#MunichJewelleryWeek2017 – EXPO (15) – « tog_ther ! » – Kunstpavillon, Munich (DE) – 7-12 Mars 2017

(15) tog_ther ! Fill in: e or a

Kunstpavillon
Opening Tue March 7th at 18:00
« ….Here, the motto is: chairs instead of showcases ! »

EXCHANGE-BIJOU 2 – Réka Lörincz

with :   Peter Bauhuis — Emese Benczúr — David Bielander — Florian Buddeberg – Shirin Damerji — Anna Eichlinger — Susanne Elstner — Sławomir Fijałkowski — Christiane Förster — Réka Lörincz — Daniel Michel – Anna Moll — Pavol Prekop — Nicola Scholz — Kristýna Španihelová — Gisbert Stach – Rose Stach — Norman Weber – Arek Wolski — Christoph Zellweger

*

Jewellery exhibitions are often presented in sterile glass cabinets. This leads to a distance between object and viewer and limits the freedom, which could develop in this sensual encounter.
Here, at the exhibition tog_ther !, curated by Gisbert Stach and Rose Stach, the motto is: chairs instead of showcases!
Twenty international author jewellery artists gather with their extraordinary objects in dialogue with strongly individualistic seats, from weight benches to a sandbag wall.
A potently interactive chair by Christoph Zellweger from Switzerland; a self-portrait stool by Arek Wolski from Warsaw; cheap pretense and reality from two female Budapest artists; and David Bielander Thonet chair sausage links, are among what’s to find.
Two female artists from Budapest play with cheap pretence and reality. Emese Benczúr forms the words “LET IT SHINE” on a rainbow-coloured surface using ear studs, while Réka Lörincz presents grooming gloves with enticingly glittering golden nails on a lavatory lid in her piece of art titled  Woman at Work. David Bielander, a native of Basel now living in Munich, even transforms the chair itself into a jewellery object by removing elements of the curved armrest of a Thonet chair and shaping them into sausage necklaces, explaining that the sausages had always been present in these chairs and he has now “set them free”!

Réka Lörincz – grooming gloves with enticingly glittering golden nails on a lavatory lid in her piece of art titled  Woman at Work.

 Réka Lörincz Object: Woman at Work, 2016 Gloves, artificial fingernails Photo by: Áron Weber

David Bielander, Thonet (Sausages) 2007 Necklace made from one original Thonet no.14 chair bentwood, paint Foto©Dirk Eisel

 Nicola Scholz, 2015 Necklace intestine, gold 22 x 24 x 12 cm Foto©Mirei Takeuchi

Gisbert Stach, Superhero Videostill 2016 Sparklers, Silver Foto©Rose Stach

 

Kunstpavillon
Alter Botanischer Garten
Sophienstraße 7A
Munich
Wed–Sun 11:00–17:00
Finissage Sun 12.3. 14:00-17:00
Artist Talk Sun 12.3. 15:00

 

During SCHMUCK 2015 – EXPO ‘Salto Mortale’ – Büro Hermann, Munich (DE) – 12-14 Mar 2015

Salto Mortale    /  12 -14 Mar 2015

Opening: Thursday, 12. March 2015 from 18 h

 

Judit Pschibl, Nicola Scholz and Barbara Schrobenhauser present recent works in a pop up space in Maxvorstadt. They are based in munich and all of them studied at the Acadamy of fine arts in Munich with Otto Künzli.

Judit Pschibl Necklace: 2pp, 2013 Polypropylen

Barbara Schrobenhauser Necklace: Glowing, 2015 Cooper, string 3 x 3 x 2 cm Photo by: Mirei Takeuchi

Nicola Scholz Necklace: Untitled, 2014 Gut Photo by: Mirei Takeuchi 

 

Büro Hermann
Heßstr. 27
80798 -  Munich GERMANY
tel [phone]
Mail: [e-mail]
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[e-mail]

Schmuck 2013 – EXPO ‘Perp Walk’ – Munich (DE) – 7-10 Mars 2013

Perp Walk : Babette Boucher, Nicola Scholz

07-Mar-2013 – 10-Mar-2013
www.3stations.de

Babette Boucher -  Julia und die Schlange, 2012 – Necklace. Pinecone, nylon cord, shakudo

Babette Boucher - Aber Großmutter was hast du für ein entsetzlich großes Maul!, 2009 – Necklace. Shark teeth, lace, cord

Babette Boucher – Aber Großmutter was hast du für ein entsetzlich großes Maul!, 2009  Necklace. Iron, lace, cord

Nicola Scholz  Necklace: Untitled 2011  Horse Manure, gold

Nicola Scholz  Necklace: Untitled 2010  Spider, gold

Nicola Scholz  Necklace: Untitled 2008  Egg membrane, gold

Nicola Scholz  Necklace: Untitled 2008  Thorn, steel

 

Welserstraße 13,
81373 München
Germany
Tel. [phone]
Fr 10-18, Sa 10-18, So 10-14 h
mail: [e-mail]
mail: [e-mail]

«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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Bijoux made in « CACALAND » ………….. !!!

 made in « CACALAND » ………….. !!!
Je vous laisse libre à vous d’humer … la tendance ! 

Märta Mattsson (SE) – ‘Oh deer’ (tan estilizada es la caca de venado que parece faceteada??) (perles du collier moulées d’après des crottes de cerf ….)

Sophie Hanagarth -  « Médaille merdeuse » 2008
Collection « Bijou sur le corps, une nature morte? » – 2000/2008 -  2 Broches Tôle d’acier (boîte de conserve), cuir, acier

Sophie Hanagarth - Vermines, broches, acier inox, fer-blanc/Vermins, brooch, stainlesssteel, tin can – 2001

« Extension, prolongation, parasites of the body, these jewels are a hymn of our material lives, between power, social identity and belief charge. These jewels are made of an association of popular image, highlighting the relationship with the body . Two oilcans as balls are an association of a wood nodule and the oilcan shape, connected by a wire they hang directly between the legs as a soap or lubricating boxes.« 

Claire Baloge (FR) -  Camel dung, gold leaf, silk (collier en crottes de chameau … j’adore !!)

“I have chosen to use camel dung, because  it’s shape and color. Although the use of camel dung in jewelry may provoke it also links: in those (not so) far-away countries, many people are still using these animals, and their excrement, in daily life, while some others, a few miles away , are smoking the cigars of the oil business. I have chosen to use gold because gold is the referential measurement on which the whole world economy is founded. It remains a major symbol for jewelry, almost everywhere around the world. While camels are traditionally emblems of the noble class, in the nomad society, a clear mark of wealth and importance. It seems to be two different temporalities, which are still sharing the same space, coexisting in the same territories.“ (Claire Baloge – expo ‘I care a lot’)

Frances Wadsworth Jones (UK) - collection called « Heaven Sent »  – …. yes…. Bird shit…that’s exactly what it is.   

Thomasin Durgin – « ring_a_day challenge » – pearl and rhinestone encrusted dog poo
(crotte de chien peinte et ‘décorée’ !!)
« I found the poo and decided to put a coat of paint on it so that it would be dry for tomorrow. Then I put on two more coats of paint. Then I found the rhinestones in some old beading supplies and I was so enthralled that before I knew it the damn thing was made« 

Nicola Scholz - necklace- 2011 – Horse Manure, gold

Piero Manzoni in 1961 « merda d’Artista »
(merci à Christophe Burger pour sa contribution à ce post ! …)

Halász Előd (HU) – HOLY SHIT brooch