EXPO « Tandem » – WCC-BF, Mons (BE) – 22 Juin-18 Aout 2013

Tandem – Des étudiants en Architecture d’Intérieur d’ARTS² rencontrent des membres du WCC-BF

Les œuvres présentées par les étudiants sont librement inspirées par celles de membres du WCC•BF, également montrées dans l’exposition.

 

Elodie BAISE & Faezeh AFCHARY-KORD
Stéfanie BOURG & Lucie Anne JAMAR
Vicky COLART & Hélène MARTIAT
Lorianne DESCAMPS & Anne-Marie TRIGNON
Hermeline ESTIEVENART & Cécile BERTRAND
Thaï FINA & Monique VOZ
Anaïs GENARD & Chantal DELPORTE
Jonathan LEMPEREUR & Vincent KEMPENAERS
Charlotte LIPPINOIS & Faezeh AFCHARY-KORD
Jéromine MASSART & Aurore DE HEUSCH
Tamara MAZZARINO & Isabelle AZAÏS
Roberto MONTANA LAMPO & Thérèse LEBRUN
Caroline OVERLAND & Henriette MICHAUX
Milena QUAGLIA & Claire LAVENDHOMME
Sylvain SCANDELLA & Coryse KIRILUK
Quentin THEUNINCK & Henriette MICHAUX

 Claire Lavendhomme  Pendant: Passage 2012  Silver, stone, enamel

Aurore de Heusch. Brooch

Monique Voz -2013

 

WCC-BF
Site des Anciens Abattoirs
17/02, rue de la Trouille
(Angle place de la Grande Pêcherie) B-7000 Mons (Belgique)
T : [phone]
F : [phone]
[e-mail]
www.wcc-bf.org
Exposition accessible
du 22.06 au18.08.2013
tous les jours sauf les lundis et jours fériés de 12h00 à 18h00

Dania Chelminsky, une perle on vous dit !

Dania Chelminsky

« I combine contrasting materials in my work; organic with synthetic, hard and soft, crafted and found, creating a possible connotation and meaning.
I am intrigued by their touching points, using traditional metalsmithing techniques to emphasize moments of tension, telling a story.
I wonder about the meaning of recycling.
Pieces and bits, disposable, unnecessary transform to precious fractures of garbage.
I combine these materials as a statement, as a moment of thought about the way we refer to our surrounding world. »

Dania Chelminsky  Necklace: Branches 2013  Wood, gf

« I cut branches into pieces no bigger than a finger. Each cut stump inspires me to begin a process of mending.
Working directly with the material, without preliminary sketches, creates a pattern in which every piece is different .The individual fingerprints and small defects that   characterize handcrafted jewelry create a sense of personification and connection to the body. The pieces are not merely ‘accessories of adornment’ but have a story to tell.
The role of the hand is something very visible .The hand is at the same time the one who wears the pieces and the one who creates them. All the branches are cut off and pierced, transforming them into stumps, small statues, preliminary sketches that can be made into something bigger, but they are also perforated, like potential rings, something that is both in the image of a finger and suitable to be worn on a finger.
The placement of the pieces on the table creates a sort of ‘group picture’ but also reveals a disturbing aspect of the gathering. A gathering of fragments that have been torn out, burnt or that were made defective. »

Dania Chelminsky  Necklace: Branches 2013  Wood, pearls, gf
Dania Chelminsky  Necklace: Branches 2013  Wood, pearls, gf

Dania Chelminsky -  Silence – Brooch – base + replaceable part 3 x 3 x 0.6cm, silver, epoxy, pearls, fabrication, 2011

Dania Chelminsky – Decocameo necklace, Epoxy, pearls, cameos, gold leaf, gold-filled, 22 X 0.9 cm, 2012

EXPO ‘From the Coolest Corner’ – Designmuseum Danmark, Copenhagen (DK) – 28 Juin-15 Sept. 2013

From the Coolest Corner – Designmuseum Danmark

The touring exhibition ‘From the Coolest Corner – Nordic Jewellery’ comes to Designmuseum Danmark from Oslo and next stop is Helsinki, Tallinn, Gothenburg and Munich. A publication accompanies the exhibition. The opening is June 28, and alongside the opening at Designmuseum Danmark, the Copenhagen Jewelry Triennial is filling the city with exciting jewelry exhibitions.

Kim Buck  Rings: Pumpous 2011

A large comprehensive exhibition shows what is happening on the Nordic jewellery scene in 2013. In light of the two successful exhibitions, shown in 1995 and 2001, Designmuseum Danmark has collaborated with Röhsska Museet in Gothenburg, The National Museum of Art, Architecture and Design and Design Museum Helsinki to create a traveling exhibition that shows a large number of works, all created specifically for this occasion. An international jury has selected all the works and few are hand picked as guests of honour – including Kim Buck from Denmark.

It is not often, that jewellery is what comes to mind, when the citizens of Copenhagen pass by graffiti painted park benches and trash bins in the streets. But in the exhibition ‘From the Coolest Corner – Nordic Jewellery’ at Designmuseum Danmark a park bench and a trash bin is exactly what can be seen as brooches, birch wood trunks have been transformed into rings and metal wire has become pendants.

The exhibition shows selected jewellery from Denmark, Sweden, Norway, Finland, Iceland and Estonia and you can expect to see anything but traditional jewellery. The artists have in their own way reflected on and challenged the genre as well as the stereotype ideas of Nordic jewellery. The exhibition questions whether it is still possible to talk about a typical Nordic trend as it has been earlier or if the international orientation nowadays is so strong, that we no longer see any regional characteristics.

A jury has selected 61 artists to participate in the exhibition including five honorary artists. 
Denmark is represented by 7 artists:  Josephine Winther, Thorkild Harboe Thøgersen, Marie-Louise Kristensen, Kaori Juzu, Annette Dam, Julie Bach and the guest of honour Kim Buck.

Kim Buck’s works are characterised by a fond but critical attitude towards the varied creations of the jewellery industry. As in the series Bonsai, this sometimes results in jewellery that cannot be worn but serves instead as objects for contemplation. Bonsai, which is among Buck’s contributions to the exhibition, consists of five blocks of birch wood made into rings.

Where Kim Buck’s work is often inspired by traditional forms of jewellery, Marie-Louise Kristensen has instead been inspired by everyday objects. With an ironic subtitle she has created brooches for the exhibition in shape of for instance a park bench, a trash bin and scaffolding – images that most of Designmuseum Danmark’s visitors will recognise from the streets of Copenhagen.

Kim Buck  Rings: Bonsai 2012  Birch tree  15 cm  Series of five birch trunks ending in a carved ring

Annette Dam Necklace: Purified 2010Gold plated silver, pearls, corals

Kaori Juzu

 

Designmuseum Danmark
Bredgade 68
1260 – Copenhagen
Denmark
Telephone: [phone]
website: designmuseum.dk
mail: [e-mail]

 

BOOK :

 

From the Coolest Corner  – From the Coolest Corner  Nordic Jewellery  Liesbeth den Besten, Widar Halén, Love Jönsson, Päivi Ruutiainen, Jorunn Veiteberg  Stuttgart: Arnoldsche Art Publishers, 2013    Technical data: 248 pages, 23 x 25 cm, 228 colour illustrations. Hardcover with dust jacket    ISBN/ISSN: 978-3-89790-373-9    Price: from 40 €

Paris «Circuits Bijoux» – CYCLE de CONFERENCES, TABLES-RONDES et RENCONTRES – Paris (FR)

Parcours du Bijou «Circuit Bijoux» – Paris – à partir de SEPT. 2013

De septembre 2013 à mars 2014

Le BIJOU, MATIERE à PENSER

CYCLE de CONFERENCES, TABLES-RONDES et RENCONTRES

Une manifestation de l’envergure des Circuits Bijoux ne se conçoit pas sans un volet de réflexion. Faisant appel à des spécialistes issus du champ des sciences humaines, du monde professionnel, du secteur de l’enseignement, Ateliers d’ Art de France coordonne un cycle de conférences, tables-rondes et rencontres programmés dans divers lieux et pendant toute la durée de l’événement.

Seront présentées et débattues maintes thématiques autour du bijou et de la parure : histoire, histoire de l’art, fonctions symboliques, interrogations anthropologiques et préoccupations esthétiques sont autant de sujets soulevés par les experts conviés à faire part de leurs recherches. Les aspects plus économiques de la filière (marché, structuration des professionnels, nécessité de se positionner dans le champ de la culture, de promouvoir l’excellence et la créativité des métiers et la question de la formation…) seront également abordés.

 

 

SEPTEMBRE 2013

Jeudi 26 septembre, de 16h à 17h30

▶le Bijou contemporain, cul-de-sac ou mer à boire ?

proposé par ateliers d’art de France

intervenant : Liesbeth den Besten, spécialiste néerlandaise du bijou contemporain, auteure de « ON Jewellery 2011″ et membre du conseil d’administration de la Fondation Françoise Van den Bosch

«L’histoire du bijou est récente. Elle débuta à la fin des années soixante en quelques endroits seulement dans le monde. Beaucoup de chemin parcouru depuis, et dorénavant, le bijou a une histoire contemporaine globale (universelle et parallèle). Inévitablement, les particularismes locaux tendent à disparaître. Parallèlement  pourtant on assiste à un enrichissement formel et esthétique constant. J’ai confiance en la capacité du bijou contemporain à se réinventer.»  Liesbeth den Besten

 

galerie Collection

4, rue de Thorigny -

75003 Paris

Tél. + 33 (0)1 42 78 67 74

[e-mail]

entrée libre sur réservation uniquement dans la limite des places disponible

 

 

samedi 28 septembre, de 17h30 à 19h30

▶ Célébrations –révélations

proposé par la galerie Terres d’Aligre

intervenants : Philippe Albizzati, galeriste; Marianne Anselin, créatrice; Michèle Heuzé, historienne du bijou; Lucileee Lambert-Bach, théoricienne du bijou et docteur en histoire de l’art et archéologie; Claire Marfisi,  créatrice – modérateur : Pierre Bach, coach en management de l’innovation

Aujourd’hui, chacun choisit son bijou en fonction de son histoire, de son style, de son idée de l’exhibition de sa personne, et moins pour la fabrication d’une investiture. Ceci amène une historienne et une théoricienne du bijou à s’interroger sur les raisons de cette mutation et deux créatrices à témoigner de l’influence de ces questions sur leurs créations.

 

galerie terres d’ Aligre

5, rue de Prague

75012 Paris

[e-mail]

entrée libre sur réservation uniquement dans la limite des places disponible

 

 

OCTOBRE 2013

samedi 5 octobre, de 15h à 17h30

▶pourquoi portons-nous des bijoux ?

 proposé par ateliers d’art de France

intervenant : Michèle Heuzé, historienne du bijou

Il semble pour beaucoup que l’on se pare pour soi, alors qu’en fait on se pare souvent pour autrui. Fort de l’impact de nos besoins dans notre environnement, le bijou est une des réponses riche de sens que l’homme a créé pour se définir, se protéger, se valoriser et surtout exister. Pourtant l’homme est né sans parure ; ses ingénieuses créations furent-elles un des moyens qui favorisèrent son évolution ?

 

l’Atelier

55, avenue Daumesnil

75012 Paris   (Viaduc des Arts)

Tél. : + 33 (0)1 43 45 28 79

[e-mail]

 entrée libre sur réservation dans la limite des places disponibles

samedi 19 octobre, de 15h à 17h30

 

 

samedi 19 octobre, de 15h à 17h30
▶ Transmission, Création et Matières en question

proposé par ateliers d’art de France

intervenant : Michèle Heuzé, historienne du bijou

A partir des matériaux utilisés par les artistes de l’exposition : présentation de la variété actuelle et de la manière dont les limites de la créativité sont toujours repoussées.

 

l’Atelier

55, avenue Daumesnil

75012 Paris (Viaduc des Arts)

Tél. : + 33 (0)1 43 45 28 79

[e-mail]

entrée libre sur réservation dans la limite des places disponibles

 

Jeudi 3 octobre, de 18h30 à 20h

▶ Bijou et Innovation

proposé par ateliers d’art de France

intervenant : Catherine Foliot, consultante en management de l’innovation

Cette conférence invite à tirer les fils du processus d’innovation, à partir du travail de Yannick Mur qui nous place au cœur de trois questions contemporaines fondamentales : notre rapport au temps, au mouvement perpétuel, à la question de l’éclairage, c’est à dire à la lumière et son double, l’obscur. Nous rentrerons dans les partis pris d’un travail nourri de l’intention de tisser tradition et innovation, Yannick Mur nous invitant ainsi à une magnifique interrogation sur la création contemporaine.

 

Talents Opéra

 1 bis, rue Scribe

75009 Paris

Tél. : + 33 (0)1 40 17 98 38

[e-mail]

entrée libre sur réservation dans la limite des places disponibles

 

 

FEVRIER 2014

Vendredi 14 Février, de 15h à 17h30 &

samedi 15 février, de 9h à 19h

▶ Bijou(x) : les pratiques contemporaines mettent leurs discours à l’épreuve

 proposé par La Garantie

intervenants : seize spécialistes européens du bijou contemporain

Le colloque propose d’explorer trois modalités d’existence du bijou qui le donnent à voir comme objet qui échappe à des déterminismes de formes, de nomenclature et de destination : les gestes qu’il mobilise, les statuts qui le définissent et les espaces dans lesquels il est exposé.

 

Paris College of art Design Center

15, rue Fénelon

75010 Paris

[e-mail]

entrée : 10€ par jour dans la limite des places disponible

EXPO ‘Paper Art 2013′ – Coda Museum, Apeldoorn (Netherlands) – 6 Juill.-27 Oct 2013

CODA Paper Art 2013 

Art and jewellery made of and on paper

 

Paper is a fantastic material that has inspired artists and designers to create works of art for centuries. To follow up the successful Holland Papier Biënnale, which CODA Museum organised in cooperation with Museum Rijswijk, CODA Museum will exhibit the works of no less than 21 visual artists and 16 jewellery designers from both the Netherlands and abroad.
The artists whose work will be shown in CODA Paper Art do not limit themselves to working solely with paper. Visual artists and jewellery designers who have worked with paper occasionally or even just once will be included in the exhibition as well.
Reusing paper and cardboard often goes hand in hand with the development of new techniques. A unique example is KrantHout, produced by designer label Vij5 and Mieke Meijer. KrantHout is a material that turns old newspapers into wood again. The old newspapers undergo several processes that convert it into a hard, wood-like substance that has many similarities with unfinished wood and can be used and treated the same way.

 

Exhibiting jewellery designers:   Attai Chen — Ana Hagopian — Lydia Hirte — Mari Ishikawa — Tia Kramer — Nel Linssen — Hannah van Lith — Jorge Manilla — Alix Manon — Maureen Ngoc — Shari Pierce — Mette Saabye — Flora Vagi — Nhat Vu Dang — Bronia Sawyer — Tatiana Warenichova.

Lydia Hirte Pendant: Wearable sculpture 2013 Fine drawing card, coloured with calligraphic ink, glazed (with UV absorber), pearl silkLydia Hirte Pendant

The pendants created by the German jewellery designer Lydia Hirte (1960) look deceptively simple. Nothing could be further from the truth, however. Hirte works with thin paperboard from which she cuts flat strips. Moving the strips a certain way with her hands creates a tension. Nothing is stapled or glued together.

Hirte: “With my hands I guide the power and the resistance of the material so I can shape it, creating new shapes and movements.”
The cardboard basic shapes of these pendants are cut out by hand. Angles and sides are coloured with ink. A layer of varnish gives a special shine.
Lydia Hirte studied at the University of Pforzheim.

Nhat-Vu Dang

The jewellery is surprisingly light when handled, and every jewel has its own surprise element. A pendant releases a stream of confetti when you pull a handle, or a coloured segment of a bracelet lights up when you put it on. Nhat-Vu Dang hopes to bring people closer together with this playful element.

Attai Chen – cardboard
Attai Chen (1979) works with cardboard, which he tears or cuts into small pieces and then turns into a three-dimensional jewel. The work Chen creates this way can be completely different from the initial drawing he made for that particular design.
The shape of the object is not planned. Chen does know what he wants to make; a brooch, necklace or ring, and he pays a lot of attention to how the jewel will be attached, and to its wearability. The collection compounding fractions is a series made of recycled paper.
Chen: “I am fascinated by nature and the cyclical motion of growth, decay and new beginnings. Recycling is simply a matter of repeating that process. From decay – waste – I make a new object. I try to capture the beauty of the waste material in a new form.”
Attai Chen attended the Academy of Art and Design in Jerusalem. He graduated as ‘Meisterschüler’ under the supervision of Otto Künzli in Munich.

Ana Hagopian
Ana Hagopian has been making paper jewellery since 1994. Her jewels are inspired by the shapes and colours of exotic fruits and special plants she has encountered on her travels. Hagopian plays with the texture and qualities of both the original fruits or plants and those of paper. She cuts and pastes until a new shape emerges.
Hagopian: “Paper is tricky, sometimes even provoking, because it is not everlasting. On the other hand it is a simple and straightforward material. This makes it very interesting.”
Ana Hagopian attended the University of Buenos Aires (fine arts and interior design). She has been living in Spain since 1982. 

Tia Kramer (USA)  
Tia Kramer describes herself as an ‘installation, sound, and jewellery artist’. Her jewellery designs are made of handcrafted paper that Kramer makes from the Philippine banana plant.
She makes wire constructions, without soldering, and covers them with this paper. The wearer’s movements create lively sculptures. Kramer’s jewellery resulted from a request to create a three-dimensional miniature model of a large sculpture that was to be placed on the campus of Macalester College in 2003.

Mari Ishikawa

Mari Ishikawa’s (1964) draws inspiration from the traditions and customs of her native country for the design of her jewellery. Relationships, ‘en’ in Japanese, are a recurring theme. It can be the relationship between form and material, but also the relationship between thoughts and surroundings or between emotions and material. In addition, Ishikawa-Vetter often uses the colour red.
In Japanese culture, red refers to the sunset, temples and holy places, ceremonies and the bond between two people. When the Japanese describe people in love they often use the expression ‘they are connected by a red ribbon’.
The use of paper as a basic material is also a clear reference  to Japan. Ishikawa-Vetter uses Japanese kozo paper and Japanese lacquer combined with silver and pearls. When the work is finished, it often looks like jewellery with lace, buttons and wire constructions.

Mari Ishikawa

Hannah van Lith (BE)

. “I aim to find a balance between simplicity and dynamics in my designs.” Mémoires des vacances (2010) is an example of said simplicity and dynamics. The folding technique and materials Van Lith used in this work reflect the journeys she has made and the map that guided her. This way, the inside of the brooch becomes a globe.

Hannah van Lith is currently taking her master’s degree at the Academy of Fine Arts in Antwerp.

Tatiana Warenichová | Slovakia

Tatiana Warenichová  - In the collection ‘Fairy Teller’, Warenichová tries to combine the right colour combinations of the fashion season in a brooch, thereby giving the spirit of that season its due.
Warenichová sets herself the challenge of combining techniques; joining together layers of paper, glued to wood or board and finished with silver. The motifs of her brooches are derived from well-known Slovakian fairy tales. Warenichová tries to capture the highlights of each of these stories in her objects.Tatiana Warenichová studied at the Academy for Fine Arts in Antwerp, where she gained her master’s degree in 2010. She lives and works in Bratislava.

Flóra Vági’s (1978) main sources of inspiration are organic shapes and materials. She worked with exotic types of wood for a long time but finally decided to focus on paper as her basic material. Paper’s unlimited potential gave her work a new dimension.
Vági: “The material I use says something about how I see the world. Once I have shaped the paper into a jewel, it can be returned to the world but just a bit different from the material that came to me originally.”
The brooch Ala Pervinca combines the pages of a book in a new shape with gold leaf and acrylic paint. Vági won the World Craft Council Award with this brooch in 2012.
Flóra Vági graduated from the Royal College of Art in London in 2008 but had already won the Marzee Prize in 2004, awarded by the Marzee gallery in Nijmegen. Vági’s work has been exhibited throughout Europe. She also gives (guest) lectures

Mette Saabye | Denmark

Mette Saabye (1969) is known in Denmark and abroad as one of the most innovative and experimental jewellery designers. Although she puts together collections sporadically, she usually creates one-offs that may or may not be tailored to specific people.
Saabye uses both expensive and cheap (waste) materials but mostly allows herself to be inspired by whatever is available. Gold rings decorated with buttons from grandmother’s button box are not an unusual combination. Paper is also a material she likes to incorporate in her jewellery.
Saabye feels it is important that the object is interesting on multiple levels. In addition to a sound theoretical basis, the jewel should have decorative qualities.Mette Saabye has won several prizes, including the St. Loye Prisen, a prize awarded by Copenhagen’s Goldsmith Guild to support young talent. She opened her own gallery and studio in Copenhagen in 2005.

Alix Manon (BE) brooch – For the brooch and pendant that will be shown during CODA Paper Art 2013, Manon used recycled paper, which she treated with paint and ink. By piling up shapes, she creates a new image. Alix Manon attended the Royal Academy of Fine Arts in Antwerp. She also studied at the Academy SAIMAA University of Applied Sciences in Imatra (Finland) for a year in order to familiarise herself with the use of various techniques & the simplicity of Northern European design.

Shari Pierce (1973) is mainly inspired by the objects she encounters on the street in everyday life. She takes photos of everything she sees. This can result in seemingly random images of piles of cardboard boxes by the side of the road, protest marches or dilapidated sheds.
She takes the material she finds on the street with her and incorporates it into her jewellery designs. These pieces of jewellery are either fragile or monumental compared to the photographic images, which capture the material in a broader context.
Pierce combines the materials she finds on the street with precious metals, giving her jewellery a new shape and meaning.

Nel Linssen (1935) has been creating jewellery and objects made of paper for over thirty years. Her work can be found in museum collections all over the world.
Linssen’s work has its very own imagery, which is very distinct. Linssen: “My work develops intuitively and based on an empirical approach. I am on a continual search for logical constructions that are inspired by rhythms and structures in the botanical world. Paper as a basic material was an obvious choice for me because it possesses many qualities that are very useful to me.”

Maureen Ngoc | Vietnam

Maureen Ngoc (1989) recently graduated from the London College of Fashion with My Ngoc; a collection of jewellery and fashion accessories made of paper. This exceptional collection shows that contemporary jewellery is often a fusion of ancient traditions and modern techniques.
Ngoc based the collection on three-dimensional patterns and traditional origami techniques. The result is a collection of conceptual jewellery that is not only designed to be decorative but can also be seen as body armour.
Ngoc drew inspiration from the shape of bird feathers when designing My Ngoc. The jewels are made of thousands of folded sheets of paper and follow the wearer’s movements. These movements constantly result in new shapes and three-dimensional patterns. The collection was photographed in black and white by Tho Vu.

 

CODA Museum
Vosselmanstraat 299
(Museumingang: hoek Vosselmanstraat/Roggestraat)
7311 CL Apeldoorn
tel.: [phone]
fax: [phone] [e-mail]
www.twitter.com/codaapeldoorn
website: www.coda-apeldoorn.nl

EXPO ‘HANDSHAKE’ – Objectspace, Ponsonby, Auckland (New Zealand) – 15 Juin-20 Juill. 2013

HANDSHAKE project 

The Handshake exhibition is the culmination of the Handshake mentoring project that began in 2011 involving twelve, then emerging, New Zealand-based jewellers. The project initiated by jeweller, teacher, and jewellery activist Peter Deckers, has provided the mentees with the opportunity to work with an internationally renowned artist or jeweller of their choice, as a mentor.
The role of the mentor was to assist the mentee with establishing an ongoing practice that would extend beyond the duration of the project and provide professional support and advice during the process of them developing works for a series of Handshake exhibitions staged in Australia, New Zealand and Germany. While earlier exhibitions  focussed on the mentees, the Handshake exhibition at Objectspace presents works by all the participants and highlights the collaborative process and unique qualities of the relationships between the pairs.
The Handshake website (http://handshakejewellery.com) records the progress of the Handshake participants via blogs that chart the development and exchange of ideas which occurred through a mixture of email, Skype, and studio visits. A recently published book HANDSHAKE – 12 contemporary jewellers meet their hero collects text and images from participants and features an essay from leading international jewellery commentator Benjamin Lignel. The book is available for purchase at Objectspace.
In the final phase of this Handshake project each of the current mentees has been given the opportunity to select a new recent graduate, whom they will mentor for of a year,expanding on the ever increasing circle of learning and contributing to the dynamic flow of shared experiences. These graduating mentees- soon- to- be- mentors are the most valuable jewellery resources generated by Handshake.

participants : 
Becky Bliss / Fabrizio Tridenti
Neke Moa / Karl Fritsch
Gillian Deery / Estela Sáez Vilanova
Sam Kelly / Octavia Cook
Jhana Millers / Suska Mackert
Jessica Winchcombe / Warwick Freeman
Nadene Carr / Lucy Sarneel
Sarah Read / Iris Eichenberg
Lynsay Raine / Andrea Wagner
Kristin D’Agostino / Judy Darragh
Debbie Adamson / Hanna Hedman
Sharon Fitness / Lisa Walker

 

 

Objectspace   
8 Ponsonby Rd | Ponsonby
Auckland | New Zealand
P [phone]
F [phone]
[e-mail]
www.objectspace.org.nz

EXPO ‘The New Italian Design’ – Academy of Art University, The Cannery, San Francisco (USA) – 22 Juin-11 Aout 2013

« The New Italian Design«   -  Academy of Art University – The Cannery  (San Francisco, CA, United States)  22-Jun-2013 – 11-Aug-2013

Triennale Design Museum presents an upgraded and updated 2013 edition of The New Italian Design exhibition at the Cannery Galleries of Academy of Art University, San Francisco, from 22 June until 11 August 2013: an overview on contemporary Italian design that explains and describes the transition of the movement and its links with economic, political, and technology changes that occurred over the past Century.

Triennale Design Museum, the first museum of Italian design, is directed by Silvana Annicchiarico, and has organized this exhibition to analyze, value and promote the new Italian creativity. As a travelling exhibition, The New Italian Design was presented in Madrid (2007), Istanbul (2010) Beijing and Nantou (2012), Bilbao (2013).

The New Italian Design in San Francisco is a part of the project Making in Italy – Making in USA: “Artisanship, Technology and Design. Innovating with Beauty,” which will be held from June 11 to June 24 in San Francisco in the framework of “2013 – Year of Italian Culture in the United States.” The initiative was conceived and curated by the Giannino Bassetti Foundation. This project is the result of a collaboration between the Giannino Bassetti Foundation, the Consulate General of Italy and the Italian Cultural Institute of San Francisco: get-togethers, events, and debates between Italian and American craftsmen, makers and intellectuals, cultivators of beauty and experts in the new technologies, joined together to define and create the economy of beauty.
The exhibition presents works from 132 designers with 288 projects. It includes 189 designers for product design, 28 for graphics, 28 for objects linked to the body like jewelry, handbags and accessories, 7 for research, 32 for food design, 4 for interior design.
The scene that emerges is rich and multifaceted; it starts from furniture design and touches upon new forms of communication, from food to web design, from fashion to textile design, from jewel design to graphic and multimedia all the way to interior design and object design.
The exhibited works range from self produced prototypes to large-series products, from works of art to merely industrial artefacts. Many of the involved designers are already well established at an international level and are employed by important companies in the industry. Presented for the first time in 2007, at Triennale di Milano, The New Italian Design is the result of a survey on a national scale focused on the passage from the XX to the XXI century and the substantial change in the role of the profession.
Silvana Annicchiarico says: “Contemporary design is to be found in a decidedly different model from the one that dominated in the age of the ‘Masters’. In those days, design culture aimed to create finished, functional products, whereas today – in what has in a certain sense become a ‘mass profession’ – design generates processes more than products, and appears primarily as a form of self-representation of the designer’s ability to imagine, create and innovate. Today’s new designers are neither the heirs nor the pupils of the various Munaris, Magistrettis and Castiglionis. They are something else. Insisting on thinking of them as ‘little’ masters means to continue forcing them parasitically into twentieth-century paradigms that no longer hold true. It means doing an injustice to them and to their diversity and originality, as well as to the design system as a whole. Finding one’s way around the new, ever-changing world of Italian design, which is made of team effort and horizontal movements more than individual, vertical actions, requires no nostalgia for a golden age that has had its time. What is needed is a new ability to explore and take risks, and possibly even lose one’s way, only to find it again. The New Italian Design exhibition is an attempt to move in this direction”

With work by: 4P1B Design Studio –  Massimiliano Adami –  Massimiliano Alajmo –  Arabeschi di latte –  Antonio Aricò –  Dodo Arslan –  Stefano Asili –  Enrico Azzimonti –  Alessandra Baldereschi –  Gabriele Basei –  BenedettiEdizioni –  Thomas Berloffa –  Alessandro Biamonti –  Giorgio Biscaro –  Giorgio Bonaguro –  Denise Bonapace –  Massimo Bottura –  Alessandro Busana –  Pier Bussetti –  Elio Caccavale –  Fabio Cammarata –  Moreno Cedroni –  Cristina Celestino –  Cristina Chiappini –  Mariavera Chiari –  Matteo Cibic –  Ciboh –  Alessandro Ciffo –  CLS Architetti –  Silvia Cogo –  Carlo Contin –  Luisa Lorenza Corna –  Antonio Cos –  Simona Costanzo –  Carlo Cracco –  CTRLZAK –  Manuel Dall’Olio –  Lorenzo Damiani –  Deepdesign –  Carmine Deganello –  Andrea Deppieri –  Designtrip –  Leonardo Di Renzo –  Sandra Dipinto –  David Dolcini –  dotdotdot –  Esterni –  Francesco Faccin –  Sandra Faggiano –  Odoardo Fioravanti –  Formafantasma –  Manuela Gandini –  Gionata Gatto –  Ilaria Gibertini –  Roberto Giolito –  Giopato&Coombes –  Alessandro Gnocchi –  Monica Graffeo –  Diego Grandi –  Gumdesign –  HABITSmln –  Giulio Iacchetti –  Ildoppiosegno –  jekyll & hyde –  JoeVelluto –  Lagranja –  Marco Lambri –  Francesca Lanzavecchia –  Leftloft –  Emilio S. Leo –  LLdesign –  Concetta Lorenzo –  LS Graphic Design –  Stefania Lucchetta –  Emanuele Magini –  Elia Mangia –  Stefano Marchetti –  Ilaria Marelli –  Miriam Mirri –  Bruno Morello –  Chiara Moreschi –  N!03 Studio ennezerotre –  Luca Nichetto –  Davide Oldani –  Barbara Paganin –  Lorenzo Palmeri –  Daniele Papuli –  Donata Paruccini –  Edoardo Perri –  Gabriele Pezzini –  Piano Design –  Sylvia Pichler –  Angela Ponzini –  Aldo Presta –  Matteo Ragni –  Marcantonio Raimondi Malerba –  Riccardofabio –  Ivana Riggi –  rnd_lab –  Andrea Ruschetti –  Elena Salmistrano –  Fabrizio Schiavi –  Luca Schieppati –  Gianmaria Sforza –  Brian Sironi –  Stefano Soave –  Valerio Sommella –  Sonnoli Leonardo –  Studio FM Milano –  Studio Ghigos –  Studio Natural –  Paolo Bazzani –  Studio Pepe –  Studio Pierandrei Associati –  Studio Temp –  Studiocharlie –  Studioxdesigngroup –  Tankboys –  Stefano Tonti –  Marco Tortoioli Ricci –  Total Tool –  Barbara Uderzo –  Paolo Ulian –  Francesco Valtolina –  Vittorio Venezia –  Davide Vercelli –  Marco Zavagno –  Zetalab –  Marco Zito –  Matteo Zorzenoni –  ZPZ Partners –  ZUP Associati.

Barbara Uderzo  Necklace: Glucogioiello – Candy chain  Marshmallows

Stefania Lucchetta  Ring: Digital 10 WD 2012  Titanium  Photo: Stefania Lucchetta

Daniele Papuli

 

Academy of Art University – The Cannery
2801 Leavenworth St
94133 – San Francisco, CA
United States

EXPO ‘Barcelona: Found in Translation’ – ATTA Gallery, Bangkok (Thailand) – 3 Juill.-3 Aout 2013

ATTA Gallery    See you next Wednesday July 3rd at Exhibition Opening for Barcelona: Found in Translation curated by Klimt02 Gallery.

How the Barcelona experience influenced the work of 6 jewellery artists:

Ramon Puig Cuyàs — Gemma Draper — Marc Monzó — Emiliana Design Studio — Estela Sàez — Kepa Karmona + Marie Pendariès

 

Kepa Karmona + Marie Pendariès  Brooch: Nº43.7384176/7.4246158 2011  Plastic, silver, stainless steel

Ramon Puig Cuyás  Brooch: Nº 1409 2011  Metal

Gemma Draper  Brooch: Ld9 2011  Gold, paint, porcelain, reconstructed material, wood

 

ATTA Gallery
O.P. Garden, Unit 1109 4,6 Soi Charoenkrung
36 Charoenkrung Road, Bangrak
Bangkok, 10500, Thailand.
tel [phone]
[e-mail]

website: www.attagallery.com

EXPO ‘GEBEN UND NEHMEN’ – Villa Bengel, Idar-Oberstein – 3 Juill.-8 Oct. 2013

TASSO MATTAR: « GEBEN UND NEHMEN » – Industriedenkmal Jakob Bengel   – 3 juill-8 oct 2013

 

 

Industriedenkmal Jakob Bengel
Wilhelmstraße 44,
55743 Idar-Oberstein
Tel [phone]
http://www.jakob-bengel.de

 

EXPO ‘Nikolay Sardamov : Constructions’ – Isabella Hund Gallery, Munich (DE) – 2-11 Juill. 2013

Nikolay Sardamov: Constructions    – Isabella Hund Gallery

 

 

Isabella Hund Gallery 
gallery for contemporary jewellery
Frauenplatz 13
Eingang Schäfflerstraße
80331 München
Tel. +49 - (0)89 - 29 16 07 17
mail: [e-mail]: www.isabella-hund.de