MEISSEN Joaillerie

World of meissen ® artcampus “After the Battle”: overglaze painting on MEISSEN ® Porcelain by Cornelia Schleime (2011, dimensions: 29 x 31 x 24 cm) With its museum for contemporary art, which opened in March 2012, MEISSEN ® has added yet another string to its bow. The construction of the museum is a step forward into the present for the manufactory, whose historic exquisite pieces have long been coveted by collectors round the globe. MEISSEN ® is now making a name for itself on the international art scene with its modern porcelain objects. This success is due to the MEISSEN ® artCampus, which has invited a number of renowned and up-and-coming artists from across the world to the MEISSEN ® manufactory over the past two years and encouraged them to engage creatively with this unu- sual material. ‘With artCampus, we are tapping into the zeitgeist during the period that Max Adolf Pfeiffer was General Director. He underpinned the company’s work during the 1920s by contracting external artists such as Barlach, Esser, Scheurich and Hösel,’ explains Managing Director Dr Christian Kurtzke at the museum’s opening event. ‘We are continuing this tradition of exceptional artistic creations with artists from across the world – with the vision of making MEISSEN ® a mecca for modern art’. The museum façade also has a new look. Like an oversized screen, it uses the poster motif “Rauchzug” by Karl Otto Götz (*1914) to tell visitors what they can expect to see at the museum even from afar: largescale modern porcelain art in every colour under the sun. ‘It is remarkable that a company like MEISSEN ® is bending over backwards for art. After all, artists are often independent and radical and just want to implement the ideas they have. I’m surprised that MEISSEN ® artCampus just works so well,’ says the curator of the exhibition, gallery owner Harry Lybke. One challenge is ensuring that both sides can interact freely and independently with porcelain. Sculptor Uwe Karlsen (*1954), who used his physical strength to mill, hammer and model this flexible material for his large-scale objects, concluded that ‘in a plastic state, porcelain is a sensuous but very unpredictable material and (…) requires you to be prepared for failure’. Otto Piene (*1928), founder and member of the ZERO Group and known for his grids, smoke pictures, fire gouaches and lighting installations, summarises: ‘It turns out that porcelain is a difficult material whose characteristics actually do not fit well with the current understanding of materials. It is therefore natural that MEISSEN ® should want to look for artists who want to create the future from the present in their own unique way’. Piene has created eight works in MEISSEN ® Porcelain so far, including individual plates, diptychs and triptychs – all of them completely unique. The manufactory has cooperated with the artist, who lives in Massachusetts, since the beginning of 2010. In doing so, it has shown a keen sense of the times in which we live: ‘German ZERO art is poised to become the classic modern art. German ZERO artists no longer seem to be as undervalued as they once were. The cooperation of MEISSEN ® with Otto Piene is a reflection on tradition and an indication of a greater affinity with internationally recognised art,’ confirms Dr Edgar Quadt, publisher of the art magazine “Artinvestor” and expert on the art industry. The oldest participant in the MEISSEN ® Renowned artists and up-andcoming artists from across the world visit the MEISSEN artCampus is Karl Otto Götz, one of the few remaining leading exponents of the German Informel movement, which will celebrate its 100th birthday in 2014. What drives an renowned artist with a long and distinguis- ® artCampus in order to engage creatively with the unusual material that is porcelain. “Mv-1”, “MV-2”, “MV-3”: MEISSEN ® Porcelain by Uwe Karlsen (2011) ® 65

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