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Biennαle of Contemporαry Kerαmics

@bckeramics

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2nd Biennale of Contemporary Keramics
“Where the Day Starts”
Rhodes, June–October 2026
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Upward Downfall “Heroic poetry effortlessly conquers those who do not fight, and even more so those whom war makes rich. It is only natural.” — Louis-Ferdinand Céline, Journey to the End of the Night Dionisis Kavallieratos, Upward Downfall (Hoplite), 2026, glazed ceramic, 62 x 42 x 22 cm. Courtesy of the artist and Bernier/Eliades Gallery. (@berniereliadesgallery) The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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a day ago
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The Impossible Gardens In The Impossible Gardens, the artist searches for a way to carry living elements across borders. After moving from Beirut to Canada in 2020, she rebuilt a domestic ecology by gathering houseplants she had once kept at home. Over the following years, she took cuttings and rooted them in water through gestures of care. Instead of planting them, she redirected the process to bypass border restrictions: she dipped the cuttings into bluish-white casting slip and fired them. The organic matter disappeared while the ceramic hardened into a fragile skin. What remains is a record of borders, loss, and the desire to build a home from fragments. This act becomes a metaphor for autonomy within systems of control, asking what we are allowed to carry across thresholds: attachments, habits, tenderness, grief. Situated within the Mediterranean’s long history of migration, the project treats ceramics as vessels of memory moving across shores. These fragments stand in for what crossings demand — translation, reduction, and loss. What survives is not the plant but a fragile imprint, inviting reflection on movement, exclusion, and forms of belonging rebuilt from what borders try to erase. Lynn Kodeih (@lynnkodeih), The Impossible Gardens, 2021–2025, earthenware, porcelain, liquid gold, table, 365 x 122 cm. The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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2 days ago
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Stories of Nur Stories of Nur is a vessel made in stoneware with a mixture of lava, painted with engobes and pigments, and glazed at high temperature (1230 °C). Its cocoon-like form is simple yet sculptural, and as viewers engage with it, the painted surface unfolds, inviting reinterpretation and exploration of its layered narratives and symbolism. Created specifically for this biennale, the vessel was painted by the artist, combining motifs inspired by Mediterranean life and mythology. Tülay Kulbay (@tulayandkulbay), Stories of Nur, 2025, stoneware, engobe and glaze, 46 x 18 x 18 cm. The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
3
3 days ago
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Naiad Drift Inspired by Greek and Byzantine mythology, as well as contemporary Australian life, my series Naiad Stories brings together ancient and modern imagery. I use hand-built and slip-cast forms, drawing on motifs such as water serpents, nymphs, and animals, alongside contemporary figures like a girl carrying water. The shapes of my jugs and cups are based on ancient vessels, serving as metaphors for life and our enduring relationship with water. Through these works, the artist connects stories from both cultures, reflecting on how water is central to our fears, hopes, and sense of renewal. My ceramics become a meeting point for Greek, Byzantine, and Australian influences, celebrating our shared heritage and the significance of water in shaping identity and community. Anne Kwasner (@annekwasner), Naiad Drift, 2026, clay, underglaze, glaze, gold lustre, 24 x 40 x 27 cm. The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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7 days ago
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L-akrimaria A ceramic musical instrument composed of idiophones and membranophones, rooted in traditional instruments from the Mediterranean basin. Ceramic bars of varying width, thickness and length define the notes. Along with other vellum and metal surfaces, they constitute a hybrid instrument. Beneath the bars, vessels that serve as resonators bear the shapes of tear bottles (lacrimaria). Lacrima in Latin means tear. L-akram in Palestinian Arabic means the most generous. Vassiliki Kyriaki (@vassiliki_kyriaki), L-akrimaria, 2026, stoneware clays, goatskin, 95 x 220 x 45 cm. The artwork is currently on view at the De Milly Armoury. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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12 days ago
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Mutant #1 The sculpture Mutant #1, a baroque-inspired chandelier, uses ceramic to evoke both sensuality and luxury. But as it is covered in polyurethane foam, mostly used for construction, it suggests a cartoonish tiered cake with dripping “whipped cream.” Enamel colours echo summer skies, while rose motifs appear dipped in black petroleum—a melancholy gesture toward wild nature burned and destroyed in the summer fires. Mutant #1 wavers between flesh, wax, and relic. The black wax exorcises, and through its organic form it functions like a dialogue between two worlds, perhaps between the living and the dead—the goddesses? Its colored chaos becomes an unstable prayer, a dripping heart, a ritual in slow motion. The form unravels in order to be reborn, consumed and resurrected in the same gesture. Here, the aesthetics of ruin become an offering: fragility burns softly, revealing what is lost, what is transformed, and what persists in erasure. Lucile Littot (@lucilexlittot), MUTANT #1, 2025, ceramics, glass and lustre, polyurethane foam, ribbons, fabrics, candles, 45 x 40 x 40 cm. Courtesy of Sealed Earth, Athens. (@sealedearth.art) The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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13 days ago
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Untitled This wall-mounted porcelain sculpture explores the tension between duality and unity. Two elongated red forms stand in close proximity, touching yet remaining distinct. Their smooth, subtly distorted bodies suggest corporeality without becoming literal, existing in a space between the real and the imagined. I work with bodily forms that oscillate between familiarity and abstraction. Lillian Lykiardopoulou (@lillianlykia), Untitled, 2025, porcelain and high-fire clay, 60 x 27 x 17 cm. Courtesy of the artist and Bernier/Eliades Gallery. (@berniereliadesgallery) The artwork is currently on view at the De Milly Armoury. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
1
16 days ago
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Zoë Paul (@zoe_paul_studio), Zargana, 2019, hand-rolled ceramic beads, raw oxides, brass, nylon-coated steel cable, silver, 500 x 140 cm. Tiles for a Cave, 2020, handmade ceramic tiles, raw oxides, magnets, steel, 210 x 490 cm. Eel, 2024, hand-rolled ceramic beads, brass, nylon-coated steel cable, silver, 200 x 300 cm. Zoë Paul is a sculptor and painter based in Athens. She holds an MA in Sculpture from the Royal College of Art, London. Working with clay, thread, and bronze, her practice revisits craft traditions, from prehistoric cave art to Byzantine icons, to explore the lines between private, public, and community life. She has exhibited widely, including solo shows at MoMA (New York), MO CO (Montpellier), Spike Island (Bristol), and La Loge (Brussels). In the installation presented at the Auberge de France, the visitor’s experience unfolds as a sequential spatial and ritual passage. As they ascend the monumental staircase, they encounter a large beaded curtain in the form of an eel (Anguilliforme), which operates as a threshold of entry. The movement continues along the balcony toward the banquet hall, where a marble table bears raw masses of clay. The work is activated through a participatory process: visitors are invited to don a garment and take part in the formation of beads. Supported by Institut Français de Grèce (@institutfrancaisgrece) and the Consulate of France in Rhodes. The artwork is currently on view at the Auberge de France. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️Bill Stamatopoulos (photo 2,3,4,5 ) ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
12
17 days ago
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Quatrefoil The artist’s work is informed by an art historical background and a keen interest in design and objects. For the Biennale of Contemporary Keramics, the artist was invited to propose a project for the Decorative Collection of Ceramics in Rhodes. This has allowed me to engage with the storied traditions of Iznik, Çanakkale, and Kütahya. While these ceramic traditions are distinct in their execution, they are bound by a shared “floral visual vocabulary” that has endured for centuries, profoundly influencing generations of artists. For this project, the artist seeks to absorb this historical visual language—its intricate symmetries and botanical motifs—and allow it to evolve through her own idiosyncratic mannerisms. Atalanti Martinou (@atalanti), Quatrefoil, 2026, hand-painted and glazed earthenware clay, installation of 40 pieces of various dimensions. The artwork is currently on view at the Decorative Collection of Rhodian Ceramics. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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20 days ago
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Menandros Papadopoulos (@papadopoulosmenandros), Nests of Memories, Clays, Minerals, Threads, 30 x 42 cm. Honorary Award presented to Menandros Papadopoulos for his lifelong contribution to ceramic art, as creator and teacher, and for his foundational role in its artistic and technological development in Greece. Menandros Papadopoulos belongs to a generation of makers who have shaped the field of contemporary ceramics in Greece, bridging inherited knowledge with the inquiries of the present. His practice spans sculptural forms, wall-based compositions using the raku technique, as well as decorative and architectural applications, forming a consistent and evolving body of work. The artwork is currently on view at the De Milly Armoury Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️Bill Stamatopoulos (photo 2,3) ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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24 days ago
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Honorary Award presented to Kostas Neofytou for his lifelong contribution to the preservation of Rhodian ceramic tradition, and for his decisive role in its transition into contemporary artistic practice. His presence extends beyond the studio into the public realm, where his monumental works, installed in prominent locations in Rhodes and Athens, form part of the city’s everyday experience—quiet, enduring markers of artistic identity and cultural continuity. Kostas Neofytou, Forms, Stoneware with oxide decoration, fired in a wood kiln, 36 x 16 x 36 cm. The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
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25 days ago
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Ben Noam Wolf (@wolf_noam), Memory Maps, 2023–2026, glazed stoneware, dimensions variable. Ben Noam Wolf is an American artist based in New York and Connecticut. He holds a BFA from the Rhode Island School of Design. Noam has exhibited internationally, with shows at The Journal Gallery, The Breeder Gallery, and the Museo di Capodimonte, alongside performance commissions from MoMA PS1 and Night Gallery. His work has been featured in The New York Times, Artforum, and ARTnews. An installation of ceramic vessels from an ongoing series called Memory Maps—subjective maps with no beginning or end —features glazed drawings wrapping around large, coiled, hand-built pots. The maps, without beginning or end, echo the island's form: space encircled by water, bounded yet brimming with lived experience. Together, these maps tell a story of subjective experience. The installation is currently on view at the De Milly Armoury. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️Bill Stamatopoulos (photo 2,3,4,5) ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes by @bckeramics
5
a month ago
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