'Setomonogatari* – Ceramic Practice as an Archaeology of the Contemporary Past', Session T14G Breaking the Frame: Art and Archaeology in Practice, World Archaeology Congress 8, Doshisha University, Kyoto, Japan, 01.09.2016.

Research output: Contribution to conferencePaperpeer-review

29 Downloads (Pure)

Abstract

Christopher McHugh argues that his creative ceramic practice has much in common with archaeological approaches to the contemporary past in that it takes the form of a ‘creative materialising intervention’, focusing on marginal or otherwise overlooked aspects of person-object interaction. This will be illustrated by reference to recent artworks made in Seto, Japan, a traditional centre of pottery production. By reanimating old moulds and repurposing discarded sherds, his work explores the site’s changing materiality through time and is itself a proactive contribution to the archaeological record, capturing an enduring glimpse of the past and present of this ceramics community.

*Setomonogatari is a portmanteau formed from two Japanese words – setomono, the traditional term for pottery made in Seto, and monogatari, meaning story.
Original languageEnglish
Publication statusPublished (in print/issue) - 1 Sept 2018
EventWorld Archaeology Congress 8 - Doshisha University, Kyoto, Japan
Duration: 28 Aug 20162 Sept 2016
http://wac8.org/Theme_and_AP.html

Conference

ConferenceWorld Archaeology Congress 8
Country/TerritoryJapan
CityKyoto
Period28/08/162/09/16
Internet address

Keywords

  • seto
  • pottery
  • ceramic
  • Archaeology
  • contemporary
  • past
  • Christopher McHugh
  • Japan

Fingerprint

Dive into the research topics of ''Setomonogatari* – Ceramic Practice as an Archaeology of the Contemporary Past', Session T14G Breaking the Frame: Art and Archaeology in Practice, World Archaeology Congress 8, Doshisha University, Kyoto, Japan, 01.09.2016.'. Together they form a unique fingerprint.

Cite this