Selection 4 SCHMUCK 2016 : Kadri Mälk

Kadri Mälk,  BLACK BEAUTY

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek  24/02–1/03/2016

  brooch by Kadri Mälk

Kadri Mälk  Brooches : « Very Guilty » & « Guilty » 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm

interview :« Kadri Mälk – Love Me Or Leave Me Or Let Me Be Lonely »
By Aaron Patrick Decker (THANKS to AJF)

I ascended old stairs to a cozy apartment in Tallinn, Estonia, where I had the pleasure of interviewing the renowned Estonian jeweler Kadri Mälk. As the head of the metals department in the Estonian Academy of Arts, she shines a spotlight on younger Estonian jewelers. She has given rise to a generation whose work is strong, individual, and definitely Estonian. Mälk’s work is dark, poetic, and wholly of her own voice. Utilizing such traditional jewelry materials as gold, silver, gemstones, and jet, she creates a recipe whose melancholy fragrances permeate through all her work. 
Aaron Patrick Decker: How did you come to jewelry?
Kadri Mälk: Initially I studied painting for four years and really enjoyed it. Before that, I worked in a publishing house. After studying painting, I suddenly felt that maybe it wasn’t for me, maybe I needed something more intimate. After that I went to the Academy to study jewelry. I was either 28 or 29 when I graduated. I felt somehow that I was late, an autumn flower. I remained a freelance artist and was on my own for about nine years; meanwhile I was invited to teach. Initially it was just a small workload, like once a week. I enjoyed staying in my atelier and working on my own schedule and freedom. I liked it so much, no due dates and a kind of wild life, a lifestyle I still really appreciate.
After graduation I began some studies in stonework. First in St. Petersburg in a stone-cutting factory, a huge factory that received quite high-quality raw materials from Siberia. Then I studied gemology in Finland at the Lahti Design Institute for two years. I was offered to prolong my studies in London in 1993–94 and receive the highest degree one could get in gemological studies. During that time in Estonia, there was no one in the field of gemology. It’s a small field in general, but in Estonia, no one had this sort of certification.
But then my professor, Kuldkepp, fell ill and couldn’t return to the department anymore. Until this point I had worked alone. Leading a department is not just about being an ideological leader, there are other concerns about finances, and finding a team that works. You have to find people who fit together. I had no experience in this work so I was very afraid of the proposal to take the department. And especially since I was offered the gemological certification, which was seductive.
Simultaneously, I got a chance to work in Germany. I was young, bold, and at that time ready to jump. I applied to Bernd Munsteiner’s studio. He rejected me at first, saying he had too much work to also teach an apprentice. Somehow he changed his mind and decided to bring me in. They were intrigued by Estonia, the wild northern forest, so they said okay. He was concerned about my age and the time allotted; to learn stone cutting and faceting requires a large amount of time. I went in there not being able to speak German, and they had a certain dialect. I had some stone-cutting experience from St. Petersburg, but not at the level at which his workshop operated. It was very generous of him to take me.
We began at 7 a.m. and the first break was at 10:30 for some coffee. It was very tight and regimented. Funnily, during lunch they turned off the power in the shop; I thought I could work more during this time, but it was not allowed. He didn’t believe in the beginning that I could learn facet cutting, but at the end he was happy with where I got. I remember having a notebook and just trying to write down everything during lunchtime. I wouldn’t eat. I’d just write what the workers were saying. The old knowledge. It was my passion, stones.
You have said you were close with your professor; can you talk about your decision to take over the department?
Kadri Mälk: She was the reason I decided to take over the department. It was kind of fatal serendipity—as I saw it then, but not anymore. I had to do it because she could not. She was an extraordinary personality in the time and circumstances, she did not fit the environment, didn’t fit the times. If you read her writings, you could tell she had such a drive sourced from somewhere else. She had such a mission to pass on things to people, not in a direct way but in an indirect and metaphoric way. Her teaching methods were not pedagogical at all, she was often much more abstract. She locked the students in the room and said, “Just work.” All should be concentration, creativity driven to the work. No cinema, no theater, no magazines, no outside information, and it should all come from yourself, come through you. Extreme methods, but very effective. She wanted you to achieve the maximum. She was not very communicative, didn’t go anywhere, didn’t move around, her efforts were very concentrated on certain students. I can’t find the right words to completely describe her, but she wanted students to open up by closing off.
Do you think becoming a professor so early shaped you as an artist and continues to shape you?
Kadri Mälk: I was a baby professor. I was elected when I was 37. I had already been a renowned artist for some time, but as an educator, administrator, or team member, I had no experience. Looking back, I realize now the trust from admin and colleagues when I took over the department. My creative past supported me and proved to them I could survive in the school. Just recently somebody outside of the academy, and artists, came to me and said, “Now, Kadri, I realize you have done it well…” In the beginning, others were hesitant because I was seemingly unsuitable for the job. The highest hesitations came from me. I was unsure if I could rise to the occasion. And when the women came, 15 years later, it was some confirmation.
I just liked to make my pieces. And it’s so funny, I still go about my work in a similar way. Nowadays students are much more oriented by a schedule and thinking about making work for exhibition. Deadlines. My satisfaction came from my pieces, from the process. I liked how they came to me, how they happened. When I was in school, learning about the art field was not included. The professor tried to keep this off us, all these associations, how this works, etc. I remember asking her what happens when I graduate. She didn’t tell me anything about the real life of artists. It was all about the work. It was a conscious decision to keep the art world away from us.

Kadri Mälk  necklace « Amnesia » 2010  – ebony, tourmaline, silver, – photo Tanel Veenre

Kadri Mälk – « Mid-day of life » 2008 brooch – jet, silver, almandine, smoky quartz – photo Tanel Veenre

Do you think your work changed during this period?
Kadri Mälk: No, not because of the Academy. The majority of my time went into the Academy, but this didn’t affect my work. In the first years, we gave assignments to students in the form of certain themes. Later on, especially at the MA level, where the study is more conceptual, they must meet their choices themselves to reinforce their spiritual identities.
Someone asked me, “What do you like best about teaching?” I feel lucky that I have the possibility to notice and follow how personalities develop and begin to blossom; how new talented personalities emerge in a creative surrounding; and how they act and react. And how passionate they may be in their work! It’s the achievement of every member of our staff.
Not much changed about me, either. Of course I had to modify my talking towards topics, concentrate, and learn to convey or see the methods that worked best, but at the core I didn’t change.
It’s very different to be just a teacher rather than the department leader. You are responsible for all that happens. The biggest difference is that the academy and the students are number one, followed by your work and your family. The academy and the students are number one. They can call me at any time if they need. I feel better in this. They know that they can come, they are not lost.
I think that’s quite admirable. I haven’t heard of another professor so invested in the program in the ways you are. What do you think some of the most important things to pass on to your students are, what do you hope they take away from you and the Academy?
Kadri Mälk: A kind of attitude, that you should believe in yourself. People shouldn’t take you off your path. Younger artists are vulnerable, in a condition to be shaped or reshaped; it’s important to tell them or convince them that whatever happens you should turn that attention in to yourself, otherwise you get lost. If you take into consideration all the opinions you hear, you get lost; there is so much noise. You don’t know where to look or where to go. You don’t orient yourself any longer in the world. Believe in yourself … it’s hard to when you’re young. Believe and be strong in your core.
Then your core begins to fortify?
Kadri Mälk: Yes, it becomes stronger. It crystalizes, the elements that are more important, the ones that are harder, take shape, and the rest falls apart. It comes with time, you shouldn’t force or exaggerate. You have to be patient.
There are so many conferences, so many books asking the big question—is jewelry art? It’s not my task to answer it.
My comment to it is very simple: love me or leave me or let me be lonely. 
Or to put it differently: take it or leave it or let me be lonely.
What do I mean with that? It’s very simple. There is always another way out. It’s not only taking or leaving. There is another possibility which is hardly seen. You just have to be patient and look carefully.
Also, the creative process has confusion, has crisis. You should not be afraid of these things, they are natural. Fear that your next work will fail is so very normal. Crisis is normal in art making. Art is always about starting again in hesitation.
What are your impressions of younger jewelers now coming into the field, at large and in Estonia?
Kadri Mälk: (long pause) It is very hard to generalize, even here the local scene is quite diverse. You can se
more design-oriented work, more personal work. I try to encourage these people who are afraid of having somehow veiled, personal, or exceptional ways of expressing. If they compare themselves to what is happening in different places with people their age, they begin unconsciously to bring other aesthetics into their own work. I want to encourage people who are different, who are slightly insecure.
Francis Bacon said, if you are going to decide to be an artist, you have got to decide that you are not going to be afraid to make a fool of yourself.
Making art is so simple—all you have to do is to wait quietly, staring at a blank wall until the drops of blood appear on your forehead. Be aware that criticism always comes along with creative work. If you can’t handle it, you have to quit.
How frequently and easily success transforms into depression! You can avoid it by leaving some loose threads in your work, some unresolved part that carries you forward in your new work. What you need to know in your next piece is silently present in your last. You can find it while looking in patience. It’s like a seed crystal for your next destination.
I am not really analytical like most. I am interested mostly in my unconscious choices, what I like and what triggers me.
If someone were to ask about your work, how would you describe it to them?
Kadri Mälk: Look at the originals. You should look at the original pieces and see for yourself.
Do you think that is an important idea, to see things in person?
Kadri Mälk: Yes. We are so much in the age of reproduction. We see the screen or the page with the picture. We don’t look at the original anymore, we don’t feel the tactility of the pieces or taste the iron. It is very harmful to humankind to go about it in this manner. Go to the originals. Otherwise it is so meta-meta, you don’t feel, you don’t know the scale, the details, or the material from the copies.
What are some of the things that inspire you?
Kadri Mälk: I don’t know what inspiration is exactly. Sometimes things are more intense and sometimes less intense. Sometimes I feel that I can capture things, forms, colors, something in the air, and sometimes I feel like sand is running through my fingers.
Consciously I cannot, but it comes more from my subconscious. There’s some differentiation between mental and physical subconscious. One is staying here (Mälk points to her head) and one is here (she points to her stomach), the first is mental and then the second is more gut, subconscious. The feelings are very different. Or maybe the frequencies are different. I like life in all its expressions, that’s my source
In talking about those two polar ways—analytical and emotional—in your work, do you bring them together, is there one that’s more important to you?
Kadri Mälk: Usually it’s subconscious, these decisions you make. They are made before they are at your conscious level. You made the decisions in a big fog. Just as in crystallization, they come into being. And when they are there, it is your choice to call them either consciously made or born out of the sky.
Looking at your work, there is a quality of instantaneous moment; going deeper, you find more and more. The work is quite striking and emotionally charged. Seems very palpable, like it has a heartbeat. There is also a melancholy quality to many of your pieces. Is that a conscious decision or a more subconscious one?
Kadri Mälk: A tiger cannot avoid his stripes! (She laughs.)
That’s a great analogy. 
Kadri Mälk: I am very shy describing my work. I am afraid I cannot reach the truth through verbalization.
There is this quality of Estonian jewelers, not a reluctance, but an ability to keep the integrity of the work. It’s hard to describe the work prescriptively in its conceptual and formal functions, often it acts like poetry, it speaks with power but is not completely resolute. What is your opinion of this attitude?
Kadri Mälk: When I think of my jewelry, it’s easier to describe it. “It’s blue, violet, black, and purple. There is fog, there are shades of magenta.” You can be precise without being clear. And unclear may also be precise. It’s very much an oxymoron.

Kadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit Rammul

Being precise but unclear, can you talk more about this notion?
Kadri Mälk: It’s really a sort of hologram, like a puzzle. As a notion and phenomenon, I think it’s possible. 
It is an interesting facet of Estonian jewelry. Sort of irresolute.
Kadri Mälk: Yeah, it’s in a stage of becoming. Being on the way.
Yeah, it’s not negative, its more open. 
Kadri Mälk: Yes, an ambivalence. 
Is there something that you want people to get from your work?
Kadri Mälk: To share the unsharable. What often happens is that the viewer approaches in a superficial way, which is natural. On the foreground they see materials, especially if there are unusual materials.
I’ve used a lot of moleskin in my work and it’s taken a kind of attraction or peculiarity in my work. I don’t feel a need to explain the choices I’ve made. How it came to me, it was just an incident. Or a happy accident.
When all my stuff was stolen from my atelier, I found a coat of my grandmother’s from the war, made out of moleskin. I took it apart, slices of extremely thin, like silk, soft silk paper like. Then I saw these pieces. The tenderness at first, the sensuality of the material, and that the fur grew in only one direction. It was so thin, the fur. It had such a strong character, though. I started to work with this, used it a lot, the coat is now gone into all the pieces. I also think the animal is present in the work. The mole, he’s blind, he doesn’t have sight but has extreme animal spirit. All this orientation in time and space. I studied how they moved, their lives, did more research. How they were trapped and caught. This animalism was powerful and important for me in these works. But you aren’t going to retell the story. If you put it into a story, it’s banal. 
Can you talk more about the jet in your work?
Kadri Mälk: When I carve it, like timber or wood, it has nerves like a human body. The stones have structure, they direct you. They tell you where to go. You should go there and you shouldn’t make the wrong decision. There is a negotiation with the stone when I cut it. Jet is mute, silencium. Only a big dust is coming. Your lungs are filled with jet powder. Like stones are directing you in advance, there are inclusions, by heat they will crack more. Jet is completely mute. This is what fascinates me. It’s not much used in jewelry anymore. 
I lack the habit and custom and will to interpret my works after they have been completed. The work either tells you something or it doesn’t. Once you have completed it, then keep quiet. The work must know whether it radiates or not. The piece of jewelry in your mind, in your imagination, is always correct and beautiful. Resistance starts when you try to convert it into material. Oh, la la! Materials are like elementary particles—charged, heavily charged sometimes, but indifferent. They don’t tell you much, you have to tell them the truth.
You have staged events and produced a number of books—JUST MUST, Castle in the Air, etc.—about Estonian jewelry and jewelers. You have made the work coming from the Academy available to a much larger audience. Give us your thoughts about publishing these books and what your intentions were at the time you did them.
Kadri Mälk: Firstly, I love books. I love their smell and the shade of the voice when you turn the page and then unexpectedly see a new image … It’s both emotional and intellectual. Since 1989 I have published twenty-something publications, some of them out-of-print already. The first ones were really ugly ducklings, black-and-white … I’ve strived always to tell something different with them, it has been my passion. Indeed, they have been acting as ambassadors of Estonian jewelry in the world, although it was not intended. So many students coming from abroad have said the pull came from the books. Strange! Usually nowadays the urge comes from the Internet. 
To make an impression abroad is not as important as to make an impression in your own soul.
Thank you.

 Kadri Mälk – « Fresh, dried, only young » 2001 brooch – sarcodon imbricatus (mushroom), silver, almandines

Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm)

During SCHMUCK 2015 – EXPO ‘From the Coolest Corner – Nordic Jewellery’ – Galerie Handwerk, Munich (DE) – 6 Mars-18 Avril 2015

From the Coolest Corner – Nordic Jewellery

Galerie Handwerk 

Inauguration 5 March 2015 – 18.30 h –Ausstellungseröffnung Donnerstag, 5. März 2015, um 18.30 Uhr

(Lilian Eliassen Necklace: Every Road Is Just Another Way Home, 2012 Casting clay, silver)

 AND SEMINAR « Re-Public Jewellery« 
Freitag, 13. März 2015, von 10 bis 15 Uhr in der Galerie Handwerk.
Die Teilnahme ist kostenfrei.
Anmeldung erforderlich bis zum 5. März 2015 über [e-mail] oder über die Telefonnummer 089 5119-296. Nähere Informationen unter www.coolestcorner.no .
The seminar Re-public Jewellery will be held at Galerie Handwerk Friday 13 March. Four international speakers will analyze different aspects of social potential in contemporary jewellery: Liesbet Bussche (B), Helen Carnac (GB), Nanna Melland (N), Yuka Oyama (N/D). The seminar is produced by Martina Kaufmann, Prof. Ingjerd Hanevold and Prof. Anders Ljungberg at Oslo National Academy of the Arts, Metal and Jewellery Department in collaboration with The National Museum of Art, Design and Architecture and the Norwegian Association for Arts and Crafts.
The presentations made in this seminar will moderated by Sofia Bjørkmann and Prof. Anders Ljungberg. Together with the speakers and the panel-participants they will investigate strategies to convey and communicate jewellery art in public space.
Time: Friday 13 March 2015, 10 – 15
Place: Galerie Handwerk, Max-Joseph-Straße 4, Munich (map)Registration: The seminar is free of charge, but requires a registration with the Galerie Handwerk. Please register via email galerie[at]hwk-muenchen.de or phone
[phone] or -296.
Maximum number of participants are 90 people.
Full program in pdf

From the Coolest Corner: Nordic Jewellery presents an exciting and broad range of the contemporary studio jewellery created in the Nordic countries. From the Coolest Corner: Nordic Jewellery has a three-fold aim: to present the newest and most advanced contemporary Nordic jewellery, to intensify the discourse on today’s jewellery and strengthen the knowledge about this field, and to consolidate Nordic jewellery’s position in national and international arenas.
Jewellery will be presented in 3 different ways: a touring exhibition, a comprehensive book and an international Seminar Re-Public Jewellery, all shedding new light on the importance of this art. Denmark, Estonia, Finland, Iceland, Norway and Sweden will be the main collaborators in this project.
The touring exhibition From the Coolest Corner was opened at The National Museum – The Museum of Decorative Arts and Design in Oslo in January 2013. It then travelled to The DesignMuseum Finland in Helsinki, The Designmuseum Danmark in Copenhagen, The Estonian Museum of Applied Art and Design in Tallin, The Röhsska Museum of Design and Applied Arts in Gothenburg and The Lithuanian Art Museum in Vilnius.
During “Schmuck 2015” it is shown at the Galerie Handwerk in Munich.
This main exhibition presents 159 works by 61 artists from the Nordic countries including five invited honorary artists and a selected group of artists from Estonia.
The international seminar Re-Public Jewellery will take place on March 13th at the Galerie Handwerk, 10:00-15:00.
To strengthen the interest in and knowledge of art jewellery, artistic tendencies and research within the field will be presented both in the seminar and in the book.
All these different presentations of Nordic studio jewellery together, aim at contributing to reinforce the image of contemporary Nordic Jewellery as expressive, reflexive and “cool”.
The project is a result of a cooperation between the three Norwegian partners (The National Museum –The Museum of Decorative Arts and Design in Oslo, The Norwegian Association for Arts and Crafts and Oslo National Academy of the Arts) and their associated organizers in the Nordic museums of design and decorative arts, the Nordic crafts associations and the national colleges of art and design as well as, of course, our sponsors Nordic Culture Point, Nordic Culture Fund, Arts Council Norway.
The exhibition is sponsored by the Nordic Culture Point, the Nordic Culture Fund, the Arts Council Norway and Galerie Handwerk of the Bavarian Chamber of Crafts

From Dänemark : Julie Bach — Kim Buck — Annette Dam — Kaori Juzu — Marie-Louise Kristensen — Thorkild Harboe Thøgersen — Josephine Winther

  Julie Bach  -bracelet

Josephine Winther Necklaces: Ding, 2011 45 bells, bronze, silver, gold, copper, porcelain, amber,agate

From Estland : Julia Maria Künnap — Kadri Mälk — Maarja Niinemägi — Kristi Paap — Anna-Maria Saar — Tanel Veenre

  Julia Maria Kunnap  Brooch: From the Middle of a Dream, 2010 Obsidian, gold

Kadri Mälk

From Finnland : Ami Avellán — Aino Favén — Clarice Finell — Janne Hirvonen — Sirja Knaapi — Mervi Kurvinen –  Helena Lehtinen — Mirja Marsch — Anna Rikkinen — Janna Syvänoja — Monica Wickström

 Janna Syvänoja Necklace: Untitled I, 2012 Paper, steel wire

Helena Lehtinen

From Island : Hildur Yr Jónsdóttir — Hulda B. Ágústsdóttir — Helga Ragnhildur Mogensen — Orr-Kjartan Örn Kjartansson & Ástpór Helgason

Helga Ragnhildur Mogensen,   Nackstycke « The Red Thread », 2010, drivved, garn, silver

From Norwegen : Liv Blåvarp — Sigurd Bronger – Linnéa Blakéus Calder — Lillan Eliassen — Elise Hatlø –  Anne Léger — Konrad Mehus — Anna Talbot — Gunnhild Tjåland

Liv Blåvarp: Red Drop, 2011. For this piece Blåvarp was awarded Bayerischer Staatspreis 2012. Photo: Liv Blåvarp

Anna Talbot

From Schweden : Tobias Alm – Sara Borgegård Älgå — Beatrice Brovia — Nicolas Cheng — Åsa Elmstam –  Daniela Hedman — Hanna Hedman — Karin Johansson – Jenny Klemming — Agnieszka Knap — Agnes Larsson — Kajsa Lindberg — Paula Lindblom – Åsa Lockner — Märta Mattsson — Lena Olson — Lina Peterson — Annika Pettersson — Margareth Sandström — Sanna Svedestedt — Tore Svensson — Anna Unsgaard — Peter de Wit — Annika Åkerfelt

 Agnes Larsson

 Märta Mattsson

 

Galerie Handwerk 
Max-Joseph-Straße 4
Eingang Ottostraße
80333 München
Tel. [phone]
www.hwk-muenchen.de/galerie
www.facebook.de/galerie.handwerk
6 March ->18 April  (Di.- Mi.- Fr.)  10-18 h., Do. 10-20 h. – 14-16 March 10-15 h.

 

EXPO ‘WWWA’ – Estonian Museum of Applied Art & Design, Tallinn (EE) – 7 Nov. 2014- 18 Janv. 2015

WWWA [Words & Works from a World Away (Sõnad ja tööd sealt kaugelt)] – Estonian Museum of Applied Art & Design

A collaboration of Estonian and Australian jewellery artists

OPENING 7 november 2014 – 5pm
Kuraator: Claire McArdle

What do they say about us on the other side of the world?
And what do you know about them?
This exhibition unites the northern and southern hemispheres through the work of jewellery and object artists from Australia & Estonia. In each country statements were collected from ordinary members of the public about their knowledge and opinion of the other country. Each artist chose a statement about their country from someone on the other side of the world. The piece they made is a reaction to this statement.
Words spoken across the globe invite a personal study of our own culture and a reaction to other’s perceptions of who we are. Each piece is a navigation of an outsider’s perspective and the resulting realisations and revelations about our own identity.
The two cultures have been explored through unverified perceptions and understandings. The resulting objects are repositories of both cultural and personal narratives. They examine the global flow of information between two physically and culturally separate countries and provoke an international exploration of self.

Linda al-Assi [EST] — Robert Baines [AUS] — Nicholas Bastin [AUS] — Robin Bold [AUS] — Zoe Brand [AUS] — Melissa Cameron [AUS] — Anna Davern [AUS] — Mark Edgoose [AUS] — Rita-Livia Erikson [EST] — Ulvi Haagensen [EST] — Mary Hackett [AUS] — Kirsten Haydon [AUS] — Nils Hint [EST] — Naoko Inuzuka [AUS] — Annika Kedelauk [EST] — Inari Kiuru [AUS] — Aija Kivi [EST] — Keiu Koppel [EST] — Katarina Kotselainen [EST] — Teresa Lane [AUS] — Urmas Lüüs [EST] — Kadri Mälk [EST] — Claire McArdle [AUS] — Hans-Otto Ojaste [EST] — Kaire Rannik [EST] — Anne Reinberg [EST] –  Adolfas Šaulys & Mari Relo-Šaulys [EST] — Mark Vaarwerk [AUS] — Anita Van Doorn [AUS] — Tanel Veenre [EST]

Tanel Veenre,   Metsik eljas I/Wild Beast I, 2012 Eesti/Estonia – Photo: Marc Morel

Nils Hint

***

 

Estonian Museum of Applied Art & Design
Lai tn 17,
Tallinn 10133
Estonia, Tallinn

Open Wed-Sun 11.00-18.00

EXPO ‘Öhuloss – Castle in the Air’ – Villa Bengel, Idar-Oberstein (Germany) – 28 Nov. 2013 – 9 Mars 2014

Öhuloss – Castle in the Air – Magic Scene of Contemporary Jewellery Tallinn

28th November 2013 – 09th March 2014 at Villa Bengel,  Idar-Oberstein, Germany

At the opening of the exhibition on Wednesday, 27th November 6 p.m. you and your friends are cordially invited.
The exhibition shows works of internationally renowned Estonian Artists´ Association “ÖhuLoss” from Tallinn with works by Piret Hirv , Kristiina Laurits, Kadri Mälk, Eve Margus-Villems, Villu Plink and Tanel Veenre.
After a welcome by Mayor Bruno Zimmer, Mr. Wilhelm Lindemann introduces in the exhibition.
It is the second time that work of this extremely vital jewelery scene in Tallinn (Estonia) is shown in Idar-Oberstein. The new work of the Öhuloss group puts a focus on the aesthetic dimensions of gemstones. On display are works of spiritual power that are rooted not only in the Estonian mythology and history; they also reflect the magic of the Baltic landscape.

Participating artists:  Kadri Mälk — Piret Hirv — Tanel Veenre — Eva Margus-Villems — Kristina Laurits — Villu Plink.

Tanel Veenre - Neckpiece: Lonely Gardener -  Wood, rock crystal, silver, cosmic dust

Kadri Mälk – Brooch: Guilty – Carved jet, 14-karat white gold, black rhodium bathed, spinels

 

Kadri Malk – « Amnesia » neckpiece – black tourmaline, ebony, silver 

Kristina Laurits -  « Phrases » brooch – animal liver, gold, silver ….

Piret Hirv - « Calm » brooch, silver

 

Villa Bengel
Wilhelmstraße 44
55743 – Idar-Oberstein
Germany
Telephone: [phone]
website: www.jakob-bengel.de
mail: [e-mail]

Enregistrer

EXPO ‘FROM THE COOLEST CORNER’ – National Museum of Art, Architecture & Design, Oslo (Norway) – 19 janv.-21 Avril 2013

FROM THE COOLEST CORNER - Nordic Jewellery

From the Coolest Corner – Nordic Jewellery presents groundbreaking and fresh jewellery from Northern Europe, a comprehensive selection of current works by artists from Denmark, Finland, Iceland, Norway, Sweden and the Baltic States. The best and most innovative Scandinavian art jewellery is presented, assessing its possibilities and potential at the beginning of the twenty-first century.
The project presented in this publication, culminating in a symposium and a travelling exhibition, challenges stereotypical notions of northern European art jewellery. Do the typical Nordic trends of the nineteen-nineties still apply today? Indeed are there currently any general trends at all in Scandinavian design? Or has the orientation towards international design become so dominant that there are no longer any regional characteristics?
Renowned experts have made a selection of representative works, as a basis for researching the role of northern European jewellery in the context of international art.

With 160 works by artists from Denmark, Finland, Iceland, Norway, Sweden and the Baltic States, this publication considers the significance, strategies and trends of Nordic jewellery art in the early twenty-first century. Expert authors present the backgrounds, developments and characteristics of the contemporary jewellery.

Authors| jury: Liesbeth den Besten (NL) – Widar Halén (NO) – Love Jönsson (SE) – Päivi Ruutiainen (FI) – Jorunn Veiteberg (DK/NO)

Helga Ragnhildur Mogensen, Island, neck piece The Red Thread, 2010, driftwood, thread, sterling silver

Exhibition(s)  at
* The National Museum of Art, Architecture and Design, Oslo, Norway 19.1. to 21. 4. 2013,
afterwards at the
* Designmuseum Danmark, Copenhagen // The Danish Design Museum, Copenhagen, DK
* the Design Museum, Helsinki // The Design Museum, Helsinki, Finland (nov. 2013-Jan 2014)
* The Estonian Museum of Applied Art and Design, Tallinn, Estonia
* the Röhsska Museum of fashion, design & decorative arts, Gothenburg , Sweden
* at Galerie Handwerk, Munich, March 2015 // Galerie Handwerk , München, Germany during ‘Schmuck’ 2015

Further information: www.coolestcorner.no

Touring plan

EXHIBITION Includes a parallel program with 15 exhibitions and events all over Oslo in the winter of 2013

Oslo (NO) Copenhagen (DK) Helsinki (FI) Tallinn (EE) Gothenburg Munich

19 January – 21 April 2013 28 June – 15 September 2013 29 November 2013 – 12 January 2014 7 March – 11 May 2014 31 May – 21 September 2014 March 2015

19th January -  21st April 2013:
Nasjonalmuseet for kunst, arkitektur og design, Oslo, Norway – Kunstindustrimuseet
www.nasjonalmuseet.no13.06. – 15.09.13:
Designmuseum Danmark, København in Danmark
designmuseum.dk10th October – November 2013:
Design Museum in Helsinki, Helsinki in Finland
www.designmuseum.fiJanuary to April 2014:
Röhsska museet, Göteborg in Sweden
www.designmuseum.seMarch 2015
Galerie Handwerk, München in Germany during „Schmuck“

 

Participants: 

The following 61 artists have been invited to participate in the exhibition:
Denmark: Annette Dam – Marie-Louise Kristensen – Kaori Juzu - Josephine Winther – Julie Bach – Thorkild Thøgersen
Finland: Ami Avellán – Aino Favén – Clarice Finell – Janne Hirvonen – Sirja Knaapi – Mervi Kurvinen – Mirja Marsch – Anna Rikkinen – Janna Syvänoja – Monica Wickström
Iceland: Hulda B. Ágústsdóttir – Ástþór & Kjartan for Orr – Hildur Ýr Jónsdóttir – Helga Ragnhildur Mogensen
Norway: Liv Blåvarp – Sigurd Bronger – Linnea Calder – Lillan Eliassen – Elise Hatlø – Anne Léger – Anna Talbot – Gunnhild Tjåland
Sweden: Tobias Alm – Beatrice Brovia – Nicolas Cheng – Åsa Elmstam – Daniela Hedman – Hanna Hedman – Karin Johansson – Jenny Klemming – Agnieszka Knap – Agnes Larsson – Kajsa Lindberg – Paula Lindblom – Åsa Lockner – Märta Mattsson – Lena Olson – Lina Peterson – Annika Pettersson – Margareth Sandström – Sanna Svedestedt – Anna Unsgaard – Peter de Wit - Sara Borgegård Älgå – Annika Åkerfelt
Estonia: Julia Maria Künnap – Maarja Niimagi – Kristi Paap – Anna-Marie Saar – Tanel Veenre

Guests of Honour :
The jury decided to invite jewellers who had and are still having a great impact on the artistic development of the jewellery scene in their country :
Denmark: Kim Buck  //  Finland: Helena Lehtinen  //  Norway: Konrad Mehus   //  Sweden: Tore Svendson // Estonia: Kadri Mälk

Anna Talbot (NO), necklace Oh My Deer, 2011

Kim Buck (DK) – « Bonsai I-V » 2012 ringer

« Pumpous » 2011 by Kim Buck

Konrad Mehus (NO) – Birds nest – 2003

Janna Syvänoja, Finland – « untitled »

Lillan Eliassen, Norway – « Every Road Is Just Another Way Home »

Tore Svensson – not classic typology of portrait –medaillon/brooch

Elise Hatlø -   Grandma sings the blues Agnieszka Knap (SWE) « anatomy of fear » 2011 enamel on copper Daniela Hedman – Feet from the Ground Series

Helena Lehtinen (FIN)  – Gardens – 2012 halskjede

Hanna Hedmann (SWE) – « While_they_await_extinction »  (Spheniscus magellanicus) halskjede 2011

Julia Maria Kunnap (Est.) « from the middle of a dream » brooch 2010

Sigurd Bronger -Norway, Fan Brooch, 2009, gold-plated brass, steel, enamel paint

‘Breaking the Ice’ symposium with theorists, artists and representatives of galleries, museums and other establishments, on the subject of the present and future of jewellery art, to be held in January 2013 in Oslo/Norway.

 

There will be a wide range of jewellery events taking place in various locations in Oslo in January 2013. We are working with the following galleries:

• Galleri Expo Arte – young graduate jewellery students from abroad
• Galleri Format Oslo – Jewellery from The Netherlands and New Zealand
• RAM galleri – Camilla Luihn ‘The cloud, the wave and the koi remix’
• Kunsthåndverkerne i Kongensgate – ‘Lightspot’
• Kunstnerforbundet – Ingjerd Hanevold
• Vigeland Museet – ‘Aftermath’
• BRUDD – ‘Yours Sincerely’
• Galleri Seilduken – KL!NK presents ‘The Black of Night’
• Window Exhibition at Fritjof Nansens Plass

There will also be arranged several exhibitions at the Oslo National Academy of the Arts.

More information about the program (pdf)

Lillan Eliassen, Norway, neck piece « Courage », 2012, casting clay, copper

Kadri Mälk, (Guest of Honour Estonia), brooch « Very Guilty », 2010, Siberian jet, black rhodium plated with white gold, spinel, tourmalines

The National Museum of Art, Architecture and Design, Oslo, Norway
The Museum of Decorative Arts and Design
St. Olavs gate 1
Oslo

Martina Kaufmann (Project Leader)  : [e-mail]

Prix Européen des Arts Appliqués – WCC-BF, Mons (Belgium) – 14 Juill.-9 Sept. 2012

European Prize for Applied Arts – WCC-BF

L’Art appliqué ? Qu’est-ce que c’est ?

Quand la création fait irruption dans le quotidien, quand le bijou se fait manifeste, quand la céramique se fait poème, quand le design change la vie, quand les artistes posent un regard neuf sur tout ce qui fait l’ordinaire de chacun et par l’ « intelligence de la main » créent des pièces uniques, c’est là que sont les Arts appliqués.
Design d’objets et de mobilier, création textile, céramique contemporaine, bijou et orfèvrerie, verre, travail du métal,…  Venez découvrir le meilleur des Arts appliqués européens cet été aux Anciens Abattoirs de Mons.
Créateurs confirmés et jeunes talents, dont les créations seront présentées dans le superbe cadre de la Grande Halle, dialogueront dans une scénographie confiée à Evelyne Gilmont, designer bruxelloise qui enseigne à l’Ecole supérieure des Arts plastiques et visuels de Mons.
Un jury international d’experts décernera le Prix européen des Arts appliqués, ce dernier comptant deux catégories :
le Prix des Maîtres d’Art, doté de 3.500 €, décerné à un créateur  âgé de plus de 35 ans, auteur d’une pièce maîtresse.
le Prix Jeune Talent de 3.000 euros, décerné à un jeune créateur âgé d’au maximum 35 ans.

Les Artistes (je ne reprends que les noms du bijou …)

Master :

Nevin ARIG (BE) — Alexander BLANK (DE) — Frédéric BRAHAM (FR) — Gemma DRAPER (ES) — Sam Tho DUONG  (DE) — Beate EISMANN (DE) — Hilde FOKS (NL) — Christine GRAF (DE) — Susi HINES (UK) — Peter HOOGEBOOM (NL) — Christiana JOECKEL (DE) — Christer JONSSON (SE) — Claire LAVENDHOMME (BE) — Kadri MÄLK (EE) — Ramon PUIG CUYÀS (ES) — Zoe ROBERTSON (UK) — Isabell SCHAUPP (DE) — Bettina SPECKNER (DE) – Terhi TOLVANEN  (NL) — Barbara UDERZO (IT) — Felieke VAN DER LEEST (NO) — Tanel VEENRE (EE) — Annamaria ZANELLA  (IT)

Claire LAVENDHOMME (B)

Frédéric BRAHAM (F)

Felieke  VAN DER LEEST (NL/N)

Alexander BLANK (G)

Christer JONSSON (S)

Ramon PUIG CUYÀS (E)

Hilde FOKS (NL) bolkol detail

Young Talents :

Farrah AL-DUJAILI (UK) — Iona M C BROWN (UK) — Daniela CARDILLO (IRL) — Laura DEAKIN (DE) — Katharina DETTAR (DE) — Patricia DOMINGUES (DE) — Adam GRINOVICH (SE) — Melanie ISVERDING (DE) — Hannah JORIS (BE) — Andrew LAMB (UK) — Agnes LARSSON (SE) — Constanze SCHREIBER (DE) — Flora VAGI (HU) — Anna Helena VAN DE POL DE DEUS (IT)

Farrah AL-DUJAILI (UK)

Adam GRINOVICH (S)

Anna Helena VAN DE POL DE DEUS (IT)

Daniela Cardillo, National College of Art and Design, Dublin –  » This is jewellery formed out of electroformed components of dead animals. Skulls, bones, claws – who’d have thought this stuff could be so exquisite?  »

 

 

WCC-BF
Les Anciens Abattoirs
17 rue de la Trouille
B-7000 Mons (Belgique)
[e-mail]

EXPO ‘Château éthéré/Castle in the air/ÕHULOSS group exhibition’ – SOME/THINGS SECRET gallery, Paris (FR) – 22 Oct.-5 Nov. 2011

Château éthéré/Castle in the air/ÕHULOSS  – group exhibition
Château éthéré / CASTLE IN THE AIR / ÕHULOSS is a group of 6 jewellery artists from Estonia: Kadri MÄLK, Tanel VEENRE, Piret HIRV, Eve MARGUS-VILLEMS, Kristiina LAURITS, VILLU PLINK [www.klimt02.net]. Formed in 1999, the group has since exhibited their works jointly in Estonia, Netherlands, Spain, Germany, Denmark, Portugal, Hungary & China. CASTLE IN THE AIR has compiled & published four catalogues [1999, 2003, 2010 & 2011], while art historians & critics from various countries have sited the work such as German art historian Rüdiger Joppien « …the walls of Castle in the Air are permeable; its content, ephemeral. It takes the form of a projection, developing at a magical moment like some object that in the morning rays of the sun seems close enough to touch, although it is kilometres away. Art bridges that gap; desire overcomes reality. »

 

Château éthéré / CASTLE IN THE AIR / ÕHULOSS group exhibition at SOME/THINGS SECRET gallery, 16 VILLA GAUDELET, 75011 PARIS, 6-8PM, OCTOBER 22ND is part of ESTONIE TONIQUE ESTONIAN FESTIVAL in Paris & Ile-de-France  [October—November 2011; www.estonie-tonique.com]

Eve Margus-Villems

Piret HIRV

Kadri Mälk « Every Angel is Terrible » Brooch

Kadri Mälk

Kristiina Laurits. Cuff Maia. 2002. Wood, silver, lace, synthetic amethyst, knitting

Tanel Veenre – “Orden for the one who is arriving”

 

 

SOME/THINGS SECRET gallery,
16 VILLA GAUDELET,
75011 PARIS  (FR)
[e-mail]
viewing is by appointment only / l’exposition est visible uniquement sur rendez-vous

 

 

BOOK :

Castle in the Air/ õhuLoss – Jewellery from Estonia – Karl Bollmann – Arnoldsche Art Publishers- 296 pp. – Accompanies the exhibition Stories of the Seashore in the context of the European Capital of Culture Tallinn 2011, 26th August to 26th September 2011

 

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]

«Cheveu un bijou !!!» hurle la Dame de Coeur

«!Tranchez-lui la tête!!! Cheveu un bijou!!!» hurle la Dame de Coeur, dans Alice …

mais … faut pas se faire de cheveux dans la vie !! ici, on est à un poil du bijou ….. si ce ne sont pas des bijoux au poil !!

Au-delà du dégoût que peut susciter l’emploi d’un tel matériau (à la « grande époque » du bijou en cheveux, à l’époque Victorienne, mode lancée par la très romantique Reine Victoria, cet engouement eu un grand succès dans les pays anglo-saxons mais suscita du dégoût et un certain rejet en France et dans le reste de l’Europe), ce n’est pas étonnant, à mon sens, qu’il suscite tant d’attrait parmi la jeune génération de bijoutiers : à force d’interroger le rapport du bijou au corps, le corps s’incorpore petit à petit au bijou lui-même.

 

 Tiffany Parbs – Extension (2008) – hand woven hair, digital print – photo Terence Bogue

« Contemporary art is getting hairy Long and silky; short and curly. Blond, brunette, red or grey. It’s hair and it has an important part in our perceptions of ourselves. It defines gender and visual identity, and is playing an important role lately in art — in jewelry, drawings or in mixed media pieces. Hair has long had a role in the work of artists and artisans. In the Victorian era, creating jewelry from hair became almost as popular as knitting or crocheting.  By using one’s own hair or that of a beloved family member women were able to design bracelets, chains, rings and earrings. Apart from jewelry, mourners would weave hair into decorative, memorial wall hangings. By the early 1900s using hair fell out of fashion. During the past 15 years, however, there’s been a fascination among contemporary artists using skin, nail clippings, urine and hair to create various forms of art. Fascinated with Victorian hair jewelry, artist and jewelry designer Melanie Bilenker has revived the art form. Like the Victorians who kept lockets of hair and miniature portraits painted with ground hair and pigment to secure the memory of a lost love, renders the « quiet minutes, the mundane, the domestic, the ordinary moments » from her own tresses. Bilenker observes various daily activities such as cleaning, bathing, dressing, resting or eating. She chronicles the private moments by setting the camera’s timer and goes about her business which can be anything such as eating chocolate, writing a note or enjoying a Saturday morning breakfast. Once she has the photographed images, Bilenker creates tracings of the forms within ghem with thousands of tiny strands of her own hair – which are eventually fixed in resin.  She meticulously layers several different drawings to give the appearance of depth, one as foreground, another as background.  The entire process takes the course of about a week of laying hairs, mixing resin, and then allowing it to cure.  Says Bilenker, « Once the hairs are set as line drawings within resin, I shape, smooth and polish the exterior.  I then fabricate the jewelry findings and set them.  The piece is then complete. »" (Courtesy Melanie Bilenker and Sienna Gallery)

Melanie Bilenker (courtesy of Sienna Gallery) - miniature portraits painted with ground hair

Melanie Bilenker

Each line in these drawings by Melanie Bilenker are made using strands of the artist’s own hair! The delicate drawings depict quiet scenes of domestic life which are sealed in Victorian-inspired brooches and rings.

 Galatée Pestre- Le Sens des Bijoux – Broche ‘Dans le Sens du Poil’ – argent, poils, inox (photo by flavorflavy)

Galatée Pestre- Le Sens des Bijoux – Broche ‘Dans le Sens du Poil’ (detail)

Nicola Scholz  Necklace: Untitled 2006  Pubic hair, gold

Rodrigo Acosta – necklace – pelo natural

Rodrigo Acosta-  « Lo permisivo de tu Dios », 2009.  Pendientes,pelo,latón, plata.  Fotos: Adolfo López  -   El cabello como armar de seducción y poder en el contexto de las distintas religiones a las que el hombre quiere pertenecer.  El pelo y lo prohibido, el pelo y la sabiduría, el pelo y la lujuria, el pelo y lo permisivo de tu Dios

Agnes Larsson, necklace, hair jewelry 2015

Agnes Larsson, necklace, hair jewelry – Remains 9, 2015, necklace, calf skin, aluminum, horse hair, 16 x 9 x 1.25 inches (« Agnes Larsson – Remains » EXHIBITION at Ornamentum gallery  August 8 – September 7, 2015 )

Carolina Hornauer Necklace: The collector 2009 Cotton thread, synthetic cotton, river pearls, silver, patina, steel wire, enamel on cooper, magnets, burned wood, tinted hair, parts constructed, silver ball chain, silver tube textured, stone, silver charcoal (casting piece)

Carla Castiajo -  brooch « Auto Portrait », 2007 – gold, hair

Carla Castiajo   « horror vacui »  « Full of you »   brooch (back) 6 x 5 x 3 cm   Gold, hair

Katie Wightman | Exploring the fragility of the female form. Experiencing hair loss as the result of illness, Katie uses precious metals and human hair to release the stigma and create pieces with a new found sense of beauty and power.

Tiina Rajakallio « Purity » 2008 – human hair

Monika Strasser – Hair Brooch 2012 - Hair, rubber, silver, steel – Series: On Beauty

Maho Takahashi  – “Celebration necklace” Human hair, glue - Central st Martins 2012

Noon Passama – KNOBS – graduate project 2010 – Brooch (“Black Hair Knob” brooch, 2010. Antelope fur, sheepskin, silver.) and Lucia King’s portrait: photography – DAN/NAD

Mielle Harvey – Hair Colored Red: 1998, ca. 14in, human hair, dye, bone (série « city tribal amulets »)

Mielle Harvey – (série « city tribal amulets« ) – Blond Hair and Pearls: 1998, ca. 14in, human hair, pearls, 14k gold

Marie Pendariès - Boucle d’or. Collier. Cheveu et or (gold & hair necklace)

Claire Baloge - « mais, vous avez un poil dans la main ! »  2005  Hair, silver

Claire Baloge - « Mes Tendres Poils »  -  2005 – hair, natural fibers, oxydated copper   

Marie Masson – necklace Cravate 2011, silver, horse hair, ribbon

Marie Masson, France Brooch, Toiletrie 04 Hair transplant, 2013 Latex, horse hair, semolina, leather, 7,5 x 5 cm Leatherwork technics, embroidery, jewellery technics. photo : Marie Masson

Eun Yeong Jeong -’Growth’ from Growth series – copper, wool, wood, horse hair

Farah Bandookwala (UK) redhead neckpiece – silver, fake hair

Farah Bandookwala (UK) « which one are you today ? »  neckpiece – 2007 – silver, fake hair 

Farah Bandookwala (UK) – blue hair brooch

Farah Bandookwala (UK) « platinum » ring

Sandra Buyck - fake hair neckpiece – Sint Lucas Antwerpen School – JOYA 2012

Clémentine Despocq – ‘Vénus’ – Parure de corps/Body ornament – Laiton, cheveux synthétiques/ Brass, synthetic hair  – (AFEDAP ) 2010

Olivia Creber - « Keeping Schtum » – resin, acrylic, brown horse hair – Edinburgh College of Art 2013

Roxane Amirouche  PERSONA – 2012  Masque de nuit  Laiton, cuir retourné, cheveux synthétiques,  Elastique  crédit photo Patricia Lemaire (diplome AFEDAP Paris 2012)

Ana Carolina Escobar (AFEDAP 2012) collier « chez moi chez moi »- cheveux , laiton, film thermopastique, papier

Julia Valle (Bresil) – hairy accessories

Mona Hatoum, Hair Necklace, 1995 – detail « human thoughts may not be what they appear to be at 1st glance, an idea that this necklace, made from the artist’s hair, play with » 

Kadri Mälk (Castle in the Air / ÕhuLoss) Brooch: Lossylong, 2013 Darkened silver, human hair, purple spinelPolly Van der Glas (AU) – hair jewelry – Sterling silver cast human hair plait necklace & Human hair knuckle ring 2008

Polly van der Glas -’red hair neckpiece’ 2008  -oxidised copper, red Human hair, oxidised sterling silver

Polly van der Glas (AU)  -  Since 2005 my work has centered on materials that were once attached to our bodies: human hair, teeth and fingernails. These materials were at one time part of an intimate, elaborate maintenance ritual.

Juan Harnie – (MAD) – Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver

Juan Harnie – Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver

Nina Khazani, Untitled (« a hairy tale ») – Human hair, gold-plated brass and linen – Royal College of Art 2012 dregree show

Anna Schwamborn, who has worked for Alexander McQueen and Vivienne Westwood and is studying at Central St Martins in London, uses real human hair and human ashes mixed with black bone china. Moxern Mourning Jewellery - Mourning jewelry, bracelet, human cremated ashes mixed with black bone china, human hair, « Wearable body pieces including human material « Morning Objects – The collection of objects contains post-mortem memorial pieces which include aspects of a deceased corpse, namely hair and cremated ashes »

Chiara Cavallo « Disturbs » – my curly hair, nylon tube, thread (Alchimia)

Géraldine Luttenbacher - at « NOIR comme BASALTE » 2015

Sylvia Burgoa -’Raiponce–La Colère’/'Rapunzel–Anger’ – Broche et Collier/Brooch and necklace – Argent, photographies acetate, fil d’or, fil d’argent, cuir/Silver, photographic acetate, gold thread, silver thread, leather – 2010

Francis Willemstijn- Gejaagd door de Wind, Zuiderzeemuseum – 2009 – Collier – Haar (human hair), git, glas, zilver, textiel Collectie Zuiderzeemuseum, Enkhuizen, NL

Francis Willemstijn – bracelet « Hair », from « gone with the wind » – silver, jet, glass, human hair, textile

 Amy Tavern - »Forget Me Not » sterling silver, spray paint, picture of my father, my father’s hair – detail Ana Goalabré – J’aimerais tant passer mes doigts dans tes cheveux – Cheveux et résine – 1997  tous droits réservés.
« Puisant dans la tradition des bijoux en cheveux, matériau depuis longtemps collecté dans des foires et marchés ou dans l’intimité des familles pour devenir parure, Ana Goalabré se joue de cet usage en coupant une de ses mèches et en y taillant une bague qu’elle envoie à un homme accompagnée de la missive «J’aimerais tant passer mes doigts dans tes cheveux». Cette phrase, appel érotique d’un corps d’artiste, devient le titre d’une série déclinant divers contenus aimants et sensuels, traditionnellement gardés jusqu’alors implicites au nom d’une morale et d’une bienséance rigoureuse et qui tout à coup semblent avoir gagné le droit de dire clairement le désir, qu’il s’agisse de celui d’une mère, d’un père, d’une amante, d’un amant… et ce dans toute sa trivialité. Pourtant, il n’y a aucune charge obscène dans ces bagues. Qu’elles soient très travaillées ou reprennent le mouvement naturel d’une mèche de cheveux, elles nous renvoient à nos jeux tactiles dans les cheveux de l’autre, en fixant le mouvement, image arrêtée puis détachée du corps pour n’en garder que la sensation. »
(Monique Manoha – Actes du colloque international Projections : des organes hors du corps (13-14 octobre 2006)

Rickson Salkeld – I am interested in the feminine ideal in relation to the female body.  I enjoy creating work that expresses my wish to both conform and  rebel against ideas of femininity. Through various materials and  processes I take from my own body both physically and metaphorically.  Hair can be used to comment on feminine allure and power, while  clear resin is used to symbolize an abundance of tears

 Azahara Santoro  (EASD Valencia 2012) -   bagues avec cheveux (rings with hair)  –
Tricomotealcyalgenfobia- Miedo irracional al pelo de las mariposas de coral plateado. Piezas unicas

Maria Ignacia Walker – MFA JEWELLERY AND BODY ORNAMENTS Alchimia contemporary jewellerySchool 2013 – 2015 –   A simple fact of life that María Ignacia Walker obsesses over: The shedding of hair. The obsession – losing them, collecting them, ordering them, measuring them and archiving them. The desire – to preserve these losses – It gives rise to “transcendieron”.  The discourse is not about beauty and it is not about sensuality, not even about cultural symbols that hair carries.  How much hair do you lose constantly, everyday ? How many pieces grow out of your body and die every moment ?  “The transcendents” are a homage to the moments when you lose your hair. Captured and immortalized in the fragility of the porcelain, they give perpetuity and freeze all their expressions in the moment of their detachment from the body. With a threading method, the artist uses horsehair as connectors. They show the lightness, energy and freedom, while demonstrating the real, natural movement of the hair. Together with the act of keeping and protecting the hair in a porcelain form, they are given another life that keeps them present through their absence.

Maria Ignacia Walker  – 2015 – TRASCENDIERON – Materials: Porcelain / Horsehair / Resin / Gold thread/ Gold

María Ignacia Walker  – 2015 – TRASCENDIERON

María Ignacia Walker  – 2015 – TRASCENDIERON

Maria Ignacia Walker – 2015 – TRASCENDIERON – Necklace-object, 28 x 45 cm, porcelain, horse hair and resin Photo by Marcos Bucco, courtesy of the artist

Maria Ignacia Walker – 2015 – TRASCENDIERON – necklace (detail)

Sébastien Carré – collection Hair Landscape – 2016 broche (bijoux réalisés pour une collaboration avec le blogger Cut by Fred )

MARION DELARUE — « Mania » – Traditional korean lacquer, korean hair. 2011 « During my stay in South Korea, I was struck by Korean ladies’ habits of playing with their hair fringes. As soon as they had the chance they would roll up their hair by making it slide between their forefinger and their middle finger and then pull on it softly. Since I was often bored during such long classes taught in a language I don’t understand, I spent time observing the students… »

Dionea Rocha Watt Pendant: Protection Locket, 2006 Silver, human hair 3.1 x 5.5 cm Piece for section History, Memory, Tradition (at  « Think Twice: New Latin American Jewellery » 2010-2011)

Dionea Rocha Watt (Brazil) – locket/hair

Raluca Buzura’s collection, “Hairy Tales” comes out of an imaginary world and it’s a combination of new materials such as polymeric rubber, pumice, artificial leather and artificial hair.  
at Autor 2015 – 7 – 8 November | Sala Dalles | Bucharest

Salome Lippuner  Neckpiece: Kin Kanshitsu 2008  Black and natural coloured Urushi on hemp-cloth,gold-leaves,horse tail hair  15 x 10 cm

REBECCA HANNON-USA Collier  Crin de cheval

REBECCA HANNON-USA -USA  Nest,Horse Hair Twist

AOI KOTSUHIROI - hair neckpiece – cabello humano en conjunto con piedras y pequeños cráneos

AOI KOTSUHIROI - hair neckpiece - cabello humano en conjunto con piedras y pequeños cráneos

 Aoi Kotsuhiroi Horse hair, horn, urushi lacquer and buffalo leather Vika Mayzel  (IL) – necklace (silver,wood,fur,leather)   Out of Cage vikamayzel.com

Lauren Passenti, « Cleaning Fish on a Sunday Morning » wrist piece, 2009, sterling silver, horse hair, 8 inches diameter

Eunmi Chun, zebra, 2011, brooch, small intestine of cow, silver, human hair, gold leaf, 120 x 40 x 75 mm, photo: artist

 Brooch by Eun Mi Chun: Giraffe 2011 23 x 8 x 9 cm. Human hair, gold leaf, small intestine of cow, seeds, silver

 

voir également les bijoux de Kerry Howley :

Decouverte : Kerry HOWLEY – Human hair as jewellery

Kerry Howley human hair jewelry

Kerry Howley Attraction/Aversion is a material exploration of how people can feel seemingly opposing emotional responses simultaneously. The necklaces are made of human hair, a familiar material that we take pride in. However once off of the body hair becomes an innate source of aversion.

 

 

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EXPO ‘The Spirit of Stone’ – South-Karelia Museum, Lappeenranta (Finland) – 8 Mai 2011-8 Janv 2012

The Spirit of Stone event will bring to Lappeenranta an exhibition, 
workshops and lectures, related to stones and jewellery. Theme of the event is the spirit, mythic and power of the stone. The Spirit of Stone 
is organized in cooperation with Kalevala Jewelry
 (Kalevala Koru) and South-Karelia Museum.The exhibition called The Spirit of Stone will present the prehistory of the stone and some of the best works from the international competition for art jewelry students.The exhibition also includes an invitation exhibition for jewelry artists around the world and a stone jewellery exhibition of Kalevala Koru.

Invited artists:
Piret Hirv, Eve Margus, Kadri Mälk, Ulla Ahola, Tarja Lehtinen, Terhi Tolvanen, Tarja Tuupanen, David Bielander, Iris Bodemer, Helen Britton, Ute Eitzenhöfer, Karl Fritsch, Deborah Rudolph, Bettina Speckner, Charlotta de Syllas, Gijs Bakker, Herman Hermsen, Ruudt Peters, Slawomir Fijalkowski, Dorota Kos, Lucia Babjakova, Fabrice Schaefer

Herman Hermsen: Slice of jewellery

Kadri Mälk: brooch « Väga süüdi « 

Ute Eitzenhöfer – brooch – Mixed media (labradorite)

Dorota Kos (PL) amber necklace

Bettina Speckner – brooch -Tourmalines, white gold 750

Iris Bodemer ring – Silver, beryl – 2010

Deborah Rudolph – necklace- rock crystal, silver

Ulla Ahola – Rintakoru. 2010

Bettina Speckner brooch

 

 

Spirit of Stone – symposium
The Spirit of Stone event will bring to Lappeenranta an exhibition,
workshops and lectures, related to stones and jewellery. Theme of the event is the spirit, mythic and power of the stone. (…)
Place: Saimaa University of Applied Sciences (Lappeenranta, Finland)
Dates :  6 & 7 Mai 2011 (lectures will be in english)
Saimaa University of Applied Sciences
Pohjolankatu 23
53101 – Lappeenranta
Finland
Telephone: [phone]
website: www.saimia.fi/spiritofstone
mail: [e-mail]

 

 

Workshop : Helena Lehtinen: Cameo
Cameo is a traditional piece of jewellery which has its origins in seals.
 During history it has been in and out of fashion in courts in Europe. Nowdays it is usually a red-white silhuet of a lady, most often worn by eldery ladies.
Reflecting to what this classical piece of jewellery has been in the past, students will search cameo´s meaning today. 
What it has been, what it could be? Is there any significancy left, what it could present in today´s society / to today´s people?
 What is your cameo? 
With new materials and way of working students will create new traditions in cameos. 
Working with stone is possible in the workshop.
Lead by jewellery artist Helena Lehtinen,
 assistant Tarja Tuupanen
Cameo is a part of The Spirit of Stone event that will bring to Lappeenranta an exhibition,
 work-shops and lectures, related to stones and jewellery. Theme of the event is the spirit, mythic and power of the stone. The Spirit of Stone
is organized in cooperation with Kalevala Jewelry 
(Kalevala Koru) and South-Karelia Museum.
Place: South-Karelia Museum, Lappeenranta, Finland
Price: 100€ (not including materials nor meals)
Dates : 2 – 5 Mai 2011, four days.
To apply to a workshop you have to fill an on-line application. To the workshop will be selected 10-15 participants. 
Deadline for application is 15th of April, 2011. All accepted participants will receive detailed information. Upon receiving your on-line application we shall confirm you that it has reached us.

Helena Lehtinen – cameo brooch

 

 

 

South-Karelia Museum
Kristiinankatu 15
53900 – Lappeenranta
Finland
Telephone: [phone]
website: www.saimia.fi/spiritofstone
mail: [e-mail]