BIJOU_CONTEMPORAIN

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30/04/2017

EXCHANGE-BIJOU 1 – Ute van der PLAATS …. success at LOOT !!

Ute van der PLAATS 

BIG success at LOOT for Ute van der Plaats !! well deserved !!!

« I won, together with Sun Young Kim , the LOOT Acquisition Prize 2017. One of my big rings will be added to the permanent collection of the Museum of Arts and Design (MAD). »

BIG success at LOOT 2017 for Ute van der PlaatsUte van der Plaats …. and her jewels ! at LOOTS 2017
« So happy that my all time favorite necklace went to  Michele Cohen, Chair of the Board of Trustees of the MAD museum. »

Ute van der Plaats  at LOOTS 2017 - the "PORCELAIN Club", here with Ralu Buzura.Ute van der Plaats  at LOOTS 2017 – the « PORCELAIN Club », here with Ralu Buzura.

Ute van der Plaats - collection "In-between days". (2016) ring with little porcelain flowers (all handmade) inside - The width of the balls is either 2,5 cm or 3 cm:Ute van der Plaats – collection « In-between days ». (2016) ring with little porcelain flowers (all handmade) inside – The width of the balls is either 2,5 cm or 3 cm
« One of my big rings will be added to the permanent collection of the Museum of Arts and Design (MAD). »

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HERE is a FANTASTIC VIDEO
of HOW Ute van der Plaats makes her jewels
ABSOLUTELY to LOOK AT !
(sorry I can’t include it directly here … so put the link !)
VIDEO

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Born in Germany and based in Brussels, Belgium, Ute van der Plaats has worked as a jewelry designer since 2009. In addition to contemporary jewelry, she has a passion for graphic design and ceramics, and her latest collection combines these three disciplines. A few years ago, she discovered porcelain—the white gold—and fell in love with it. Since then, this pure material has become the starting point in the creation process of her jewelry collections. She is attracted by its translucent white color, the fragile appearance that belies a surprisingly solid character, and the almost sensual texture of unglazed porcelain. By integrating different materials, such as 3D-printed ornaments and digitally designed images, into handcrafted porcelain creations, she translates traditional jewelry concepts into contemporary pieces

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20/04/2017

EXCHANGE-BIJOU 1 – Julia Obermaier – « Die Vier » EXPO suite (et fin) [at EUNIQUE, 19-21 May 2017 Karlsruhe (DE)]

Julia Obermaier

Upcoming show « weekend Art gallery #4« at Arnoldsche Verlag on the 12 of may until the 14th of may in Stuttgart.  
Inauguration 12 May from 19h

(ARNOLDSCHE Art Publishers  Olgastraße 137, 70180 Stuttgart, Allemagne -Tél : +49 711 6456180

Julia Obm -Arnoldsche week-end Art gallery MAY 2017upcoming show "weekend gallery"at arnoldsche Verlag on the 12 of may until the 14th of may in stuttgart.

 

The weekend after the show in Stuttgart I will show my work with DIE VIER at Eunique :

EUNIQUE visitor Flyer
Die Vier  Exhibition  continue,  next time  on  19-21 May at Eunique in Karlsruhe.
« Four women with a strong language expressed through jewellery have the aim to revive the traditions of stone carving and goldsmithing with a contemporary approach. Idar-Oberstein is the point of encounter from all the members of the group, coming from Costa Rica, Austria and Germany. »

 Julia Obermaier at Die VierJulia Obermaier at Die Vier

Julia Obm - at Die Vier   Julia Obermaier at Die Vier

 

 

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16/03/2017

#MunichJewelleryWeek2017 – EXPO (7) – ‘SHESH six jewelry artists’ – Bayerischer Kunstgewerbeverein (BKV Gallery), Munich (DE) – 24 Fevr.-1er Avril 2017

 7 (on map) SHESH six jewelry artists

24. Februar bis 01.April 2017 – Bayerischer Kunstgewerbeverein (BKV Gallery)

Eröffnung: Donnerstag, 23. Februar 2017, 18.30 bis 20.30 Uhr (Opening 23.02 18:30)

Curator: Esther Knobel
Under the guidance of Esther Knobel, the group has been meeting regularly since 2006, conducting an ongoing discourse in the jewelry field, on the path to forming and cultivating a personal creative language.
For more info please enter our site www.sheshandmore.com
Rechte der Fotos bei den KünstlerInnen

  7 (on map) Munich Jewellery Week 2017 /  SHESH - 6 Jewellery Artists - Bayerischer Kunstgewerbeverein (BKV Gallery)

artists:  Alona Katzir — Hadas LevinNoa LiranSara Shahak — Shuli Egozi — Sigal Meshorer – all live and work in Israel.

Sara Shahak Sara Shahak

 Sara Shahak - necklace Sara Shahak - necklace   Sara Shahak Sara Shahak

Alona KatzirAlona Katzir

 Noa LiranNoa Liran

Shuli EgoziShuli Egozi

Sigal MeshorerSigal Meshorer

7 SHESH group - Hadas Levin -: Hadas Levin

 

 

Bayerischer Kunstgewerbeverein (BKV Gallery)
 Pacellistraße 6-8
Munich
+49 89 2901470
info@bayerischer-kunstgewerbeverein.de
Öffnungszeiten: Mo bis Sa 10 bis 18 Uhr
Sonderöffnung, Sonntag, 12. März 2017, 11 bis 17 Uhr meet the artist mit SHESH, 13 bis 15 Uhr
www.bayerischer-kunstgewerbeverein.de
www.sheshandmore.com

 

 

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09/03/2017

#MunichJewelleryWeek2017 – EXPO (37) – « Duality of Presence » – Super+Centercourt Gallery, Munich (DE) – 8-14 Mars 2017

(37)  « Duality of Presence« 

Opening Reception: March 8, 6pm

runs 08.03–14.03

Duality of Presence, is a curatorial collaboration between American Professors of Jewelry/Metalsmithing Kerianne Quick and Jess Tolbert.
The exhibition brings together contemporary jewelers and metalsmiths working in the United States, who use specific material and form to tell stories about place, histories, and conveyance.

(37) Duality of Presence

dualityofpresence  takes an explicit look at a generation of American contemporary makers united by the urge to connect to things and the world. As we grapple with the legacy of [alternative] material use in art jewelry in the age of globalization – we are united in the urgency our works express to identify with and bring insight to what it means to be in the world now. This exhibition was born from a noticeable shared concern and strategy expressed in the work of curators, colleagues, and other makers in the field. Within the field of contemporary art jewelry many reject or limit the use of precious materials associated with conventional jewelry in favor of non-traditional materials, focusing on a formal expression that may be conceptual in some way, or simply aesthetic. However some contemporary practitioners, including the artists in this exhibition, are mining material – calling upon origins, sourcing, histories, and/or supply chain information to embed value into the materials they select and use. This excavation is a powerful tool for authenticating and enhancing their underlying concepts. 

Recognizing this shared methodology as an important movement in American contemporary art jewelry and metalsmithing, Duality of Presence defines and explores those engaged with ‘material specificity’ in their making. We position the term ‘material specificity’ as a way of looking towards how material communicates complex and distinct narratives. Thinking of materials as active agents in the creation of meaning pushes past the notion that they are meaningless conduits and asserts a more substantive role; as conveyors of information, bearers of histories, and assemblers of discourses. Material Specific Artists enter into a deliberate collaboration and cooperative act with materials in the pursuit of meaning.

 Duality of Presence *

Jina Seo - Super + Centercourt Gallery  « @dualityofpresence during the Munich Jewellery Week 2017. Some of my experimental pieces that push the boundary of jewelry and clothing are in the show « 
Jina SEO  (EXCHANGE-BIJOU 1)

Jina SEO -Holes_detail5 - "The fragments of ordinary clothes convey a tactile and erotic interaction, emphasizing the physical movements between certain parts of body and garments."  — Jina Seo: Jina SEO – Holes_detail5

 Jina Seo - The fragments of ordinary clothes convey a tactile and erotic interaction,  emphasizing the physical movements between certain parts of body and  garments."  — Jina Seo: Jina SEO - Holes_detail

SCHMUCK 2017 - DOP  (dualityofpresence) -  Jina SEO:  Jina SEO – HOLES -
«  »The fragments of ordinary clothes convey a tactile and erotic interaction, emphasizing the physical movements between certain parts of body and garments. »

DOP Duality of Presence Exhibition (@dualityofpresence) - Jina Seo "HOLES": Jina Seo « HOLES »

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Participating Artists :  Jessica Andersen – Lynn Batchelder – Thea ClarkNikki Couppee – Motoko Furuhashi – Steven Gordon Holman – Alexandra HoppMasumi Kataoka –  Joshua Kosker – Tova Lund – Sharon Massey – Jaydan Moore – Wei Lah Poh –  Kerianne Quick (Curator) — Kaiya Rainbolt – Yumi Janairo Roth –  Jina Seo – Jess Tolbert (Curator) — Demitra Ryan-Thomloudis

DOP  (dualityofpresence) -  Alexandra Hopp tagneckAlexandra Hopp –  tagneck.  « I use the traditional jewelry forms, techniques, materials, and visual vocabulary of the goldsmith, in purposeful profusion so the original function is lost, resulting in an exercise in mania. » DOP  (dualityofpresence)  -  Alexandra Hopp  Bibliomania: Alexandra HoppBibliomania necklace

 Joshua Kosker _hiding-in-the-flesh - How do objects shape experiences and, in turn, how can actions imprint meaning on the material world?"  —:  Joshua Kosker – hiding-in-the-flesh – « How do objects shape experiences and, in turn, how can actions imprint meaning on the material world? »

 Joshua Kosker _nestle - How do objects shape experiences and, in turn, how can actions imprint meaning on the material world?"  —:  Joshua Kosker _ nestle

Joshua Kosker _embed. - Utopia towels - How do objects shape experiences and, in turn, how can actions imprint meaning on the material world?" DOP (dualityofpresence) - kosker_embed_detail. - How do objects shape experiences and, in turn, how can actions imprint meaning on the material world?"  —  Joshua Kosker:

Joshua Kosker _embed. – Utopia towels

DOP (dualityofpresence) -  Thea Clark - Head of Franz Joseph Fiord:  Thea Clark - « Head of Franz Joseph Fiord »

 "The layers build with the resonance of color, texture, and material choices, allowing the pieces to pay homage to the natural wonder of the Arctic."  — Thea Clark: Thea Clark  « The layers build with the resonance of color, texture, and material choices, allowing the pieces to pay homage to the natural wonder of the Arctic. » 

Kerianne Quick- Transmutations_1. - "This work is based on the human urge to collect, to mark occasions with tangible objects, and an objects ability to connect us to history and memory." Kerianne Quick- Transmutations_1. – « This work is based on the human urge to collect, to mark occasions with tangible objects, and an objects ability to connect us to history and memory. »

Kerianne Quick  Transmutations - "This work is based on the human urge to collect, to mark occasions with tangible objects, and an objects ability to connect us to history and memory."  Kerianne Quick - Transmutations

Wei Lah Poh-  White Handle, necklace. -  "Handle draws upon enamelware’s visible record of use; it’s degraded and chipped edges, as well as the beautiful patina of rust on steel." Wei Lah Poh-  White Handle, necklace. -  « Handle draws upon enamelware’s visible record of use; it’s degraded and chipped edges, as well as the beautiful patina of rust on steel. »

Wei Lah Poh -  White Cup Wounded, bracelet with cup. -    "Handle draws upon enamelware’s visible record of use; it’s degraded and chipped edges, as well as the beautiful patina of rust on steel."  Wei Lah Poh -  White Cup Wounded, bracelet with cup

Kaiya Rainbolt -  Mattress#1 (Fear) - How can we respond to issues that are challenging and not succumb to the  urge to reject those that are painful to us?"  Kaiya Rainbolt -  Mattress#1 (Fear) – How can we respond to issues that are challenging and not succumb to the  urge to reject those that are painful to us? » 

Kaiya Rainbolt -  Confusion. -   "How can we respond to issues that are challenging and not succumb to the urge to reject those that are painful to us?"  — Kaiya Rainbolt: Kaiya Rainbolt -  Confusion

DoP  (dualityofpresence)   Kaiya Rainbolt's Violation #1  Kaiya Rainbolt‘s Violation #1

 Lynn Batchelder, How to Build a House:  Lynn Batchelder, How to Build a House

Demitra Thomloudis  "As jewelry, these intimate objects coexist with the body as a means to connect with the landscape from afar." Demitra Thomloudis  Over the Wall’ a series of 90 brooches inspired by the cross boarder view – El Paso to Ciudad Juarez’s Anapra neighborhood. Cement, brass, steel paint, graphite pencil. – « As jewelry, these intimate objects coexist with the body as a means to connect with the landscape from afar. »

  Demitra Thomloudis 'Over the Wall' a series of 90 brooches inspired by the cross boarder view - El Paso to Ciudad Juarez's Anapra neighborhood. Cement, brass, steel paint, graphite pencil.  Demitra Thomloudis ‘Over the Wall’ a series of 90 brooches inspired by the cross boarder view – El Paso to Ciudad Juarez’s Anapra neighborhood. Cement, brass, steel paint, graphite pencil.

Demitra Thomloudis - "As jewelry, these intimate objects coexist with the body as a means to connect with the landscape from afar."  —: Demitra Thomloudis  ‘Over the Wall’ a series of 90 brooches inspired by the cross boarder view – El Paso to Ciudad Juarez’s Anapra neighborhood. Cement, brass, steel paint, graphite pencil.

  Motoko Furuhashi mesilla_fromt -  I  "I am fascinated by the natural cycle of growth, decay, and death – and the complexity of the processes that govern life between one place and the next."  —: Motoko Furuhashi - mesilla_fromt -  I  « I am fascinated by the natural cycle of growth, decay, and death – and the complexity of the processes that govern life between one place and the next. »

Steven Gordon Holman - Stone Rabbit Neckpiece. - "The Tribe was born out of the West Desert and contemporary hunting culture; its shaman the rabbit and its oracle the magpie." Steven Gordon Holman – Stone Rabbit Neckpiece. – « The Tribe was born out of the West Desert and contemporary hunting culture; its shaman the rabbit and its oracle the magpie. »

Steven Gordon Holman -  Black Totem Neckpiece-  "The Tribe was born out of the West Desert and contemporary hunting culture; its shaman the rabbit and its oracle the magpie."  —: Steven Gordon Holman -  Black Totem Neckpiece

Nikki Couppee  corsageIV. brooch - "With the use of these everyday materials, I am able to exaggerate the size and abundance of gemstones to parody or poke fun at the socio-economic issues of class systems physically made manifest in the wearing of fine jewelry."  Nikki Couppee  corsageIV. brooch – « With the use of these everyday materials, I am able to exaggerate the size and abundance of gemstones to parody or poke fun at the socio-economic issues of class systems physically made manifest in the wearing of fine jewelry. » 

  Jessica  Anderson - "By presenting refuse in the intimate and personal format of jewelry, I ask the viewer to reflect upon their relationships to objects and things."   Jessica  Anderson – « By presenting refuse in the intimate and personal format of jewelry, I ask the viewer to reflect upon their relationships to objects and things. »

  Deposit1 Jessica Anderson - "By presenting refuse in the intimate and personal format of jewelry, I ask the viewer to reflect upon their relationships to objects and things."  —:  Deposit1 Jessica Anderson

 Tova Lund -  "This work explores my physical and psychological relationship to landscape and place.":  Tova Lund -  « This work explores my physical and psychological relationship to landscape and place. »

 Tova Lund's - Here and There   Tova Lund‘s – Here and There 

 Sharon Massey  Brickwork X necklace .     "My work is inspired by the post-industrial landscape of Pittsburgh and surrounding areas. Through use of both labor and materials I pay homage to the region’s blue-collar past.":  Sharon Massey  – Brickwork – X necklace –   « My work is inspired by the post-industrial landscape of Pittsburgh and surrounding areas. Through use of both labor and materials I pay homage to the region’s blue-collar past. »

 Sharon Massey  Brickwork_Necklace - "My work is inspired by the post-industrial landscape of Pittsburgh and surrounding areas. Through use of both labor and materials I pay homage to the region’s blue-collar past."  —:  Sharon Massey  Brickwork_Necklace

DOP - Masumi Kataoka: Masumi Kataoka

Masumi Kataoka - DOP: Masumi Kataoka « I am interested in what jewelry can do. »

 Yumi Roth - Barbed_Wire_Ov. - "I explore immigration, hybridity, and displacement through discrete objects, site-responsive installations, solo projects, and collaborations."   — Yumi Janairo Roth: Yumi Roth – Barbed_Wire_Ov. – « I explore immigration, hybridity, and displacement through discrete objects, site-responsive installations, solo projects, and collaborations. »

DOP - Jess Tolbert _willowful2: Jess Tolbert – willowful2 – « I am interested in the ability objects hold – to connect people to individual and collective experiences, whether meaningful, evocative, or mundane. »

Jess Tolbert - willowful4 - "I am interested in the ability objects hold - to connect people to individual and collective experiences, whether meaningful, evocative, or mundane."   — Jess Tolbert: Jess Tolbert - willowful4

 Duality of Presence defines and explores ‘material specificity’ as a movement in American contemporary art jewellery and metalsmithing where artists aim to reveal hidden narratives through the use of specific materials. The works emphasize the importance of maker-viewer communication, by demonstrating the effectiveness of material centered conveyance, where artists tell stories that connect to the wider world. The works demonstrate a broad range of subject matter, with material specificity as the common thread. In addition to the physical display of objects, the exhibition will include two interactive digital components, a innovative use of virtual reality and an interactive website. Virtual reality headsets integrated into the gallery display will show VR videos produced by selected participating artists using a virtual reality multi-lens camera. Each video will transport the viewer from the gallery to a significant site or moment chosen and filmed by the artist.

 

 

 

Super+Centercourt Gallery
Adalbertstrtraße 44
80799 Munich
Wed-Tue 11:00–17:00

 

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08/03/2017

#MunichJewelleryWeek2017 – EXPO (87) – TONE VIGELAND – Die Neue Sammlung – The Design Museum, Munich (DE) – 11 Mars-11 Juin 2017

87 (on map) -

TONE VIGELAND. JEWELLERY – OBJECT – SCULPTURE

at Die Neue Sammlung – The Design Museum, Munich, Germany
Opening 10.03.2017 from 7.00 p.m.
Press conference: 10.03.2017 from 11.00 a.m.

TONE VIGELAND:

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Tone Vigeland Necklace: Untitled, 1994 Silver Photo by: Guri Dahl: Tone Vigeland Necklace: Untitled, 1994 Silver Photo by: Guri DahlTone Vigeland Necklace: Untitled, 2001 Silver Photo by: Guri Dahl: Tone Vigeland Necklace: Untitled, 2001 Silver Photo by: Guri Dahl

 

Scandinavian studio jewelry is inconceivable without her and her works. As early as the beginning of the 1960s Tone Vigeland’s jewelry objects were routinely included in what are today legendary publications and exhibitions, such as the International Exhibition of Modern Jewellery held 1961 in the Goldsmiths Hall London, which first familiarized the public with the emerging art style of studio jewelry. Now, to mark her 80th birthday, Die Neue Sammlung is devoting its first solo exhibition in Europe outside Scandinavia to the grand dame of Scandinavian studio jewelry – 50 years after Vigeland’s first solo exhibition in 1967 in the Kunstnerneshus in Oslo.

  Tone Vigeland Bracelet: Untitled, 2017 Silver Ø 6,6 cm Photo by: Guri Dahl  Tone Vigeland Bracelet: Untitled, 2017 Silver Ø 6,6 cm Photo by: Guri Dahl

 

 

 

With their flowing shapes Tone Vigeland’s pieces generally fit snugly despite being made of metal. Vigeland oxidizes the light shiny silver until it is as black as iron. Through contact with the skin the silver regains its play with the light, and lent and dreamt of metallic color variations. Every piece becomes individualized through virtue of being worn. Though they stand out for their size and volume, the objects consist of an incredibly large number of tiny hand worked parts – minute pipes twisted from silver wire, precisely cut rectangular and round discs or tiny pellets and rings – so cleverly joined together as to be invisible to the naked eye. Tone Vigeland’s art on the body appears simultaneously modern and archaic.
About the artist:
Born 1938 into one of the most famous artist families of Norway Vigeland’s artistic training began 1955 at the Statens Håndverk-og Kunstindustriskole Oslo (today Kunsthøgskolen in Oslo, National Academy of the Arts). To learn goldsmith work she moved 1957 to the Oslo Vocational School. In 1958 she joined the avant-garde artist cooperative Plus in Frederikstad, where several of the works she designed as a student were produced in series. Earrings worked from a single silver loop, whose restrained simplicity and linearity was typical for the style in Scandinavia after World War II, were successfully produced until 1985. In 1961, Tone Vigeland opened her own workshop, and began producing one-offs. Since then she has produced many world-famous items of jewelry which have been honored with numerous distinctions. These are now on show for the first time in a solo exhibition featuring 150 of her works.
  In a high-profile exhibition in Galerie Riis 1995 in Oslo, Vigeland took an important step into a different dimension – namely art in architectural space – and simultaneously a move away from decorative art that cites the human body. This move from the body to free space seems a huge one, and yet was quite a logical step for Tone Vigeland.
The very highest distinction have accompanied the artistic oeuvre of this extraordinary Norwegian artist: the Prince Eugen Medal from Sweden in 1988, appointment as Commander of the Royal Norwegian Order of St. Olav in 1996, the Anders Jahre Art Prize and in 2008 she received the Golden Ring of Honor from the Association for Goldsmiths’ Art in Hanau.
  The exhibition was realized with the kind support of the Norwegian Ministry of Foreign Affairs in Oslo, the Royal Norwegian Embassy in Berlin, the Royal Norwegian Consulate in Munich and the Danner-Stiftung, and in cooperation with Norwegian Crafts, Oslo.
In January 2018 the exhibition will be on show in Nordenfjeldske Kunstindustrimuseum in Trondheim.

Tone Vigeland Bracelet: Untitled, 1997 Silver Photo by: Guri Dahl: Tone Vigeland Bracelet: Untitled, 1997 Silver Photo by: Guri Dahl

 

 

Die Neue Sammlung – The Design Museum
Pinakothek der Moderne, Rotunda,
Türkenstrasse 15
80333 -  Munich
GERMANY
info@die-neue-sammlung.de
tel  49 0 89 27 27 25 0  /49 0 89 27 27 25 561
11.03-11.06


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07/03/2017

#MunichJewelleryWeek2017 – EXPO (42) – Hatara Project, Time Perception Vol.3 – Lovaas Artspace, Munich 8-11 Mars 2017

(42) Hatara Project, Time Perception Vol.3

Opening Wed March 8th at 19:00

 EXCHANGE-BIJOU 1 – Jelizaveta Suska 

Hatara Project, Time Perception Vol.3

with :   Marine Dominiczak — Morven Downie — Elin Flogman — Yasuyo Hida — Anke HuybenChristine JalioHelmi LindblomMelina LindroosAnnea Lounatvuori — Sara Malm — Wiebke Pandikow Jelizaveta Suskaya — Susanna Yläranta — Ginta Zabarovska

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Hatara Project started in 2015 as a collaboration between Annea Lounatvuori and Christine Jalio. The name Hatara, from the Finnish hattara – cotton candy – describes something dreamy, sweet and concrete but eventually fragile. Hatara is a meeting point between jewellery artists that have different backgrounds and come from different countries. It’s a connection, an exchange of culture, an experience and knowledge. Now we are 14 women from Finland, Sweden, Latvia, Germany, Japan, France, Australia and The Netherlands.

 42 HATARA - Jelizaveta Suska Brooch: Frozen Moment, 2016 Polymer, magma, sand, gold, crystal, titanium. Photo by: Jelizaveta Suska:  Jelizaveta Suska Brooch: Frozen Moment, 2016 Polymer, magma, sand, gold, crystal, titanium. Photo by: Jelizaveta Suska42 HATARA - Elin Flognman, The Potato Eaters, 2016, necklace, spoon, brass, copper, silver, gold, textile: Elin Flognman, The Potato Eaters, 2016, necklace, spoon, brass, copper, silver, gold, textile42 HATARA- Marine Dominiczak, Allium Porrum, 2015, ring, copper: Marine Dominiczak, Allium Porrum, 2015, ring, copper

42 HATARA - Marine Dominiczak, Noyade, 2016, bronze, white marble, copper, rope: Marine Dominiczak, « Noyade », 2016, bronze, white marble, copper, rope

42 HATARA - Melina Lindroos, Hiding Places 5, 2016, brooch: Melina Lindroos, Hiding Places 5, 2016, brooch

42 HATARA - Helmi Lindblom, Fruitfully Yours, 2016, necklace, balloon, silver, photo Ninni Vidgr: Helmi Lindblom, Fruitfully Yours, 2016, necklace, balloon, silver, photo Ninni Vidgr

Helmi Lindblom, necklace: Helmi Lindblom, Fruitfully Yours, 2016, necklace, balloon, silver 42 HATARA - Sara Malm, In Line With, 2016, necklace, leather, wood, silver. Photo Emanuel Cedeqvis: Sara Malm, In Line With, 2016, necklace, leather, wood, silver. Photo Emanuel Cedeqvis

42 HATARA- Sara Malm, In Line With, 2016, Necklace, leather: Sara Malm, In Line With, 2016, Necklace, leather

42 HATARA - Susanna Ylaranta, Alingning, 2016, bracelet, veneer, paint, silver. Photo Tobias Feuerbacher: Susanna Ylaranta, Alingning, 2016, bracelet, veneer, paint, silver. Photo Tobias Feuerbacher 42 HATARA - Annea Lounatvuori, Under The Pine Pine, brooch, natural found objects, packaging waste, foam, rubber, silver:  Annea Lounatvuori, Under The Pine Pine, brooch, natural found objects, packaging waste, foam, rubber, silver

42 HATARA - Ginta Zabarovska, 2015, breast decoration, silver. Photo Kaspars Filip: Ginta Zabarovska, 2015, breast decoration, silver. Photo Kaspars Filip42 HATARA - Anke Huyben, Multiple Pink, 2015, Handpiece,copper, yarn, sand. Picture by Laura Mauritz: Anke Huyben, Multiple Pink, 2015, Handpiece,copper, yarn, sand. Picture by Laura Mauritz

42 HATARA - Anke Huyben, 2014, Part Of-Form Studies: Anke Huyben, 2014, Part Of-Form StudiesWiebke Pandikow - necklace from the Genus: Tropaeolum series (1) - wood and recycled plastic bags -  silver-crane.com: Wiebke Pandikow - necklace from the Genus: Tropaeolum series (1) – wood and recycled plastic bags 42 HATARA- Wiebke Pandikow, Necklace, Torrent, 2016, recycled plasticbags, wood peddles. Photo Mikko Joona:  Wiebke Pandikow, Necklace, Torrent, 2016, recycled plasticbags, wood peddles. Photo Mikko Joona42 HATARA - Morven Downie, Pink Gumball, 2014, ring, silver, resin, glitter. Photo Morven Downie: Morven Downie, Pink Gumball, 2014, ring, silver, resin, glitter. Photo Morven Downie 42 HATARA - Christine Jalio, Solipsism big, 2017, brooch, Silk, Clay, Silver. Photo Maarit Halonen: Christine Jalio, Solipsism big, 2017, brooch, Silk, Clay, Silver. Photo Maarit Halonen

42 HATARA - Yasuyo Hida, balloon: Yasuyo Hida, balloon

 
Lovaas Artspace
Fürstenstraße 6
Thu-Fri, 10:00-19:00, Sat 11:00-17:00

 

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06/03/2017

#MunichJewelleryWeek2017 – EXPO ‘The Room of Desires’ – Raumwerk, Munich (DE) – 6 Mars-1er Avril 2017

« The Room of Desires »

A joyful interplay of artworks, crafts and design products from Korea and Germany

March 6 to April 1, 2017
Guided Tour with Curator & Artists: March 8, 2017 at 3 p.m.:

Opening: March 6, 2017 at 4 p.m

The room of desires - schmuck 2017(Wings ring by the Korean Jewelry Artist, YOON Dukno)

with Jina Seo‎ (EXCHANGE-BIJOU 1)

Jina Seo‎  -   Schmuck2017

 While the Wunderkammer, or cabinet of curiosities, emerged in the courts of Europe from the 16th century onward, Korea was witnessing the growing popularity of virtual bookshelves in its royal courts, and later among its bourgeoisie. This genre of Korean painting is called Chaekgado, a sort of painted Wunderkammer showing from various perspectives the books and belongings of a scholar.
Although the traditions of the Wunderkammer vary in form and function between Korea and Europe, they have significant aspects in common. In each culture the cabinet of curiosities is an intimate space filled with people’s desires and longings for a foreign world. Both reflect the yearning for precious things and a curiosity for nature as something exotic.
In allusion to the Korean Chaekgado as well as the European Wunderkammer, Keum Art Projects presents the exhibition ‘The Room of Desires’ at the newly opened raumwerk in Munich-Westend. ‘The Room of Desires’ presents paintings, installations and design objects from Korea side by side with those from Germany, creating a cabinet of wishes, longings and desires. The exhibition features supposedly mundane objects such as candle holders, ceramic vessels and writing utensils, along with playful and contemplative installations by visual artists and designers.
The idea of the cosmos, which the Wunderkammer and Chaekgado attempted to capture through objects and books, is being trivialised by the digital revolution in our current age of the internet. In a world where books are collected by Google and desires are fulfilled on the internet, ‘The Room of Desires’ investigates the predilections and yearnings of our time, and tries to rediscover human desire and longings in objects.


Artist, Designer and Artisan :   Andreas Berlin — Maria Volokhova/Johanna Spath — Helena Parada Kim — KIM Deok Ho — KIM Hye Jeong + Atsunobu KATAGIRI – KIM Hyun Sung — KIM Seo Yoon — KIM Soo Yeon — LEE In Hwa — LEE Jeong Won — PARK Neung Saeng — SEO Jina — Studio Ilio — Studio Yang Seung Bin — Studio Kyss — Kondo Yukako — YOON Duk No

 

 

Raumwerk – Concept Store & Gallery
Schwanthaler Str. 125 + 142
80339 Munich-Westend

 

 

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02/03/2017

#MunichJewelleryWeek2017 – THE MAP & PROGRAM ! Munich (DE) – 8-14 Mars 2017

Classé dans : Allemagne (DE),SCHMUCK (DE),www Current-Obsession,www Klimt02 — bijoucontemporain @ 17:11

From March 8th till March 14th Munich Jewellery Week

 complete program : on Klimt02

 complete program & MAP here

lokator MAP

Lokator items list

SCHMUCK 2017 - 8-14 MARCH 2017 - Munich - COMPLETE PROGRAM pdf:

*

From March 8th till March 14th Munich Jewellery Week  - MAP with NUMBER of each event for location: MAP (part) with NUMBER of each event for location
(seen on my posts as «  EXPO (58) » for example)

 

 

Internationale Handwerkmesse Munich
Willy Brandt Allee 1, Messegelände
81829 -  Munich
GERMANY
eva.sarnowski@hwk-muenchen.de
tel 0049 89 5119 248

 

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04/01/2017

EXPO ‘Neuer Schmuck aus Idar-Oberstein – NSAIO 6′ – Stadtmuseum Simeonstift Trier (DE) – 27 Nov. 2016-26 Fevr. 2017

Neuer Schmuck aus Idar-Oberstein – NSAIO 6 

27 novembre 2016 – 26 Febr. 2017
at Stadtmuseum Simeonstift Trier

Neuer Schmuck aus Idar-Oberstein - NSAIO 6

Beginning with the renaissance of gemstones in jewellery design since the 1970s, Ute Eitzenhöfer, Theo Smeets, Lothar Brügel (ret. 2014) and Eva-Maria Kollischan (since 2014) successfully established the Hochschule Trier in Idar-Oberstein as a creative European jewellery centre. To mark the exhibition in the Stadtmusem Simeonstift in Trier on thirty years of the Gemstone and Jewellery Department, the publication shows an exciting selection of works from the last ten years (2006-2016). Works in creative design and photography accompany diverse approaches that exemplify the contemporary use of a reputedly ‘outmoded’ raw material.
In exploring the aesthetic characteristics of the material and the experimental confrontation with its physical qualities, the gemstone’s potential for design comes entirely into its own. Within current discourse it comments ironically, on the one hand, on the unilateral societal ascription as a luxury item; on the other, it functions as a charming and noble object of nature.

 

 

Den Programm-Flyer mit allen Informationen finden sie hier: http://bit.ly/2gaGKhd
Fachrichtung Edelstein und Schmuck: http://bit.ly/2g7u6mK
Stadtmuseum Simeonstift: http://bit.ly/2gaMwQa
Arnoldsche Art Publisher: http://bit.ly/2g7gQ1s

BOOK-catalog exhibition - NSAIO 6 -  ARNOLDSCHE Art Publishers Online-Shop | nsaio6: BOOK-catalog exhibition – NSAIO 6 -  ARNOLDSCHE Art Publishers Online-Shop
Catalogue: « nsaio6 – New Jewellery from Idar-Oberstein » • Ute Eitzenhöfer / Theo Smeets • published by Arnoldsche Art Publishers
NSAIO 6 -  - Julia Obermaier. Brooch: Round the corner, 2016. Agate, resin, pigment, stainless steel. 7.5 x 7 x 3 cm. Photo by: Julia Obermaier.: Julia Obermaier. Brooch: Round the corner, 2016. Agate, resin, pigment, stainless steel. 7.5 x 7 x 3 cm. Photo by: Julia Obermaier

NSAIO 6 - Julia Obermaier Necklace: Come Around, 2016 Agate, resin, pigment 27 x 20 x 3.5 cm Photo by: Julia Obermaier: Julia Obermaier   Necklace: Come Around, 2016 Agate, resin, pigment 27 x 20 x 3.5 cm Photo by: Julia Obermaier this Sunday the 27th of november there will be a beautiful Vernissage at the Stadtmuseum Simeonsstift in Trier.  You can see a humongous number of amazing Jewellery from current students and alumni from Hochschschule Trier, Campus Idar-Oberstein! And I’m super happy to be part of it! » Julia Obermaier

NSAIO6 - Matthias Dyer (Dipl 2012) necklace lapis lazuli, plastic, varnish, silver, steel 2012: Matthias Dyer (Dipl 2012) necklace lapis lazuli, plastic, varnish, silver, steel 2012

NSAIO6 - Catalina Brenes (MFA 2016) necklace - marble, resin with graphite, textile: Catalina Brenes (MFA 2016) necklace – marble, resin with graphite, textile

 Tabea Reulecke, "Leopard", Halsschmuck, 2014.Tabea Reulecke, « Leopard », Halsschmuck, 2014.

"Kann man das tragen?"  " on peut porter ?"  créations de Idar-OberSTEIN Campus - Photo : Valérie Wagner Valerie Wagner (5. Semester BFA stud.) • Necklace « Monstranz » • plastic, limestone, rock crystal, flax twine • 2016 • ©photo by Michael Müller-  »Kann man das tragen? »   » on peut porter ? »  créations de Idar-OberSTEIN Campus  

Pop-Up Shop im Stadtmuseum:  17 bijoux de designers internationaux qui offrent leurs créations au musée de la ville - collier Maximilien SchröderPop-Up Shop im Stadtmuseum:  17 bijoux de designers internationaux qui offrent leurs créations au musée de la ville – collier Maximilien Schröder

NSAIO6 - Tianqi LI (BFA, 5e semester 2016) -   'Beffchen', Halsschmuck, 2016, Pferdehaar, Stahl  ( 'Beffchen', collier, 2016, acier, crin de cheval): Tianqi Li   (BFA, 5 semester 2016) -  „Beffchen », Halsschmuck, 2016, Pferdehaar, Stahl  ( « Beffchen », collier, 2016, acier, crin de cheval)

 nsaio 6 - Edu Tarin: Edu Tarin

NSAIO6 - Edu Tarin (MFA 2015) brooch 'revival 5' gold plated copper 2012: Edu Tarin (MFA 2015) • brooch « revival 5″ • gold plated copper • 2012 • ©photo by artist

Saleema Sheikh (MFA stud.) • necklace "Shahnaz“ • cement, aluminium, resin, pigment, PVC • 2016 • ©photo by Denise Ebert, Gina-Nadine MüllerSaleema Sheikh (MFA stud.) • necklace « Shahnaz“ • cement, aluminium, resin, pigment, PVC • 2016 • ©photo by Denise Ebert, Gina-Nadine Müller

Qi Wang (MFA stud.) • Objects • syringe, jasper, agate • 2016 • ©photo by artistQi Wang (MFA stud.) • Objects • syringe, jasper, agate • 2016 • ©photo by artist

Yftah Avrahamy ("Dot Melanin") Necklace: Untitled, 2016 Agate, finesilver, fishing wire Yftah Avrahamy / Dot Melanin Necklace: Untitled, 2016 Agate, finesilver, fishing wire

NSAIO6 - Lina Goltsios (BFA 2016) Ring rock crystal, silver, plastic 2016 photo by Cornelia Wruck: Lina Goltsios (BFA 2016) Ring rock crystal, silver, plastic 2016 photo by Cornelia Wruck

NSAIO6 - Stephanie Morawetz (BFA stud.) necklace '60233040' Stephie-Stein, magnets 2014: Stephanie Morawetz (BFA stud.) necklace ’60233040′ Stephie-Stein, magnets 2014

NSAIO 6 - Eva-Maria Reuther (er), Anastasiya Larionova (\  - Edles, Gewichtiges und Freches aus Metall und Edelstein - volksfreund.de: Eva-Maria Reuther (er), Anastasiya Larionova (\  – Edles, Gewichtiges und Freches aus Metall und Edelstein

NSAIO6 - Gabriela Cohn (MFA 2016) necklace 'Tatzia 11' porcelain, silver, pigment 2016 photo by Qi Wang: Gabriela Cohn (MFA 2016) necklace ‘Tatzia 11′ porcelain, silver, pigment 2016 photo by Qi Wang

NSAIO 6 - Ignasi Cavaller Pendant: Meminisse, 2015 Lemon chrysoprase, kevlar thread, 60´s wall plastic, wild olive tree wood, laquer 12 x 12 x 9 cm: Ignasi Cavaller Pendant: Meminisse, 2015 Lemon chrysoprase, kevlar thread, 60´s wall plastic, wild olive tree wood, laquer 12 x 12 x 9 cm

 

 

Stadtmuseum Simeonstift Trier  (City Museum Simeonstift in Trier)
Simeonstr. 60, an der Porta Nigra
54290 Trier (Trèves)
Phone:   + 49 651 – 7181459
Fax   + 49 651 – 7181458
Facebook
stadtmuseum@trier.de

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31/10/2016

EXCHANGE-BIJOU 1 – Julia Obermaier – coup de coeur « lapidaire »

Julia Obermaier

C’est drôle comme « le hasard fait bien les choses » …. Ou, il n’y a pas de hasard ….Un de mes problèmes majeurs dans ma vie actuelle est ma « distance aux gens » … trop près, trop loin, je ne sais jamais où, comment me situer …. trop au bord, spectateur, voyeur, ou trop « dedans », trop impliqué … J’avais coutume de dire à mes enfants « la liberté de chacun, c’est comme une bulle : tu as ta bulle, qui te protège et t’entoure, mais elle est fragile et se « brise » facilement. Et chacun a la sienne. Il faut réussir à t’approcher des gens de manière à ce que ni ta bulle ni la leur n’éclate. C’est ça la liberté de chacun, c’est ça « ta liberté commence là où fini la mienne ». C’est un délicat jeu d’équilibre » …. Je me rappelle, ils m’écoutaient bouche bée ….. Eh bien c’est exactement de ça que parlent les bijoux de Julia Obermaier ! « The distance between people« , the « Private space » ….. Cette découverte m’apporte une immense émotion, et ce d’autant plus que …. comment dire ? ses bijoux me touchaient, je ne savais pas pourquoi, parce qu’à priori ce n’était pas « mon genre » de bijoux mais plus un « genre », un style de bijoux, très prisé actuellement parmi ce qui vient d’Idar-Oberstein ……

Julia Obermaier – (Sur)face the space.
« Private space. Working area. The distance between people. The distance between the world and me. Space is a really important subject for me. If someone is crossing the borders of my spaces without permission, it causes a bad feeling within me. That is why I try to protect them as much as possible. But in daily life, one cannot always keep direct surroundings and personal space in their preferred way. This is because our outside world is always in relation with other people and circumstances.
To build my own spaces I cut slices out of agate or rock crystal.  They represent rooms, spaces, containers, boxes or little caves. Some of my works have empty spaces with corners or nooks, while others have an inner life through engravings I cut within the pieces. I am generating space which can be filled with ones own personal feelings, perceptions and sensations. I see my work as containers protecting the innermost emotions of the viewer or wearer.
In contrast to the large space around us filled with other people, I see these pieces as a part of ourselves. They are little copies of the viewer or the wearer. The space inside is reserved for what people find within themselves. The outside surrounding, which is not always controllable for us, becomes the protector of what lies within the piece.  The wearer can then decide if and who is allowed to approach the work, take a look or even touch it. The pieces embody ideas of a second skin and soul protector from the outside world.  They are meant to induce a comforting feeling of inner silence for the wearer, that they can use to confront a busy world. »

  Julia Obermaier Brooch: Untouchable, 2016 Agate, resin, pigment, stainless steel 10 x 5.5 x 5.5 cm Photo by: Julia Obermaier Julia Obermaier Brooch: Untouchable, 2016 Agate, resin, pigment, stainless steel 10 x 5.5 x 5.5 cm Photo by: Julia Obermaier

Julia Obermaier  Brooch: Round the corner, 2016  Agate, resin, pigment, stainless steel  7.5 x 7 x 3 cm  Photo by: Julia Obermaier: at Marzee Graduate Show 2016: Julia Obermaier (BFA 2016 Idar-Oberstein)  -  Brooch « Round the Corner » • Agate, resin, pigment and stainless steel • ©photo by artist  

« With her bachelor thesis Julia Obermaier delivers a statement of monumental grandeur. To do so, working mainly in agate and rock crystal, is a matter of concentration and patience as well as of spatial transition. Acquiring an extended awareness of space and volume, in the sense of an architectonic perspective,  paired with an empathical sensibility for the wearers and observers body and mind, and at the same time bordering the restrictions of jewellery is a remarkable feature of Obermaiers process of work. The result is a collection of wearables in gemstone with a high quality of sensitivity. As an object, Obermaiers pieces are intriguing and inviting, as soon as they are worn and in unity with the body, they show an until than almost hidden sensuality. » / Theo Smeets

Julia Obermaier Necklace: Come Around, 2016 Agate, resin, pigment 27 x 20 x 3.5 cm Photo by: Julia Obermaier (selected for Marzee Graduate Show 2016:): Julia Obermaier – Necklace: Come Around, 2016 – Agate, resin, pigment – 27 x 20 x 3.5 cm – Photo by: Julia Obermaier (selected for Marzee Graduate Show 2016)

« Agate is one of my most favorite materials. The huge secrecy and variety of agate as a stone and its use over centuries is attracting me in my work. Studying the layers and druses of agate amazes me and makes me curious. What is happening? What is in there? I want to arise these feelings as well in the wearers and viewers of my pieces. You can find sensitivity, strength and multifaceted sides not just in agates, as well in every other living creature. »

She is member of  « Astonish », a group of young jewellery artists which are current students or recent alumni’s form University of Applied Sciences Trier, Campus Idar-Oberstein.
They were present at SCHMUCK 2016, at  Inhorgenta Munich, 12–15 February 2016, at Internationale Handwerksmesse München,  24 February – 1 March 2016 -

 Julia Obermaier- Untitled (No.3) – Necklace – Agate, Steel, 18kt Gold – 450 x 120 x 70 mm – 2014 – Photo by Julia Obermaier: Julia Obermaier (BFA stud. Idar-OberSTEIN 2016) • Necklace  Untitled (No.3) • Agate, steel, 18k gold • 2014 • 450 x 120 x 70 mm ©photo by Julia Obermaier – #MJW16/ « Astonish »

Julia Obermaier Necklace: Breathe, 2016 Rockcrystal, silver, iron, paint, resin 33 x 18 x 2 cm Photo by: Qi Wang  Julia Obermaier Necklace: Breathe, 2016 Rockcrystal, silver, iron, paint, resin 33 x 18 x 2 cm Photo by: Qi Wang

 Julia Obermaier Necklace: Have a look outside, 2016 Agate, iron, fabric, resin, pigment 26 x 11 x 3.5 cm Photo by: Julia Obermaier: Julia Obermaier Necklace: Have a look outside, 2016 Agate, iron, fabric, resin, pigment 26 x 11 x 3.5 cm Photo by: Julia Obermaier




 

 

 

Etudes
Staatliche Berufsfachschule für Glas und Schmuck Kaufbeuren-Neugablonz
Hochschule Trier, Idar-Oberstein, Germany. BFA stud.   2016
Selected Graduate 2016 at Klimt02
Born in Landau a.d. Isar, Germany. 2009 to 2012 apprenticeship to a goldsmith at staatliche Berufsfachschule für Glas und Schmuck in Kaufbeuren-Neugablonz, Germany. Since 2012 studies Bachelor of Fine Arts in Gemstone and Jewellery at University of Applied Sciences Trier, Department Idar-Oberstein. Made during her studies an exchange semester at the Royal Melbourne Institute of Technology in Melbourne, Australia. Lives and works in Idar-Oberstein, Germany.

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