EXPO ‘Barbara Paganin – Memoria Aperta’ – Museo Fortuny, Venezia (IT) – 8 Mars- 14 Juill. 2014

Inaugurazione il 7 marzo a Venezia a Palazzo Fortuny della mostra Barbara Paganin – Memoria Aperta. Curata da Valeria Acornero

25 spille che parlano di ricordi… 25 racconti per riflettere e immaginare   ……

(Barbara Paganin Memoria Aperta spilla n.24, 2011-2013 Argento patinato, corallo, madreperla, elementi di porcellana e di osso, bussola, oro)

 

 

Gioielli-racconti che prendono spunto dalle emozioni del proprio passato ma che subito si aprono al mondo esplorando nei ricordi degli altri. Elementi tangibili di una memoria presa in prestito: miniature di ritratti ottocenteschi, animali portafortuna di porcellana, topolini, ippopotami, conigli, elefantini di avorio, una piccola bussola, una regina degli scacchi… È la prima volta che l’artista veneziana Barbara Paganin (1961) sceglie di inserire in maniera sistematica elementi “estranei” e objets trouvés nelle proprie opere. Il lavoro parte dalla ricerca tra le botteghe antiquarie di Venezia a caccia di quei piccoli oggetti, da poter immaginare un tempo conservati gelosamente in uno “scrigno” di bambina. La memoria degli altri si fonde perciò con quella personale dell’artista. Ogni spilla racconta una storia, che ciascuno può immaginare diversa, adattandola alla propria memoria, al proprio ricordo. Le 25 opere sono pensate come un corpus unico sul quale l’artista ha lavorato continuativamente negli ultimi due anni per presentarle tutte insieme a Palazzo Fortuny. //

The exhibition presents jewels and stories that draw their inspiration from the emotions of their past, but which immediately open up to the world too, exploring the memories of others. Tangible elements of a borrowed memory: 19th-century miniatures, porcelain animal good-luck charms depicting mice, hippopotamuses, rabbits, ivory elephants, a little compass, the queen from a chess set… This is the first time the Venetian Barbara Paganin (1961) has chosen to include “extraneous” elements and objets trouvés in a systematic manner in her production. Her work begins with a search among the antiques shops of Venice to find these little objects, which one could imagine were once jealously guarded in some child’s “treasure casket”. The memory of others blends, therefore, with that of the artist herself. Every brooch tells a story, which can be imagined differently by every observer, adapting it to his own memory. The 25 works are planned as a single corpus, on which Paganin has worked continuously over the past two years, and are designed to be displayed all together at Palazzo Fortuny.

Barbara Paganin – Spilla n. 12, 2011-12, Argento ossidato, ritratto smaltato su rame, vetro, porcellana, quarzo di luna, oro ph. A. Pavesi Fiori

Barbara Paganin – Spilla n.9, 2011-2013, oxidate silver, pictures, yellow opals, golden – ph A.Pavesi Fiori

Barbara Paganin, Memoria Aperta n.5, 2011-2013.- oxidate silver, pictures, porcelain, glass, zephyr, golden.- Picture: Alice Pavesi Fiori

Barbara Paganin, Memoria Aperta n.11, 2011-2013 – oxidate silver, miniature on ivory, glass, tourmaline, cabochon, golden -Picture: Alice Pavesi Fiori

Barbara Paganin, Memoria Aperta n.19

Barbara Paganin, Memoria Aperta n.7

Barbara Paganin – Memoria Aperta n.3 Foto Alice Pavesi Fiori

Barbara Paganin – memoria Aperta n. 8 Foto Alice Pavesi Fiori

 

Palazzo Fortuny
San Marco 3958,
30124 Venezia
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EXPO ‘Staring : in HINDSIGHT’ – Die Neue Sammlung (Danner-Rotunde), Munich (DE) – 14-20 Mars 2014

SCHMUCK 2014 – Munich – 12-18 Mars 2014

Staring : in HINDSIGHT / SUNY NP METAL

Vernissage 14 Mars, 19 Uhr

STARING: The State University of New York at New Paltz

THE METAL PROGRAM AT THE STATE UNIVERSITY OF NEW YORK AT NEW PALTZ IN COOPERATION WITH DIE NEUE SAMMLUNG – THE INTERNATIONAL DESIGN MUSEUM MUNICH

Designed in response to the physical space that houses the exhibition, in Staring is an exercise in looking, finding, seeing and knowing.
This gallery, informally referred to as ‘under the stairs’, is an interstitial space – formed by the galleries that surround it. It is a negative of a positive, the leftover from a functional form. It lies in-between, forming the way one considers what lies on the other side of the concrete divide, what is revealed and what is hidden. As the risers and runners of multiple staircases surround the viewer, form becomes rhythmic, linear texture, closing in underfoot and overhead. In this space one is simultaneously astonished, disoriented, and mystified. While not originally conceived as an exhibition space, through imaginative thinking it became so.
As a marginal space it is not confined by traditional boundaries or conceptions. This notion of working the margin is akin to the creative strategies taught at New Paltz. Students are expected to engage the traditions of jewelry and hollowware, working within the field’s “architecture”, but not to mimic it; in dialogue through making they question function, value, and relevance to our somatic, conceptual and incorporeal experience. We look backward and forward at the same time, challenging and promoting the practice of making.
Provoked by the space itself, we ask the viewer to consider what it means to be ‘under the stairs’. In a domestic setting it is a space to keep things that are only used occasionally, or perhaps forgotten. It is a psychic space, the space of the Odradek, a space where fear of the unknown is manifested. Within this space discoveries are made, surprises can be found, and occasionally we lose even ourselves.

Talk on 16 March, 11 Uhr : Pravu Mazumdar: Understanding Surfaces. On Jewellery and Identity.
Pinakothek der Moderne. www.die-neue-sammlung.de

Human surfaces are hybrid objects involving biological and cultural elements like dress, makeup, jewellery, gait, skin, posture, voice. Contemporary societies manifest not only surfaces of products, but also human surfaces functioning as ‘packaging’ and emitting discourses on interiority that place humans within limits and define their individuality.
However, the surfaces are not only readable. They are also produced on a daily basis, not only by the individuals themselves or the global beauty industry at large, but also a whole political machinery of identity, gleaning certain constant, measurable and recognisable traits of individuality from the surface discourses, documenting them in passports and identity cards and locking in modern individuals within the shell of their identity. Modern jewellery – in its contemporary, critical manifestations and its inherent tendency of breaching tradition – can break open the shell of identity and involve individuals in an open play of enhancement and change of masks. It can indeed be understood as a means of counteracting the pressure towards identity in daily life in modern societies.
Such ideas will be presented with examples and images from the area of contemporary jewellery art.
Munich | Lecture | Sunday, March 16, 2014 | 11:00 p.m. | Tel. [phone]
Ernst von Siemens-Auditorium, Pinakothek der Moderne, Barerstrasse 40, Munich | Lecture in English | Admission free

Participants : Aliyah Gold — Allison Ulmer – Allyson Bone — Amy Williams — Anna Drexel — Aran Galligan — Cameron Andersen — Celine Browning – David Choi – Eunjae Baek — Francesca Urciuoli — Hyun Kyung Park — John Huckins — Kate Mess — Katherine Wilson — Kathleen Rearick — Kim Zitzow – Lena Grabher — Lynn Batchelder — Maia Leppo  — Martin Anderson — Melissa Tolar – Michael O’Neill — Missy Graff – Nikky Bergman — Qu Mengnan — Sara Glaberson — Sarah Abramson — Steven Gordon Holman

 

MFA Candidate Steven Gordon Holman : Steven’s Work has been selected to compete in the international design competition TALENTE – at Schmuck 2014 in Munich

Lynn Batchelder,  Necklace: Sawing/Drawing, 2013 – Steel 

Steven Gordon Holman – Necklace: To Segment and Join, 2013 – Mule deer antlers, nylon paracord, steel cabled

Martin Anderson

Michael O’Neill « Flood »  – 2010  Bracelet  Silver; Pyrex; Driftwood

Aliyah Gold -   Moth Brooch Sterling silver, Glass, Gold leaf – « Infestations » 2013

2 artists Pieces :
Left and Right: Martin Anderson. Necklace: Black & Yellow Necklace, 2012. Glazed porcelain, sterling silver, silk.
Center: David Choi. Bracelet & Knotted Brooches: Untitled, 2013. Steel, silver.
Pre & post-production styling: Steven Gordon Holman & Anna Hammer.
Camera: Kim Zitzow. Model: Mengzi.

Eunjae Baek 2010-12 thesis work

Hyun Kyung Park - 3 brooches « Architexture »  Huguenot Street – Deyo House 3 Brooches | 2012 | Plastic, Paint, Sterling Silver, Steel

 

Die Neue Sammlung – The International Design Museum Munich
Danner-Rotunde
Barer Straße 40
Pinakothek der Moderne
80333 München

0PENING HOURS TUESDAY – SUNDAY 10:00 – 18:00
THURSDAY 10:00 – 20:00