On the Flip Side
Opening: Thursday 26 December 2013, 19:30
Gallery tour with the curator: 24/1/14 at 11:30
Gallery tour 8/2/14 at 12:30 and at 13:30 closing event – “Moving vessels”
Opening night event
Performance: Tal Gilboa Ardon – To Dig
Curator: Shlomit Bauman
Exhibition Design: Reddish – Naama Steinbok and Idan Pridan
Photographs: Ilan Amihai
Udi Even, Eitan Gross, Anna Carmi, Ester – Lapid, Efrat Eyal, Eti Goren, Beit Hayozer, Fani – Bror Hayal, Guy Jana, Gunnmarit Rosenstone, Jean Mayer, Dimitri Chachanovski, Daniel Flatauer, Hedwig Grossman, Zahara Harel, Gilles Jaure, Hava Samuel, Hanna Harag Tzuntz, Hanna – Lapid, Nehemia Azzaz – Harsa, Yehudit and Issachar Benyamini, Judit Mayer, Johnathan Hopp, Yael Gorfinkel Pasternak, Yael Novak, Kadan, Kfar Menahem, Laurie Goldstein, Lidia Zavatsky, Meir Moheben, Michal Alon, Michal Jaure, Miri Fleisher, Noam Dover and Michal Cederbaum, Studio Armadillo – Hadas Kruk and Anat Stein, Studio Under – Omer Marzal and Liat Akerman and Eran Galor, Studio Balian – Armenian Ceramics, Studio Nora and Naomi, Studio Stella – Johnathan Hopp and Sara Oslander, Studio Sync – Ari Talberg and Yael Grunner, Studio Kahn – May and Boaz Kahn, Stella Lahav, Irit Abba, Irit Abba and Asaf Ben Zvi, Palkeramik, Ziona Shimshi – Lapid, Kadar, Kobi Raber, Kermos, Kermit, Kernat, Ronit Baranga, Ratav Alfahouri, Roy Maayan, Raya Stern, Shimon Bader – Naaman, Sara Ettinger, Sara Ben Yosef, Sara Hakkert
The foot or underside of a functional vessel is less visible and thus less representative – similar to behind the scene. Most of the attention is on the upper side, the functional part of the pot. Even though the bottom of a pot requires attention it is still considered the ‘back’ of the object.
Functional vessels are usually turned on the wheel and the foot is created by removing some of the clay. The design of the bottom of the pot and the signature of the maker usually completes the making part of the process and gives the identity to the object. The exhibition “On the Flip Side” will examine the underside of functional vessels, the design of the foot and the graphic characteristics of the signature.
The exhibition will focus on the stamps and signatures of makers and factories, spanning from the 1920`s until the present. By examining this feature and the design of the foot we can observe the history of Israeli ceramic design. From this hidden aspect we can learn about past and contemporary traditions, historical changes and personal expression of contemporary artists. When observing the signatures as graphic design, the changes from the previous century become obvious; from craft to design, from tradition to industry. In the broader sense, these stamps are evidence of the social and cultural changes that occurred over the past 90 years.