de las manufacturas y los directores de museos y los comisa- su apartamento, amigo de Duchamp, Wood y Anais Nin, entre otros, rios estrella tiran con pólvora del rey o, mejor dicho, de los contribu- conocido como miembro del grupo Dada, Duchamp había fundado, yentes. Lo preocupante es que hay una generación de artistas que junto a Arensberg y Dreier, la Society of Independent Artists en 1916 no quiere saber nada del pasado o como mucho sus referencias son y otro miembro del jurado llamado Bellows, que, al contrario de Nauman, Koons o Hirst. Se plantea un presente sin memoria, sin Arensberg no quería que The Fountain, de R. Mutt, se expusiera, sin identidad, la ruptura llevada al paroxismo, la memoria no puede con- saber de quién era; según Wood, todo era consecuencia del humor vertirse en una cárcel de la nostalgia, pero sin memoria no tenemos fantasioso de Duchamp, que se escondió bajo el seudónimo de Richard señas de identidad, ni historia, ni nada; lógicamente, cada creador Mut; la «Fuente» era un urinario corriente de la firma de sanitarios debe reflejar la realidad de su tiempo, y ya va siendo hora de que se Mott Works. Duchamp inclusive convenció a Beatrice Wood para pre- haga eso precisamente. Se puede dar el caso que las respuestas de sentar un cuadro al óleo de una mujer en el baño con una auténtica la vanguardia estén equivocadas en parte, pero las preguntas siguen pastilla de jabón clavada al cuadro; éste sí se incluyó en la exposi- siendo válidas.
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