Theoretical Panels       Public Art       Material       Sustainability     Presentation


© Photo: "Kosmos",

  Panels @ 9th ICCCIA (Berlin) All penels take place on the campus of HTW-Berlin –   |

More information:   |  

Monday: 19.9.22                  09 am – 04:30 pm        

Tuesday: 20.9.22                  09 am – 02:30 pm    

Time of specific panels may change


Monday, September the 19th 

09:00 – 09:30 am

Opening and Welcome by Prof. Dr. Stefanie Molthagen-Schnöring, Prof. Dr. Steffen Kolb und Prof. Dr. Susanne Kähler

  Speech by Kurt Dryhaug

Prof. Dr. Stefanie Molthagen-Schnöring, Prof. Dr. Steffen Kolb und Prof. Dr. Susanne Kähler

Kurt Dyrhaug     |

  Public Art
 Susanne Kähler

Who or what do we want to build monuments for nowadays? Is every monument a warning for tomorrow? Monuments are the result of artists' analysis of events, issues, and personalities. Monuments are interpretable and materialistic sources. They tell stories about the value systems, power relations, and communication strategies of the time of their making. Lastly, they are central to public spaces and set within the landscape of our cities. There has been a lot of discussion as to monuments should be handled and how the questioning of past structures can be shown. But what are adequate artistic forms and materials of our time? Is it participation and multifacetedness? What message sends the material iron today? And will our monuments be readable in the future?

Gabrielle Egnater: Who Will The Next Memorial Be For?     |         Susanne Kähler     |     Pine Wood, PLA, White linen, Heat Transfer Ink 

  Public Art
  Demian Dinéyathi, Miranda Kyle, Ali Shargo-Spechler, TK Smith
Without Obstruction: Monuments and Memorials of, not on the Land

Monuments, as markers of history and works of art, cannot be divorced from the context of the spaces they reside. Art in the public realm is formed by/ through relationships: to history, to people, to material, and to space. The legacies of such works build a geological palimpsest from which layers of contested histories and fragmented memories are transcribed. This panel will explore the interrela tion of geography and power.

Western traditions of monument and memorial making do not account for divergent understandings of Land and the personal, communal, and spiritual rela tionships formed with land itself. Contemporary artists create within and against these sculptural traditions to challenge and expand how we see Land and our complex relations to it. How do we reconcile what we know with what we do? Are there ethical commissioning practices on stolen or contested lands? How do we speak to the memory of the Land that has seen geonicide, war etc? How do we honor those that understand the Land as, not only shelter, but as kin?

  Public Art
  Mary Nebauer, Cydnei Mallory, Hanna Makkonen. Michael Rees
The Speculative Object: Site in an Asynchronic Age

The new digital normal is pressuring the art world for transformation. The artists already use the available digital tools to reclaim public space. Are augmented and mixed realities the answer for contemporary digital sculpture?

Mary Nebauer     |     Makkonen      |      Google Earth sculpture

  Public Art
  Albena Baeva
Now you see me, now you don’t

Presentation on the development of computer generated sculptural forms capable of traversing multiple plattforms and sites, from traditional to virutal. Based on a collaboartative eeffort originating between the Arizona School of Art, Herberger Institure for Design and Arts, and the Center of New Art at William Peterson University in New Jersey. The unifying thematic core of this endeavor, the speculative object, grew out of the planners’ discussion of spelculative fiction and imagined landsacpes. References include Graham Harmon and Ian Bogost. The organizers are intrigued with the idea of letting the objects have unknown qualities and allowing them to be widely defined outside of their usefulness to humans, an approach that is natural to sculptors. While the cast metal artworks exist as tangible objects in the gallery setting, each of the sculptors virtually sited their works in a chosen real-world location using Google Earth, redefining the scale and reference of the work. The scale of the objects are realized as monumental: from building to landscape-sized, opening the possibility of a way to contextualize the sculptures in selected geographic coordinates and to extend their speculative nature both in meaning and in form. Finally, the original stereolithography files exist in a virtual environment, where viewers are able to explore further the speculative properties of the objects, enhanced through surface mapping and interactive elements. The asynchronicity in the subtitle refers to the way this exhibition concurrently uses a range of processes and methodologies developed at very different times in history. By putting established sculptural techniques into play alongside new physical and virtual computing tools, aspects of the exhibition move away from established exhibition display frameworks in an exploration of how sculptural forms can be conceived, executed, and replicated across multiple platforms and simultaneously situated in both real and virtual world sites.

  Coral Penelope Lambert
The Object Magic: Performance and Artifact

Artists on this panel will discuss the magic imbued in an object as a result of performance iron pour. Whether cast during the full moon, at dawn or on midsummers does the iron take on that metaphysical presence. The artists represented take ordinary objects through the extraordinary transformative process of casting in metal. Investigating what it is that imbues an inanimate object with a hidden presence. The material of Iron has its own association to magic as, each cast object tells a story and holds a memory.

Coral Penelope Lambert         |          Sculpture Starry Starry Night      |     Peformance Starry Starry Nigh

  Scott Kamlah
Furnace Fingerprints

  Joshua Reiman
Hot, fast, and fluid – The life and work of Casey V Westbrook

This panel presentation will address the long-lasting impact that Casey V. Westbrook had on the practice of contemporary cast iron art, and will feature many of Casey’s technical ambitions and breakthrough techniques at epic proportions. Casey's legacy is carried on through the mentorship and friendships made along the way. Casey’s ability to understand liquid metal and its complex characteristics and large number of variables was unparalleled within the field of casting iron for art.

 Ian Skinner
The National Ornamental Metal Museum

The mission of the Metal Museum is to preserve, promote, and advance the art and craft of fine metalwork within the United States as well as abroad. This presentation will talk more about this mission, our programing, and the opportunities for emerging and professional artists offered at the museum.

Tuesday, September the 20th 

 Jeremy Entwistle, John Galt and William Wolff
DECOUPLING: Shedding carbon-intensive processes for a sustainable foundry future.
John Galt, Jeremy Entwistle and William Wolff continue the research and discussion of transitioning the performative and practical iron cupola into a more sustainable and environmentally-friendly tool. Artists, experts, and ideas from across the spectrum of contemporary cast iron art-making converge in Berlin to tackle one of the most globally pressing issues that confronts artists and their processes within the ICCCIA and around the globe.

John Galt, Jeremy Entwistle and William Wolff

   Quick and dirtySustainability
Nils Hint Jewellery and blacksmithing department, Estonian Academy of Arts
Quick and dirty is a experimental iron casting workshop run by jewellery and blacksmithing department in Estonian Academy of Arts. The annual workshop has took place six times and it started after the ICCCIA conference in Latvia. During the years it has grown bigger and become a melting pot for hundreds of local and international students and teachers. Last two years I have organized the workshop together with David Snoo Wilson, foundry master and artist from UK.

Nils Hint     |     |   In the middle:   Liisbeth-Kirss, Photo: Sigrid Kuusk     |     |    EKA, Jewellery and blacksmithing   |  |

   Dylan Collins 
Fire Arts + Creative Placemaking
This panel will engage artists working with “fire arts" processes to share their experiences with community-based art initiatives, including public art, socially engaged art, and social practice art. Participants will share information about the successes and challenges of making art in public spaces, how they've found funding for these endeavors, and what they've learned while collaborating from the ground up with stakeholders to generate positive and impactful outcomes.

   Gabrielle Egnater
Material Pairings: Looking Beyond Dichotomy

In this panel "Material Pairings: Looking Beyond Dichotomy", we will discuss why and how we combine iron with other materials in "cast iron art". Specifically, Fibers and Glass. There is a beautiful art history connecting cast iron and fibers. An inherent attraction to hard vs soft and women's work vs. men's work. But I would argue that the consistent interest in iron and fibers is more than exploring a simple dichotomy. We will address subjects such as assumed hierarchy of materials, the importance of community labor, and how rust informs the dye process. Beyond fibers, is another common companion, Glass. Iron has typically been paired with glass in architecture, but the combination of iron and glass in their molten or heated state has become a way to push this relationship. Pouring molten iron into freshly blown glass object is an art form of its own, most recently exemplified by Julia and Robin Rogers at Salem Art Works. Combining molten iron and heated glass acts as a technical challenge and acceptance of deterioration/dissolving. This interaction brings up questions of futility, melding, and the history of craft.

Gabrille Egnater: Delicatessen Signage    |    Cast Iron, Matzo Fabric, Ply Backin   |

   Oliver Charles
"Iron Art: Protest, Identity, and Liberation" Panel

This panel will explore iron as a revolutionary medium and an important element of protest art, particularly in relation to self-definition, breaking convention, and symbolic representations. The scope ranges from the material and linguistic history of iron, to the artists who work in the medium and what they have to say. “Iron Art: Protest, Identity, and Liberation” highlights iron art from the 1900s through the present by examining work from several artists and synthesizing multiple texts that mention iron and protest as interrelated in some capacity– the goal being to produce a broader base-understanding of the protest-power of iron art where such documentation is often lacking.


 Sustainability   Part 1, Part 2 will be held at the workshops     Stacker Molds WorkshopKay Dartt, Becca Flis
  Allison Baker & Emily Baker, Jessica Bergman-Tank, Christ Sancome, Rebecca Fils
Feedback & Dis/Ability

In an industry where sweat equity is currency, it is necessary for leaders to question social and societal norms and take an active role in carving out a place for everyone. This panel of long-time educators, practioniers, and artists will therefore discuss a solutions oriented approach to fostering diversity, equity, and inclusion in contemporary cast iron production and art making.


 Wayne Potratz
Memorial Presentation (by Wayne Potratz) and Raise your Glass for Thomas D. Gipe 

Thank you for submissions!
The organizers of the conference informed the successful scientists and artists.

In the moment the conference is getting in touch with those who will moderate the panels to discuss technical requests.

Stay curious! The thrilling program will be published on this website very soon.