EXPO ‘Not Too Precious’ – National Craft Gallery, Kilkenny (Ireland) – 22 Janv.–30 Mars 2016

Not Too Precious : Exhibition Talk & Launch

Organisé par National Craft Gallery, Ireland

(Attai Chen on left – Carina Chitsaz-Shoshtary on right)

Not Too Precious explores inspirational work by 25 international jewellers using materials for their expressive potential rather than for their intrinsic value. Radical artist jewellers of the late 1960s and 70s vigorously rejected the idea that jewellery should be considered ‘precious’ simply because of the materials of which it was made. Today, the use of a huge variety of materials in jewellery is far more accepted, but economic pressures are putting that freedom of artistic expression at potential risk as people revert to traditionally ‘valuable’ materials for ‘safety’. Not Too Precious challenges preconceptions about ‘non-precious’ materials by encouraging us to consider ‘accrued value’: what talented makers bring to their work through their ideas and skill.
The selected artists, who currently work in the UK, Europe, Japan, Australia and New Zealand, create innovative, skilfully-made jewellery that is insightful and culturally resonant. Sometimes poignant, sometimes witty, their work communicates at many levels. It is above all honest and – for want of a better term – not too precious.

Jewellery by 25 international makers :  Attai Chen — Carina Chitsaz-Shoshtary – Eunmi Chun — Warwick Freeman — Emmeline Hastings — Christel van der Laan — Felieke van der Leest – Sari Liimatta — Märta Mattsson — Jasmin Matzakow — Kazumi Nagano — Shinji Nakaba — Lina Peterson — Zoe Robertson — Michihiro Sato — Mariko Sumioka — Emiko Suo — Tore Svensson — Janna Syvänoja — Mirei Takeuchi — Timothy Information Limited — Terhi Tolvanen — Catherine Truman — Flóra Vági — Heather Woof.

Kazumi Nagano

Marta Mattson

Shinji Nakaba

Catherine Truman

 Warwick Freeman

Sari Liimatta

Michihiro Sato

Heather Woof

Carina Chitsaz-Shoshtary

Eun Mi Chun

 

 

National Craft Gallery, Ireland

 Castle Yard, Kilkenny, Ireland

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

exhibition being part of « OFF JOYA » 2015

To Recover -  Klimt02 Gallery

Opening : 7 October from 19 h.

(Ted Noten Superbitch Bag, 2000 / Superbitch Bag Revisited, 2015)

Artist list   Simon Cottrell — Karl Fritsch — Gésine Hackenberg — Karin Johansson — Jiro Kamata — Sari Liimatta — Stefano Marchetti — Ted Noten — Noon Passama –  Annelies Planteydt — Tore Svensson — Lisa Walker — Manon 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

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

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

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 

 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

 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.:

 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

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.

 

 

 

Take a HORSE, get a conversation piece …….

Take a HORSE, carefully cut it in pieces, and you get a neck-piece ….. no, a conversation-piece …..

for my part, I was fan of  THIS « Horses » ! :

Izabella Petrut -  « Blood on the ground » necklace – Innocent project – plastic toy, acrylic paint, copper, silk thread, varnish, 2013

The “Innocent” project gives me the chance to express an issue I am very much concerned with: the abuse against animals. The plastic toys are a way of representing an innocence that can only imply the horrible things that could / might have happened. I cut the animal toys the way butchers do, whilst others I use in twisted positions. After that I melt them, creating situations that I imagine they end up in. I paint them in lively colors that are not specific to those animals and this way the first impression of the audience is of a happy piece of jewelry and only then, after a closer examination, they truly see the animal and its suffering. Most of them are hand painted so that every brush stroke I make allows me to connect with that animal and feel it’s pain. The electroformed pieces represent the animals that live in cold metal cages, while the silk represents a natural material that stands for blood (red silk) and the darkness of the night (black silk). By creating more feminine pieces of jewelry I am trying to nurture those animals’ suffering.
1% of all money made from selling these pieces of jewelry will be donated to an animal shelter.
Materials: plastic toys, electroformed, alpaca, silver, paint, varnish, onyx, silk, pigments, copper, gold leaf. Izabella Petrut

Izabella Petrut -  Innocent project   – « Horse doing 9 to 5″   necklace – plastic toy, copper, pigment, silk thread, 2013

Izabella Petrut, The Circus, necklace

by Rebecca Hinwood (ACTivate: Un-Earthing Jewellery workshop, Australian National University, School of Art Gold and Silversmithing, Canberra, AU)

Roxana Davidescu ‘con el pensamiento de ella…’ Horse necklace – JOYA Barcelona 2014

Anat Golan – White Steed 1 -

Anat Golan brooch/medallion 2014

Tabea Reulecke – Idar Oberstein – 2004

Levan Jishkariani – Fachhochschule Trier, Idar-Oberstein, Germany – necklace, n.t., 2013, wood, perspex, paper, leather, polymer clay- winne… (Marzee graduate show 2013)

Réka Lörincz  Necklace: The Good the Bad and the Flawless 2011  Plastic, gold, pearl, textile

Anna Davern Brooch: Hunter and Hound, 2006 Copper, found biscuit tin. 8,5 x 3,5 x 0,5 cm Photo: Terence Bogue

Tanel Veenre

Sari Liimatta Object: Expectations, 2006
Glass beads, metal pins, paper price labels with threads, piece of a jewellery, plastic toy
Jewellery sculpture

Felieke van Der Leest  Crazy Horse  Brooch – textile, silver, gold, plastic -   Charon Kransen Arts (SOFA NY 2012)

EXPO ‘Regard sur la Scandinavie’ – Espace Solidor, Cagnes-sur-mer (FR) – 5 Avril- 1er Juin 2014

Bijou contemporain – Regard sur la Scandinavie
Commissaire de l’exposition : Olga Zobel Biro

L’Espace Solidor accueille, du 5 avril au 1er juin 2014, douze artistes scandinaves :

L’espace Solidor accueille, du 5 avril au 1er juin 2014, douze artistes scandinaves :
Yasar Aydin (SE) – Kim Buck (DK) - Hanna Hedman (SE) – Sarah Hurtigkarl(DK)- Karin Johansson (SE) – Hildur Yr Jonsdottir (IS) – Agnes Larsson (SE) – Sari Liimatta (FI) – Märta Mattsson (SE) – Camilla Prasch (DK) – Tarja Tuupanen (FI) – Runa Vethal Stolen (NO).

Leurs travaux se distinguent par les positions artistiques les plus diverses, un grand savoir-faire artisanal, une maîtrise souveraine d’un large choix de matériaux, mais aussi par la liberté artistique.

Yasar Aydin – «Layers of pink» Collier- 2011 poudre de fer , argent, cuir 52cm  x 20cm

Kim Buck

HANNA HEDMAN – « BLACK BILE » 2013

Sarah Vedel Hurtigkarl - « metamorphosis » necklace – 2012 – plumes, argent oxydé

Karin Johansson – White Corner (necklace, 2013, « New Places – Abstractions of a City » collection)

Hildur Ýr Jónsdóttir (I), necklace Knots, 2010, Herend porcelain, rusted iron chain, 310 x 210 x 40 mm

Agnes Larsson - carbo series – bracelet

Sari Liimatta ~ »Sick Sea II » necklace. 2010.  perles de verre, perles d’eau douce, épingles, argent, jouet en plastique

Marta Mattsson – new series ‘Palindromes’. 2013 – « Wing » brooch – résine, ailes de cigales (cicada wings) argent

Tarja Tuupanen - Necklace 2014. Ready-made marble tableware, velour sticker, steelwire. Stonepart 11 x 6,5 x 6,5-3,5 cm, length of the necklace 55 cm.

Camilla Prasch, stamp Rings, 2009

Runa Vethal Stolen – « Fractus » – Goldplated steelwire

 

 

Espace Solidor 
place du Château
Tél : [phone]
[e-mail]

EXPO ‘The Beauty Chase’ – Espace le Carré, Lille (FR) – 16 Nov. 2012-13 janv. 2013

The Beauty Chase – Parcours esthétiques du bijou contemporain

Commissariat : Valeria Accornero

En collaboration avec la Direction des Arts Visuels et des Expositions de la Ville de Lille

Exposition visible du 16.11.2012 au 13.01.2013

The Beauty Chase – Parcours esthétiques du bijou contemporain. Ce n’est pas Un diamant gros comme le Ritz qui rend fantastique le bijou contemporain, mais la capacité de l’artiste à créer des mondes imaginaires avec les matériaux les plus divers. Le doute et l’innovation, la recherche et l’idée sont au centre du bijou contemporain, il n’y a pas de chemin tracé à suivre. Dans le parcours de la création, le caractère précieux tient donc plus au projet et au travail qu’au matériau “brut” utilisé. Papier, bois, plastique, or ou titane, tissu ou verre : la matière choisie est déjà un mode d’expression esthétique avec l’envie d’être “autre”. C’est justement là l’aspect « fantastique » du bijou contemporain : l’envie de travestissement et de transformation qui le rend surprenant. Le plastique ne semble plus en être, la résine devient bois, l’or se transforme en se mêlant au tissu, au plexiglass, au pigment, le verre révèle sa transparence là où et quand l’artiste le veut. Très développé en Europe du Nord, peu connu par le grand public en France où la tradition de la haute joaillerie éclipse, peut être, tout le reste, le bijou contemporain expérimente, ose, provoque, crée avec des résultats poétiques, irrévérencieux ou ironiques, spectaculaires voire féériques. Et, si on veut emprunter les mots de Tzvetan Todorov, en sa présence: “on accepte le surnaturel”.

 Barbara Paganin Broche RAMI BLU

Artifizio — Giampaolo Babetto — Helen Britton — Maria Cristina Bellucci — David Bielander — Peter Chang — Jantje Fleischhut — János Gábor Varga — Francesca Gabrielli — Mirjam Hiller — Beppe Kessler — Sari Liimatta — Nel Linssen — Stefania Lucchetta — Svenja John — Lisa Juen — Iris Nieuwenburg — Barbara Paganin — Katja Prins — Jacqueline Ryan — Bettina Speckner — Fabrizio Tridenti — Tanel Veenre — Petra Zimmermann

  Svenja John – bracelet   « ZAMIST »  2012

Barbara Paganin – collier Silenzi 2012

Fabrizio Tridenti – ‘restricted area’ bague 2010

Tanel Veenre – ‘Princess’ 2002 – brooch

 

Espace le Carré - Lieu municipal d’Art Contemporain

Angle rue de la Halle et rue des archives (Vieux Lille)

http://www.fantastic2012.com/agenda/?id=199

28 rue des Archives

angle de la rue de la Halle

59000 Lille

03 20 74 46 96

[e-mail]

MER – SAM : 14:00-19:00
DIM : 10:00-13:00 et 15:00-18:00

EXPO ‘Entfesselt – Schmuck ohne Grenzen’ – Museum Bellerive, Zürich (CH) – 11 mai-23 Sept. 2012

Entfesselt – Schmuck ohne Grenzen  /  Jewellery Unleashed!
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 blue

 

Sari Liimatta – Hopeless 2007 necklace

Ted Noten – knuckleduster (model for women) 2000

Aud Charlotte Ho Sook Sinding – Broche Floral; Photo © Galerie Platina

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

Fabienne Morel, Brokenfab – Halsschmuck/necklace, 2009

Carole Guinard, Halsschmuck/necklace «J’ai déménagé», 1997

Verena Sieber-Fuchs, Kragen/collar «Follow the Line!», 1989; Photo © FX.Jaggy & U.Romito

Julie Schmid (BA Jewellery Design 2011), 3The fish with golden bubbles3 and « Two dogs and a diamond », 2011; Photo: Vlado Alonso © HEAD – Genève

Monika Strasser, Garten Eden, 2009 - Photo © Michel Bonvin

Luzia Vogt, Segment III, 2010

 

AND The A⁶ Collective will show the « What’s Yours? » Project in a new interaction way at the Entfesselt Exposition!  –  From the 11.5 – 23.9. 2012

A⁶ :  Collective of six jewelry designers : Noémie Castillo, Aurore De Geer, Cécile Guenat, Alicia Rosselet, Luisa Schwarz, Arnaud Zill

 

Museum Bellerive

Höschgasse 3,

8008 Zürich, Switzerland

[phone]

http://www.museum-bellerive.ch

….. et plonger dans le grand BLEU !

THANKS to  Marta Miguel Martínez-Soria page/selection on Pinterest, about blue jewellery !!!! it was the departure for this ….. blue OCEAN !! or, to be more in the « intellectual » actuality, « 99 shades of … BLUE » !!

 

Giorgio Vigna – gorgoglio – vetro

Arthur Hash  Blue Wave (cast polyurethane)

Donald FRIEDLICH  (gal. Loupe) – brooch ‘Translucence’ series – glass, 18k & 14k gold, diamond
Gésine Hackenberg- Table Glass: Dutch/Finnish Still Life, Brooch

Gésine Hackenberg Double Glass Still life Brooch- Finnish table glass (vintage by Itala); cut and ground

Giampaolo Babetto – Brosche

Graziano Visintin – broche – or, argent, niellage – 2009 

  
Graziano Visintin – Brooch, 2006 – 18k gold, enamel, gold leaf  (The David Collection)

Lisa JUEN – ‘don’t dream it wear it’ – blue brooch or necklace- Lasercut Stainless Steel, CZ, LED, LED Screen, Plastic, Cable, Light Switch, Battery

Maria Rosa Franzin brooch

Pilar Garrigosa brooch

Julia deVille (AU) – ‘Mechanical Wing’ brooch, Kingfisher Wing, silver

Luis Acosta – paper bracelet

Märta Mattsson

Rallou Katsari - ‘whispering loud’ ring

Aline Berdichevsky – brooches “Reconstructio »

Benedikt Fischer – brooches

Christian Astuguevieille – Bracelet éponge bleue (La Piscine, Roubaix – don de l’artiste en 1995)

Stefano Poletti- Collier en éponge naturelle teintée et perle recouverte de feuille d’or monté sur fil d’or

Nel Linssen – blue bangle – paper

Ute Eitzenhöfer – brooch – Mixed media (labradorite)

Eleanor Bolton – blue(s) necklaces

Coco Dunmire  necklace

Tabea Reuleake – ring

Birgit Skolimowski (EE)

Estela Saez “Good by(e) nest.” serie  2008- ‘SEPIA’ – silver/wool/fabrics/paint

Carolina Gimeno- portable objects

Carolina Gimeno-‘Phacella Congesta’ from Portable Objects 2010 – brooch

Carolina Gimeno- ‘Zurciendo cuerpos sobre el mapa’ 2009 – Brooch – Copper, Vitreus Enamel, wood, silver , steel

Carolina Gimeno (Chili) – série “dibujando en el espacio”

Flora Vagi – curious wish – brooch

Susie Ganch – blue dust enamel brooch

Flora Vagi -azur reverse necklace – ebony, silk, cord enamel,18 ct gold – 2005

Stacey Bentley brooch – enamel

Blanche Tilden – “Compress” necklace - glass

Christophe Marguier – ‘esperance de vie de l’homme’ necklace- plastic, silver, steel

Gulnur OZDAGLAR – PET jewelry

Gulnur OZDAGLAR – PET jewelry necklace

Catherine Jacquet – collier cascade – plastiques

Barbara PAGANIN (IT) broche ‘fiore di luce’ – verre  (Galerie SLAVIK)

GIIA (IT) “blue wave” felt neckpiece

Camilla Teglio – « Mimesi n2″  Collana : legno, carta giapponese, argento, colore

 Lucia Massei - pendant ‘Comunque e sempre’ 18kt yellow gold, silver, iron, ruby, black spinels 2009

 Lucia Massei -  bague « la bella adormentata »

Mirla Fernandes- Herança necklace- latex,paint, porcelain – 2006

Peter  Hoogeboom – chainmail porcelain necklaces

Liana Pattihis  - Blue Circle Brooch 2007 – Silver, copper, enamel stainless steel – Inspired by Wassily Kandinsky’s Painting ‘Blue Circle’

Liana Pattihis - Brooch: Blue Istos 02 2010 -silver Light Trace Chain, Copper, Enamel, St. Steel

Viktoria Münzker- Kollektion PARADISO

Mirjam Hiller - Catopsia – brooch – stainless steel powdercoating, titanium

Sari Liimatta « The Costume I », necklace, 2006 glass beads, fresh water pearls, metal, plastic toy

Mia Maljojoki - 2010 (Photo: Mirei Takeuchi)

Sara Borgegård  2009 necklace, wood, paint, iron, cotton

Sara Borgegård necklace

Yuri Bylkov - ring- metal, paper, acrylic – 2009

Alexis Kostuk – “high gear” brooch- copper, which I used a patina on to darken, pearls & gem beads, sterling silver ball chain, resin, and flocking.

Denise Julia Reytan

Denise Julia Reytan- “Snapshots”

Dora Haralambaki - ceramic ring

Edith Bellod - collier en porcelaine de limoges : “kaléidoscope”

Annamaria Zanella – brooch

Andi Gut - ring

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

Helfried Kodré - brooch

Helfried Kodré - ring, silver, lapislazuli – ring, gold, silver, turquoise, bronze, 2007

Aldo Mondino, BIC – cristallo di rocca, lapislazzuli e tappo in oro smaltato blu, esemplare unico – 2008

Aldo Mondino, BIC necklace

Paweł Kaczyński

Paweł Kaczyński – Silver and Steel Water Bracelet

Hannah Fewtrell-Bolton - restriction 3 – conceptual textile

Jean-Pierre Dussaillant- Bague “Cactus”

Anya Kivarkis – copper, silver, enamel brooch

Emiko Oye – duchess2_ Necklace from My First Royal Jewels Jewellery Collection. Repurposed LEGO necklace inspired by Cartier’s diamond, emerald and platinum necklace, and Harry Winston’s pendant, 1960. emiko-o 2008.

Enrica Prazzoli – Ives Klein (Alchimia – 2011)

Enrica Prazzoli – (from Alchimia) blue Klein collection rings 

Floor Mommersteeg – Pebble-necklace, nylon

Floor Mommersteeg – broche

Hana Karim  Ceramic Jewelry

Helen Britton – brooch 

Hanna Liljenberg -  Quinault 3, halssmycke järn, oljefärg, lintråd, silver

Babette Egerland- ring “Ballonschmuck” 925 Ag rhodiniert

Farah Bandookwala (UK) – blue hair brooch

Mikiko Minewaki- ‘toy-camera’ necklace

Katie Schutte – Cluster necklace – crocheted, electroformed, and powdercoated found wire, cubic zirconia

Shannon Carney ring

Kath Inglis  “Blue Pollinator” Brooch

Akiko Ban- collar – 2010  (from Alchimia)

Jillian Moore -  brooch-pendant ‘Cucurbits’ 2008 Fiberglass, resin, copper, paint, felt

Joanna Gollberg - prong series blue brooch

Sayumi Yokouchi - ‘Layered’ Brooch in plastic, silk thread, and stainless steel.

Karin Kato – ‘QU4DRO’ Brooch in sand, resin, and silver

Silvia Walz – “Under water” brooch-  Series: Burbujas   – silver, copper, resine, enamel, glas – 2010

Silvia Walz La visionaria (Geometria Series) Brooch

Tobias Alm - Summer series 2009 Necklace. Cotton, wood, paint

Jessica Calderwood - ‘Portrait of an Eye’ Brooch/Pendant – Enamel on copper, sterling, stainless steel

Gésine Hackenberg  – ‘blue white ruins’ ring

Carola Bauer necklace – Silver, enamel

Jacqueline Ryan 18kt gold and vitreous enamel brooch

Jean-François PEREÑA -  bracelet -cuir, lapis-lazuli, nacre, plexiglas (bleu), argent

Patricia Lemaire – Aspara la Bleue 1- 1999 défilé Lapidus

Anne Goldfarb – OUT OF AFRICA – Collier Soie, Argent, Fil d’aluminium – Afedap 2011

Andrea Janosik- Blue Brooch - sIlver and suede - 2007

Sue GREGOR – cuff

Gijs Bakker- Bracelet « Porsche bracelet » stéréolithographie, polyuréthane -, 2000

David Bielander – Enzian Brooch – titanium

Sam Tho Duong

Hanneke Paumen (NL) – Tulle blauw Collar (detail)- felt

Kate Bauman  - barnacle no.9 (ring) – enamel, copper, sterling silver

Anthony Tammaro – « neck object » – Gypsum/Epoxy/Silicone

Farah Bandookwala (UK) http://www.farahb.com- Parasite series: magnetic brooches – Rapid prototyped nylon, stainless steel, dye, rare earth magnets. Collection of brooches with interchangable magnetic backs

Melissa TOLAR  - Enamel, hand-cast gems, and pearl jewelry

Mirla Fernandes

Mirla Fernandes ring

Ralph Bakker “the Fly” – earrings

Yoko Shimizu – necklace – resin, pigment, silver

Yoko Shimizu  (from Alchimia school), necklace from the « transformation » series – 2010

Celio Braga, Brazil (Think Twice: New Latin American Jewellery exhibition)

Marta Mattsson- The Human Touch – Cricket brooch

Susanne Elstner, brosche

Farrah Al-Dujaili – Necklace – Copper, enamel paint, watercolour pencil, thread – 2010

Carolina Gimeno (Chile) resinas – bracelet

Shannon Carney – medium collar resin necklace

Helena Lehtinen- Gardens Collection, Blue brooch, 2011 Wood, thread, beads

MARIJKE DE GOEY – 1999 – Pièce unique. BAGUE « Curly » en or or et titane à patine bleue

Mirjam Hiller  brooch

Gemma Draper, Barcelona- brooch

Nora Fok  ring

Paolo Scura - ring 

EXPO ‘Brooch / Bross’ – Sterling Gallery, Budapest (HU) – 26 Mai-17 Juin 2011

The Sterling Gallery cordially invites you to an exclusive exhibition, entitled BROOCH, of young contemporary artists.

Sterling Gallery located in Budapest (H) organizing an exclusive exhibition, entitled BROOCH in order to create an interactive information exchange, a dialogue, a conversation or a meeting between Hungarian and international artists from different countries.

The jewel as a « household object » has pronounced functional complexity.
It has both a role and a tradition in each community.
It can be inferred from certain eras, cultures, ethnic groups and lifestyles, habits and thinking.
It might be a sign, or a symbol which is answering to a non-asked question.
It can refer to the wearer’s age, identity, the religious affiliation, marital status.
It is the distinguishing sign of the everyday and the holidays, a status symbol.
It is a part of magical and practical function in people’s lives.
A jewel fits the body and it’s present in clothing.
The jewel expresses the relationship between people.
The brooch, brooches have also been made in the Bronze Age, Greek, Roman and in other European workshops.

These had a functional role as indispensable elements of clothing and self representation.
The brooches had the force to join, screw and fix the fabric of the cloth.
The use of the buttons and buckles took the practical role of the brooch away, but in the same time the aesthetic function of the brooch has been enhanced.

Exhibited artists : 
Abaffy Klára — Adám Krisztián — Bartl Dora — Dávid Attila Norbert –Egri Zoltán — Egi Marcell — Ferenczi Vanda –Fördős Bence — Noémi Gera  –Gaál Gyöngyvér — Előd Halász  — Huber Kinga — Kecskés Orsolya — Király Fanni –Krámli Magdolna — Réka Lőrincz  –Marosi László — Péter Vladimir — Simon Viktória — Sfomfai Krisztina –Slavei Tamás — Tóth Zoltán –Varga Viktór — Flóra Vági  — Vékony Fanni — Visy Dóra — Wladis –

Denise J. Reytan — Felieke van der Leest — Jimin Park  — Constanze Schreiber –Sari Liimatta — Noon Passama — Li Chu Wu — Manuel Vilhena — Nick Mullins — Marta Mattson — Helena Lehtinen — Udi Lagallina — Martina Mühlfellner — Valeria Hasse & Marcela Muñiz (Tota Reciclados) –  The Idiots — Sofia Björkman –

 

Réka Lörincz – brooch ‘Super Trend’ 2011 -Gold, brand labels (textile)

Valeria Hasse (de TOTA Reciclados)

Sari Liimatta – three brooches  ‘Not Enough’ 2005 – Glass beads, metals, paint, rubber toys

Helena Lehtinen – garden

Li-Chu WU – Mountain Landscape Brooch

Előd Halász – Bang! You’re Dead

Flora Vagi

 Noon Passama pins « extra button »

 

STERLING Ékszergaléria / Sterling Gallery
H-1092 Budapest. Ráday utca 31.
Nyitva: Hétfő-Péntek 12-20h
Phone: [phone]
www.sterling-galeria.hu

Szombat: 10-14h

Finnish contemporary jewellery – un bijou de Finlande

Korutaide : The jewellery art association was founded in Lappeenranta in 2005. The association aims to promote contemporary jewellery in Finland and to improve its recognition as an art and design form. Another goal of the association is to increase awareness about Finnish jewellery internationally. As means towards those ends, the association organizes exhibitions, presentations and discussion panels, and distributes information about events. ([e-mail])

ULLA AHOLA - Necklace – Marble, cotton threat 2008  (Photos Juho Ahola)
Necklace 2008 – Marble, silver, cotton threat

TUIJA HIETANEN – Brooch, 2008 – glassbeads, thread, silver
Necklace, 2008  – thread, silver

EERO HINTSANEN - Yellow Submarine, brooch, 2008 – silver, gold plating, foam rubber
Väki Vahva- mask, 2004 – silver

HELENA LEHTINEN - ‘Domestic landscapes and others’ Brooch, textile, hematite, fimo, optic fiberglass, silver 2008
‘Domestic landscapes and others’ Brooch, Rintakoru textile, agate, silver 2008

SARI LIIMATTA - The Costume I, necklace, glass beads, fresh water pearls, metal, plastic toy – 2006
MIA MALJOJOKI  -Brooch/Rintakoru 2009 dental plaster, pigment, silver, stainless steel

NIINA MAHLBERG  ‘Nests’, neclace,1998 glass, copper
‘Dewdrop’, neclace, 2004 glass, silver, nylon 

NIINA MAHLBERG Leafs, necklace, 2006 -glass, nylon line
Net, necklace, 2006 glass, metal wire

EIJA MUSTONEN ‘Garden’, brooch, 2006 bioresin, silver
‘Snow’, brooch, 2006  bioresin, silver, paint

KATI NULPPONEN - « Amazing Animal » jewelry

INNI PÄRNÄNEN ”Lisäelimet”, necklace – parchment, silk, mother of pearl, 2003 
JANNA SYVÄNOJA Necklace, 2005 Recycled paper, steelwire

etc etc etc …. TROP de merveilles pour tout mettre !!! je développerai dans des « coups de coeur » !

mais allez voir !!! un site en OR !