EXPO during JOYA Barcelona OFF 2015 : ‘To Recover’ – Klimt02 Gallery, Barcelona (ES) – 7 Oct.-7 Nov. 2015

exhibition being part of « OFF JOYA » 2015

To Recover -  Klimt02 Gallery

Opening : 7 October from 19 h.

(Ted Noten Superbitch Bag, 2000 / Superbitch Bag Revisited, 2015)

Artist list   Simon Cottrell — Karl Fritsch — Gésine Hackenberg — Karin Johansson — Jiro Kamata — Sari Liimatta — Stefano Marchetti — Ted Noten — Noon Passama –  Annelies Planteydt — Tore Svensson — Lisa Walker — Manon van Kouswijk

Manon van Kouswijk Pearl Grey necklace, 2008 / Pearl Grey Revisited necklace, 2015 Glass elements (saucer, hand formed cup handle with attached glass beads), diverse glass and plastic beads, polyester thread, glue.  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

The original « Pearl Grey » of 2009 was an assemblage work consisting of found and made elements of porcelain, glass, wood, plastic and pearl. It referenced a traditional cup and saucer of which the cup had been magically replaced by a bead necklace. For this new work I have translated that idea to the typology of a glass ‘saucer and cup’. It is again a combination of found and made elements but this time the work is completely transparent; almost like an x-ray of it’s predecessor

Gésine Hackenberg Still Life, 2009 / Pink Balancing Glass brooch, 2015 Glass by Theresienthal, silver  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

The ‘Still Life’ Brooches that I have made between 2009 and 2012 can be seen as a contemporary interpretation of 17th and 18th century Dutch Still Life paintings. This subject was preferable used to portray items of daily life that were emotionally and economically significant for people of that time.  Within my ‘Still Lifes’, I sliced existing glasswork and rearranged them into new compositions. They represented a perfect translation of the three dimensional to the two dimensional, the realistic vista of the glasses to the medium of jewellery. The body is taking on the role of the canvas as it were…  Within the new work I explored another way of looking at tableware than in a static composition: I wanted to express a certain precarious dynamic that is inherent to drinking glasses during a sociable meal. I tried to catch this moment of a glass tumbling, undecided yet if it is going to fall or stay upright.

 Sari Liimatta But I love Him object, 2005 / But they don´t love him pendant, 2015 Glass beads, metal link, thread (polyamide), a plastic toy  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

Just as men are not just men, and women just women, meat is never just meat. It has it´s past and origin, a story which is so often simply forgotten. Living creatures which are very much alive until they are nothing more than materials, for those who still choose to use them. Even the life before their death is so often more than problematic, as we all know. As we all know.

 Annelies Planteijdt Beautiful City – Pink Stairs necklace, 2001 / Beautiful City-Pink Stairs Black Crystal necklace, 2015 Gold, Tantalum, pigment  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015 

 I started to re-consider a piece from 2001, that never has been sold, although I liked it very much, ‘Beautiful City – Pink Stairs’.  This piece is really symmetrical, so I decided to look for a way to separate it in two parts and finish both parts in a different way, in order to get two different pieces. I have re-collected parts of other (unsold) pieces from about the same time (1999 and 2000) and have been re-approaching and re-thinking them: I made ‘Crystals’ with them, like I did in my most recent work. So I have been mixing time and thinking. And size: the sizes I used earlier were different from the sizes I used in the later ‘Beautiful City’ series, they wouldn’t have fit. But because the ‘Crystals’ are liquid (they adapt to the square) the size of the elements was not importantanymore. So I could re-take these old pieces into the new time now, I have re-used them, re-connected them.
This ‘expansion’ offered me more possibilities: I re-used the material I already had without loss of material or time. The possibility to re-make the old pieces still exists. And it gave me two new pieces. So I multiplied my possibilities. A new life.

 Noon Passama Formal Research – A necklace, 2015 / Formal Research – H rings, 2015 Rigid clay, silver, gold  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

 Formal Research – A necklace (2015) composing of six chain units is the starting point of the group of six rings. A closed-end loop of each ring was divided in sections, one / two / three /… / six, by the difference between the fat and thin parts. The works were made under the following keywords: dividing / sequencing / sizing.
Formal Research initially focused on one classical type of jewellery: the chain. The project is mainly about the form of each connecting chain unit and how the unit connects to its neighbours.
During the sculpting process, the shapes were transformed because of them being in the hand and through time. I did not edit the outcomes and will present the rings as they are. The try-outs are the finals and vice versa.

 Stefano Marchetti Untitled brooch, 2007 / Untitled Revisited brooch, 2015 Silver, silver and titan powder, epoxy resin  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.:

 In the Nineties, in the making of the older brooch, my goal was to control the metal, to have the metal do whatever I wanted. In this latest brooch, made a few days ago, I let instead the metal take control over myself, and let it take me wherever its will would go.

Tore Svensson Mr. T brooch, 2011 / Mr. T Revisited brooch, 2015 (5 different versions) Veneer wood, acrylic paint, silver  New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

The reason why I chosen my self-portrait, is that it is probably one of my most well known pieces of jewellery. It is made in steel and etched.  The material and techniques I mostly work with. For the Re-version I saw out the silhouette in 2 mm veneer, divided the image in 3 parts and painted them in similar but for each piece different colours, before I glued them together. The fact that they are divided in three parts, with the dark sawing-line between, gives them a comic-like impression.
This impression is even emphasised by the bigger size, which is possible by the lightness of the material, and is completely different from the original steel-one. While the surface of the steel-portrait and other previous work was the key technology for building the image, the colour for some years been a part of my jewellery.

 

To revisit, remake, salvage, reinterpret, adapt, convert, converse, rethink…
  Why have we asked some of the artists we work with as gallery owners to reinterpret one of their works? We could say it’s because we’re interested in talking about time. And by “revisiting” we mean discussing the notion of time. But in what way? That’s the question.
Time passes, it is made, interpreted, felt and suffered, it escapes, drifts away, becomes trapped or stretched, sometimes it is intelligently ignored and, why not, it is exercised. Reinterpreting a work, a fiction or precis is a way of addressing time, a way of exploring a landscape in order to try and understand it. And we thought this exercise would provide an interesting opportunity to discuss time.
Revisiting in order to reflect… an exercise for the artist.
  Are there any changes in these artists’ works? Should there be? Is time involved? Without a shadow of a doubt, the answer is yes. But that barely scrapes the surface of what we want to know.
We’re more likely to find out what we want to know if the work enables us to answer questions such as: What kind of time is involved? Is there any usefulness? Is there any spirituality? Are there any aesthetics? Is there any abstraction? Is there any progress?
The exhibition is also designed to be understood through an analysis of the different types of answers provided by the works as a whole. As you will see, there are answers that simplify, offering minor changes, non-answers, coherent answers (if you have prior knowledge of the artist’s trajectory), inspired answers, uninventive answers… As we have said, evaluating the “revisits” as a whole provides additional knowledge.
When it comes down to it, what we most value is the sensation we observe and feel when the artist takes some distance and moves away from the centre stage in an attempt to provide an answer. As observers, we believe this circumstance helps to achieve universality and thus provide an intellectual satisfaction, that of communicating and objectifying the creation to the full in order to express and play with a more authentic reality.
Revisiting in order to look afresh… the viewer’s exercise.
We switch from observation to understanding, and vice versa. We observe in order to find differences between similar things and we understand when we find similarities between different things. Accustomed as we are today to viewing several pieces in a highly random fashion, pausing to stop in order to take a fresh look at a work “inaugurated” some time ago is another exercise we wish to propose. This exercise may help us assimilate better in this era of accumulation and, on occasions, superficiality. There can be no doubt that the way in which a work attracts and engages us is based on the knowledge we may have of it.
Knowledge without criticism is an indication of the end of everything. Yet, on the other hand, what can be said of criticism without knowledge? Are we capable of enjoying what these workers of art offer us? Will we be capable of evaluating what they show us? Can we offer knowledge-based criticism? Frankly, we find there is a lack of humility on the part of the viewer. And we’re all viewers.
Let’s enjoy this opportunity.

 

 

Klimt02 Gallery
Riera de Sant Miquel 65
08006 -  Barcelona
Monday to Friday / 11 -14 and 16-19 h.

 

 

 

EXPO ‘Hardened Tears’ – Museo Nacional de Cerámica, Valencia (ES) – 8 Mai-9 juin 2014 – Melting Point Valencia 2014

« Hardened Tears«   forma parte del recorrido de exposiciones de Melting Point 2014 del 8 al 11 de mayo.

Melting Point Valencia 2014

Inauguración: 8 mayo, 18.00 h
Fechas: 8 mayo/9 junio

 

Coordinadores: Wim Vandekerckhove, Sławomir Fijałkowski -
Sławomir Fijałkowski — Christiane Förster — Karl Fritsch — Sophie Hanagarth – Herman Hermsen — Daniel Kruger – Stefano Marchetti — Pavel Opočensky — Annelies Planteijdt — Ramon Puig Cuyàs — Wolfgang Rahs — Ulrich Reithofer — Philip Sajet — Adolfas Šaulys — Gisbert Stach — Wilhelm Tasso Mattar — Manuel Vilhena — Arek Wolski — Petra Zimmermann

Villa de Bondt

  No 1462 subtle architectures. Brooch made by Ramon Puig Cuyas

Neptun eyes in Goldwasser. Necklace made by Sophie Hanagarth (Baltic amber, iron)   

« Beautiful city in the middle of the stonewood ». Necklace by Annelies Planteijdt (Baltic amber, gold, pigments)

 

 

Museo Nacional de Cerámica y Artes Suntuarias González Martí
Sala Temporales 1. Espacio B
Poeta Querol 2
Valencia
Martes a sábado de 10.00 a 14.00 h. y de 16.00 a 20.00 h.
Domingos de 10.00 a 14.00 h. Lunes cerrado.

EXPO ‘Salute to Pinton’ – Espace Solidor, Cagnes-sur-Mer (FR) -15 Juin-6 Oct. 2013

« Salute to Pinton » – bijou contemporain

vernissage le samedi 15 juin à 18h

‘Salute to Pinton’ is an exhibition intended as an ultimate thank-you for his unrestrained unique generosity and the trust he has put in us. By means of their creations, twenty one artists give a simple salute to the great master Professor Mario Pinton.

MARIO PINTON, spilla (brooch) , oro, rubino, 1995

Mario Pinton naît en 1919 à Padoue. Il est le fils d’un graveur qui lui transmettra le goût duraffinement et du travail du métal. Ses études le portent tout d’abord à l’Ecole Nationale d’Artde sa ville natale où il travaille l’argent.
 Puis, il obtient son diplôme d’orfèvre à l’Institut National d’Art de Venise. Enfin à Milan, il apprend l’architecture à l’Académie des Beaux-Arts.Il retourne alors à Padoue pour fonder, au sein de l’Institut Pietro Selvatico,  ce qui va constituer un véritable mouvement artistique en ébullition : «L’Ecole de Padoue».
Les adeptes de ce mouvement ont tous en commun certaines préoccupations stylistiques telles que le travail de l’or, une parfaite maîtrise technique et un goût prononcé pour la pureté des formes. Si le matériau utilisé est des plus traditionnels, la conception des bijoux n’en demeure pas moins avant-gardiste. De cette école sont sortis les plus grands créateurs italiens comme Francesco Pavan, Giampaolo Babetto, Graziano Visintin pour les premières générations, Annamaria Zanella ou encore Stefano Marchetti pour les plus jeunes.

exposants :
Michael Becker –  Manfred Bischoff — Gabi Dziuba — Ramon Puig Cuyas — Bernard François — Karl Fritsch — Christiane Förster — Sophie Hanagarth — Daniel Kruger — Stefano Marchetti — Manfred Nissimüller — Ted Noten — Francesco Pavan — Annelies Planteijdt — Wolfgang Rahs — Gerd Rothmann — Michael Rowe — Philip Sajet — Peter Skubic — Graziano Visintin — David Watkins

 Francesco Pavan – broche

Stefano Marchetti « Anello in oro e argento »

Sophie Hanagarth

Bernard François «Super Mario» ring

Daniel Kruger

Ramon Puig Cuyas – broche bois, peinture

Karl Fritsch ring « Pinton, you have the best red in jewellery » – Bague  Argent oxydé, rubis

David Watkins

 

Espace Solidor
Place du Château,
06800 Cagnes-sur-Mer (FR)
Tél :[phone]

Exhibition Catalogue available

 

EXPO ‘Hardened Tears’ – Villa de Bondt, Gent (BE) – 19 Janv.-2 mars 2013

Hardened Tears – an amber jewellery exhibition

Curators Wim Vandekerckhove and Slawomir Fijalkowski

Jewellery artists :  Christiane Forster – Philip Sajet – Tasso Mattar – Gisbert Stach – Adolfas Saulys – Stefano Marchetti -  Pavel Opocensky -  Wolfgang Rahs – Manuel Vilhena – Ramon Puig Cuyas – Daniel Kruger – Annelies Planteijdt – Sophie Hanagarth – Karl Fritsch – Slawomir Fijalkowski - Arek Wolski – Herman Hermsen  – Ulrich Reithofer – Petra Zimmermann

 

 

Villa De Bondt
Krijgslaan 124
9000    Gent
Belgium
tel: [phone]
[e-mail]
from Thursday to Saturday from 14.00 – 18.00

EXPO ‘Barocco’ – Museum of Art & Crafts ITAMI, Japan – 8-30 Sept. 2012

Barocco – Baroque Pearl Jewelleries by 24 Artists  08.09.2012 15:00 ~

Chitose Ohchi × Jun KonishiKarin Seufert necklaces

« `Baroque-water-pearls´ got their name, next to other aspects, because of their irregular outer shape. And just because of this special shape, they are sometimes also categorist as `scrap water pearls´. They are not first choice, their shapes don’t fit into special norms and conceptions, they are not perfect round with a smooth straight surface and their luster is broken due to their vivid appearances.
The image, which came up into my mind was to hide every visible detail because they do not fulfill certain expectations. I thought to put them into textile in a way that you only can feel them. It is then your fantasy, which gives the pearls their beauty without seeing them ever.
But nevertheless pearls are always beautiful just because of their unique shapes, their special colors, their sizes and their luster. And every pearl is individual because of this. It is a creation of nature and this beauty is worth to be shown, unless different expectations.
To emphasize this idea, I decided to not hide them.
It seemed to be much more interesting to place them into transparent textile, instead of hides them totally inside an opaque material. Now it is possible to see a bit of their shapes, to feel the weight, to hear the sound when the pearls touch each other and to move them like you want.
The design, which was the result of this idea, is a square tube.
It should be as minimal as possible to give all attention to the pearls inside. The textile I used for this tube/bag is black organza silk. Depending on where the pearls are, the form of the bag will be different and is made by the movement of the pearls. » Karin Seufert

Karin Seufert – detail 1

Karin Seufert – detail 2Jiro Kamata  Pearl Ring 2009
« So,”what does it feels like to be inside of a pearl?” With such a simple questions, these rings were coming. it’s just like a taking a taboo in my mind.When I shaved it, I found another pearl inside. As if you were in a time machine inspecting the history of pearls.Here are the extraordinary pearl rings.« Jiro Kamata « So,”what does it feels like to be inside of a pearl?”

Jun Konishi – Natural shapes and  artificial shapesFelix Lindner  - brooch, orange plastic & pearls
« How to put pearls in my jewellery? So easy – it was love at first sight – I guess I am not the first one – later on I try to classify, making small groups, some pearls are attracting me more then others, but in almost every kind I can find details that are beautiful – I am amazed! » – „ice cream“   Felix Lindner – „pimp my ride“ – I can pimp your tin toy ride… cultured bubble pearl wheels – other parts were taken from my work “les nouveaux classiques”… „Babe we’ll ride in style movin’ all along…“Beate Klockman neckpieceBeate Klockman neckpiece (detail) –
« The landscape around here inspires me. It is very rough and wild. The weather is changing fast, everything moves. Only the mountains are a constant. I find perfect harmonies in this chaos and bring those to the body. I create Jewelry in a same way as the nature grows. Letting the same coincidental imperfections, decide the character of the jewel. I make jewelry like drawings. The Pearls are the shiny dots in my composition… » Beate KlockmanAnnelies Planteijdt -  city-White place 2009Annelies Planteijdt -  city-White place 2009

Mariko Yamashita – ‘party’ necklace – pearl, 18k, paintPhilip Sajet necklace & detail

Mirei Takeuchi – necklaces – pearl, panty

Mirei Takeuchi détails necklacesIris BodemerRobean Visschers earringsKatja Prins ringsKarolina Bik  necklaceFlorie Dupont brooches

Dorothea Dahnick – “floral swing”

 

 

The Museum of Art & Crafts ITAMI 
2-5-28 Miyanomae, Itami, Hyogo 664-0895
Phone: [phone]
Fax: [phone]
http://www.mac-itami.com/

 

 

EXPO ‘five solo-exhibitions – Annelies Planteijdt’ – Galerie Marzee, Nijmegen (NL) – 2 Oct.-6 Nov. 2011

 Galerie MARZEE :
Sunday 2 October 2011 at 4 pm

Opening   five solo-exhibitions:

Sara Borgegård
Karin Johansson
Erik Kuiper
Annelies Planteijdt
Julia Walter

Annelies Planteijdt – Beautiful city – white wings blue figure, 2009, necklace, 18ct gold, pigment, white baroque South Sea pearls

Annelies Planteijdt – Beautiful city – green wings golden figure, 2009, necklace, 18ct gold, green Tahiti pearls

Annelies Planteijdt – Beautiful city – pink wings yellow figure, 2009, necklace, 18ct gold, tantalium, titanium, pigment, South Sea pearls, white and pink freshwater pearls
Annelies Planteijdt – Beautiful city – grey wings multicoloured figure, 2009, necklace, tantalium, pigments, grey Tahiti pearls

Annelies Planteijdt – Beautiful city – yellow wings golden figure, 2009, necklace, 18ct gold, yellow South Sea pearls

 

VIDEO sur ses colliers magiques, aussi beaux à plat que portés ….

 

Galerie Marzee
Lage Markt 3, Waalkade 4
6511 VK – Nijmegen
Netherlands
Telephone: [phone]
Fax: [phone]
website: www.marzee.nl
mail: [e-mail]

 

Colliers sortis de la mer ………..

…….. ou tout du moins couleur d’huitres, d’algues et de marées ………

(avec mes remerciements à la Galerie Marzee et à sa galerie de necklaces !)

(à voir aussi : « The NECKLACE show » à la galerie Velvet da Vinci)

Antje Stolz – necklace – 2005

Antje Stolz – necklace « l’heure verte » oxidised copper, hemimorphite, green pigment, plastic- (Idar-Oberstein, Fachhochschule Trier)

Beate Klockmann -  necklace  – iron, enamel, gold – 2008

Annelies Planteijdt - necklace ‘Beautiful city – Green room blue windows’ – gold, titanium, green, blue- 2002

Vera Siemund – necklace, 2004 enamelled copper, silver

Francisca Bauzá Förster - necklace Turquesa 2009, copper, textile, enamel, silver (Fachhochschule Idar-Oberstein)

Sybille Richter - Wiesen (Meadow), 2009 necklace, aluminium, silver 935, agate

Vivi Touloumidi – necklace ‘Particles’ 2010, fine silver, enamel, steel  (Fachhochschule Pforzheim)

Willemijn de Greef - necklace Touw-porselein (Rope-Porcelain) 2009, green yarn, glazed porcelain, hemp cord

Susanna Loew - Steinreich, 2009 necklace, silver 999 and 935, steel wire, marble

Ineke Heerkens - Weelderig Land, 2011, necklace, polyethylene, stainless steel, oxidized silver (photo Eddo Hartmann)

Rotem Fishler – pendant Turkiz 2011, silicone, sterling silver, pigments – (Israel, Shenkar College)

EXPO ‘THE RING – jewel forever’ – Hnoss Gallery, Gothenburg (Sweden) – 9 Sept.-9 Oct. 2011

THE RING – the most common piece of jewellery can be full of meaning, a personal statement sometimes showing itself as a technical miracle or purely decorative and beautiful. It can demand attention, be an invitation to play, be filled with tears and secrets – and is to be worn for one day or for ever.
In homage to the ring Galleri Hnoss has invited all the jewellery artists exhibited in the gallery since the start in 1997 to produce one ring each. The result is now to be seen in the exhibition THE RING – jewel forever. The show consisting of over one hundred rings is a vibrant collection of different expressions, thoughts and forms

In connection with the exhibition on September 9 we are also arranging aseminar : The Ring – jewel forever. The theme is the ring seen from different perspectives. We are very proud to announce the speakers: Anna Schetelich from Galerie Oona, Germany, Professor Otto Kunzli, Germany, and Manuel Vilhena, jewellery artist from Portugal. Moderator is Love Jönsson, crafts critic and guest lecturer at HDK, University of Gothenburg. The seminar is a collaboration between Galleri Hnoss and the Department of Jewellery Art at HDK, with support from Gothenburg Crafts Association, Estrid Ericsson’s Foundation, Wilhelm and Martina Lundgren Fund, and the family Wikanders Foundation.

Artist list:
Ingierd Hanevold, Norway — Lena Bergestad–Jonsson, Sweden — Per Suntum, Denmark — Kim Buck, Denmark — Christer G. Jonsson, Sweden — Peter De Wit, Sweden — Otto Künzli, Germany — Andreas Treykorn, Germany — Verena Siber-Fuchs, Swizerland — Margareth Sandström, Sweden — Karin Johansson, Sweden – Sigurd Bronger, Norway — Esther Knobel, Israel — Tore Svensson, Sweden — Anette Kraen, Denmark — Beppe Kessler, Netherlands — Mona Wallström, Sweden — Ari Turunen, Finland — Synnøve Korssjøen, Norway — Konrad Mehus, Norway — Onno Boekhoudt, Netherlands — Ulrika Swärd, Sweden — Rian de Jong, Netherlands — Christoph Zellweger, Switzerland — Helena Lehtinen, Finland — Helena Sandström, Sweden — Jamie Bennett, USA — Lotta Åström, Sweden — Karen Ihle/ Jens Eliasen, Denmark — Johanna Dahm, Switzerland — Petra Schou, Sweden — Adam Paxon, Scotland — Bruce Metcalf, USA — Eva Dora Lamm, Denmark — Ruudt Peters, Netherlands — Barbara Paganin, Italy — Kasia Gasparski, Denmark — Annelies Planteydt, Netherlands — Kadri Mälk, Estonia — Lena Olson, Sweden — Tarja Tuppanen, Finland — Manuel Vilhena, Portugal — Castello Hansen, Denmark/Sweden — Gijs Bakker, Netherlands — Cecilia Johansson, Sweden — Gunilla Grahn, Sweden — Vera Siemund, Germany — Karl Fritsch, Germany — Nel Linssen, Netherlands — Margaret West, Australia — Lars Sture, Norway — Kerstin Ringedal, Sweden — Fabrice Schaefer, Switzerland — Lucy Sarneel, Netherlands — Elise-Ann Hochlin, Norway — Georg Dobler, Germany — Katja Prins, Netherlands — Ramon Puig Cuyás, Spain — Xavier Monclús, Spain — Mah Rana, England — Peter Bauhuis, Germany — Silke Trekel, Germany — Terhi Tolvanen Finland/Netherlands — Svenja John, Germany — Jivan Astflack, England — Anna Unsgaard, Sweden — Charlotte Sinding, Sweden — Sonia Morel, Switzerland — Pia Aleborg, Sweden — Marc Monzó, Spain — Andi Gut, Switzerland — Anna Martinsson, Sweden — Ulrich Reithofer, Austria/Netherlands — Peter Hoogeboom, Netherlands — Mari Ishikawa, Japan/Germany — Annika Åkerfelt, Sweden — Karin Seufert, Germany — Peter Scubic, Austria — Lina Petersson, Sweden/England — Sara Borgegård, Sweden — Erik Kuiper, Netherlands — Ineke Heerkens, Netherlands — Bettina Speckner, Germany — Sebastian Buescher, England/Tyskland — Warwick Freeman, New Zealand — Iris Neuwenburg, Netherlands — Jiro Kamata, Germany/Japan — Anne-Marie Bernhardt, Sweden — Hanna Hedman Sweden — Lin Cheung, England — Bas Bouman, Netherlands — Birgit Laken, Netherlands — Norman Weber, Germany — Gemma Draper, Spain — Kristi Paap, Estonia — Alexander Blank, Germany — Klara Brynge, Sweden — Mia Maljojoki, Finland/Germany — Jenny Klemming Sweden — Jantje Fleischhut, Netherlands — Mikiko Minewaki, Japan — Carolina Claesson, Sweden — Linda Marie Karlsson, Sweden — Maria Ylander, Sweden — Åsa Christensson Sweden

Onno Boekhoudt (NL) – ring – Mixed media

Peter Hoogeboom  –  Bruce Metcalf  

 Jiro Kamata  –  Gijs Bakker

Ramon Puig Cuyas  —   Ruudt Peters

Bettina Speckner –  Johanna Dahm

Marc Monzo  –  Synnove Korssjoen

Jenny Klemming  –  Nel Linssen

Annika Åkerfelt  –    Katja Prins

Barbara Paganin  –  Ineke Heerkens

Fabrice Schaefer  —   Birgit Laken

Beppe Kessler  –   Christoph Zellweger

 

Esther Knobel  —   Hanna Hedman

Anette Kræn  –  Kim Buck

Manuel Vilhena  —   Lena Olson

Mia Maljojoki  —   Otto Künzli

Mari Ishikawa  –  Petra Schou

Sigurd Bronger  —   Terhi Tolvanen

Rian de Jong  --  Verena Sieber-Fuchs

 
Tore Svensson  —   Kerstin Ringedal

Andreas Treykorn  —   Andi Gut

Carolina Claesson  –  Charlotte Ho Sook Sinding

Annelies Planteydt  –  Castello Hansen

Ingjerd Hanevold  –  Eva Dora Lamm

Helena Sandström  –  Helena Lehtinen

Jens Eliasen  –  Kare Ihle

Kristi Paap  –  Mona Wallstöm

Lucy Sarneel  —   Jivan Astfalck

Lina Peterson  –  Karin Seufert

Lotta Åström  —   Kasia Gasparski

Mikiko Minewaki  —   Linda Marie Karlsson

Norman Weber  —   Per Suntum

Pia Aleborg  —   Silke Trekel

Peter Bauhuis  —   Peter de Wit

Sara Borgegård Älgå  —   Tarja Tuupanen

Erik Kuiper —   Xavier Monclús

Kadri-Mälk  —   Ulrika Swärd

Anne-Marie-Bernhardt  —   Alexander Blank

Georg Dobler   —   Peter Skubic

Jantje Fleischhut  –  Adam Paxon

Gemma Draper  –  Lin Cheung

Hnoss Gallery
Konstepidemin
413 14 – Gothenburg
Sweden
Telephone: [phone]
Fax: [phone]

Unusual SHOP : « In Stock » – goes to ASIA during Taiwan Designers’ Week 2010 – 3-12 Sept 2010

‘In Stock’ the jewellery pop-up store in a hardware shop coat is a blessed concept initiated by the three Dutch designers Ineke Heerkens, Jantje Fleischhut, Jeannette Jansen since 2009. This project of an unconventional display of contemporary jewellery design shows work, which lingers on the edge of design and art. Around seventy renowned international designers produce for this concept multiples in an edition of five – still mostly handmade.

For the display, blister packaging on perforated wooden walls is used, price labels, cash register, a supermarket trolley at the entrance.

After popping up in cities like Munich and Amsterdam, ‘In Stock’ is coming to Asia (Taipei) during the Taiwan Designers’ Week 2010 with the help of the two guest curators Yu-Chun Chen and Min-Ling Hsieh.

TAIWAN DESIGNERS’ WEEK – Sept.03 -Sept.12 in Taipei City

at FABRIK Creative Project Space
1F, No3, Ln31
Shaoxing N. St.
Zhongzheng Dist., Taipei City 100 – Taiwan
For more info please contact :
[e-mail]
[e-mail]
[e-mail]

participants : Annelies Planteijdt, Akiko Ban , Andrea Wagner, Anna Rikkinen, Beppe Kessler, Birgit Laken, Chequita Nahar, Claudio Bracco, Constanze Schreiber, Danni Schwaag, Dionea Rocha Watt, Doris Maninger, Ela Bauer, Eric Hu, Yun-Hsiang, Floor Mommersteeg, Gitte Nygard, Henriette Schuster, Hilde De Decker, Hsiu-Hsuan Huang, I Ting Wang, Ineke Heerkens, Jacomijn Van Der Donk, Jantje Fleischhut, Jeannette Jansen, Jorge Manilla, Julia Walter, Karin Seufert, Kathleen Janvier, Katja Prins, Kim Buck, Kuan Lin Liu, Lucia Massei, Lucy Sarneel, Luzia Vogt, Maaike Ebbinge, Machteld Van Joolingen, Manon Van Kouswijk, Maria Hees, Märta Mattsson, Mia Maljojoki, Mikiko Minewaki, Min-Ling Hsieh, Mirei Takeuchi, Monique Van Bruggen, Nanna Melland, Natalie Luder, Nina Helms, Noemie Doge , Pauline Wiertz, Pei-Chi Hung, Peter Hoogeboom, Ruudt Peters, Sarah Enoch, Sarah Mesritz, Sasson Kung, Silke Fleischer, Stefanie Condes, Stella Bierenbach, Susan Pietzsch, Susanne Klemm, Suska Mackert, Suzanne Van Oirschot, Szu-Min Kuo, Tabea Reulecke, Tanel Veenre, Atelier Ted Noten, Ting-Ting Tsao, Tomomi Arata, Ulrike Rapp, Ursula Woerner, Xiao Lin Cai, Yen-Yi Chen, Yu-Chun Chen.

Mirei TAKEUCHI (JP) – Necklace

Hsiu-Hsuan HUANG – Hair Necklace

Szu-Min KUO - ‘Distortion’  Ring

Kuan LIN LIU - ‘On the hill’ Necklace

 Floor MOMMERSTEEG (NL) – Brooch

Annelies PLANTEIJDT (NL) – ‘Beautiful city’ Necklace

Jorge MANILLA (Mex) – ‘ex votos for a serial killer’  Necklace

Jacomijn VAN DER DONK (NL) – ‘Penseelketting’ Necklace

Tomomi ARATA -  Brooch

Min-Ling HSIEH – ‘Take a break’ Ring

Tanel VEENRE – Earrings
Pauline WIERTZ – Earrings

Peter HOOGEBOOM – ‘One for the Road’ Bracelet-Container

Ela BAUER – Netted ring 
Danni SCHWAAG - Pearlsring

Suzanne VAN OIRSCHOT – ‘Tin Heroes’ Brooch

I Ting WANG - ‘Connection’ Brooch

 Mia MALJOJOKI- ‘Frozen fireworks’ Necklace

Jantje Fleischhut – « Nylon Rings »

Beppe KESSLER - Collier

Akiko Ban ring

More info: http://www.instock-taiwan.blogspot.com/

 

Ting-Ting TSAO – ‘Origami’ Brooch

« Metalsmiths » dreams come true – Peggy Hung & Ting Ting Tsao
Peggy Hung and Ting Ting Tsao , both graduates of Tainan National University of the Arts, are friends who decided to create their own brand following their studies in metalsmithing and jewellery design. The duo is now running an unusually playful label to release their artistic talents ………. The label « Bomb Metal & Fry Jewelry » (BMFJ) was established in 2005 and has been quickly emerging in Taipei as an innovative brand that excels in jewellery design and visual merchandising with a personal touch

 

 

 

For more info please contact
[e-mail]
[e-mail]
[e-mail]

.

EXPO ‘Es perlt…’ Galerie Handwerk, Munich (Germany) – 18 Juin-31 Juil. 2010

 nella galleria Handwerk una mostra sui diversi modi di usare le perle
dal 18 giugno al 31 luglio 2010

(oeuvre de Kasimir Oppermann (DE)

« Die Perle ist durch ihre schimmernde Oberfläche, die Ebenmäßigkeit ihrer Rundung – oder gerade gegenteilig durch die bizarren Formen – und ihre geheimnisvolle Entstehung bestimmt. Ihre Schönheit, ihr Glanz und ihre weiße Farbigkeit ließen sie zum Attribut der Göttin Venus werden.
Schon früh wurde die Perle in verschiedenen Kulturkreisen im Schmuck verarbeitet und mit symbolischem Wert belegt. Sie war zudem Zeichen für Macht, Status und Reichtum. In jüngerer Vergangenheit wurde die Perle in der Perlenkette zum grossbürgerlichen Statussymbol und geriet darüber etwas ins Abseits. In den letzten Jahren lässt sich nun ein neues Interesse an der Perle erkennen: Am Beispiel der Perle wird nicht nur über die traditionellen Funktionen von Schmuck reflektiert, sondern es werden auch neue innovative Formen der Gestaltung mit der Perle erprobt.
Die Ausstellung der Galerie Handwerk München beschäftigt sich mit diesen ungewöhnlichen Formen der Gestaltung nicht nur im Medium des Schmucks, sondern auch in der Installation, dem Bild und dem Objekt. Im Vordergrund steht jedoch der Schmuck.Werke von 43 internationalen Künstlern werden präsentiert, um einen
Überblick über die verschiedenen Tendenzen bei diesem aktuellen Thema zu geben. Nach einer jahrelangen Vernachlässigung der Perle, gerade im Bereich des Autorenschmucks, fällt nun ein intensives Interesse dafür auf. Dieses wurde auch wieder in der Sonderschau ›Schmuck‹ auf der Internationalen Handwerksmesse 2010 in München deutlich. Nach einer langen Zeit, in der Minimalismus, eine gewisse architektonische Konstruktionsweise und Funktionalität bei der Gestaltung von Dingen bzw. eine stark persönlich und kritisch geprägte Auffassung beim Schmuck im Mittelpunkt standen, ist nun wieder eine neue Freude an der Pracht und dem Reichtum, ein Rückgriff auf Ornamente und eine Formensprache festzustellen, die dem Barock entlehnt ist. Vor diesem Hintergrund scheint dann auch die Beschäftigung mit der Perle, deren Gestaltung im Barock einen Höhepunkt erfuhr, keinesfalls erstaunlich.
Perlen aus verschiedenen Materialien und der Reichtum in ihrer Formgebung werden an Beispielen internationaler Schmuckkünstler vorgestellt. Es sind Arbeiten aus Australien, Belgien, Deutschland, Finnland, Frankreich, Großbritannien, Italien, Japan, den Niederlanden, Norwegen, aus Österreich, der Schweiz, der Tschechischen Republik und den USA vertreten.« 

Carmen Hauser

Jacqueline I. Lillie (FR/AT)

Alors je vous le dit de suite  : hélas, je ne comprends pas un traitre mot de l’allemand …. et le charabia généré par les « outils traducteurs » ne m’aide pas franchement …. je vous le laisse (ci-dessous) rien que pour rire un peu ….

La perle est, par sa surface miroitante, la régularité de leur cycle – ou tout simplement le contraire prévue par les formes bizarres – et leur origine mystérieuse. Leur beauté, leur éclat et leur couleur blanche, ils sont laissés à l’attribut de la déesse Vénus.
Déjà Früh la perle dans les différentes cultures a été générée dans les bijoux et recouvert d’une valeur symbolique.  Elle était aussi un symbole pour le pouvoir, le statut et la richesse. Dans un passé récent, la perle dans le collier à grossbürgerlichen symbole de statut et quelque chose est tombé en désuétude. Ces dernières années, peut maintenant détecter un nouvel intérêt pour la perle: l’exemple de la perle est non seulement à refléter les fonctions traditionnelles de bijoux, mais aussi de tester de nouvelles façons novatrices de la conception à la perle.
L’exposition traite de la Galerie Handwerk Munchen à ces formes particulières d’organisation non seulement dans le milieu des bijoux, mais aussi dans l’installation, l’image et l’objet. L’objectif, cependant, est le règne de 43 Schmuck.
Données comme numéro un dans les différentes tendances  du présent . Après des années de négligence, en particulier dans le domaine des bijoux d’auteur, la perle suscite maintenant un vif intérêt.  Ce fut encore plus évident dans l’émission spéciale  « Bijoux » à la Foire commerciale internationale 2010 de Munich. Après un long moment, le minimalisme d’une certaine manière, la construction architecturale et de fonctionnalité dans la conception des choses et une vue très personnelle et critique dominé les bijoux dans le centre se trouvait, est aujourd’hui à nouveau une joie nouvelle dans la grandeur et la richesse, un Rückgriff ornements sur un formulaire et la langue afin de déterminer le baroque est dérivé. Dans ce contexte, la tâche semble à la perle, la conception d’un pic dans le baroque appris à ne pas surprenant.
Perles de divers matériaux et de la richesse dans leur conception sera présenté avec des exemples de Schmuckkünstler internationale.

Annelies Planteijdt (NL)  –  Laura Deakin (AU/DE)  ^–  Lucy Sarneel (NL)

Stephanie Jendis (DE) –  Karin Seufert (DE) – David Bielander (CH/DE )

Alexandra Bahlmann (DE) –  Evert Nijland (NL) –Ulla Ahola (FI)

Mirei Takeuchi (JP/DE) — Jacqueline I. Lillie (FR/AT) — Sam Tho Duong (VN/DE)

^{Francis Willemstijn (NL) — Katja Schlegel (DE)}

Barbara Paganin -  anemone rosso e bianco

Barbara Paganin -  corallo nero

Barbara Paganin -  rami di corallo nero

Barbara Paganin -  geode  — zucca (à droite)

Barbara Paganin -  reef

 

Artists:
Ulla Ahola, FI — Isabelle Azaïs, BE — Alexandra Bahlmann, DE — Peter Bauhuis, DE — David Bielander, CH/DE — Célio Braga, BR/NL — Laura Deakin, AU/DE — Diana Dudek, DE — Sam Tho Duong, VN/DE — Petr Dvorák, CZ/AT — Shige Fujishiro, JP/DE — Line Garlind, NO — Karen Gilbert, USA — Jens Gussek, DE — Stephan Hampala, AT — Katerina Handlová, CZ — Carmen Hauser, DE — Susan Hoge, USA — Stephanie Jendis, DE — Maki Kawawa, JP — Florence Lehmann, FR — Wolli Lieglein, DE — Jacqueline I. Lillie, FR/AT — Outi Martikainen, FI — Julie Mollenhauer, DE/NL — Dorothee Neumann, DE — Evert Nijland, NL — Kasimir Oppermann, DE — Barbara Paganin, IT — Michael Petry, USA/UK — Annelies Planteijdt, NL — Katja Prins, NL — Uli Rapp, DE/NL — Lucy Sarneel, NL — Isabell Schaupp, DE — Katja Schlegel, DE — Danni Schwaag, DE — Helga Seimel, DE — Karin Seufert, DE — Etsuko Sonobe, JP — Mirei Takeuchi, JP/DE – Tarja Tuupanen, FI — Francis Willemstijn, NL

 

Galerie Handwerk
Max-Joseph-Straße 4
Eingang Ottostraße
80333 – München (Germany)
Tel : [phone]
Fax + 49 89 595544
website: www.hwk-muenchen.de/galerie
mail: [e-mail]

 

en ce qui concerne les créateurs travaillant la PERLE, voir les articles précédents :

*   COUP de COEUR ! Melanie Georgacopoulos – Deconstructing the pearl necklace

*  Vous avez TOUT FAUX ! – ladies, all you have is FAKE !

*  The Provocative Beadwork of Joyce Scott

les anglais parlent de « pearl » pour LA perle, et de beads pour LES perles (de verre, de bois, de tissu …) ça simplifie les choses …..