tarela mariel
Born in La Plata in 1968. Member of the International Academy of Ceramics, Geneva. Professor in the department of Ceramics at the UNLP.
Degrees:
2021 Ph.D. National University of La Plata (UNLP), Argentina, Faculty of Arts (FDA)
2002 Meisterschülerin University of Bremen, Germany. Faculty of Arts and Design (HfK) 2001 M.A. University of Bremen, Germany. Faculty of Arts and Design (HfK)
1992 Master of Fine Arts: Ceramics. National University of La Plata (UNLP) Faculty of Fine Arts. 1991 Professor of Fine Arts: Ceramics National University of La Plata (UNLP) Faculty of Fine Arts. Individual and collective exhibitions since 1983 in Argentina and abroad.Exhibitions (selection)
2021 XV Bienal Internacional de Cerâmica Aveiro 2021
2021 25 Jahre Förderpreis Keramik im Pulverturm. Oldenburg, Germany
2020 AIC- IAC New members exhibition, Guozhong Ceramic Art Museum, China.
2019 Honour guest at the 60th International Ceramic Contest CAAC. Sívori Museum, Buenos Aires, Argentina
2018/2019 Identidad. AAVRA. Centro Cultural Haroldo Conti 2018 Arte y género. Centro Cultural Borges, CABA
2017 Caminos de Fuego. Museo Fra Angélico, UCALP
2015 Construcciones. Brick Museum.Ctibor Foundation, Buenos Aires, Argentina (solo)
Awards (selection): 2018 Grand Prize of Honour 59 Annual International Ceramic Art Argentine Section: Ceramics and Multiplex 2013 Grand Prize of Honour 54 Annual International Ceramic Art Argentine Section: Ceramics and Arts 2012 2nd Award 2011 Grand Prize of Honour 52 Annual International Ceramic Art Argentine Center. Municipal Institute of Ceramics of Avellaneda. 2006 Third prize in the "the modern animal plastic" State of Manufacturing Porcelain Meissen, Saxony, Germany.
Degrees:
2021 Ph.D. National University of La Plata (UNLP), Argentina, Faculty of Arts (FDA)
2002 Meisterschülerin University of Bremen, Germany. Faculty of Arts and Design (HfK) 2001 M.A. University of Bremen, Germany. Faculty of Arts and Design (HfK)
1992 Master of Fine Arts: Ceramics. National University of La Plata (UNLP) Faculty of Fine Arts. 1991 Professor of Fine Arts: Ceramics National University of La Plata (UNLP) Faculty of Fine Arts. Individual and collective exhibitions since 1983 in Argentina and abroad.Exhibitions (selection)
2021 XV Bienal Internacional de Cerâmica Aveiro 2021
2021 25 Jahre Förderpreis Keramik im Pulverturm. Oldenburg, Germany
2020 AIC- IAC New members exhibition, Guozhong Ceramic Art Museum, China.
2019 Honour guest at the 60th International Ceramic Contest CAAC. Sívori Museum, Buenos Aires, Argentina
2018/2019 Identidad. AAVRA. Centro Cultural Haroldo Conti 2018 Arte y género. Centro Cultural Borges, CABA
2017 Caminos de Fuego. Museo Fra Angélico, UCALP
2015 Construcciones. Brick Museum.Ctibor Foundation, Buenos Aires, Argentina (solo)
Awards (selection): 2018 Grand Prize of Honour 59 Annual International Ceramic Art Argentine Section: Ceramics and Multiplex 2013 Grand Prize of Honour 54 Annual International Ceramic Art Argentine Section: Ceramics and Arts 2012 2nd Award 2011 Grand Prize of Honour 52 Annual International Ceramic Art Argentine Center. Municipal Institute of Ceramics of Avellaneda. 2006 Third prize in the "the modern animal plastic" State of Manufacturing Porcelain Meissen, Saxony, Germany.
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Ceramic arts and contemporary artistic practices in Buenos Aires, from 1983 to the present.
Doctoral thesis
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline.
It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline. It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
I started with the analysis of assemblages from internationally well-known local ceramic artists, who had introduced this technique in their ceramic production as a distinctive feature of their work.
I contrast these assemblages to contemporary practices of artists who, without considering themselves ceramists, make use of clay and ceramics to develop their work.
I propose a conceptual framework that considers different issues that have always been present in the history of mankind with clay since their origin, from multiple perspectives. These issues generate debates around its artistic status and its insertion in the porous territories of contemporary arts.
Approaching to a fundamental human activity, as it is ceramic arts, to indagate in its singularity, comprehend more deeply its ethic aesthetic dimension is also to respect its sensitive diversity and to reckon it as an inalienable right.
DE INTRUSIONES Y ASIMILACIONES.
Arte cerámico y prácticas artísticas contemporáneas en Buenos Aires, desde 1983 hasta la actualidad.
Tesis doctoral
El itinerario de esta investigación demuestra porqué el ensamblado es uno de los elementos distintivos de la cerámica artística producida en Buenos Aires a partir de la década de los cincuenta.
La apertura sensible de aquellos artistas de la cerámica que a fines de la década de 1940 comenzaron a involucrarse con otras materialidades propició una profunda transformación del hacer.
Eso no solo provocó una disrupción en sus propios procesos creativos, sino que en general, produjo un enorme desarrollo de esta disciplina. Tuvo también un gran impacto en el público y su nuevo enfoque de estos objetos de arte, diferente del concepto hegemónico existente acerca del arte cerámico.
Estos ensamblados, en sus particulares formas de inclusión, combinación y fusión entre otras diversidades nos permiten postularlos como un vínculo entre las artes cerámicas y la praxis del arte contemporáneo en el entorno local de Buenos Aires, Argentina.
A partir del análisis de ensamblados de ceramistas locales de renombre internacional, que habían introducido esta técnica en su producción cerámica como rasgo distintivo de su obra por un lado y por otro lado de las prácticas contemporáneas de artistas que, sin considerarse ellos mismos ceramistas, hacen uso de la arcilla y la cerámica para desarrollar su trabajo, formulamos en esta investigación un entramado. Cuyo propósito es abordar, desde múltiples perspectivas, diferentes cuestiones que se cruzan y han estado presentes en la historia de nuestro contacto con la arcilla desde su origen, los debates en torno a su condición artística, y su inserción en los territorios porosos de artes contemporáneas.
Acercarse hoy a haceres fundantes de lo humano como lo es el arte cerámico, indagar en su singularidad, comprender más profundamente su concepción ético-estética es también respetar la diversidad sensible y reconocerla como un derecho inalienable.
Ceramic arts and contemporary artistic practices in Buenos Aires, from 1983 to the present.
Doctoral thesis
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline.
It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline. It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
I started with the analysis of assemblages from internationally well-known local ceramic artists, who had introduced this technique in their ceramic production as a distinctive feature of their work.
I contrast these assemblages to contemporary practices of artists who, without considering themselves ceramists, make use of clay and ceramics to develop their work.
I propose a conceptual framework that considers different issues that have always been present in the history of mankind with clay since their origin, from multiple perspectives. These issues generate debates around its artistic status and its insertion in the porous territories of contemporary arts.
Approaching to a fundamental human activity, as it is ceramic arts, to indagate in its singularity, comprehend more deeply its ethic aesthetic dimension is also to respect its sensitive diversity and to reckon it as an inalienable right.
DE INTRUSIONES Y ASIMILACIONES.
Arte cerámico y prácticas artísticas contemporáneas en Buenos Aires, desde 1983 hasta la actualidad.
Tesis doctoral
El itinerario de esta investigación demuestra porqué el ensamblado es uno de los elementos distintivos de la cerámica artística producida en Buenos Aires a partir de la década de los cincuenta.
La apertura sensible de aquellos artistas de la cerámica que a fines de la década de 1940 comenzaron a involucrarse con otras materialidades propició una profunda transformación del hacer.
Eso no solo provocó una disrupción en sus propios procesos creativos, sino que en general, produjo un enorme desarrollo de esta disciplina. Tuvo también un gran impacto en el público y su nuevo enfoque de estos objetos de arte, diferente del concepto hegemónico existente acerca del arte cerámico.
Estos ensamblados, en sus particulares formas de inclusión, combinación y fusión entre otras diversidades nos permiten postularlos como un vínculo entre las artes cerámicas y la praxis del arte contemporáneo en el entorno local de Buenos Aires, Argentina.
A partir del análisis de ensamblados de ceramistas locales de renombre internacional, que habían introducido esta técnica en su producción cerámica como rasgo distintivo de su obra por un lado y por otro lado de las prácticas contemporáneas de artistas que, sin considerarse ellos mismos ceramistas, hacen uso de la arcilla y la cerámica para desarrollar su trabajo, formulamos en esta investigación un entramado. Cuyo propósito es abordar, desde múltiples perspectivas, diferentes cuestiones que se cruzan y han estado presentes en la historia de nuestro contacto con la arcilla desde su origen, los debates en torno a su condición artística, y su inserción en los territorios porosos de artes contemporáneas.
Acercarse hoy a haceres fundantes de lo humano como lo es el arte cerámico, indagar en su singularidad, comprender más profundamente su concepción ético-estética es también respetar la diversidad sensible y reconocerla como un derecho inalienable.
Ceramic arts and contemporary artistic practices in Buenos Aires, from 1983 to the present.
Doctoral thesis
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline.
It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline. It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
I started with the analysis of assemblages from internationally well-known local ceramic artists, who had introduced this technique in their ceramic production as a distinctive feature of their work.
I contrast these assemblages to contemporary practices of artists who, without considering themselves ceramists, make use of clay and ceramics to develop their work.
I propose a conceptual framework that considers different issues that have always been present in the history of mankind with clay since their origin, from multiple perspectives. These issues generate debates around its artistic status and its insertion in the porous territories of contemporary arts.
Approaching to a fundamental human activity, as it is ceramic arts, to indagate in its singularity, comprehend more deeply its ethic aesthetic dimension is also to respect its sensitive diversity and to reckon it as an inalienable right.
DE INTRUSIONES Y ASIMILACIONES.
Arte cerámico y prácticas artísticas contemporáneas en Buenos Aires, desde 1983 hasta la actualidad.
Tesis doctoral
El itinerario de esta investigación demuestra porqué el ensamblado es uno de los elementos distintivos de la cerámica artística producida en Buenos Aires a partir de la década de los cincuenta.
La apertura sensible de aquellos artistas de la cerámica que a fines de la década de 1940 comenzaron a involucrarse con otras materialidades propició una profunda transformación del hacer.
Eso no solo provocó una disrupción en sus propios procesos creativos, sino que en general, produjo un enorme desarrollo de esta disciplina. Tuvo también un gran impacto en el público y su nuevo enfoque de estos objetos de arte, diferente del concepto hegemónico existente acerca del arte cerámico.
Estos ensamblados, en sus particulares formas de inclusión, combinación y fusión entre otras diversidades nos permiten postularlos como un vínculo entre las artes cerámicas y la praxis del arte contemporáneo en el entorno local de Buenos Aires, Argentina.
A partir del análisis de ensamblados de ceramistas locales de renombre internacional, que habían introducido esta técnica en su producción cerámica como rasgo distintivo de su obra por un lado y por otro lado de las prácticas contemporáneas de artistas que, sin considerarse ellos mismos ceramistas, hacen uso de la arcilla y la cerámica para desarrollar su trabajo, formulamos en esta investigación un entramado. Cuyo propósito es abordar, desde múltiples perspectivas, diferentes cuestiones que se cruzan y han estado presentes en la historia de nuestro contacto con la arcilla desde su origen, los debates en torno a su condición artística, y su inserción en los territorios porosos de artes contemporáneas.
Acercarse hoy a haceres fundantes de lo humano como lo es el arte cerámico, indagar en su singularidad, comprender más profundamente su concepción ético-estética es también respetar la diversidad sensible y reconocerla como un derecho inalienable.
Ceramic arts and contemporary artistic practices in Buenos Aires, from 1983 to the present.
Doctoral thesis
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline.
It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
The itinerary of this work demonstrates why the use of assemblage is one of the distinctive elements of artistic ceramics produced in Buenos Aires from the nineteen-fifties onwards.
The sensitive openness of these ceramic artists who in the late nineteen-forties began experimenting with other materials than ceramics led to a profound transformation. That not only sparked a disruption in their creative processes but in general, produced a huge development of this discipline. It had definitively made a vast impact on the public and their new approach to these art objects, different from the previously existing concept of what ceramic arts meant to be.
These assemblages, in their distinctive forms of inclusion, being combined and merged among other diversities, let us propose them as a bond between ceramic arts and contemporary art praxis at the local environment in Buenos Aires, Argentina.
I started with the analysis of assemblages from internationally well-known local ceramic artists, who had introduced this technique in their ceramic production as a distinctive feature of their work.
I contrast these assemblages to contemporary practices of artists who, without considering themselves ceramists, make use of clay and ceramics to develop their work.
I propose a conceptual framework that considers different issues that have always been present in the history of mankind with clay since their origin, from multiple perspectives. These issues generate debates around its artistic status and its insertion in the porous territories of contemporary arts.
Approaching to a fundamental human activity, as it is ceramic arts, to indagate in its singularity, comprehend more deeply its ethic aesthetic dimension is also to respect its sensitive diversity and to reckon it as an inalienable right.
DE INTRUSIONES Y ASIMILACIONES.
Arte cerámico y prácticas artísticas contemporáneas en Buenos Aires, desde 1983 hasta la actualidad.
Tesis doctoral
El itinerario de esta investigación demuestra porqué el ensamblado es uno de los elementos distintivos de la cerámica artística producida en Buenos Aires a partir de la década de los cincuenta.
La apertura sensible de aquellos artistas de la cerámica que a fines de la década de 1940 comenzaron a involucrarse con otras materialidades propició una profunda transformación del hacer.
Eso no solo provocó una disrupción en sus propios procesos creativos, sino que en general, produjo un enorme desarrollo de esta disciplina. Tuvo también un gran impacto en el público y su nuevo enfoque de estos objetos de arte, diferente del concepto hegemónico existente acerca del arte cerámico.
Estos ensamblados, en sus particulares formas de inclusión, combinación y fusión entre otras diversidades nos permiten postularlos como un vínculo entre las artes cerámicas y la praxis del arte contemporáneo en el entorno local de Buenos Aires, Argentina.
A partir del análisis de ensamblados de ceramistas locales de renombre internacional, que habían introducido esta técnica en su producción cerámica como rasgo distintivo de su obra por un lado y por otro lado de las prácticas contemporáneas de artistas que, sin considerarse ellos mismos ceramistas, hacen uso de la arcilla y la cerámica para desarrollar su trabajo, formulamos en esta investigación un entramado. Cuyo propósito es abordar, desde múltiples perspectivas, diferentes cuestiones que se cruzan y han estado presentes en la historia de nuestro contacto con la arcilla desde su origen, los debates en torno a su condición artística, y su inserción en los territorios porosos de artes contemporáneas.
Acercarse hoy a haceres fundantes de lo humano como lo es el arte cerámico, indagar en su singularidad, comprender más profundamente su concepción ético-estética es también respetar la diversidad sensible y reconocerla como un derecho inalienable.