Four Gothenburg, Sweden
Opening: September 2nd, 17-21
Chocolate, beer and Jean-Claude Van Damme, waffles, the European parliament and Brussels sprouts. Sadly enough people probably also associate Belgium with terror and cattle with breeding problems.
When we think of Belgium we think of jewellery! Not only of the diamonds in Antwerp, but predominantly of the eminent art jewellery scene. Belgium has some of the most famous contemporary jewellery schools, – galleries and – artists. Playful, thought provoking and with an elegant confidence, the art jewellery culture is vibrant and powerful.
Galerie Beyond (formerly Beyond Fashion) is situated in the central parts of Antwerp and has been run by Karin De Buysere and René Darmont for 15 years. The work of the artists that the gallery represents has a conceptual strength and challenges the traditional perception of what jewellery is. The connection to the lively fashion- and art field is unmistakable while classic goldsmithing seams more distant.
The exhibition ”Swedes and Belgian Blues” is a co-operation between Galerie Beyond and Four, showing work by 5 Belgian and 5 Swedish artists. Sweden is also a well-known country in the international jewellery world and we also have an influential fashion scene. Are there any similarities? Are there any differences? To connect a certain aesthetic or a style to a nationality might be impossible in a society where the global art scene is only a browser away. But is there something of a local culture? Swedes and Belgian Blues will be shown in Antwerp in January 2017.
Tine De Ruysser — Jonathan Hens — Arnaud Sprimont — Anneleen Swillen — Karen Vanmol — Karin Roy Andersson — Linnéa Eriksson — Hanna Liljenberg — Anna Norrgrann – Sanna Svedestedt Carboo.
Karin Roy Andersson – My brooch from 2016 made of recycled plastics (from lunch trays), thread and steel –
« Since I was a kid I have had a strong interest in animals, especially fish and birds. I love their shape, their movements and the pattern of the feathers and scales, their bodies, faces and exceptional behaviour. The pieces on show at « Swedes and Belgian Blues » are made of plastics collected from garbage containers and ditch-banks. I keep my eyes open when I go to the hairdresser; I search in my friends’ bathrooms and fridges – you have to be observant if you are going to find that perfect jewellery material!
Sanna Svedestedt Carboo - Building blocks, 2013, necklace made of naturally tanned leatherSanna Svedestedt Carboo works with leather. In this material she create sharp and exact shapes that look heavy but are surprisingly light. Svedestedt Carboo uses old leather shaping techniques and Cuir Bouilli, adding a contemporary expression to a classic craft tradition. With the right touch, boiling hot water and quite a lot of stubbornness, the leather is transformed into the desired form. « I am drawn to the combination of controlled shapes and soft organic flow, and the clash that takes place in the meeting of the two. »
Tine de Ruysser - Dollar Bracelets, 2016, made of banknotes
Paper money came into existence because people did not want to carry their gold around. Through time the relation between money and gold has been close but the connection has changed. Now we are hesitating about having too much money in our wallets but many of us are happy to show wealth, status or image by wearing gold. For this piece banknotes are used as a precious material. The notes are put together to create an object. The banknotes are not damaged, so the object can be taken apart and returned to the monetary value of the materials. Just like precious metals.
Anneleen Swillen – Weights pending 2, 2016, necklace made of resin, plaster, concrete, cotton, rubber and natural stones
Inspired by the way daily goods are consumed and (re)presented, Anneleen Swillen draws attention to the intrinsic but often unnoticed qualities of everyday objects. Weights, pending is an artistic research into both formal and functional potential of disposable packaging for object and jewellery design. The necklace is composed of pairs of various pendants that differ in weight, shape and size. Both sides of the necklace can be shifted and scaled in search for a balance – or imbalance – when worn. Carrying these weights as a collection of charms around the neck and shoulders does not go unnoticed for the wearer or the viewer.
Anna Norrgrann – Necklaces made of aluminium and nylon thread
« I’m attracted to the qualities in different kinds of metal that make them perform in various ways, depending on the treatment. I see my work as collaboration between these qualities in the material and my own technical skills. m attracted to the qualities in different kinds of metal that make them perform in various ways, depending on the treatment. I see my work as collaboration between these qualities in the material and my own technical skills. » – Anna Norrgrann
Karen Vanmol - AKA #Iseefaces, brooches -made of wood, laminate and steel
« The human mind has the desire to name things. Our brains are so eager to recognize patterns and correlations they see them where there are none. Have a closer look at Karen Vanmol’s brooches and let us know what you see. »
Hanna Liljenberg - Untitled, brooches, 2016- made of black burned iron, oil paint, varnish and steel
« My jewellery is in constant collision between the organic and the rigidly constructed. In this project I wanted to simplify the construction of my jewellery to the greatest extent, and I have been working with old painting techniques to produce light in the darkness. Having previously worked with repetitions of one single form, I have now tried to shape one sprawling piece into a cohesive unit. » – Hanna Liljenberg
Jonathan Hens – Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex
- Jonathan Hens designs are the result of an intense search for an alternative identity. Rather than a classic example of beauty, the viewer gets to see Hens’ interpretation of it.
Linnéa Eriksson- Connect, necklace 2016 made of steel, oxidized silver and spray paint.
Linnéa Eriksson’s work is a reflection of her surroundings. She finds inspiration in pieces of metal or in the feeling of a heavy beat. « It is a combination of traditional jewellery crafts and the modern street expression. »
Arnaud Sprimont – Microbiota 1, brooch, 2016 -made of polyurethane resin, steel and pigments.
Supported both by a scientific and empirical observation of the cells and patterns of the living, Arnaud Sprimont investigates an invisible and frightening universe. The exploration of the strong ties that exist between human being and nature is the heart of his approach and of his will to define himself, in nature and in harmony with it, as microbiotes living in symbiosis with their host.