Editor's introduction by André Gali
Thoughts on the Exhibition as a Ritual
According to Elene Filipovic, ‘an exhibition isn’t only the sum of its artworks, but also the relationships created between them, the dramaturgy around them, and the discourse that frames them.’ I hope the articles in this issue of Norwegian Crafts Magazine will contribute to that discourse and stimulate discussions surrounding craft exhibitions, how they are administrated, curated and designed.
Craft in Context: Inheritance and Environment
The perception of a work of fine craft is strongly marked by the accrued status that craft artists have fought for and received. Nevertheless, the work is also marked by its immediate exhibitionary environment. The question is – what is it that most shapes a work’s expression: inheritance or environment? Does the perception of a work of fine craft benefit from being challenged, or will its expression be too much marked if, in this process, it ends up in a bad environment?
The exhibition Transformator, which opened on 15 November 2014 at Bomuldsfabriken Kunsthall in Arendal, Norway, features works by 17 ceramic artists. In creating the exhibition, curator Tulla Elieson, who is herself a ceramist, invited the artists to work with materials and machines at Norsk Teknisk Porselensfabrikk (NTP) in Fredrikstad. After the exhibition ends in mid-December, it will travel to Hydrogenfabrikken Kunsthall in Fredrikstad for some months, then end up in Oslo. Norwegian Crafts Magazine asked Elieson about the background for the exhibition.