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EXPO ‘Karl Fritsch: I quite like that’ – Galerie Viceversa, Lausanne (CH) – 11 Mars-12 Avril 2014

Classé dans : Exposition/Exhibition,Gal. ViceVersa (CH),Karl FRITSCH (DE),rings,Suisse (CH) — bijoucontemporain @ 0:11

 Karl Fritsch: I quite like that

There is always a reason to make a ring but I can also make a ring without a reason, I can make a ring without having an idea. I can have the same ring idea twice but it will be a different ring. I am always curious about the next ring, a ring is like a chair, rings like company.
Established in Wellington, New Zealand for some years now, Karl Fritsch constantly reinvents himself, refining his poetry, sharpening his critical thinking and affirming his expressiveness.

expo Karl Fritsch

Karl Fritsch -  Bague, argent, fer (2013) - Viceversa  Karl Fritsch -  Bague, argent, fer (2013)
Karl Fritsch - Viceversa  - bague, argent vis & ferKarl Fritsch -  bague, argent vis & fer


viceversa bijoux contemporains
Place Saint François 2, 2ét
7698 – Lausanne
Telephone: +41.21.323 96 34website:


EXPO ‘ Enmarcamos a Anna Norrgrann’ – Amarantojoies (ES) – 24 Mars-10 Mai 2014

AmarantojoiesEnmarcamos a Anna Norrgrann

Anna Norrgrann

Anna Norrgrann from  Gothemburg University was exhibited during JOYA 2013 at Barcelona.

Anna Norrgrann - HDK Högskolan för design och konsthantverk, Gothenburg, Sweden - necklace , n.t., 2013, aluminiumAnna Norrgrann – necklace , n.t., 2013, aluminium – (from Marzee-Graduate Show2013 -  HDK Högskolan för design och konsthantverk, Gothenburg, Sweden)


« imPulse  Palette
My work is a rhythmic and monotonous investigation in metal. I work close to the material to get to know it in an intimate treatment, using a slow and controlled smithing technic, where each punch must be places next to the other. With a nail like tool I make small pits and paths in the surface and slowly new patterns and structures appear. Sometimes it burst.
I try to be present in the process using different senses to follow the changes in the material. Focusing with my eyes, listening to the beat of the hammer and feeling the surface with my fingertips. I’m searching for the unexpected qualities in the material and my curiosity for transformation outside my own preferences drives me.I’m often surprised in the variations of colour that the metal in itself can provide. The technic of anodizing has also become an important ingredient in my work. Here multiplying the possibilities in colour, expression and associations.
The importance of transformation in the metal is my statement or challenge saying never to be stagnated in beliefs and structures, not in my work and not in life in general. »

Anna Norrgrann Jewelry
Between me and the metal there is nothing and what is outside us does not bother me in the moment. I fill the metal surface with small dots and it slowly changes, but in what way is, for me, so far unknown. I only know what I do and I continue to do that until the surface is almost filled. A bit of it is left untouched, as proof of what it once was.
Time dissolves and I am caught in the rhythmic sound from the hammer blows. The work shows me the way and despite the monotonic processing of the metal, I seldom get bored. My curiosity about the result drives me onwards.
And when I have achieved my goal, I take a step back, look at my work and try to understand what I have done and what it means. »
anna_norrgrann_meltingsun_greyskin_photo_anna_norrgrannAnna Norrgrann - meltingsun & greyskin - photo Anna Norrgrann
Anna Norrgrann - silverdrop - photo_emanuel_cederquistAnna Norrgrann - silverdrop - photo emanuel cederquist
Anna Norrgrann  (HDK Göteborg University 2013 ) - (SE) - rain & deep blue - photo_anna_norrgrannAnna Norrgrann   – rain & deep blue - photo anna norrgrann
 Amaranto joies
Sant Domènec 23
08012 Barcelona


EXPO ‘Vera Siemund: Goldsmith Laureate’ – Gold Hall of the German Goldsmiths’ House, Hanau (DE) – 30 Janv-4 Mai 2014

Classé dans : Allemagne (DE),Exposition/Exhibition,Vera SIEMUND (NL) — bijoucontemporain @ 0:31

Vera Siemund : Goldsmith Laureate

Every two years since 2004, the City of Hanau has appointed a Goldsmith Laureate who is the guest in the Brothers-Grimm-city for six weeks. The Society for Goldsmiths’ Art makes the invitation, the Staatliche Zeichenakademie provides the workspace, and the Goldsmiths’ House presents the works produced in Hanau in an exhibition.

The jury elected Vera Siemund of Hamburg as the Goldsmith Laureate of the City of Hanau for the year 2013.

Vera Siemund, Necklace, 2013Vera SiemundNecklace, 2013 – Enameled Cooper, steelPhoto by MiriamYousif-Kabota

With her art jewelry, Vera Siemund impressively revives the architecture of past periods, and thus can be counted among the most fascinating goldsmith artists of the present. In the summer of 2013, as the fifth Hanau Goldsmith Laureate, she was a guest at the Staatliche Zeichenakademie in Hanau, where she was active artistically and gave a workshop for the students. From January 30th until May 4th, 2014, this artist from Hamburg will display around fifty of her works created between 1999 and 2013 in the Gold Hall of the Goldschmiedehaus Hanau. They stem from Vera Siemund’s analysis of “Architecture and Ornament” and her enthusiasm for the extravagant richness of form in the Historical Revival Periods. During her sojourn at the Zeichenakademie, she was inspired by such buildings as the Berlin Cathedral and the architecture of theaters and opera houses, including the baroque Comoedienhaus Wilhelmsbad.

The artist skillfully helped herself to individual elements, which she transmuted and placed into a new context. “I like the thought of readopting of themes that are in themselves a quote from earlier periods. The boundaries between my model and the original to which it refers are blurred in quoting it once again,” says Vera Siemund. She prefers to work in copper and steel, a material popular in the 19th Century.
Born in Essen in 1971, Vera Siemund received her training at the Staatliche Zeichenakademie in Hanau from 1991 to 1995, followed by studies at the renowned College of Art and Design at Halle under Professor Dorothea Prühl. Siemund opened her own studio in Hamburg in 2003. Following a four-year residence in The Hague, she returned to Hamburg in 2011.
Important galleries in Europe and the USA have devoted one-man-shows to Vera Siemund, and the artist has taken part in group exhibitions all over the world. Her works are included in notable public collections including that of the Museum of Art and Industry in Hamburg, the Metropolitan Museum of Art in New York and the Danner-Foundation in Munich, among others. The artist has received many awards. In 2002, she won the first prize in the competition Nature and Time by the Society for Goldsmiths’ Art and the German Goldsmiths’ House. In the same year, she was awarded the second prize in the Youth Promotion Competition for Jewelry, Hollow- and Flatware organized by the Society for Goldsmiths’ Art in co-operation with the Bertha Heraeus and Kathinka Platzhoff Foundation.

Vera Siemund Brooch, 2011, 2012 Steel, enamelled cooper Photo by MiriamYousif-KabotaVera SiemundBrooch, 2011, 2012Steel, enamelled cooperPhoto by MiriamYousif-Kabota

Vera Siemund, Necklace, 2013Vera SiemundNecklace, 2013Steel – Photo by MiriamYousif-Kabota



Gold Hall of the German Goldsmiths’ House
Altstädter Markt 6
D 63450 – Hanau
Telephone: +49-(0)6181-256556
Fax: +49 (0) 6181 2565-54


EXPO ‘CURRENT’ – Hikoso Alternatives, Kanazawa (JP) – 28-30 Mars 2014

CURRENT – Contemporary Jewellery Exhibition
We traveled Yokohama (Japan) and Taipei (Taiwan), next stop and the last place of CURRENT exhibition in Asia is KANAZAWA city (JAPAN)
March 28/29/30  (12:00~18:00 entrance free)
March 31 & April 1  by appointment only (

Organizer: ORIZZONTI(Meiri Ishida, Karin kato, Yuki sumiya)

Photo de ORIZZONTI Contemporary jewellery.


12 artists, with different backgrounds came together to think about the basic question:  “where is the world going?” We chose the name of the exhibition, CURRENT, to mean not only the flow of ideas but also what’s happening in the world now. Both those concepts are intended to be expressed through jewellery.

Artists:  Rudee Tancharoen (Thailand) / Manolya Konuk (France) / Elisa Deval (Italy) / Maria Constanza Ochoa (Colombia) / Rallou Katsari (Greece) / Poly Nikolopoulou (Greece) / Meiri Ishida (Japan) / Karin Kato (Japan) / Yoriko Mitsuhashi (Japan) / Yoko Shimizu (Japan) / Yuki Sumiya (Japan)/Janny Huang Yokota (Taiwan)




(Alternative space in Jyokeiji – traditional buddhist temple)
1-13-32 Hikosomachi Kanazawa, Ishikawa Japan
open:  2014 March 28(fri)-30(sun) 12:00~18:00



EXPO ‘Karfunkelschein’ – Handwerksform, Hannover (DE) – 22 Mars-26 Avril 2014

« Karfunkelschein » Exhibition at Handwerksform in Hannover (Germany)
Curated by Ulrike Knab

From March 22nd until April 26th At the opening of the exhibition and jewels by Lourdes Carmelo
Photographs by Lourdes Carmelo

De viaje hacia Hannover donde se exponen algunas piezas mías
Artists: Isabell Baumert — Christine Behrendt — Linda Berger — Julie-Theresia Angelika Blumer — Lourdes Carmelo — Justine Daferth  — Beate EismannFlavia FenaroliTámara Grüner — Margaretha Held — Isabel Kellner –  Anne Kessler — Sabine Klarner — Ulrike Knab — Iris Köhnke — Urdirla Muck — Alkie Osterland — Galatée Pestre — Doris Raymann-Nowak — Sabine Reichert — Ulrike Rössler — Julia Schultz — Laurence Verdier — Christina Wolff
Karfunkelschein © Handwerksform Hannover
Julia Schultz: Collier "Blühendes Metall"Julia Schultz: Collier « Blühendes Metall »
Brosche von Alkie Osterland / Foto: RaymannBrosche von Alkie Osterland / Foto: Raymann
Flavia FenaroliFlavia Fenaroli
Lourdes CarmeloLourdes Carmelo
Handwerksform Hannover
Ausstellungs- und Informationszentrum
der Handwerkskammer Hannover
Berliner Allee 17
30175 Hannover
Tel. 0511 348 59 – 21/36
Fax 0511 348 59 – 88


EXPO ‘Croisements fertiles’ – Galerie Elsa Vanier, Paris (FR) – 21 Mars- 21 Mai 2014

À partir du 21 mars 2014, la galerie Elsa Vanier propose un face-à face complice entre les créateurs invités lors de l’exposition « et + si affinités » et quatre créateurs permanents de la galerie.
Vernissage le 20 mars à partir de 18h30.
L’exposition Croisements Fertiles regroupera Marianne Anselin, Ambroise Degenève , Jean Grisoni, Ariel Kupfer, Muriel Laurent, Delphine Nardin, Philippe et Laurence Ratinaud et Agathe Saint Girons du 21 mars au 21 mai 2014.
 galerie Elsa Vanier
ce soir, à partir de 18h30, au vernissage de l’événement "Croisements fertiles".
Ambroise Degenève boucles d'oreilles Ovales, oxydes et diamantsAmbroise Degenève boucles d’oreilles Ovales, oxydes et diamants
 Muriel Laurent  bague "Philonotis 4 ouvarovite". Muriel Laurent  bague « Philonotis 4 ouvarovite ».
 Philippe et Laurence Ratinaud.  bague écorce opale Philippe et Laurence Ratinaud.  bague écorce opale
Marianne Anselin. bague VirevolterMarianne Anselin. bague Virevolter
galerie Elsa Vanier
7 rue de Pré aux Clercs
75007 Paris
01 47 03 05 00

EXPO ‘Frühling’ – Galerie Rosemarie Jäger, Hochheim (DE) – 23 Mars- 13 Avril 2014

Beate Klockmann and Philip Sajet: Couples in Jewelry—Frühling

Galerie Rosemarie Jäger, Hochheim, Germany

Coming Sunday morning, welcome.
Beate Klockmann & Philip Sajet
Rosemarie Jäger had been noticing how many couples there are in the jewelry world, and suddenly one day, she realized that it was a great idea for a series of shows. This one, with Beate Klockmann and Philip Sajet, is the first, and appropriately it is called Frühling or “Spring” and is the beginning of the series. It is fascinating that there are so many couples working together or at least living together. It will be fun to interview some of them and understand better how that works. I am very curious.
Philip Sajet, Ring, 2013 A la recherche du joyau perdu 12, 2013, ring, rock crystal, gold, silver, enamel,Philip Sajet, A la recherche du joyau perdu 12, 2013, ring, rock crystal, gold, silver, enamel, 50 x 23 x 12 mm, photo: Beate Klockmann
Susan Cummins: Please tell the story of where you were born and raised and how you became interested in making jewelry
 Beate Klockmann: I was born in the GDR (German Democratic Republic) and raised up in a little town in Thuringia in Ilmenau. Johann Sebastian Bach lived in this area, and I like that because I feel connected to his music, but I have no musical talent at all. My father and my mother both worked in the porcelain industry, and I got my drawing talent from my grandmother. She was a workaholic, making cloth the whole day long with a lot of creative ambitions, but she did not have a lot of possibilities during the war. I decided to make jewelry spontaneously after seeing a slideshow that was shown to introduce different departments of the Burg Gibichenstein, Hochschule für Kunst and Design, Halle, Germany. I remember I was touched by a photo of a classically made little precious box with blue enamel and golden animal inlays. I hadn’t looked at jewelry before.
Philip Sajet: I was born in Amsterdam and raised by a French mother of Russian descent and a Polish-American (step) father. We travelled to Djakarta, Indonesia, where I saw a lot of Chinese antiques—so beautiful, so magnificent. I love tradition. I think that 96-percent of what I do is based on accumulated knowledge. Well actually, I am being very presumptuous here. I should have written 98.7 percent.
I was very fascinated by these small objects with colors and colored stones and enamels. Their (heavy) weight felt so powerful. I think I fell love with these objects several times—When I saw the jewels in the palace of the shah when I was 13 (1966), and then when I saw Egyptian jewelry. But the time that made me decide to also do it was when I saw the jewelry of Giampaolo Babetto and Francesco Pavan. That was in 1977 in Gallery Nouvelles Images. I remember the first question I asked my teacher Karel (Niehorster): “How do they get that intense yellow color?” “Well, by using gold” he answered. But it was so expensive—8 Dutch guilders a gram (2.5 US dollars)!Beate Klockmann, Brooch, 2013
 Beate Klockmann, Butterfly, 2013, brooch, 110 x 80 x 20 mm, photo: artist
How did you meet?
 Beate Klockmann: In 2001, I was a student in Halle Burg Gibichenstein and busy with my last pieces for my final exam. Philip was supposed to teach, but because of certain circumstances, his students had to finish another project and didn’t appear the first days of the workshop. So Philip focused on the only person available, and that was me. He was sitting next to me and was solving problems for me that I didn’t have days before. And I liked to solve these new problems with him
Philip Sajet: Now, here the accounts may differ. I was in Halle in 2001 in March. I was doing a workshop in Burg Gibiegenstein. The class I was guiding was the year before last. There was a girl (young woman, of course) who was preparing her final year’s work. She threw the red-hot metal in the pickle. That made a sizzling sound. I explained that the silver or gold doesn’t like getting a shock like that, and coincidentally, neither did I. My request to refrain was met with a somewhat diminished fire/fluid encounter. It wasn’t red hot anymore but still warm enough to make a sound. Funny enough, a week ago Beate did the same thing again, 12 years later. I discovered that Beate’s horoscope was a fire in water and a water-in-fire dominated constellation. I don’t know what that means, but I thought that it was remarkable. Beate also made a piece called Fire on the water, and I made a ring for her with rubies and aquamarines. 
 In the beginning, I had the impression that wherever I was standing Beate stood in front of me. I made an appointment with Rudolf (Kocea) in a bar, and all over sudden, Beate was sitting between us. I actually suspected that Beate threw that hot metal in the pickle to attract my attention. But she has never given me a definite confirmation of this suspicion.
 I know that her account of our meeting was that wherever she was sitting, I happened to stand behind or next to her. So, what this proves is that history should always be taken with a certain measure of suspicion.

Philip Sajet, AmberGluering, 2014, ring, amber, glue, 39 x 26.5 x 10 mm, photo: Beate KlockmannPhilip Sajet, AmberGluering, 2014, ring, amber, glue, 39 x 26.5 x 10 mm, photo: Beate Klockmann

Where do you live? Are your studios near each other? Do they look the same?

 Beate Klockmann: Since 2012, we have lived in a little village next to Hanau in Frankfurt. We are both strangers here. We work in the same studio. Our studio is always changing. There is a continuing discussion about how it should be organized.
 Philip Sajet: In Bruchköbel, near Hanau, where Beate teaches in the Hanau Zeichen Akademie. But, a few months a year I live in a house we own in Latour de France, a winemakers village where we lived for many months in the past. Funnily enough, the wine of that region can actually be bought cheaper in supermarkets near Munich. We have made the living room of our house in Germany into a studio.
 Beate KlockmannBeate Klockmann, The green house ring, 2013, ring, 35 x 20 x 20 mm, photo: artist
Do you use the same equipment?
 Beate Klockmann:  In general, we use the same equipment. There are only a couple of instruments that are personal.
 Philip Sajet: We share the big tools, and we use our own smaller pliers and files.
Philip SajetPhilip Sajet, JadeGluering, 2014, ring, jade, glue, 40 x 27 x 12.5 mm, photo: Beate Klockmann
Do you interact during your studio time?

 Beate Klockmann: Our days are not really divided into studio time and relaxing time. The studio is the center of our house. So, everybody is doing things there, such as listening to music or reading books. We discuss things there as we paint, often with our daughter. Philip also has apprentices, and he makes music there, too. The studio is also the place where the birds are living. So, there is a lot of interaction. If all goes well, it creates a good atmosphere for making jewelry along with other things.
Philip Sajet: Our hours differ. I am a daytime worker, and Beate likes the nights. In a way, we work shifts. We do interact, of course, but usually it is small talk. We do ask each other for advice, but more often than not, it is not followed. But, a major thing we give each other is courage. When one of us wants to make a piece, we spend a lot of materials and time in making it very particular, which turns out to be very expensive as well. So, there is an inclination not to do it, but we say to each other, “you really must make that piece.” That is very nice.
Give us a description of how your workday goes.
 Beate Klockmann: Because I am a teacher at the Zeichen Akademie in Hanau, I have only one to two days a week to work in the studio on my own work. I like to work together with Philip, and sometimes with an apprentice, but the daytime can be very chaotic because of our daughter Jura. That’s why I like to work during the nighttime so much. I have the illusion that I have endless time to work, and I can be alone with my work for a while. 
 Philip Sajet: I have the luxury of getting a late start. I wake up at 8:30am, have coffee in bed, then shower and do administrative chores. At around 12:00, I might finally start working. Then, two hours later, I make lunch. Right now, the daily meal is brown rice in the Japanese rice cooker, peeled aubergine, tomatoes, sesame paste, seaweed, eggs, sesame seeds, sunflower seeds, pepper, thyme, garlic in the peel (en chemise, as it is called in French), and at the end, I add oil olive and sea salt. It’s so easy. Just throw these ingredients in, close the lid, and half-an-hour later, it’s done. I try to get a full six hours of work. My best hours are my last one-and-one-half. If I get that a minimum of five days a week, I can reach my aim of an average of one piece a week.
Philip SajetPhilip Sajet, Portuguese_split, 2013, ring, replica of the diamond “Portuguese,” rock crystal, gold, silver, enamel, 37 x 33.5 x 12 mm, photo: Beate Klockmann
What questions do you ask yourself when preparing to make a piece?
Beate Klockmann: I look at my messy table and ask, or better, I try to feel which piece motivates me to work on it, and then I simply start to work on it. In general, I am just happy if I am working, so I try not to think about it too much before I start.
 Philip Sajet: Is it technically feasible? Is it pretty or ugly? (Not that one or the other might decide an outcome.) How high are the investment costs? Will it fall well on the body? Does it have a meaning? Is there a necessity?
You both seem interested in unusual materials and stones. How do you decide, for example, to use the sole of a shoe in a necklace? 
Beate Klockmann: Once in a while, I like to take bigger risks in my experiments, also in choosing materials—such as glass, textile, enamel, paper—but after a while, I always go back to working with gold.
 Philip Sajet: In my case, in my mind’s eye, I put everything I see in a circle. So, the inside curves of the soles placed that way make an almost perfect, big new circle. Then, the next thought is, “Oh this is really too awkward, and nobody will ever wear that!” There is also a reference to the Paul Simon song (I recently discovered that we have the same initials) Diamonds on the Soles of Her Shoes. Well, diamonds would have been a lot of investment, so I went with rubies, and it was a more affordable one. Also, the color went well, the red with brown.
Do you think you influence each other, and if so, how?
 Beate Klockmann: Sure, we influence each other. The good thing is that I always have a highly critical public in the house. So, I feel well trained in handling the different reactions when I exhibit my work. On the other hand, Philip gives me special compliments if I have a bad day. In general, we both try to support the other in whatever strange thing we are doing. If we didn’t, then everything would become boring.
 Philip Sajet: Yes, definitely. We maintain a high level of quality, and we judge how major a piece is and whether it is boring or not. We aren’t shy about saying what we think to one another.
What have you seen, read, or heard lately that has excited you?
 Beate Klockmann: I read a little book called Montauk by Max Frisch. I liked it because it was full of wisdom and very nicely written. But really, to be honest, the highlights I get at the moment are the intelligent expressions of our daughter. At six-years-old, her drawings, conversations, and so many essential things are on the table, and with such a surprising clearness, that I enjoy it a lot. 
 Philip Sajet: Lion Feuchtwanger’s The Oppermann’s is deeply disturbing and dramatically describes the destruction of a family in an intolerant totalitarian regime. But there are so many magnificent books. American Psycho by Bret Easton Ellis is also a magnanimously written novel about a very ugly person.
The music I listen to a lot lately is from Nils Frahm, and always Bach, of course.
I know it’s very fashionable, but I love (almost) all the movies from the Coen brothers.
My absolute favorite is No Country for Old Men, and my absolute favorite scene is where Anton Chigurh (Xavier Bardem) confronts the gas station man by flipping “his” traveling quarter.

Beate KlockmannBeate Klockmann, Squashed 1, 2013, necklace, 400 x 150 x 2 mm, photo: artist


Galerie Rosemarie Jäger

Wintergasse 13
65239 Hochheim
T +49 (0) 6146 2203
F +49 (0) 6146 601068


EXPO ‘It’s good to be a jewel!’ – Royal Academy of Fine Arts Antwerp, Anvers (BE) – 21 Mars-4 Avril 2014

It’s good to be a jewel!‘ – 21th of March – 4th of April

We kindly invite you to visit the retrospective exhibition of jewellery design-silversmithing
Wintertuin (Winter-garden), Royal Academy of Fine Arts Antwerp.
Opening Ceremony  Thursday 20 March from 6 PM to 9 PM !

with : Viktoria von MaloShahrzad MoDabin LeeYijun LiuAgnieszka SendeckaNina PouillonShu LiangVincent VerstrepenCamille El-Achkar  - Fan Wang  – Etnisch De Winter (Eline de Winter)Black Bess Rackham  – Laura Derouf - Ma Ra - etc etc ….…..

It's good to be a jewel


White pieces presented @ Schmuck also to be seen at 'It's good to be a jewel!' Opening Ceremony tonight 20th of March 6pm!  21th of March - 4th of April – avec Viktoria von Malo, Shahrzad Mo, Dabin Lee, Fan Wang et Yijun Liu.White pieces presented @ Schmuck also to be seen at ‘It’s good to be a jewel!’ –
from top left to right & then bottom left to right :
Viktoria von Malo, Fan Wang ,Yijun Liu, Shahrzad Mo, Dabin Lee Anvers- Viktoria von MaloViktoria von Malo
Anvers- Annika WirkenAnnika Wirken
Yijun Liu - Anvers- Royal Academy of Fine Arts Antwerp-  2014Yijun Liu
Dabin Lee - AnversDabin Lee
Vincent Vestrepen (Anvers)Vincent Verstrepen

Shahrzad MoShahrzad Mo
Anvers- Royal Academy of Fine Arts Antwerp-  Camille El-AchkarCamille El-Achkar
Fan Wang - Royal Academy of Fine Arts Antwerp- 2014Fan Wang
Wedding Jewellery made for Ted Noten.© Eline De Winter Published by Sieraad art Fair, international jewellery design fair, Amsterdam.Etnisch De Winter (Eline de Winter) - Wedding Jewellery made for Ted Noten


Royal Academy of Fine Arts Antwerp
Wintertuin (Winter-garden),
Mutsaardstraat 312000 Anvers
Open Campus day – Saturday 22 March from 10 AM to 5 PM


EXPO ‘Regard sur la Scandinavie’ – Espace Solidor, Cagnes-sur-mer (FR) – 5 Avril- 1er Juin 2014

Bijou contemporain – Regard sur la Scandinavie
Commissaire de l’exposition : Olga Zobel Biro

L’Espace Solidor accueille, du 5 avril au 1er juin 2014, douze artistes scandinaves :
expo scandinavie espace solidor
L’espace Solidor accueille, du 5 avril au 1er juin 2014, douze artistes scandinaves :
Yasar Aydin (SE) – Kim Buck (DK) - Hanna Hedman (SE) – Sarah Hurtigkarl(DK)- Karin Johansson (SE) – Hildur Yr Jonsdottir (IS) – Agnes Larsson (SE) – Sari Liimatta (FI) – Märta Mattsson (SE) – Camilla Prasch (DK) – Tarja Tuupanen (FI) – Runa Vethal Stolen (NO).
Leurs travaux se distinguent par les positions artistiques les plus diverses, un grand savoir-faire artisanal, une maîtrise souveraine d’un large choix de matériaux, mais aussi par la liberté artistique.
Photo de Yasar Aydin.
Yasar Aydin - «Layers of pink» Collier- 2011 poudre de fer , argent, cuir 52cm  x 20cmYasar Aydin – «Layers of pink» Collier- 2011 poudre de fer , argent, cuir 52cm  x 20cm
Hanna Hedman - black bile 2013 serieHANNA HEDMAN« BLACK BILE » 2013
THE BLACK of NIGHT Sarah Vedel HurtigkarlSarah Vedel Hurtigkarl - « metamorphosis » necklace – 2012 – plumes, argent oxydé
Karin Johansson - White Corner (necklace, 2013, "New Places - Abstractions of a City" collection)Karin Johansson – White Corner (necklace, 2013, « New Places – Abstractions of a City » collection)
Hildur Ýr Jónsdóttir (I), necklace Knots, 2010, Herend porcelain, rusted iron chain, 310 x 210 x 40 mm - -  SPLENDID jewels !!Hildur Ýr Jónsdóttir (I), necklace Knots, 2010, Herend porcelain, rusted iron chain, 310 x 210 x 40 mm

Agnes Larsson - carbo series braceletAgnes Larsson - carbo series – bracelet

Sari Liimatta ~"Sick Sea II" necklace. 2010. | SariLiimatta.netSari Liimatta ~ »Sick Sea II » necklace. 2010.  perles de verre, perles d’eau douce, épingles, argent, jouet en plastique
Marta Mattsson -  new series 'Palindromes'.  "Wing" brooch 2013Marta Mattsson – new series ‘Palindromes’. 2013 – « Wing » brooch – résine, ailes de cigales (cicada wings) argent
Tarja Tuupanen
Tarja Tuupanen - Necklace 2014. Ready-made marble tableware, velour sticker, steelwire. Stonepart 11 x 6,5 x 6,5-3,5 cm, length of the necklace 55 cm.
Camilla Prasch, Ring, 2009Camilla Prasch, stamp Rings, 2009
- Runa Vethal Stolen   "Fractus" - Goldplated steelwire

Runa Vethal Stolen – « Fractus » – Goldplated steelwire

Espace Solidor 
place du Château
Tél : 04 93 73 14 42

EXPO ‘INTENTION PAPIER’ – Les Ateliers de Paris, Paris (FR) – 4 Avril-10 mai 2014

INTENTION PAPIER – Paris – aux Ateliers de Paris

INTENTION PAPIER - Paris -  avec Luis Acosta - 4 Avril-10 mai 2014
Luis Acosta -  My first paper jewelry Ca.1997Luis Acosta -  My first paper jewelry Ca.1997
Luis Acosta paper necklaceLuis Acosta -    paper neckpiece
Luis Acosta -  The paper neckleces were created by repeating a simple basic shape. I use six layers of different types and colors of paper. Sewn by machine. diameter 38 cm high 3,5 cm till 5 cmLuis Acosta -  The paper neckleces were created by repeating a simple basic shape. I use six layers of different types and colors of paper. Sewn by machine. diameter 38 cm high 3,5 cm till 5 cm
Luis Acosta - collar de hilo de papel (nr.7 reverso) - paper thread necklace (nr 7 back), serie "Quipus" Sept 2012Luis Acosta - collar de hilo de papel (nr.7 reverso) – paper thread necklace (nr 7 back), serie « Quipus » Sept 2012
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