2016 2017 2018 A. Petersen All is Flux Bagsværd Church Biennale Vallauris Bomuldsfabrikens kunsthall Bort (Border) Ceramic Momentum Copenhagen Ceramics Crowd Pleaser (People Who Pot) cube Cubes and Boxes Cubes and Growths Danish Arts Foundation Deform 1 & 2 Designmuseum Danmark exhibition exhibitions Gallery Nørby grants Gustavsbergs Konsthall Hårinstallationer Himmelbrevet Little Hybrids MDR Gallery Mincraft18 Mindcraft18 New Danish Ceramics Now & Here Pearls Place for a Secret Place to be Lost Place to be Lost #24 Place to be Lost 1 Puls Contemporary Ceramics Röhsska Museum site specific Statens Konstråd teaching The Danish Arts Foundation The Danish Art Workshops Thing Tang Trash Tvede & Jungersen Wall objects West Norway Museum of Decorative Arts zwinger und ich
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The exhibition opens 3. October 5-7 pm.
Runs until 3. November
see more info on opening hours and events: apetersen.dk
The Danish Arts Foundation presents Crafted Matter.
Groupshow with 15 Danish designers and craftsmen, celebrating 60 years of diplomatic relations between Denmark and the Republic of Korea.
Curation and exhibition design by Ditte Hammerstrøm.
8. October- 17. November 2019
Everything Changes and Nothing Stands Still #10 and #11 (2019)
151 x 94 x 5 cm. 151 x 89 x 5 cm.
Several glazes in layers. Photo: Jeppe Gudmundsen
Detail Everything Changes and Nothing Stands Still #10 (2019)
Group show at CLAY in Middelfart, curated by Copenhagen Ceramics.
Featuring 23 ceramic artists from USA, Japan, Sweden, Norway and Denmark:
Anders Ruhwald (DK), Turi Heisselberg Pedersen (DK), Carl Emil Jacobsen (DK), Mia E Göransson (SE), Ole Jensen (DK), Takuro Kuwata (JP), Pernille Pontoppidan Pedersen (DK), Matt Wedel (US), Christina Schou Christensen (DK), Bente Skjøttgaard (DK), Linda Sormin (CA), Morten Løbner Espersen (DK), Gitte Jungersen (DK), Karen Bennicke (DK), Steen Ipsen (DK) Anne Tophøj (DK), Marianne Krumbach (DK), Marianne Nielsen (DK), Marit Tingleff (NO), Martin Bodilsen Kaldahl (DK), Nils Erichsen Martin (NO), Anton Alvarez (CL/SE) og Michael Geertsen (DK)
11. maj – 03. november 2019
Group show in MDR Gallery in London.
From 18 February – 31 March
Monday to Thursday 10:00 – 18:30
Friday to Saturday 10:00 – 20
Lower Stable Street
Coal Drops Yard
During February I teach a glaze workshop at KHIO, Oslo National Academy of the Arts.
Always so interesting to meet the students.
Thank you to graphic designer Nete Banke from Imperiet, and to the writers Jorunn Veiteberg, Lars Dybdahl and Stephanie Serrano Sundby. And to photographer Dorte Krogh for the fantastic pictures!
The book can be purchased from selected bookstores at designmuseums, here in Copenhagen at Louisiana Museum store, or from diverse internet book stores.
Arnoldsche Art Publishers will publish a book with my works from the past 20 years very soon! Graphic designer Nete Banke and I went to the printer Narayana Press, to go through all the colour adjustments. So exciting to see the final result!
This autumn I teach a course at the Royal Danish Academy of Fine Arts, MA programme Ceramic Design, together with my colleague Martin Bodilsen Kaldahl. The students work with the rococo, and the history about how porcelain was introduced to european factory production. I gave a talk about Nordic Network for Contemporary Ceramics research trip to Meissen and Dresden, which resulted in the Zwinger und Ich exhibition.
We started out breaking up the porcelain clay into its basic components: Kaolin, silica, and feldspar.
Some years ago KODE in Bergen purchased one of my works from the Place to be Lost series. It is now giving name to, and part of the group show Place to be Lost at the museum. The exhibition is on until 30 September 2018.
Mindcraft18, exhibition at San Simpliciano during Milan Designweek.
All is Flux #7 and All is Flux #8 (2018)
Photo: Julie Hering
Mindcraft18 was presented by the Danish Arts Foundation,
Curated by Ditte Hammerstrøm.
‘All is Flux’ is a radical experiment based on enlarging and highlighting the tactile properties of ceramic glaze as a manifestation of the constant state of flux that characterizes the entire physical world, even if some transformation processes are so slow as to appear imperceptible. The liquid glaze is transformed in the kiln, but the apparent permanence of its new, solid form is merely an illusion, a temporary stage. Like a tactile snapshot, the works can be seen as a single point in the lifespan of the objects – just as there was a time before their current state, there is an ‘after’. Over time, the objects will break down, dissolve and re-emerge as new physical manifestations.
The objects in the series consist entirely of thick layers of different glazes that are poured into sharply defined rectangles and kiln-fired at 1280 degrees Celsius. In the kiln the glaze melts, boils and bubbles up, the process transforming the texture and appearance of the material and blurring the edges of the rectangular shape. A sudden reduction in the temperature freezes the chemical reaction. The complex and ambiguous textures can be seen both as primordial matter and as a manmade material in the process of melting and transformation.
All is Flux #7 and All is Flux #8
198 x 98 x 5 cm. 195 x 95 x 5 cm. Several layers of different glazes.
Easels: black stained wood.
Photo: Anders Sune Berg.
Photo: Anders Sune Berg.
Detail, All is Flux #8
Photo: Anders Sune Berg.
Exhibition opening with the Danish Minister for Culture.
San Simpliciano, Piazza Paolo VI 6,
Monday, 16 April, press preview at 15.00–19.00
I am happy to announce that I will be part of the MIndcraft 18 exhibition in Milan.
The exhibition is curated by Ditte Hammerstrøm, and is an award winning international exhibition concept presented by The Danish Arts Foundation.
Now & Here, exhibition view Bagsværd Church. (2017)
All is Flux #7, All is Flux #8
198 x 98 x 5 cm. , 195 x 95 x 5 cm. The two objects consist entirely of four different glazes.
Photo: Benita Marcussen.
All is Flux #7 and #8 was originally created for a site-specific exhibition in the iconic Bagsværd Church, designed by Jørn Utzon.
Conventionally, the glaze, even in large sculptures, is merely a thin coating. Here, it takes on a physical format that is larger than the human body. At the same time, in an almost dizzying dual perspective, the texture also gives the impression of a detail that has been blown up or of something seen through a microscope.
Viewed from a distance the objects appear identical, but seen up close, one is tending towards black, while the other is approaching a dark cobalt blue. The objects appear texturally complex and open to multiple interpretations: at first glance, the blackish blue, dramatically boiled textures evoke associations to lava and volcanic landscapes, but a second look reveals a glossy sheen in the glazes closer to plastic or oil, and in the fields of black there flows a cobalt blue – a colour with a long tradition in the porcelain industry.
Bagsværd Church is a fine example of Utzon’s exploration of the possibilities of modular concrete construction. The gallery is designed as a strictly modular system of concrete elements, whose dimensions are repeated in the two glaze objects. However, while the gallery has a stable materiality and is dominated by straight lines, the glaze objects by contrast, appear dissolved and organic. The dark cobalt blue glazes also link the objects to the building, referencing the cobalt blue tiles used as decorative cladding on edges in the church.