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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.

Carlos Silva, Necklace
Iris Eichenberg
Marta Costa Reis, Spirits and guardians
Jordi Aparicio
Rebekah Frank
Rodrigo Acosta
The deepest fear, Jorge_Manilla
Sofia Bjorkman, Brooch, Landscape
Valentim Quaresma, Necklace
Veronika Fabian, Lungo

#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?

Barbora Jamrichová, title Possibilities of object 1, material beech wood, jade, marble, year 2018, size 80 x 35 x 20 mm, 65 x 20 x 10 mm, 70 x 35 x 25 mm, photo by Barbora Jamrichová
Kun Zhang, title Untitled, material Ebony, year 2018, photo by Jekaterina Smirnova
Barbora Jamrichová, title Possibilities of object, material beech wood, textile, year 2018, size 210 x 40 x 20 mm, photo by Barbora Jamrichová
Kun Zhang, title Untitled, material Ebony, year 2018, size 374 x 8 x 2 mm, 278 x 8 x 4 mm, photo by Jekaterina Smirnova
Merlin Meremaa, On the verge of fragility III, material Steel, silver, year 2019, size 80 x 40 mm, photo by Sigrid Kuusk
Triin Kukk, title Untitled, material agate, year 2018, photo by Triin Kukk
Merlin Meremaa, Merlin Meremaa, On the verge of fragility III, material Steel, silver, year 2019, size 80 x 40 mm, photo by Sigrid Kuusk
Triin Kukk, material jade, year 2018, photo by Triin Kukk

#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.

 

 

AKU rings mixed aluminium Peter Vermandere
ALU Argent d'Argile bracelets in alunminium Peter Vermandere
Peter Vermandere Back from Bengel brooch a photo Jan Marchand
Peter Vermandere Back from Bengel brooch c photo Jan Marchand
Peter Vermandere Back from Bengel brooch b photo Jan Marchand
ALU lavastone aluminium ring Peter Vermandere

#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.

Catarina Silva
Daniel Kruger, Untitled, 2018, necklace, cotton and silk cloth, glass beads, Photo@ Thilo Härdtlein, Courtesy of Galerie Biró
Caroline Broadhead, "Strength in Numbers", 2015, necklace, glass beads, nylon, Photo@ Jack Cole
Sébastien Carré, “I am a landscape” 2018, necklace, green garnet, agate, malachite, turquoise, lapis-lazuli, hyolite, shell, natural pearls, seed beads, Photo@ Milo Lee
Joyce J. Scott, “Hiding Neckpiece”, 2013, neckpiece, woven glass beads, Photo@ Jordan Davis Robles, Courtesy of Mobilia Gallery
Manon van Kouswijk, “Making Faces - a jewellery playbook”, 2018, 1 plastic necklace in 8 appearances, Photo@ Fred Kroh
Felieke van der Leest, “The end” 2012, brooch and object, seed beads and toy, Photo@ Eddo Hartmann
Sari Liimatta, ”The Grey”, 2018, necklace, glass beads, hematite, marble, metal pins, rutilated quartz, a plastic toy and wire, Photo@ Sari Liimatta
Walka Studio (Claudia Betancourt + Nano Pulgar), “WALKA”, 2004-2019, necklace, hoxhorn, silver, thread, Photo@ Karen Clunes, Courtesy of ATTA Gallery

#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.

Stuart Cairns
Caron Ang
Ariane Tobin
Anne Earls Boylan
Caoimhe McGuckin
Clodagh Molloy

#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.

Emilia Naylor-Brown - FINEAIDs
Knitted Copper Underwear by Leo Costelloe on a Vitsœ 602 Chair and 621 Table
Julia Tyrrell Bunge - Het Melkmeisje
Wen-Ju Tseng - Dysfunctional Sharpener
Xuan Ma - Inside the Mouth
Jing Jiang - Weighting Feathers
Katy Hackney in collaboration with Jo Gordon - Totem Scarf
Max Warren - Viewpoint II
Mizuki Tochigi - 6 out of 100
Mizuki Tochigi - 6 out of 100

#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”.

Lena Munzig The series „ALL IN“ contents rings out of different metals. They are shaped in wax and casted in lost form. Light form and heavy material melted together to be worn on the body. The center of my work is the hole around which I construct the form. Every piece of jewellery has a hole or is dependend on it. The size of the hole decides who wears the ring, it can not be changed. Material: brass, silver, gold
Esther Gleuwitz Hidden underneath a scratch-off panel out of 24 C gold, there are miniatures, which five different artists made for this project. The content of the medallion is a secret to the wearer himself. Scratch away the gold and reveal the work of art? Partly? Some day? Never? The possibility for change, surprise or even disappointment is inherent in the jewellery, even if the temptation to scratch off the plain surface remains a mental image. (space) Material: Sterling silver, 24 C gold, silk thread and a work of art by Thomas Bergner, Sejin Kim, Paula Flock, Alexandre Karaivanov or Tomoe Hikita
"Imprint" 2019 Vat Paper, Yarn Drawing – Object – Jewellery Imbedded in paper lays a pearl necklace. The paper surrounds it, is protection, packaging and object itself. The owner can release the necklace and transform it into a wearable piece. What remains is the imprint, the memory of this moment

#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?
Memory

Who is your personal saint?
Barbara

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
happen…

Your favourite occupation?
Work.

And what’s your biggest ordeal?
Jewellery.

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?
Friendship.

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.

the blackdress_collection© 12 + 1 dress for the seamstress Collection of 13 dresses, made from a unique pattern, built with a minimum of seams, on the shoulders and back with embroieries on the neckline, the shape of the armhole and the seam on the back. Antik Venice pearls ø 3 + 5 mm, garnets ø 2 - 6 mm, faceted garnets ø 2-3 mm, Bambou, cashmere, cotton, linnen, wool, cotton, red cotton theard Single size : FR 36 – 42 Photos : Corinne Janier Paris
Monika Brugger 3 Stichwunde, Geschenk der Näherin, 2007 2/7 Jewel Linen, garnets, cotton Collection 1/7 ProArtibus, Ekenäs (FI) Work produced with the assistance of a 2005 Create your own automated PDFs with JotForm PDF Editor 7 research grant awarded by the CNAP (National Centre for Visual Arts), Paris and the A.i.R programme of ProArtibus Ekenäs/Tammisaari (FI) in 2006 Photo : Matthieu Gauchet
Monika Brugger Une reprise, 2006- 2008 Jewels Linen, gold thread, pearlsBroderie Embroiderie4 x 4 cm Photo : Corinne Janier Paris
Monika Brugger Fliegenschmuck, Les nouvelles vanités, since 2018 Earrings Shibushi, freshwater pearls, glass perles Photo : Corinne Janier Paris
Monika Brugger Mouche, 2018 Marlène et ses mouches, 2017 Copper, enamel Portrait Photo : Matthieu Gauchet, Paris
Monika Brugger Fingerprints from M.B. A fleurs des doigts, since 2008 Rings Silver, gold Photo : Corinne Janier Paris
Monika Brugger Fingerhut, since 1992 Weddingring, 2008 Rings Silver, gold Photo : Corinne Janier Paris
Monika Brugger Stichwunde, Geschenk der Näherin (detail), 2007 Detail linen, grenats Jeu de dés, 2018 Earrings, Recovered thimbles, silver, red gold, grenats Photo : Corinne Janier Paris

#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.

Annora Poppe, "Regecting Landscapes", necklace, 2019, rock crystal, aluminum, titanium. Photo by Jekaterina Smirnova
Annie Huang, ''The Figur'' necklace, 2019, padauk, bloodwood, silver. Photo by artist
Franziska Lusser, ''Reminiscence'' , brooch, 2019,rock crystal, silver, steel. Photo by Jekaterina Smirnova.
Samantha Laddin, ''The Rewind'' necklace, 2019, maple wood, rubber. Photo by artist.
Setareh Shojaee, ''Play between Mountains''. necklace, 2019, 3D printed nylon, basalt stone, textile. Photo by Nima Ashraf.
Vanessa Zoeller, ''a mother is a soap''. Object, 2019, milk opal, human hair. Photo by artist.

#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!

Madeli Viljoen
Charlot Claessens
Katho Nulens
Maria Konschake
Charlotte Vanhoubroeck
Annika Ingelaere
Sophia Vanderwalt
Yann Ceuleers
Simon Mazuera

#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.

Coral necklace 11" x 11" x 3" (27,94 x 7,62cm) Polyester fabric, 2020
Pink Bubble necklace 10" x 10" x 3“ (25,4 x 25,4 x 7,62cm) Polyester fabric 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…

 

Ring 2019 Silver,plastic brick house building module,sand Construction,patina 6x7x6cm PH Damián Wasser
Brooch 2019 Silver,plastic brick house building module Construction ,patina 6x6x3.5cm PH Damián Wasser
Ring 2019 Silver,plastic brick house building module Construction,patina 4x5x4cm PH Damián Wasser
Bracelet 2019 Silver,sand, plastic brick house building module Construction,patina 8.5x8x3cm PH Damián Wasser

#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.

 

Darja Popolitova, Drama of Two II, 2018, brooch, CNC milled and chromed wooden part of an ancient ship found from the sea, on Saaremaa island; silver, 93 x 52 x 25 mm, photo: Darja Popolitova (courtesy Galerie Door)
Darja Popolitova, Anti-Clicking Spike, 2019, brooch, 3D printed and chromed starch, silver, diamond cutter, silicon wafer, 60 x 25 x 10 mm, photo: Darja Popolitova (courtesy Galerie Door)
Eva Burton, Cosmic candies constelados - from series 'When Play Meets Ritual', 2017, necklace, anodized aluminium, green jaspis, 14ct gold, 445 x 40 x 40 mm (total length), photo: Marta Veludo (courtesy Galerie Door)
Kun Zhang, Unknown, 2018, object / pin, ebony (hand carved), 374 x 8 x 2 mm / 278 x 8 x 4 mm, photo: Jekaterina Smirnova (courtesy Galerie Door)
Philip Sajet, Nails, 2013, necklace, niello on silver, gold, approx. 210 x 140 x 20 mm, photo: Beate Klockmann (courtesy Galerie Door)
Jiun You Ou, yàn #8, 2019, brooch, inkstone, two component glue, stainless steel, sterling silver, 90 x 45 x 15 mm, photo: Jiun You Ou (courtesy Galerie Door)
Taehee In, n.t., 2018, brooch, silver, obsidian, plastic, stainless steel, 45 x 45 x 20 mm, photo: Taehee In (courtesy Galerie Door)
Robean Visschers, !, 2017, brooch, silver (fairtrade), rock crystal, 75 x 30 x 25 mm, photo: Robean Visschers (courtesy Galerie 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.

Carolina Bernachea
Carolina Bernachea
Carolina Bernachea
Luz Arias
Carolina Bernachea
Luz Arias
Luz Arias
Luz Arias

#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.

Vivien Bedwell, Muted Touch on Body
Daria Borovkova, relative No.2 on body
Anna Lewis, Touch
Satomi Kawai, ring, Her Black Hair
Nina Lima
Peter Machata, Stigma
Nanna Obel, Middle Age Skin
Jana Machatova, Portrait of lady
Margherita Potenza, Chest tile
Artist Eva van Kempen Lady Liberty, from the series Freedom as Luxury 2020 Materials Expired abortion pills, PVC film, artificial leather, spring steel, steel Photo credit Hugo Rompa Model Eva van Kempen
Tanel Veenre, PAPILLA
Snem Yildirim, sense and sensation

#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.

Erinn M. Cox: LONGING: Please Let It Be Me, 2019, oxidized copper, silver, 75 x 39 x 2.5 cm, 6.5 kilos, photographer: Sigrid Kuusk
Erinn M. Cox: IMMORTAL: 7 days, 34 hours, 13 breaths, 2 nails, 2017, oxidized copper, cast bronze  ngernails of the artist, silver, 58.5 x 5 x 2.5 cm, 300 grams, photographer: Tiit Rammul
Hanna-Maria Vanaküla: Focus-Pocus I, 2020, optical lenses, silver, steel, thread, 4 x 6, 5 x 6.5cm, photographer: the artist
Hanna-Maria Vanaküla: Focus-Pocus II, 2019, optical lenses, silver, steel wire, 7.5 x 15 x 1 cm,photographer: Gia Lam Nguyen
Kristine Ervik: Trembling chain, 2019, steel, 100 x 10 x 2 cm, photographer: Kristoffer Kråkstad
Kristine Ervik: You sneaky…, 2019, steel, 24 x 16 x 1 cm, photographer: Kristoffer Kråkstad
Olaf T. Hodne: Shield, 2019, labradorite, steel, 14.1 x 10.8 x 2.8 cm, photographer: the artist
Olaf T. Hodne: Window, 2019, rose quartz, steel, 13.8 x 7.3 x 2.5 cm, photographer: the artist

#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.

Yotam Bahat- The Scale of Choice: Between Pleasure and Destruction, 2019 Ring Copper and silver Photo Credit: Rafi Schoffman and Dani Schoffman
Katia Rabey Flat Stomach, 2019 Pendant stainless steel, cord Photo Credit: Rafi Schoffman and Dani Schoffman
Tamar Paley I Carry The Weight, 2020 Pendant Silver, stones, thread. Photo Credit: Rafi Schoffman and Dani Schoffman
Michal Bar-On Shaish It Is Not "There" Yet!, 2020. Wall piece Oxidized fine silver, smoky quartz. Photo Credit: Rafi Schoffman and Dani Schoffman
Adi Farber Marking Place, 2019 Mask Kombucha fungus (Bacterial cellulose), Tulle, Cotton thread, Hot glue. Photo Credit: Rafi Schoffman and Dani Schoffman
Sofia Zakharova Essence, 2019 Pendant Glass Photo Credit: Rafi Schoffman and Dani Schoffman
Stav Bozaglo Will You, 2019 Rings Stone, zircon Photo Credit: Rafi Schoffman and Dani Schoffman
Anat Aboucaya I Am My Memento Mori, 2020 Necklace Silver, lucite, steel, natural hair, pearl, hematite. Photo Credit: Rafi Schoffman and Dani Schoffman
Keren Gispan The Misconception of Control, 2020 Brooch Corian, wood, silver 927 Photo Credit: Rafi Schoffman and Dani Schoffman

#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.

Portrait n.1, brooch (2017), glass, egirine, silver, steel. Picture by Federico Cavicchioli
Portrait n.3, brooch (2018), glass, egirine, silver. Picture by Federico Cavicchioli
Federica Sala, Portrait n.4, brooch (2018-2019), glass, kunzite, silver, steel. Picture by Federico Cavicchioli

#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.

Ring Linea, Flora, Pepita, gold plated Silver, collection Arcadia
Necklace Nodo, Gold Plated silver, collection Nodo
Ring, Earrings Arpa, Gold Plated silver, collection Arpa
Collection Arcadia, 925 silver , gold plated silver
Ring Marmolada, Ring, Silver, 18k Gold, collection One Tool
Ring, Silver, collection One Tool
Ring, Silver, Enamel, collection Masai
Earrings Nodo, 925 silver, collection Nodo
Ring Nodo, 925 silver, collection Nodo

#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.”

Lisa Walker Anhänger, 2017, Skateboard, Schnur (c) Lisa Walker
Lisa Walker Good Art is Better Than Bad Design (thanks Maki Suzuki), 2017, Holz, Lack (c) Lisa Walker
Lisa Walker Brosche, 2007, Plastik, Silber, Lack, Klebstoff (c) Lisa Walker
Lisa Walker Anhänger, 2015, Plastik, Silber (c) Lisa Walker
Lisa Walker Brosche, 2007, Wolle, Silber, Lack (c) Lisa Walker
Lisa Walker Halskette, 2017, Schaffell (c) Lisa Walker
Lisa Walker Halskette, 2018, Präparierte Entlein, Faden, Stahl (c) Lisa Walker
Lisa Walker Anhänger, 2010, Laptop, Wolle (c) Lisa Walker
Lisa Walker, 2018 (c) Lisa Walker

#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.

Isabelle Busnel -Time Flies - Brooches - Photo Isabelle Busnel
Aneta Wrobel - What goes around comes around - Brooches
Jo McAllister - Conjuring - RIng - Photo Alexander Brattell
Maud Traon - Party time - Ring
Maarit Liukkonen - Future Relics spoons - Photo J.Garner
Spam Glam - Less Is More - Neckpiece - Photo Andi Strum
Petra Bishai - Home Taping - Object - Photo Simon B Armitt
Timothy Information Ltd – Lost - Badge
Victoria King - Commodities That Changed The Face Of Britain - Tin Brooch

#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”

#12 WHERE I DRAW THE LINE

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.

Anna Maria Pitt @annamariapitt
Coline Assade @colineassade
Inesa Kovalova @by.inesa.k
Francesca Urciuoli @francescaurciuolijewellery
Katharina Kraus @katharinakraus_jewellery
Tatyana Kholodnova @kholodnova
Muneera Hamed Alsharhan @muneeraalsharhan
Laura Forte @lauraforte_official
Olga van Doorn Jewelry @olgavandoornjewelry

#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.

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

#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.

Sophia De Groot, Earring “Interlinked”, 3D printed, stainless steel, Photographer Casper, Fitzhue, 2019
Yuyeong Choi, Headpiece, “My Developed Sense of Self”, Brass, silver, plexiglass, 2019
Maria Gulavskaya, Bracelet, “Body Map”, Cardboard, wood, Photographer Jelle Sluyts, 2019
Adelina Cioanca, Earring “Frozen memories”, Foam, silver, acrylic, resin, candy cotton, Photographer Kaat Somers, 2019
Liuhong Li, Brooch, “Wearing Perfume”, Silver, Mother of pearl, Photographer Liuhong Li, 2019
Luca Sági, Brooch, “My Urbanscapes”, Cardboard, brass, wood, silver, steel, 6,2cm x 2cm x 8cm, Photographer Aron Viszlo, 2019
Valeria Naumova, Bracelet, “Sensuality and eroticism”, copper electroformed, leather, Photographer Valeria, Naumova, 2019

See all events during Munich Jewellery Week 2020 here

 

 

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