’Conceptual jewellery’ – Gallery Putti, Riga (Latvia)
’Conceptual jewellery’ – Gallery Putti, Riga (Latvia)
SILKE & THE GALLERY CELEBRATES IT’S 5TH BIRTHDAY !
22 JEWELLERY ARTISTS AND 4 SILVERSMITHS WERE INVITED TO BE PART OF THIS HAPPENING. THEY WENT BACK IN TIME AND LOOKED FOR A PIECE THAT WAS SHOWN IN THE GALLERY. THEY PRESENT IT AGAIN TOGETHER WITH A RECENT WORK FROM 2010.
Heide Vanderieck — Max Gielis — Siegfried De Buck — Jorge Manilla — Helena Schepens — Karola Torkos — Teresa F Faris — Daniel Von Weinberger — Daan De Decker — Willy Van De Velde — Sayaka Yamamoto — Aline Vandeplas — Masaya Hashimoto — Ana Cardim — Beate Eismann — Jasmin Matzakow — Mia Maljojoki — Janine Arnold – Marion Vidal — Andrea Auer — Marianne Anselin — Tatiana Warenichova — Zhao Li — Koen Weygaerden & Max Gielis — Silke Fleischer.
Andrea Auer - ‘PEarls’ – pendant – PE, polyethylene- 2005 -– ‘The white tube’ – earrings – pvc cable, silver – 2010
Marianne Anselin - 3 rings – 2009 – silver Japanese tree, emerald — fleurs rouge – 2009 – iron, silver, gummy
Willy Van De Velde - ‘flames’ -bracelet – plexi, steel- 2010 – ‘fishbone’ – necklace – plexi, steel- 2010
Zhao Li - ‘Finding neverland’ – ring – textile, medical grade plastic, silver- 2010 - ‘Finding neverland’ brooch – textile, medical grade plastic, silver- 2010
Mia Maljojoki - Fire works – 2009 – brooch – plaster, pigment, stainless steel
Tatiana Warenichova- ‘Fairy teller’ brooch, 2010 – printed paper, silver, cardboard, wood
» While examining the psychological and sociological potency of chocolate ….. » (Anika Smulovitz)
en tout cas, si ce n’est le chocolat, qui inspire enormément (et particulièrement celui servi aux soirées de « l’Ambassadeur » ….. …..), la denrée alimentaire, détournée, inspire, et aspire à son rôle de bijou …. le stade « collier de pâtes » est largement dépassé, actuellement, un repas complet est possible, des « antipasti » au dessert ! quant ce n’est pas ce qui reste après un bon « gueuleton » qui nous est servi comme bijou … n’est ce pas Patricia Lemaire ???!!?
En tout cas, le thème a l’air d’être dans l’air du temps : voir le projet « Aesthetic Nutrition » d’Ana Cardim (juillet 2010) que je viens de trouver dans la dernière newsletter de Klimt02 : « With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food. »
« I want to call attention to the power, importance, and beauty of food. In our culture of fast, disposable, and store-bought food, we often misunderstand our relationship to what we eat » ( Venetia Moushey Dale, in « 500 necklaces » book)
Venetia Moushey Dale – copper, BEANS necklace
Polly WALES (UK)- bread ring (MIAM !! YUMY !!;-) )
Stephanie Hensle (DE)- ‘MEAT-LOVER’
« Meat. The word alone polarizes. For some it represents the sensuous, the erotic, life and carnal lust. For others it arouses associations of morbidity, decay and death. In its archaic and raw state it triggers aversion in many, but is welcome when served as a fragrant roast. It is peddled in discount shops and bargain counters, or traded for 200 euros per kilo. Delving into these contrasting worlds, Stephanie Hensle explores the luxury of meat in context of adornment, indulging our lust for both on many levels. Inspired by the art of butchery, she packs resins, jewels and other traditional jewellery pieces into sausages and pâté. Throughout she redefines not only a typology for jewellery but also our relationships to creating and acquiring it. The act of slicing („100 grams of brooch, please“) defines the pedant or brooch pieces while addressing the system of value associated with jewellery. Typical sausage netting, meat hooks or skewers become fasteners attaching the pieces to the wearer. Left over pieces are wrapped like cold cuts for the purchaser‘s consumption. A third group of pieces reflects on the human body as meat. Neck and body pieces hang like detached organs or mysterious growths. Cut open, they allow a glimpse into the skin-colored insides. And remind us, that the line between beauty and disquiet is fine yet elegant. » (Stephanie Hensle)
Stéphane Landureau - Collier “Chips’n Chic”, chips de dinette en plastique, argent, 2002
Margherita Marchioni - collana di pasta
Margherita Marchioni - fruit collection
Hilde de Decker (BE) – organic rings
Hilde De Decker – veggie ring
Hsiang-Ling LU – Rice piece - rice, resin, threads
« For this assessment, I put new material and technique into my work. For fixing the fragility, I add resin with rice, for the replacement of fabric and rice sheets I made previously. I want to keep the delicate detail and the smooth texture of rice » (Hsiang-Ling LU)
Leonor Hipolito – wrapping foil ring & necklace – Réception chez l’ambassadeur ……………..
Jeannette Jansen utilise des papiers d’emballage de chocolat pour sa collection “Chocolate Eater”. Réalisées à la main, on peut même lire le nombre de calories que l’on porte en bracelet, collier ou boucles d’oreilles !
un gelato ??? collier Geri Nishi
Barbara Uderzo – bijoux en chocolat - ‘ruggine’ (rouille) & ‘boules’
This jewellery collection is created in chocolate; necklaces, bangles and rings –designed specifically as romantic items for couples to eat together. Small, handcrafted production runs.
RUGGINE: Rusty iron in appearance, these are created using an old confectionary technique that uses cocoa powder dusting in its preparation.
BOULES: These are chocolates covered in an edible gold leaf foil effect.
Barbara Uderzo – Liquirizia e marshmallow da indossare
Barbara Uderzo – glucogioiello- candy chain 2003 – marshmallows
« …… Oltre al cioccolato, citato nel titolo, il visitatore potrà ammirare anche i “Glucogioielli”, collane e bracciali realizzati alternando caramelle scelte, quali marshmallows, liquirizia, gommosetti, fruits….come nel caso della collezione “Candy Chains”; mentre per quanto riguarda la collezione “Uno Vero” è presente un’originale accostamento della materia alimentare, in un unico elemento in pietra dura irriconoscibile alla vista.«
Anika Smulovitz - Chocolate (a collaboration with artist Catherine Clark Gilbertson) -2002 – Ferrero Rocher chocolate wrappers
« This body of work explores human interaction with objects, specifically the interaction of our lips with objects. While examining the psychological and sociological potency of chocolate in the pieces entitled Love Tokens, I became aware of the sensual power of our lips. This culminated in Chocolate, a collaborative interactive installation comprised of a series of impressions made in the gold foil wrappers of Ferrero Rocher chocolates. The impressions are of puckered lips or teeth. In its use of repetition, mass quantities of « faux » gold foil, reference to chocolate and to the mouth, the installation speaks of consumption, indulgence, passion, and consumerism. » (Anika Smulovitz)
Anika Smulovitz -Love Token (wedding bands) Ferrero Rocher chocolate wrappers 2002
Anika Smulovitz -Love Token (choker) - 2002 – Ferrero Rocher chocoate wrappers, wood, brass
Anika Smulovitz -Love Token – rings
Tatjana Panyoczki - ‘tutti frutti in pink’, brooch, 2010
and NO, you can’t eat it !!! it is made with … pom poms … waxed !
Ambre France (UK) – « Eat me », « Suck me »… rings
Ted Noten – ‘haunted by 36 women’ exhibition - ‘chocolate hooker rings’
« Gioielli da mangiare! Cathy, una giovane studentessa di arte, che ama creare bijoux e li presenta nel suo blog “La prochaine fois” - Tra i suoi lavori, troviamo accessori realizzati con la frutta secca, l’idea da cui sono nati è curiosa: Durante un viaggio in Francia, Cathy ha assaggiato la frutta essiccata e in particolare ha molto apprezzato il kiwi. Ritornata a casa, ha cercato questo tipo di frutta nei negozi americani ma non ha trovato niente del genere. Ha deciso allora di acquistare un essiccatoio per realizzare da sè queste dolcezze. Prima di mangiarsele però, Cathy le fotografava e, osservando la bellezza di queste fettine di frutta, ha deciso di sperimentare qualcosa di nuovo. Nascono così anelli e collane prodotti con le mele “Granny Smith” oppure “a base” di fettine di pera o di patate dolci. (« irisjewelry.it »)
Cathy (blog “La prochaine fois”) - dried fruit jewelry project – Granny smith apple ring
Cathy (blog “La prochaine fois”) – pear ring – necklace
« The fruit has been sealed, with either lacquer or wax. I wanted to see if these would hold up better/longer than the raw ones. However, I’m not a fan because it changes the meaning of the pieces somewhat – being sealed, they stop being about the moment and instead go into the preservation. And wax = bad because it just flakes off. I’m still on the hunt for different ways to treat the surface!«
Cathy (blog “La prochaine fois”) – Sweet potato necklace
« Ce que je cherche à donner à mes objets, c’est ce que je ne trouve pas dans les parures des bijoutiers traditionnels: une richesse qui ne vienne pas de la préciosité des matériaux mais de la force visuelle, primitivement symbolique de l’objet. » (Noémie DOGE)
Noémie DOGE collier, 2008, pomme-de-terre, argent et coton
Julie Usel (CH) patates séchées et teintées
« You can bake ‘em or fry ‘em, hash ‘em or mash ‘em, and now… you can wear ‘em! Swiss jeweller Julie Usel has made the starchy tuber even more perfect with her dried and dyed potato rings. »
Patricia Lemaire - Broche peau de melon
Patricia Lemaire - Le temps des cerises – 1200 queues de cerises !
Tanya SHIN (IL) – pomegranate seeds bracelet — parure de tête, oranges séchées
Claire Lavendhomme – « Le plus profond c’est la peau » 2009. Broche. Argent, photo, résine, citron
« Pommes de JONG » (Jacqueline de JONG, NL)
Jacqueline de JONG, NL – ‘pommes de jong’ – 2009 varying sizes cm – jewelry – mixed media (gold-dipped potato skin)
« For her current exhibition, de Jong has created a series of potato bijoux, « Pommes de Jong. » They consist of potatoes laid out to dry until they are totally shrivelled, and then dipped, roots and all, in a bath of molten gold, with surprising results – jewel-like objects in weird and wonderful forms.
Her interest in integrating the humble potato, which she cultivates in her garden in France, into her art, began in 2001 with her series of paintings inspired by Malevich, as the hair of The Farmer’s Wife (« Potato Hair »). This was followed in 2002 by a painted dialogue (« Harvest ») with the pioneering Russian artist.This theme continued with « Aardappeltaal’ (Potato Language), a collaboration with Jennifer Tee at the Van Abbe Museum in Eindhoven in 2003. In 2006, participated in the Biennale di Ceramica dell’arte (curated by Roberto Orth), in Albissola, Italy, with an installation of ceramic objects of « baked potatoes » for the home and garden of the Danish artist Asger Jorn (1914-1973).«
Yoko SHIMIZU – « coffee-ring » silver, coffee, resin (Galerie Slavik)
bon, maintenant, on se boit un petit coup ?
Mason Douglas (US) soda can rings
project ‘Aesthetic Nutrition’, Ana Cardim
« How does nutrition, on a socio-economic level and in its’ most basic form, relate to the aesthetic values of today’s society? This question can only come from Ana Cardim, who has a passion to make interactive, sociable jewelry-art. This takes shape in her recent project “Aesthetic Nutrition”.
The project consists of a video, projected on a wall, three heaps of rice, chopsticks and three bowls containing one, two and three hand-made rice grains. Each grain is made from pure gold, weighs half a gram, and has the economic value of about 15 kilos of eatable dry rice. (How many grains would that be?) In total, the project exists of three grams of gold, enough for a beautiful gold ring, and 90 kilo’s of rice, which can provide a meal for 1800 people! In the video you’ll see a girl trying to eat it all… Everyone that visited ‘Aesthetic Nutrition’ was given a cup filled with delicious rice-pudding.
With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food.
I am glad this project touches the subject of discrepancy in value and quantity from an aesthetic point of view. The rice-colored, ceramic bowls that contain the golden grains, are shaped like up-side-down rice heaps and make a good visual contrast with the actual heaps of rice. The chopsticks both separate and connect the two, underlining the visual link. The video shown on the wall, completes the display. The action of handing out cups of rice-pudding causes the viewer to connect to the exhibit. How can you resist thinking about the subject, when looking at the serene beauty of the whole set-up, whilst eating yummie pudding!
The launch of the ‘Aesthetic Nutrition’ project happened on the 6th of July, and was commissioned by Bypass, an art magazine that invites artists to write about their work. The second magazine is due to be released in October 2010 and will contain an extensive article by Ana Cardim.
‘Aesthetic Nutrition’ was held in Appleton Square, which is a multivalent space geared towards diverse artistic manifestations and towards the sharing of multidisciplinary experiences. It was the first time that they had work on display by a jewelry designer! » (Broes van Iterson)
Ana Cardim : Not for sale
« In a time when « I think therefore I exist » seems to have been replace by « I have therefore I exist », all seems to be for sale, and all seems to be monetarily valued on the “stock market of perversion” generated and managed by the existing capitalist system. This system doesn’t give due importance to the needs of the individual because the individual itself is compelled to integrate that very same materialist system to ensure his survival on the stage of useless looks, leading to suffering and sense of desperation when they cannot be achieved. The “empire of matter” is predominant, but it does not truly value the Human Being is its authenticity.
The “Human-Being” can and should predominate over the “human-Having”. It’s important for me to empathize that there are “immaterial things” that cannot be traded has products, like trust, friendship, love, memories, dreams, joy, innocence, hope, etc. They are values whose true essence ban any kind of financial valuing, but that manifest themselves as values that permit the satisfactory and genuine richness of the Human Being.
The work « Not For Sale » is born out of the analysis on the clash between the economic crisis that can now be felt globally and the growing crisis of values that accompanies it. The pieces are presented as pins (silver and gold) over photography. »
Ana Cardim – ‘Garbage Pin’ 2007 Silver, plastic bags, plastic wire
The Garbage pin project :
Ana Cardim – pin ‘I am a Jewel’ Paper, metal, plastic 2007
Bracelet ‘Swing Bracelet’ 2007 – Acrylic, adhesive Velcro
Pendant ‘Ice&Spicy’ 2007 – Silver, acrylic, spicy
« The concept of Contemporary Jewellery is wide and is expressed sometimes in antagonistic ways through its different manifestations. Within those, two extremes become evident: on one hand the typology of multiple adornment object managed by functional notions of design, on the other, the typology of the unique piece related to the subjective poesis of the so called author jewellery.
Nevertheless, under the same label of Contemporary Jewellery, one can distinguish another platform that nourishes itself from the previous ones adding an intervention and/or social critic role, able to trigger life mechanisms and to create occasional parallel realities that configure them as a productive platform of shared sense.
Analysing the jewel through the notion of place, we can be conscious of the potential inherent to its characteristics, independently of any subjacent typology.
Besides the jewel being itself a place – such as a painting, a sculpture or an installation –, it presents the particularity of inhabiting a mobile place: the body.
The body is its place of support; its place of communication that, at the same time, carries it to different places. In this sense, the jewel can be understood as a place of dialectic between the intimate sphere and the public sphere since whoever carries it comes from his private space showing himself with the jewel in the public space. This mobility confers the jewel with a privileged character as social communicator that, on one hand, can be presented as a symbol of belonging or identification with a determined group or social class and, on the other hand, can be presented as an expression device generator of critical speech in the public sphere.
This jewel’s potential reconverted in a sociability space and/or place of discussion – able to establish dynamic dialogs, of creating and recreating public opinion –, is the followed path in my last works. Projects as Garbage Pin, Urban Help, Clean Your Mind, Book Ring and I am a Jewel, introduce and illustrate the device jewel concept as a performing object.
In this way, I understand that the jewel could operate through transversal platforms that – without loosing its original referent – push the common borders of the Contemporary Jewellery concept, touching present dynamics in the theoretic frame and at the practices of the designated Current Art.
The most of my jewels can be reproduced in series . » (Ana Cardim)
Ana Cardim -pin ‘I am a Jewel’ – Paper, metal, plastic 2007
Benjamin LIGNEL -Broche ‘Support your local jeweller’ 2006- set of 2 badges (edition de 150)