↘ The call for artists to the 2025 ceramic brussels art prize has closed with more than 300 applications!
ceramic brussels art prize
Initiated by ceramic brussels, the art prize aims to highlight the vitality and diversity of contemporary ceramic practice and to support contemporary creation.
The call for artists is open to art students and/or young artists living in Europe who are not represented by a gallery, with no age limit. It is open to artists with less than 10 years' practice and research in the field of ceramics.
the group show
The group show features 10 laureates in an exhibition curated by Jean-Marc Dimanche, during ceramic brussels. Each artist and a selection of his.her.their pieces is introduced to the public within a setup specifically elaborated.
The exhibition is developed to be accessible and visible to everyone: located at the entrance, it is free and open for the public to discover.
laureates
Asya Marakulina (ru)
Ten years into her art practice, Asya Marakulina likes to combine materials: installations, textiles, metal sculptures, graphics. Recently into ceramics and its endless possibilities, the artist developed series trying to understand how we influence each other and how we mold.
I notice poetic and aesthetic links of phenomena and go through my personal experience carefully observing myself and the world around me: the city, people, nature. Looking to find a visual language to express these links using various media, the artist creates temporal spaces that balance between the inner world of feelings and the real world of objects.
Béatrice Guilleman (fr)
Béatrice Guilleman studied sculpture at the Beaux-arts, then ceramics at La Cambre, before moving on to the European workshops Kult XL. She draws inspiration from architectural forms and ornamentation. From Brussels to Greece, via Brittany, the landscapes that surround her are a source of discovery and new forms.
Camilla Hanney (ie)
Graduate of Goldsmiths University (Masters of Fine Art) and Dun Laoghaire Institute of Art, Design and Technology (Ireland), Camilla Hanney’s work incorporates ceramics, sculpture and installation. The artist's main themes are time, sexuality, cultural identity and the corporeal, often referencing the body in both humorous and challenging ways. By materialising the familiar in an unfamiliar context her work stimulates one’s ability to rethink their relationship towards objects, threatening the natural order and toying with the tensions that lie between beauty and repulsion, curiosity and discomfort, desire and disgust.
Eléonore Griveau (fr)
Eleonore Griveau studied in France then in Norway where she lives. Her work reflects on a posthumanist era, displaying how body perception and materials are evolving alongside technology. Mixing ceramics and electronics, I create interactive installations that serve as reflections of human impact on contemporary ecosystems.
A recent installation, on Lascaux cave closed due to visitors' exhalations causing damage, captures visitors' breath and translated them into aggressive vibrations, causing the ceramic layers to slowly crumble. The projects combines organic and synthetic elements, integrating electronics into interactive ceramics installations to explore the evolving relationship between nature and technology.
Léonore Chastagner (fr)
After studying art history at the École du Louvre and the Sorbonne, and then sculpture at New York University, Léonore developed a vocabulary of figurative forms centred on notions of intimacy, interiority and tenderness. She leaves clay untouched and adopts a craft-based approach, oscillating between the classical and the old-fashioned to address the notion of expectation linked to the feminine. ceramics is the material of archaeological digs, of proof, of trace, of permanence, it allows me to inscribe the everyday in the long term.The artist combines feminism with art history, artefacts and the museum setting. She also integrates personal elements, echoing the practice of diaries and miniatures historically associated with women.
Luna-Isola Bersanetti (fr)
During her studies at La Cambre, Luna-Isola Bersanetti incorporated textiles into her designs in order to add flexibility to ceramics. She then spent six months at ALBA Beirut, in the fashion design department, to acquire technical skills in sewing, weaving and knitting. Attracted by live art, the incorporation of textiles allowed me to activate my creations through performances. The artist puts the emphasis on transmission, both in the reinterpretation of history and legends and in the enhancement of skills historically dominated by women.
Maëlle Dufour (be)
After graduating in sculpture at La Cambre, Maëlle became interested in ceramics following an internship with Sofi van Saltbommel, and formalised her work with a Hisk post-master's degree. She questions progress through all eras and explores traces of decadence and possible hope. My work also deals with the destruction of ecosystems by man, as in the series of works ‘Jusqu'ici tout va bien’, 2022. In these installations, each piece is gradually subjected to programmed corrosion. Other installations deal with the freedom of seeds and microbial ecosystems as the primary source of life on earth.
Pascale Robert (fr)
Somewhere between tradition and parody, Pascale Robert became interested in ceramics after studying at the Arts Décoratifs in Strasbourg, followed by a residency in Marseille. The material has become an integral part of her practice, materialising what the artist represented on canvas: she combines the culture of the party with the toil of the studio, using historical references to produce a joyful, playful work. The whole thing is based on photos of the people around her, friends enjoying a meal without constraints or protocol. I like to tease out folklore and culinary particularities. My catches are sometimes undignified, pareidolical, suggestive, grotesque, often irreverent. Underneath the nobility of the material, they gently offend good taste.
Pia Mougeot (fr)
As a student at HEAR and Adbk Munich, ceramics became an obvious choice for Pia Mougeot and her need for movement. Between practice and encounter, working together resonates and stimulates the artist. Pia's sculptures tell the story of affect, betting that reality is transformed by the way we tell it. The result of an obsession, or the enigmatic recycling of symbols, anecdotes and poetry, the sculptures are initially intuitive and free, like little theatres. Feminist issues dominate my narratives, with a Mediterranean tone and a practice of enamelling that is reminiscent of the ceramic culture of the south of France, where I grew up and which is not afraid of bad taste.
Raphaël Emine (fr)
Teacher and ceramics workshop manager, Raphaël is also a ceramic 3D printing instructor. Inspired by his reading, his practice breaks down the barriers between theoretical knowledge and technical practices by creating terracotta cases designed to house organic life forms. By combining tradition, technology and the natural sciences, the ceramics reflect on biology, while at the same time leading to speculative and dreamlike developments that position my practice at the heart of the paradigms of the contemporary world. The sculptures can be traversed by fluids, inhabited by plants or colonised by insects and bacteria.
jury
A jury of renowned professionals is in charge of selecting the laureates.
Anaïs Sandra Carion (be)
Managing Director MAD Brussels
After many years in the private industry, from the online design & architecture magazine Designspeaking to the french house Hermès where she stayed 8 years, Anaïs Sandra Carion decided to use her contacts and experience to promote the Brussels fashion & design scene, both locally & internationally.
MAD Brussels aims to inspire, connect & guide the creatives of the fashion and design industry. The center, located downtown of the European capital, hosts seminars and events in order to accompagny the local designers & companies, as well as in-house curated exhibitions. In addition, MAD Brussels also has an incubator with ten studios where the emphasis is on innovation and durability.
Born in Brussels, Anaïs Sandra Carion grew up in Italy where she studied fashion PR at Accademia del Lusso in Milan, then communication at ESCG in Brussels, Belgium
She worked as Belgian correspondent for Designspeaking, an Italian architecture & design online magazine, during her studies in Brussels, then from 2015 until 2022 at Hermès Benelux Nordics in different roles, from art windows officer to area communication manager for 3 countries
Since 2023 Anaïs Sandra Carion is the Managing Director at MAD Brussels
Axelle de Buffévent (fr)
Global Culture & Creative Director, Pernod Ricard
Axelle de Buffévent is Pernod Ricard Global Culture & Creative Director since September 2023. She initiates and manages collaborations with internationally renowned and up-and-coming designers, artists and makers. As part of her former role at MMPJ, Axelle was behind the creation of the Martell Corporate Foundation, as well as Perrier-Jouët’s partnership with Design Miami, DesignArt Tokyo, or the London Design Festival.
A keen explorer of the creative world, Axelle’s mission is to culturally and creatively elevate brands inall their expressions - from graphic identities, products, packaging, limited editions, advertising or points of sale, to events and experiences, including their heritage dimensions.
Axelle comes from a creative background, with a degree in Scenography, Interior Architecture andProduct Design from ESAG Met of Penninghen. She then went on to work as Creative Director for tableware houses in France and Europe, American and Japanese cosmetics brands, and designer perfume houses.
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Jean-Marc Dimanche (fr)
Artistic advisor, General Commissioner of the Biennale De Mains De Maitres Luxembourg, ceramic brussels Co-director
After creating and directing the design agency V.I.T.R.I.O.L. for 20 years, he founded in 2008, with Florence Guillier-Bernard, Maison Parisienne, a traveling gallery dedicated to French crafts, in the framework of which he organised more than fifty exhibitions in various European capitals.
At the beginning of 2016, he was called as advisor to H.R.H. the Grand Duchess Heiress of Luxembourg, and worked with her on the implementation of the biennial De Mains De Maîtres, of which he is now general commissioner.
In parallel, he directed, between March 2019, the date of its opening in Brussels, and June 2022, ELEVEN STEENS, a private space dedicated to Art and Matter, open to all areas of creation, be it the plastic arts, design, crafts, architecture or fashion.
Independent curator, he accompanies numerous exhibitions in the field of crafts and contemporary art, whether in France, Belgium and Luxembourg. For the past five years he has been a contributor to the Revue de la Céramique et du Verre and has contributed to numerous catalogues and artists' books.
Vincent Lieber (ch)
Curator of the Musée historique et des porcelaines de Nyon
Vincent Lieber studied Art History, Modern Greek and Classical Archaeology at the University of Geneva. In 1996 he was appointed curator of the Musée historique et des porcelaines, in Nyon (since renamed Château de Nyon), a museum founded in 1860 and housed since 1881 within the walls of the castle, which owes its current form to the years 1570-1580.
The museum has organised more than sixty exhibitions, many of which have focused on ceramics, both ancient and contemporary, as well as exhibitions that combine the ancient and the contemporary.
Vittoria Matarrese
Directrice, Bally Foundation
Trained as an architect and with a transdisciplinary career, Vittoria Matarrese was successively head of international communications for the Mostra del Cinema at the Venice Biennale (2001-2005), editor-in-chief and producer of cinema programs for TV5 Monde (2005-2008), artistic director of Villa Medici in Rome (2008-2010), then director of the performing arts department and exhibition curator at the Palais de Tokyo between 2010 and 2022.
With the curatorial team of the Palais de Tokyo, she was curator of “Nuit Blanche Paris” (2016), the “Biennale de Lyon” (2019), and the exhibition “Anticorps” (2019). With Emma Lavigne, she was co-curator of “Natures Mortes”, carte blanche to Anne Imhof at the Palais de Tokyo (2020).
Since November 2022 she has been curator and director of the Bally Foundation in Lugano, Switzerland.
Created in 2006, Bally Foundation extends and amplifies the brand's desire, since its birth in 1851, to collaborate with creative and visionary talents and to push the boundaries of research and innovation beyond the field of fashion. This commitment to openness and staying in step with the times continues in 2023 with the opening of the Foundation's first-ever headquarters in Lugano. Over 1,000 m2 renovated to host a rich program, dedicated to international contemporary art in all its forms.
awards
Thanks to institutional partners, additional awards are attributed to a selection of laureates and unveiled on the opening day, the 23rd of jan. at 11:45, in the talk area.
The jury prize
a solo show during ceramic brussels 2026
The jury of the ceramic brussels art prize 2025 will elect and announce one artist among the 10 laureates presented in the group show on the first public day of the fair.
The artist will be given the chance to present his/her/their work in a solo show during the 2026 edition of ceramic brussels.
Ambassade de France en Belgique (fr)
a monograph devoted to the artist work
The elected laureate will have the benefit of a monograph on his work, supported by the French Embassy in Brussels and produced in collaboration with the young publishing house R.S.V.P.
With this support, the artist has an important tool for presenting and disseminating his work.
Les Ateliers dans la Forêt (fr)
a residency prize "Les Ateliers dans la forêt"
A new artistic residency in France, in the heart of the Orléans forest in the Loiret region. A space for collective creation centred on nature, to research, exchange, change scale and draw inspiration from a large park surrounded by 10 hectares of forest. It's a space for dialogue between different skills (ceramics, painting, cooking, design, writing, etc.).
The artist will benefit from a 2-month research and creation residency in 2025, including (in particular) accommodation on site and payment of transport costs to the place of residency (located in the Loiret region, 1h30 from Paris. He/she will have access to a fully equipped workshop, raw materials, cooking and, if necessary, a vehicle.
Ceramic Art Andenne (be)
an exhibition as part of the ‘Ceramic Art Andenne’ triennial in May 2025
Ceramic Art Andenne was born of the desire to perpetuate an initiative linked to the town's history of ceramics. Created in 1988, the event attracted a public of connoisseurs and renowned artists.
It became the Ceramic Biennial in 1992, supported by the Centre Culturel d'Andenne, then Ceramic Art Andenne in 2018, and is fully dedicated to giving visibility to the art of ceramics. It's a great place to talk about, discover, touch, hear and see what's going on in the world of contemporary ceramics in all its diverse forms.
The artist(s) will benefit from an exhibition as part of the Andenne Contemporary Ceramics Festival, newly named ‘Perspectives’. It will be part of one of the 7 exhibitions of the Festival and will be shown in the Espace Muséal d'Andenne from 17 May to 15 June 2025.
Centrale for contemporary art (be)
an exhibition in the group exhibition of the Centrale Awards in 2026
Nestled in a former power station in the heart of Brussels, Centrale for contemporary art is the contemporary art centre of the City of Brussels.
It develops a committed vision of art, beyond boundaries, and connected to the city and to society.
Each year it collaborates with confirmed and emerging artists from Brussels and the international scene to produce exhibitions and multidisciplinary projects housed in its various premises.
The artist benefits from an exhibition in the group show in 2026 (09/04 to 23/08), a lump-sum contribution of €2,000 as well as curatorial support, communication, installation and mediation.
Partners: Art Contest asbl, Carte de Visite Artopenkunst (City of Brussels), ceramic brussels, Wolubilis (Prix Médiatine) and the 6 Brussels art colleges: Académie Royale des Beaux-Arts de Bruxelles (ARBA-ESA), École Nationale Supérieure des Arts Visuels de La Cambre (La Cambre), École de recherche graphique (ERG), Institut national supérieur des arts du spectacle (INSAS), LUCA School of Arts, Royal Institute for Theatre, Cinema and Sound (RITCS).
Centre Wallonie Bruxelles-Paris (fr)
an exhibition from September 2025, in Paris.
The Centre Wallonie-Bruxelles is an Arts Centre, a catalyst of reference for contemporary Belgian creation and the artistic and cultural ecosystem in its transversality.
Through its resolutely deconsecrated and transdisciplinary programming, the Centre is mandated to disseminate and promote the work of artists based in the Wallonia-Brussels Federation. Thus it promotes emerging and established approaches, from the peripheral to the established. It helps to stimulate co-productions and international partnerships, and to focus on the Belgian scene.
The artist will be given the opportunity to exhibit a work at the Galerie Talmart as part of the Hors-les-Murs Satellite programme organised by the Centre Wallinie-Bruxelles in Paris, starting in September 2025.
Keramis (be)
a residency prize Keramis - ceramic brussels, in July 2025.
A museum and space for art and creation dedicated to ceramics, Keramis was built on the site of the old Boch faience factory in La Louvière. Its bold, contemporary architecture incorporates an old listed building that contains three giant bottle kilns, the last of their kind in Belgium.
The artist will benefit from a 30-day residency in July 2025 at the Keramis residence. He/she will receive €2,000 and a budget of €500 for kiln hire (energy costs). He/she will benefit from a research residency (with no promise of restitution or publication) and will be able to order material from the museum (order, travel expenses and costs of works produced at the artist's expense).