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DECOUVERTE at SCHMUCK 2015 : Anne-Marie Rébillard

Anne-Marie Rébillard from Canada has been selected for SCHMUCK 2015 « COLLECTION TRACE : Anne-Marie Rébillard propose une réflexion sur nos considérations environnementales, sur ces nouvelles empreintes que nous laisserons aux futurs anthropologues. L’image puissante de nos déchets de plastique a insufflé à Anne-Marie un élan créatif et mutin pour produire cette actuelle collection. À ces matières synthétiques, elle intègre le bois flotté, ce bois rejeté par la Nature, en le juxtaposant et l’organisant en de petites et sensuelles sculptures portables. Anne-Marie Rébillard a suivi sa formation à l’École de joaillerie de Québec de 2001 à 2004. En 2007, elle y enseignera à temps partiel, tout en prenant part à des stages de perfectionnement. En 2010, elle s’inscrit au Labo, une série d’ateliers de recherches et d’expérimentation dirigé par Noel Guyomarc’h à Montréal. En mai dernier, son travail était sélectionné pour deux expositions importantes à Toronto. Depuis 2012, elle consacre son temps à sa passion. » (Galerie noel guyomarch)

 Anne-Marie Rébillard  Broche, Trace #16, 2014  Bois flotté, plastique, époxy, pigments, corde  9 x 10 x 4.5 cmAnne-Marie Rébillard  Broche, Trace #16, 2014  Bois flotté, plastique, époxy, pigments, corde  9 x 10 x 4.5 cm 

« Anne-Marie Rébillard remporte le Prix Émergence en métiers d’art 2014 pour l’originalité et l’innovation de l’ensemble de ses créations en joaillerie, pour sa maîtrise technique, sa qualité d’exécution, la richesse des matériaux qu’elle utilise et la cohérence de sa démarche artistique. Ce prix souligne l’excellence d’un artisan créateur en pratique depuis moins de 10 ans dans les régions de Québec et de Chaudière-Appalaches. La pratique artistique d’Anne-Marie Rébillard s’inscrit dans une approche contemporaine de la joaillerie. Elle déjoue les fonctions communes du bijou, qu’elle revendique comme un médium d’expression à part entière. Mue par la volonté de décloisonner les différentes pratiques en métiers d’art, elle articule son travail autour de l’exploration de différents matériaux non traditionnels en joaillerie. Depuis le début de sa pratique en 2006, elle a travaillé non seulement les métaux précieux, mais aussi de nombreux autres matériaux, notamment le textile, le plastique et le bois. La recherche et l’expérimentation, par le dessin, mais aussi directement dans la matière, occupent une large place de son processus créatif. Elle aborde la technique librement, privilégiant l’intuition et la découverte de résultats inattendus. » (MMAQ)

Anne-Marie Rébillard  Broche, Trace #13, 2014  Bois flotté, plastique, époxy, pigments, corde  4.5 x 11 x 4 cmAnne-Marie Rébillard  Broche, Trace #13, 2014  Bois flotté, plastique, époxy, pigments, corde  4.5 x 11 x 4 cm

 Anne-Marie Rébillard  Broche, Trace#15, 2014  Bois flotté, plastique, époxy, pigments, corde  6.5 x 10 x 4 cmAnne-Marie Rébillard  Broche, Trace#15, 2014  Bois flotté, plastique, époxy, pigments, corde  6.5 x 10 x 4 cm

Anne-Marie Rébillard: Collier / Necklace 2012 Argent sterling, plastique, peinture, fil de coton / Sterling silver, plastic, paint, cotton thread Anne-Marie Rébillard: Collier / Necklace 2012 Argent sterling, plastique, peinture, fil de coton / Sterling silver, plastic, paint, cotton thread


DECOUVERTE at SCHMUCK 2015 : Nils HINT – à couteaux tirés ….

Classé dans : COUP DE COEUR,DECOUVERTE,Estonie (EE),Nils HINT (EE),SCHMUCK — bijoucontemporain @ 0:09

Nils HINT, a talented blacksmith from Estonia, has been selected for SCHMUCK 2015 .

A étudié à Estonian Academy of Arts, promotion 2010

« Nils Hint transforms iron tools and everyday objects into caricatures and shadows of themselves. His combinations of these form humorous, surrealist narratives that are open to interpretation. »

Nils Hint  Crown: Extraordinary piece No.2  Forged ironNils Hint  Crown: Extraordinary piece No.2  Forged iron – « Triumphator » 2011 / Photo shoot with Annika Kedelauk and Rainer Kaasik-Aaslav


Nils Hint -- Neckpiece "Scissors II"Nils Hint – Neckpiece « Scissors II » 2011 / Forged iron, ready-made

Nils Hint - Neckpieces 2011 / forged iron, ready-madeNils Hint – Neckpieces 2011 / forged iron, ready-made

"Better than your neighbour" Nils Hint - scissors neckpieceNils Hint  « Better than your neighbour » – scissors neckpiece – 2013 / Forged iron, ready-made

Neckpieces "Jugend"Nils Hint Neckpieces « Jugend » 2013 / Forged iron, ready-made

Nils Hint -- Brooches / Pendants - 2014 / Forged iron, ready made  Nils Hint – Brooches / Pendants – 2014 / Forged iron, ready made -
Work presented in Gallery Ra, Amsterdam, solo exhibition 24.05.14 – 12.07.14

Nils Hint -  Conceptual neckpiece No.1 (forged iron, ready made) 2014Nils Hint -  Conceptual neckpiece No.1 (forged iron, ready made) 2014

Nils Hint ( Estonia) Conceptual neckpiece No.2 (forged iron, ready made)Nils Hint - Conceptual neckpiece No.2 (forged iron, ready made) 2014


DECOUVERTE pour SCHMUCK 2015 : Stanislava Grebenickova

Stanislava Grebenickova from Czeck Republic,  has been selected for SCHMUCK 2015

Stanislava Grebenickova  -Light & Shadow Brooches - Cut & Polished flat Glass  with Marble and GraniteStanislava Grebenickova  -  Light & Shadow Brooches – Cut & Polished flat Glass  with Marble and Granite

« She is one of those women, who managed to balance their job and family, who are admired for their beauty and pleasant behaviour, she is a wonderful and an attentive hostess, a lady in the best sense of the word. But first and foremost she is an excellent glass-making artist.
Stanislava Grebeníčková graduated from The high school of applied arts for glassmaking in Železný Brod and then passed the atelier of Stanislav Libenský on Academy of Arts, Architecture and Desing in Prague. The very important life experience was a scholarship at Amsterdam Academy at the famous professor`s Sybren Valkema. During her studies and immediately after graduation she highly devoted herself to a formed glass. Already at that time her objects were characterised by a humour and pop art playfulness. The first big success and at the same time very characteristic illustration of her creation of the 80s was a series of objects for the exhibition in Roztoky u Prahy (1984). As a fresh graduate at that time, she created Fishing tackle, enlarged severalfold and supplemented with metal components. It was a perfect illusion of existing realias. A precise workmanship, a bright variety of colors and a perfect reproduction of the logo of the famous firm producing fishing tackle helped her to attain an unusually strong effect. The installation overwhelmed professionals and lay public as well. Real objects in unreal size were deployed on plinths in gallery and with fishing-lines a visitor was under the impression he became Gulliver in the empire of giants.
After the creative pause, devoted above all to upbringing of children and building of family background, she started to give a thought to comeback as an active artist. She knew how much time had passed since her pop art objects and realized that she couldn`t return to this era anymore…she has already been in a different stage of life and started to look for new ways of her creative expression. She has found a clear conception of her new style very soon. She created a series of objects made from combination of stone and glass. Symptomatically called plastics The bearable weight of being or On my own two feet put visually and physically massive cube of polished granite on fragile crystal spirals from formed and shaped glass. A courage and humour these plastics are presented with, take rank with her early objects.
In the second half of 90s this glass artist became more a sculptor. This is related to a desire to make a one-piece work. Whereas her husband (M. Handl) became a pioneer of the gluing technology in glass freestyle, Stanislava was not comfortable with this. Although this technology has dominated in her jewellery creation, it doesn`t seem suitable for her big objects. More likely than a distrust of mechanical qualities of glues, it is an idea, that the sculpture in itself, both sculptural and plastic, works with an integral mass and capacity. Stanislava perceives glass as a sculptural material and desires her plastics would have an influence as a sculptural masterpieces. As a graduate from Libensky school she handles „through glass painting tools“ optics and valair as well. In this time came up for example Asylum, Secret place and Mysterious Asuka.
At the same time with freestyle creation Stanislava has been profiling as a jewellery maker since 90s. At the beginning there was as she says „women`s vanity“. A desire to decorate herself, however, turned into more deeper interest, which became an integral and interesting part of her artwork. Her brooches soon became popular, well-known and sought-after in the world of modern jewellery. Her first jewellery, created in 1993, was surprisingly made of stone – local slate. A supple and accessible material facilitated working on a lapidary machine. Later Stanislava started to splice different types of glass, carefully detrited, she spliced it and glued it. Soon, however, an available color scale stopped being satisfying and she started to combine glass with interesting stones and also to experiment with melting of her own glass plates. The color in itself was not the matter, it was rather a structure and colorful combination. Looking at these brooches we often don`t know, if it is a polished natural stone or skillfully and unrepeatably melted glass. Some glass plates, used in these unique jewellery, are so much remarkable that deny the rules of glass cohesion. They are feasible only in such tiny size and are absolutely inimitable. Jewellery of this creative artist, in spite of their size, appear very monumentally. They remind of pictures. Partly by unprecedented colorful surfaces, which themselves look like a brush texture, but also by their unconditional two-dimensionality. They are based on space illusion. Almost each of them is a small expample of optical illusion: reversible cubes, vanes, prisms, portikas and columned halls are just sofisticated colorfully-geometrical segmentation of area. And therein is a jewellery work of this author so exceptional. A smooth, glazy, accurate, very precise and compact jewellery appears optically as a fragile, plastic, vulnerable and membered. Thus, it implicilty connects the most important characteristics of modern jewellery. Potential of wearing, originality and perfect manufacturing.
At present Stanislava Grebeníčková has been teaching on Higher, Secondary and Apprentice Glass School in Nový Bor. She lives and works with her family in nearby Polevsko. » (Eliška Vavříčková – 8. 12. 20:07)

Stanislava Grebenickova   - glass brooch 2000 Stanislava Grebenickova   – glass brooch 2000

Stanislava Grebenickova  - glass jewelry - brooch 2000Stanislava Grebenickova  – glass jewelry – brooch 2000

 Stanislava Grebenickova  -  brooch glass, granite 2002Stanislava Grebenickova  -  brooch glass, granite 2002

Stanislava Grebenickova  - glass jewelry - brooch 1999Stanislava Grebenickova  - glass jewelry – brooch 1999

  CENTRUM BAVARIA BOHEMIA - Stanislava Grebenickova (CZcech) - glass jewelry Stanislava Grebenickova   – glass brooch - CENTRUM BAVARIA BOHEMIA


During SCHMUCK 2015 – EXPO ‘From the Coolest Corner – Nordic Jewellery’ – Galerie Handwerk, Munich (DE) – 6 Mars-18 Avril 2015

From the Coolest Corner – Nordic Jewellery

Galerie Handwerk 

Inauguration 5 March 2015 – 18.30 hAusstellungseröffnung Donnerstag, 5. März 2015, um 18.30 Uhr

from the coolest corner  (Lilian Eliassen Necklace: Every Road Is Just Another Way Home, 2012 Casting clay, silver)

 AND SEMINAR « Re-Public Jewellery« 
Freitag, 13. März 2015, von 10 bis 15 Uhr in der Galerie Handwerk.
Die Teilnahme ist kostenfrei.
Anmeldung erforderlich bis zum 5. März 2015 über oder über die Telefonnummer 089 5119-296. Nähere Informationen unter .
The seminar Re-public Jewellery will be held at Galerie Handwerk Friday 13 March. Four international speakers will analyze different aspects of social potential in contemporary jewellery: Liesbet Bussche (B), Helen Carnac (GB), Nanna Melland (N), Yuka Oyama (N/D). The seminar is produced by Martina Kaufmann, Prof. Ingjerd Hanevold and Prof. Anders Ljungberg at Oslo National Academy of the Arts, Metal and Jewellery Department in collaboration with The National Museum of Art, Design and Architecture and the Norwegian Association for Arts and Crafts.
The presentations made in this seminar will moderated by Sofia Bjørkmann and Prof. Anders Ljungberg. Together with the speakers and the panel-participants they will investigate strategies to convey and communicate jewellery art in public space.
Time: Friday 13 March 2015, 10 – 15
Place: Galerie Handwerk, Max-Joseph-Straße 4, Munich (map)Registration: The seminar is free of charge, but requires a registration with the Galerie Handwerk. Please register via email galerie[at] or phone
+49-89-5119-240 or -296.
Maximum number of participants are 90 people.
Full program in pdf

From the Coolest Corner: Nordic Jewellery presents an exciting and broad range of the contemporary studio jewellery created in the Nordic countries. From the Coolest Corner: Nordic Jewellery has a three-fold aim: to present the newest and most advanced contemporary Nordic jewellery, to intensify the discourse on today’s jewellery and strengthen the knowledge about this field, and to consolidate Nordic jewellery’s position in national and international arenas.
Jewellery will be presented in 3 different ways: a touring exhibition, a comprehensive book and an international Seminar Re-Public Jewellery, all shedding new light on the importance of this art. Denmark, Estonia, Finland, Iceland, Norway and Sweden will be the main collaborators in this project.
The touring exhibition From the Coolest Corner was opened at The National Museum – The Museum of Decorative Arts and Design in Oslo in January 2013. It then travelled to The DesignMuseum Finland in Helsinki, The Designmuseum Danmark in Copenhagen, The Estonian Museum of Applied Art and Design in Tallin, The Röhsska Museum of Design and Applied Arts in Gothenburg and The Lithuanian Art Museum in Vilnius.
During “Schmuck 2015” it is shown at the Galerie Handwerk in Munich.
This main exhibition presents 159 works by 61 artists from the Nordic countries including five invited honorary artists and a selected group of artists from Estonia.
The international seminar Re-Public Jewellery will take place on March 13th at the Galerie Handwerk, 10:00-15:00.
To strengthen the interest in and knowledge of art jewellery, artistic tendencies and research within the field will be presented both in the seminar and in the book.
All these different presentations of Nordic studio jewellery together, aim at contributing to reinforce the image of contemporary Nordic Jewellery as expressive, reflexive and “cool”.
The project is a result of a cooperation between the three Norwegian partners (The National Museum –The Museum of Decorative Arts and Design in Oslo, The Norwegian Association for Arts and Crafts and Oslo National Academy of the Arts) and their associated organizers in the Nordic museums of design and decorative arts, the Nordic crafts associations and the national colleges of art and design as well as, of course, our sponsors Nordic Culture Point, Nordic Culture Fund, Arts Council Norway.
The exhibition is sponsored by the Nordic Culture Point, the Nordic Culture Fund, the Arts Council Norway and Galerie Handwerk of the Bavarian Chamber of Crafts

From Dänemark : Julie BachKim BuckAnnette DamKaori Juzu — Marie-Louise Kristensen — Thorkild Harboe Thøgersen — Josephine Winther

  Julie Bach    Julie Bach  -bracelet

  Josephine Winther Josephine Winther Necklaces: Ding, 2011 45 bells, bronze, silver, gold, copper, porcelain, amber,agate

From Estland : Julia Maria KünnapKadri Mälk — Maarja Niinemägi — Kristi Paap — Anna-Maria Saar — Tanel Veenre

  Julia Maria Kuennap    Julia Maria Kunnap  Brooch: From the Middle of a Dream, 2010 Obsidian, gold

  Kadri Mälk Kadri Mälk

From Finnland : Ami Avellán — Aino Favén — Clarice Finell — Janne Hirvonen — Sirja Knaapi — Mervi Kurvinen –  Helena Lehtinen — Mirja Marsch — Anna RikkinenJanna Syvänoja — Monica Wickström

 Janna Syvaenoja Necklace: Untitled I, 2012 Paper, steel wire Janna Syvänoja Necklace: Untitled I, 2012 Paper, steel wire

 Helena Lehtinen  Helena Lehtinen

From Island : Hildur Yr Jónsdóttir — Hulda B. Ágústsdóttir — Helga Ragnhildur Mogensen — Orr-Kjartan Örn Kjartansson & Ástpór Helgason

Helga Ragnhildur Mogensen, ICL Nackstycke "The Red Thread", 2010, drivved, garn, silver. Helga Ragnhildur Mogensen,   Nackstycke « The Red Thread », 2010, drivved, garn, silver

From Norwegen : Liv BlåvarpSigurd Bronger – Linnéa Blakéus Calder — Lillan EliassenElise Hatlø –  Anne LégerKonrad MehusAnna Talbot — Gunnhild Tjåland

Liv Blåvarp: Red Drop, 2011. For this piece Blåvarp was awarded Bayerischer Staatspreis 2012. Photo: Liv BlåvarpLiv Blåvarp: Red Drop, 2011. For this piece Blåvarp was awarded Bayerischer Staatspreis 2012. Photo: Liv Blåvarp

  Anna Talbot (NO) Anna Talbot

From Schweden : Tobias Alm Sara Borgegård ÄlgåBeatrice BroviaNicolas ChengÅsa Elmstam –  Daniela HedmanHanna HedmanKarin Johansson Jenny KlemmingAgnieszka KnapAgnes LarssonKajsa LindbergPaula Lindblom Åsa LocknerMärta MattssonLena OlsonLina PetersonAnnika Pettersson — Margareth Sandström — Sanna SvedestedtTore SvenssonAnna Unsgaard — Peter de Wit — Annika Åkerfelt

  Agnes Larsson  Agnes Larsson

 Märta Mattsson   Märta Mattsson


Galerie Handwerk 
Max-Joseph-Straße 4
Eingang Ottostraße
80333 München
Tel. 089 5119-296/240
6 March ->18 April  (Di.- Mi.- Fr.)  10-18 h., Do. 10-20 h. – 14-16 March 10-15 h.



DECOUVERTE at SCHMUCK 2015 : Jim BOVE – The Drawing series

Classé dans : COUP DE COEUR,DECOUVERTE,Jim BOVE (USA),SCHMUCK,SNAG (US),USA — bijoucontemporain @ 19:49

Jim BOVE sélectionné pour SCHMUCK 2015

Jim Bové - drawing series - 3 brooches 2014Jim Bové - drawing series – 3 brooches 2014

Jim Bové is a practicing artist and educator living just outside of Pittsburgh, Pennsylvania. He is an Associate Professor at California University of Pennsylvania. Jim has organized and curated several international exhibitions and lectures between the United States and Japan, including the cross-cultural exchange, Metalsmiths Linking. In 2011 Jim’s artwork was selected for Metalsmith magazine’s Exhibition in Print. His artwork has been featured in several books, including Lark Book’s 500 series, Humor in Craft by Brigette Martin and most recently in 500 Art Necklaces. His artwork resides in collections in the United States, Japan, the Dominican Republic, and Malaysia. Member of SNAG

 Jim Bové - Ring I - drawing series 2011Jim Bové – Ring I – drawing series 2011

« The search for spontaneity in my artwork has brought me back to the sketch. Pages of drawings have been produced as I searched for new ideas to create in metal. When I looked at those drawings, my eye caught on the impression of the pen, the gesture of the pencil and the weight of the stroke. I wondered how to re-create that immediacy in wearable art. This new series of work employs a surface that allows me to work more spontaneously. Sometimes the piece evolves from a page in my sketchbook, at other times the metal is prepared and the small canvases can be carried with me so I can work the surface as I am inspired. The work is minimal and abstract. I have grown even more appreciative of abstract expressionism and artists like Robert Irwin and Antoni Tapies, especially the thought Irwin puts behind his creations. maybe because I teach design theory classes, I have come to enjoy the search for the perfect line in the perfect place. Something so simple can occupy so much effort. »

Jim Bové drawing series broochDrawing Series: Brooch – Awarded Honorable Mention, Cheongju International Craft Biennale, Cheongju, South Korea. 2013 Industrial auto paint on die formed copper with patina. 2012

« Color satisfies the eye, line satisfies the mind »  

« The Drawing Series expresses my love for line, shape and the mark of a tool on a surface.  Inspired by minimalism and abstract expressionism, the shaped, wearable canvases allow me to explore composition.  Many of the shapes are rooted in observation.  Shadows, light, architecture, all of these become subjects to reinterpret, simplify and incorporate into my work. The pieces are intentionally un-named. They are pure composition and exist only as part of a series of drawings. By using a strong, industrial primer on formed metal I can sand and prepare the surface to a smooth, satin finish, almost silk-like to the touch.  The strength of the paint allows me to carve through, as well as draw on, the surface. A chemical patina enhances the contrast. »

 Jim Bové (USA) necklace 2012Jim Bové (USA) necklace 2012 – drawing series

Jim Bové - Drawing Series Industrial auto paint on copper. Ink and patina 2012Jim Bové - Drawing Series – Industrial auto paint on copper. Ink and patina 2012

Jim Bové (USA) ring 2012Jim Bové - ring 2012 – drawing series

Jim Bové (USA) ring 2012Jim Bové – ring 2012 – drawing series

Jim Bové - Fold1 necklaceJim Bové – Fold1 necklace - Necklace. Industrial auto primer on copper with patina and black rubber cord. 2013

« The technique The Drawing Series is a unique process that I developed.  By using an industrial auto primer, the same used in auto body shops, I create a canvas on a shaped, copper base.  The strength of the paint allows me to carved or sand through the surface.  Using the ancient technique of silver and gold point, I can draw on the surface.  A simple patina enhances the colors of the metal.  Silver turns a warm French gray, gold becomes a cool gray and copper ranges from black to brown. The pieces are very lightweight and durable. Once cured, the paint is hard, resistant to damage and easy to clean. » Making « First the copper metal is shaped. This is done using various fabrication techniques. I start by sawing the shape out. If the piece needs to be shaped, I use sinking, hydraulic die forming or folding techniques.  After the piece has been formed, I solder on any pin backs, accents or hanging hardware.  Once soldering is complete and the piece has been cleaned, I prepare auto paint by mixing a hardener and an extender into the paint. The mixed paint is applied by spray gun.  After the paint has hardened and set, each piece is wet sanded until the finish is satin in texture. Sharp scribes and chisels are used to carve through the surface.  Gold, silver and copper wires are used to draw on the painted surface.  Finally a patina is applied to enhance the color of the metals. « 

 Jim Bove  -  - Fold1 necklace - Society of North American GoldsmithsJim Bove  -  – Fold1 necklace 

Jim Bove - squarespace necklace   Jim Bove - squarespace necklace


DECOUVERTE at SCHMUCK 2015 : Diogo ALVES – Olissipo por um Funil

DIOGO ….. yes, yes, NOT Diego ! Diogo Alves, from Portugal, actually (2012-2015) studying at Massana school

During SCHMUCK 2015 he will exhibit at « En Transito » exhibition : cf  During SCHMUCK 2015 – EXPO ‘En Tránsito’ – Cervantes Institute, Munich (DE) – 11-15 Mars 2015

[on pourrait traduire « Olissipo por um funil » par  « Lisboa vue par le petit bout de la lorgnette »]

« I enjoy details found in architecture, rubble, cranes, structures and pipes.
All those elements that are part of the cityscape.
Through jewellery, I have discovered the possibility of building my own worlds which carry stories, messages, feelings and fantasies inside of them.
Working with reduced scale, make me feel like I’m inside the pieces I build…..

Have a look at his FB page

Diogo Alves (Massana) - Serie 'Olissipo por um funil' - Title: 38°39'57.05"N 9°11'40.54"W Material: resin , brassDiogo Alves (Massana) – Serie ‘Olissipo por um funil’ – Title: 38°39’57.05″N 9°11’40.54″W Material: resin , brass

 Diogo Alves (Massana) Serie 'Olissipo por um funil'      - Title: 38°39'57.05"N 9°11'40.54"W Material: resin , brassDiogo Alves (Massana) Serie ‘Olissipo por um funil’  (detail)  – Title: 38°39’57.05″N 9°11’40.54″W Material: resin , brass

Diogo Alves (Massana)Serie 'Olissipo por um funil' - Title: 38°39'57.05"N 9°11'40.54"W Material: resin , brass  - detailDiogo Alves (Massana)Serie ‘Olissipo por um funil’ – Title: 38°39’57.05″N 9°11’40.54″W – Material: resin , brass  – detail

Diogo Alves (Massana) Serie:"Olissipo por um funil" Title: 41° 3'8.70"N 8° 5'4.98"W Material: resin , brassDiogo Alves (Massana) Serie: »Olissipo por um funil » – Title: 41° 3’8.70″N 8° 5’4.98″W Material: resin , brassDiogo Alves - "olissipo por um funil" -Diogo Alves – « olissipo por um funil » – Title: 41° 3’8.70″N 8° 5’4.98″W Material: resin , brass – detail

Diogo Alves -"Olissipo por um funil" Material: Brass, copper, silver, epoxi resinDiogo Alves -Necklace-“ Olissipo por um Funil ” – Copper, Brass , Epoxy Resin ( Luminescent Pigment )

 Diogo Alves (Massana) Title 'Obeservatório utópico'  Material: Brass, copper, silverDiogo Alves (Massana) Title ‘Obeservatório utópico’  Material: Brass, copper, silver

Diogo Alves - "olissipo por um funil" -  - title 41°24'15.03" N 2° 9'23.40"E - resin, brass, plastic, led systemDiogo Alves - « olissipo por um funil » -  – title 41°24’15.03″ N 2° 9’23.40″E – resin, brass, plastic, led system


COUP de COEUR at SCHMUCK 2015 : Katharina DETTAR – ROCK on …..

Katharina DETTAR, selected for SCHMUCK 2015.

2013 : University of Applied Sciences Trier, Jewellery and Stonework Design in Idar-Oberstein (DE)
2014 : BKV-prize / Finalist

Forcément, avec sa formation à Fachhochschule Trier, Idar-Oberstein,  elle nous taille dans la pierre des bijoux à couper le souffle ….


"papallona" - Katharina Dettar - brooch - labradorite - papallona exhibition ( BUTTERFLIES at AmarantoJoies, Barcelona, exhibition )Katharina Dettar  « papallona » brooch – labradorite – papallona exhibition ( BUTTERFLIES at AmarantoJoies, Barcelona, exhibition )

KATHARINA DETTAR-DE Inhorgenta/Graduates BA 2013KATHARINA DETTAR- « Leave the scene behind » – agate, silver and steel wire – 250|400|30 mm – photo by Manuel Ocaña – Inhorgenta – Graduates BA 2013

KATHARINA DETTARKATHARINA DETTAR- « Leave the scene behind » -  agate, silver and steel wire 250|400|30 mm  - photo by Manuel Ocaña

KATHARINA DETTAR Agate, wood, gold, silver, steelKATHARINA DETTAR « Summer is gone » neckpiece – Agate, wood, gold, silver, steel (back of the neckpiece)

Katharina Dettar, Summer is gone, 2013, Necklace, Agate, wood, gold, silver, steelKatharina Dettar, Summer is gone, 2013, Necklace, Agate, wood, gold, silver, steel (front of the neckpiece)

Katharina Dettar, Germany-SpainKatharina Dettar « leave the scene behind » neckpiece 2010


During SCHMUCK 2015 – EXPO ‘Mythen/Myths 2015′ – Galerie Weltraum, Munich (DE) – 11-17 Mars 2015

«Mythen/Myths 2015» A contemporary insight in precious Greece

Galerie Weltraum

Opening: 11 March, 7 – 10 p.m.
Sofia Zarari,  "Chronos", 2013, Photo credit: Myrto KoutoulSofia Zarari  -  « Chronos », 2013, Photo credit: Myrto Koutoul
Thirteen visual artists, architects and designers and four guest stars turn their daily experience in Greece into jewellery: family violence, mother’s Alzheimer, unconditional love, negation of death, bankruptcy, androgynous sexuality, Charlie hebdo’s impact on freedom of speech etc.
Exhibits make part of a sculptural, walk-in installation reminding of a broken ancient Greek temple or a human-sized trap, a double symbol for the Greek crisis. Daily art performances inspired by contemporary Greek culture reflect on archaic uses of jewellery.
« The Greek drama is taking place right now, almost a third of the young do not have a job, many people live hard lives. Their hardships can be connected to the suffering that heroes from the great Greek stories underwent. Our contemporary dramas both in world politics as in our personal lives resemble those tragedies described in the great Greek theater.
We lose a loved one, we encounter unfaithfulness, we are in warlike situations due to real war or we seem to be in a battle to keep our health or sanity and all of us cope with these things in different ways. All these themes are expressed in the great Greek myths. Every Greek is steeped in her or his heritage as I know from having travelled many times in Greece.
For the artists of this show their Greek background is a focal point that one can always go back to. In the jewelry and other art, made by the exhibiting artists the Greek myth has been an enormous rich well to draw from as you will see.  »
Marietta de Bruïne, Art historian, Amsterdam.
Artists: Katerina GlykaChristina KarababaAnna Kitsou –  Maro KornilakiYakinthi OikonomouSofia PaschouLoukia RichardsHeleni Siousti — Margarita Skokou — Eleftheria SpantidakiSystemalab (Sofia Daniilidou) — Konstantina Tzavidopoulou — Marianna Tzouti — Sofia Zarari
Guest artists: Eugenia Feroussi — Elina Kakourou — Katerina Kolonellou — Sofia Paschou.

 Yakinthi Oikonomou, Bonds, 2014, Photo by Orestis Rovakis
Yakinthi Oikonomou, Bonds, 2014, Photo by Orestis Rovakis
 Yakinthi Oikonomou  -"Tough love", Mixed technique, Canelloni, paper, silver, 2014 Photo credit: Orestis Rovakis  Yakinthi Oikonomou  - »Tough love », Mixed technique, Canelloni, paper, silver, 2014 Photo credit: Orestis Rovakis
  SYSTEMALAB Ring: Peristerionas Rings, 2013 Photo by: SYSTEMALABSYSTEMALAB Ring: Peristerionas 3D printed Rings, 2013 Photo by: SYSTEMALAB
Loukia Richards, "Sirens", 2013 Photo credit: Christoph Ziegler  Loukia Richards, « Pornogirls/Sirens », 2013 Photo credit: Christoph Ziegler
 Anna Kitsou, Athens  Anna Kitsou, “Kyklikos Chronos” (“Κυκλικός χρόνος”), 2012, Ρhoto credit: Giannis SeferosAnna Kitsou’s reference to aesthetics can be traced back to the Neolithic settlements, the Acropolis of Tiryns with the Cyclopean Walls, the Cycladic idols or the harmonious aerial photographs of excavations.  Her jewellery reflects magic rituals and the hope of humankind that with fire, gemstones and knots can gain control over destiny. Long before the construction of houses, roads, airplanes or refrigerators, mortals created jewellery to give them strength to confront not only enemies of the terrestrial world, but also the demons from beyond.  Jewellery was a companion for eternity, emphasizing faith in immortality.
“Each piece is a journey through land, water and fire… My inspiration is the Earth, Greece and cultures,” says the young designer and ceramist.
Mix & match of shapes and materials by Maro Kornilakh Mix & match of shapes and materials by Maro Kornilakh
"Synapsis/Alzheimer". Work in progress by Heleni Siousti. 2015Heleni Siousti « Synapsis/Alzheimer ». Work in progress  2015 -
Helices or spirals are characteristic patterns of ancient Greek jewellery. They symbolize the moon, mazes, snails, snakes, ebb and flow, cyclical time, regeneration, perpetual motion, echo, appearance and disappearance, consciousness and unconsciousness, memory and oblivion, even the human brain itself.
The jewellery of Helen Siousti, often unfinished or imperfect, signifies memory fading away due to Alzheimer disease.
It illustrates the pain of those who, unable to act, watch their loved ones crossing the river of Lethe while being alive. Her pieces are relics of beautiful, powerful moments – the offspring of the unknown future and love.
Heleni Siousti uses her art to unite robust remembrances with glimpses of memory in an attempt to explain how fragile and vulnerable we become through the memory of what has been and will not be — no more.
She hauls childhood fears to the surface, fears which become alive as our parents walk slowly, but steadily, towards the dark forest of fairy tales while we – like helpless Hop-o’-My-Thumbs – have only crumbs in our pockets to help them trace the path leading back to us…
Heleni Siousti studied Economics in Athens and worked in the private sector. She is an acrtive member of the ecological movement in her home town Kozani in Macedonia.
Peace man!  -  Christina Karababa, "Bang-Bang 1", 2014 Photo credit: Christina KarababaPeace man!  -  Christina Karababa, « Bang-Bang 1″, 2014 Photo credit: Christina Karababa
and should god Hephaestus, the famous blacksmith of Olympus, continue making weapons and jewellery in his workshop, he would possibly use a 3D printer.
Renowned for its decoration and apotropaic/defensive perfection is the shield Hephaistos made for Achilles.
Bang bang!
The sound of the gun in comic strips suits the myth of revolutionary subversion of aesthetics standards.
Such myths are endlessly created by fashion and technology in modern urban centers.
Everything goes, but in a different way…
« In my work I mould odd objects with contradictions as far as their operation, meaning and interpretation are concerned. These items should be conceived mostly as comments, as toys or as dangerous and naive fantasies, » writes Christina Karababa.
The artist teaches in Applied Science University Düsseldorf. She has held numerous individual and group exhibitions and co-curated the international art jewellery meeting « Zimmerhof Symposium » in 2014.
"war-like jewellery" of Katerina Glyka  Katerina Glyka  – « Lethal Jewellery » -  « war-like jewellery » of Katerina Glyka which has as starting point scenographic imitations of archaic weapons made with the technique of paper mache and ends up being potentially lethal tools made from cement.


Galerie Weltraum
Rumfordstrasse 26, Munich
Opening 11.03.2015 19:00 – 22:00
12.03.2015 – 17.03.2015
14:00 – 20:00
Rumfordstrasse 26, Munich
Opening 11.03.2015 19:00 – 22:00
tel : 0175 1121656



DECOUVERTE at SCHMUCK 2015 : Georgina TREVIÑO – the denseness of concrete

Classé dans : COUP DE COEUR,DECOUVERTE,Georgina TREVINO (Mx.),Mexique (MX),SCHMUCK — bijoucontemporain @ 0:16

Georgina TREVIÑO , who has been selected for SCHMUCK 2015, is a contemporary jeweler from Tijuana, Mexico currently living in San Diego, California.
She obtained a Bachelors Degree in Applied Design with an emphasis in Jewelry Making from San Diego State University in 2014. Her work is a personal narrative and reflection of the nostalgic memories of unfinished architecture in Tijuana, Mexico. She incorporates industrial material local to the framework of Tijuana infrastructure into jewelry that discusses the dichotomy between conventional building material straddling the United States and Mexico border.


 Georgina Treviño Georgina Treviño (detail)

 » My work captures the nostalgia of my childhood memories while living in Tijuana, Mexico. After being surrounded by cement walls during my childhood, I started to notice the differences between the way houses and buildings were being built when I moved to the United States. In Tijuana, structures, including family homes, are mostly made of cement. Sometimes they remain unfinished for years, even as additions to already completed structures. No two buildings looked the same and there were no designated communities where class was distinct based off the architecture. When I moved to the United States for college, I drove around neighborhoods, downtown, ventured into suburban and urban areas and I immediately noticed how different the architecture was from my hometown, which was only a short thirty-minute drive away. Buildings in the United States used wood as the framework and housing all looked the same. It was very clear to tell the areas of the city that were poor, wealthy and middle class, just based on the architecture. I focused on this dichotomy in this work and explored with the materials I remember as a child, incorporating them with modern materials that I am surrounded by now as an adult.

Georgina Trevino - Cement and brass neck-pieces. Georgina Trevino – Cement and brass neck-pieces

Georgina Trevino -Cement and steel necklace . 2014 . Georgina Trevino -Cement and steel necklace . 2014

  These pieces investigate the inner structures of buildings and the process of casting cement while capturing geometric and organic shapes. These forms represent trapped memories; the geometric represent the hard walls of my childhood and the organic represent the hollowness that I see and feel now when I look back and try to hone in on those memories. The use of metal implies the half-way-done feel of rusting buildings. I cast cement using found objects that, to me, signify a culture that is distinctly young American. For example, to create a sense of tension, I cast inside latex gloves, condoms, and plastic shot glasses, which create a texture that aids the process of making with these materials. They elevate the meaning between my past and present. The cement forms themselves look heavy but are hollow and very lightweight. This is a direct reflection of the impression I had when I touched the hollow wood walls in the United States after living my entire life in the denseness of concrete. »

 Georgina Trevino - Cement and brass neck-pieces  Georgina Trevino – Cement and brass neck-pieces 

Georgina Treviño. Steel, cement and string . 2014 . Selected for Schmuck 2015Georgina Treviño. « Mensula » – Steel, cement and string . 2014

Georgina Treviño.Cement, foam and sterling silver .2014  Georgina Treviño. « entrampado » – Pendant. Casted Cement, Sterling silver and foam .(2014) 

Georgina Trevino - Found rope, cement , brass and steel . 2014 Georgina Trevino - Nostalia 2 – Found rope, cement , brass and steel . 2014

georgina trevino broochGeorgina Trevino brooch



During SCHMUCK 2015 – EXPO ‘En Tránsito’ – Cervantes Institute, Munich (DE) – 11-15 Mars 2015

« En Tránsito »

EASD València and Escola Massana Barcelona at Cervantes Institute in Munich

Vernissage: 12 March 2015.  4 pm

Organisation:  Silvia Walz  and  Heidi Schechinger

En Tránsito. EASD València and Escola Massana

« Transition is a never-ending movement, a perpetual passing by without stopping. The artistic creation process is a walk along unforeseen and unknown paths. A jewel is an object in transition, especially when it leaves its ornamental function and becomes an artistic work piece, when it acquires the strength to move us, when it sets in motion the symbolic being that lies within us. » Ramon Puig Cuyas.

En Tránsito. EASD València and Escola Massana Barcelona at Cervantes Institute in Munich -  Exhibition  /  11 Mar 2015  -  15 Mar 2015  [Rodrigo Acosta brooch "Ritmo cardiaco", EASD València]Rodrigo Acosta brooch « Ritmo cardiaco », EASD València


Artist List EASD València:
Amparo De Ramón Ángela BermúdezAnna Maria StaianoAránzazu Sainz  — Azahara SantoroBeatriz DíazTina LeónEdu TarínElvira H. MateuElvira MelladoErika JordánEsperanza PascualJosé Antonio MolinaMarie PendarièsMónica ArceMyriam Moreno Natalia ArayaLaura Guillot Laura SalgueroRodrigo Acosta Rosa BorredáSue Ibars.

Artist List Escola Massana:
Auba Pont Alicia GiraldezCarla Garcia Carme RoherClara Niubó — Diogo Alves — Eva BurtonEva Girbes Fatima TocornalGastón Rois – Gemma CanalLola Gratacós Lourdes CarmeloMaría DiezMontse BasoraNatsumi KaiharaNoelia Sanchez Nicole Deuster Nuria AngurenSandra LlusàPilar Cotter Xus Anglès.

 Rodrigo Acosta, EASD València  Rodrigo Acosta, EASD València- broche « Ritmo cardiaco » 2014

Eva Burton, Escola Massana  Eva Burton, Escola Massana 

Elvira Mellado, EASD València  Elvira Mellado, EASD València

Lourdes Carmelo, Escola Massana Lourdes Carmelo, Escola Massana

Diego Alves, Escola Massana  Diogo Alves, Escola Massana (« Observatório utópico » – Brass, copper, silver)

Rosa Borredá, EASD València Rosa Borredá, EASD València

Elvira H. Mateu, EASD València Elvira H. Mateu, (detalle) EASD València

Myriam Moreno -   Three brooches/objects from "Lo aprehendido".  Photo: Borja Pascual Myriam Moreno -   Three brooches/objects from « Lo aprehendido ».  Photo: Borja Pascual

« Transitar es un estado de contínuo movimiento, un pasar perpetuo, sin detenerse. El proceso de la creación artística es un transitar por territorios imprevistos y no conocidos antes. La joya es un objeto de tránsito, sobre todo cuando abandona su función decorativa y se convierte en objeto artístico, cuando adquiere la fuerza para conmovernos, cuando pone en movimiento a nuestro ser simbólico que todos llevamos con nosotros« . Ramon Puig Cuyàs Escola Massana (Barcelona)

« Si marcamos sobre un mapa el recorrido de nuestros pasos por este mundo desde el día en que nacimos, nos saldrán un montón de garabatos apretujados alrededor de unos pequeños nodos y algunas líneas más sinuosas, largas o cruces. Uno, nos ha conducido a la escuela, donde estamos en tránsito hacia la experiencia en nuestro quehacer como joyeros, pero ahora, es esta exposición de nuestras creaciones, prueba de ese viaje extraordinario que nos lleva hasta una nueva encrucijada en nuestra trayectoria: Schmuck München ». Kepa Karmona EASD València


  presentation of BOOK "ECLAT - Masters of the new jewelry design" by Carlos Pastor, friday March 15, 17h, at Instituto CervantesPpresentation of BOOK « ECLAT – Masters of the new jewelry design » by Carlos Pastor, friday March 15, 17h, at Instituto Cervantes



Instituto Cervantes Munich
Alfons-Goppel-Str. 7
80539 -  Munich
Phone: 49 89 29 07 18 41



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