Gallery LVS

Cylinder No.2 Rainbow / Cylinder No.4 Construction with Red and Black / Cylinder No.4 Autumn / Cylinder No.5 Super yellow (2017)

Porcelain, 10.5 x 12cm / 14 x 16.5cm / 15 x 18.5 cm / 18 x 22cm

Cylinder No. 3 “Architectural Volume” (2017)

porcelain, 12 x 13.5 cm

16 Angular oval formCube II (2018)

porcelain, 13 x 18 cm

Staggered Oval Form / Oval Form with Wing and Japanese Red (207)

porcelain, 8.5 x 11.5 x 8 cm / 10 x 13 x 8 cm

Blue Wadi (2014)

porcelain, 8 x 53 x 19 cm

Oman (2009)

sand-cast porcelain, 33 x 46 cm

The Shape of Ice 6, 5, 11, 7, 8, 9 (2017)

porcelain, 12 x 11.5 cm (ea)

A Place I Have Never Visit / Cylinder No.0 / Cylinder No. 1 “Red Line” / “Orange and Blue” (2016 / 2018 / 2017 / 2018)

porcelain, 10.5 x 10.5 cm / 8 x 4.5 cm / 8 x 9 cm / 8 x 9 cm

Cylinder No.2 Rainbow / Cylinder No.4 Construction with Red and Black / Cylinder No.4 Autumn / Cylinder No.5 Super yellow (2017)

보딜 만츠 (Bodil Manz), Porcelain, 10.5 x 12cm / 14 x 16.5cm / 15 x 18.5 cm / 18 x 22cm

Cylinder No. 3 “Architectural Volume” (2017)

보딜 만츠 (Bodil Manz), porcelain, 12 x 13.5 cm

16 Angular oval formCube II (2018)

보딜 만츠 (Bodil Manz), porcelain, 13 x 18 cm

Staggered Oval Form / Oval Form with Wing and Japanese Red (207)

보딜 만츠 (Bodil Manz), porcelain, 8.5 x 11.5 x 8 cm / 10 x 13 x 8 cm

Blue Wadi (2014)

보딜 만츠 (Bodil Manz), porcelain, 8 x 53 x 19 cm

Oman (2009)

보딜 만츠 (Bodil Manz), sand-cast porcelain, 33 x 46 cm

The Shape of Ice 6, 5, 11, 7, 8, 9 (2017)

보딜 만츠 (Bodil Manz), porcelain, 12 x 11.5 cm (ea)

A Place I Have Never Visit / Cylinder No.0 / Cylinder No. 1 “Red Line” / “Orange and Blue” (2016 / 2018 / 2017 / 2018)

보딜 만츠 (Bodil Manz), porcelain, 10.5 x 10.5 cm / 8 x 4.5 cm / 8 x 9 cm / 8 x 9 cm

View All Artworks

STATEMENT

KR / EN

보딜 만츠는 도자 예술 역사상, 현대 도자에 가장 많은 영향을 준 작가로 평가받으며, ‘조형예술로서의 도자’ 개념을 확립하고 도자예술에 있어 자유로움의 가치를 일깨웠다. 현재는 유럽을 넘어 도예를 공부하는 한국의 학생과 작가들에게까지 영향력을 발휘하며, 전세계에 보딜 만츠의 계보를 잇는 제자를 양성하고 있다.

보딜 만츠는 80년대 웅장한 규모의 다각형 캐스팅 작업과 90년대 장식적인 요소를 갖춘 투광성 있는 얇은 실린더 작업을 거쳐, 90년대 후반에 더욱 다양해지고 폭 넓어진 작업을 전개하였다. 특히 작품 안팎의 상호작용에 중점을 둔 실린더 형태의 작업과 표면 장식은 기하학이라는 범주로 한정할 수 없는 그 이상의 예술의 경지를 선사한다.
작가는 도자의 가장 기본 형태인 원통형에 실험정신을 가하여, 정형(定刑)적으로 여겨지던 틀을 넘어 자유로움을 실현해 보였다. 보딜 만츠 작업에서의 자유로움은 철저한 연구와 작가가 다루는 재료들의 물성에 대한 고찰 그리고 여러 실험적 태도로 완성된다. 원통형에서 시작된 작품은 입구에 층이 올라가고 옆면에 날개를 더해가는 등, 다각형 간의 조합을 통해 형태의 한계를 끊임없이 넘어 섰으며 기존 패러다임의 변화를 이끌었다.

보딜 만츠의 작업은 사용하자면 채울 수 있고, 오브제로서의 역할을 기대한다면 비울 수 있는 무한의 영역에 도달해 있다. 작품은 꽉 들어찬 연구의 집합체이면서 동시에 시각적으로 투명하고 얇다. 가득 담았으나 가볍고 장식적으로는 많은 상징과 문화, 역사를 녹여 냈음에도 불구하고 단순하고 깔끔하다.
얇고 가벼운 동시에 투광성을 지니는 작업은 뛰어난 감각에 의해 배치된 색색의 요소들과 더불어 빛을 발한다. 이때 작품의 안과 밖은 서로 기대어 상호작용을 하는데, 작업의 바깥쪽 요소와 내부의 요소는 서로 만나 그림자가 되기도 하고, 연결된 모양이 되기도 하며 훌륭한 협업자로서의 역할을 다한다. 외부의 가로선은 사이에 얇은 벽면을 두고 빛을 통해 내측의 세로선과 만나 완성된다. 이러한 선과 도형요소들은 간혹 가볍게 추상에 빗대어 지기도 하지만, 안팎이 노력하여 만들어낸 구성의 결정체라는 것을 깨닫는 순간, 빛을 사이에 두고 일어나는 기호의 결합은 물체 간에 흐르는 감정선으로 치환될 수 있으며 오브제가 주는 생명감을 경험하게 한다.

보딜 만츠 작품 속 이러한 ‘선(line)과 도형요소’는 한편으로 문화를 담고 있는 기호체계에 비유 할 수 있다. 이 체계들은 여러 국가의 문화와 역사적 산물, 자연환경으로부터 영감을 받아 작가의 실험적 접근에 의해 다양한 색을 지니고 녹아 들어 보딜 만츠만의 것으로 소화된다.

선 적인 요소에 대해서는 작품의 타이틀을 통해 크게 두 가지로 나눠서 볼 수 있다.

첫 번째로는 오브제가 어떤 작업에 대한 실험인지 밝히는 것이다. 이는 대각선, 울타리, 선과 사각형, 그늘진 면, 마름모, 가장자리, 검은 구조, 붉은 선 등의 표현들로 파악될 수 있다.

두 번째는 영감을 받은 대상, 장소나 지형에 대한 것이다. 그리스, 가을, 잔물결, 와디 (Wadi, 사막으로 평소에 물이 흐르지 않으나 큰비가 내리면 물이 흐르는 지형) 등이 그렇다. 작가는 도자기가 갖고 있는 유구한 역사와 이를 둘러싼 인류의 생활상, 그리고 덴마크를 비롯한 각국의 문화와 자연으로부터 많은 영감을 받았으며, 그 안에서 자연과 문화의 고유한 기호를 읽어내고 그들이 지닌 선과 면의 요소를 원통형의 형태에 접목시켜왔다.
작품은 투광성을 지닌 얇은 기물이 되기 위해 여러 과정을 거친다. 첫 과정으로는 종이를 접어 내외부의 공간을 구상하고 그 둘 사이에 일어날 상호작용을 계산하는 것이다. 작가는 “비친다는 것은 ‘내외부의 장식이 하나로 인식되는 것’이다” 라고 언급한 바 있다.
흙, 물, 전해액의 비율을 정확히 제어하여, 이 혼합물을 석고틀에 붓고 바로 따라내면 틀의 바닥과 옆면을 따라 얇은 막이 생겨난다. 작품이 틀에서 떨어지면, 꺼내어 900도에서 초벌을 하고 건조 후 흰색의 무광 유약을 발라 1300도 에서 소성한다. 마지막으로 색색의 박에 물을 묻혀 실린더 표면에 부착한 뒤, 색에 따라 달리 반응하는 온도에 맞춰 저온 소성 혹은 1300도의 고온소성을 하여 박의 색이 작품으로 옮겨지도록 한다.

Bodil Manz is accepted as one of the most influential figures in contemporary ceramics in the history of ceramic art. She has developed influential powers beyond Europe, cultivating disciples all over the world. It can also be found from students and artists in Korea.

Bodil has worked on series of magnificent, large, cast polygons in the 1980s and worked on decorative, thin translucent cylinders in the 1990s which able to carry out a more diverse, multiplicity of work types in the late 1990s. In particular, focusing on the interplay between the exterior and interior decoration of the cylinder and the decoration cannot be limited by a word geometric but provides a level of art beyond.
Cylindrical form is accepted as the most basic form. The artist applies her experimental ideas to break out from the very basic ceramic form of a cylinder and expresses freely beyond the set frame. Freedom in Manz’s artwork is the result of a deep study of the property of the material and countless experiment she goes through. Cylindrical from is expended through steps added on the opening, wings to the side and through a combination of multiple polygonal casts. Limitation of forms has continuously overcome and led the change in paradigm.

The works can be filled and can be emptied depending it on purpose of functionality or as an object.
It is a tight accumulation of study and yet visually translucent and light. It is packed yet light. Decorations contain infinite culture symbol, culture and history yet simple and elegant.
The light, translucent work truly shines with the decoration in and out of the cylinder through the exceptional talent of the artist. Decoration in and out of the biscuit interplays with each other. They become a shadow of each other, become a joint form, together they support each other in the best way. With the help of light, Horizontal lines outside interacts with vertical lines over the thin layer. Often this lines and geometrical forms are easily referred to abstraction. However, when realizing the composition is the result of interaction between decoration in and out, it is possible to experience a new phase. Union of the decoration by the light displays to an emotional exchange between objects and can experience the vitality the object expresses.

There are ‘lines’ throughout the surface of the work that can be referred to a symbolic system of culture. These systems are inspired from different cultural, historical elements and natural environment. It meets with experimental ideas of the artist and re-interpreted into the artist’s unique artistic language, shining silently within the artwork.
Artwork title explains the element of line in two.
First, it identifies tests the object has gone through. Such as diagonal, fence, line and square, shady side, broadness, construction with black, red line and more.
Secondly, it tells about the subject, location, and terrain of inspiration, such as Greece, autumn, ripple water, and wadi. The rich history of ceramic culture, human life developed around the culture, culture, and nature of Denmark and other countries have influenced Manz. Elements of line and face from each culture are found from each natural and cultural identities and applied on cylindrical from.

To become the translucent biscuit, it needs to go through multiple processes. The first step is to plan space in and out by folding paper to calculate interaction between the two space. The artist has once mentioned, “transiency is ‘interpreting decorations in and out as one’”.
A proportioned mix of clay, water, and electrolyte is poured into the plaster mold and poured out right away, leaving a thin layer on the sides and bottom of the mold. When the cylinder is loosened from the mold, it is biscuit fired at 900 degrees and dried. After, white glaze is sprayed and fired at 1300 degrees. Lastly, colored foils are dabbed with water onto the cylinder and hi-fired 1300 degree or lower, depending on the property of colored foils. Then the colors are transferred to the body of the cylinder.

BIOGRAPHY

Selected Solo Exhibitions
2018 ‘BODIL MANZ’, Gallery LVS, Seoul, Korea
2018 Bodil Manz, The Ceramist, The Scottish Gallery, Edinburgh, UK
2018 Keramiske Beje, CLAY Keramikmuseum Danmark, Denmark
2017 Höganäs Museum, Sweden
2017 The Scottish Gallery, Edinburgh, UK
2017 Oxford Ceramics Gallery, UK
2016 Johannes Larsen Museum, Kerteminde, Denmark
2015 Galleri Weinberger, Copenhagen, Denmark
2014 Time and Space: Bodil Manz, Ann Linnemann Studio Gallery, Copenhagen, Denmark
2013 Bodil Manz: Exploration of Form, Blackwell The Arts & Crafts House, Bowness-on-Windermere, UK
2012 Galleri Weinberger, Copenhagen, Denmark
2011 Galleri Pagter, Kolding, Denmark
2008 Danish Museum of Art and Design, Copenhagen, Denmark
2006 Galerie Pierre, Paris, France
2006 Scottish Gallery, Edinburgh, Scotland, UK
2006 Garth Clark Gallery, New York, USA
2005 Puls Contemporary Ceramics, Brussels, Belgium
2005 Galerie Besson, London, UK
2004 Galerie Nørby, Copenhagen, Denmark
2003 Galerie b 15, Munich, Germany
2003 Garth Clark Gallery, New York, USA
2003 Galerie Carla Koch, Amsterdam, The Netherlands
2002 Puls Contemporary Ceramics, Brussels, Belgium
2002 Galerie Carla Koch, Amsterdam, The Netherlands
2001 Garth Clark Gallery, New York, USA
2000 Galerie Carla Koch, Amsterdam, The Netherlands
2000 Galerie Nørby, Copenhagen, Denmark
1998 Galerie Besson, London
1998 Garth Clark Gallery, New York, USA
1998 Galerie Carla Koch, Amsterdam, The Netherlands
1995 Nederlands Keramiekmuseum, Leeuwarden, The Netherlands
195 Garth Clark Gallery, New York, USA
1984 Lidköpings Konsthall, Lidköping, Sweden
1984 Facet, Bing & Grøndahl, Copenhagen
1971 Maison du Danemark, Paris, France

Selected Group Exhibitions
2018 Clay Museum, Middelfart (Keramiske Veje), Denmark
2017 Adrian Sassoon, Pavilion of Art & Design London, London, UK
2016 Nødvendighed, Johannes Larsen Museet, Kerteminde, Denmark
2015 Keramiske Veje, Sophienholm, Denmark
2014 Adrian Sassoon, COLLECT, Saatchi Gallery, London, UK
2013 Adrian Sassoon, COLLECT, Saatchi Gallery, London, UK
2012 Adrian Sassoon, Masterpiece London, The Royal Hospital Chelsea, London, UK
2012 Clare Beck at Adrian Sassoon, COLLECT, Saatchi Gallery, London, UK
2012 Cuts and Interventions, Copenhagen Ceramics, Frederiksberg, Denmark
2011 Puls Contemporary Ceramics, Brussels, Belgium
2011 Garth Clark, SOFA Fair, Sante Fe, USA
2010 Gudhjem Museum, Bornholm, Denmark
2010 Galerie Helen Poiree, Paris, France
2010 Carla Koch, PAN Amsterdam, The Netherlands
2009 Keramiske Veje, Sophienholm, Copenhagen, Denmark
2008 Design Museum, Denmark
2007 The 4th World Ceramic Biennale, Korea
2007 Ceramics from Denmark, Bayerischer Kunstgewerbe-Verein, Munich, Germany
2007 Transparenz und Masse, Museum Eckernförde, Germany
2007 The 7th International Ceramics Competition, Mino, Japan
2007 The 3rd World Ceramic Biennale, Korea
2007 Biennale Européenne de Céramique Contemporaine, Troyes, France
2006 Neue Keramik, Handwerkform, Hanover, Germany
2006 To Hold, Farmleigh, Dublin, Ireland
2005 Transformations: The Language of Crafts, National Gallery of Australia, Canberra, Australia
2005 The 7th International Ceramics Competition, Mino, Japan
2005 The 3rd World Ceramic Biennale, Korea
2005 Biennale Européenne de Céramique Contemporaine, Troyes, France
2004 4th Ceramic Triennial, Trapholt, Denmark
2004 Keramiske Veje, Den Frie, Copenhagen, Denmark
2004 Galerie Pierre, Paris, France
2004 Museum of Modern Art, Tokyo, Japan
2004 From the Kilns of Denmark, touring USA
2003 The International Invitational Exhibition, Korea
2003 Crafts Now, Kanazawa, Japan
2003 Museum of Modern Ceramic Art, Gifu, Japan
2003 2nd World Ceramic Biennale, Korea
2002 Galerie Pagter, Kolding, Denmark
2002 From the Kilns of Denmark, touring Paris, Berlin & USA
2002 Campio-Masterpieces, Palazzo Bricherasio, Turin, Italy
2002 The Gardiner Museum of Ceramic Art, Toronto, Canada
2002 Biennale de la Céramique, Andenne, Belgium
2002 The 6th International Ceramics Competition, Mino, Japan
2001 Galerie le Vieux-Bourg, Switzerland
2001 Sigtuna Museum, Sigtuna, Sweden
2001 Poetics of Clay, Philadelphia Art Alliance, Philadelphia, USA
2001 Pakhuset, Nykøbing, Denmark
2000 The Danish Wave, China
2000 Form and Glasur, Hoechst, Germany
2000 The Sixth Taiwan Golden Ceramic Award Exhibition, Taiwan
1999 Living Design – Dialogue, touring Klaipeda, Riga, Tallinn, Estonia
1999 (UN) Limited, Craft Council, London
1999 Artist from the World, Museo Internazionale delle Ceramiche, Faenza, Italy
1999 Form-Transformation 1966-99, Kunst Industri Museet, Copenhagen, Denmark
1999 Keramik aus Dänemark, Galerie Handwerk, Munich, Germany
1998 Triennale de Porcelaine, Nyon, Switzerland
1998 Galerie für Englische Keramik, Marianne Heller, Germany
1998 Sybaris Gallery, Oaklahoma, USA
1997 Museum voor Sierkunst, Gent, Belgium
1996 Yufuku Gallery of Fine Arts, Tokyo, Japan
1996 Bewegung Europäische Keramik 96, Keramion, Germany
1996 Form und Glasur, Hoechst, Tyskland, Denmark
1996 Das Andere Gefäss, Saarländisches Künstlerhaus, Saarbrücken, Denmark
1995 Edinburgh City Art Centre, Edinburgh, Scotland
1995 Gallery Nørby, Copenhagen, Denmark
1994 1st Ceramic Triennial, Trapholt, Denmark
1994 Tapei Fine Arts Museum, Taipei, Taiwan
1993 Keramik Europas, Keramikmuseum, Westerwald, Germany
1992 Kunstindustrimuseet, Helsinki, Finland
1992 Triennale de Porcelaine, Nyon, Switzerland
1991 Museum Het Princessehof, Leeuwarden, The Netherlands
1990 Gallery Amphora & Singer Museum, Oosterbeek, The Netherlands
1989 Scandinavian Ceramics and Glass, Victoria and Albert Museum, London, UK
1989 Röhsska Museet, Gothenberg, Sweden
1987 Boymans van Beuningen Stichtung Museum, Rotterdam, The Netherlands
1987 The Seibu Art Forum, Tokyo, Japan
1981 Museum of Art, Pennsylvania State University, USA
1980 Galerie de Proen, Amsterdam, The Netherlands
1977 The Danish Museum of Decorative Art, Copenhagen, Denmark
1970 Städtlisches Museum, Wiesbaden, Germany
1969 Den Permanente, Copenhagen, Denmark
1966 Mexico City, Mexico

Public Collections
UK
Victoria and Albert Museum, London

DENMARK
The Danish Museum of Art & Design, Copenhagen
The Danish Arts Foundation, Copenhagen
The New Carlsberg Foundation
Trapholt Museum of Modern Art and Design, Kolding

SWEDEN
Rohsska Museum of Design and Craft, Gothenberg
Nationalmuseum, Stockholm

FRANCE
Manufacture nationale de Sèvres, Sèvres
Musée des Arts Décoratifs, Paris

GERMANY
Neue Pinakothek, Munich
Museum für Kunst und Gewerbe(MKG), Hamburg
Keramikmuseum Westerwald, Höhr-Grenzhausen
Museum Keramion, Frechen

NEDERLAND
Museum Boijmans Van Beuningen, Rotterdam
Keramiekmuseum Princessehof, Leewarden

ISRAEL
The Israel Museum, Jerusalem

CANADA
Musée des Arts Décoratifs de Montreal, Québec
Gardiner Museum, Toronto

USA
Palmer Museum of Art, Pennsylvania
Los Angeles County Museum of Art, Los Angeles
Seattle Art Museum, Seattle
The Houston Museum of Fine Arts, Texas
Everson Museum of Art, New York
The Newark Museum, New Jersey
The Mint Museum of Craft and Design, North Carolina
Spencer Museum of Art, Kansas
Detroit Institute of Art, Michigan

KOREA

Amore Pacific Museum of Art, Seoul
Korean Craft Museum, Chungju
Korea Ceramic Foundation, Icheon

JAPAN
Museum of Modern Ceramic Art, Gifu

TAIWAN
Taipei Fine Arts Museum, Taipei

Selected Grants and Awards
2010 Danmark Nationalbanks Hæderslegat
2007 Grand Prize, The 4th World Ceramic Biennial, Korea
2005 Honourable mention, The 3rd World Ceramic Biennial, Korea
2005 Honourable mention, The 7th International Ceramic Competition, Mino, Japan
2003 Knud V. Engelhardt’s Memorial Grant 2003
2003 Jury’s prize, The 2nd World Ceramic Biennial, Korea
2003 Bayerischer State Prize, Germany
2002 Artist of the Year, West Zeeland, Denmark
2001 – 2002 Anna Klindt Sørensens 2 year grant
2001 Honourable mention, The 6th International Ceramic Competition, Mino, Japan
2001 Special prize, The 1st World Ceramic Biennial, Korea
2001 The Thorval Bindesboell Medal
2000 C.L. Davids Legat
2000 Carl Jacobsen’s Travel Grant, The New Carlsberg Foundation
2000 – 2002 Brygger Carl Jacobsens Rejselegat
1998 Statens Kunstfonds livsvarige hædersydelse
1998 Mino Japan, Gold Medal
1997 Ellen and Kund Dahlhoff Larsen’s Foundation
1997 Merchant L.F. Foght’s Foundation Kutani
1997 International Decorative Ceramic Competition Award of Merit, Japan
1997 Krapina prize, 5th World Triennial Exhibition of Small Ceramics, Zagreb, Croatia
1994-1995 The Danish Arts Foundation, 3 year grant
1993 Kunsthåndværkerrådets Årspris
1993 Sølvsmed Kay Bojesen og hustru Erna Bojesens Mindelegat
1985 Ole Haslund Kunstnerlegat
1978 Ole Haslund Kunstnerlegat
1972 The Royal Copenhagen Porcelain
1972 2nd prize Bodil Manz -5 – Awards, Manufactory, Jubilee Competition
1969 Den Permanente, Ceramic Competition, 1st prize The Cowi Foundation Handelsbanken Jubilee grant
1968 The Danish Arts Foundation
1968 The Danish National Bank’s Jubilee Foundation
1968 K.A. Larssen and Mrs. L.M. Larssen’s Grant Manufacturer and Mrs. Svend Aage
1968 Rasmussen’s Memorial Grant
1968 Painting Contractor Achen’s Grant21