第13回 国際陶磁器展美濃Application Procedures第13回 国際陶磁器展美濃・国際陶磁器コンペティション 作品募集
The 13th International Ceramics Exhibition Mino, Japan

OPEN CALL for The International Ceramics Competition Mino

審査員 Judges
陶芸部門 Ceramic Arts Category

菅谷 富夫

田嶋 悦子

ルパート・フォークナー

クラウディア・カザーリ

趙 惠暎 ( チョ・ヘヨン )Sugaya Tomio

Tashima Etsuko

Rupert Faulkner

Claudia Casali

Cho Hyeyoung

審査員長

The Chief Judge

陶磁器 デザイン部門 Ceramics Design Category

石﨑 泰之

吉田 龍太郎

山田 節子

パトリック・レイモン

横山 いくこIshizaki Yasuyuki

Yoshida Ryutaro

Yamada Setsuko

Patrick Reymond

Yokoyama Ikko

審査員長

The Chief Judge

各審査員のプロフィールは P 10、11 をご 覧下さい。

Please refer to page 10 and 11 for the biographies of each judge.

基本理念

10 , 000 年を越える陶磁器 の 偉大なる系譜 に想う。私 たちは今、陶磁器 の 精神と存在を再度、その 歴史 に学 ばなけ
ればならないのではないか 。 かつて無造作 に産 みだされたもののなかから、美を発見し、精神を与え、名器 は 生まれた。無技巧な碗 ひとつにも、非凡を認 め 、色を感じ、感触を味 わい 、奇異でもなく主張 することもない 形 に宇宙を
観 たこともある。生活者 の 欲求と様式 に合致し、新しい 提案を示 すものは 、時代を超え輝き続ける生命力をもつ 。

21 世紀を迎えた今、大量生産、大量消費、新素材、新技術といった時代 の 荒波 は、陶磁器 の 精神と存在をどの 方向 に導こうとしているのだろう。技術至上 の 前 に、創造力 は 失 われていないか 。生活者を優しく見 つめる温 かい 人間
愛を否定していないか 。光輝 あふれる陶磁器 の 偉大なる未来 に誓う「国際陶磁器展美濃」 は 、高度な 技術 に裏 づけられた創造力と限りない 人間愛 につつまれた未来 への 提案 の 場であり続けることを。

Basic Philosophy

This contest is intended to give us the opportunity to reflect upon the traditions associated with ceramics,
which is a large and vital activity that has extended over the past 10,000 years. It is of great importancethat we renew our knowledge of the spirit and existence of ceramics through a study of its history.
Outstanding pottery represents the discovery of beauty in and application of spirit to objects which wereoriginally produced with no particular consideration of these qualities. Even in the simplest of bowls, we
can recognize something extraordinary, feel the color, experience a profound tactile sensation; shapesthat are neither magnificent nor strongly impressive in themselves can present us with a glimpse of theuniverse. Excellent ceramics that fit right into desires and lifestyles of people yet suggest innovative ideas
hold the vitality that continues to shine timelessly.
Now that we are in the 21 st century, we face an age of mass production, mass consumption, newmaterials, and new technologies. And we question ourselves. In which direction will the strong waves of
our times sweep the spirit and existence of ceramics? Will creative powers be lost before the onslaughtof technological achievement? Will we come to deny the warm humanity that connects and looks gently
over people living everyday lives? We commit ourselves to making the International Ceramics Exhibition
Mino, Japan, the site of a glimpse into a future blessed with creativity, backed by the ultimate in technicalsophistication, and with the unlimited potential of humanity.

ご 挨拶“ 国際陶磁器展美濃 ” は 、陶磁器 のデザイン・文化 の 国際的 な 交流 を 通じて、陶磁器産業 の 発展と文化 の 高揚 に寄与 することを目的 に開催 する “ 国際陶磁器フェスティバル 美濃 ” のメイン催事 で 、 1986 年 に第 1 回を開催して以来、今回で 第 13 回を迎える国際陶磁器コンペティションです 。
本コンペティションは、毎回、世界 の 著名な審査員 によって審査を行っており、様々な国 から応募 があります 。前回

は 世界 64 の 国と地域 から 1 , 292 名、 2 , 435 点 にのぼる応募をいただきました。その 規模と質 の 高さは 、正 に、現代の 世界を代表 するコンペティションであります 。
このコンペティションにおいて選 ばれた 約 200 点 の 優 れた 作品 は 、 2024 年 の 1 0 月から 1 1 月 にかけて、岐阜県
多治見市内 のセラミックパーク MINO で 展示 することとしており、国内 はもとより海外 からも多くのお 客様 をお 迎 え

したいと考えております 。
近年、陶磁器 の 分野 にも、新素材、新技術、領域 のボーダーレス化などによる新 たな発展 が 求 められており、従来にも増した斬新な提案、そしてやきものの 未来を切り拓く作品 の 応募を期待 いたします 。
国際陶磁器フェスティバル 美濃実行委員会

Greeting“The International Ceramics Exhibition Mino, Japan” is the main event of the “International Ceramics Festival
Mino, Japan,” which is held with the aim of supporting the growth of the ceramics industry and the enhancementof culture through the global exchange of ceramics design and culture. This is the 13th international ceramics
competition since the first one was held in 1986.
Each competition is judged by a panel of distinguished judges from around the world, and entries are received
from various countries. In the last competition, we had amazing 2,435 entries from 1,292 applicants coming from64 countries and areas around the world. The scale and high quality made our ceramics competition truly the
representative of the world today.
About 200 excellent works, selected from the competition, will be exhibited at Ceramics Park MINO in Tajimi
City, Gifu Prefecture from October to November 2024. We hope to welcome as many guests as possible to view thecompetition, not only from Japan, but also from all over the world.
Recently, new developments have been required in the ceramics field with new materials, new technologies,
and moves towards more borderless in the domain. We look for entries that suggest us more unconventional ideas
and open the door to the future of the ceramics.
International Ceramics Festival Mino, Japan
Executive Committee

The 13th International Ceramics Competition Mino, Japan | Application Procedures

1Please be sure to read this first
By applying for this competition, you agree to all the terms and conditions stated in this Application Procedures.
Please read the information carefully before applying.
The information in this Application Procedures is subject to change due to unavoidable circumstances.
In such cases, a notice will be posted on the organizer’s website. (https://www.icfmino.com)

Competition Details
1 Theme6 Number of Application“The Future of Ceramics”

Each applicant may submit up to 3 entries in each category.

Entries should go beyond traditional concepts in a way that is

Not allowed to submit the same work in more than one category.

imaginative and inspired – one that opens the door to the future of theceramics.

7 Application Registration Fee

2 Schedule

No registration fee is required to apply.

Details

Time

Application Period

February 1 , 2023 – January 31 , 2024

First Stage: image-based screening(Narrowing down the list of selected works)

Late February, 2024

Second Stage: image-based screening(Determination of selected works)

Early April, 2024

Final Stage: actual pieces screening(Determination of award-winning works)

Early August, 2024 (See page 8 for details.)

Award Ceremony/Preview

October 17, 2024

Opening Ceremony

October 18 , 2024

The 13th International Ceramics Exhibition
Mino, Japan

October 18 , 2024 − November 17, 2024

8 Application Period
Wednesday, February 1, 2023 – Wednesday, January 31, 2024

9 Official Language
This competition will be officially conducted in Japanese/English.

10 Judging
The competition will be judged in the following three stages.
Applicant Information will not be disclosed during the judging process.
However, only necessary age information will be disclosed for theselection of <Sakazaki Shigeo Ceramics Award> mentioned on page 7.

3 Entry Categories( 1 ) Ceramic Arts Category

Stage

A Factory Field (Factory products with practical functions)Company applications

Image
Screening

Judging images of works to narrow down the list to beconsidered for selected works.

Second Stage

Image
Screening

Judging images of works that passed the First Stage todetermine the selected works.

*Works that pass the Second Stage will be selected works.
Passed works should be carried in during the acceptance period for the Final Stage.

(Individuals/groups belonging to that company are also acceptable.)B Studio Field (Individual studio products with practical functions)

Details

First Stage

Ceramic pieces that incorporate creative ideas and techniques.
(2) Ceramics Design Category

Screening
MethodFinal Stage

Individual/group applications

Actual Pieces
Screening

Ju dgin g a c tu al pi e c e s of th e s e l e c te d wo r ks todetermine Grand Prix and other Awards.

*A work may be excluded from the selection process if it falls into

4 Application Requirements

any of the following [Examples of Unselected Works].

➀ Being a work mainly made of ceramics.

➀ If the work is not delivered within the acceptance period.

➁ Produced after the end of the application period of the previous➁ If the received work is damaged when unpacked.

competition. (i.e., after January 11th, 2020)➂ Not selected in other public competitions.

[Examples of Unselected Works]➂ If the received work is different from the registered image of the work.
➃ If the organizer judges that the work is not suitable for the exhibition.

➃ The size, weight, and shape of the work must not interfere with its
transportation or indoor exhibition. The guideline is a floor space of
4m² or less, a height of 4m or less, and a weight of 100kg or less.
(100kg or less per part for an assembled work.)

11 How to Confirm the Screening Results
Please access the application page and check “My Page” for the results ofeach stage.

5 Applicant Qualifications
None. The competition is open to everyone.

6

We cannot respond to inquiries by phone or other means.
(See page 8 for access to the application page.)12 Award

13 Regarding Donations ofGrand Prix and Gold Award-Winning Works

The awards in this competition are as follows.
AwardsPrize Money

Ceramic Arts
Category

Ceramics Design Category
Factory Field

Studio Field

Please note that the Grand Prix and Gold Award-winning works will
be donated to Museum of Modern Ceramic Art, Gifu. These works
will be carefully preserved as part of the museum’s collection together

Grand Prix

5 ,000,000
yen

1 workwith successive Grand prix and Gold Award-winning works, and will

Gold Award

2 ,000,000
yen

1 workretrospective projects or other events.

Silver Award

1 ,000,000
yen

1 work

1 work

1 workBronze Award

500,000
yen

2 works

1 work

1 workSpecialJudges’ Award

100,000yen

5 works

Honorable
Mentions−

be displayed at the International Ceramics Exhibition Mino, Japan

14 Exhibition and Public Viewing ofAward-Winning and Selected WorksAward-winning and selected works will be exhibited in “the 13th

5 works

about 160 -180 selected works excluding the above*The Grand Prix winner will be invited to attend the award ceremony.
(The round-trip transportation and the accommodation fee will beInternational Ceramics Exhibition Mino, Japan” scheduled to be held in
2024. They will also be available to the public in the catalog and on theorganizer’s website.

15 Legal Rights

covered by the organizer.)

Applicants retain all rights, such as copyright and industrial property*Prize money may be subject to taxation.

rights, over their entries. Therefore, applicants are required to take the*One catalog of this exhibition (hereinafter referred to as “catalog”) will beprocedures for registration of design or others at the time of application

presented to each of the award-winning works and the selected works.

if necessary. Also, please be advised that the organizer has the right toexhibit the award-winning and selected works as well as to publish a<Sakazaki Shigeo Ceramics Award>

catalog of them, and right to place them on other printed materials andIn addition to the above awards, in this competition, “Sakazaki Shigeo

websites issued or permitted by the organizer.

Ceramics Award” has been established since the 9th exhibition in 2011 forthe purpose of producing outstanding young artists.
➀ Eligibility: Individual applicants who are 40 years old or younger at thetime of application deadline.
➁ Prize Money: 500,000 Japanese yen each
(1 work from Ceramic Arts Category and 1 work from Ceramics Design
Category)*This prize money is provided by “Sakazaki Shigeo Ceramics Industry
Succession Fund” established by Tajimi Pottery Wholesalers’
Co-operative Association.
Sakazaki Shigeo (1922-2015)
He is the contributor who made the first competition possible in 1986. Hetraveled around the world with members of Mino Ceramic Art Association
to promote the international ceramics competition held in the Minoyaki
production area.

The 13th International Ceramics Competition Mino, Japan | Application Procedures

7《Only for those who have passed the Second Stage》

Application Registration

Carry-in and Return of the Work

1 How to Apply

1 Schedule After Passing the Second Stage

Please follow steps (1 )–(3) below to apply. Applications by post will not
be accepted.
( 1 ) Access the application page
Access the application page from the official website of International

What to do

TimeSending of required documents to those who
passed the Second Stage

Middle to Late April, 2024

Carry-in of the works (overseas)

July 8 – July 12, 2024

Carry-in of the works (domestic)

July 22 – July 28, 2024

Carry-in of the works (by self)

July 27 – July 28, 2024

Final Stage (actual pieces screening)

August 3 – August 4, 2024

Final Stage Results Announcement

Late August, 2024

Returning Works (self-removal/shipping
companies arranged by the applicants)

November 17 (after the exhibition)– November 18, 2024

Returning Works (a shipping company
arranged by the organizer)

Within 6 months after the 13th International
Ceramics Exhibition Mino, Japan is closed.

Ceramics Festival Mino, Japan.
Website address: https://www.icfmino.com

QR Cord:(2) Applicant Information Registration➀ Register e-mail address (Then, you will receive an auto-reply mailfrom the organizer.)➁ Access Applicant Information Registration Page from the URL
provided in the e-mail you received.
➂ Select “Individual/Group Application” or “Company Application.”➃ Enter the name or company name and other necessary information
following the application form.
➄ Attach the applicant’s image data according to the following rules.

Individual/Group Application
Company Application

Image Data

Data Format

Max. Data Capacity

Headshot

JPEG

4MB

Company Logo

PDF

4MB

2 Carry-in of the work
The following documents will be sent to those who passed the Second
Stage in middle to late April 2024.
Please read carefully the document No.3 “Precautions” in the tabel below*Headshots and company logos of award winners and honorable

and carry in works according to following [A] or [B].

mentions will be printed in the catalog of the event.

*If individual equipment such as walls, lighting, decorations, etc. areneeded for the exhibition of works, applicants are required to prepare(3) Registration of Entries➀ Once the Applicant Information has been registered, you willproceed to My Page Menu.
➁ Select the category you wish to apply for.

them by themselves and carry them in.
No.

Note

1

Judging Result

Passing for the Second Stage is notified in writing.

2

Notification ofCarry-in of the work

Guidelines for carry-in of the works.

3

Precautions

Precautions for carry-in of the works.

4

Entry Label

Please make sure to attach it to the specified place of thework. (see “Precautions”)

5

Package Label

Please make sure to attach it to the specified place of the
package. (see “Precautions”)

6

Credit Label(overseas applicants only) Please include it with works.

➂ Fill in the required information such as the title of the work, size,and design concept, etc., according to the application form.

Document Types*As a rule, the Japanese input field will be translated by theorganizer using an automatic translator. However, you may also
enter your own Japanese.
*Design concept should be entered in 800 characters or less.
➃ Attach images of the work according to the following rules.
FormatJPEG format only

Max. Data Capacity

4MB

QuantityThree images: one image taken from the front and two
images taken from different angles.

OthersIn case your work consists of several pieces, make sure toinclude the whole work in one image.

*Image data that does not follow the above rules will not be[A] Domestic Carry-in
Applicants can carry in works either by transportation or by themselves.
Please follow the instructions below.
( 1 ) Burden of Expenses

accepted.

Applicants are responsible for transportation, insurance and all of other➄ To submit more than one entry, repeat steps ➁ to ➃ above.

costs related to the delivery of works.

Each applicant may submit up to 3 entries in each category.

Please refer to “5 Insurance” on page 9 for more information on
insurance.
(2) Acceptance Period of Works

2 Other Notes

Carry-in by transportation: July 22 – July 28, 2024

➀ The language to be entered in the application form must be JapaneseCarry-in by self: July 27 – July 28, 2024

or English only. Applications entered in other languages will not be*The organizer will not be held responsible if the works do not arrive

accepted.

during this period and thus fall under the category of [Examples of➁ Applications must be received by January 31, 2024, 5:00 p.m. Japan

Unselected Works] described on page 6.

time. After that, the application function will be closed. Regardless of(3) Address for Shipping and Carry-in by self

the reason, applications will not be accepted after the deadline. Please

This will be notified in the document No.2 “Notification of Carry-in of

apply well in advance of time.

the work” above.

8

(3) Others[B] Overseas Carry-in

If a work is not selected because it falls into [Examples of Unselected

Works will be accepted by transportation only. Please follow theWorks] described on page 6, we will separately discuss how to return the

instructions below.

work.

( 1 ) Burden of Expenses
Applicants are responsible for transportation, taxes, insurance and allof other costs related to the delivery of works.

4 How to treat works
that are not wished to be returned

However, regarding customs duties and consumption taxes in Japan,
the organizer will apply for the system of re-export duty exemption,( 1 ) In following cases, the organizer will assume that “works

which is handled as follows. (In such cases, the shipping company will

are not wished to be returned”.

be designated by the organizer.)➀ When "I do not want to have the work returned" is selected for the

Handling of Works after Exhibition

Customs Duties andConsumption Taxes

return method on the application form.
➁ If the transportation fee for the return of the work is not paid by thepayment deadline.

➀ When re-exporting for return

Exempted➁ When the work is not re-exported and will be disposed ofExempted➂ When the work is not re-exported and remains in Japan

Taxed Retroactively(*)(*)After the end of the exhibition, the organizer will handle works in(2) For works that the applicants do not wish to return, the organizer willassume that the applicants have abandoned their ownership and handle
them as follows.
➀ The organizer will dispose of them.
➁ No donation, transfer, or other intermediary service will be
provided.

either way of ➀ or ➁. Regarding ➂, only Grand Prix and Gold Award
winning-works will be donated to the museum as a rule, and theorganizer will bear the expense of customs duties and consumption
taxes for them.
Please refer to “5 Insurance” on this page for more information
on insurance.

5 Insurance
The insurance policy for damage to the works, etc. is as follows.
Flow of Works[Carry-in](2) Acceptance Period of Works
July 8, 2024 – July 12, 2024

Applicants

Exhibition[Carry-out]
Applicants

Accept / Display
Finish Packing

The organizer will not be held responsible if the works do not arrive
during this period and thus fall under the category of [Examples ofUnselected Works] described on page 6.
(3) Address for ShippingThis will be notified in the document No.2 “Notification of Carry-in of(*1) (*2)(*3) (*4)(*5)

Applicants

Organizer

Applicants

the work” mentioned on page 8.
Burden of Insurance Fee

3 Return of Works
If the applicants wish to have their works returned, works should be
returned either ➀ by a shipping company arranged by the organizer or ➁by self-removal, or shipping companies arranged by the applicants.

*1 The applicants are responsible for insurance fee until the organizer
receive works. Therefore, the applicants should insure their works if
necessary.
*2 Depending on the extent of the damage of the work, it may fall under
the category of [Examples of Unselected Works] described on page( 1 ) How to Return➀ By a Shipping Company Arranged by the Organizer

When returning works, the transportation fee must be paid in
advance. The organizer will return the works as soon as payment
is confirmed.
➁ By Self-Removal, or by Shipping Companies Arrangedby the Applicants

Period of Carry-out: November 17, 2024 (from the end of theexhibition until 8:00 p.m.) and November 18, 2024 (10:00 a.m.5:00 p.m.)
The organizer will not be involved in any administrative work related
to the shipping companies arranged by the applicants. Applicantsmust complete the procedures themselves.

6. Please make sure to pack works with extreme care.
*3 The organizer is responsible for insurance fee for the works after
receipt, during the exhibition period, and from the end of the exhibition
to the completion of packing. However, the maximum amount of
insurance coverage is 300,000 Japanese yen per work. Therefore,
the value of the work to be stated on the invoice when shipping fromoverseas should be 300,000 Japanese yen or less.
*4 Once works are received, the organizer will take every precaution tokeep them safe. Please note, however, that the organizer will not beheld responsible for any damage etc. due to natural disasters or otherunavoidable circumstances.
*5 The applicants are responsible for insurance fee from the time thepacking is completed until the works are received by the applicants.
Therefore, the applicants should insure their works if necessary.

(2) Burden of Expenses
Applicants are responsible for transportation, taxes, insurance and all ofother costs related to the returning of works.
Please refer to “5. Insurance” on this page for more information on
insurance.

The 13th International Ceramics Competition Mino, Japan | Application Procedures

9

審査員

次の 10 名の審査員で審査を行います。

国名は在住国を示します。

Judges

These 10 experts make up our panel of judges.

The country name indicates their country of residence.

陶芸部門 Ceramic Arts Category
菅谷 富夫

審査員長

日本

Sugaya TomioThe Chief Judge

大阪中之島美術館 館長

Director of Nakanoshima Museum of Art, OsakaJapan

近代デザイン、写真、現代美術

Modern design, Photography, Contemporary Art

1958 年千葉県生まれ 。財団法人滋賀県陶芸 の 森学芸員、大阪市立近代美術館建設
準備室学芸員を経て 2017 年より大阪中之島美術館準備室長。 2019 年初代館長 に就

Born in Chiba in 1958. He served as a curator at the Shigaraki Ceramic Cultural Park任。近代 デザイン、写真、現代美術 の 分野 を担当 する一方、新しい 美術館整備 なら

deputy director of the Nakanoshima Museum of Art, Osaka Planning Office in 2017.

びに運営を統括。館外 においても上記分野 の 批評・評論活動を多数行う。

He became the first director of the museum in 2019. In charge of supervising theand at the Osaka City Museum of Modern Art Planning Office before being appointed

establishment and the operation of the new museum, as well as the fields of modern
design, photography, and contemporary art. Also actively engaged in criticism andcommentary in these fields.

田嶋 悦子

日本

Tashima EtsukoJapan

陶芸家 / 大阪芸術大学 教授

Ceramist / Professor of Osaka University of Arts

陶芸

Ceramic Art

大阪芸術大学工芸学科陶芸専攻卒業 ( 1981 ) 、「土と炎展」岐阜県美術館 ( 1987 ) 、第Graduated from Osaka University of Arts, Crafts Department, Ceramic Course (1981),

9 回咲くやこの 花賞美術部門 ( 1992 ) 、「現代陶芸 の 若き旗手 たち」愛知県陶磁資料館( 1996 ) 、第 15 回タカシマヤ美術賞、「非情 のオブジェ−現代工芸 の 11 人」東京国立近代美術館工芸館 ( 2004 ) 、日本陶磁協会賞 ( 2005 ) 、「田嶋悦子展」岐阜県現代陶芸美術館 ( 2010 ) 他、「田嶋悦子 花咲きぬ 」石川県能登島ガラス美術館 ( 2019 )“Exhibition of Earth and Flames” at The Museum of Fine Arts, Gifu (1987), The 9th
Sakuya-Konohana Award, Art Division (1992), “The expression and the potential incontemporary ceramics” at Aichi Prefectural Ceramic Museum (1996), The 15th
Takashimaya Art Award, “Cool & Light: New Spirit in Craft Making” at National Crafts
Museum (2004), The Japan Ceramic Society Award (2005), “Tashima Etsuko Exhibition”
at Museum of Modern Ceramic Art, Gifu (2010) and more, “Tashima Etsuko Hanasakinu”
at Ishikawa Prefecture, Notojima Glass Art Museum (2019)

ルパート・フォークナー

イギリス

Rupert Faulkner

United Kingdom

ヴィクトリア＆アルバート博物館 名誉研究フェロー

Honorary Senior Research Fellow of Victoria and Albert Museum

日本陶磁史と現代日本の工芸・デザイン

Historical Japanese Ceramics and Contemporary Japanese Craft and Design

横浜で 生まれ 、英国で 教育を受ける。 2021 年 5 月にロンドンのヴィクトリア アンド ア

Born in Yokohama and educated in the UK, he retired in May 2021 as Senior Curator

ルバート博物館 (V&A) の 上級キュレーター ( 日本担当 ) を退職。 1995 年 に開催された

for Japan at the Victoria and Albert Museum (V&A) in London. He curated the「 Japanese Studio Crafts: Tradition and the Avant-Garde 」展 ( 日 本 の 工 芸 :exhibition “Japanese Studio Crafts: Tradition and the Avant-Garde” (1995) and伝統と前衛 ) を監修し、同名 の 書籍を出版。 2005 年 に「国際美術工芸展」 の 日本部

published a book of the same title. He organized the Japanese section of the門を主催し、同博物館 の 最上階 の 陶芸ギャラリーの 改装 に大きな役割を果たす 。また、“International Arts and Crafts exhibition” (2005), after which he played a major role in

同博物館 の 東芝日本ギャラリーの 大幅改修と再展示 が 、主任キュレーターとして最後

the refurbishment of the museum’s top-floor ceramics galleries. His last keyの 主要な事業。

undertaking was the upgrade and redisplay of the V&A’s Toshiba Gallery of JapaneseArt, for which he was lead curator.

クラウディア・カザーリ

イタリア

Claudia Casali

Italy

美術史家 / ファエンツァ国際陶芸美術館 館長

Art Historian / Director of International Museum of Ceramics in Faenza

現代美術、美学、美術評論家

Contemporary Art, Aesthetic, Critic of Art

イタリアのウーディネ 大学 にて文化遺産 の 保存研究で 学位を取得したのち、現代美術

Degree in Preservation of Cultural Heritage, PhD in Contemporary Art and Aestheticsと美学 の 博士号を取得。 2011 年よりファエンツァ国際陶芸美術館 の 館長を務 め 、ファat the University of Studies in Udine. Since 2011, she has been Director of the

エンツァ賞 の 責任者でもある。歴史的雑誌「ファエンツァ」 のディレクター。 ヴェロー

International Museum of Ceramics in Faenza where she is responsible of the Faenza

ナの パラッツォ・フォル ティ主 要 展 示 イベントをコーディネートし、ボ ローニャのPrize. The director of the historic magazine "Faenza". Coordinated the major exhibition

GAM( 現 MAMBO) とも協力して、ボローニャ文化首都 2000 に捧 げる主要展示イベ
ント ( ロムブラ・デッラ・ラギオーネ ) を担当。 2020 年 9 月より、 ICOM イタリア ( エevents of Palazzo Forti in Verona, and also collaborated with the GAM of Bologna

ミリア・ロマーニャ州 ) のコーディネーターを務 める。

趙 惠暎 ( チョ・ヘヨン )(now MAMBO) for the main exhibition event (L'ombra della Ragione) dedicated to
Bologna Capital of Culture 2000. Since September 2020 she has been the coordinatorof ICOM Italy - Emilia Romagna Region.

大韓民国

Cho Hyeyoung

Republic of Korea

韓国美術デザイン協会会長
ロエベ財団クラフトプライズ 専門審査員 ( 2020 年〜 )フリーのアートディレクター・キュレーター

Chairperson of the Korea Association of Art and Design
Loewe Foundation Craft Prize Expert Panel (jury member since 2020)
Independent Art Director-Curator

現代工芸

Contemporary Crafts

国際的なフリーのキュレーター。キュレーションの 実践 において革新的な普及をおこなInternational recognized independent curator personifying the practice of radical

う。名高 い 美術館 や 組織で 活動。スタジオアーティストからキュレーター、アートディ

sharing in her curational practice. She works for acclaimed museums andレクター、管理者へと昇進。韓国工芸デザイン財団 の 事務局長を務 める。文化資産 のorganizations. Began as a studio artist, working her way up to curator, artistic director,

輸入 に注力。2013 年 に京畿世界陶磁ビエンナーレで 国際委員、2015 年 に清州市クラ

and an administrator. Served as Secretary General for KCDF. Committed to importing

フトビエンナーレのアートディレクター、 2016 年〜 2018 年 は V&A 博物館 の 韓仏交流

cultural assets. Worked as International Commissioner in the GICB 2013; as Art

130 周年記念でゲストキュレーターを務 めるなど 多数。西イングランド大学ブリストル

Director for the Cheongju Craft Biennale 2015; Guest Curator of the 130 Years of

校を卒業後、梨花女子大学大学院で 修士号を取得。

10

Korea-France Relations at V&A 2016-2018 and more. Graduated from University of theWest of England, Bristol. Received her master’s degree in Ewha Women’s University.

陶磁器 デザイン部門
石﨑 泰之

Ceramics Design Category

審査員長

日本

Ishizaki Yasuyuki

The Chief Judge

Japan

岐阜県現代陶芸美術館 館長

Director of Museum of Modern Ceramic Art, Gifu

陶磁論・陶芸論

Theory of Ceramics and Ceramic Art

1960 年愛媛県松山市生まれ 。筑波大学芸術専門学群芸術学主専攻 ( 美術史 ) を 1983
年 に卒業後、東京 の 都立高校 で 12 年間教壇 に立 つ 。 1995 年 から山口県 の 専門学芸

Born in Matsuyama City in 1960. After graduating from the University of Tsukuba in

員として県立萩美術館・浦上記念館 の 開設準備 に従事。翌年同館 に赴任し東洋陶磁とof Tokyo for 12 years. From 1995, engaged in preparations for the opening of Hagi

教育普及を担当、 2002 年 からは 研究対象を萩焼 ほか 日本陶磁 の 茶陶 や 近現代陶芸

Uragami Museum as an expert curator of Yamaguchi pref. Transferred to the museumに拡 げ 、併 せて担当。 2021 年 に定年退職し同年 に現職 に就く。

the following year, and was in charge of oriental ceramics and educational

1983 with a major in art history, He worked as a teacher at metropolitan high schools

dissemination. In 2002, expanded his research to include Hagi ware, Japanese tea
ceremony ceramics, and modern and contemporary ceramics. Retired in 2021 andtook his current position.

吉田 龍太郎日本

Yoshida Ryutaro

Japan

Time & Style 代表

CEO of Time & Style

家具、テーブルウェアのインテリアプロダクト

Furniture and tableware interior products

1964 年生まれ 。高校卒業後、単身渡独し、 1990 年ドイツ ・ベルリンにて Prestige
Japan を設立。 1992 年 には日本 に株式会社プレステージジャパンを立ち上 げ 、 1997
年、 Time & Style の 1 号店をオープン。現在、ミラノ、オランダ 、東京、大阪でインBorn in 1964. After graduating from high school, he went to Germany by himself andテリアショップ「Time & Style」を運営。日本のものづくりを通して、現代の生活をベーTime & Style interior stores in Milan, the Netherlands, Tokyo, and Osaka. Throughスとしたプロダクトを企画・製作し、国内外へ 発信。

Japanese craftsmanship, he plans and produces products based on modern life andestablished Prestige Japan in Berlin in 1990. He established Prestige Japan Inc. inJapan in 1992 and opened the first Time & Style store in 1997. Currently, he manages

distributes them domestically and internationally.

山田 節子

日本

Yamada Setsuko

Japan

株式会社トゥイン代表 / デザインコーディネーターCEO of Twin Inc. / Design Coordinator

生活文化 の 提案・企画・推進

Proposal, Planning and Promotion of Culture of Life

1966 年多摩美術大学デザイン科卒業。卒業後、柳宗理先生より薫陶を受ける。1968 年

Graduated from Tama Art University in 1966 with a degree in design. Trained by

松屋銀座とのご 縁 が 生まれ 、以後今日までコーディネーターとして、売場企画・商品

Mr. Yanagi Sori, and associated with Matsuya Ginza in 1968, where she has been

提案・展覧会企画などを手掛ける。一方、各地 の 企業・団体・デザイナー・工芸家・

involved in sales, product proposals and exhibition floor planning as a coordinator

クラフトマン等々、様々な方々との取り組 みの中で「過去を忘れず 自然と共存する生活」

ever since. Continues to make proposals hoping of "living in harmony with nature

を願 い、提案し続ける。2000 年より東京銀座にギャラリー「厨子屋」の開廊を企画し、without forgetting the past" through working with various people, including

現代 の 暮らし・人 の 心 に届く「祈りのかたち」を提案。

companies, organizations, designers, artists and craftsmen in various regions. In 2000,
she planned the gallery "Zushiya" in Ginza, Tokyo, and proposes "forms of prayer" thatreach the hearts of people and their contemporary lifestyles.

パトリック・レイモン

スイスPatrick Reymond

Switzerland

建築家 / デザイナー / アトリエ・オイ 共同創設者

Architect / Designer / Co-founder of atelier oï

建築、インテリアデザイン

Architecture and Interior Design

1962 年スイス生まれ 。 1991 年アルマン・ ルイ、オーレル ・エビと共 にアトリエ・オイを設立。アトリエ・オイは、チームワークや 素材との 親密なアプローチのもと、 30 年

Born in 1962 in Switzerland. With Armand Louis and Aurel Aebi, he founded atelier oï inにわたり、ジャンルの 壁を越え、多分野 にわたる創造性を育 むことに努 めてきた。彼

to dissolve barriers between genres and foster transdisciplinary creativity for 30 years.

らの 直感的で 感情的な 親和性 から生まれたアトリエ・オイは、建築、インテリアデザ

Born of their intuitive and emotional affinity, they work across architecture, interior

イン、プロダクトデザイン、 セノグラフィなど 、分野を超えたコラボレーションにより、design, product design and scenography with a collaboration across disciplines, creating

モノから空間までの 多岐 に渡る活動 の 展開をみせている。自然 や 天然素材 に強 い 関holistic solutions from object to space. They have a strong interest in nature and natural

1991. With a team spirit and an intimate rapport with materials, atelier oï has been striving

心を持ち、それらを変化させることにより情緒的で 職人的なプロジェクトを実現。

materials, and their expertise in transforming these enables them to realize projects that横山 いくこYokoyama Ikko

香港

are both emotional and artisanal.

Hong Kong

M+ リード ･ キュレーター

M+ Lead Curator

近現代デザイン＆クラフト

Modern & Contemporary Design & Craft

香港 にある視覚芸術 の 新美術館 M+ のデザイン＆建築リード・キュレーター。それ 以She is a lead curator of design and architecture at M+, Hong Kong’s new museum for visual

前 はストックホルムを拠点 にコンストファック / スウェーデン国立芸術工芸 デザイン大culture. Prior to that, served as a head of exhibitions at Konstfack University College of Arts,

学 の 展示主任、及 びフリーのキュレーター、ライターとして活動。 2008 年よりデザイ

Crafts and Design in Stockholm and as an independent curator and writer. In 2008, she

ンやアートのリサーチ＆プロダクションを行う NPO 「 Editions in Craft 」を主宰し、

cofounded “Editions in Craft”, a production platform that encourages collaborations among

主 に南アフリカでのプロジェクトに関 わる。 ICAM 国際建築美術館連盟執行役員。文artists, designers, and craftspeople and worked on the projects mainly in South Africa.

化庁文化審議会専門委員。

Currently, serves as an executive committee member of the ICAM International
Confederation of Architectural Museums, expert member of the Council for Cultural Affairs
in the Agency of Cultural Affairs, Government of Japan.

The 13th International Ceramics Competition Mino, Japan | Application Procedures

11

作品募集ポスター等のデザインについて
Design of Call for Entries Posters and other printed materials

やきもの・陶磁器
Ceramics

素材としての土(菊練り)Clay as a material (spiral wedging)

日本の美意識Japanese Aesthetics

岐阜県及び 4市(多治見-瑞浪 -土岐-可児)Gifu Prefecture and 4 cities

釉薬

Glaze

焼成による完成

Completed by firing

美濃焼の可能性

Possibilities of Minoyaki

モーションロゴによる期待感

Creating a sense of anticipation
with the motion logo

メインヴィジュアル
B 2 / A 2 ポスター
Main Visual
陶磁器の図柄が変化することでB2 / A2 Poster

新しい表現への可能性を示唆
The changing ceramic pattern suggests
new possibilities for expression.

白
White

白から銀、銀から金へと変化する釉薬の色はやきものの未来と多様性を表現
Glaze colors changing from white tosilver and silver to gold represent
the future and diversity of ceramic arts.

A 4 フライヤー

銀

作品募集要項金

A4 Flier

Silver

Application Procedures

Gold

至関

JR Takayama Line

美濃太田

岐阜

Gifu Sta.

JR 高山本線

Mino-Ota Sta.

To Seki

Toki Junction

Tajimi Interchange

多治見 IC

Toki Interchange

土岐 IC

土岐 JCT

Chuo Expressway

中央自動車道Komaki Junction

To Osaka

5

太多線

JR Chuo LineJR Taita Line小牧 JCT至大阪

Sumiyoshicho

住吉町

Higashimachi 1

東町 1

土岐市

JR中央本線

R 19

イオンモール土岐見 .
多治mi Sta
ji
Ta

名古屋

Nagoya Sta.

To Tokyo

至東京

Ceramics Park MINO

岐阜県現代陶芸美術館
Museum of Modern
Ceramic Art, Gifu

R 382

東
名
高
速
道
路

セラミックパークMINO

東
海
環
状
自
動
車
道

セラパーク・
現代陶芸美術館口

Inquiries

TOKI
PREMIUM OUTLETS

土岐プレミアム
アウトレットToki-Minami
Tajimi Interchange

土岐南多治見 IC
土岐ヶ丘南

Bus Station
Serapâku/Gendai Tôgei Bizyutsukan Guchi

お問い合 わせTokai Kanjo Expressway

R 248

多治見市美濃焼ミュージアム

Tomei Expressway

JR Tokaido Line

東
海
道
本
線

至瑞浪
To Mizunami

Mino Ceramic Art Museum, Tajimi

5Tokishi Sta.

AEON MALL TOKI

Tokigaoka S.
To Toyota

至豊田

応募に関するお問い合わせは FAX 又は e-mail でお願いします。

Inquiries regarding the application should be sent by fax or

日本語又は英語に限ります。

e-mail in Japanese or English only.

国際陶磁器フェスティバル 美濃実行委員会事務局

Executive Committee Office〒 507- 0801

International Ceramics Festival Mino, Japan

岐阜県多治見市東町 4-2-5 セラミックパーク MINO 内

Ceramics Park MINO 4-2-5 Higashi-machi, Tajimi City,

FAX: 0572-25- 4138

Gifu 507-0801 Japane-mail: info@icfmino.com

FAX: +81-572-25-4138

e-mail: info@icfmino.com