Against nature.
Silvana Editorial| N° d'inventaire | 26790 |
| Format | 17 x 24 |
| Détails | 128 p;, color illustrations, paperback. |
| Publication | Milan, 2022 |
| Etat | Nine |
| ISBN | 9788836651870 |
Contre-Nature is an exhibition inhabited by insolent and hybrid forms: these grotesque creatures, made of clay and enamel, form a luxuriant, original, mysterious, disturbing, even hallucinatory world. Water, earth, and fire are the essential, incomparable components of these new worlds: "we call counter-nature that which is against custom." (Montaigne) In this exhibition, nature is artifice and artifice becomes nature to decategorize scales and values, to overturn the clichés about sculpture and ceramic tradition. The works gathered deal less with ceramics as folklore than with modeling and alchemy as techniques and magic. Contre-Nature does not intend to unfold an exhaustive history of ceramics. It focuses on its recent developments. It seeks to counter the hierarchy of practices in accordance with the current concerns of emerging artists: long considered an outmoded craft, ceramics is now generally recognized by artists and institutions as a mode of expression in tune with an uncertain world and a clear return to making, textures and materials.
Contre-Nature is an exhibition inhabited by insolent and hybrid forms: these grotesque creatures, made of clay and enamel, form a luxuriant, original, mysterious, disturbing, even hallucinatory world. Water, earth, and fire are the essential, incomparable components of these new worlds: "we call counter-nature that which is against custom." (Montaigne) In this exhibition, nature is artifice and artifice becomes nature to decategorize scales and values, to overturn the clichés about sculpture and ceramic tradition. The works gathered deal less with ceramics as folklore than with modeling and alchemy as techniques and magic. Contre-Nature does not intend to unfold an exhaustive history of ceramics. It focuses on its recent developments. It seeks to counter the hierarchy of practices in accordance with the current concerns of emerging artists: long considered an outmoded craft, ceramics is now generally recognized by artists and institutions as a mode of expression in tune with an uncertain world and a clear return to making, textures and materials.