GEM Z: The Farthest from Earth We’ve Ever Been

Munich Jewellery Week 2020

This is an advertorial selection of exhibitions that will take place in Munich from March 9th till March 15th 2020

#66 #000000

Carlos Silva (PT), Jordi Aparicio (ES), Jorge Manilla (MX), Rodrigo Acosta (AR) and Valentim Quaresma (PT) Special Guests: Iris Eichenberg (DE/USA), Marta Costa Reis (PT), Rebekah Frank (USA),Sofia Bjorkman (SE) and Veronika Fabian (HU/UK)

“#000000” is a project that gathers five jewellery makers working in the field of Contemporary Jewellery. In spite of their clear individuality, these five male voices intersect in this project with one mutual condition: #000000, the hex value for black, refers to the complete absence of colour and is the common ground for the artists to explore the symbolic range of meanings attached to it.


#0000000 project was shown in Munich Jewellery Week 2019 and returns in 2020 with special invitees. Women’s voices are added to the conversation. Ten artists are now in dialogue around the colour black. Hints on concealing and protecting, the secretive and the unknown, strength and authority, elegance or sophistication are unveiled throughout the exhibition.


Coming from eight different countries, their works present distinct approaches and materials that shift from fashion to artistic expressions, from textile to charcoal, stone, fabric, plastic, leather, readymades or metalwork.

#62 4000

Barbora Jamrichová, Kun Zhang, Merlin Meremaa, Triin Kukk

“I will defend a weird realism. This model features a world packed full of ghostly real objects signaling to each other from inscrutable depths, unable to touch one another fully.”


Introducing this show of a somewhat mysterious title with a fragment from Graham Harman’s ‘‘On Vicarious Causation’’ might refer to both inevitability of thinking through objects and duality of such thoughts. Since the Objects belong to the
realm of the real they are constantly escaping us. We cannot do anything but keep on training our sensory apparatus to distance from itself. The act of sensory perception is the never-ending story of the vital, like two ends of one piece that never meet each other although they are connected permanently. Meanwhile the transient refers to border territories of matter and its nature, of life and nonlife. Even the strongest can be fragile. What are these spaces in between, are they only given to our instrumental use or is there a mutual poetics exchange revolving around the properties of objects?

#52.a Aluminium Galore & Other Disasters

Peter Vermandere

Aluminium plays an important part in Peter’s work. Ever since he was asked to work with discarded panels from the iconic Atomium building in Brussels in 2008. Since then he has upcycled aluminium from a variety of sources: used offset printing plates for his ‘Argent d’Argyle’ series and hammered Bengel chains for his ‘Back from Bengel’ series. For this exhibition he will show a selection of jewellery and statuettes from his different collections.



#32.b BEADED

Caroline Broadhead (UK), Catarina Silva (FR/PT), Daniel Kruger (ZA/DE), Felieke van der Leest (NL/NO), Joyce J. Scott (USA), Manon van Kouswijk (NL), Sari Liimatta (FI), Sébastien Carré (FR), Walka Studio (CL)

Beads are among the most archaic objects known.
Whether linked to commercial transactions and market values, or as exchange currency for the passage to the next life, part of religious rituals or symbols of social status, they can “tell the history of humanity” through their many shapes, materials, sizes and uses.


Over the centuries, beads became increasingly popular in the five continents, to the point of being regarded as almost banal – and thus losing ground as work material in the field of visual arts, particularly in jewellery.


The exhibition entitled “Beaded” aims at bringing back to light this history-laden material by presenting nine international artists who, at some point in their creative path, explored its plastic potential and made it their material of election.

#68 Beyond Boundaries

Sinéad Cooke, Clodagh Molloy, Caoimhe McGuckin, Jaki Coffey, Ariane Tobin, Stuart Cairns, Seliena Coyle, Anne Earls Boylan, Caron Ang

This exhibition brings together nine artists from across the island of Ireland. The work of each of these artists is firmly rooted in a philosophy of body adornment and objects, and their relationship with the body, which is jewellery.

#35 Considerations

Lou Boré, Caroline Broadhead, Holly Browning, Joarla Caridad, Piran Caseley, Lin Cheung, Leo Costelloe, Kiki Cui, Jessica Ens, Toni Evans, Melanie Georgacopoulos, Lucie Gledhill, Catherine Griffiths, Andi Gut, Katy Hackney, Jing Han, Iona Hindmarch Bisset, Shangwei Huang, Jing Jiang, Giles Last, Jiabei Li, Muzi Li, Grace (Weixin) Liu, Xuan Ma, Harri Mair, Marlene McKibbin, Maria Militsi, Natashya Mumtaz, Frieda Munro, Emilia Naylor-Brown, Sirui Ning, Miles Robinson, Roanne Sanchez-Watts, Carola Solcia, Mizuki Tochigi, Wen- Ju Tseng, Jessica Turrell, Julia Tyrrell Bunge, Frances Wadsworth Jones, Rachel Wang, Max Warren, Molly (Yu-Chen Wu), Danqi Zhao

Considerations showcases work by 43 staff and students of the Central Saint Martins BA Jewellery Design course. The students and staff are delighted to be returning to Vitsoe in Munich for the fifth year running to display their work as equals, in celebration of the course’s diverse and lively approach to contemporary jewellery and objects. Creativity, design and production require considerations of varying kinds at each step. It is this thinking process that links the jewellery displayed to Vitsoe’s furniture, which the work rests on, hangs from and interacts with.

#84 Echoes of a Meal

Mette Saabye, Helen Clara Hemsley, Janne K. Hansen, Josefine Rønsholt

Echoes of a Meal – An invitation to experience the essence of a Danish meal
The concept of a meal and how it has the ability to echo life around us forms the common foundation for the group’s reflections, and especially focuses on how a meal can bring people together and bolster their sense of community.
Making jewellery and preparing a meal both share an intense use of the senses, as both jewellery and a meal are made and used by the body. What remains after the meal is the memory of the act. With jewellery, the memory is stored and decoded by the senses, forming a connection between time and place.
The exhibition introduces the viewer to the special aesthetic connected to Danish table setting traditions and the intensity associated with the togetherness a meal can offer. Our aim with the exhibition design is to recreate the intimacy of a
Danish meal, where conversation flows freely. A meal is prepared as a generous gift and sensory experience, to be enjoyed in comfortable togetherness, with room for close interaction and the exchanging of views across cultures.During Munich Jewellery Week 2020, the table, as well as the jewellery upon it, become a platform where we can meet and open up to each other, exchange thoughts and come closer together.

#18 heavy breeze

Lena Munzig, Carolina Lutz, Esther Gleuwitz

Light form and heavy material, necklaces to be released and small satisfying sensations.
The three jewellery artists Lena Munzig, Carolina Lutz and Esther Gleuwitz once met in Allgäu, where they took their first steps in making jewellery together.

For Schmuck 2020 they show their pieces through airy, light layers and come together for some “heavy breeze”.

#32.a Heimat ou les ritournelles de Monika Brugger

Monika Brugger

Questionary from Laurence Verdier for Monika Brugger
If only one word in the French language remained, what would it be?

Who is your personal saint?

What does your mother think of your work?
She is probably unaware of everything I do, even though she was the person who helped it all

Your favourite occupation?

And what’s your biggest ordeal?

What bugs you?
My insect pins called ‘éphèmerdes’

What forest would you like to get lost in?
The Black Forest.

What is your best dress for going dancing?
The one by Yamamoto.

When did you leave your childhood behind?
I’ve certainly left it behind, but I couldn’t tell you exactly where the border lies between childhood and adulthood.

On which occasions have you worn your black dresses?
Back in 2011, every day, to see if they worked.

What national holiday would you like to invent?
I have a problem with the concept ‘national’.

What would you do if you could only keep one finger?
The middle one, to bring any arguments to a swift conclusion

If you were reborn as an insect?
Flies are too horrible to think about and yet they are a real pain and really boring … that might work well with my character.

What beverage would you like to dip your Lécher les doigts spoon in?
A yoghurt ice cream.

What alliance is most important to you?

What would you like people to give you as a birthday present?
Just being there. Because that’s the most difficult thing of all on 25th December!

What work would you like to have created?
‘Brosche Brosche Brosche’ by Manfred Niesmüller.

What Robert dictionary would you like to see at your exhibition?
The only one: the one by Alain Rey.

What is the most difficult kind of exile?
To be apart from ourselves, with the most physical self, nothing to do with a place.

What jewellery would you like to receive as a present?
I don’t need jewellery. A ‘Robert’ geranium, perhaps, but no jewellery.

#30.2a IO&U Idar-Oberstein Graduation Show

Margherita Berselli, Annie Huang, Pei Wu, Sayara Montemurro, Annora Poppe, Franziska Lusser, Anna Storck, Vanessa Zöller, Jekaterina Smirnova, Barbora Opátová, Setarah Shojaee, Samantha Laddin

“Put A Pin On It”, Workshop. A nice and creative way to start your day. Come to IO&U, make your pin and support a social and innovating project.

“I wanna wear it”, Red carpet photo shot. Would you like to try on our jewellery? Pick your favourite, get a “red carpet” photo shot and have inspiring conversations with the artists.

“From dumpling to pancake”, International brunch. The most special feature of Idar-Oberstein campus is the variety of cultures. IO&U represents 9 of them. By joining our international brunch, you can taste the beauty of our small world.

“Gemtonic red-eye-talk”
We open our world to share our stories with you. Join us for an open talk, about stone, about making, about thoughts and future projects.

#54.1 MAD_walk

PXL-MAD School of Arts / Hasselt (BE) Yann Ceuleers, Charlot Claessens, Annika Ingelaere, Maria Konschake, Simón Mazuera, Katho Nulens, Sophia Van der Walt, Charlotte Vanhoubroeck, Magdalena Viljoen

The students of the PXL-MAD School of Arts from Hasselt (BE) present their work: objects & jewellery at the Trippen flagship store.

PXL-MAD master students will lace up their Trippen shoes for a MADwalk through Munich Jewellery Week: presenting a moving exhibition in honour of MAD’s tradition. The soon to be graduates will travel through the city with their show boxes carrying a selection of their pieces. Meet them on the streets and collect an ‘impress’ jewel! Or, stumble into their exhibition at the Trippen shop, where they will show their most recent work, tip toeing in between the Trippen shoes.

Take yourself on a trip and discover the work of this year’s masters, an eclectic mix of international students. Through the city they will be leaving their footprint, as well as at the Pinakothek, the International Handwerksmesse and their own grand opening on Friday March 13th from 4pm till 7pm. Get curious and follow their journey on #MADwalk to find out where their feet will take them and when they will bring the MADness out of their show boxes. They will sweep you off your feet!

#31 Natural Grace

Mariko Kusumoto

Since Mariko Kusumoto’s blockbuster show at Micheko Gallery in March 2018, her career went stellar with cooperations with fashion designers Jean-Paul Gaultier and Stella Rose, acquisitions by the Museum of Fine Arts in Boston, numerous participations at group shows worldwide and her signature work commissioned from all over the world. Micheko is delighted to host Mariko’s latest creations for the jewellery world gathering in Munich during MJW 2020.

#49 New Life Collection 2020

Irene Palomar

Since 2012 I have incorporated in my contemporary jewelry works discarded plastic modules that I recycle and thermoform  rescuing plastics discards from their pollutant destiny and giving them, my understanding, of a new life.

A reality that causes fright: everything is contaminated with plastic waste…..

Eight million tons of plastics are poured into the oceans every year…

Plastics last forever but the degradation in microplastics by the action of the sun and heat does not … those microplastics arrive by contamination of the earth and water to all living beings on the planet through food …

There are research and studies to create degradable plastics but we still have to wait….

With my new collection I tried to see this reality from another angle from another place, What to do? What can each of us do against this scourge?

Many communities in the world collect and select the plastic waste that is used by industry to make new objects that allow the removal of plastic waste from the system that pollutes

In the world and also in my country, Argentina, there are factories that recycle and industrialize plastic waste to manufacture new objects: bricks for the construction of houses, pipes, tables, house building plates, banks ,chairs…

This reality was an invitation to include as a new element in this collection :modules of some objects made by the industry with plastic garbage ….

Although it would be better if there were no plastic waste …  today there are projects and facts to rescue them and give them a utility … a new life…


#40 Next Door

Klara Brynge, Eva Burton, Tatjana Giorgadse, Elena Gorbunova, Helen Habtay, Hartog & Henneman, Mielle Harvey, Maria Hees, Colombe d'Humieres, Idiots (Afke Golsteijn and Floris Bakker), Taehee In, Jutta Kallfelz, Typhaine le Monnier, Holly O'Hanlon, Jiun You Ou, Sonia Pibernat, Darja Popolitova, Uwe Poth, Philip Sajet, Elwy Schutten, Danni Schwaag, Coco Sung, Robean Visschers, Valérie Wagner, Qi Wang, Inette van Wijck, Kun Zhang

Galerie Door shows contemporary art and art jewellery from (inter)national artists and designers, both young talent and established names. You will discover experimental and conceptual work, art that is at the edge of autonomous visual art and applied art.

For the opening of this spring show in Munich the artists represented by Galerie Door were invited to make an artwork referring to the theme: next door. The ‘door’ leading to interpretations from a rite of passage, a transition, a hole, to an opening, borders… etc. We invite you to come in and open your door.


#93 Not so fragile

Luz Arias, Carolina Bernachea

Fragile matters …
Subtle objects

They look for us carefully
we found them with the soul,
We make sure we always treat each other with love and devotion.

We know there will be no abrupt treatment,
Having them close, will be a conquest of exquisite care.
These pleasure relationships,
valuable, embrace magic.

The extraordinary phenomenon will be,
the audacity to adorn our bodies a bit tough,
with objects that resemble desire
and could only be taken from our world in an impetuous rather vulgar maneuver.

In this way we deserve to have them and
not have them.

#81 NUDA VITA The practice of collective and political body

Vivien Bedwell, Daria Borovkova, Satomi Kawai, Anna Lewis, Nina Lima, Peter Machata, Jana Machatova, Nanna Obel, Margherita Potenza, Eva van Kempen, Tanel Veenre, Snem Yildirim

On the occasion of Munich Jewellery Week, Adornment is pleased to present the second chapter of Nuda Vita, an experience of artistic production that presents the work of some of the most interesting contemporary jewellery artists.
The exhibition will take place at ABC Westside Galerie from 11 to 15 March 2020. The initiative, curated by Ilaria Ruggiero, explores the value and role of the public, collective and political body, taking as its starting point the expression Nuda Vita, coined by Benjamin and then developed by the philosopher Giorgio Agamben, reworked as an impossible condition, an indescribable concept, and an artistic action.

As an artistic movement and an open platform for regection, this year the exhibition presents the previously unseen work of 12 artists who have both continued and made further contributions to artistic research around the public body and social and political identity: Vivien Bedwell, Daria Borovkova, Satomi Kawai, Anna Lewis, Nina Lima, Peter Machata, Jana Machatova, Nanna Obel, Margherita Potenza, Eva van Kempen, Tanel Veenre, Snem Yildirim.
The artists were invited to explore different aspects of ‘nudity’, as an ideological and existential condition that humanity experiences when free from constraints, rules, obligations and norms, in order to develop a personal artistic resistance action. The goal is to compare the most varied experiences and to broaden social and political awareness. The great wealth of perspectives and themes, already set out in the first edition, presents jewellery as a means of raising questions relating to major issues such as the role of women in society, the issue of gender, the freedom to have control of one’s own body, sexual orientation, slavery, the idea of beauty, regimes and dictatorships, mysticism and eroticism, disability and public spaces.

With a view to accompanying the creations with an in-depth critical discourse, in this edition the relationship between ethics and aesthetics will be considered in greater depth, in an attempt to position artistic practice in a progressive stance
and give it true weight.

Nuda Vita remains an act of provocation and resistance, subversion and awareness, which stages the body, through the jewel, as a statement of politics, identity and humanity.

#64 O O O O

Erinn M. Cox, Kristine Ervik, Olaf T. Hodne, Hanna-Maria Vanaküla

The truth is, we long for love. We seek understanding of death and beauty. We want to be vulnerable and protected. We want to define our own realities and find freedom through perception.

Four jewellers: Erinn M. Cox, Kristine Ervik, Olaf T. Hodne, and Hanna-Maria Vanaküla depict the unknown, the unspeakable, and the unmanageable through the inherent understanding of the circle.  As both starting points or conclusions, the round form finds its way to the chest, the neck, the eyes in the personal languages of structured metal chains or meticulously carved stone and glass to find consolation of these ever-present, ever personal, universal desires.

#90a OVERREACTING: Jewelry Speaks Self-Destruction

Tamar Paley, Katia Rabey, Keren Gispan, Yotam Bahat, Daniella Saraya, Sofia Zakharova, Michal Bar -On Shaish, Lital Goldenberg, Batami Kober, Stav Bozaglo, Anat Aboucaya, Adi Farber. With the support of The Jewelry Design Department, Shenkar College.

Twelve contemporary jewelers from Israel return to Munich, this time overreacting to a new subject: self-destruction. Each artist explores this concept from a different perspective, and together they show varied interpretations of both self and destruction. The topic is expressed through personal and global issues, ranging from works about stress-eating and emotional overload to over-consumption and the environmental crisis. Other works examine jewelry’s ability to not only criticize social aspects but also to reflect upon itself as an active participant in the process of self-destruction.
From fragile glass rings to large organic kombucha objects – the pieces displayed are suggested as a medium for introspection in hopes of one day overcoming these vicious forms of self-destruction.

#43 Portraits of a year

Federica Sala

There’s a corner inside each home of us, where portraits are collected and displayed. All well arranged, grouped and framed, they seem to be there to prevent our fear of loneliness.
This place has been designed to silence a might-it happen future pain with overwhelming emotions. In fact, surrounded by the portraits we recover feelings.

The portraits are emotional carriers which go beyond time and space. By looking at them we approach a representation of a reality in which both essence and appearance, perception and experience are mixed together. Portraits of a year is a story of revelation. Focused on the duality of concealing and exposing, Federica investigates the mechanics of representation that concerns our own persona. The main focus of the artist’s research has been human feelings, and the portraits are meant as a collection of universal emotions, an assortment of intuitive reactions to the events of life.

#69 Serendipity: when jewelry meets architecture

Laura Micheli, Kollektiv A

The event will put architecture and contemporary jewelry in dialogue, underlining their similar language lead by a sense of proportion, composition and materialization.
A selection of projects from the Munich based architectural office “Kollektiv A” and the pieces of jewelry handcrafted by the architect and designer Laura Micheli will be exhibited to show how the research of a “harmonious space” is present both in the larger scale of a building as well as in the minimal one of a jewerly piece.

Organized by: Laura Micheli

Laura Micheli studied architecture at the „Accademy of Architecture of Mendrisio“, Switzerland where she graduated her Bachelor Degree in 2013 and Master Degree in 2016. Between 2016 and 2018 she worked in different international architecture and design offices like Dominique Perrault Architecture in Paris, Quincoces-Dragò & Partners in Milan and the Surman Weston in London. In parallel to her education and work in the field of architecture, Laura deepend and studied the craft of jewelry making, starting in a small goldsmith laboratory in her home town Novi Ligure, then through courses at the „London Jewelry School“ and at the Contemporary Jewellery School „Alchimia“, in Florence (Italy). Since 2017 Laura is based in Zurich where she practices architecture with the office Michael Meier und Marius Hug Architekten and is part of the design collective Die Macherei . Since 2018 Laura has founded her own jewelry brand and design and architectural studio Laura Micheli in Zurich.

„My education in architecture has driven my interest towards every form and scale of art and design. I like to think of my pieces as intimate and emotional. I often use archaic and organic forms, often inspired by nature and my training as architect leads my eyes and hands in the sense of proportion and composition, in the role of light, in the functional research. The creative process behind my pieces takes place in different ways. It can start from a formal or aesthetic inspiration, from a memory, or from the request of the client. Often a creative error turns into an element of interest, so when a piece is not finished yet, a second is already born”.

Benedict studied Architecture and Construction at the “Hochschule München”, at the “Technischen Universität München” and at the “Accademia di Architettura of Mendrisio”, Switzerland. He has been awarded the Egon Eiermann Prize, the Wittman Scholarship and the Senator Bernhard Borst Prize. He was an Architect-in-Residence supported by the Goethe-Institute in Rotterdam in 2017 and by the German Academy Rome – Villa Massimo in Rome in 2017/2018. From 2016 to 2017 he taught at the Technical University of Munich at the chair of Design and Creation and from 2018 at the “Accademia di Architettura of Mendrisio ” (Switzerland). Since 2019 he has been a lecturer for architectural strategies at the Academy of Fine Arts in Munich. He is a member of the Young Academy at the Berlin-Brandenburg Academy of Sciences and Humanities/German Academy of Natural Scientists Leopoldina. Since 2015 he is part of Kollektiv A, an internationally active architectural practice based in Munich.

#2 She Wants To Go To Her Bedroom But She Can’t Be Bothered

Lisa Walker

The VILLA STUCK Museum presents a comprehensive work exhibition by Lisa Walker, born in 1967 in Wellington, New Zealand. She is considered one of the most influential contemporary jewellery makers. Walker transforms everyday objects into jewelry.

Dunedin, 1988-89 | Auckland, 1992-1995

Right from the start, Lisa Walker asked what jewellery can mean and what it can be. As a student in Dunedin, New Zealand, she learned goldsmithing from Georg Beer in the late 1980s, “an incredible gift,” as she says. Walker built on these skills and experimented with unusual materials and processes such as wool and weaving. Walker often traveled abroad during these years and eventually settled in Auckland, 1992. She continued to research new techniques, her jewellery developed into raw, natural shapes – often inspired by beaches and forests.

Munich 1995-2009

After moving to Munich in 1995, Walker took a new direction with her work. Her six-year studies with Otto Künzli at the Academy of Fine Arts in Munich inspired her to “unlearn” everything she had learned in her previous training. Walker began to use glue to use the “jewellery cheater” as visible material, raising the question: “Why should we hide him?” At the same time, she introduced unusual – often discarded – materials into her work, fabric, cardboard as well as dust and dirt from the floor of her studio. What is beauty? How does jewelry relate to popular culture, art and life? These are questions that Walker examines in her work.

Wellington, 2009-2020
Back in New Zealand, Lisa Walker is still pushing the boundaries of contemporary jewelry design. It is inspired by local as well as international influences, from politics to comics. Lisa Walker’s perennial question, “How far can I go with the ready-to-use or accidentally found object?” She answers directly: “Everything is food for art.”

#28a The Danner Rotunda – the Jewelry Space at Pinakothek der Moderne

New curation by Mikiko Minewaki, Hiko Mizuno College, Tokyo, and Hans Stofer, Burg Giebichenstein, Halle and Alexander Blank, Munich

After Karl Fritsch’s colorful concept for the Danner Rotunda and the one in subdued white by Otto Künzli – both globally active jewelry artists and professors of goldsmithing – it is time, as we fast approach the 2020s, once again to submit the Danner Rotunda to a creative and critical new curation. It is an occasion to review elective affinities, present newly acquired or gifted objects, and surprise and thrill viewers with undreamt-of, fascinating compositions for the third time after the first curation of the Danner Rotunda by Hermann Jünger back in 2004.

Mikiko Minewaki is a lecturer at Hiko Mizuno College in Tokyo, who was invited by Die Neue Sammlung in 2015 to hold her exhibition “Harebutai” – which featured her students and was realized in collaboration with Professor Kimiaki Kageyama – at Pinakothek der Moderne, Professor Hans Stofer, who was head of the Jewelry class at the Royal College of Art and Design in London, was recently appointed professor at Burg Giebichenstein in Halle, and Alexander Blank, a jewelry artist from Munich. The three jewelry artists of international renown are members of a younger generation and we are delighted that they will be taking up our invitation to re-interpret the Danner Rotunda. This will be the first time that a curator team – spanning the worlds of Asia and Europe – will be selecting the objects. It will be exciting to see the images that arise from what is in itself always fascinating task and to which we invite guest curators roughly every five years.


At the same time we are happy to report that we have persuaded Munich-based Flavia Thumshirn, a lighting designer of world-wide repute, to develop a new lighting concept for the jewelry space at Pinakothek der Moderne. The changeover from halogen lamps to LED technology will take center stage in the planning.
Together with designer Yang Liu, who lives and works in Berlin and who was applauded for her light guidance system for Dresden’s Albertinum, an installation featuring neon writing will be created that will quite literally present the entrance area of the Danner Rotunda in a new light.

None of this would have been possible without the close collaboration with Benno und Therese Danner’sche Kunstgewerbestiftung, or Danner-Stiftung for short, founded in 1920 and at home in Munich. We are delighted that the re-opening of the Danner Rotunda, planned for March 13, 2020, will kick off the program of events celebrating the foundation’s 100th anniversary that will take place in the course of the year.

#63 Tick-Tock : Dialogue Collective turns 20

Petra Bishai, Isabelle Busnel, Jo Garner, Velvet Hart, Victoria King, Maarit Liukkonen, Jo McAllister, SORCA, Spam Glam, Timothy Information Limited, Maud Traon, Anet Wrobel

Work time. Play time. Party time!
Whether it flies or drags, you can never have enough.
Spend some time with us.

Infamous for their signature style of immersive exhibitions, Dialogue Collective present musings on the materialisation and / or dematerialisation of time with an installation of works by London based artists for sale, and an international auction.

#67 TRAP

Takashi Kojima, Masayuki Nagata, Fumiki Taguchi, Takayoshi Terajima

We are a group of artists born in Japan. We make jewelry focusing on techniques and materials.
This time is the third exhibition. Our theme is “Jewelry trap”


Muneera Hamed Alsharhan, Coline Assade, Edwin Charmain, Olga van Doorn, Laura Forte, Lisi Fracchia, Tatjana Kholodnova, Inesa Kovalova, Katharina Kraus, Yael Magnes, Anna Maria Pitt, Francesca Urciuoli

The exhibition “WHERE I DRAW THE LINE” explores how contemporary jewellery artists from across the globe address one of the most important issues of our time: The moment where urbanity meets nature and does not leave nature unchanged.

As cities grow and urban infrastructure continues to take over the environment, the exhibition comments on the fragile relationship humanity maintains with the built and the natural world.

“WHERE I DRAW THE LINE” bridges this divide. Both the geometric shapes of manmade structures, metropolitan landscapes and the organic shapes of nature and vivid greenery, serve as major sources of inspiration for artists. Fusing natural patterns with sculptural geometries, the jewels displayed range from delicate organic forms, spiritual talismans to sculptural brooches and boldly textured rings. By playing with the perceived differences in the visual languages, it invites the viewer to examine their own fascinations with the cityscapes we live in and the countryside we like to escape to.

The jewels will be displayed alongside photographs by emerging photographer Michael Harald, who has created a series of images inspired by nature’s tranquillity and the urgency of city life, thereby asking the audience to consider their personal inspirations in the context of shifting values.

“WHERE I DRAW THE LINE” was curated by Katharina Kraus.

#71 White-Out

Isabelle Busnel, Ria Lins, Linda Savineau, Jan Smith, Katja Toporski

White-Out: a distortion of perception, a blurring of known things.
This exhibition is organized by the 555 Collective, comprised of five female artists with diverse cultural and life experiences. Their distinct approaches are integrated by an exploration into the subtleties, intricacies and transformative qualities of white. The absence of colour enhances that transformation, it reveals something about the form and at the same time it abstracts it. This exhibition presents work investigating both the formal and symbolic qualities of the concept of White-Out.

#80 You saw it here first

Adelina Cioanca, Fien Verbeke, Jade Houben, Julia Garcia Rubio, Julia Mercier, Liuhong Li, Luca Sági, Mara Balode, Maria Gulavskaya, Shenglin Cheng, Sophia de Groot, Valeria Naumova, YuYeong Choi

Embark on our voyage of discovery, where curiosity and imagination are continuously stimulated through the subject of jewellery. Students of the Royal Academy of Fine Arts Antwerp exhibit the graduation collections of June 2019, and the current master students launch their Multiples.

See all events during Munich Jewellery Week 2020 here



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