Lise Seier Petersen

'Ingen kan træde ud i den samme flod to gange' – 99 lerkar til Heraklit/

'No one can step into the same river twice' – 99 Wessels to Heraclitus



 

Foto: Kirstine Autzen, Statens Værksteder for Kunst, 2014

En keramisk land art installation, der visualiserer Heraklits tese om, at alt er forandring. Den er placeret i Skulpturparken ved Kunstcentret Silkeborg Bad, ved stien lige under Caféen og Panoramasalen.
Installationen består af 99 drejede lerkar i formater fra ca. 40 x 25 cm til ca. 80 x 40 cm.
Karrene er fremstillet i lertøjsler. Det meste er fra Sorring, pottemagerbyen, der ligger ca. 15 km øst for Silkeborg.
Enkelte kar er ubrændte, men de fleste er brændt til temperaturer fra 300 til 1150 grader. Det giver en skala i jordfarvespektret.
Som følge af lave brændingstemperaturer er de fleste af lerkarrene vandopløselige og nedbrydes over tid.

Intentionen er at flytte det keramiske fokus fra det konkrete til det begrebslige. Materialet, håndværket, karret og de fotografiske skildringer anvendes som afsæt for refleksion over- og oplevelse af begrebet tid.

De 99 lerkar er udført på Statens Værksteder for Kunst i 2014 og opstillet ved Silkeborg Bad samme år.

Fotograf Kirstine Autzen dokumenterede fremstillingen. Et udvalg af billederne kan ses i en publikation. Eksempler kan ses her.
Autzen dokumenterede også en udstilling i 2018 i Officinet, Danske Kunsthåndværkere, Kbh., som tog afsæt i værket. Et udvalg af Kirstine Autzens fotos af udstillingen kan ses her.

Kamma Krog skrev om udstillingen på netportalen designETC. (Artiklen kan læses her)

Kunstnerduoen Ingvartsen & Rejnert skildrede nedbrydningen Silkeborg.
I 2015 blev et udvalg af fotografierne vist i Kunstcentret Silkeborg Bad.
Derudover er alle parkens gæster inviteret til at lægge foto på Facebook. Foto kan også sendes i en email.

Nationalbankens Jubilæumsfond, Esther og Jep Finks Mindefond, Grosserer L. F. Foghts Fond samt Anna E. Munchs Legat har støttet projektet.

 

A ceramic land art installation that lends visual form to Heraclitus’s that everything is constantly changing. It is located in the Sculpture Park of Art Centre Silkeborg Bad near the path just under the Café and the Panorama Room.
The installation consists of 99 turned clay vessels, the proportions of which range from about 40 x 25 cm to about 80 x 40 cm. The vessels are made of earthenware clay. Most comes from Sorring, the pottery colony located about 15 kilometres east of Silkeborg.
Some vessels are unfired, but most were fired at temperatures from 300 to 1150º. This provides a spectrum of earth colours. Due to low firing temperatures, most of the clay vessels are water soluble and degrade over time.

The intention is to shift the ceramic focus from the tangible to the conceptual. The material, the craft, the clay vessel and the photographic depictions are used as a basis for reflection on, and experience of the concept of time.

The project was executed at the Danish Art Workshops (DAW) in 2014.

The photographer Kirstine Autzen documented the production process. A selection of the photos are featured in a publication. You can see examples from the publication here.
Autzen also documented an exhibition in 2018 in Officinet, Danske Kunsthåndværkere (Copenhagen), which was based on the work. You can see a selection of Kirstine Autzen’s photos here.

Kamma Krog wrote about the exhibition on the web portal designETC. You can read the article in danish here.

The artist duo Ingvartsen & Rejnert depicted the decomposition of the work in Silkeborg.
In 2015, a selection of the photographs were exhibited at Art Centre Silkeborg Bad.
All visitors to the park are also invited to post a photo on Facebook. They can also send photos as an email attachment.

Nationalbankens Jubilæumsfond, Esther & Jep Finks Mindefond, Grosserer L. F. Foghts Fond and Anna E. Munchs Legat supported the project.


Visualisering

Visualization

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