at FÄRGFABRIKEN – LÖVHOLMSBRINKEN 1, STOCKHOLM
at FÄRGFABRIKEN – LÖVHOLMSBRINKEN 1, STOCKHOLM
Gold, silver and jewels: these precious materials were for a long time the favorite form of personal adornment. But since the 1960s their dominance has been undermined by objets trouvés, everyday utensils, plastics, or parts of plants. The jewellery made from these, each piece of which is a one-off and bears the unmistakable signature of the person who made it, relates to visual art, fashion and design. Worn as art works, these pieces of jewellery explore the boundaries of what is actually wearable and through their shape or size indeed often conflict with the body. With their pieces eighty international designers and – especially for the Museum Bellerive – national artists clearly show that the possibilities and applications of jewellery are practically unlimited. From small, fantastical brooches to portraits of stars made from strings of pearls: jewellery breaks out of the confines of museum showcases, spreads across walls and floors to create a space-filling installation or, in the form of urban jewellery, even decorates the street.
An exhibition of the Museum voor Moderne Kunst Arnhem
in collaboration with the Museum Bellerive
Inner Beauty – a participatory performance by Frédéric Braham. The artist administers homeopathic doses of sapphires, emeralds, gold and Yves Klein blueTed Noten – knuckleduster (model for women) 2000 Helen Britton, Big White brooch Benjamin Lignel, Io ce l ‘ho d’oro (Yeah but mine’s gold), 2007 Shelley Norton, Block Brooch, 2011
Hanna Hedman, While they await extinction, 2010
Julie Schmid (BA Jewellery Design 2011), 3The fish with golden bubbles3 and « Two dogs and a diamond », 2011; Photo: Vlado Alonso © HEAD – Genève
« Et si, tout à coup, les bijoux, au lieu de venir en touche finale pour sublimer la personne qui le porte, prenaient le premier rôle? Et si le porteur du bijou devenait, pour une fois, un écrin pour présenter la pièce?
Plus encore que l’univers poétique qu’elle met en scène, rendu spectaculaire par le jeu des proportions, c’est cette inversion des rôles qui me plaît dans les bagues et les broches démesurées de la suédoise Charlotte Sinding (ou Aud Charlotte Ho Sinding) … » (site irresistable)
Aud Charlotte Ho Sook Sinding about her work : « I wish to challenge the common idea of different things, and challenge both myself and others to consider and take a stand. Jewellery is excellently suited in achieving this. The piece of jewellery is strongly connected to its bearer, and it takes a lot to dare to carry one of my pieces.
I want my jewellery to be something else than passive symbols of status, and instead serve as active expressions of taking a stand, confusion and frustration.
I mainly work with unique items or in small series of 5-10 items.«
Aud Charlotte Ho Sook Sinding – « I beg your Pardon… » brooch, 2001. Latex, acrylplaster
Aud Charlotte Ho Sook Sinding -Ring in silicon,silver and fabric
Aud Charlotte Ho Sook Sinding -Ring
« Big brooches about 200×200 mm :
I have taken my starting point in people’s and my own relationship to pets. Pets evoke many emotions that in some ways are contradictory. I made brooches of silicone, linoleum and brass, looking like ordinary pets. I have played with the contradicting feeling of fascination and disgust that arises when something is put into a new context. The pet heads become like trophies on my brooches, glazed and lifeless.«
Aud Charlotte Ho Sook Sinding was one of Sweden’s most interesting jewellery artists. On September 20, 2009 she died too young.
Her jewellery will still live among us and continues to challenge conventional perceptions of what life is and could be respected. (Platina Gallery)
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.
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
Parfois je vous présente des expositions dont la date est largement dépassée … mais dont le thème -et l’intérêt- dépassent largement la date !
En particulier, parmi mes « recherches italiennes », une série d’expositions « par pays » qui nous permet un tour de l’Europe des plus intéressants !
A 2005 touring exhibition showing the works in Italy of fifteen Swedish jewellery artists.
The selection of the artists was made on the basis of conceptual work that could reflect the countries’ culture, nature, climate and general characteristics, representative of the Scandinavian way of interpreting life.
« Contemporary Swedish Jewellery« is curated by Marie-Josè van den Hout, the director of Galerie Marzee in Nijmegen Netherlands and it is touring five countries and 7 venues.
Appreciating that van den Hout considers rings small sculptures, and necklaces akin to drawings and paintings, helps us understand her curatorial decisions.
The fifteen artists selected for this exhibition can be loosely considered part of the Scandinavian ‘New Jewellery’ movement; so we see work displaying the visually provocative expression that is its hallmark. No
longer do these makers tie their inspiration exclusively to nature and geometry, they absorb and rework the multiple modes of expression that contemporary popular culture emits.
These pieces discuss perception, identity, social interaction, art theory, philosophy and sociology; consider the artistic statement of each piece asides to its wearable functionality. Van den Hout has chosen outspoken, more conceptual pieces, where we find form replaced by content. Be aware of self-referential comment on the Swedish traditions of nature and romanticism, and see this less design-orientated approach as refreshing as it is challenging.
Witness Aud Charlotte Ho Sinding‘s grand rubber jewellery, in particular her birds ‘carried’ by the wearers hand; defiantly sculptural, they question the bond between us and nature.
Aud Charlotte Ho Sinding – birds ‘carried’ by the wearers hand – rubber
The relationship between us and the actual material, is provoked by Ulrika Swärd‘s sound pieces. Her work gives proof to organic source materials – such as metal and pearls – not necessarily being the only starting point. In contrast, Charlotte Skalegård and Anna Unsgaard‘s work echoes the perfectionist goldsmith techniques of past generations; in so much as their work is imbued with a real sense of artist’s labour. Although their choice of materials may be stainless steel and copper, the detailed textile techniques used reference the artistic process in a very clear way.
Ulrika Swärd - sound pieces (euh… « coussin péteur » ??)
Agnieszka Knap‘s leaf and flower shaped pendants have a porous enamel surface giving a scorched appearance; an interesting juxtaposition of the beautiful with the distressed
Dental plaster is the unexpected material involved in Ida Forss‘s work, look out for her witty teeth necklaces. This humorous theme runs to Sissi Westerberg‘s brooches and bracelets, melting as they do over pocket lips. Tobias Andersson‘s badges in various precious and semi-precious materials will make you smile too.
Ida Forss – Sissi Westerberg
Karin Johansson, Mirjam Norinder and Mona Wallström are all showing necklaces, but each so different to the next, in terms of both material and content. Similarly, Castello Hansen and Tore Svensson‘s rings could not be more different and unique
Karin Johansson — Mirjam Norinder — Castello Hansen ring – Tore Svensson rings
Miro Sazdic Lowstedt – Mona Wallström
(THANKS to Flow gallery for report & information)
Artistes présentés : Tobias Andersson — Sonja Ekman — Ida Forss — Castello Hansen — Karin Johansson — Agnieszka Knap — Miro Löwstedt — Mirjam Norinder — Aud Charlotte Ho Sook Sinding — Charlotte Skalegård — Tore Svensson — Ulrika Swärd — Anna Unsgaard — Mona Wallström — Sissi Westerberg
« Beauty becomes complicated
Compared to the development in countries like the Netherlands, Germany and Great Britain, Swedish art jewellery was long marked by slow changes and preservation of traditional craftsmanship qualities.
The new jewellery movement gained widespread acclaim in Sweden only in the late 1980s. However, since the entry of this new and liberated approach in regards to materials, techniques and themes, its application has often been cautious.
The vulgar, grotesque and in other ways visually provocative expressions have only in recent years made its way into the Swedish jewellery scene. Today, nature and geometry are seriously trailing behind as the preferred sources of inspiration, in favour of contemporary popular culture and its wide-ranging modes of expression.
In this meaning the development in Swedish jewellery has clear parallels to movements in other artistic fields, not only in the realm of craft. As the domain expands towards discussions on perception, the making of the identity and social interaction, the relation to art theory, philosophy and sociology is becoming increasingly important.
Form is replaced by content.
There has also been a shift in working methods in the sense that the jewellers increasingly often formulate clearly defin ed thematic projects, which are left behind upon completion as they move on to the next project.
The artistry becomes a stretch of events rather than a continuous flow. This poses challenges to an audience that has become accustomed to appreciate gradual development and refinement of expressive means.
Additionally, to a growing extent many young jewellers make embodiments of examinations, events and meetings rather than concrete jewellery. This dematerialization of the art object carries clear references to the art of the 60s and 70s, along with influences from the virtual dimensions and communication patterns in contemporary society as well.
It is important to remember that the Swedish body of artists has become increasingly international. Many of the artists in the exhibition have studied abroad and several of them are born in countries other than Sweden.
Compared to most other branches of Swedish craft, the jewellery artists have been actively partaking in the international exchange arena, partly as a result of having been schooled by university teachers with foreign backgrounds and frequent participation in workshops abroad.
That the aim is shifting focus away from a nationally defined style is evident.
In this context it is worth noting that some jewellers still favour moti fs that expressively side with the famed Nordic sense of nature. Today however, this is rarely simply a result from unreflecting romanticism or tradition. Many pieces based on natural forms hold double meanings: they are not only referring to nature but also become commentaries to the tradition of nature romanticism itself.
In Sweden, this tradition may be traced back to the poetry of the 18th century, and reached its most significant form during the era of nationalist flirtation in the past centurial turn. Today, the Swedish relationship to nature is mirrored and retold through channels such as advertising and popular culture. To the artists, the nature theme lends itself as a mean to relate to questions on identity, tradition and change.
Karin Johansson may serve as an example of an artist who forwards parts of the nature-oriented tradition, but in the form of a personal world of imagery with many idea sources. In the geometrical forms that dominate her jewellery, flowers, leaf forms and other references to the natural world are often present.
However, there is an affinity to an unobtrusive and emotional sphere established here as well, where a subtle play of opposites takes place, between the concealing and the advancing, between isolation and interaction.
In many aspects however, it is the human body that has become the unifying basis to the jewellers. The fact that the object of jewellery, positioned in the interface between the individual’s body and society, offers unique access to current discussions within a number of cultural contexts is more or less a truism.
To the young Swedish jewellery artists, the subject of the body is not so much an art historical motif as it is a thematic assessment of it as a concept and social phenomena. The jewellers tend to relate to the body as a changeable quantity, shaped by the rules and values of the external world as well as by the individual’s feelings and yearning for expression.
Every once in a while, the unexpected or even unpleasant presses through the conventional beauty. Teeth, fingers and eyes may appear as motifs, with evident references to the state of interchangeability that body parts have today. Cloning in the medical sciences, as well as today’s frequently exposed fascination for plastic surgery, both form foundations for artistic themes.
That this fits well into the international trend of jewellery as well as the visual arts hardly needs mentioning.
In Aud Charlotte Ho Sook Sinding‘s sculptural rubber jewellery, with their somewhat ghostly depictions of flowers and birds, a contradictory bond between human and nature transpires. The carrier must subject to Aud Charlotte Ho Sook Sinding’s voluminous pieces of jewellery, resulting in the appearance of nature getting the upper hand.
In this sense the objects join up with the discussion on the relationship between carrier and object. Who in this relationship is the carrier of expression?
If the jewellers whose theme is the body have set beauty aside, there are others that consciously choose the beautiful as a mode of communication. Beauty can be emotionally moving and create reactions: as an object with historical ties to desire and seduction, the pretty piece of jewellery opens up to associations of power and submission.
Beauty becomes complicated in the complex process of personal interpretation and projections. The contradictions are often readily present in the artistic manifestation of the beautiful. In Agnieszka Knap‘s leaf and flower shaped pendants, the beautiful balances on the verge of a violent expression. The porous enamel surfaces can give a scorched impression, like human bodies whose keepers have burnt them in the sun for the sake of vanity.
The enamelling, a traditional goldsmith technique, becomes a paradoxical way of communication in a contemporary context. In a text about her work, Agnieszka Knap states that beauty is an instrument and that her jewellery « is about making the viewer associate with certain feelings, situations or memories. « I don’t tell concrete stories, but through the choice of colour and form I want to invoke a personal story in the viewer. »
This goal may seem vague, but is representative of a young generation of artists that are anxious to avoid locking the audience’s relationships to an interpretations of their work to established models. The emphasis is placed on the intimate relationship between the piece of jewellery and its carrier.
Perhaps a common tendency in young art is traceable here, one that aims to avoid too substantial pretences. Meetings and events – creating new contexts formed by the individual viewer’s own life experiences – is more important than the universal autonomy of the art piece.
The relationship to the materials offers another access point to the review of Swedish art jewellery in this exhibition. Over the past two decades a gradual change has occurred regarding the choice of materials. Metals, stones and pearls are no longer the obvious starting point.
Some of the pieces by Ulrika Swärd are examples of how even sound can be an element in the production. Organic and in other ways frail materials are also used by many jewellers and the characteristics of the material then itself turns into a carrier of meaning. Brittleness can be used as a metaphor for the perishability of life and a reminder of that we must take care with the most fragile and valuable of all – human relationships.
In many pieces, not only the materials emerge carriers of meaning, but the time factor as well. Some examples are Charlotte SkalegŒrd and Anna Unsgaard‘s detailed textile techniques that charge the objects with time – a true scarcity in our day.
The prosaic materials, thin wire made of stainless steel and copper respectively, are not inherently valuable, but the time that has been invested in the manufacturing process makes the pieces lavish, and therefore alluring objects. In contrast to many older and perfectionist goldsmith techniques, the traces of artist’s labour are clearly perceptible.
The artistic process and its stretch into the time dimension becomes a motif itself. In Anna Unsgaard‘s pieces the material carries obvious references to communication as well. The copper wire is recycled from old telephone lines. In the age of wireless communication, the copper wires provide a link to a recent past, yet at the same time articulate a reminder of the communicative aspect in the particular act of carrying a piece of jewellery. » (Love Jšnsson - Craft and design critic)
Schmuck 2010 in München / Jewellery in Munich
Events related to Jewellery during the International Trade Fair
3.-9.3.2010 Neue Messe München I Halle A1 “Handwerk & Design” 9.30-18 h
Sonderschauen der 62. Internationalen Handwerksmesse München. Schmuck 2010,
Exempla 2010 – Keramik, Talente 2010, Meister der Moderne 2010
* Schatzkammer Australien -Treasure room Australia. Opening: 25.2.,18.30 h.
Max-Joseph- Str. 4, 80333 München.
26.2.-10.4., Di, Mi, Fr 10-18, Do 10-20, Sa 10-13.
So 7.3. Special opening 10-14 h.
[Artists: Helen Aitken-Kuhnen, Robert Baines, Roseanne Bartley, Nicholas Bastin, Julie Blyfield, Helen Britton, Susan Cohn, Simon Cottrell, Anna Davern, Laura Deakin, Mark Edgoose, Mari Funaki, Stephen Gallagher, Kiko Gianocca, Kirsten Haydon, Marian Hosking, Linda Hughes, Johannes Kuhnen Carlier Makigawa, Sally Marsland, Christopher Earl Milbourne, Nina Oikawa, David Phillips, Nicole Polentas. ]
*Giampaolo Babetto. L’Italianità dei Gioielli, 6.3.-30.5. Opening 5.3. 19 h
*Wenn Helden zittern – Tokyo, München, London, 6.-7.3., 10-18, Opening 5.3. 19 h
Alexander Blank, Eunmi Chun, Stefan Heuser, Mari Iwamoto, Jasleen Kaur, Märta Mattson, Hajime Matsuo, Masayuki Nagata, Christopher Thomson-Royds.
Alexander Blank- brooch- Silver, plexiglass, rigid foam, lacquer
*Danner-Rotunde. Neu. Kuratiert von Karl Fritsch, ab 6.3. Opening. 5.3. 19 h.
Die Neue Sammlung – The International Design Museum Munich
Pinakothek der Moderne, 80333 München,
Tel. 089-272725-0 u. 089-23805-360,
Di-So 10-18, Do 10-20 h
*Nicht dass Du mir von der Bluse fällst. (« Don’t you dare to fall off my blouse! ») 12.2.-10.4. Opening 11.2. 18.30 h,
Broschen von Volker Atrops, Peter Bauhuis, Waltraud Erlacher, Therese Hilbert, Otto Künzli, Karen Pontoppidan, Bettina Speckner.
Galerie für Angewandte Kunst, Bayerischer Kunstgewerbe-Verein e.V.,
Pacellistr. 6-8, 80333 München,
Mo-Sa 10-18, Do 4.3. 17-18 h meet the artists, So 7.3. Special opening 11-17 h
(cf article « EXPO ‘Don’t you dare to fall off my blouse!‘ – Gallery for Applied Arts, Munich (DE) – 12 Fevr.- 10 Avr. 2010″)
Bettina Speckner - brooches
> 3.3. Wednesday
19 h: Glas im tschechischen Schmuck. 3.3.-31.3. Opening 3.3. 19 h
Václav Cigler, Petr Dvorák, Stanislava Grebenícková, Katerina Handlová, Jan Hásko, Svatopluk Kasaly, Jaroslav Kodejs, Zdenka Lastovicková, Martina Mináriková, Martin Papcún, Jirí Sibor, Markéta Sílená, Blanka Sperková.,
Tschechisches Zentrum, Prinzregentenstr. 7,
Mo-Do 10-17, Fr 10-16
3.-4.3. 10-22 h,
> 4.3. Thursday
10 h: bloß keine Steine, « No gems, please ». 4.-7.3
Kerstin Becker, Susanne Elstner, Monika Jakubec, Michaela Köppl, Kristina Kundt, Gabriele von Miller-Lehsten, Daniela Osterrieder, Renate Schmid, Renate Scholz, Ines Schwotzer, Gottlinde Singer, Monika Vesely, Hanni Weber.
galerie GEDOK muc, Elisabethstr. 13 RG, 80796 München,
10-20 h (http://www.gedok-muenchen.de/galerie_gedok/autoviewer2/index.html)
Susanne Elstner, brosche
12 h: Life’s a bench. 4.-7.3
Fiona Jane Hermse, You-Hua Hsieh, Tamsin Leighton-Boyce, Mikaela Lyons, Katharina Moch, Katherine Richmond, Elena Ruebel, Rickson Salkeld, Chuchart Sarunnayawatsin, Ching-Chih Tseng, Shadi Vossough,
Studio K162 Renate Scholz,
Do-Sa 12-19, So 12-16 h (http://www.lifeisabench.blogspot.com/)
Chuchart Sarunnayawatsin Mikaela Lyons
13 h: Ishikawa, Maljojoki, Steinau-Streinrück, Borgegård, in memoriam Ho Sook Sinding (Aud Charlotte Ho Sook Sinding). 4.-7.3.,
Tel. 0179-2047433, mit Van de Velde im Auto - 13-16 h
Mia Maljojoki - ‘
16 h: schmuck krönt das schöne. 4.3-7.3
Claudia Milic, Ingrid Römmich, Veronika Schmidt
Schlegelschmuck München, Nordendstr.7a,
Do 16-19 h
Fr, Sa 11-18, So 11-14 h
17 h: The Box. 4.-7.3
Bette, Adrean Bloomard, Förster, Hilbert, Kallfelz, Helfried Kodré, Lisca, Fabrizio Tridenti, Flora Vagi, Luzia Vogt, Weber, Florian Weichsberger
Maurer-Zilioli – Contemporary Arts, Brescia, zu Gast bei
Kunstbüro Reillplast, Amalienstraße 21, 80331 München,
Helfried Kodré (AT) – brooch Luzia Vogt – brooch
Florian Weichsberger - broche
18 h: Bettina Dittlmann und Michael Jank. 5.-25.3
Galerie Isabella Hund, Frauenplatz 13,
Mo-Fr 11-14 und 15-19, Sa 11-18 h18 h: Dormitory_Bauleitung_Laboratorio. Schmuck im Schlafrock aus 7 Ländern.
Atelier Stach, Welserstr. 29a,
Fr 5.3. 11-18, Sa 6.3.11-13 h
18-22 h: Sam Tho Duong und Nils Schmalenbach. 4.-9.3
Schmuckgalerie tal20, Tal 20, 80331 München,
Mo-Fr 11-19, Sa 10-16 h
18 h: Eternal shine – it´s not a pony. 5.-7.3.
Nicole Beck, Melanie Isverding, Constanze Schreiber, Florian Weichsberger
Projektraum J. Baumeister, Georgenstr. 66, 80799 München
Fr 12-18, Sa 11-16, So 11-18 h
18.30 h: Daniel Kruger. 4.3.-25.4.
Galerie Biro, Zieblandstr. 19,
Di-Sa 14-18 h
Daniel Krüger - brooch
19 h: AAVISTUS. 5.-7.3
Tiina Rajakallio, Tarja Tuupanen, Maria Vuorinen.
84 GHz Kultur im Keller, Georgenstr. 84, 80799 München,
10 h: Across borders. 5.-8.3
Leila Arzaghi, Lydia Hirte, Yoko Izawa, Christiana Jöckel, Sangeun Kim,
Studio Gabi Green, Gollierstr. 17, Tel. 089-54030254
17 h: õhuLoss / luftSchloss / spatialPalace. 5.-7.3
Kadri Mälk, Tanel Veenre, Piret Hirv, Eve Margus-Villems, Kristiina Laurits, Villu Plink
Alter Nordfriedhof, Arcisstr. 45,
Tel. 089- 2720526 (Friedhof),
Tel. 00372-5223595 (Kadri Mälk)
Fr 17-21, Sa-So 12-18 h
(cf article « Estonian jewellery« )
17 h: 2 Münchener Goldschmiede +1 junger Star. 5-12.3
Peter Müller, Dagmar Stühler, Mirjam Hiller.
Galerie Stühler bei Winterberg-Kunst, Barerstr. 46, 80333 München,
5.3. 17-23h, 6.-12.3. 12-18 h
17 h: “mine x mine”. 5.-9.3
Mikiko Minewaki und Yutaka Minegishi
WITTENBRINKFuenfhoefe, Theatinerstr. 14,
18 h: Cagnes-sur-Mer hors les murs präsentiert Also known as jewellery, 3.-9.3
a travelling exhibition of French contemporary jewellery.
Baloge, Boucher, Boyer-Pellerej, Braham, Brugger, Deltenre, Grimonprez, Hanagarth, Kampfert, Lacoste, Le Gal, Lehmann, Marguier, Meunier, Natier, Perret, Traon.
L’institut Français, Kaulbachstraße 13,
9-21 h18 h: Dialogue 8. 5.-7.3
P. Bishai, A, Death, R. Gilbert, B. Humphries, J. Patterson, J. Robinson, P. Scura, Timothy Information Limited, R. Terry, A. Toch.
Kunstgießerei Schwabing, Schleißheimer Str. 72, with 84 GHz,
Fr 18-21 h, Sa-So 12-20 h
19 h: Jewellery Mia Maljojoki bei “Meisterschüler 2010“ 6.-14.3.
Akademie der Bildenden Künste München, Galerie der Künstler, Maximilianstr. 42, 80538 München,
Mi-Sa 14-19 h
20 h: Iris Eichenberg : Birds and flowers of Michigan. 5.3.-24.4
Galerie Spektrum, Theresienstr. 46,
Tel. 089-284590,Di-Fr 13-19, Sa 11-14,
7.3. Special opening12-18 h
Iris Eichenberg – Brooch
> 6.3. Saturday
11 h: Returning to the Jewel is a Return from Exile 2. 6.-7.3.
Robert Baines, Karl Fritsch, Gerd Rothmann, präsentiert von Galerie Biro,
Einsäulen-Saal Münchner Residenz, Residenzstr. 1,
11 h: 3 x GOLD. 6-8.3.
Florian Buddeberg, Anna Eichlinger, Irene Gonzalez,
Sa u.Mo 11-16, So 11-18 h
Neue Messe München Halle A1, Aktionsbühne
16 h: Talente-Preis Verleihung
17 h: Herbert-Hofmann-Preis Verleihung
20 h: Jewellery Get-together
Augustiner Großgaststätten, Neuhauserstr. 27
> 7.3. Sunday
12-19 h: Die Kunst des Abschieds. 31.1.-30.4
Bettina Speckner, Thomas Kammerl und andere…bei Gastroph und Jünger: w e i s s ….über den tod hinaus,
Mo-Fr 11-19, Sa 11-16 h
12 h: Claus Bury – Maßstabssprünge. 9.3.-13.6.
Die Neue Sammlung – The International
Design Museum Munich, im Neuen Museum für Kunst und Design, Klarissenplatz, 90402 Nürnberg,
Tel. 089-2727250 u. 0911-240200, www.die-neue-sammlung.de,
Di-Fr 10-20, Sa u.So 10-18 h
15-18 h: Finissagentag “Iron Man” 4.2.-7.3
Antiquariat Dieter Zipprich, Zieblandstr. 2, 80799 München
Mo-Sa 9-13 h
>> Download the complete program of events
(MERCI à Klimt02)