Gabriele Hain 1. Sphären Limoges Porzellan, Transparentglasur 62 x 90 x 82 cm ,- Seevilla

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1 1 Sphären Limoges Porzellan, Transparentglasur 62 x 90 x 82 cm ,- Seevilla

2 2 Sphären, WRW 7/3 Seto Porzellan, Farbkörper, Transparentglasur 124 x 142 x 142 cm ,- Seevilla

3 3 Päonien Seto Porzellan, Farbkörper, Glasur 119 x 145 x 145 cm ,- Seevilla

4 4 Blüte Seto Porzellan, Transparentglasur 35 x 80 x 80 cm ,- Seevilla

5 5 Plisèe Seto Porzellan, Farbkörper, Transparentglasur 66 x 87 x 93 cm ,- Seevilla

6 6 Schwebung grau/schwarz Seto Porzellan, Farbkörper, Transparentglasur 21 x 120 x 116 cm ,- Seevilla

7 7 Schwebung schwarz Seto Porzellan, Farbkörper, Transparentglasur 27 x 120 x 113 cm ,- Seevilla

8 8 Crap Seto Porzellan, Farbkörper, Transparentglasur 43 x 142 x 142 cm ,- Seevilla

9 9 Schnittform, Tajimi Seto Porzellan 44 x 140 x 145 cm ,- Seevilla

10 10 Azaleé Limoges Porzellan, Transparentglasur 95 x 95 x 95 cm ,- Galerie

11 11 Transform, Schale mit blauen Punkten Limoges Porzellan, Farbkörper, Transparentglasur 70 x 112 x 112 cm ,- Galerie

12 12 Becher mit blauem Punkt Limoges Porzellan, Farbkörper, Transparentglasur 100 x 77 x 77 cm ,- Galerie

13 13 Stein Zylinder Seto Porzellan, Transparentglasur 102 x 115 x 115 cm ,- Galerie

14 14 Stein JB Seto Porzellan, Transparentglasur 88 x 79 x 79 cm ,- Galerie

15 15 Stein TB Seto Porzellan, Transparentglasur 60 x 69 x 69 cm ,- Galerie

16 16 Morph Schale Seto Porzellan, Farbkörper, Transparentglasur 38 x 116 x 116 cm ,- Galerie

17 17 Morph Becher Seto Porzellan, Farbkörper, Transparentglasur 68 x 70 x 70 cm ,- Galerie

18 18 Morph TB Seto Porzellan, Farbkörper, Transparentglasur 55 x 70 x 70 cm ,- Galerie

19 1955 geboren in Aigen/OÖ Seit 1991 Werkstatt und Schauraum mit dem Maler Alois Hain in Haslach a. d. Mühl, OÖ 1975 bis 1980 Universität für künstlerische und industrielle Gestaltung, Linz 1980 bis 1981 postgraduate studies in Helsinki 1981 bis 1985 artist-in-residence bei Bing & Grøndahl, Kopenhagen 1984 bis 1987 artist-in-residence bei Contemporary Porcelain, New York Internationaler Porzellan-Workshop KAHLA kreativ, Kahla, Deutschland 2003 artist-in-residence in Seto, Japan 2005 International Ceramic and Glass Art Festival Seto, Japan 2006 artist-in-residence in Tajimi, Japan 2010 Porcelain Another Way, Symposium Walbrzych, Polen 2016 Heritage and Diversity, Hanyang University, Seoul, Republik Korea 2018 Taoxichuan Spring Art Fair, Jingdezhen, China Ausstellungen und Beteiligungen seit 2007 (Auswahl): 2007 Transparenz und Masse, Museum Eckernförde Modern Ceramics from Central Europe, Museum of Modern Ceramic Art, Gifu 2008 Sakazuki, Kosmos on Your Palm, Ichinokura Sakazuki Art Museum, Tajimi Luce³ - Light³, AbOvo Gallery, Todi 2010 Speed, Think Tank Edition 06, München, London, Bergen Sphären, VKB-Galerie, Gmunden (EA) 2011 Porcelana inaczej 2010, Galeria Szkla i Ceramiki, Wroclaw International Ceramic and Glass Art in the 21st Century, Seto City Art Museum, Seto 2012 In Form gegossen, Galerie Handwerk, München Nikamo, Galerie Unart, Villach (EA) außen grau, Neues Museum in Nürnberg 2013 Love Your Cylinder, Puls Contemporary Ceramics, Brüssel Jahre Kunst Vonlanthen, Chur Schwarz/Weiss, Galerie für angewandte Kunst, München 2015 La Lampe Ceramique, Musée de Carouge, Genf 2016 Freunden sei Dank, Grassi Museum, Leipzig 2017 Keramik aus Leidenschaft, NÖDOK, St. Pölten Glas Porzellan Ton Stein, Kunsttrafik, Steyr Porcelain Reflections, House of Porcelain with Blue Blood, Dubi

20 Peter Assmann: SPEED KILLS BUT WHAT? [ ] In contrast my second artist s contribution is presented completely differently. The porcelain shapes by Gabriele Hain focus on materiality. They are so delicate they threaten to shatter with each breeze and in this fragility they naturally oppose any attempts at acceleration above all every type of rapid approach, appropriation, consumption or reception. The artist mostly creates vessels, which are so thin-walled that they can only be viewed or picked up with a great deal of caution, hence without speed. Her art is a matter-of-fact opposition to acceleration, against all that which I previously introduced as symptoms of the Speed Generation. Nevertheless or precisely because these objects have emerged in the Speed Generation the artist is anchored with her objects in a matter-of-fact functioning, global information network. Her audience appreciates her work around the entire globe and she is probably one of the few European artists consistently invited to Japan and her special conceptual designs are developed and presented before a broad, interested public in many symposiums and workshops. Above all her vessel sculptures stand for an all-encompassing concentration, for a contemplative attitude of immersion, a great quiet a quiet that the artist herself strives to live and that she structures as a setting for the creative process of her art as a conscious counter movement to speed. It is completely clear that major quiet and concentration are needed to form these objects, not least of all to bear the frustration as again and again many of these designs flounder due to the sheerness of the porcelain materials and shatter in the kiln. What the finished object represents is a celebration of the material possibilities used with the most extreme concentration: a blatant call to proceed with caution, with due consideration, to pause, to put on the brakes. Perhaps it should also be remarked that the artist s vessels also stand for a globalised intertwining and cooperation between Eastern and Western art concepts and traditions. She uses traditional Japanese forms, but clearly and unequivocally reacts against them. The same goes for a Western perspective. [ ] from: think tank EDITION 06 Dr. Peter Assmann, Linz, Austria, Art Historian Director of the Palazzo Ducale, Mantua Lindenhof Galerie Stiftgasse Millstatt am Millstättersee Tel.: +43 (0) Mail: office@lindenhof-galerie.at