In addition to the academic subjects of art history, philosophy and aesthetics, the study of book arts at Burg Giebichenstein Kunsthochschule Halle essentially consists of research, experimentation and work in the well-equipped workshops for all printmaking techniques such as screen printing, lithography, etching as well as letterpress printing and the paper workshop. It is the only art college in Germany to offer book arts as a diploma course over 10 semesters. From the very beginning, the wide-ranging basic studies provide a good basis for all students to learn craft techniques and to identify their respective inclinations and strengths.
In the main course, students can either be inspired by the respective semester topic or develop their own projects with regular individual supervision. In this way, unusual books and objects have been created in recent years that reinterpret the book as an artistic medium and make it possible to experience it as a visually and haptically perceptible work of art.
The handling of ceramic materials is the main focus of the course, including the combination with other materials. The concentration is on the many ways to create a form and to make its potential meaningful in one's own work. The modelling of the material is examined in its expression, in its plastic value, often in relation to colour. The content grows from the capacity of the form. An intention gives the impulse for the work to begin. On the way, attention to unexpectedly successful extensions or necessary changes of direction is important. The aim of sculptural work is to bring material into form in such a way that it convincingly and naturally carries a content. The students are to assert wild things. The work is play and dialogue, agony and chance, pause and pleasure - is possibility and discovery.
Prof. Martin Neubert
Maya Fenderl, Jan Herzog, Olivia Pils, Karlotta Reisch, Romina Ried, Nino Tsimakuridze
In the competence field of metal design, we link the contexts of art, design and craft.
The creative basis for this is a comprehensive understanding of the effect and significance of materials and forms. The aesthetic, cultural and physical aspects are addressed and practised and used both analogue and digitally.Central intentions for design processes are our constantly changing environment, the current events of culture and individual needs. The resulting questions are reflected upon together and the motifs developed can become profile-forming for our students. The artistic forms of expression are free, the possibilities very diverse. Therefore, the aim of our teaching is to accompany and encourage students to find their own expressiveness and form of expression in their work and to develop a sense of authenticity. A vessel, a piece of furniture, a piece of jewellery, an object in relation to the body or to space can stand for an artistic position.
Project management: Melanie Isverding
Exhibitors: Imke Ganteför
"The Forming Relationship between Man and Object - On Perceptions, Encounters and Levels of Meaning to Vessel Bodies".
Material objects and their relationship to humans represent an essential aspect of understanding a culture and society. How is an object perceived? Which possibilities contained therein are recognised? An examination of these questions takes place on the basis of favours. Design should be seen as a component of design culture and overall cultural development. Designers can have a direct influence on the legibility of a doject and thus actively shape a human-object relationship.
"I like to move it - The memory of live music in body-related objects".
Feet sticking to the floor, people standing tightly packed in a room that is getting dark, the first note begins. Live concerts, as they were until spring 2020, are not possible like this at the moment. There are sound and image recordings, sometimes live broadcasts, but it doesn't really feel like a concert. The topic of my master's thesis is the memory of live music and the atmosphere that goes with it. In doing so, I explored how the past, fleeting moments can be translated into body-related objects.
In a workshop at the Denkstatt Erzgebirge in Seiffen, nine designers from the fields of design, jewellery, visual arts and fashion worked together with individual craft businesses to develop new applications for the traditional wooden parts of Erzgebirge folk art. From the huge variety of individual and raw parts required for traditional pyramids, smoking men, nutcrackers and other products, designs and prototypes for jewellery and decorative accessories have emerged. Some of these are unique objects, while others can be the basis for serially producible collections. Despite surprising applications, the tradition of Erzgebirge craftsmanship remains palpable in the cheerful, playful or elegant objects. Tradition and contemporary interpretation, wood as a sustainable raw material, regionally concentrated production and nine fresh individual artistic signatures determine the results of the workshop.
Participants: Beate von Appen, Clemens Hauffe/ Sven Deutloff, Ines Bruhn, Frank Maibier, Hanna Remestvenska, Katrin Uhlig, Silke Trekel, Svenja John Handicraft enterprises: Werner Holzsielzeuge GmbH, Graupner Holzminiaturen, Seiffener Volkskunst eG, Holzwarenfabrikation Joachim Hoyer
An inspiration to design a stick to rediscover the pleasure of walking, with an object that exudes a strong personality and at the same time offers the potential to be reinterpreted in its form.
There are technical walking sticks made of ultra-light materials for extreme sports, telescopic sticks for excursions, Nordic walking sticks, sticks that provide support... but the traditional walking stick, from simple curved models made of walnut to more sophisticated examples made of ebony, with precious engraved handles of silver and ivory, seem to be disappearing more and more from our everyday life and our idea of walking.
The project was inspired, among other things, by research, literature and sociologist Lucius Burckhardt's science of walking, all of which revealed new forms and methods of approaching, using and utilising a walking stick.
An important and decisive role in the project was played by the cooperation with the experienced manufacturer and specialist 'Italbastoni', which enabled the students to gain insight into the industrial secrets of a company that has been producing walking sticks since time immemorial: from alpine sticks made of chestnut or bent cherry wood to models made of aluminium alloys or carbon fibre. The project group reworked the stick in a contemporary way, creating useful objects such as tools for work and leisure or for self-defence, but also for social purposes: sticks that express the personality, interests and values of the owner.
Lecturers: Kuno Prey, Luca Martorano, Alvise Mattozzi
Anghelina Coslet, Katharina Ennemoser, Chiara Facchini, Margherita de Alessandri, Alessandro Mariotti, Claudia Martinelli, Stefanie Mair, Leone Ormellese, Miriam Pardeller, Jonas Reissinger, Rebecca Toscan, Veronika Vascotto, Anna Maria Zuech
About the project
Since 1992, Biró Gallery has specialised in jewellery as an artistic medium. Originally the only gallery in the world committed to plastic jewellery, today we show international contemporary jewellery and vessels in our expanded portfolio.
In a rotation of approx. 6-7 weeks, we present in alternating solo exhibitions the international spokespersons of contemporary auteur jewellery and the new generation.
Our team sees itself as a mediator and educator for a genre of art that is still quite young and inspires with our passion for the profession.
The gallery also curates numerous exhibitions at home and abroad and is invited as a member to international juries.
ARTISTS COLLECTIVE: The group represents Italy with a strong, complete and diverse image. It is a mosaic of talents and passionate ambassadors of Italian applied art. Curator Waldemar Kerschbaumer carefully selects artists whose work not only meets highest standards but also provides refreshing insights into Italy’s contemporary art scene.
„Italiano Plurale“ is a selection of applied arts artists whose work is the result of an original vision of beauty and their ability to innovate traditional techniques through authentic experimentation, regardless of current trends or conventions. They work to highest standards and have successfully managed to develop their own truly distinctive style.
A Variety of Crafts. Italian contemporary applied art is as varied as the country itself, and the name «Italiano Plurale» – Italian Plurality – reflects just that. Be it ceramic, metal, fiber, wood, jewelry or art object: the multiplicity of visions makes «Italiano Plurale» a fascinating, unique experience. It represents Italian design and its keen sense of beauty in all its shapes and forms.
„Italiano Plurale“ employ traditional techniques to create contemporary decorative art whose possibly familiar characteristics perfectly highlight its freshness and surprisingness. Italian handicraft: bold, contemporary, authentic. Each piece is a unique, handcrafted expression of the artist’s personality. It is this peculiarity and the notion of unrepeatability that makes them so precious to art enthusiasts and collectors all over the world. Personality and style make these artists uniquely recognizable. The group as a whole expresses a multifaceted picture of Italy‘s art scene.
The artist collective is an attractive addition for museums, exhibitions and events. «Italiano Plurale» offers an innovative overall picture of Italian applied art, from which to draw to create new events or exhibitions.
Arcangelo Ambrosi, Gian Luca Bartellone, Anna Paola Cibin, Cecilia Coppola, Sara Dario, Lara De Sio, Stefania Lucchetta, Alessandra Malfatti, Lidia Marti, Riccardo Masini, Martha Pachon Rodriguez, Maria Pia Pascoli, Stefano Prina, Stenia Scarselli, Angelica Tulimiero.
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»You must take your time and look deeper to profoundly appreciate the surround«
The company is built on the principles of clean minimalist lines and shapes of the objects. Simplification and unification are the components of our design style. The team bases they perception on design laconism, application convenience, and pleasant textures.
We support local production in Kyiv, developing and assembling their products in family owned workshop. Manual welding, metal grinding, polishing, turnery, and powder coating done by craft masters complement the necessary level of machinery work. We are one of the main companies that formed an object design industry in Ukraine. As global manufacturing of goods keeps a steady growth we need niche brands, where main input is done by particular human beings.