For four days, much of Australia’s ceramics community will descend on Princes Wharf in Hobart for a series of panel discussions, presentations and artist talks with international luminaries and local potters alike. For those who want to gaze upon clay forms, the Australian Ceramics Triennale offer no less than nine exhibitions at the Wharf. Manifest traces contemporary Australian ceramics from remote communities of the Central Desert Region to our urban centres, while the exhibition The Others looks beyond white, middle class makers to underrepresented ceramicists. International artists will also be on view with Tambay, an installation project by Boxplot (a collective of three artists from the Asia-Pacific region).
Then there’s the Presenters’ Exhibition featuring Australian and international Triennale delegates including Sergei Isupov (USA). Speaking of the exhibitions, artistic director Dee Taylor-Graham is most enthusiastic about the “areas in which we have been able to stretch the understanding of ceramics and their place in contemporary art discourses.”
Beyond Princes Wharf and the four-day event, there are opportunities to discover Tasmanian studio potters from the 1920s–1960s at the Narryna Heritage Museum and contemporary makers from the Apple Isle (at Lady Franklin Gallery). Then there is Interstitial (Bett Gallery, 1–25 May), a group exhibition including Belinda Winkler, Kirsten Coelho, Patsy Hely and Kelly Austin that links ceramic objects and the surrounding space. Kirsten Coelho’s works rarely disappoint; her installation at the JamFactory during the 2018 Adelaide Biennial was phenomenal.
On the other end of the spectrum is US artist and curator Kirsha Kaechele’s proposed solution to invasive species, coupled with an immersive dining experience and series of performances. Eat the problem, on display at the Museum of Old and New Art (13 April–2 September) features Kaechele’s clever interlocking ceramic flatware. And while “crispy-skin cane toad, snake jerky (snerky), feral camel toes, and myna bird parfait, all washed down with a boar’s eye Bloody Mary” might not be the menu for those with timid tastebuds, the exhibition is for anyone with a taste for Mona’s signature complexity and divergent thinking.
The Australian Ceramics Triennale
1 May – 4 May