Mais où est donc passée la religion ??????

Le bijou, support politique, support religieux, « support d’idées » « tout court » ?

souvent, ces bijoux traduisent une « double » religion : l’idée de religion ‘classique, transmise par la forme de la croix, puis celle d’autres « religions », plus modernes diront-nous, transmisses par le matériau : l’adoration du « dieu informatique », du « dieu consommation » (le coca ? l’amérique ? la nourriture ? l’argent ? ) …..

D’autre fois, la croix est juste une structure comme une autre, mais particulièrement attirante : la « structure primaire » je dirais …..

Daniel Michel - New Traditional Jewellery 2007 at Sieraad Art Fair

David Poston- ‘The Real Thing’ – pectoral cross 2004 – Steel on a wooden frame – V&A Museum

« This cross uses recycled Coca Cola bottle tops, gathered in Rwanda and laser-welded over a wooden frame. Dr David Poston who made the cross, has worked in Africa for many years, teaching blacksmithing techniques to rural communities under the auspices of the United Nations. In a statement about the piece, Poston posed a series of questions which the viewer might like to consider, such as:
‘Is there anything inherently offensive in the piece? If someone were to choose to take offence, would this be because of any statement genuinely inherent to the piece or a reflection of their own position, prejudices and asssumptions?’
‘If the juxtaposition of cross and Coca Cola is offensive, to whom and why?’
‘What do used Coca Cola bottle tops imply or represent? In this context, what is the significance of their coming from Rwanda?’
‘How great is the difference between the two symbols? Do they now both represent brands?‘ »(David Poston)

Mona Wallstrøm « 20 very important things to remember » – detail of ankle piece

 

 

Carole Deltenre- komboloi for women – silver

« related to the traditional rosary, the komboloi is a Greek traditionnal object only used by men. Here it consist of the clitores -cast in silver- of 19 women » – cet objet/bijou est JUBILATOIRE !

Chloé Durand (FR) – « Supplice exquis » – chapelet en chocolat + laiton

« Considérer le bijou comme un moyen d’expression au même titre que la photographie, la vidéo…
Des bijoux porteurs de messages, des bijoux politiques, des bijoux qui interrogent, des bijoux engagés…
Je m’amuse à détourner les objets, à associer des matériaux tels que l’os, le béton, ou encore le chocolat, avec les métaux propres à la bijouterie (or, argent…).
J’utilise ces moyens pour dénoncer un fait, pointant du doigt les failles de notre société où l’individu et le collectif s’affrontent sans cesse…
Un regard ironique sur les comportements humains. »(Chloé Durand)

Chloé Durand – A Dieu… Adieu ?- Broche en argent + médaille de baptême en or + béton teinté

Emmanuel Lacoste‘ s Opening nite (by LNY) par AKA – un… steack crucifié (pour la bonne cause ?) … mais peut-on parler de « bijou » ?

Solveiga & Alfredas Krivičiai- rozancius- ‘Rossary for homo consumer’ 55 coins, hematite, ready made

« “…if jewellery is art, can it really remain indifferent to the cultural, technological and social changes taking place at the moment in the society?… Can jewelery react actively to social processes? Can it be socially engaged? Or maybe these days jewellery can, albeit indirectly, express people’s aspiration and phobias, actively and perhaps even dramatically react to the “now”…« 

Robert Ebendorf Ring (« 200 rings » exhibition at Velvet da Vinci Gallery)

Maria Nuutinen Object ‘Passio’ (pìncushion), 2003 (she belongs to « Amazing Animal » group)

Maria Nuutinen 

Kate Barton – New Structure Brooch – oxidised stg, 9ct Y gold, wood, glue, paint, 2009

« I am inspired by structures, building plans, diagrams, underground pipes and wires, sparkling gems, Morse code, semiotics, secrets and machines. » (Kate Barton)

Katja Prins (NL)-’Bound by Blood’ Necklace – 2007 – wooden beads, cotton

« This necklace brings together and mixes various prayer-necklaces, which only differ in detail. Prayerbeads are being used in several religions and they all have their own systematical design. The beads stands for the different prayers and by following the beads you can’t loose track and count while you are praying. The Roman-Catholic church has the ‘rosary”, the Islam has the “tespi”, Buddhism (Nichiren) has the “juzu” and Tibetan Buddhism has the “mala”. Nowadays we are living in a time of globalization. Worldwide people are connecting more and more, not only economically, but also politically and culturally. Borders are fading and people travel and migrate more than ever. Out of that comes integration of different cultures and religions. Partly because of the not always so very successful integration-policy of many countries, extremism in certain religions also flourishes, conflicts arise. With this/my interpretation of the prayer-necklace I want to bring together all prayer-necklace and make 1 out of it all.  A contemporary blood red prayer necklace. In my opinion the religions don’t differ so much from one another, they differ mostly in details. That’s what I want to show with this necklace. By bringing together all the prayerbeads, symbolically I want to bring together the different religions and with that the people. The title “Bound by Blood” stands for the idea that on the inside we are all the same. It also refers to the many wars (and with that the shedding of a lot of blood) that have been fought in the name of religion. «  (Katja Prins)

Frank Tjepkema - pendant ‘bling bling’ 2002- gold plated stainless steel- label « Chi Ha Paura…? »

« This medallion in the shape of a decorated cross is made out of paper-thin layers of gold-plated steel perforated to reveal logos like those of Coca Cola, Diesel, Kleenex and Gucci. » ………………………….

Eric Loubser – Pendant

Constanze Schreiber, in opdracht van New Traditional Jewellery -2007  (photo Francis Willemstijn)

EXPO ‘Dichotomies in objects’ – Gallery Velvet da Vinci, San Francisco (USA) – 1er-31 Juill. 2010

DICHOTOMIES IN OBJECTS :
Contemporary South African Studio Jewelry from the Stellenbosch Area

Velvet da Vinci in San Francisco presents Dichotomies in Objects : Contemporary South African Studio Jewelry from the Stellenbosch Area. Curated by Lauren Kalman and Carine Terreblanche

Stellenbosch University is one of the only schools in South Africa teaching conceptual approaches to jewelry making. Twenty artists affiliated with the University have been selected by U.S. curator Lauren Kalman and South African curator Carine Terreblanche to represent a diverse cross section that reflects a broad range of highly conceptual practices, from tongue-in-cheek kitsch to more poetic material investigations of form. The jewelers in Stellenbosch are trained with a high technical proficiency and a strong conceptual understanding, with investigative approaches to jewelry including the use of contemporary media, such as digital video. The curators have chosen provocative, experimental and formally engaging work to showcase. The exhibition will highlight over 150 pieces by 20 South African artists, and will open on July 1 with an artists’ reception on Friday, July 2 from 6 to 8 p.m. Exhibition catalog will be available for $15.

« Dichotomies in Objects » will tour from San Francisco and then travel to The Ohio Craft Museum in Columbus, OH and will continue on to The National Ornamental Metal Museum in Memphis, TN.

Nanette Nel (ZA) « Verkeerdom Protea » Handbag/Neckpiece
Nanette Nel – « Om-gekeerd Protea » Handbag/Neckpiece

Nanette Nel « ROOI » Wallpiece/Neckpiece

Participating Artists:
Joani Bekker, Bea Cecile Bernard, Idane Burger, Kirsten Gerber, Marnell Kirsten, Jacomien Labuschagne, Eric Loubser, Lee Malan, Karin Rae Matthee, Marie-Louise De La Marque Naudé, Nanette Nel, Ackeem Ngwenya, Johan van Aswegen, Gussie van der Merwe, Nini van der Merwe, Maeve Roseveare, Carine Terreblanche, Therese de Villiers, Erika Voigt, Anthi Voyatjes

Ackeem Ngwenya (ZA) - ‘The Little Prince : Balance’, Neckpiece, 2009 – new silver and nylon
Bea Bernard (ZA) – ‘Etched identity’, Brooch, 2008 – warthog tusk, reindeer horn, silver, garnet.

 

Gussie van der Merwe (ZA) – ‘Maagspeld, rugspeld, borsspeld en boudspeld’ (series) Brooches, 2008 – silver, steel, upholstery, stockings, thread

Idané Burger (ZA) – ring — pendants

« Independent studio jewelers work within a complex political, social, and economic context. At the bottom of Africa, jewelers often express a feeling of isolation from the global metalsmithing community. Though many South African studio jewelers look toward European aesthetics and methodologies there is a connection to South Africa that seems to permeate their forms. European traditions become hybridized with the heritage of indigenous African adornment, regional landscape, and the commercial jewelry industry. The platinum and diamonds that are mined locally are a major part of the jewelry design vocabulary and are integrated with influences like colonial Dutch architecture, makeshift township settlements, and West African goldsmithing.
Many South African studio jewelers are looking to traditional African jewelry such as gold leaf, beadwork, carved wood, and basket weaving. Nanette Nel, a recent master’s student at the University of Stellenbosch, works with disgustingly pink, exotic floral forms made out of silicone rubber. Her handbags, brooches, and rings combine the intensely pigmented synthetic material with. hidden black diamonds, carved wood, and gold leaf. She simultaneously nods to the experimental materials used in contemporary jewelry practices, Ashanti gold-leafed talisman, and the commercialized diamond industry.
Precious materials are often juxtaposed with found debris. Considering the breathtaking and diverse landscape of South Africa, indigenous organic objects are naturally a major influence and material in the work. In much of the local work, finely-crafted settings cradle coal, indigenous woods, and other non-precious materials.
Some jewelers are also looking at pop culture and street crafts. These include trendy designs as well as handmade kitsch. In the jewelry, the found object is often used to produce a parody of the commercial jewelry industry.
Makeshift construction using materials like rubber, plastic and recycled metal can be seen on a daily basis from township buildings to handmade crafts designed for the tourist market. Some jewelers adopt this bricoleur mentality.
The most engaging South African studio jewelers continue to push boundaries in making their work. This gives them the opportunity to influence the commercial industry and challenge narrow views of what jewelry is and who makes it.  » (Lauren Kalman )

Therese de Villiers - silver brooch/Hairpin

Marie-Louise Naude « Threaded Bloom & Pearl Bloom » Rings

Marnell Kirsten « A Private Affair: 3″ Necklace

Maeve Roseveare « Dancing on my Grave » Chatelaine

Anthi Voyatjes – Ring

Eric Loubser – Pendant

Kirsten Gerber « Alice Dutton 1880-1983″ Chatelaine 

 

Velvet da Vinci gallery
2015 Polk Street
San Francisco
CA 94109 (USA)
Phone [phone]
Tuesday – Saturday 11 to 6,   Sunday 11 to 4

 

PS : pour les codes pays, Afrique du Sud=South Africa=Zuid-Afrika = ZA