German artists in VN collaboration

HA NOI — A series of cultural events will be held in an Open Academy project to encourage Vietnamese and German artists to work in collaboration in different activities.

The project aims to hold workshops, screenings, performances, concerts, actions, lectures and discussions in Ha Noi, Hue and HCM City.

Ten artists and musicians from Berlin will co-operate with Vietnamese artists, musicians and students in research and communication in various locations.

The German artists are interested in Viet Nam and are ready to share and exchange knowledge with Vietnamese artists, said artist Veronika Radulovic, project co-ordinator.

All these artists have created new concepts in modern art showing form, she said.

Radulovic studied visual communication in Bielefeld city, Germany. She worked in Ha Noi from 1993-2005, studying Vietnamese lacquer painting techniques and working as the first German Academic Exchange Service guest lecturer at the Fine Arts universities in Ha Noi, Hue and HCM City.

She curated several exhibitions of Vietnamese arts in Germany in 1996-98 and 2009-10. She wrote a book about Vietnamese art in 2005.

She will hold a two-day workshop about privacy in art, to be held in Ha Noi, Hue and HCM City on November 12, 17 and 29.

Artist Michael Vorfeld, who used to work in Viet Nam, is a visual artist and musician, playing percussion and creating electro-acoustic works. He came to work with Vietnamese artists in 1989. His four-day workshop on experimental music and light installation was held yesterday in Ha Noi and will be held in HCM City's Zero Station, 91A Dinh Tien Hoang Street, Binh Thanh District next Monday.

His concert and light installation will take place on Sunday at 7pm at the Goethe Institute, 56 Nguyen Thai Hoc Street, and in HCM City's Zero Station on November 19

Veronika Witte and Berthold Schneider will give a lecture on scenic sculpture and artists between theatre and art. They work in the fields of sculpture and video.

Many others, including Nezaket Ekici, Juliane Heise, Fuasi Abdul-Khaliq, Stephan Kurr, Andreas Schmid, Maria Vedder, and Danh Vo will be involved in the Open Academy.

The project was kicked off yesterday in Hue and Ha Noi with several workshops on performance art, tourism and travel, community art, experimental music and light installation, video art and scenic sculptures.

Open Academy 2010, held by the Goethe Insitute, is held to encourage a dialogue and exchange between the artists of Viet Nam and Berlin.

All events will be opened for public in Ha Noi's Goethe Institute; Viet Nam University of Fine Arts, 42 Yet Kieu Street; Hue University of Fine Arts, 10 To Ngoc Van Street; University of Fine Arts in HCM City, 5 Phan Dang Luu Street, Binh Thanh District. — VNS

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Experience Delftware Blue Now In The City

Mr. Martinus van den Berg

Martinus van den Berg, an artist of Holland delftware blue, and some other artists in the Netherlands’ traditional industries will come to HCM City to show their talent at the Holland Village Festival slated for October 22-31 at September 23 Park near Ben Thanh Market in District 1, HCM City. On this occasion, the Weekly had an interview with Martinus van den Berg. Excerpts:

Q: Delftware blue was born when Dutch potters started to imitate the technique of Chinese porcelain. Yet after the long history of development, are there any typical characteristics of delftware blue?

A: The story began in China hundreds of years ago. In the 1600s the beautiful porcelain came to Europe and the Netherlands, with the Dutch East India Company. It soon gained popularity and Dutch potters started to imitate the technique. At that time porcelain was an unknown material in the Netherlands. The potters aimed to copy the products with local clay, and they were successful. In the first half of the 17th century, there were several factories in the Netherlands, especially in Rotterdam and Delft.

The earliest tiles were used for flooring, often in churches, wealthy homes or institutional buildings. When some floor tiles turned out to be too delicate for heavy usage, the tiles moved to the walls. Religious pictures and floral motifs were common in this time. There are also different styles of painting, so you can also have polychrome, Gouds Platelet and Jugendsteel.

In order to make delft blue, for each model in a collection, a master mold is made first. This master mold is a precise reproduction of how the piece of pottery should look later. It can be from anything, from a vase or a dog to a more complicated construction such as a pottery violin. A number of negative working molds of these are poured in plaster. These negatives are poured full of clay. This clay cakes onto the edges of the negatives. The rest of the clay is poured out and the molds are opened. The product is polished and sponges off, after which the clay is baked for the first time. This creates the so-called biscuit dried, give this a white porous pottery. This biscuit is ready for further treatment.

What makes it different?

That makes it different from the Chinese porcelain are paintings of the typical Dutch flowers and windmills.

Where can the real delftware blue be found?

Most of real delft blue you can find in Delft. Gouda is an old town in the surrounding of Delft and already acquainted with the manufacture of pottery and clay pipes toot over the decoration of the so called “delftware” adapted it to a Dutch style.

That’s why you could find more pottery in Gouda than in Delft in those days. Still a lot of production of delft blue takes place in Gouda, but the town of Delft gave its name to the world famous delft blue.

But most importantly, you will receive a certificate of authenticity with your piece of delftware, warranted by the factory and sometimes even by the painter. Mass-produced pieces never have a signature, most of the time they only have a stamp with a factory mark.

How can you learnand preserve the technique of delftware bluewhen mass-produced articles are flooding the market?

I took up the art of delft at the age of 14 in my hometown Woerden. In the Netherlands, it takes about five to seven years to become a skilled delft craftsman. I worked at the Regina delftware factory for about 10 years before striking out on my own (Regina was a leading company in the field of delftware in Gouda. It stopped production around 1966). Since then I worked with several companies. Most of my works are special pieces, and no mass production. Each piece is made by hand.

There is no special school for delft blue painters, so you must learn it from the older people in a factory. Hand painted delftware is due to the enormous amount of work and time that goes into one piece, much more expensive than the printed counterpart. This makes it at the same time very valuable and unique, whereas printed delftware is mass-produced and has only entertainment value.

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Experience Delftware Blue Now In The City

Mr. Martinus van den Berg

Martinus van den Berg, an artist of Holland delftware blue, and some other artists in the Netherlands’ traditional industries will come to HCM City to show their talent at the Holland Village Festival slated for October 22-31 at September 23 Park near Ben Thanh Market in District 1, HCM City. On this occasion, the Weekly had an interview with Martinus van den Berg. Excerpts:

Q: Delftware blue was born when Dutch potters started to imitate the technique of Chinese porcelain. Yet after the long history of development, are there any typical characteristics of delftware blue?

A: The story began in China hundreds of years ago. In the 1600s the beautiful porcelain came to Europe and the Netherlands, with the Dutch East India Company. It soon gained popularity and Dutch potters started to imitate the technique. At that time porcelain was an unknown material in the Netherlands. The potters aimed to copy the products with local clay, and they were successful. In the first half of the 17th century, there were several factories in the Netherlands, especially in Rotterdam and Delft.

The earliest tiles were used for flooring, often in churches, wealthy homes or institutional buildings. When some floor tiles turned out to be too delicate for heavy usage, the tiles moved to the walls. Religious pictures and floral motifs were common in this time. There are also different styles of painting, so you can also have polychrome, Gouds Platelet and Jugendsteel.

In order to make delft blue, for each model in a collection, a master mold is made first. This master mold is a precise reproduction of how the piece of pottery should look later. It can be from anything, from a vase or a dog to a more complicated construction such as a pottery violin. A number of negative working molds of these are poured in plaster. These negatives are poured full of clay. This clay cakes onto the edges of the negatives. The rest of the clay is poured out and the molds are opened. The product is polished and sponges off, after which the clay is baked for the first time. This creates the so-called biscuit dried, give this a white porous pottery. This biscuit is ready for further treatment.

What makes it different?

That makes it different from the Chinese porcelain are paintings of the typical Dutch flowers and windmills.

Where can the real delftware blue be found?

Most of real delft blue you can find in Delft. Gouda is an old town in the surrounding of Delft and already acquainted with the manufacture of pottery and clay pipes toot over the decoration of the so called “delftware” adapted it to a Dutch style.

That’s why you could find more pottery in Gouda than in Delft in those days. Still a lot of production of delft blue takes place in Gouda, but the town of Delft gave its name to the world famous delft blue.

But most importantly, you will receive a certificate of authenticity with your piece of delftware, warranted by the factory and sometimes even by the painter. Mass-produced pieces never have a signature, most of the time they only have a stamp with a factory mark.

How can you learnand preserve the technique of delftware bluewhen mass-produced articles are flooding the market?

I took up the art of delft at the age of 14 in my hometown Woerden. In the Netherlands, it takes about five to seven years to become a skilled delft craftsman. I worked at the Regina delftware factory for about 10 years before striking out on my own (Regina was a leading company in the field of delftware in Gouda. It stopped production around 1966). Since then I worked with several companies. Most of my works are special pieces, and no mass production. Each piece is made by hand.

There is no special school for delft blue painters, so you must learn it from the older people in a factory. Hand painted delftware is due to the enormous amount of work and time that goes into one piece, much more expensive than the printed counterpart. This makes it at the same time very valuable and unique, whereas printed delftware is mass-produced and has only entertainment value.

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Experience Delftware Blue Now In The City

Mr. Martinus van den Berg

Martinus van den Berg, an artist of Holland delftware blue, and some other artists in the Netherlands’ traditional industries will come to HCM City to show their talent at the Holland Village Festival slated for October 22-31 at September 23 Park near Ben Thanh Market in District 1, HCM City. On this occasion, the Weekly had an interview with Martinus van den Berg. Excerpts:

Q: Delftware blue was born when Dutch potters started to imitate the technique of Chinese porcelain. Yet after the long history of development, are there any typical characteristics of delftware blue?

A: The story began in China hundreds of years ago. In the 1600s the beautiful porcelain came to Europe and the Netherlands, with the Dutch East India Company. It soon gained popularity and Dutch potters started to imitate the technique. At that time porcelain was an unknown material in the Netherlands. The potters aimed to copy the products with local clay, and they were successful. In the first half of the 17th century, there were several factories in the Netherlands, especially in Rotterdam and Delft.

The earliest tiles were used for flooring, often in churches, wealthy homes or institutional buildings. When some floor tiles turned out to be too delicate for heavy usage, the tiles moved to the walls. Religious pictures and floral motifs were common in this time. There are also different styles of painting, so you can also have polychrome, Gouds Platelet and Jugendsteel.

In order to make delft blue, for each model in a collection, a master mold is made first. This master mold is a precise reproduction of how the piece of pottery should look later. It can be from anything, from a vase or a dog to a more complicated construction such as a pottery violin. A number of negative working molds of these are poured in plaster. These negatives are poured full of clay. This clay cakes onto the edges of the negatives. The rest of the clay is poured out and the molds are opened. The product is polished and sponges off, after which the clay is baked for the first time. This creates the so-called biscuit dried, give this a white porous pottery. This biscuit is ready for further treatment.

What makes it different?

That makes it different from the Chinese porcelain are paintings of the typical Dutch flowers and windmills.

Where can the real delftware blue be found?

Most of real delft blue you can find in Delft. Gouda is an old town in the surrounding of Delft and already acquainted with the manufacture of pottery and clay pipes toot over the decoration of the so called “delftware” adapted it to a Dutch style.

That’s why you could find more pottery in Gouda than in Delft in those days. Still a lot of production of delft blue takes place in Gouda, but the town of Delft gave its name to the world famous delft blue.

But most importantly, you will receive a certificate of authenticity with your piece of delftware, warranted by the factory and sometimes even by the painter. Mass-produced pieces never have a signature, most of the time they only have a stamp with a factory mark.

How can you learnand preserve the technique of delftware bluewhen mass-produced articles are flooding the market?

I took up the art of delft at the age of 14 in my hometown Woerden. In the Netherlands, it takes about five to seven years to become a skilled delft craftsman. I worked at the Regina delftware factory for about 10 years before striking out on my own (Regina was a leading company in the field of delftware in Gouda. It stopped production around 1966). Since then I worked with several companies. Most of my works are special pieces, and no mass production. Each piece is made by hand.

There is no special school for delft blue painters, so you must learn it from the older people in a factory. Hand painted delftware is due to the enormous amount of work and time that goes into one piece, much more expensive than the printed counterpart. This makes it at the same time very valuable and unique, whereas printed delftware is mass-produced and has only entertainment value.

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Renovation project sparks debate over gate

History matters: O Quan Chuong before and after  renovation.— VNA/VNS Photo Hoang Ha

HA NOI — Public outrage stirred when O Quan Chuong, one of Ha Noi's five oldest gates and the former eastern entrance to the capital citadel, was renovated. Agencies in charge of the project were asked to restore the gate to its former shape and colour.

O Quan Chuong stands tall in Ha Noi's Old Quarter with its official name written in ancient Han Chinese characters just below the bell tower.

Once you pass through the gate, the street becomes Hang Chieu. It runs close to the busy Dong Xuan Market before turning into Hang Ma Street in perhaps the most atmospheric part of the capital's Old Quarter.

Many Hanoians have childhood memories of shopping trips along the busy market street and the thrill of passing through the venerable arched gateway.

O Quan Chuong was built in 1749 when the Le dynasty rebuilt the Thang Long Citadel on a war-torn fort destroyed by northern invaders.

The gate breathed life into several trades that later formed the famous streets and alleys surrounding it.

Restoration

Nguyen Doan Tuan, head of the project's management board, said officials from the Ministry of Culture, Sports and Tourism have visited the site and ordered workers to use the correct bricks to restore the gate.

Le Thanh Vinh, head of the Institute for Research and Preservation of Relics, said the new paint for O Quan Chuong is not right yet.

"Experts are trying to find the proper paint colours for the gate. It is very difficult," said Vinh.

Architect and former director of the Ha Noi Department for Architecture and Planning Dao Ngoc Nghiem said it's not easy to determine the original materials used to build the gate because it has been renovated many times.

"The gate's ancient and mossy image has been used in poems, and embedded in every Hanoian's memory so we should respect its former image while restoring it," Nghiem said.

He said before upgrading the gate again, relevant parties should establish a plan and use that to get an appropriate investment so that there will be more money than just the amount provided by a few organisations.

"We should immediately restore the original surrounding landscape and the original colour of the site," Nghiem said.

Architect and deputy chairman of the Viet Nam Architecture Association Nguyen Thuc Hoang agreed with Nghiem: "We should respect the site for its special place in the public's heart by taking immediate measures to bring it back to its former shape and colours." — VNS

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Three-centuries-old Hue tree gets heritage status

THUA THIEN-HUE — A 312-year-old persimmon tree in Hue has been conferred the status of a heritage tree by the Viet Nam Association of Natural Resources and Environment Protection (VANREP).

VANREP also placed a sign saying "Heritage Tree" on the tree in Duong Xuan Ha village in Thuy Xuan Ward at a ceremony on Friday.

The tree, which is 25m tall and has a trunk 1.4m across, was planted in 1698 to mark the border of the Than Van family's house of worship.

It was healthy for centuries until being damaged by a bomb in 1968.

VANREP chairman Nguyen Ngoc Sinh said the association is responsible for protecting all heritage trees in the country.

Earlier last month the association had conferred the status on nine 700-year-old mango trees in Ha Noi's Voi Phuc Temple.

HCM City to launch Sai Gon River tour to promote tourism

HCM CITY — HCM City tourism authorities hope to launch a new tour on the Sai Gon River this year to promote river tourism.

Nguyen Thi Hong, vice chairwoman of the People's Committee, said it will take tourists through Bach Dang Wharf, the Nha Be crossroads, and the Painters' Village in District 2.

The city will co-operate with neighbouring provinces like Dong Nai and Binh Duong to develop tours to those provinces, she added.

Hong, city tourism authorities and their counterparts from the two provinces, and 20 tour operators surveyed routes along the Sai Gon on Friday.

A conference is planned to gather opinions from the industry and tourism experts about promoting river tourism.

The city tourism authorities have been keen for years to develop river tourism but were handicapped by the lack of wharves and other services.

Diamond Place to host Miss Earth's Beauty and Talent Night

HCM CITY — The Beauty and Talent Night, an exclusive event for the Miss Earth competition in Viet Nam, will be held at Diamond Place conference hall in HCM City's Binh Thanh District tomorrow.

This year's Miss Earth contest will take place in Viet Nam, marking the first time that it has been held outside the Philippines.

With the motto Beauty for a Cause, the competition's organisers aim to improve awareness on the environment and eco- sustainability.

The winner will be spokesperson for the Miss Earth Foundation and the UN Environment Programme.

The contest include 90 participants, 20 of whom will be selected to attend the grand finale.

Celebrities Jennifer Pham and Binh Minh will be the presenters and star singers My Tam and Dam Vinh Hung, among others, will perform.

Starting from 5.30pm, the event also features classical concerts and opportunities for guests to socialise with the contestants. After dinner, there will be a talent contest among the selected final 20 participants. — VNS

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Translator receives praise from Russia

Honour: Russian President Dmitry Medvedev (left) pins a Friendship Medal on Vietnamese writer and translator Hoang Thuy Toan for his contributions to promoting friendship and cultural co-operation between Viet Nam and Russia. — VNA/VNS Photo Dinh Lanh

MOSCOW — Russian President Dmitry Medvedev on Thursday presented Vietnamese writer and translator Hoang Thuy Toan with a Friendship Medal at the Kremlin Palace in Moscow.

Another 11 foreign citizens also received the award for boosting ties between their countries and Russia.

At the awards ceremony, Medvedev thanked his foreign guests for promoting Russia's great historical and cultural legacy.

The president said world peace would only come through a greater appreciation and understanding of different nation's cultures.

Toan said the award was in recognition not just of his work as a translator but of all Vietnamese translators and teachers of the Russian language in Viet Nam.

In return, Toan gave Medvedev a book he had translated from Russian into Vietnamese and that was published in Viet Nam in 1987.

Toan is now the director of Viet Nam's East-West Culture-Language Centre. He is also an honourable member of the Russian Writers' Association. — VNS

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