BIJOU_CONTEMPORAIN

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17/07/2016

EXPO ‘Un trombone dans un verre d’eau’ – La Maison du Bijou, Le Cheylard (France) – 7 juill.2016- 7 janv. 2017

Voici la nouvelle exposition de l’équipe Précieux Passages à la Maison du Bijou au Cheylard (07) : Un trombone dans un verre d’eau, le bijou contemporain et le verre.
Here is the new exhibition curated by the Précieux Passage team at la Maison du Bijou in the South of France : A trombone in a glass of water, contemporary jewelry and glass.

A trombone in a glass of water, this surrealist proverb by Paul Eluard recalls the importance of the unexpected.
Expect to be surprised !

Les commissaires // the curators :
Galatée Pestre, Céline Sylvestre et Laurence Verdier

https://scontent-cdg2-1.xx.fbcdn.net/v/t1.0-9/13645128_624980717651560_1012694754565256147_n.jpg?oh=d37f5b1fcabb1d31af050fe75b47e344&oe=5831F1D0

Le bijou contemporain et le verre // Contemporary Jewelry and glass
Que vient faire un trombone dans un verre d’eau ?
Et du verre brisé dans un bijou ?
Douze artistes bijoutiers s’approprient le verre et le délogent de son quotidien.
Certains se dirigent en cuisine pour tailler dans les verres à boire ou les culs-de-bouteille et revisitent avec audace la nature morte et le camée.
D’autres vont dans la rue récupérer les bris de glace après un accident de voiture. Car le verre est fragile et nous rappelle la vulnérabilité et les dangers de la vie. Le verre se sable pour troubler nos sens, brouiller notre perception : il nous fait douter.
Chez ces bijoutiers, le verre ne manque pas d’humour ! Il se fait exubérant en imitant les pierres précieuses et se moque de notre envie d’apparat. Il sait aussi se masquer derrière d’autres matériaux pour jouer les trompe-l’œil ou les illusionnistes.
Un trombone dans un verre d’eau, par ce proverbe surréaliste Paul Eluard nous rappelle l’importance de l’inattendu.
Attendez-vous à être surpris !

Les artistes bijoutiers // The artistsTarja Ahola LehtinenChristophe BurgerSébastien CarréMarion DelarueKarl FritschGésine HackenbergAude MedoriJulia MorogeKatja PrinsFederica SalaTerhi TolvanenMaud Traon

 

 Christophe BurgerChristophe Burger

Karl FritschKarl Fritsch

 Katja PRINS   Katja PRINS

Maud Traon - bagueMaud Traon – bague

Gesine HACKENBERGGesine HACKENBERG

Marion DELARUE braceletsMarion DELARUE bracelets

Terhi TOLVANEN  brocheTerhi TOLVANEN  broche

Federica SALA collierFederica SALA collier

Aude Medori - ChevillèreAude Medori – Chevillère

Collier de Julia MorogeCollier de Julia Moroge

Collier de Julia MorogeCollier de Julia Moroge (détail)

Bijou d'épaule de Sébastien CarréBijou d’épaule de Sébastien Carré

Tarja LEHTINEN collierTarja LEHTINEN collier

photos : © Aurélien Lambert

 

La Maison du Bijou,
4 b rue Saint-Joseph
07160 – Le Cheylard
tel 06 81 49 42 76
Tél. +33 (0)4 75 29 18 71

 

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15/07/2016

Mari Funaki award 2016 – EXPO at Gal. Funaki (AU) – 23 Aout-24 Sept. 2016

2016 Mari Funaki Award for Contemporary Jewellery

The winners of the Mari Funaki Award  will be announced at the opening on Tuesday 23 August 2016.

The Mari Funaki Award for Contemporary Jewellery is a biennial international Award that showcases excellence in international and Australian contemporary jewellery. Thirty-five artists have been shortlisted from an international field of 413 entries from 48 countries.

Mari Funaki award 2014Mari Funaki award 2014

The selected exhibitors are:
Blanche Tilden (Au) / Céline Sylvestre (Fr) / David Bielander (CH/De) / Doris Betz (De) / Dovile Bernadisiute (Lithuania) / Ela Bauer (Nl) / Emi Fukuda (Jp) / Florian Milker (De) / Frieda Doerfer (De) / Genevieve Howard (Irl) / Henriette Schuster (De) / Inari Kiuru (Fi/Au) / Karl Fritsch (De/NZ) / Katie Collins (Au) / Katja Prins (Nl) / Katrin Feulner (De) / Lauren Tickle (USA) / Léa Mazy (Fr) / Lisa Walker (NZ) / Manon van Kouswijk (Nl/Au) / Melanie Isverding (De) / Melinda Young (Au) / Melissa Cameron (Au) / Michihiro Sato (Jp) / Nadja Soloviev (De) / Naoko Inuzuka (Jp/Au) / Paul Adie (UK) / Shachar Cohen (Il) / Sarah Johnston (Au) / Selen Özus (Tr) / Sophie Baumgärtner (De) / Thanh-Truc Nguyen (De) / WenMiao Yeh (Tw) /
Yong Joo Kim (S. Kr) / Yu Fang Chi (Tw)

 Kiko Gianocca, Veneer #2 neckpiece, 2014, wood veneer, balsawood, brass. Winner of the 2014 Mari Funaki Award.Kiko Gianocca, Veneer #2 neckpiece, 2014, wood veneer, balsawood, brass. Winner of the 2014 Mari Funaki Award.

Melissa Cameron. Piece: Ruchnoy Protivotankovy Granatomyot, 2016. Powdercoated steel hand trowel, stainless steel, ribbon, various dimensions. Necklace, brooch, pin. - selected for Mari Funaki award 2016: Melissa Cameron. Piece: Ruchnoy Protivotankovy Granatomyot, 2016. Powdercoated steel hand trowel, stainless steel, ribbon, various dimensions. Necklace, brooch, pin

David Bielander. Bracelet: Cardboard, 2015. Patinated silver, white gold. Photo by: Dirk Eisel. - selected for Mari Funaki award 2016: David Bielander. Bracelet: Cardboard, 2015. Patinated silver, white gold. Photo by: Dirk Eisel

Genevieve Howard. Necklace: The Song of the Chanter, 2016. Laser cut Japanese linen paper, elastic. - selected for Mari Funaki award 2016: Genevieve Howard. Necklace: The Song of the Chanter, 2016. Laser cut Japanese linen paper, elastic

Yong Joo Kim. Necklace: Crossing the Chasm, 2016. Velcro® hook and loop fastener, thread. - selected for Mari Funaki award 2016: Yong Joo Kim. Necklace: Crossing the Chasm, 2016. Velcro® hook and loop fastener, thread

Manon van Kouswijk. Necklace: Figures. Porcelain. - selected for Mari Funaki award 2016: Manon van Kouswijk. Necklace: Figures. Porcelain

Léa Mazy (FR) -  Beneath the surface -  2016  Léa Mazy -  Beneath the surface -  2016 – Léa is a young French designer studying at Design Academy Eindhoven.  Léa ’s jewelry collection “Beneath the Surface” is the result of a research on materials around the notions of intimacy, preciousness, fragility, surprise, but most of all on the beauty lying underneath the surface. Combined, the individual story of each broches and rings creates a personal narration and landscape.

 

Mari Funaki was a unique and passionate advocate for contemporary jewellery in Australia, both through her own remarkable practice and her establishment and directorship of Gallery Funaki.
This Award aims to celebrate Mari’s legacy by rewarding the skills and vision of jewellers both here and overseas and by providing a platform for outstanding new work to be shown here in Australia. A panel of three judges will award prizes in both established and emerging categories, with total prize money valued at AUD$11,000.

 

Gallery FUNAKI
4 Crossley Street
Melbourne, Victoria
Australia 3000
PO Box 24142
Melbourne, Victoria
Australia 3001
Email
tel +613 9662 9446

 

23/09/2015

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

exhibition being part of « OFF JOYA » 2015

http://www.joyabarcelona.com/images/Prensa/logo_joya.jpg

To RecoverKlimt02 Gallery

Opening : 7 October from 19 h.

To Recover Exhibition  / 07Oct - 7Nov2015 Klimt02 Gallery  (Ted Noten Superbitch Bag, 2000 / Superbitch Bag Revisited, 2015)

Artist list   Simon CottrellKarl FritschGésine HackenbergKarin JohanssonJiro KamataSari LiimattaStefano MarchettiTed NotenNoon Passama –  Annelies PlanteydtTore SvenssonLisa WalkerManon van Kouswijk

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

 

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

 

 

 

24/02/2015

EXPO ‘glAmour’ – Villa Stück, Munich (DE) – 7 Mars-6 Avril 2015

glAmour

Exhibition « glAmour », Villa Stück, Munich, D.
7.3-6.4 2015

« GlAmour with a capital »A« – putting the accent on the essential
and important deep feeling of love.
Which happens to be part of the phenomena of glamour.
Glamour is not something superficial. It is something profound.
That is what this show is about.
 »
Philip Sajet

Glamour

Par une nuit d’été sur le toit d’une vieille maison, dans le petit village de Latour-de-France, s’est tenue une discussion avec des artistes. Nous avons parlé de l’actuelle omniprésence du phénomène du glamour – comme si ce terme était applicable au monde d’aujourd’hui. Philip Sajet a tout de suite rappelé le mot amour qui se cache dans glamour. Une idée d’exposition était née.
Afin de mettre l’amour en relief, nous avons décidé d’utiliser dans notre contexte la lettre ‘A’ en majuscule. Il ne doit pas s’agir d’un simple jeu de mots, mais de l’expression de ce sentiment profond qu’est l’amour. Quelle que soit l’interprétation que l’on puisse lui donner, l’amour occupe une place importante dans cette exposition.Par Olga Zobel Biro, commissaire d’exposition.
(Extrait du catalogue).
 
En présence de  Robert BAINES –  Giampaolo BABETTO Peter CHANGGabi DZIUBA –  Robert SMIT Daniel KRUGERKarl Fritsch –  Gerd ROTHMANN –  Lisa WalkerPhilip SAJET  
 Giampaolo Babetto Spilla 2014, oro bianco, diamanti, zaffiri.   Foto Giustino Chemello - SCHMUCK 2015 "GlAMOUR" Giampaolo Babetto  Spilla/brooch 2014, oro bianco, diamanti, zaffiri.   Foto Giustino Chemello
gerd rothmann's 'four finger bangle' (1982)Gerd Rothmann‘s ‘four finger bangle’ (1982)
gerd rothmann - Museum Villa StuckGerd Rothmann
Daniel Kruger, Brooch, 2014Daniel Kruger – Brooch: Untitled, 2014 – Silver, acrylic glass, mirror, pigment
Robert Baines, broche - exposition glAmourRobert Baines, broche « Teddy »
ROBERT SMIT. - expo "GlAmour"Robert SMIT ring
EXPO GlAmour - broche peter Chang - plastique Peter Chang - broche – plastique
Prinzregentenstraße 60,
81675 München, Allemagne
Tel: +49 (0)89-45 55 51-0
Fax: +49 (0)89-45 55 51-24
E-Mail: villastuck@muenchen.de
 

02/09/2014

EXPO ‘Platina – 15 years of Jewellery’ – Färgfabriken, Stockholm (SE) – 11-14 Sept. 2014

PLATINA – 15 YEARS OF JEWELLERY ART

PLATINA CELEBRATES ITS 15TH ANNIVERSARY
at FÄRGFABRIKEN – LÖVHOLMSBRINKEN 1, STOCKHOLM
MINGEL PARTY SATURDAY 13TH OF SEPTEMBER 14-16
EXHIBITION WITH 17 JEWELLERY ARTISTS :
A5 (Romina Funtes, Adam Grinovich, Annika Pettersson) — Tobias Alm  – Yasar AydinSofia BjörkmanHilde De DeckerJenny Edlund Iris EichenbergKarl Fritsch Hanna Hedman Aud Charlotte Ho Sook SindingCatarina HällzonAgnieszka KnapKaren PontoppidanMiro Sazdic Lisa Walker.
 
Färgfabriken is an exhibition space and experimental platform for art and architecture as well as social and urban development. They seek to challenge, engage and create new connections and collaborations. Färgfabriken is a site to visit exhibitions, take part of discussions, workshops and attend talks.
Hanna Hedman - Platina 15 years ...Hanna Hedman photo Sanna Lindberg
©Miro Sazdic, photo Staffan Lövstedt©Miro Sazdic, photo Staffan Lövstedt
Aud Charlotte Ho Sook SindingAud Charlotte Ho Sook Sinding
Jenny EdlungJenny Edlund
Lisa WalkerLisa Walker
Tobias AlmTobias Alm
at

Färgfabriken

Lövholmsbrinken 1,
117 43 Stockholm
 
Platina
 Odengatan 68

10232 Stockholm
tel +46 8 30 02 80

20/06/2014

EXPO ‘glAmour’ – Espace Solidor, Cagnes-sur-Mer (FR) – 20 Juin-5 oct. 2014

glAmour

Exposition du 20 juin au 5 octobre
Vernissage vendredi 20 juin à 18h -

Cagnes sur mer - GLAMOUR

Par une nuit d’été sur le toit d’une vieille maison, dans le petit village de Latour-de-France, s’est tenue une discussion avec des artistes. Nous avons parlé de l’actuelle omniprésence du phénomène du glamour – comme si ce terme était applicable au monde d’aujourd’hui. Philip Sajet a tout de suite rappelé le mot amour qui se cache dans glamour. Une idée d’exposition était née.
Afin de mettre l’amour en relief, nous avons décidé d’utiliser dans notre contexte la lettre ‘A’ en majuscule. Il ne doit pas s’agir d’un simple jeu de mots, mais de l’expression de ce sentiment profond qu’est l’amour. Quelle que soit l’interprétation que l’on puisse lui donner, l’amour occupe une place importante dans cette exposition.Par Olga Zobel Biro, commissaire d’exposition.
(Extrait du catalogue).
 
En présence de  Robert BAINES –  Giampaolo BABETTO Peter CHANG Gabi DZIUBA –  Robert SMIT — Daniel KRUGERKarl Fritsch –  Gerd ROTHMANN –  Lisa WalkerPhilip SAJET  
Daniel Kruger, Brooch, 2014Daniel Kruger – Brooch: Untitled, 2014 – Silver, acrylic glass, mirror, pigment
Robert Baines, broche - exposition glAmourRobert Baines, broche « Teddy »
EXPO GlAmour - broche peter Chang - plastique Peter Chang - broche – plastique
 
 
Espace Solidor
place du Château
06400, Cagnes-sur-Mer – France
Tél : 04 93 73 14 42
espace.solidor@orange.fr

22/04/2014

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

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

Melting Point Valencia 2014

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

 

EXPO "hardened tears" from Villa de Bondt

Coordinadores: Wim Vandekerckhove, Sławomir Fijałkowski -
Sławomir Fijałkowski — Christiane Förster Karl FritschSophie Hanagarth Herman HermsenDaniel Kruger Stefano MarchettiPavel OpočenskyAnnelies Planteijdt Ramon Puig Cuyàs Wolfgang Rahs Ulrich Reithofer Philip SajetAdolfas Šaulys Gisbert Stach Wilhelm Tasso Mattar Manuel Vilhena Arek WolskiPetra Zimmermann

Villa de Bondt

  HARDENED TEARS /7)  No 1462 subtle architectures. Brooch made by Ramon Puig Cuyas. No 1462 subtle architectures. Brooch made by Ramon Puig Cuyas

Hardened Tears /2)  Neptun eyes in Goldwasser. Necklace made by Sophie Hanagarth (Baltic amber, iron). Neptun eyes in Goldwasser. Necklace made by Sophie Hanagarth (Baltic amber, iron)   
Beautiful city in the middle of the stonewood. Necklace made by Annelies Planteijdt (Baltic amber, gold, pigments)« Beautiful city in the middle of the stonewood ». Necklace by Annelies Planteijdt (Baltic amber, gold, pigments)

 

 

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

31/03/2014

EXPO ‘Karl Fritsch: I quite like that’ – Galerie Viceversa, Lausanne (CH) – 11 Mars-12 Avril 2014

Classé dans : Exposition/Exhibition,Gal. ViceVersa (CH),Karl FRITSCH (DE),rings,Suisse (CH) — bijoucontemporain @ 0:11

 Karl Fritsch: I quite like that

There is always a reason to make a ring but I can also make a ring without a reason, I can make a ring without having an idea. I can have the same ring idea twice but it will be a different ring. I am always curious about the next ring, a ring is like a chair, rings like company.
Established in Wellington, New Zealand for some years now, Karl Fritsch constantly reinvents himself, refining his poetry, sharpening his critical thinking and affirming his expressiveness.

expo Karl Fritsch

Karl Fritsch -  Bague, argent, fer (2013) - Viceversa  Karl Fritsch -  Bague, argent, fer (2013)
Karl Fritsch - Viceversa  - bague, argent vis & ferKarl Fritsch -  bague, argent vis & fer

 

viceversa bijoux contemporains
Place Saint François 2, 2ét
7698 – Lausanne
Switzerland
Telephone: +41.21.323 96 34website: www.viceversa.ch
mail: info@viceversa.ch

25/02/2014

EXPO ‘WUNDERRUMA’ – Galerie Handwerk, Munich (DE) – 7 Mars-17 Avril 2014

SCHMUCK 2014 – Munich – 12-18 Mars 2014

WUNDERRUMA - Jewelry from New-Zealand

Bijoux de Nouvelle-Zélande
Ausstellungseröffnung : Donnerstag, 6. März 2014, 18.30 Uhr
Katalogpräsentation  mit Karl Fritsch und Warwick Freeman Freitag, 14. März 2014, 11 Uhr

WUNDERRUMA - schmuck-  7 mars au 17 avril 2014 Bijoux de Nouvelle-Zélande Galerie Handwerk  (Peter Madden)

 

exhibitors : Brian Adam — Billy Apple — Fran Allison — Georg Beer — Rachel Bell — Pauline Bern — Renee BevanBecky Bliss — Kobi Bosshard — Trevor Byron — Hamish Campbell — Jacqui Chan — Fran Carter — Chris Charteris — Octavia Cook — Ann Culy — Mary Curtis — Karren Dale — Andrea Daly — Cath Dearsley — Peter Deckers — Gillian Deery — Jane Dodd — John Edgar — Ilse-Marie Erl — Ruth Evans — Sharon Fitness — Warwick FreemanKarl Fritsch – Elena Gee — Suni Gibson — Caroline Griffin — Jason Hall –  Niki Hastings-McFall — Louisa Humphry — Sinead Jury — Lynn Kelly — Richard Killeen — Rangi Kipa — Owen Mapp — Kelly McDonald — Peter McKay — Craig McIntosh –Matthew McIntyre-Wilson — Peter Madden — Ross Malcom — Doug Marsden — Paul Mason — Roy Mason — Bob Mitchell — Neke Moa — Kate Newby — Stephen Mulqueen — Shelley Norton — Kelly O’Shea — Michael Parekowhai — Amelia Pascoe — Alan Preston — Stanley E. Rea — Sarah Read — Donn Salt — Moniek Schrijer –  Joe Sheehan — Frances Stachl — Inia Taylor — Rob Upritchard — Francis Upritchard — Emily Valentine — Tobias Vodanovich — Lisa WalkerSarah Walker-HoltRaewyn Walsh — Camille Walton — Rohan Wealleans — Areta Wilkinson — Jess Winchcombe

EXPO WUNDERRUMA - Louisa HumphryLouisa Humphry
Alain Preston
Alan Preston White Foreshore Fragment Pin, Shell fragment, Silver
Frances StachlFrances Stachl
Emily ValentineEmily Valentine
Ross MalcolmRoss Malcom

Jane DoddJane Dodd

EXPO WUNDERRUMA - Chris CharterisChris Charteris
EXPO WUNDERRUMA - Lisa WalkerLisa Walker
EXPO WUNDERRUMA - Ross MalcolmRoss Malcolm
EXPO WUNDERRUMA - Bob Mitchell Bob Mitchell
 Shelley NortonShelley Norton – bracelet – plastic

 

Galerie Handwerk
Max-Joseph-Straße 4
Eingang Ecke Ottostraße
80333 München
Tel. +49 (0)89 511 92 40
wolfgang.loesche@hwk-muenchen.de
hwk-muenchen.de/galerie

 

02/06/2013

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

« Salute to Pinton » – bijou contemporain

vernissage le samedi 15 juin à 18h

Espace Solidor

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

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

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


exposants :
Michael Becker –  Manfred Bischoff — Gabi Dziuba — Ramon Puig Cuyas — Bernard François — Karl Fritsch — Christiane Förster — Sophie HanagarthDaniel KrugerStefano Marchetti — Manfred Nissimüller — Ted NotenFrancesco PavanAnnelies Planteijdt — Wolfgang Rahs — Gerd Rothmann — Michael Rowe — Philip SajetPeter SkubicGraziano VisintinDavid Watkins

 by Francesco Pavan, IT - Neuer Schmuck für die Götter -Francesco Pavan – broche

Stefano Marchetti « Anello in oro e argento »Stefano Marchetti « Anello in oro e argento »

Sophie Hanagarth - EXPO  Salute to Pinton Solidor -Sophie Hanagarth

Bernard François « Super Mario » ring (exhibition "Salute to Pinton")Bernard François «Super Mario» ring

Daniel Kruger - EXPO  Salute to Pinton Solidor -Daniel Kruger

Ramon Puig Cuyas brooch - EXPO  Salute to Pinton Solidor -Ramon Puig Cuyas – broche bois, peinture

Karl Fritsch ring - Bague  Argent oxydé, rubis - EXPO  Salute to Pinton Solidor -Karl Fritsch ring « Pinton, you have the best red in jewellery » – Bague  Argent oxydé, rubis

David Watkins - EXPO  Salute to Pinton Solidor -David Watkins

 

Espace Solidor
Place du Château,
06800 Cagnes-sur-Mer (FR)
Tél :04 93 73 14 42

Exhibition Catalogue available

 

Image de prévisualisation YouTube
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