A ceramics biennale
Toya, Toya, Toya, (pottery, pottery, pottery) sing the chipmunk choir – the soundtrack to your visit to the Incheon Ceramics biennale, a place where everything is made of pottery – some might say a dream come true but even as a devoted lover of clay it was too much for me – too expanding the form, too much art, too many people declaring pottery is art – mainly ‘here’s something that looks like contemporary art that I made in clay’. In a way the joy of pottery is it’s building block quality, it’s integration in the ordinary – not it’s desire to fly. Of course clay is possibly the most versatile of any medium, from high performance engine, cladding for a space rocket and the always sharp knife, to the coprophilic splogs and splats of self expression.
The pottery biennale along with many other things has made me think again about the perception of authenticity – a long historical and contemporary exchange between east and west, from the pottery of the 16th century to the prints of the 19th century and the commerce of the contemporary. Everywhere I see copies of contemporary design, in itself retro design – copies of things that are themselves copies of other things – but somewhere in this endless exchange someone claims authorship and copy right (usually a photographer). Perhaps the most perplexing copy is the copy of the up-cycled look, the faking of recycled materials.
There is an interesting alternative in Korean pottery, there are master potters that make pots in the traditional style, 15th century style, these pots sell for £40,000 as much if not more than the ‘originals’. They are perfect versions, they are made with the same materials the same technology and the same craft skill and by people who are part of a living link - no changes, no stepping outside of the form.
When the western potter then copies this style – slavishly reproducing all the authentic details the result is of a high value but nowhere near as high as the Korean potters, the western potter adopts their own kind of other authenticity, when that is then reproduced it again drops in value. I suppose the issue is when the production techniques change and the same items become factory produced of less individual resonance, but probably better technical quality. Differences that the majority of people will not notice, and arguably why should anyone care. The difference between a good and great bottle of wine – largely symbolic for the majority of people. The symbolic and votive significance become paramount.
You can tie yourself quickly into a tight knot thinking about this stuff.
When Bernard Leach was heavily forged by the pottery class inmates of Wormwood Scrubs prison the bottom dropped out of the Leach market – the prisoners work was terrible all they really copied was the stamp.