nagrada grada varaždina - Avicam

Hrvatsko keramičarsko udruženjeCroatian Ceramic AssociationKrižanićeva 13, 42000 VaraždinTel: ++385 42 211 227 Fax: ++385 42 210 450E-mail: info@kerameikon.comwww.kerameikon.comOrganizacijsko vijeće FestivalaFestival Organizing CommitteeBlaženka Šoić Štebih, predsjednica / PresidentDanijela Pičuljan, potpredsjednica / VicepresidentMarija BarićŽeljka BračkoMirjana DučakijevićLjiljana ČulekVlasta GverićMilan HorvatRatislav HorvatićNedjeljko KrčarGordana LabašIvan MesekZoran PazmanSnježana Pokos VujecSlobodan RunjakSnježana ŠpanićGustav WeissBranko SpevecIII Međunarodni festival postmoderne keramike 2009.održava se pod pokroviteljstvomThe Third International Festival of Postmodern Ceramics 2009will be held under the patronage ofMinistarstva kulture RHGrada VaraždinaThe Ministry of Culture Republic of CroatiaThe City of VaraždinIzložba je posvećena 800. obljetnici grada VaraždinaThe exhibition is dedicated to the celebration of Varaždin’s 800th anniversaryISBN 978-953-95136-1-8CIP-zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000000.

III MEĐUNARODNI FESTIVAL POSTMODERNE KERAMIKE 2009.THE THIRD FESTIVAL OF POSTMODERN CERAMICS 2009HRVATSKA / CROATIA / VARAŽDIN, 2009.IZLOŽBA / EXHIBITIONCERAMICA MULTIPLEX 2009PRIRODA KAO IZAZOV / NATURE AS ADVENTUREGradski muzej Varaždin i druga izložbena mjesta u graduThe City Museum of Varaždin and the other exhibition places in the City18. 04. - 24. 05. 2009.

VorwortIn einem relativ kleinen, aber sehr schönen Ort, voller barockerArchitektur, in Varazdin, gelegen in einem relativ kleineneuropäischen Land, in Kroatien, gelingt es zwei engagiertenFrauen, Blazenka Soic Stebih und Danijela Piculjan, einen Wettbewerbzu organisieren und auszurichten, der von der Teilnahmeund vom Niveau her gesehen den Vergleich mit andereninternationalen Wettbewerben nicht zu scheuen hat!Das ist ein Phänomen! Und zeigt, dass es immer wieder aneinzelnen Menschen liegt, die etwas bewegen wollen undauch den Verstand und das nötige Einfühlungsvermögen besitzen,um ihre Ideen in die Tat umzusetzen.Blazenka Soic Stebih, Präsidentin, und Danijela Piculjan, Vizepräsidentinder Croatian Ceramic Association, haben 2009zum dritten Mal zum Wettbewerb „The International Festivalof Postmodern Ceramics“ aufgerufen und 550 Anmeldungenaus insgesamt 42 Ländern weltweit kamen. Nach einer Foto-Vorauswahl durch die Juroren wurden insgesamt 170 KünstlerInnenaufgefordert ihre Arbeiten einzusenden. Insgesamt 157KeramikerInnen folgten dieser Aufforderung und schickten Arbeitennach Kroatien, die den Ausstellungsbestand bilden werdenund aus denen die Preisträgerarbeiten ermittelt wurden.Die Ausstellung des International Festival of Postmodern Ceramicszeigt sehr deutlich die Wandlungen, die sich in Wettbewerbendieser Art in den letzten Jahrzehnten vollzogenhaben. Stand in den früheren Ausstellungen noch vor Jahrendie Gefäßkeramik zahlenmäßig im Vordergrund, so sindes heute frei-plastische Arbeiten, die eine dominante Rolleübernommen haben. Dies gilt sowohl für den abstrakten alsauch für den figurativen Bereich.Man sollte daraus jedoch nicht schließen, dass es im keramischenGefäßbereich keine Novitäten mehr gäbe, dass allesgesagt und nichts mehr auszuloten wäre. Es scheint jedochein Zeichen der Zeit zu sein, dass die klassischen Gefäßthemen,versehen mit den materialtypischen Eigenschaften derKeramik – zum Beispiel aus dem Holzbrand, mit raffiniertenGlasuren versehene Stücke, poliert und geschmaucht oderaus den Rakubrand – etwas in den Hintergrund getretensind. Vielleicht harren sie ihrer Renaissance in neuer Form.In den Vordergrund getreten sind gegenwärtig solche Gefäße,die eine sehr klare und minimalistische Formensprachezeigen. Stücke, die so deutlich formuliert sind, dass man formalnichts mehr hinzufügen oder wegnehmen möchte. Hierkann man sich nur schwer vorstellen, dass eine andere Linienführungin der Kontur, eine andere Proportionierung derVolumina oder eine weitere Oberflächenbearbeitung eineSteigerung der Prägnanz bringen könnte.Ein Beispiel hierfür finden wir in den Schalen von Ann vanHoey aus Belgien.Sie erhielt die „Kerameikon Bronze Medaile“ im diesjährigenWettbewerb.In gewissem Sinne betrifft dies auch die Vasengruppe vonKeiichi Tanaka aus Japan, die eine minimalistische, formaleStrenge zeigen. Hierfür wurde Keiichi Tanaka mit dem Preisfür die Bewerber bis 30 Jahre ausgezeichnet.Gehen wir in der Betrachtung der Preisträgerarbeiten auf dieseWeise weiter nach vorn, so erkennen wir in dem Werk vonMilivoy Segans, Kroatien, bereits eine Loslösung von der plastischformulierten, konkreten Realität.

Seine Terracotta-Plastik des gestürzten Pegasus verweist zumeinen in mythologische Dimensionen und hat andererseitsim materiellen Bezug eine starke Remineszenz zu klassischen,ja archaischen keramischen Objekten. Die Aufbauweise derPlastik erinnert an die „Pinch-Aufbautechnik“, die zumeist imZusammenhang mit Gefäßen seit alters her angewandt wird.Umso interessanter findet sie sich hier im Aufbau einer bewegtenPlastik wieder.Ruta Pakarklyte aus Norwegen führt uns nun ganz aus derabbildenden Realität heraus, obwohl sie mit klar erkenntlichenReal-Fragmenten arbeitet und eine Kombinationerzeugt, die sowohl morbide wie surreal wirkt und Abfälleunserer Konsumwelt in Verbindung mit Teilen des menschlichenKörpers bringt. Keramik als Medium ist noch spürbarund die Arbeit wäre auch in keinem anderen Material soausführbar.Der Hauptpreis, die Arbeit von Barbara Schmid, Österreich,zeigt jedoch am deutlichsten die Tendenz, die ich vorweg erwähnteund die symptomatisch zu einer neuen Definierungdes Kunstsektors Keramik führen wird. Wir verlassen hier weitgehendden Bereich der materiellen, klar dargestellten Existenzund begeben uns in den Bereich der Erschaffung undDefinition von Raum – und das mit keramischen Mitteln.Paperclay auf einem Drahtgitter gebrannt, womit die keramischenVorgaben, erweitert durch Mixed-Media, erfülltsind. Gleichzeitig stellt sich der Verlust der erdhaften Schwerevon Keramik ein. Was kein Endpunkt sein darf, aber in dergegenwärtigen Situation Raumdimensionen eröffnet unddie keramische Arbeit zum freien Auffangbecken für persönlicheIdeen, Vorstellungen und Träume werden lassen kann.Prämiert wurde somit keine keramische Plastik, sondern einRaumphänomen aus Keramik, das Möglichkeiten aufzeigt,eröffnet und neben vielen Vorstellungen als Antipode zurSchwere des Materials auftreten kann.Wir erkennen somit in dieser Ausstellung des InternationalFestival of Postmodern Ceramics den Wandlungsprozess zurbevorzugten keramischen Ausdrucksweise der Gegenwart.Dies spiegelt sich auch in der Preisvergabe wider.Dabei muss man immer im Auge behalten, dass man dieseEntwicklungen als einen Erweiterungsprozess ansehensollte und weniger als einen Versuch der Abnabelung vom„Muttermaterial“. Eine gewisse Dankbarkeit diesem Materialgegenüber sollte sich jeder Künstler, der mit diesem virtuosumgeht, erhalten und damit auch eine Empfindung für dieGemeinsamkeit bewahren, die alle verbindet, die mit diesemMaterial Kunst zur Entfaltung bringen.Letztendlich ist immer deutlicher zu diagnostizieren, dasssich über das traditionelle Verständnis des OberbegriffsKeramik hinaus eine neue Ebene eröffnet, die an der Gestaltungeines neuen Verständnisses des Materials beteiligtsein will.Oder ist es vielleicht nur eine Neuauflage der schon im Neolithikummit dem Material Keramik beschworenen Darstellungdes Göttlichen? Und ist nicht diese Darstellung letztlichdie Fragestellung, Thematik und Aufgabe aller Kunst?Bernd Pfannkuche,Präsident der internationalen Jury

PredgovorU jednom relativno malom, ali lijepom gradu, punom baroknearhitekture, u Varaždinu, koji se smjestio u također relativnomaloj europskoj zemlji, Hrvatskoj, uspijeva dvjemaangažiranim ženama, Blaženki Šoić Štebih i Danijeli Pičuljan,organizirati i ostvariti natjecanje koje se prema broju sudionikai njihovoj kvaliteti može bez oklijevanja usporediti sdrugim međunarodnim natjecanjima toga tipa.To je zaista izuzetan fenomen! I to uvijek iznova pokazujeda o pojedinim ljudima koji žele nešto pokrenuti, a posjedujurazbor i sposobnost uživljavanja, ovisi hoće li se njihoveideje i ostvariti.Blaženka Šoić Štebih, predsjednica Hrvatskog keramičarskogudruženja, i dopredsjednica Danijela Pičuljan oglasilesu 2009. godine treći put natječaj za Međunarodni festivalpostmoderne keramike, na koji je stiglo 550 prijava izukupno 42 zemlje širom svijeta. Nakon što su članovi žirijaobavili izbor na temelju fotografija, ukupno 170 umjetnikapozvano je da pošalje svoje radove. Ukupno 157 keramičarai keramičarki odazvalo se pozivu i poslalo svoje radove uHrvatsku, gdje će činiti sadržaj izložbe iz kojeg su odabraninagrađeni radovi.Izložba Međunarodnog festivala postmoderne keramikepokazuje vrlo jasno promjene koje su se ostvarile u natjecanjimaove vrste u posljednjim desetljećima. Ako je na ranijimizložbama još prije nekoliko godina keramička posudapretežito bila u prvom planu, danas slobodno plastičniradovi preuzimaju dominirajuću ulogu. To jednako vrijedi iza apstraktno i za figurativno područje.Iz toga ipak ne treba zaključiti da u području keramičkih posudanema noviteta, da je sve već rečeno i da se ništa višene bi moglo istražiti. Ipak je, čini se, znak vremena da su klasičneteme oko posuda, oboružane osobinama tipičnim zakeramiku kao materijal (na primjer, komadi paljeni na drvoopremljeni rafiniranim glazurama, polirani i zadimljeni ilipaljeni u rakuu) dospjeli u pozadinu. Možda iščekuju svojurenesansu u novom obliku.U prvi su plan trenutačno istupile posude koje iskazuju vrlojasan i minimalistički govor oblika. Komadi su to koji su takorazgovijetno izraženi da im se formalno ne može ništa dodatiniti oduzeti. Ovdje se vrlo teško može pretpostaviti dabi neka druga linija u obrisu, neki drugi razmjer zapreminaili daljnja obrada površine mogli pridonijeti povećanju jezgrovitosti.Primjer za to nalazimo u zdjelama Ann van Hoey iz Belgije.Ona je dobila Kerameikonovu brončanu medalju na ovogodišnjemnatjecanju. U izvjesnom smislu ovo dotiče i grupuvaza Keiichija Tanake iz Japana, koje pokazuju minimalističku,formalnu strogoću. Za njih je Keiichi Tanaka primio nagradunamijenjenu osobama mlađim od 30 godina.Krenemo li dalje u promatranju nagrađenih radova na ovajnačin, u djelu Milivoja Šegana iz Hrvatske prepoznajemooslobađanje od plastično formulirane konkretne stvarnosti.Njegova terakotna plastika paloga Pegaza upućuje s jednestrane na mitološke dimenzije, a s druge strane nosi u ma-

terijalnom pogledu snažno podsjećanje na klasične, čak arhaične,keramičke objekte. Način građenja plastike podsjećana tzv. pinch tehniku građenja, koja se ponajviše povezujes posudama na kojima se primjenjuje od davnina.Ruta Pakarklyte iz Norveške izvodi nas potpuno iz preslikestvarnosti iako radi s jasno prepoznatljivim fragmentima realnostii postiže kombinaciju koja djeluje podjednako morbidnoi nadrealistički, povezujući otpatke našega potrošačkogsvijeta s dijelovima ljudskoga tijela. Keramika kao medijmože se još osjetiti i rad se ne bi mogao izvesti na taj načinni u kojem drugom materijalu.Glavna nagrada, rad Barbare Schmid iz Austrije, ipak najjasnijeupućuje na tendenciju koju sam prije spomenuo i kojaće simptomatično dovesti do nove definicije umjetničkogodjeljka kojem pripada keramika. Ovdje napuštamo područjematerijalnog, jasno prikazanog postojanja (egzistencije)i upućujemo se u područje stvaranja i definicija prostora – ito keramičkim sredstvima.To je paperclay paljen na žičanoj mreži, čime su ispunjenekeramičke odrednice, proširene uz pomoć različitih materijala(mixed-media). Istodobno se pojavljuje gubitak zemljanetežine keramike. To ne bi smjela biti krajnja točka, ali utrenutačnoj situaciji rastvara prostorne dimenzije i keramičkomradu može omogućiti da postane slobodno okupljališteosobnih ideja, predodžbi i snova. Nagrađena tako nijekeramička plastika, već prostorni fenomen od keramike kojiupućuje na mogućnosti, otvara i uz mnogobrojne predodžbepojavljuje se kao antipod težini materijala.Time u ovoj izložbi Međunarodnog festivala postmodernekeramike prepoznajemo proces promjene koji je usmjerenprema prevladavajućom keramičkim načinima izražavanjau suvremenosti. To se odrazilo i u nagrađivanju.Pritom treba uvijek pripaziti na to da te razvoje treba prepoznatikao proces proširenja, a manje kao pokušaj rezanjapupčane vrpce od ishodišnog materijala (“Muttermaterial”).Određenu zahvalnost prema tom materijalu trebao bi zadržatisvaki umjetnik koji s njim virtuozno postupa i timeujedno sačuvati osjećaj pripadnosti koji povezuje sve onekoji su na tom materijalu razvili umjetnost.I na kraju, sve se jasnije dijagnosticira da se preko tradicionalnograzumijevanja višeg poimanja keramike otvara novarazina koja želi dati svoj udio u oblikovanju novog razumijevanjamaterijala.Ili je to samo novo izdanje već od neolitika prizivanog prikazivanjabožanskog uz pomoć keramičkog materijala? Inije li to prikazivanje u konačnosti propitkivanje, tematikai zadaća sveukupne umjetnosti?Bernd Pfannkuche,predsjednik međunarodnog žirija

ForewordIn a relatively small but beautiful city full of baroque architecture,our fair Varaždin, which found its niche in the equally small Europeancountry of Croatia, two persistent ladies - Blaženka ŠoićŠtebih and Danijela Pičuljan managed to organise and set up acompetition. Considering the number of highly talented contestants,it could without doubt be compared to other Internationalcompetitions of its genre.This is indeed a rare phenomenon, showing once again that,if individuals really put their minds to something, add a littlereason and a dash of ingenuity, they can make any idea springto life.Blaženka Šoić Štebih, the President of the Croatian Ceramic Associationand Danijela Pičuljan, its Vice-president, announcedthe third International Festival of Post-Modern Ceramics competitiontaking place in 2009.In total 550 applications from 42 countries spanning across theglobe were received. After the panel of judges made their initialselection based on photographs, 170 artists were invited to submittheir works. A total of 157 artists answered the call and senttheir works to Croatia, where they will all collectively be part ofthe exhibition used to distinguish the awarded works.The exhibition of the International Festival of Post-Modern Ceramicsclearly shows the changes in this field, i.e. similar competitionsover recent decades. Until a few years ago, vessel/pot ceramicsdominated the exhibition, while today this is true for freeplastic works, both in abstract and figurative fields.We should not conclude that the ceramic vessel offered no noveltiesin the meantime, i.e. that all has been said in this particularfield. Still, it is the sign of the times - classical pot-and-dish themeusing typical characteristics of ceramics. For example, ceramicpieces burnt onto wood and outfitted with refined glazing, polishedand smoked or burned in raku, have been pushed to theback of the line. Perhaps they are simply awaiting their renaissancein some new form.The spotlight momentarily belongs to vessels distinguished bya very clear and minimalist shape. These are pieces which areso clean and distinctly accented that one could formally notattempt to add or take away anything from them. They couldhardly be imagined with another line in the contour, some otherratio of capacity, or that further processing of its surface couldcontribute to its succinctness.A suitable example of this is shown in bowls made by Ann vanHoey from Belgium. She received KERAMEIKON’s bronze medalin this year’s competition. Common resemblances can be notedregarding the vases made by Keichi Tanaka from Japan, showingminimalist, formal strictness, earning him the award for artistsunder 30 years of age.Following the path of awarded artists, we come to Milivoj Šeganfrom Croatia, whose work frees itself from “plastic formulated”reality around us.His terracotta plastic of the fallen Pegasus is, on the one hand,aimed at mythological dimensions, and on the other strongly

eminds us of classic, even archaic ceramic shapes. The way theplastic is made seems to draw its roots from the so-called pinchtechnique, predominately used on vessels in ancient times.Ruta Pakarklyte from Norway takes us fully out of the world ofreality as we know it (although she works with recognisable fragmentsof reality), accomplishing a combination which is as morbidas it is surreal, joining our world’s sewage with the parts of thehuman body. You can feel the ceramic as the medium used andthe works could not have been made using any other material.First place went to a piece by Barbara Schmid from Austria, representingthe best confirmation of the earlier noted tendencieswhich will symptomatically lead to the new definition of theartistic corner where ceramics reside. This is where we leave thearea of material, clearly defined existence, and head for the areaof creation and definition of space – using ceramic means.Paperclay burned on a wire mesh, whereby ceramic preconditionsare fulfilled, is widened using various materials (mixed-media).At the same time, there is a loss of actual “earthly” weightof ceramics, which should not be its final destination, but in thisparticular situation it opens up spatial dimensions and can allowthe field of ceramics work to become a free well of personalideas, concepts and dreams. Therefore, the award does not perse go to the ceramic plastic; it goes to the spatial phenomenonof ceramics pointing to possibilities, opening the material worldand, with a multitude of notions, becoming the antipode to theweight of the material.Thus, in this exhibition of the International Festival of Post-ModernCeramics we recognise the process of change pointed towardspredominate modern means of expression using ceramics- which mirrored itself in our allocation of top awards.We should take care to recognise such developments as a processof expansion, rather than an attempt at severing the cordwith the source (“Mutter material”).Every artist expertly using the material should feel a certainthankfulness towards it, thereby keeping the feeling of belongingconnecting all those who developed the art using that material.Finally, the diagnosis which has recently become easier to reachis that the traditional understanding of a higher comprehensionof ceramics opens up a new level which longs to do its part inshaping the new understanding of the material.The question is: is this only a new version of the ancient Neolithicrepresentation of the divine using ceramic materials? And, is itnot this representation, in the end, the search, the theme and thetask of art itself?Bernd Pfannkuche,President of the International Jury

Riječ organizatoraKERAMEIKON, Hrvatsko keramičarsko udruženje, od samog svogosnutka 2002. godine nastoji organiziranjem raznovrsnih aktivnostina području keramike povezati što veći broj ljudi koji žele utome sudjelovati. Osim edukativnih aktivnosti, kao vrlo uspješanprojekt pokazao se Međunarodni festival postmoderne keramikei njegova izložba CERAMICA MULTIPLEX koja se održava potreći puta.Težnja je da se na toj izložbi okupe najbolji umjetnici iz Hrvatskei svijeta, da se na ovoj našoj kristalizacijskoj točci svijeta prikupei izmjene najraznovrsnija iskustva i utemelje novi odnosi pa i prijateljstvana širokoj, gotovo globalnoj osnovici.Ove su godine umjetnici iz zaista cijelog svijeta pokazali velikozanimanje za sudjelovanje na izložbi. Njih 550 željelo je prikazatisvoje umjetničko dostignuće, pa je ugledni međunarodni žiriimao je tešku ulogu odabere najbolje, njih 170.Tema pod naslovom: PRIRODA KAO DOŽIVLJAJ (NATURE AS AD-VENTURE) bila je postavljena veoma široko i otvoreno. Svakomje umjetniku ostavljen dovoljan prostor za osobni doživljaj bezograničenja. Očito je da su umjetnici prihvatili izazov jer, odgovorkoji smo dobili, stvorio je izložbu visoke kvalitete i na kojusmo kao organizatori vrlo ponosni. Budući da nismo ograničili nidimenzije neki od radova zadivljuju svojom veličinom i predstavljajunovost na izložbi poput naše.Afirmirane su novosti koje se u keramici događaju velikom brzinomu odnosu na ranije godine. Upotrebnost keramike višene stigmatizira keramičkog umjetnika – on je slobodno zaploviooceanom ideja ne napuštajući i ne zaboravljajući ipak, ishodišnimaterijal – glinu.Paperclay, glina u koju je dodana papirna pulpa da bi se prirodnimkarakteristikama gline dodala i neka nova, prije neslućenasvojstva, raznovrsna prirodna i umjetna vlakna i granulati, različitimaterijali koji se stapaju ili dograđuju uz keramiku, više nisuhereza. Porculan koji je bio dugo «zarobljen» u manufakturi iliindustriji zbog teže obradivosti, rezerviran za posude i produktevisoke izdržljivosti, ušao je i u radionicu suvremenog umjetnikasklonog izazovu i eksperimentu koji tehnološku grešku u glazuriili na keramičkoj površini dozivlje kao dobrodošao efekt u čijem jesinergijskom nastajanju počesto bio samo pokretač i promatrač.Spajanje nespojivog ili čak dijametralno suprotnog, rađa novecjeline i tvorevine izazivajući sve veći broj umjetnika da se okušajuu kombiniranju najrazličitijih materijala (mixed media) da bidosegli nove pojavnosti nudeći ih svim osjetilima. Hladni dekori itemperature ispod keramičarskih 800° C pri kojima glina mijenjasvoja kemijska svojstva na molekularnom nivou, postaju općeprihvaćeni i samorazumljivi. Svaki korak odmaka od običajenogili reinterpretacija već uobičajenog s individualnom nadogradnjomdobrodošlo je dostignuće pa i otkriće koje potiče i drugeda krenu na novo putovanje u još nepoznato i neotkriveno, pa neplašeći se rizika, više ne potiskuju želju za novim doživljajima.Boja koja je u keramici uvijek bila u funkciji bilo dekora ili oblikapostaje ravnopravna sastavnica u konglomeratu raznih materijala.Ona ima važnu ulogu u skladnom harmoniziranju svih elemenata.Na površinama najrazličitijih tekstura glineno porijeklocijele palete boja vrlo je često dobrodošao element koji podsjećai vraća na materijalno ishodište keramičkog materijala.Nakon što je tehnika rakua populazirala i demokratizirala keramikuna najširem mogućem planu jedina moguća posljedicabilo je njeno otvaranje a ponekad i rastvaranje.Keramika se na taj način definitivno afirmirala kao umjetnost,ravnopravna kiparstvu ili slikarstvu ili pak arhitekturi, objedinjujućii upijajući sve ono što joj od njih treba, zadržavajući pritome svoje vlastite specifičnost, mogućnosti ali i ograničenja kaoprednost, otvarajući se u prostor neslućenih razmjera.Neograničenost znanstvenih otkrića koje keramika brzo uočava iprimijenjuje, dopuštajući si pri tome «pjesničku slobodu», najavljujedalje iskorake u još nedosegnuto.Naša izložba CERAMICA MULTIPLEX 2009. mali je izrezak ili zapissadašnjeg vremena usmjerenog prema budućnosti.Blaženka Šoić Štebih,članica Međunarodne akademije za keramiku (IAC), iz Ženeve

A note from the organizerKERAMEIKON, the Croatian Ceramic Association, from the moment ofits emergence in 2002 strived to connect and involve as many interestedpersons as possible through organising various activities in the field ofceramics. In addition to educational activities, a very successful projectof the Association has proven to be the International Festival of Post-Modern Ceramics and its exhibition CERAMICA MULTIPLEX, staged forthe third time.It is our aspiration to have the best artists from Croatia and equally theworld, converge around our venture, share their varied experiences andstrike up new friendships they can then take with them around the globe.This year artists from every corner of the globe showed their interest in theexhibition; a total of 550 applied for the chance to showcase their art, andthe distinguished international panel of judges had a very difficult task inchoosing the best 170 works.The theme of the exhibition, NATURE AS ADVENTURE, was set very broadlyand openly. Each artist was given enough room to express his/herpersonal adventure without limitations. It is obvious the artists eagerlyaccepted our challenge, and the sheer number of applications enabledus to prepare a high quality event that we, as organisers, are very proudof. Since we also did not make any limitations on the size of individualworks, some of them are indeed impressive in that respect, and representa novelty as far as our exhibits are concerned.This year’s works also confirm novelties present in the ceramics field,which are happening very quickly with respect to changes in previousyears. The application of ceramics no longer stigmatises the artist – oneis free to swim in the ocean of ideas, keeping in mind only the one, basicbuilding block of the art: clay.Paperclay, clay with added paper pulp used to empower the naturalcharacteristics of clay with new, until now un-thought of properties, variousnatural artificial fibres and granules and also materials merging withand being consumed by ceramics, are no longer a sacrilege.Porcelain, for so long “jailed” within manufacture and industry due toits more difficult processing and treatment, reserved for high-durabilityvessels and products, finally entered the workshop of the modern artistwilling to experiment and deliberately cause a glazing error here and asurface irregularity there, all as welcome anomalies in the emergence ofwhich he was once only an instigator and a witness.The merger of the incompatible, or even that of diametrical opposites, givesbirth to new units and creations, challenging an ever growing number ofartists to try themselves in combining the most varied of materials (mixedmedia) in order to reach new heights of their own sensory perception.Cold decors and temperatures below the ceramic-rooted 800 °C, at whichclay changes its chemical composition at the molecular level, became notonly widely accepted but self-explanatory. Any deviation from the norm,any regular interpretation with individual sprinkling is a well-received accomplishment,even a discovery motivating others to make that journeyinto the unknown, not be afraid of the risk, set free their longing for newadventures.Colour, which in ceramics always basically supported the decorum orthe shape, now takes equal footing in the conglomerate of the otherpertaining materials. It plays an important role in the harmonisation ofall concerned elements. On surfaces made up of varied textures, the paletteof colours stemming from their clay heritage is often a very welcomeelement which reminds us and takes us back to the material source ofceramic materials.After the raku technique popularised and democratised ceramics to thewidest possible audience, the only possible result was its full opening,even decomposition.This way, ceramics truly affirmed itself as an art form, side by side withsculpting, painting or architecture, comprising and absorbing from themall it needs, but all the while keeping its own particularities, possibilitiesand limitations as the ultimate advantage, entering a space of unimaginedsize.The lack of bounds represented by scientific breakthroughs is beingquickly lapped up and applied by ceramics; that, together with artisticfreedom, forebears even further steps in yet uncharted territories.Our exhibition, CERAMICA MULTIPLEX 2009, is but a small snippet, or amusing of the present times looking at the days ahead.Blaženka Šoić Štebih,member of the International Academy of Ceramics (IAC) Geneva

Gustav Weiss iz Berlina dobro je poznat ljubiteljima keramike i keramičarima kao pisac mnogobrojnih značajnih knjigao keramici i naročito kao dugogodišnji izdavač revije Neue Keramik. Održao je brojne seminare u Njemačkoj, Švicarskoj,Austriji i Hrvatskoj. Poslije studija prirodnih nauka u Beču apsolvirao je Umjetničku akademiju u Berlinu i radio kao visokoškolskinastavnik u Halleu. Danas vodi inovacijski centar za rješavanje problema u neindustrijskoj keramici a bavise i umjetničkim stvaranjem. Uz Blaženku Šoić Štebih idejni je začetnik i podupiratelj Festivala u Varaždinu. Počasni ječlan KERAMEIKON-a, Hrvatskog keramičarskog udruženja.Dodatne informacije mogu se naći na www.gustav-weiss.deGustav Weiss from Berlin is a well-known author of significant books on Pottery and a publisher of the magazine ‘NeueKeramik’ and one among those who participate in this field, either as a follower or Pottery craftsman. He has held a numberof seminars in Germany, Switzerland, Austria and Croatia. After having finished his studies of Natural Sciences in Vienna hestudied in Art Academy of Berlin and worked as a Fellow in Halle. Today, he acts as the Head to the Innovation Center whichdeals in non-industrial ceramics and works as an artist himself. In addition to Blaženka Šoić Štebih he was the initiator andsupporter of the Festival at Varaždin. He is honourary member of KERAMEIKON, Croatian Ceramic Association.More details are available on www.gustav-weiss.dePriroda / NatureGlazurno oslikanje na terakotnoj pločiGlaze painting on terracotta tile30x30 cm

Mirjana DučakijevićRođena u Kutini, 25. rujna 1952. godine. Diplomirala je povijest umjetnosti i arheologiju na Filozofskom fakultetuSveučilišta u Zagrebu 1976. godine. Kao profesor umjetnosti radi u srednjoj školi od 1976. do 1986. Otada je zaposlena uGaleriji starih i novih majstora Gradskog muzeja Varaždin, prvo kao kustos a zatim kao viši kustos. Godine 2005. izabranaje za muzejsku savjetnicu, najviše zvanje koje se dodjeljuje za posebne zasluge u muzeološkom radu u Hrvatskoj.Organizirala je brojne skupne i samostalne izložbe od posebnog nacionalnog znažaja u muzejima u Hrvatskoj. Autoricaje mnogih likovnih prikaza, kataloga, stručnih tekstova i podloga za TV ili radio emisije. Sudjelovala je u radu brojnihlikovnih žirija te pokrenula školski servis za učenike i studente u Gradskom muzeju Varaždin.Članica je KERAMEIKON-a, Hrvatskog keramičarskog udruženja.Mirjana DučakijevićShe was born in Kutina, on 25 September 1952. She got her MA in Art History and Archaeology from the Faculty of Philosophy(University of Zagreb) in 1976. She taught art appreciation at high school level between 1967 and 1986. Since then she has beenwith the Gallery of Old and Modern Masters of Varaždin Civic Museum, first as Junior and then Senior Curator. In 2005 she waspromoted to become a Museum Advisor, the highest title awarded for special merit in museological service in Croatia.She has organized numerous collective and one-man shows of outstanding national character in the museums aroundCroatia. She wrote many art essays, catalogues, conference papers and scripts for art broadcasting series. She has been memberto many art juries and started School Service for pupils and students in the City Museum of Varaždin.She is a member of KERAMEIKON, Croatian Ceramic Association.Galerija starih i novih majstoraGradskog muzeja Varaždin, Stančićev trg 3Art Gallery of Old and Next Mastersof the City Museum Varaždin

Jindra Vikova je keramičarka međunarodnog ugleda, rođena u Pragu, gdje je diplomirala na Univerzitetu primijenjenihumjetnosti. Njena često nagrađivana djela poznata su po svom vrlo osobnom i osebujnom karakteru a često suizlagana svuda po svijetu u muzejskim i privatnim zbirkama. Član je Međunarodne akademije za keramiku iz Ženeve uŠvicarskoj, od 1983. godineJindra Vikova is an internationally renowned ceramic artist born in Prague, Czech Republic where she graduated on the Universityof Applied Arts. Her frequent prize-winning works are known for their very personal and distinguished character andhave been often exhibited all over the world in museums and private collections. She is a member of the the InternationalAcademy of Ceramics, Geneva, Switzerland, since 1983.Glava / HeadPorculansa žicomPorcelain with wire40x52 cm

Bernd Pfannkuche je svoju radnu karijeru započeo kao pripadnik njemačke i međunarodne mornarice. Nakon posjetakeramičarskim radionicama u Južnoj Americi i Japanu započeo je samostalno proučavati keramiku a fakultetsku diplomu izkeramike stekao je 1978. i 1980. na Umjetničkoj akademiji u Kasselu, Njemačka. Radio je tmo kao predavač a bio je i voditeljodjela za kulturne poslove, dizajn i odnose s javnošću u Obrtničkoj komori Rheinland-Palatinate, Njemačka. Od 1985 radi kaoslobodni umjetnik, bavi se arhitekturalnom keramikom, dizajnom i konstrukcijom peći, piše članke u tehničkim i obrtničkimčasopisima, publicira 6 knjiga i prevodi na području keramike. Do 1990. predaje na Sveučilištu u Kasselu i radi kao konzultantza malu i srednju keramičku industriju u zemljama u razvoju Afrike, Azije I Južne Amerike. Od 2000. preuzima vlasništvoi izdavanje revije NEUE KERAMIK koja od 2003. izlazi i u engleskoj verziji (NEW CERAMICS). Prevodi i izdaje knjige iz područjakeramike. Član je mnogih organizacija a među njima Međunarodne akademije za keramiku (AIC) iz Ženeve, aktualni je direktorMeđunarodnog udruženja izdavača keramičkih magazina (ICMEA) i počasni član KERAMEIKON-a, Hrvatskog keramičarskogudruženja.Bernd Pfannkuche, till 1972 Junior engineer in the German and international mercantile marine after visiting ceramic workshopsin South-America and Japan 1972 – 1974 started autodidactical studies in ceramics1978 BA in Ceramics 1980 MA inCeramics at the Art Academy - University of Kassel, Germany. Worked as lecturer and as Section manager for cultural affairs,design and public relations with the Association of the Chambers of Crafts in Rhineland-Palatinate, Germany. Since 1985Free-lancer in the fields of ceramics, worked in architectural ceramics, design and construction of kilns and furnaces, articlesin technical and craft journals, 6 book publications and translations concerning ceramics subjects.Till 1990 lecturer at the University of Kassel, and as Consultant for the small and middle scale ceramics industry of developingcountries in Africa, Asia and South America. Since 2000 Publisher of the ceramics magazine NEUE KERAMIK and director ofthe publishing house NEUE KERAMIK (NEW CERAMICS), Höhr-Grenzhausen, Germany.Translated and published many with ceramic related books. Member of the International Academy of Ceramics, Geneva (AIC),Member and current director (2008-2010) of the International Ceramic Magazine Editor’s Association (ICMEA) and honourarymember of KERAMEIKON, Croatian Ceramic Association.Zidni reljef u Gimnaziji,Höhr-Grenzhausen, 1987.Wallrelief, High school,Höhr-Grenzhausen, 1987

Maria Geszler Garzuly iz Szombathelyja je umjetnica međunarodnog ugleda, rođena u obitelji muzičara u Budimpešti.Diplomirala je 1965. kod Árpáda Csekovszkog na Mađarskoj akademiji za obrt i dizajn. Mnogo je godina radila utvornici Hódmezövasárhely i kao dizajner u tvornici majolike Hódmezövasárhely. Od 1975. godine ima svoj vlastiti studioa od 1982. godine član je Međunarodne akademije za keramiku (IAC) iz Ženeve. Od osnutka Međunarodnog studijaza keramiku u Kecskemétu, surađuje s direktorom Janosom Probstnerom na mnogobrojnim simpozijima. Sudjelovalaje na mnogobrojnim samostalnim i grupnim izložbama širom svijeta.Dobitnica je glavne nagrade Međunarodnog festivala postmoderne keramike 2005. godine i počasna članica KERAME-IKON-a, Hrvatskog keramičarskog udruženja.Maria Geszler Garzuly from Szombathely is an international renowned artist born in Budapest in a family of musicians.She took her ceramic artist diploma in 1965. Her master was Árpád Csekovszky at the Hungarian Academy of Craft andDesign. Many years she worked in the Hódmezövasárhely Majolica Factory and as a designer for Magyarszombatfa’s CeramicFactory. Since 1975 she runs her own private studio. Since 1982 she is a member of the International Academy forCeramics (IAC) Geneva, since the foundation of the International Ceramic Studio in Kecskemét she has been a member ofthe artistic council and has managed numerous symposiums with János Probstner, director of the Studio. She is multipleaward- winner, she takes part on numerous single and group exhibitions all around the world. She is the winner of thegreat award of the International Festival of postmodern Ceramic, 2005 and honourary member of KERAMEIKON, CroatianCeramic Association.Bilo mi je veliko veselje opet doći u Varaždin i sudjelovati kao članica žirija u izboru radova za izložbu CERAMICA MULTIPLEX 2009. Pregledala sam pritom veliki broj prijavljenihradova, primijetivši nove trendove, vidjevši kako se mijenja svijet na početku 21. stoljeća. Bogatstvo raznolikosti keramičkih objekata odražavalo je različitost nacionalnosti ikontinenata, kao i prednosti i nedostatke obrazovnog sustava pojedinih zemalja. Svojim sam rukama doslovno mogla osjetiti strujanje duha vremena. Posebno je zanimljivabila činjenica da se kultura keramičke posude ponešto povukla, a u prvi je plan izbila umjetnost keramičke skulpture. (...)Nadam se da će izložba CERAMICA MULTIPLEX 2009. i njen visoki doseg razveseliti podjednako sve umjetnike koji na njoj sudjeluju i njene posjetitelje, da će svi iz nje mnogonaučiti, kao što će i uživati u arhitekturi grada Varaždina do sljedeće izložbe CERAMICA MULTIPLEX.It has been a great pleasure to, once again visit Varaždin and participate within the judging panel for the CERAMICA MULTIPLEX 2009 exhibition. I had a chance to observe a large numberof submitted works and to confirm that the trends in this field are indeed changing hand in hand with the world of the 21st century. The rich variance of ceramic pieces seemed to mirrorthe nationalities and continents, and indeed the advantages and shortcomings of educational systems present in particular countries. I could feel with my own hands the spirit of the timesresonating through ceramics. Interestingly, the ceramic pot/vessel seemed to have withdrawn somewhat, ceding the spotlight to the artistic ceramic sculpture.(...)I hope CERAMICA MULTIPLEX 2009 and the high level of art it represents provides enough joy to participants and visitors alike, teaching them about ceramics along the way. I alsohope they enjoy the architecture of the City of Varaždin until the next CERAMICA MULTIPLEX.Maria Geszler Garzuly,Szombathely, March 2009Tri šalice čaja / Three cups of teaPorculan sa sitotiskom, redukcijsko paljenje u plinskoj peći na 1360 ˚CPorcelain with serigraphy, fired in gas reduction to 1360 ˚ C78x30x5 cmNAGRADA GRADA VARAŽDINA 2005.THE CITY OF VARAŽDIN AWARD

Blaženka Šoić Štebih je nakon studija psihologije, germanistike i socijalnog rada, te diplome, radila kao novinar. Keramikuizučavala u inozemstvu: Centro Sperimentale d’Arte u Švicarskoj, u Berlinu i Gmundenu, pod mentorstvom GustavaWeissa a 1996. koristila stipedniju u Watershedu, SAD.Studijska putovanja u SAD, Brazil, Kinu, Egipat, Italiju, Indiju, Indoneziju, Mađarsku, Tursku, Grčku, Belgiju, Nizozemsku,Njemačku, Španjolsku, Portugal, Austriju, Englesku, Irsku, Rusiju, Finsku, Francusku, Estoniju, Litvu, Letoniju i druge zemlje.Od 1985. izlagala na mnogobrojnim samostalnim i grupnim izložbama u svojoj zemlji i inozemstvu. Više godinadopisnica Neue Keramik iz Berlina i revije Studio Potter iz Goffstonea, SAD. Članica je ULUPUH-a, Kalkspatza, The AmericanCeramic Society te Međunarodne akademije za keramiku iz Ženeve. Prevodi i podučava u struci te vodi vlastitiStudio za keramiku. Zajedno s grupom entuzijasta 2002. godine osnovala KERAMEIKON, Hrvatsko keramičarsko udruženječija je aktualna predsjednica a s Gustavom Weissom i Međunarodni festival postmoderne keramike kojeg je glavniorganizator. 2005. godine nagrađena je Medaljom grada Varaždina za zasluge na području keramike i kulture.Dodatne informacije: www.kerameikon.comBorn in Varazdin 1948 Blazenka Soic Stebih studied psychology, German and social sciences and after her diploma she workedas a journalist. After her training in ceramics at Centro Sperimentale d’Arte in Switzerland she attended also further ceramictraining courses in Austria, Germany with a mentor Mr. Gustav Weiss and was artist in residency in Watershed, USA. Studytrips to Italy, France, Finland, England, Ireland, Russia, Spain, Switzerland, Portugal, Holland, Germany, Austria, Hungary, Turkey,Egypt, Brazil, Indonesia, India, China, USA and Baltic. Since the 1985 she has exhibited in numerous one-man and groupexhibitions at home and abroad. She wrote many articles about Croatian ceramics and ceramic artists for Neue Keramik fromBerlin and The Studio Potter (USA).She is a member of the Croatian Applied Arts Artists Association, KALKSPATZ, an Austrian-German association for promotionof culture, education and social aspects in working with clay, The American Ceramic Society and a member of the IACGeneva from 2007. She translates and teaches in the profession and runs her own Studio for Pottery.Together with a group of enthusiasts founder and recently president of KERAMEIKON, Croatian Ceramic Association and togetherwith Mr. Gustav Weiss organizer of the now traditional International Festival of Postmodern Ceramics 2002, 2005and 2009 and many other important international exhibitions, symposiums and courses for children and adults. In the 2005awarded with special Medal of City of Varazdin for the extraordinary contributions in the area of ceramic art and culture. Additionalinformation: www.kerameikon.comAdditional information can be found on www.kerameikon.comNa dnu oceana / On the Ground of the OceanSlobodno građeni porculan i kameninaHandbuilt porcelain and earthenware20x20x28 cm

NAGRADA GRADA VARAŽDINA / THE PRIZE OF THE CITY OF VARAZDINBarbara SchmidAustrija / AustriaKERAMEIKONOVA ZLATNA MEDALJA / KERAMEIKON GOLD MEDALRuta PakarklyteNorveška / NorwayKERAMEIKONOVA SREBRNA MEDALJA / KERAMEIKON SILVER MEDALMilivoj ŠeganHrvatska / CroatiaKERAMEIKONOVA BRONČANA MEDALJA / KERAMEIKON BRONZE MEDALAnn Van HoeyBelgija / Belgiumfima.com“ONI KOJI DOLAZE” / THOSE TO COMENagrada mladom umjetniku do 30 godina starosti / The Young Artist Prize for an artist under 30 years of ageKeiichi TanakaJapan / JapanPOČASNA PRIZNANJA / HONOURABLE MENTIONSBettina BaumannŠvicarska / SwitzerlandJürg C. BächtoldŠvicarska / SwitzerlandRisto HämäläinenFinska / FinlandNatalya KorchemkinaRusija / RussiaPaul MasonVelika Britanija / United KingdomMarta NagyMađarska / HungaryRafael Perez FernandezŠpanjolska / SpainPam SinnotAustralija / AustraliaKevin TurnerSAD / USAPetra WolfNjemačka / Germany

NAGRADA GRADA VARAŽDINA / THE PRIZE OF THE CITY OF VARAZDINBarbara SchmidKrižanacU pozadini svega zacijelo stoji velika tehnička revolucija. Istraživanja svemira pridonijela su otkriću dobrih izolacijskihmaterijala. To nam omogućuje gradnju naše keramičke peći na novi način i paljenje keramičke skulpture na višim temperaturamatako da postanu otporne na utjecaj vremena. Keramičari su dobili mogućnost pozabaviti se skulpturompreuzevši na sebe zadatke koje su do sada imali isključivo kipari.Najljepši primjer za to je objekt kojim Barbara Schmid konstruira prostor. Mreža koju je konstruirala predstavlja tehničkubravuru. U osnovi svega stoji metalna konstrukcija koja je pri nižoj temperaturi prekrivena glinenim muljem. Gledajućiovaj rad, osjećamo da je skulptura u isto vrijeme i čvrsta i meka. Na površini rada prisutna je igra svjetla i sjene, a rad semože sagledati sa svih strana; čini nam se da objekt leti, a da je unutrašnji prostor ispunjen tajnama. Barbara Schmidpripada novim generacijama koje na minimalistički način, jednostavno i s osjećajem, postižu veliku izražajnost.Maria Geszler Garzuly u ime međunarodnog žirijaHybridThe great technical revolutions must have been the cause for this change. Space exploration led to discoveries of new isolationmaterials. This allowed us to build the ceramic kilns in new ways and burn ceramic sculptures on even higher temperatures, makingthem durable to time. Ceramics artists were finally enabled to delve into sculpture - privilege so far enjoyed only by sculptors.The best example of the above is the object through which Barbara Schmid constructs space. The network she constructed in factrepresents a true technical wonder. The basis of it all is a metal construction covered at lower temperatures with clay mud. Lookingat it, one could say the construction is both hard and soft. The surface offers a play of light and shadow, and the structure can beexamined from all sides. It is as if the object is flying and that its interior is filled with secrets. Barbara Schmid is a member of a newgeneration of ceramic artists using minimalism to achieve expressiveness with simplicity and feeling.Maria Geszler Garzuly in the Name of the International Jury

Austrija / AustriaBarbara SchmidKRIŽANAC / HYBRIDMetalna mreža i paperclay, engoba, paljeno na 1000° C.Metal net + paperclay and slip fired to 1000° Ccca 36 x 75 x cca 40 x cca 50 cm

Norveška / NorwayRuta PakarklyteTOGA SE NE SJEĆAM / I DO NOT REMEMBER ITLijevani porculanCast porcelain43x43 cm

KERAMEIKONOVA SREBRNA MEDALJA / KERAMEIKON SILVER MEDALMilivoj ŠeganPegazov padRomantični konj u stilu „a la Delacroix“ djelo je koje je mogao stvoriti samo muškarac. Milivoj Šegan prije svega volidramatičnost gline, propitujući njene karakteristike u suhom ili mokrom stanju, pitajući se pati li ona pri pucanju, raspadanju...Na površini figure, mijeseći glinu pri modeliranju, ostavlja otiske svih svojih prstiju. Predstavlja li možda pala,ležeća životinja čovjeka? Ili možda naciju? Ili svijet? Crveno-crna zemlja paljena na jednostavan način dobro pristajesadržaju; nema tu dosjetke, nema prepredenosti, prisutna je samo patnja, uvjerljivost glinenog izražaja.Maria Geszler Garzuly u ime međunarodnog žirijaFall of PegasusThe romantic horse “a la Delacroix” is a work that could only have been made by a man. Milivoj Šegan, above all, enjoys the dramaticcharacteristics of clay, searching for them in its dry/wet states, asking himself whether it suffers when breaking and falling apart...Leaving his fingerprints on the figure. Does this fallen animal represent man? A nation? The world? The red and black earth burnedin a simple way goes well with the content: there is no punchline here, no great trickery - only pain, the conviction of clay.Maria Geszler Garzuly in the Name of the International Jury

Hrvatska / CroatiaMilivoj ŠeganPEGAZOV PAD / FALL OF PEGASUSTerakotaTerracotta38x109x72 cm

KERAMEIKONOVA BRONČANA MEDALJA / KERAMEIKON BRONZE MEDALAnn van HoeyRastućiAnn Van Hoey predstavlja potpunu suprotnost Milivoju Šeganu. Disciplina, mir i suzdržanost. Ona je jedna od rijetkihkoja se na natječaj za izlaganje na izložbi CERAMICA MULTIPLEX 2009. javila posudom. Odlikuje je perfekcijanajvišeg stupnja. Smećkasti, organski oblici izgledaju poput cvjetnih glavica. To je vješto savijena, tanka keramikakoju s užitkom uzimamo u ruke, dodirujući svilenkastu površinu, ponirući pri tom u dubinu tamnijeg unutrašnjegprostora. Ovi radovi posjeduju svoj zvuk i dušu.Maria Geszler Garzuly u ime međunarodnog žirijaGrowingAnn Van Hoey is an anti-thesis to Milivoj Šegan. She presents discipline, peace and restraint, and is also one of the few applyingclassic ceramic vessel for the CERAMICA MULTIPLEX 2009 exhibition. She is a perfectionist of the highest degree. Brownish, organicshapes of her work remind us of flower heads. This is a masterfully bent thin ceramics, which we take into our hands with relish,enjoying the silky surface and travelling deeper into the recesses of its interior space. These works have a sound and a soul.Maria Geszler Garzuly in the Name of the International Jury

Belgija / BelgiumAnn van HoeyRASTUĆI / GROWINGPloče i kalupiSlab and moulds17x30 cm/14x25 cm/11x20 cm

fima.ONI KOJI DOLAZE - Nagrada mladom umjetniku do 30 godina starostiTHOSE TO COME - The Young Artist Prize for an artist under 30 years of ageKeiichi TanakaProlaženjeKeiichi Tanaka dobio je nagradu namijenjenu mladom umjetniku. Predstavlja li njegov rad više vješto oblikovanih vaza?Jesu li to kuće? Goli sterilni oblici... Stojite pred njima začuđeni, a njihov izražaj pojačava bijelo-crno kontrastno oslikavanje.Pomišljam na svjetiljke od papira, ali ove keramike nikad neće zasvijetliti, u njih također nikad nećemo staviticvijeće. Više čujem glazbu; možda me one podsjećaju na crno-bijele glasovirske tipke, ili na čikaške nebodere, na figurekoje se lagano pokreću, dobre i zle, bijele i crne?Maria Geszler Garzuly u ime međunarodnog žirijaPassageKeiichi Tanaka received the award for the best young artist. His work consists of several skilfully shaped vases. But are they in facthouses? Naked sterile forms..? You stand before them confounded and their expression hits you with a black & white contrast. I’mthinking of paper lanterns, but these pieces will never be lighted or hold flowers. And then I hear music - maybe they could be blackand white piano keys, or perhaps Chicago skyscrapers, figures easily moved, or the endless stance between good and evil?Maria Geszler Garzuly in the Name of the International Jury

Japan / JapanKeiichi TanakaPROLAŽENJE / PASSAGERukom građena keramika, bijela i crna glazuraHandbuilt ceramics, white and black glazeV/H:55,71,68,62 i/and 67 cm

Kuvajt / KuwaitFawaz AbedAllah AldwaishBEZ NASLOVA / UNTITLEDŠamotirana glina i razni materijaliChamote clay and mixed media168x180 cm

Srbija / SerbiaRadenko AdnađSTJENOVITI KRAJOLIK / ROCKY TRACTGrađeno, kamenjača, 1200° CBuilt, stoneware, 1200° C27x25x8 cm

Rumunjska / RomaniaArina AilincaiNE VIDI, NE GOVORI, NE ČUJE / NO SEE, NO TALK, NO HEARPorculan, kamenjača, oksidiPorcelain, stoneware, oxides20x40x40 cm

Velika Britanija / United KingdomJoan AinleyGUACCA22x19 cmPorculanski avokado sarži slike sebe samog, paljeno na 1210-1240° CPorcelain avocado pear containing a book of images of itself fired to 1210-1240° C4x9x4x15 cm

Francuska / FranceMurakami AkashiISPUŠTANJE / ELISIONKalupljena i lijevana kameninaMoulded and cast earthenware9x30x30x6 cm

Serbia / SrbijaIvan AlbrehtMEĐU-LICE / INTER-FACEPorculan, čelik. Neglazirano (zidarska boja)Porcelain, unglazed (mason stain)28x29x13x60 cm

Australija / AustraliaAvi AmesburyNAKON PALJENJA / AFTER THE FIRES, 2008Porculan, vulkanski pepeo, lijevano(raspon dimenzija od 4,5 do 3,5 cm)Porcelain, volcanic ash, slip cast(dimensions range from 4,5 to 3,5 cm)

Australija / AustraliaRuth AndellPROSTORNA DINAMIKA 2 / SPATIAL DYNAMICS 2Bijela kamenina s keramičkim naljepnicamaWhite earthenware with ceramic decals17x15x9x3cm

Mađarska / HungaryAndra’s AntalPRIČA O KRAJOLIKU – DJETINJSTVO / LANDSCAPE STORY – CHILDHOODKamenjača paljena u redukciji na 1000° CStoneware fired in reduction to 1000° C62x62 cm

Hrvatska / CroatiaJasna AntunovićSAM / ALONEBijeli biskvitWhite biscuit29x13x9 cm

Turska / TurkeyBetul AytepeČAVRLJANJE / CHATINGModelirana ljevanjem u kalup i rukom domodelirana kamenina, glazirano i paljeno na 1000° CMoulded and slip cast earthenware, handbuilt and glaze to 1000° C21x25x25 cm

Njemačka / GermanyRoma BabuniakTIJESAN SUŽIVOT/ SYMBIOSIS I,II,IIIPorculan, neglaziran i različiti materijali između pleksiglasaPorcelain, unglazed and mixed media between plexiglass50x50 cm

Danska / DenmarkTrine Bach JakobsenODLOMAK PUŽA / FRAGMENT OF SNAILRukom oblikovan porculan, paljen na 1200° CHandbuilt porcelain fired to 1200° C15x21x15x13 cm

SAD / USADouglas BaldwinRADNO INTENZIVNA DUCKOVA PEĆ NA DRVA / LABOR INTENSIVE DUCK WODDFIRED KILNTerakotaTerracotta25x22x12 cm

Srbija / SerbiaIvana Batalo SavićPRVI POLJUBAC / FIRST KISSKamenjača, 1240° C, riječni pijesak, porculanska engobaStoneware fired to 1240° C, porcelain engobe, river sand20x8x3,5 cm

Švicarska / SwitzerlandPočasna diploma / Honourary MentionBettina BaumannMEĐUSOBNO PROŽIMANJE / MUTUAL INFLUENCESVrćeno, premodelirano, sklopljeno, fotografirano, kompjutorski generirano, tiskano i višestruko paljenoTrown, altered, assembled, photographed, computer-generated, printed, multi-fired26x16x16 cm27x16x16 cm30x16x16 cm

Turska / TurkeyGörsev BilkayKOCKA / CUBERukom građena bijela kamenina, glazuraHandbuilt white earthenware, glaze24x20x10 cm

Srbija / SerbiaBoris BogdanovićVENUS & MARSDva dvodimenzionalna panoa, terra sigillata, paljeno na 1050° C, dimljenoTwo twodimensional panels, terra sigillata, fired to 1050° C, smoked35x1x15 cm

Grčka / GreeceAnna BonarouALGE / ALGAEKamenjača, krom oksid i tamna glazuraStoneware, chrome oxide and dark glaze5x33x22 cm

Kanada / CanadaDanielle BooroffMORPHED EARTH SERIES IRukom građeni glineni oblici, fotografirani i digitalno obrađeniHandbuilt organic clay forms photographed in situ, digitaly manipulated30x40x3 cm

Danska / DenmarkSten BørstingKULA 2 / TOWER 2Kamenjača, sodno paljenje na drvaStoneware, woodfired in soda kiln40x16x16 cm

Mađarska / HungaryTerèz BorzaPUP/ BUDRukom građeni prozirni porculan paljen na 1280° CHandbuilt transparent porcelain fired to 1280° C9x9x24 cm

Hrvatskat / CroatiaŽeljka BračkoTRAGOVI U GLINI – POTPISI ZA VJEČNOSTFOOTPRINTS IN CLAY – SIGNATURES FOR ETERNITYŠamotirana glinaChamotte clay16 ploča/tiles 4,5x19x19 cm

Letonija / LatviaInese BrantsZANEMARENJE / RUSTRukom građena kamenjača, željezni oksid, sodno-solno paljenje na drva u tehnici saggarHandbuilt stoneware, iron oxide, saggar salt and soda wood firing38x20x20 cm44x22x20 cm

Švicarska / SwitzerlandJürg C. BächtoldPočasna diploma / Honourary MentionVIŠESLOJNI PRSTEN / MULTI-LAYERED RINGKamenjača paljena redukcijski na 1320° CStoneware fired to 1320° C, reductionP/D 60 cm

Kanada / CanadaKeith CampbellLOV / THE HUNTVrćeni porculan, sgraffito uz pomoć pištolja za prskanje, crtež, paljeno do stošca 6, oksidiTrown porcelain, airbrush sgraffito, drawing cone 6, oxides40x17x17 cm

Kanada / CanadaRachelle ChinneryTIHI OCEAN BOCA & ŠALICE / SILENT OCEAN BOTTLE & CUPSVrćen preoblikovan rezbaren porculan (paljen do stošca 10)Trown, altered carved porcelain (cone 10)20x8x5x9 cm5x4x3x4 cm

Španjolska / SpainCharo Cimas CarbajoPUZZLEŠamotirana glina, keramičke boje, rakuChamotte clay, ceramic colours, rakuRazličite dimenzije / Variable dimensions

SAD / USAFrank ColsonSUVREMENI KONJ DINASTIJE HAN/ CONTEMPORARY HAN HORSELijevana i dograđivana glina, engobe, višestruko paljene engobe, pozlaćen reljef na osnoviCast and handbuilt clay, engobes, glazes multifired, gold embosed base, 38x33x7x60 cmSUVREMENI KONJ S UZORKOM / CONTEMPORARY PATTERNED HORSELijevana glina, dekoriran engobom,nisko paljen, aluminijska osnovaCast clay, slip trail applications low fired, aluminium base, 57x33x7 cm

Belgija / BelgiumUrbain CrapeZTPolijevka koštanog porculana paljena na 1260° C, kombinirana s fragmentima nađenog porculana.Bone china slip porcelain, fired to 1260° C, combined with fragments of readymade porcelain objects.48x28x7 cm48x28x7 cm

SAD / USADanny CrumpNIZOVI / LINESLijevan porculan paljen na drvaSlip cast porcelain, wood fired5x49x4x8 cm

Hrvatska / CroatiaIvančica Cvitić ZnidarčićGLOBALNO ZATOPLJENJE NA ARKTIKU I ANTARKTICIGLOBAL GROWING WARMER IN THE ARCTIC REGION AND IN THE ANTARCTICLijevani tvrdi porculan + kolaž + zlatoCast hard porcelain + collage + gold2x30x21 cm

Južna Koreja / South KoreaKim Dae WoongKAMENI CVIJET / STONEFLOWERSastavljene ploče od šamotirane gline, redukcijsko glazurno paljenje.Plates joined with texture traces. Chamotted sandstone ang glaze fire reduction.28x38x29 cm

Australija / AustraliaGreg DalyOBLIK 1 I 2 / FORM 1 AND 2Vrćena i preoblikovana kamenjačaTrown altered stoneware28x26x2324x26x22

Belgija / BelgiumLinda de NilKUKULJICE / COCOONSKamenjača paljena u anagami na 1340° CAnagama fired stoneware to 1340° C55x25x55

Nizozemska / The NetherlandsMarjan de VoogdPORC-EPIC BALLON / CHEVETTE-BLANC ET NOIRTehnika marmoriranja,intarzije, obojeni porculanAgate technique, intarsia, coloured porcelain28x28x28 cm28x25x25 cm

Danska / DenmarkAnnette DefoortDORISGrađeno od ploča (engobe, pigmenti, oksidi i glazure) bez armature ili kalupa.Paljeno u električnoj peći na 1200° C.Slab-built (engobes, pigments, oxides and glazes) without any armatures or moulds.Electric kiln to 1200° C.92x22x20 cm

Nizozemska / The NetherlandsAnnica DelfosBEZOBLIČNO / AMORPHOUSLYPorculan, srebrna engoba, pločice s reljefomPorcelain, silverclay slip, slabs with relief30x+/-15 cm

Slovenija / SloveniaPolona DemšarRODBINA / RELATIVESObojena glina i drvoPainted clay and wood130x135x10 cm

SAD / USAScott DooleyČAJNIK / TEA POTRukom građen porculanHandbuilt porcelain29x27x11 cm

Poljska / PolandJan DrzewieckiOBLAK / CLOUDPorculan paljen na 1380° C i stakloPorcelain fired to 1380° C and glass39x15x 15 cm

Poljska / PolandKamila DziedzicKOMPOZICIJA / COMPOSITIONGlina za opeku, monoprint, utiskivanje, obojena engobaBrickclay, monoprint, pressing, coloured slip70x60x50 cm

Litva / LithuaniaAnthony E. StellaccioFRAGMENTGlina i porculanClay and porcelain12x33x10 cm

Izrael / IsraelSimcha Even-ChenRASPRŠENJE / DISPERSIONGoli raku- kamenjača s porculanomNaked raku – stoneware with porcelain10x124x60 cm

Nizozemska / The NetherlandsAnnett FischerBEZ DOZVOLE / WITHOUT PERMISIONRukom građena kamenjača, glazure, 1220° CHandbuilt stoneware, glazes, 1220° C16x28x38 cm

Australija / AustraliaCarol ForsterPOPIJMO ČAJ / SHELL WE HAVE TEARukom građen porculan - 3 komadaRaspon dimenzija od 4 do 13 cmHandbuilt porcelain - 3 piecesDimensions range from 4 to 13 cm

Izrael / IsraelNurit DreizinOPUŠTANJE / RELAXATIONRukom građena glina, engoba, glazuraHandbuilt clay, engobe, glaze35x26x46 cm

Švicarska / SwitzerlandAnita FurrerNAPON / HEYDAYSlobodno vrćena kamenjača, dekorirana engobom izgrebenom rukopisomFree trown stoneware, slip decorated, handwriting scratched19x16x16 cm

Hrvatska / CroatiaVera Gambar MišćevićKONCEPCIJA KONCA / CONCEPTION OF THREADGoli raku i američki rakuNaked raku and American raku48x25x4 cm

Mađarska / HungaryGost / GuestMaria Geszler GarzulyPORCULANSKI PANOPORCELAIN WALL PANEL35,5x73 cm

Švicarska / SwitzerlandIlaria GhezziPOSTOJANJE / BEINGVrpčasti slojevi porculana paljeni na 1220° CStrinng’s layers of porcelain, fired to 1220° C23x26x25 cm

Izrael / IsraelSygalle Giveon LieshmanUPLETEN / INVOLVEDVrćeno, montirano, različite obojene glazure, zlatoWheel trown, assembled, different color glazes, gold43x24x14x24 cm

Pakistan / PakistanShazieh GorjiSIJANJE SJEMENA / SOWING SEEDSVrćen i preoblikovan porculan, paljenje na drva do stošca 12, porculanska glazuraWheel trown and altered porcelain, woodfired to cone 12, china glaze8x4x3x4 cm

Češka / Czech RepublicElžbieta GrosseovaVAL / WAVERukom oblikovana kamenjača, transparentna mat glazuraHandbuilt stoneware, transparent mat glaze30x65x30 cm

Austrija / AustriaWaltraut GschielGost / GuestNEBO NA ZEMLJI / HAEVEN ON EARTHRukom građena šamotirana glina,kobalt oksid, porculanska engoba, paljeno na 1200˚ CHandbuilt chamotte clay, cobalt oxide, porcelain slip, fired to 1200˚C20x20x15 cm

Australija / AustraliaTatiana GvozdetskayaBEZDNA (Set od/of 2)Rukom građena i vrćena kamenjačaHandbuilt and wheel trown stoneware10x30x30x30 cm

Finska / FinlandRisto HämäläinenPočasna diploma / Honourary MentionSVJETLO NA SJEVERU / LIGHT IN THE NORTHPorculan paljen na drva na 1300° CWoodfired porcelain to 1300° C13x33x19 cm

Danska / DenmarkMalene Hartmann RasmussenRABBOT MUSEOblikovano rukom, kovinasta glazura za niže temperatureHandbuilt, lowfire metallic glaze31x23x17x17 cm

Njemačka / GermanyNica HaugLETEĆI OBJEKT / FLAYING OBJECTKombinacija gline, stakla i metalaCombination od clay, glass and metal16x35x36 cm

Izrael / IsraelMagdalena HefetzNETAKNUT / INTACTVrćeno, raku paljenje, drveni okvirWheel trown, raku, wooden frame72x42 cm

Estonija / EstoniaKadi HektorGOLIŠAV / UNGLEDGEDRukom oblikovani paperclay, porculan s papirom, glazureHandshaped paperclay, paper porcelain, glazes18x24x20x20 cm

Austrija / AustriaMonika HinterbergerKRETANJE / MOTIONKonstruirano od ploča, kameninaSlab construction earthenware6x35x2x33 cm

Nizozemska / The NetherlandsPeter HoogeboomSKELLING ISLANDSPorculan, čelikPorcelain, steel39x13x2 cm

SAD / USAKyle HouserGOT MILK ROCK MACHINEVrćena i montirana kamenjača, naljepnice, guma, glazureTrown and assambled stoneware, decals, rubber, glaze23x25x18 cm

Austrija / AustriaElke HualaDOLAZEĆI PAS / COMING OUT DOGRukom građena kamenjača, porculan, feldspatna glazura paljena na 1300° C u redukciji plinske pećiHandbuilt, stoneware, porcelain, feldspar glaze fired to 1300° C in reduction gas kiln.40x50x30 cm

Hrvatska / CroatiaMladen IvančićBAHŠIPatinirana terakotaPatinated terracotta28x18x28 cm

Irska / IrelandJane JermynOBLIK MAHUNE / POD FORMRukom oblikovan paperclayHandbuilt in Scrava Flaxpaperclay41x39x13x39 cm

Bugarska / BulgariaIvan Kanchev - IvanovAUTOPORTRET S MISLIMA / SELF-PORTRAIT WITH THOUGHTSKalupljena, obojena bijela glina. Pigment svijetle gline, mulj, prozirna i bijela glazura paljeno na 1170° CMoulded, coloured white clay. Light clay pigment, slip, transparent and white glaze to 1170° C74,5x24,5x10x24,5 cm

Njemačka / GermanyAngelika KarolyOBJEKT PO UZORU NA PAUKA / SPIDER OBJECTPorculanPorcelain20x20x2-3 cm

Austrija / AustriaHelene KellerGLINA NA GLINI / CLAY ON CLAYKeramika, fotografija, 140 keramičkih pločica spojenih sintetičkom vrpcomCeramics, photography, 140 ceramic tiles connected with syntetic string2x150 cm

Slovenija / SloveniaVilma KobilšekDUBOKA TAMA / THE DEEP DARKNESSVrćena i glazirana kameninaWheel trown and glazed earthware52-59x70x70 cm

Estonija / EstoniaKylli KöivTAMNI VRTLOZI / DARK SWIRLSKamenjača, građena od ploča, solno paljena na 1250° CSlab-built, salt fired stoneware to 1250° C14x27x21 cm

Hrvatska / CroatiaKristina Kojan GolužaBEHAARRRRRTER SESSELRukom oblikovane “vlasi” prišivene na osnovni oblik stolcaHand modeled “hair”sewn on the basic form of chair100x100x100 cm

Rusija / RussiaPočasna diploma / Honourary MentionNatalya KorchemkinaPLEMKINJA / A NOBLE LADYRukom oblikovani porculan, glazure i soliHandbuilt porcelain, glazes and salts38x15x28 cm

Poljska / PolandZofia KosiorekPREOKRET / CONVERSIONRukom građeno, različite glineHandbuilt, different clay16x40 cm

Njemačka / GermanyElena KrafftFOSIL S DNA OCEANA / FOSSIL FROM THE GROUND OF THE OCEANRukom građena šamotirana glina, paljena u oksidaciji na 1260° C, glaziranaHandbuilt chamotte clay fired in oxidation to 1260° C, glazed19x45x32 cm

Velika Britanija / United KingdomLiz KrčmaKUKULJICE / CHRYSALISESRukom oblikovani porculan, paljen na 1280° CHand-modelled from porcelain, fired to 1280° C4x2x20 cm svaka / each

Slovenija / SloveniaBojana KrižanecBLING-BLING N° 1Šamotirana glina, prozirna glazura, tehnika rakuaChamotte clay, transparent glaze, raku technique50x70 cm

Nizozemska / The NetherlandsPeter KrynenBEZ NASLOVA / UNTITLEDKamenjačaStoneware35x35x35x35 cm

Hrvatska / CroatiaGost / GuestGordana LabašŽELIMO ŽIVJETI / WE WANT LIVETimski rad grupe umjereno mentalno retardiranih osoba pod vodstvom G.LabašA team work of a group of mentally insucient people under head of group G.LabašGlazirana glina u pijeskuGlazed clay in sand30x180x120 cm

Belgija / BelgiumAnne Marie LaureysCLAY-E-MOTION / NR 071AML2Glineni oblik, vrćen i preoblikovan. Belgijska glina, glazure, višestruko paljenje na 1120° CClay form trown and altered.Belgian clay, glazes, several firings to 1120° C22x26x9x26 cm

SAD / USARobert Lawarre IIIRECIKLIRANA INSPIRACIJA / RECYCLED INSPIRATIONPorculan, rukom građen od teksturiranih ploča, engoba i glazuraHandbuilt porcelain from textured slabs, slips and glaze17,5x13x9x13 cm

Francuska / FranceValérie LebrunBEZ NASLOVA BR. 1 / NO TITLE NR 1PorculanPorcelain30x45 cm

Kina / ChinaYuan LehuiLJEPOTA JUŽNE KINE / THE BEAUTY OF SOUTH CHINAPorculan modeliran uz pomoć kalupaMoulded porcelain65x45x38 cm

Njemačka / GermanyAnastasia LiacpoulouVODENA ZADOVOLJSTVA / WATER-PLEASURESVrćena i rukom građena bijela glina, glazure, zlatoWheel trown and handbuilt white clay, glazes, gold15x60x60 cm

Velika Britanija / United KingdomAndrew LivingstonePODIJELJENA POSUDICA ZA VRHNJE / DREAMER DIVIDEDStarinska jednostavna posudica za mlijeko (prerezana dijamantnom pilom), stakloAntique low creamer (diamond saw disected), glass18x30x10 cm

SAD / USAJoan LurieBEZ NASLOVA / UNTITLED 2008Porculan s papirom, vrćen i oblikovan rukom, paljen do stošca 6, s mat glazurom i nešto pepelaPorcelain paperclay, trown and handbuilt, fired to cone 6, white matt glaze, some ash48x30x30x30 cm

Švicarska / SwitzerlandRebecca MaederB612.3Šamotorana kamenjača, valjčići, engoba, paljeno u jamiChamotte stoneware,coils,slip, pit firing37x38x39 cm

Hrvatska / CroatiaIvana MaradinŠUMICA / LITTLE WOODNeglazirana crna i žuta glinaUnglazed black and yelow clay~13 x 42 x42 cm

Letonija / LatviaInese MargēvičaLEPTIR BUTTERFLY “Tarucus theophrastus”Kamenjača s oslikana pigmentimaStoneware and painting with pigments9,5x23x8,8 cm

Hrvatska / CroatiaVišnja MarkovinovićSLOJEVITOST I PROPORCIONALNOST U PRIRODI / MULTYLEVELTY AND PROPORTIONALITY IN THE NATUREŠamotirana obojena glinaChamotte coloured clay21x35x35 cm

Velika Britanija / United KingdomPočasna diplomaHonourary MentionPaul MasonKOMAD USPOREDBE / COMPARISION PIECESitotisak. Sklop od keramičkih pločaSilkscreen printed. Ceramic tile assemblage56x21x6 cm

Poljska / PolandBartek MejorFRACTURE 1Lijevani porculanSlipcast porcelain33x26x10 cm

Nizozemska / The NetherlandsSarah MichaelPLIVANJE S MORSKIM PSOM / SWIMMING WITH SHARKSVrćena i premontirana kamenjača. Dekorirano bojama, glazurom paljenom na 1220° C i listerima paljenim na 800° CHandtrown and assembled stoneware. Decorated with stains, transparent glaze fired to 1220° C and lusters fired to 800° C30,5x33x33 cm

Srbija / SerbiaJelena MiletićPROLJEĆE, LJETO, JESEN, ZIMA / SPRING, SUMMER, AUTUMN, WINTERMajolika, bijela glina vrćena na kolu, naknadni eksperiment na površiniMajolika, white clay trown on the wheel; experiments on the surfaces14x50x35 cm

Španjolska / SpainXavier Monsalvatje VichSAMOUBOJSTVENI GRAD / THE SUICIDE CITYŠamotirana kamenjača i stakloChamotte stoneware and glass16x38x20 cm

Mađarska / HungaryMarta NagyPočasna diploma / Honourary MentionOTAPAJUĆI SNIJEG / MELTING SNOWRukom građeni porculan i kamenjačaHandbuilt porcelain and stoneware8x30x24,5 cm

Rusija / RussiaEkaterina OmininaVRUĆ ZRAK / HOT AIRŠamotirana glina, glazure, paljenje na drvoChamotte clay, glazes, woodfiring25x22,5x20 cm

Estonija / EstoniaAigi OravTABULA RASAPorculan paljen u plinskoj peći do stošca 10, vlakna mlječikePorcelain, gasi firing to cone 10, milkweed fiber10x13x10 cm

Njemačka / GermanyMonika OttoLAV / LIONKamenina, obojena terakota, glazuraEarthenware, coloured terracotta, glaze17x22x14 cm

SAD / USAVince PalaciosPRVOBITNA JUHA / PRIMORDIAL SOUPGlina, glazura i naljepniceClay, glaze and decals36,8x38,1 cm

Španjolska / SpainPočasna diploma / Honourary MentionRafael Perez FernandezOBJECT WITH SHADOW / OBJEKT SA SJENOMPorculanPorcelain50x60x30 cm50x80x30 cm

Hrvatska / CroatiaDanijela PičuljanGost / GuestRASCJEP / FISSUREŠamotirana glina i stakloChamotte clay and glass33x34x9 cm

Meksiko / MexicoMaribel PortelaPRENOSIVI RAJ / PORTABLE PARADISEPorculan i ljuska sjemenke, 15 porculanskih cvjetova na vrhu sjemenkePorcelain and seed, 15 porcelain flowers on the top of the seed15x15 cm

Letonija / LatviaAinārs RimicānsKELJ / KALEPorculan, seladonska glazura, paljenje na drvo u redukciji na 1300° CPorcelain, seladon glaze, wood firing to 1300° C, reduction18x24 cm

Izrael / IsraelYael RollUDVARANJE / COURTINGVrćeni porculan, obojen crno i obrađen u tehnici sgraffitaWheel trown porcelain with black stain and sgraffito35x42 cm

Meksiko / MexicoMariana Romero ValenciaPOETIKA PROSTORA / THE POETIC OF SPACEGlina iz Zacatecasa i Oaxace, engobe i glazureZacatecas & Oaxaca clay, engobes and glazes25x40 cm

SAD / USAAllan RosenbaumGRADSKI ČAJNIK / URBAN TEAPOTRukom građena keramika, boja, poglazura, glazureHandbuilt ceramics, colour, underglazeand glazes18x25x23 cm

Hrvatska / CroatiaJadranka RukavinaBAMBUSOV GRM / BAMBOORukom oblikovana terakota, kore drvetaHandbuilt terracotta, bark109x70x70 cm

Švedska / SwedenEdita RydhagMETAMORFOZA / METAMORPHOSISRukom građen koštani porculan, obojen i poliranHandbuilt bone china, painted with stains, polished13,5x13,5x11 cm

Turska / TurkeyFatma SaĝDIJETE I INSEKTI / CHILD AND INSECTSKeramika, odjeća, metalna žicaCeramic, cloths, metal wire300x100x300 cm

Japan / JapanYasuko SakuraiŠUPLJE / HOLLOWLijevani porculan guljen izvana i dubljen iznutraCast porcelain peeled outside and hollowed inside30,5x33 cm

Izrael / IsraelMichal Ityel SandlerMOJE MORE / MY SEAGlina, terra sigillata, paljeno u dimuClay, terra sigilatta, smoke firing42x30,5x2 cm

Malta / MaltaValerio SchembriPUSTOLOVNA INTERVENCIJA / ADVENTUROUS INTERVENTIONRukom građena kamenjačaHandbuilt stoneware17x23x8 cm

Austrija / AustriaIrmgard SchaumbergerMI (INSTALACIJA) / WE (INSTALATION)11 modeliranih glinenih ploča11 crteža11 modeled clay forms11 drawings

Švicarska / SwitzerlandMaude SchneiderNA CESTI / ON THE ROADLijevani porculan i kamenjačaCast porcelain and stoneware21x64x18 cm

Slovenija / SloveniaNataša SedejFLORINA VJENČANA HALJINA / FLORA’S WEDDING DRESSMiješana tehnika, bijela glina, žica, stakloMixed technique, white clay, porcelain, wire, glass90x38x22 cm

Letonija / LatviaĀris SegliņšBACTERIA / BAKTERIJAGravirani porculanEngraving porcelain21,5x31,5x31,5 cm

Češka / Czech RepublicVeronika SelingerovaCRVENI I BIJELI ORKAN / RED AND WHITE HURRICANELijevani porculan paljen na 1380° C, crvene keramičke naljepnice, obojen čelikCast porcelain fired to 1380° C, red ceramic stickers, stain steel60x35 cm

SAD / USATodd ShanafeltBIORAZNOLIKOST IZRAŽAJA / BIODIVERSITY FORMULATIONLončarija, čelik, guma. Vrćeno i preoblikovanoEarthenware,steel, rubber. Wheel trown&altered31x28x13 cm

Australija / AustraliaPam SinnottPočasna diploma / Honourary MentionSIEVERSIIKonstruirano od ploča,tisak, suha glazura paljena na 1100° CSlab construction, print, dry glaze to 1100° C31x23x10x10 cm

Egipat / EgyptKhaled SiragPRASTARI BREŽULJAK / PRIMEVAL HILLŠamotno glineno tijelo paljeno na 1250° C, zatim paljeno u dimuChamotte clay body with white engobe fired to 1250 ° C, then smoke fired53x42x37 cm

Hrvatska / CroatiaLiljana SmodlakaMETAMORFOZA / METAMORPHOSISModelirana bijela glina, engobeModeled white clay, engobes3x29x29 cm

Švedska / SwedenInger SödergenKLICA / SPROUTT-materijal, dimljenSmoked T-materialV/H:67 cm P/D: P/D:58 cm

Švicarska / SwitzerlandAndreas SteinemannNABORAN / WRINKLEDPloče od koštanog porculana paljene na 1250° CBone china plates fired to 1250° C30x30x17 cm

Velika Britanija / United KingdomUrsula Ströh-RubensVISOKA POSUDA S PTICAMA / TALL VESSEL WITH BIRDSKeramika, biskvitno paljena i kasnije dimljenaCeramic, biscuit fired and afterwards smoked30x18x5x20 cm

Slovenija / SloveniaNika StupicaINSTALACIJA / INSTALATIONLijevan i glaziran porculanCast and glazed porcelain6x40x30 cm

Nizozemska / The NetherlandsAnnita SwaertsMEDUZA U TAMNOCRVENOM / MEDUSA IN DARK RED37x37x8 cm

Mađarska / HungaryTeréz SzemerekiIZMEĐU NEBA I ZEMLJE / BETWEEN HAEVEN AND EARTHVatrostalna glina, oblikovana rukom, utiskivana u kalup i montirana. Metalni oksidi, redukcija u plinskoj pećiFireclay, handbuilt, pressed in the mould and assambled. Metallic oxides, gas reduction23x38x14 cm

Litva / LithuaniaRūta ŠipalytèCVJETANJE GRADA TAIPEI / BLOSSOMING OF TAIPEI CITYGrađeno od ploča, podglazure, glazure, paljeno na 1000° CSlab-built, underglaze,glazes, fired to 1000° C21x27 cm

Litva / LithuaniaAgnė ŠemberaitėVRIJEME ZA ČAJ ( POSVEĆENO LEWISU CAROLLU) / TEA TIME (DEDICATED TO LEWIS CAROLL)Kamenjača,glazura, kristali Swarowski, paljeno na 1280° CRaspon dimenzija od 3-28 cmStoneware,glaze,Swarovski crystals, fired to 1280° CDimensions range from 3 to 28 cm

Švicarska / SwitzerlandJossette TaramarcazMONOLIT / MONOLITHEŠamotirana glina paljena u dimu, porculanChamotte clay, smoke fired, porcelain24x48x7 cm

Turska / TurkeyFerhan Taylan ErderPODVODNO PREBIVALIŠTE / UNDERWATER HABITATJednokratno paljena kamenjača u tehnici neriage s umetnutim porculanomMono-fired stoneware coloured in the neriage technique with inlaod neriaged porcelain65x35 cm

Japan / JapanMasafumi TeramotoANITA IIICrvena glinas puno željeza, crna engobaRed clay with high iron, black engobe38,5x21 cm

Srbija / SerbiaLana TikvešaPOSLJEDNJI ŽIVOT U SVEMIRU / LAST LIFE IN THE UNIVERSEKamenjača 1250°, engobe, mahovinaStoneware, engobes fired to 1250° C, moss12x40x26 cm

Francuska / FranceBeatriz TrepatFIZIČKA LJUBAV: TREMA / PHYSICAL LOVE: BATTERFLIES IN THE STOMACHKamenina, engobe, porculanski kolažEarthenware, engobes, collage of porcelain Epiphany Charms25x20x24 cm

Grčka / GreeceTheodora Tsami LagoudakiKANATIAObojena glinaColoured clay3 dijela pieces

SAD / USAPočasna diploma / Honourary MentionKevin TurnerKRAJOLIK IZ SERIJE SOLENOPSIS / SOLENOPSIS LANDSCAPERukom građen i lijevan Grolegov porculan. Redukcija na visokoj temperaturi.Handbuilt and slip cast Grolleg porcelain. High fire reduction.70x57x30 cm

Nizozemska / The NetherlandsWilly Van Donselaar TriemstraDJEVOJKE PTICE / BIRDGIRLSRukom građeno, različite glazureHandbuilt, various glazes46x20x14 cm

Belgija / BelgiumMarc VerbruggenZNAKOVI ŽIVOTA-OBJEKT II / ZNAKOVI ŽIVOTA-OBJEKT IIBijela glina, oksidi, terra sigillata, naljepnice. Ljevano i višestruko paljeno na 1150° C u oksidacijskoj atmosferi plinske pećiWhite clay, oxides, terra sigillata, decals. Slip cast, several gas firing to 1150° C in oxidation4,8x57x29 cm

Australija / AustraliaAndrea VinkovicZDJELA ISPOD POVRŠINE / BENEATH THE SURFACE BOWLLijevani porculanSlip cast porcelain5x14 cm

Češka / Czech RepublicGost / GuestJindra VikovaZELENA GLAVA / GREEN HEADPorculanPorcelain50x45 cm

Hrvatska / CroatiaMarija Višić GuinaVARIJACIJE / VARIATIONSBijela šamotirana glina, neriage,paljeno na 1050° CWhite chamotte clay, neriage technique, fired to 1050° C5x41x15,5 i/and 13 cm

Hrvatska / CroatiaIvančica VončinaKAPADOKIJA-ČUDESNI KOMADIĆ SVIJETA / CAPPADOCIA-MIRACULOUS PIECE OF THE WORLDŠamotirana ružičasta glina, paljeno na 1040° CChamotte rosy clay fired to 1040° C82 x50 cm V/H max. 42 cm,

Njemačka / GermanyNada VrbanićRAZARANJE I STVARANJE / DESTROYING AND CREATIONGrađeno od ploča šamotirane gline, više slojeva različitih glina s porculanom na vrhu.Isprane glazure paljene na 1220° C.Slab modeled chamotte clay, many layers of different clay and porcelain on the top.Washed glazes fired to 1220° C45x51x24 cm

Srbija / SerbiaVelimir VukićevićVRT / GARDENPorculan, obojeni porculanPorcelain, coloured porcelain42x47x13 cm39x20x20 cm

Austrija / AustriaPeter WeihsGLINENE LJESTVE I I II / CLAY LADDER I AND IIŠamotirana glina paljena na 1150° CChamotte clay fired to 1150° C42x24x10 cm42x23x10 cm

Njemačka / GermanyGost / GuestGustav WeissPORTRET / PORTRAITPorculanski reljef na crnom glazurnom oslikanjuPorcelain relief on black glaze painting33x33 cm

Velika Britanija / United KingdomSue WhelanKERAMIKA / CERAMICRukom građena posuda, parianska engoba, miješani materijaliHandbuilt vessel, Parian slip, mixed media11x15 cm

Njemačka / GermanyPočasna diploma / Honourary MentionPetra WolfLAMELLAE WALKER 2008Prošupljena spužva Lamellae Walker, siva glina i kaolin.Građeno rukom, paljeno na 900° CPerforated Lamellae Walker sponge.Grey clay+kaolin. Handbuilt and fired to 900° C33x20-1x57 cm

Novi Zeland / New ZealandHelen YauFOSIL U KRUŽNOJ PUTANJI / FOSSIL-IN-ORBITRukom modeliran porculan s papirom, fotokopirni tisakHandbuilt paper porcelain, photocopy print9x180x180 cm

Južnoafrička Republika / South AfricaMartha ZettlerPORCULANSKI OBLIK / PORCELAIN FORMLijevano, biskvitno paljenje na 1240° C, površina izbrušena pijeskom i paljeno na 1220° CCast, biscuit to 1240° C, masked sandblasted and fired to 1220° C15x15x11 cm

Kina / ChinaYang ZhiOKLOP / ARMORKeramikaCeramics16x14x12 cm

Slovenija / SloveniaDanica ŽbontarSTRUJA / STREAMBijela šamotirana glina, građeno od ploča. Gornja površina polirana-terra sigillata, paljeno na 1250° C.White chamotte clay, slab construction.Top burnished, with terra sigillata fired to 1250° C43x190x45 cm

Hrvatska / CroatiaDora Pezić MijatovićSKULPTURA 2 / SCULPTURE 2Šamotirana bijela glinaChamotte white clay28x28 cm

Izrael / IsraelYael GoldsmithIDEM POPLOČITI MORE / RUCH BALET EL BAHR / I GO PAVE THE SEADVD fim s ručno izrađenim keramičkim pločicamaDVD artmovie with handmade ceramic tiles(10,20 min)

Njemačka / GermanyOori ShalevGAMLA TARANGSolo glazbena izvedba na cvjetnim loncimaEnsemble of clay flower pots. Solo performanceSnimljeno uživo, ljeti 2007.Recorded live, summer, 2007(40,70 min)

Australija AustraliaAvi AmesburyRuth AndellCarol ForsterGreg DalyTatiana GvozdetskayaPam SinnottAndrea VinkovicAustrija AustriaWaltraut GschielMonika HinterbergerElke HualaHelene KellerBarbara SchmidIrmgard SchaumbergerPeter WeihsBelgija BelgiumUrbain CrapeAnnette DefoortLinda De NilAnne Marie LaureysAnn Van HoeyMarc VerbruggenBugarska BulgariaIvan Konchev IvanovČeška Czech RepublicElžbieta GrosseovaVeronika SelingerovaJindra VikováDanska DenmarkTrine Bach JakobsenSten BørstingMalene Hartmann RasmussenEgipat EgyptKhaled SiragEstonija EstoniaKadi HektorKylli KoivAigi OravFinska FinlandRisto HämäläinenFrancuska FranceAkashi MurakamiValerie LebrunBeatriz TrepatGrčka GreeceAnna BonarouTheodora Tsami LagoudakiHrvatska CroatiaJasna AntunovićŽeljka BračkoIvančica Cvitić ZnidarčićDora Pezić MijatovićVera Gambar MiščevićMladen IvančićKristina Kojan GolužaGordana LabašIvana MaradinVišnja MarkovinovićDanijela PičuljanJadranka RukavinaIvančica VončinaMilivoj ŠeganLiljana SmodlakaMarija Višić GuinaIrska IrelandJane JermynIzrael IsraelSimcha Even ChenNurit DreizinSygalle Giveon LleshmanYael GoldsmithMagdalena HefetzMichal Ityel SandlerYael RollJapan JapanYasuko SakuraiKeiichi TanakaMasafumi TeramotoJužna Koreja South KoreaKim Dae WoongJužnoafrička Republika South AfricaMartha ZettlerKanada CanadaDanielle BooroffKeith CampbellRachelle ChinneryKina ChinaYang ZhiYuan LehuiKuvajt KuwaitFawaz Abed Allah AldwaishLetonija LatviaInese BrantsInese MargēvičaAinārs RimicānsĀris SegliņšLitva LithuaniaAnthony E. StellacioAgnė SemberaitėRūta Šipalytė

Mađarska HungaryAndra’s AntalTerez BorzaMaria Geszler GarzulyMarta NagyTerez SzemerekiMalta MaltaValerio SchembriMeksiko MexicoMariana Romero ValenciaMaribel PortelaNizozemska The NetherlandsAnnica DelfosMarjan de VoogdAnnett FischerPeter HoogeboomPeter KrynenSarah MichaelAnnita SwaertsWilly Van Donsellaar TriemstraNovi Zeland New ZealandHelen YauNorveška NorwayRuta PakarklyteNjemačka GermanyRoma BabuniakNica HaugAngelika KarolyElena KraftAnastasia LiacpoulouMonika OttoOori ShalevNada VrbanićGustav WeissPetra WolfPakistan PakistanShazieh GorjiPoljska PolandJan DrzewieckiKamila DziedzicZofia KosiorekBartek MejorRumunjska RomaniaArina AilincaiRusija RussiaNatalya KorchemkinaEkaterina OmininaSAD USADouglas BaldwinFrank ColsonDanny CrumpScott DoodleyRobert Lawarre IIIJoan LurieKyle HouserVince PalaciosAllan RosenbaumTodd ShanafeltKevin TurnerSlovenija SloveniaPolona DemšarVilma KobilšekBojana KrižanecNataša SedejNika StupicaDanica ŽbontarSrbija SerbiaRadenko AdnađIvan AlbrehtIvana Batalo SavićBoris BogdanovićJelena MiletićLana TikvešaVelimir VukićevićŠpanjolska SpainCharo Cimas CarbajoXavier Monsalvatje VichRafael Perez FernandezŠvedska SwedenEdita RydhagInger SödergrenŠvicarska SwitzerlandBettina BaumannJürg C. BächtoldAnita FurrerIlaria GhezziRebecca MaederMaude SchneiderAndreas SteinemannJosette TaramarcazTurska TurkeyBetul AytepeGörsen BilkayFatma SaĝFerhan Taylan ErderVelika Britanija United KingdomJoan AinleyLiz KrčmaAndrew LivingstonePaul MasonUrsula Stroh RubensSue Whelan

ZLATNI SPONZOR

gives a clear overview of international developments inceramics with a particular focus on EuropeThe section covers the latest from the ceramics scene in Germany,Austria and Switzerland, but it also includes what is going on in other countriesin Europe and on the international scene. form the main part of the magazine. Crafts people, designersand artists working with ce ramics are presented with their work, methodsand techniques as well as their artistic ca reers. Reports on current are the second focal point. In ,philosophical and historical topics are taken up, explained and discussed.In the section, interesting historical developments in ceramics arecovered. Other permanent sections in include: - with techniques, new developments and the necessarybackground knowledge. shows the way to ceramicallyinteresting des tinations. lists dates and details fromEuropean and international galleries. covers the latestpublications and offers standard works for ceramics. And we give listings ofand - 6 issues a yearANNUAL SUBSCRIPTION:Europe: surface mail 44 | US$ 56 | £ 35World: surface mail 46 | US$ 56 | £ 35World: airmail 59 | US$ 72 | £ 41Ask for a trial copy 7.50 | US$ 9.50 | £ 6 GmbH, Steinreuschweg 2D-56203 Hoehr-Grenzhausen, GermanyTel. +49(0)26 24-94 80 68 Fax: -94 80 71www.neue-keramik.de info@neue-keramik.deONLINE-SUBSCRIPTION: www.new-ceramics.com

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Graditeljska škola ČakovecŠportska1, 40000 Čakovechttp://www.gsc.t-com.hrhttp://www.ss-graditeljska-ck.skole.hrSPONZORIlibris & libris komunikacijewww.libris.hrmade by GAPI

III MEĐUNARODNI FESTIVAL POSTMODERNE KERAMIKE 2009.THE THIRD INTERNATIONAL FESTIVAL OF POSTMODERN CERAMICS 2009HRVATSKA - CROATIA – VARAŽDIN, 2009.Izdavač / PublisherKERAMEIKON, HRVATSKO KERAMIČARSKO UDRUŽENJECROATIAN CERAMIC ASSOCIATIONZa izdavača / For the PublisherBLAŽENKA ŠOIĆ ŠTEBIHPostav izložbe CERAMICA MULTIPLEX 2009 / Exhibition lay outBLAŽENKA ŠOIĆ ŠTEBIHDANIJELA PIČULJANUvod / IntroductionBERND PFANNKUCHEBLAŽENKA ŠOIĆ ŠTEBIHMARIA GESZLER GARZULYPrijevod i korektura / Translation and ProofreadingJASNA RODEŠDizajn kataloga, plakata i deplijana / Catalogue, poster and flyer designBLAŽENKA ŠOIĆ ŠTEBIHDANIJELA PIČULJANIVO MAĐORTisak / Printed inPRINTERA GRUPA, Sveta Nedelja1000 primjeraka / copiesTravanj / April, 2009

11 1. Galerija starih i novih majstora Art Gallery of Old and Next Masters - Stančićev trg 32. Stari Grad Old Castle3. Palača Herzer Palais Herzer - Franjevački trg 64. Gradska vijećnica City Hall - Trg kralja Tomislava 15. Hotel Turist - Aleja kralja Zvonimira 16. Turistička zajednica grada Varaždina City Tourist Association - Ivana Padovca 37. KERAMEIKON - Križanićeva ulica 13Izlog Window in8. Franjevački trg 4 i and 59. Gundulićeva ulica 310. Kukuljevićeva ulica 9a11. Gajeva ulica 10