After a wonderful exhibition in Erfurt, ‘Heat Exchange 2’ has arrived in Munich.

The Private View will be on Friday 20. Mai from 18.30 until 20.30

at the Bayerischer Kunstgewerbeverein, Pacellistraße 6-8, 80333 München
Tel: 089-290147- 0, Fax: 089-296277
www.bayerischer-kunstgewerbeverein.de
info@bayerischer-kunstgewerbeverein.de

Welcome

Prof. Dr. Thomas Raff

Vorsitzender des Bayerischen Kunstgewerbevereins

Introduction

Barbara Schmidt

Leiterin der Akademie für Gestaltung und Design,

Handwerkskammer für München und Oberbayern

The exhibition will be open from

20. May until 2. July 2016

Beate Gegenwart

Beate Gegenwart is an enamelist and educator originally from Germany who lives and works in Wales, UK. Her studio is located on the beautiful Gower peninsular and she is a Honorary Research Fellow at Swansea School of Art (University of Wales Trinity Saint David). Her large enamel works exhibit an expressive interplay between polished stainless steel and fields of delicately applied and inscribed enamel. She is currently supported by a major production grant from the Arts Council of Wales.

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Heat Exchange 2 is currently showing at St. Andrews Museum and the lovely Diana Sykes at Fife Contemporary Crafts has sent some great photographs from the exhibition there. The photographer is Chris Park.

Beate Gegenwart

Beate Gegenwart is an enamelist and educator originally from Germany who lives and works in Wales, UK. Her studio is located on the beautiful Gower peninsular and she is a Honorary Research Fellow at Swansea School of Art (University of Wales Trinity Saint David). Her large enamel works exhibit an expressive interplay between polished stainless steel and fields of delicately applied and inscribed enamel. She is currently supported by a major production grant from the Arts Council of Wales.

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“walk and talk” in Cardiff was the day after an very beautiful  and stimulating stay by Beate Gegenwart and Tony  in Wales with a short visit by Cath Fairgrieve and Andy Griffith and the day bevore some days in Bristol by Elizabeth and Roger Turrell just as great as in Wales. I’ll send some Photographs later.

Sorry, the most photographs in the gallery were bad because of the difficult light. That’s why I cannot more of them publish.

Gudrun Wiesmann

Gudrun Wiesmann lives and works in Germany. Sie hat Architektur studiert und bis 2000 als Architektin gearbeitet. Seit 2004 ist sie freiberufliche professionelle Künstlerin mit den Arbeitsgebieten künstlerische Fotografie, Email, Schmuck und Collage. Aktuell beschäftigt sie sich mit Emailsiebdruck auf Stahl.

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I enjoyed having two very informal and relaxed sessions collaborating with Lindy Richardson, Head of textiles  and a colleague at Edinburgh College of Art.

Lindy is also an embroiderer and she was interested in weaving and making stencils to learn to enamel through, I in turn was interested in having bespoke screen created and experimenting with wet enamel to screen print with and to dry sift through.

We decided to have these workshop days after a ‘blind’ workshop where staff revealed their research interests through tools,  objects and materials quite anonymously.

We have kept our first two sessions very loose and are now considering refining some of these areas for individual projects- I am not sure if anything will make it into Heat Exchange II, will have to see….

Stephen Bottomley

Stephen Bottomley trained at the Royal College of Art (1999-2001) having also studied at West Surrey College of Art and Design and the University of Brighton, with a key period working within Rhode Island School of Designs’ metal programme (USA 1998). Stephen established his first studio in 1990 in Brighton with a Prince’s Trust Grant, exhibiting his work regularly in exhibitions and at outlets like Electrum Gallery and Dazzle. He started regular associate lecturing work around the South East coast in 1992. After twelve years lecturing and leading several courses at Hasting College of Art, with the University of Brighton, he relocated to Sheffield in 2004. Between 2004-2007 Stephen divides his time between his jewellery studio and his close involvement with both academic life and the jewellery industry, being both course leader for Metalwork and Jewellery at Sheffield Hallam University and also the fourth Chairman of the ‘Association for Contemporary Jewellery’ (ACJ). Between 2007 and afour year project researching the patterns and textiles at the Fortuny Museum, Venice and a solo shows in Venice and back at Hove Museum and Art gallery in 2008, he relocated to Scotland taking the post of Head of Jewellery and Silversmithing at Edinburgh College of Art (eca). In 2011 eca become part of the world class University of Edinburgh. Jewellery is represented by the Crafts Council and held in collections by the British Museum, Royal College of Art and the South East Arts Crafts.

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I’ve been lurking at Heat Exchange2 for a while now, and after the latest request for a post, I decided to gather my thoughts on how my work was coming along.  

The inspiration for my installation “Housing/Warehousing” evolved over nearly a year’s time. Over the years I have returned to a house theme from time to time, sometimes for personal reasons, but also because home and shelter are universal themes. The sequence of events went something like this: At the Bauhaus Museum in Tel Aviv I saw  colorful workingmen’s houses designed by Bruno Taut, who was forced to leave Germany by the early 1930s. On a retreat I talked with woodworker Wendy Maruyama, who was beginning her monumental “Tag Project,” about the Japanese detention camps in the US during the same war. Investigating abandoned buildings I was struck by the similarity in structures used to house prisoners at Auschwitz and Manzanar.

I began constructing peaked-roof dwellings that were folded up from a single sheet of metal, using vitreous enamel to give a permanent, rich surface. Using wire to “stitch” them together at the seam gave a surgical as well as domestic subtext, and was a sign that they had been fabricated by hand.  Scaling up beyond jewelry made every one a technical challenge as I went along.  Recurring issues concerned using sifted or liquid enamel, often both; getting the right chalky, gouache-like surface; and the optimal relation between metal gauge and final dimensions.

Then an unexpected layer of meaning came into the work.   Riding the train from Munich to Dachau last spring, I noticed the landscape was dotted with small, colorful, peaked-roof houses, much like the ones I had been making. The geographical and cultural proximity of these structures tied together the two previously irreconcilable bodies of work.  Taut’s houses, while modest in scale, were full of life; barracks used to warehouse people are the opposite.

On yet another level, I had long tried to find a way to address the Holocaust in my work, but jewelry just wasn’t it. The opportunity and, yes, deadline of Heat Exchange2 enabled me to create the space to explore my own narrative.

Marjorie Simon

Marjorie Simon lives and works in the USA.

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