De septembre 2013 à mars 2014
Gardens of Earth: Bety Majernikova and friends
Artists: Kristína Hrončeková — Steffanie Klemp — Maya Nepšinská — Slavomíra Ondrušová — Lucia Pelikantová — Pavol Prekop — Ulrich Reithofer — Gisbert Stach — Réka Lörincz — Rose Stach — Deganit Stern Schocken — Monica Strasser — Kristýna Španihelová — Karol Weisslechner
Bety K. Majerníková was one of the most outstanding performers of the young Slovak jewelry generation that came on the scene since 2000. Her uniqueness was in her specific spontaneous art language which changed according to the topic that she worked with, the selection and processing of the materials that she used, in what she expressed through her jewelry, and also according to the way that she was able to present it to the public. Sometimes very striking, open and funny and a minute later meditative, inquiring, mysterious and fragile. She could always surprise and was able to grow. Her small intense compositions were her personal commentary about the world around, but also about herself. Her solitary pieces excelled by very delicate soft form, progressive plastic material as well as by a special transparency through which they exposed their interior. And always by a small detail that sparkles them.
Bety studied by prof. Karol Weisslechner at the University of Fine Arts and Design in Bratislava in the Metal and Jewellery Studio. In addition, she completed study visits in the glasswork studio at the University of Sunderland (UK) and also a study of jewelry and cutting gemstones at FH Idar-Oberstein (D). After graduating, she worked as an assistant in the Metal and Jewellery Studio, and in 2007 she earned a doctorate (as the first among women jewelers) for work dealing with the origin of artwork in a global society. Bety K. Majerníková established gallery Nuée, co-organized Schmuck Wander and Šperk Stret. She was a singer in group Noisecut. She exhibited her works in Slovakia as well as abroad and holds several prices (Kruhy na vode 2005, Designblok 2008).
81373 – Munich
Telephone: +49 152 01911151
Konstfack Degree Exhibition 2012Wed May 16 — Sun May 27
“Art is spirituality in drag” is a quote from the American artist Jennifer Yane. Although I see few parallels between her artistic work and Ädellab, the quote fits the degree projects of the nine graduating students perfectly.
Their chosen themes vary: Illusions, Identity, Raw Beauty or The Meaning of the Handmade – just to mention a few. These might seem typical subjects for contemporary jewellery or corpus investigations, but there is nothing stereotypical about the final work of the graduates at Ädellab. What they produce is anchored in an authentic discourse with the subjects and this includes theoretical underpinning of the theme. It also includes answering the question of what relevance their work can have in our culture, since the making of artistic work is not about thinking something up, it is in fact the opposite – it is about creating awareness of the given.
The given in this case is nothing less than the world in which we live, and it is up to each individual artist to define their subject of interest within the endless possibilities.
Within an educational framework, however, each graduating artist needs to adjust to the rather fake reality of an examination. The task is to fulfil learning outcomes, to follow deadlines and simultaneously be able to create a body of work from which they can launch their careers.
For an observer of the artistic work created the task is much more beautiful: it is to engage with the nine individual perceptions of the world. And even if the stories told do not reveal themselves immediately, you can always enjoy the drag!«
Karen Pontoppidan, Professor of Jewellery and Corpus Art
Brice Garrett – « [In]flux »
« We live in a current state of flux. Among the transitions come new unfamiliar spaces. It’s the position of being in-between the familiar and the foreign, amid the habitual and the uncertain. Familiarizing and acclimating in this state is a process stimulated by perception. Among this state of flux, can jewellery contribute to this process of making one feel at home? » Brice Garrett
Mia Larsson – « Moving Matter »
»There is no such thing as either man or nature now only a process that produces the one within the other and couples the machines together.”* (*Giles Deleuze and Felix Guattari)
“Things, non humans, nature having equal significance as us, humans. They should also be an active part of mediating meaning and connections. Therefore we need to mobilize nature from the background.”* (*Bruno Latour)
My work is a material study out from theories that share views on material and nature where materials are described as active, intelligent and interdisciplinary; part of the same continuum as us. This indicates a kind of material related ecology.
Jewellery could express believes, connects people and could be used as protection with talismanic powers.
I have chosen to work with nacre from the shell of the blue mussels and oysters. Relating it to jewellery is my way of investing and expressing the material. » Mia Larsson
Monika Strasser – Hair Brooch (Photo: Christian Gloor)
»On Beauty » : « People hunting for beauty often forget the beauty of life. Beauty often generates pressure in society.
The objects refer visually to the process of beautification and to its daily rituals. These objects make a statement about and make one aware of the beauty craze. They also refer to natural beauty and the changes caused by the passing of time. » Monika Strasser
Young Geum Cho – Performing Shell
Lina Pihl – Identity (Necklace) Bioresin, iron powder, acrystal, steel, cotton fabric.
Konstfack University College of Arts, Crafts and Design
LM Ericssons väg 14,
126 37 Hägersten, Sweden
du 11. Mai – 23. September 2012
Gold, silver and jewels: these precious materials were for a long time the favorite form of personal adornment. But since the 1960s their dominance has been undermined by objets trouvés, everyday utensils, plastics, or parts of plants. The jewellery made from these, each piece of which is a one-off and bears the unmistakable signature of the person who made it, relates to visual art, fashion and design. Worn as art works, these pieces of jewellery explore the boundaries of what is actually wearable and through their shape or size indeed often conflict with the body. With their pieces eighty international designers and – especially for the Museum Bellerive – national artists clearly show that the possibilities and applications of jewellery are practically unlimited. From small, fantastical brooches to portraits of stars made from strings of pearls: jewellery breaks out of the confines of museum showcases, spreads across walls and floors to create a space-filling installation or, in the form of urban jewellery, even decorates the street.
An exhibition of the Museum voor Moderne Kunst Arnhem
in collaboration with the Museum Bellerive
Inner Beauty – a participatory performance by Frédéric Braham. The artist administers homeopathic doses of sapphires, emeralds, gold and Yves Klein blueTed Noten – knuckleduster (model for women) 2000 Helen Britton, Big White brooch Benjamin Lignel, Io ce l ‘ho d’oro (Yeah but mine’s gold), 2007 Shelley Norton, Block Brooch, 2011
Hanna Hedman, While they await extinction, 2010
Julie Schmid (BA Jewellery Design 2011), 3The fish with golden bubbles3 and « Two dogs and a diamond », 2011; Photo: Vlado Alonso © HEAD – Genève
«!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
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
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
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
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 :