BIJOU_CONTEMPORAIN

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21/01/2017

EXCHANGE-BIJOU 2 – Tal EFRAIM – Connectionary

Tal Efraim

Discovered when the Final Project Presentation 2016 at Shenkar

« By documenting details such as day-to-day mechanical joints, swivels, hinges and physical connections of objects in my sketchbook, I create my own private alphabet, which will later be transformed into the language of my designs.
My pieces are all one of a kind – whilst I can make to order any piece several times, each will be a little different due to the nature of handwork and craft.
»

« her work is driven out of her sketchbook, where she documents the world around her, creating a « dictionary » of design possibilities. Her work is made of gold, silver, porcelain and a variety of gemstones. »

Connectionary video :

Image de prévisualisation YouTube

HOW MUCH I LOVE these sketchbooks, all this amount of tiny treasures she is the only to know the WHY? … like secret formulas …. secret connections, secret addendas …. tiny marvels ….

Tal EFRAIM - Connectionary sketchbook, 2016. Photo by Tal Mohr: Tal EFRAIM - Connectionary sketchbook, 2016. Photo by Tal Mohr

Tal Efraim its all about the details  gold earrings rubies pearls ... pic of the day    Tal Efraim its all about the details  gold earrings rubies pearls … pic of the day

« Are other areas besides jewellery, present in your work?
My most recent collection Connectionary consists of handmade porcelain, treated as gemstones. Creating these porcelain centre pieces allowed me to explore the world of ceremic art and ceramic production. In general, my inspiration derives from day-to-day mechanical joints such as swivels, hinges and physical connections of objects, meanings I often explore different areas as part of my design process. » (Klimt02 interview)

 Tal Efraim Necklace: Target, 2016 Silver, porcelain, rutilated quartz,textile string 12 x 7 x 1 cm Photo by: Ilan Besor From series: Connectionary: Tal Efraim Necklace: Target, 2016 Silver, porcelain, rutilated quartz,textile string 12 x 7 x 1 cm Photo by: Ilan Besor From series: Connectionary

Tal Efraim Necklace: Porcelain Neckline, 2016 Silver, porcelain, pearls 20 x 18 x 1 cm Photo by: Ilan Besor From series: Connectionary: Tal Efraim Necklace: Porcelain Neckline, 2016 Silver, porcelain, pearls 20 x 18 x 1 cm Photo by: Ilan Besor
From series: Connectionary

Tal Efraim Necklace: Porcelain Neckline, 2016 Silver, porcelain, pearls 20 x 18 x 1 cm Photo by: Ilan Besor From series: Connectionary  Detail view: Tal Efraim Necklace: Porcelain Neckline, 2016 Silver, porcelain, pearls 20 x 18 x 1 cm Photo by: Ilan Besor From series: Connectionary  Detail view

Tal Barash Efraim - Jewelry Design Dept. Shenkar   juillet 2016  Tal Barash Efraim – Jewelry Design Dept. Shenkar   juillet 2016 

 

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10/01/2017

EXPO ‘Look What I Did. New Rings by DOT’ – Villa Bengel (DE) – 7 Dec. 2016-7 Mars 2017

Look What I Did. New Rings by DOT

opening Wednesday, 7th of December 2016 from 18 h

Look What I Did. New Rings by DOT 07Dec2016 - 07Mar2017 Villa Bengel Idar Oberstein, Germany

The exhibition shows works from DOT, a recently graduated student of the Masters programme from the Hochschule Trier.  After his graduation this spring, he startet to make a collection of rings, questioning his own and the wearers identity. What is male, what is female? What role plays the artistic expression? And who is the « I » in DOT, who made these Rings?

 Exhibition display. - DOT MELANIN rings: Exhibition display. – DOT MELANIN rings

 

« While viewing the rings you recognize a gender study. Both feminine and masculine forms are expressed by inner containing worlds, of phallus and aggressive forms. A combination of gemstones and metal connect to each other by layers and phases.
Metal that heals a wounded stone, a setting that simulates a gemstone to the human mind. Within you see a complexity of materials, colour and size that creates a sculptural object, however still maintaining its original function as a ring.
« / DOT

 Exhibition display. - DOT MELANIN ring: Exhibition display. – DOT   ring

DOT. Ring: I am sentimental if you know what I mean, love the pieces but can’t stand the scene, 2016. Cacholong, reconstructed agat,  fine silver, glass, borax, charcoal and lead. Photo by: Nima Ashrafi.: DOT. Ring: I am sentimental if you know what I mean, love the pieces but can’t stand the scene, 2016. Cacholong, reconstructed agat,  fine silver, glass, borax, charcoal and lead. Photo by: Nima Ashrafi.

Exhibition display. - DOT MELANIN rings: Exhibition display. - DOT MELANIN rings

Dot Melanin  ring: Dot   ring

Dot Melanin ring: Dot   ring

Dot Melanin rings: Dot Melanin rings

Dot Melanin ring: Dot Melanin ring

Dot Melanin: Dot Melanin rings

 

 

Villa Bengel 
Wilhelmstraße 42a
55743 Idar-Oberstein
Telephone: +49 (0)6781 – 27030
Fax: +49 (0)6781 – 23549
E-Mail:  info@jakob-bengel.de

 

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06/01/2017

EXCHANGE-BIJOU 2 – Carlos SILVA at « IDEM »

Carlos SILVA

IDEM explores the possibilities of the « multiple » in small series of identical jewels and objects

actually, until JANUARY 13th 2017, in an exhibition at Galeria REVERSO , Lisbon :

IDEM  Jewelry Group Exhibition  @ RE V E R S O | Lisbon | Portugal Opening, December 11th at 4pm - CARLOS SILVA  Sofia Björkman, Ana Margarida Carvalho, Paula Crespo, Beatriz Horta Correia, Patrícia Domingues, Tatiana Giorgadse, Castello Hansen, Herman Hermsen, Leonor Hipólito, Claudia Hoppe, Birgit Laken, Floor Mommersteeg, Typhaine Le Monnier, Edgar Mosa, Inês Nunes, Maria José Oliveira, Lina Peterson, Claude Schmitz, Danni Schwaag, Carlos Silva, Edu Tarin, Andrea Wagner. #jewelrygroupexhibiti: Idem. Mùltiplos de Autor 11Dec2016 – 13Jan2017 – Galeria Reverso Lisbon, Portugal -
with : Sofia Björkman, Ana Margarida Carvalho, Beatriz Horta Correia, Paula Crespo, Patrícia Domingues, Tatiana Giorgadse, Castello Hansen, Herman Hermsen, Leonor Hipólito, Claudia Hoppe, Birgit Laken, Typhaine Le Monnier, Floor Mommersteeg, Edgar Mosa, Inês Nunes, Maria José Oliveira, Lina Peterson, Claude Schmitz, Danni Schwaag, Carlos Silva, Edu Tarín, Andrea Wagner

« Unique pieces, limited editions or serial productions nourish the universe of author jewellery in all its diversity. IDEM explores the possibilities of the « multiple » in small series of identical jewels and objects, created by national and international artists, who have made themselves available to celebrate with Reverso its 18 years of existence. »

Carlos Silva - brooch - at IDEM - Multiplos de Autor 2016-17Carlos Silva – at « IDEM – Multiplos de Autor » – brooch  – plaster, foam and oxidized copper

Carlos Silva - déc 2016 · -  Brooch - copper, foam and plasterCarlos Silva – déc 2016 · -  Brooch – copper, foam and plaster

Carlos Silva - nov 2016 ·  Brooch - plaster, foam and oxidized copper Carlos Silva - nov 2016 ·  Brooch – plaster, foam and oxidized copper

Carlos Silva - New pieces for a new project - brooches wip plaster white: Carlos Silva - New pieces for a new project – brooches wip plaster white

Lastly, Carlos Silva offered to us several reflexions -and not only- about SERIES ….

Carlos Silva - serie of RINGS at "GARAGEM" exhibition, Lisboa, 17-18 Dec. 2016Carlos Silva - serie of RINGS at « GARAGEM » exhibition, Lisbon, 17-18 Dec. 2016 - Rings – Oxidized copper

Carlos Silva - red rings - metalartwork - at "InRED" @ ingallerybcn exhibition  Carlos Silva - red rings - Oxidized copper and paint – at « InRED » @ ingallerybcn exhibition, Barcelona, dec. 2016

Carlos Silva- rings for New exhibition coming soonCarlos Silva- rings for New exhibition coming soon

 

 

Galeria ReversoR. da Esperança 59/61
1200-655 -  Lisbon
PORTUGAL
Mail: mail@reversodasbernardas.com
Phone: +351 213 951 407

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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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03/01/2017

EXPO ‘Idem. Mùltiplos de Autor’ – Galeria Reverso, Lisbon (PT) – 11 Dec. 2016–13 Janv. 2017

Idem. Mùltiplos de Autor Galeria REVERSO Lisbon, Portugal
IDEM explores the possibilities of the «multiple» in small series of identical jewels and objects

IDEM  Jewelry Group Exhibition  @ RE V E R S O | Lisbon | Portugal Opening, December 11th at 4pm - CARLOS SILVA  Sofia Björkman, Ana Margarida Carvalho, Paula Crespo, Beatriz Horta Correia, Patrícia Domingues, Tatiana Giorgadse, Castello Hansen, Herman Hermsen, Leonor Hipólito, Claudia Hoppe, Birgit Laken, Floor Mommersteeg, Typhaine Le Monnier, Edgar Mosa, Inês Nunes, Maria José Oliveira, Lina Peterson, Claude Schmitz, Danni Schwaag, Carlos Silva, Edu Tarin, Andrea Wagner. #jewelrygroupexhibiti:

 

with :   Sofia BjörkmanAna Margarida Carvalho — Beatriz Horta Correia — Paula CrespoPatrícia DominguesTatiana GiorgadseCastello HansenHerman HermsenLeonor HipólitoClaudia HoppeBirgit LakenTyphaine Le MonnierFloor MommersteegEdgar MosaInês Nunes — Maria José Oliveira — Lina PetersonClaude SchmitzDanni SchwaagCarlos Silva Edu TarínAndrea Wagner

« Unique pieces, limited editions or serial productions nourish the universe of author jewellery in all its diversity. IDEM explores the possibilities of the « multiple » in small series of identical jewels and objects, created by national and international artists, who have made themselves available to celebrate with Reverso its 18 years of existence. »

Carlos Silva - brooch - at IDEM - Multiplos de Autor 2016-17Carlos Silva – at « IDEM – Multiplos de Autor » – brooch  – plaster, foam and oxidized copper

carlos silva New pieces for a new project  brooches wip plaster white: Carlos Silva New pieces for a new project  brooches wip plaster white

Lina Peterson - brooches - at IDEM galeria-reverso: Lina Peterson – brooches

EDU TARÍN - Anel at IDEM galeria-reverso: Edu Tarin - Anel

Danni Schwaag Brooch: Dots, 2014 Enamel on copper, stainless steel - Idem. Mùltiplos de Autor -: Danni Schwaag Brooch: Dots, 2014 Enamel on copper, stainless steel

 Claudia Hoppe Bangle: Spraypaint Bangle, 2016 Metal, spraypaint Claudia Hoppe Bangle: Spraypaint Bangle, 2016 Metal, spraypaint

Sofia Björkman Brooch: What has the Bird done?, 2016 PLA, metal, paina (3D hand-drawings) Sofia Björkman Brooch: What has the Bird done?, 2016 PLA, metal, paina (3D hand-drawings)

 Patrícia Domingues Pendant: 3 pendants, 2016 Coral, Lapiz Lázuli, Onix recon: Patrícia Domingues Pendant: 3 pendants, 2016 Coral, Lapiz Lázuli, Onix recon

FLOOR MOMMERSTEG - Alfinetes: Floor Mommersteg - brooches

TATJANA GIORGADSE - Brincos: Tatjana Giorgadse – earrings

HERMAN HERMSEN - Kopie (ed. Limitada) / Set of 5 brooches Disc: Herman Hermsen – Kopie (ed. Limitada) / Set of 5 brooches Disc

LEONOR HIPÓLITO - Esplendor da Usabilidade, 2010: LEONOR HIPÓLITO – Esplendor da Usabilidade, 2010

INÊS NUNES - Colar at "IDEM": INÊS NUNES - Colar

 

Galeria Reverso
Rua da Esperança, nº 59 / 61, 1200
655 Lisboa, Portugal
(+351) 213 951 407


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31/12/2016

EXPO – ’0 + 0 = 0′ – Christchurch Art Gallery (NEW ZEALAND) – 16 Dec. 2016 – 2 Avr. 2017

Classé dans : Exposition/Exhibition,GALERIES,Lisa WALKER (DE/NZ),Nlle Zelande (NZ),www Klimt02 — bijoucontemporain @ 14:08

0 + 0 = 0 by Lisa Walker

Christchurch Art Gallery Te Puna o Waiwhetu presents an exclusive exhibition of new and recent works by this internationally acclaimed artist, who received the prestigious Françoise van den Bosch Award in 2010 and became an Arts Foundation Laureate in 2015

Lisa Walker Artist Talk.  Wednesday, 15 February 2017 / 6pm
Artist Lisa Walker’s extreme, iconoclastic jewellery has been described as ‘the physical manifestation of the mental and virtual baggage of living NOW’.

0 + 0=0 by Lisa Walker Exhibition  /  16 Dec 2016  -  02 Apr 2017 - Christchurch Art Gallery -  Place     Cnr Worcester Blvd and Montreal St     Christchurch     NEW ZEALAND: (Lisa Walker Necklace: Untitled, 2016 Fabric, stuffing Courtesy of the artist and Funaki Gallery, Melbourne)

It might be tempting to say that Lisa Walker makes jewellery out of any old thing – but it isn’t true. The eclectic objects that form her distinctive necklaces, brooches and other body-adornments are meticulously selected and shrewdly modified before they see the light of day. She salvages her materials from an unlikely cornucopia of sources – re-presenting objects such as car parts, animal skins and even kitchen utensils through the frame of body adornment’s long history. Tiny Lego hats, helmets and hairpieces – of the kind that clog vacuum cleaner nozzles in children’s bedrooms around the world – are strung on finely plaited cords like exotic beads or shells; trashy gossip magazines are lashed together to yield a breastplate befitting our celebrity-obsessed culture; dozens of oboe reeds donated by a musician friend bristle round the wearer’s neck like the teeth of some unimaginable deep sea leviathan.
Walker’s work doesn’t sit comfortably within the contours of conventional jewellery – it squirms, fidgets, stretches and unravels. ‘I want to make pieces that don’t fit any of those jewellery recipes, yet still make sense as jewellery,’ she once said.1 In a field known for refined finishes and seamless construction, her audaciously sized, deliberately low-tech pieces inject a blast of pure creative oxygen, wilfully disobeying established jewellery conventions and confounding audience expectations. Despite their bodged-up, glued-together appearance and gleefully tacky origins, Walker’s works are anything but haphazard – rather they are elevated by her acute sense of colour and composition and healthy sense of irony. The new and recent pieces included in her Christchurch Art Gallery show, 0 + 0 = 0, explore a range of critical concerns; confronting jewellery-specific preconceptions about wearability and craftsmanship, they also investigate the politics of value, identity and appropriation.
…..
While some of Walker’s materials are amassed close to home – she once made a necklace from six months’ worth of detritus collected from her studio floor – she also ranges more widely, combing the world of the non-precious for idiosyncratic treasures. Together with physical objects, she collects memories and associations, a process made explicit in Trip to Europe 1973 (2011), a necklace, constructed from the postcards, train tickets, concert programmes and other souvenirs a ‘cultured couple’ offered for sale on Trade Me. For Walker, having just returned home after fifteen years spent living in Germany, the mementos spoke of New Zealand’s complex history of arrivals – including those of Māori and European settlers – and of how cultures are transported, translated and transformed. Recent pieces such as Pendant (2016) reflect her interest in (and ambivalence about) exchange and appropriation and especially how these might play out within a New Zealand context. Assembled from pounamu offcuts given to Walker by a sculptor friend, Pendantcombines varied surfaces cut from several different stones, offering a beautiful, but deliberately problematic, addition to the tradition of Māori taonga.

Lisa Walker Dick Necklace 2016  Lisa Walker Dick Necklace 2016

Despite the irreverence of its title, and the ubiquitous banality of the phallic graffiti that inspired it, another, equally serious, reclamation prompted the creation of Dick Necklace (2016).
I live with the challenges of a patriarchal world and [its] hideous anti-women history. I’m intrigued by the online activity of the younger feminists. I was always impressed by Louise Bourgeois’s giant bronze cast penis sculpture [Filette (1968)]. Many years ago I saw a postcard of her as a 70-something year old woman, standing next to it with her hand gently, but authoritatively, resting on the giant penis. ‘Dick and balls’ drawings are a cultural phenomenon; we grow up with these scrawlings everywhere. The penis can be symbolically positive and negative; fertility and love, but also rape, misogyny, imbalance of power. As a feminist I now take, claim, and interpret it for myself, twisting its symbology into something else.
‘I learned a long time ago that you don’t have to find the answers. It’s enough for the works to keep asking the questions.’
The thorny issue of copying and influence has long fascinated Walker, gaining new relevance as social media allows for the increasingly unrestricted distribution and repurposing of imagery of all kinds. She joined Instagram, the online image-sharing service, in 2015 and describes it as a ‘huge hunting ground’,2 admitting she is now influenced more by what she finds online than by actual, ‘real world’ objects. A posted shot of Masturbine (1984), a well-known work by the renowned contemporary Swiss duo Peter Fischli and David Weiss, prompted her own Fischli & Weiss Bracelet(2016), which replaces the original’s whorl of expensive leather footwear with budget heels from her local Number One Shoes warehouse. A photograph of a cellphone bound up in the twisted cord of an old-school desk phone, uploaded by the Los Angeles-based artists Mitra Saboury and Derek Paul Boyle under the Instagram nomenclature ‘Meatwreck’, proved irresistible. Walker recreated it, almost exactly, in the form of an oversized pendant and, though she remains delighted with the piece, doesn’t shy away from the questions about ownership and creative license this kind of borrowing provokes. In fact, the discomfort inherent in such appropriation is shared by artist and collectors, since Walker’s works are primarily designed not to be displayed politely indoors, but to travel with their wearers out into the wild, wide open of the public domain. ‘I learned a long time ago that you don’t have to find the answers,’ she says, ‘It’s enough for the works to keep asking the questions.
  If the eclectic forms of Walker’s work reflect the democracy and limitless possibility of our new open-source world, her ‘more is more’ aesthetic also suggests the sense of chaos and overload it can provoke. With every online image potentially linked to thousands more, how could you ever see it all? Excessive, oversized, popping at the seams with look-at-me impudence, Walker’s works draw upon and reflect the unrelenting abundance of modern life. And yet, taken one piece at a time, they’re much more than thrown-together clickbait. At its most anarchic, jewellery that is created to be worn still requires its maker to take into account a series of considerations that don’t constrain other art forms, like painting or sculpture. As she creates her pieces, often concealing traditional jewellery processes beneath contemporary kitsch, Walker thinks about weight, scale, durability, and how her pieces will relate to the yet-unknown body they are destined to adorn. Having thrown out the rulebooks in her early practice, she now values the technical challenges these self-imposed limits present, enjoying how they slow things down and distil her attention, demanding mindful focus in a fast-moving world. In discussion, it soon becomes apparent that this process fuels, rather than suppresses, Walker’s high-voltage imagination. Recalling a project in which she turned an entire building (City Gallery Wellington) into a brooch by clipping a giant mild-steel safety chain to its ceiling and attaching the other end to a wearer via an enormous pin, she mischievously refers to it as only her ‘second largest work’. She’s not kidding; the scale of that audacious project is effortlessly eclipsed by another one. Existing, so far, in solely conceptual form it features a chain, pinned to its wearer, with planet Earth on the other end.  Felicity Milburn, Curator

Lisa Walker Pendant: Untitled, 2016 Pounamu, silver, thread Courtesy of the artist and Galerie Biro, Munich: Lisa Walker Pendant: Untitled, 2016 Pounamu, silver, thread Courtesy of the artist and Galerie Biro, Munich
Lisa Walker Necklace: Untitled, 2015 Plastic, thread Courtesy of the artist and Masterworks Gallery, Auckland: Lisa Walker Necklace: Untitled, 2015 Plastic, thread Courtesy of the artist and Masterworks Gallery, Auckland
Lisa Walker  Pendant: Untitled, 2016  Egg beater, thread.  Courtesy of the artist and The National, Christchurch: Lisa Walker  Pendant: Untitled, 2016  Egg beater, thread.  Courtesy of the artist and The National, Christchurch
Lisa Walker  Necklace: Trip to Europe 1973, 2011  Documents, brass, string  Courtesy of the artist: Lisa Walker  Necklace: Trip to Europe 1973, 2011  Documents, brass, string  Courtesy of the artist
Lisa Walker Fischli & Weiss Bracelet 2016. Shoes. Courtesy of the artist  Lisa Walker Fischli & Weiss Bracelet 2016. Shoes. Courtesy of the artist
Christchurch Art Gallery
Cnr Worcester Blvd and Montreal St
Christchurch
NEW ZEALAND
Mail:  info@christchurchartgallery.org.nz

 

04/12/2016

EXPO ‘Past, Loss, Future’ – Melle Finelli Studio, Boston (USA) – 8 Dec. 2016-7 Janv. 2017

Classé dans : Christine JALIO (FI),Exposition/Exhibition,GALERIES,USA,www Klimt02 — bijoucontemporain @ 0:03

Past, Loss, Future by Christine Jalio

Selections from her evocative body of work entitled Past, Loss, Future will be on view at Melle Finelli Studio.

Opening December 8th from 5-9pm

Past, Loss, Future by Christine Jalio 08Dec2016 - 07Jan2017 Melle Finelli Jewelry Boston, United States:

 

Christine Jalio is an internationally acclaimed contemporary jewelry artist based in Lapua, Finland. She has exhibited her work in top galleries and craft fairs across Europe. In 2015 she was awarded second place in Enjoya’t Awards in Barcelona, Spain.

Christine Jalio Necklace: Past, Loss, Future 5, 2015 Silk clay, silver, foam clay 11 x 8 x 16 cm Photo by: Anne Ruotsalainen From series: Past, Loss, Future: Christine Jalio Necklace: Past, Loss, Future 5, 2015 Silk clay, silver, foam clay 11 x 8 x 16 cm Photo by: Anne Ruotsalainen From series: Past, Loss, Future

Christine Jalio. Brooch: Past, Loss, Future 23, 2015. Silk clay, silver, foam clay. 8 x 4 x 14 cm. Photo by: Artistar. From series: Past, Loss, Future.: Christine Jalio. Brooch: Past, Loss, Future 23, 2015. Silk clay, silver, foam clay. 8 x 4 x 14 cm. Photo by: Artistar. From series: Past, Loss, Future

Christine Jalio. Brooch: Past, Loss, Future 11, 2015. Silk clay, silver, foam clay. 8 x 4 x 12 cm. Photo by: Anne Ruotsalainen. From series: Past, Loss, Future.: Christine Jalio. Brooch: Past, Loss, Future 11, 2015. Silk clay, silver, foam clay. 8 x 4 x 12 cm. Photo by: Anne Ruotsalainen. From series: Past, Loss, Future

Christine Jalio  Brooch: Past, Loss, Future 3, 2015  Silk clay, silver, foam clay  14 x 5 x 15 cm  Photo by: Anne Ruotsalainen  From series: Past, Loss, Future: Christine Jalio  Brooch: Past, Loss, Future 3, 2015  Silk clay, silver, foam clay  14 x 5 x 15 cm  Photo by: Anne Ruotsalainen  From series: Past, Loss, Future

Christine Jalio  Brooch: Loss 3, 2016  Silk clay, silver, foam clay  8 x 5 x 15 cm  Photo by: Olga Kontio  From series: Loss: Christine Jalio  Brooch: Loss 3, 2016  Silk clay, silver, foam clay  8 x 5 x 15 cm  Photo by: Olga Kontio  From series: Loss

« I am extremely fascinated by the human psyche, intrigued by the past, old age and loss. I get excited by old and worn elements, roughness and decay. My jewellery tells stories of aging and personal loss, stories of the human life span and the transitions, choices and turning points of it. My work method is searching and questioning, my starting point always an emotion. I have great respect for good finishing, craftsmanship and skill. With my work I hope to evoke emotions in other people, move something inside of them.  For me contemporary jewellery is a rebellious art with no actual rules or true limits. » Christine Jalio

 

 

Melle Finelli Jewelry
46 Waltham Street
02118 -  Boston
UNITED STATES
mellefinellijewelry@gmail.com
tel 617 429 2035

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03/12/2016

EXPO ‘JORDI APPARICIO’ – PLATINA, Stockholm (SE) – 3-23 Dec. 2016

JORDI APPARICIO

PLATINA

OPENING SATURDAY 3D OF DECEMBER 14-17

 JORDI APPARICIO  3D - 23D OF DECEMBER, 2016 OPENING SATURDAY 3D OF DECEMBER 14-17(Jordi Aparicio earrings) 

 Jordi Apparicio is based in Barcelona, Spain. He grew up surrounded by watches and jewels with his parents creating and arranging the complicated objects. Fascinated by the small but detailed objects he firstly learned the profession of watchmaking at Cicle Formatiu de Grau Mig de Rellotjería Barcelona (2002-2005) which later ended up in jewellery making and studies at Escola d’art del Treball La industrial (2010). In the exhibition he shows jewellery that require fine discipline and great craftsmanship. The fascinating way of transforming silver through fusion techniques that he use, has in recent years led to well worth awards.

 Jordi Aparicio Necklace: Untitled, 2016 Silver 930/000 with silver powder and oxidated patina with natural laqued Photo by: Jordi Aparicio: Jordi Aparicio Necklace: Untitled, 2016 Silver 930/000 with silver powder and oxidated patina with natural laqued Photo by: Jordi Aparicio

Jordi Apparicio earringsJordi Apparicio – earrings

Jordi Apparicio - neckpieceJordi Apparicio - neckpiece

Jordi Apparicio  ring 2016: Jordi Apparicio  ring 2016

Jordi Apparicio  earrings 2016: Jordi Apparicio  earrings 2016

Jordi Apparicio  Jordi Apparicio  neckpiece

 

PLATINA
Odengatan 68,
11322 -  Stockholm
SWEDEN
+46 8 30 02 80
platina@platina.se

 

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EXPO ‘The Dinner #2’ – PLATINA, Stockholm (SE) – 3-23 Dec. 2016

« The Dinner #2″

by Mia Maljojoki & Annika Pettersson

The Dinner is a project including performance, video and jewellery. The project investigates the act of dining from an artistic viewpoint, with thoughts on food, culture, art and especially in combination with art jewellery.

PLATINA - The Dinner:

Mia Maljojoki is a jewellery artist, born in Finland and now based in Munich, Germany. She has a Bachelor of Fine Arts from Massachusetts College of Art and Design, Boston, USA (2001) and Master of Fine Arts from Akademie der Bildenden Künst München, Munich, Germany (2010). In the recent years she has worked both with art jewellery and production jewellery.

Mia Maljojoki Necklace: Exactly, 2015 Porcelain Photo by: Mia Maljojoki: Mia Maljojoki Necklace: Exactly, 2015 Porcelain Photo by: Mia Maljojoki

Mia Maljojoki - PLATINA - Mia Maljojoki Necklace

Annika Pettersson is a Swedish born jewellery artist with her base in Stockholm. She has a Master of Fine Arts from Ädellab, Konstfack in Stockholm (2008) and is currently enrolled in a one-year research program at the same University.  Pettersson is involved with various collaboration projects besides her own practice and she is one of the founders of the experimental jewellery group A5.

 Annika Pettersson. Brooch: Cutting edge, 2016. Found object, knife, wire. Photo by: Annika Pettersson.: Annika Pettersson. Brooch: Cutting edge, 2016. Found object, knife, wire. Photo by: Annika Pettersson

Annika Pettersson- PLATINA - "the dinner 2" - dec 2016 - Annika Pettersson

 

 

 

 

PLATINA
Odengatan 68,
11322 -  Stockholm
SWEDEN
+46 8 30 02 80
platina@platina.se



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22/11/2016

EXCHANGE-BIJOU 2 – Tal EFRAIM – TREASURES from Shenkar

Tal Efraim

Discovered when the Final Project Presentation 2016 at Shenkar

« Tal Efraim is a graduate of Shenkar College of Engineering, Design and Art. Currently living and working from Israel, her work is driven out of her sketchbook, where she documents the world around her, creating a « dictionary » of design possibilities. Her work is made of gold, silver, porcelain and a variety of gemstones. » (Klimt02)

« My pieces are a translation of how I view the world, especially the many details that I take note of. By exposing my work, I feel as if I can share my perspective with others. When my pieces are purchased it is a great honor, as well as helps me explore the definition of what wearable art is all about. / Tal Mohr »

Tal Barash Efraim - Final Project Presentation 2016 at ShenkarTal Efraim – Final Project Presentation 2016 at Shenkar – neckpiece

Shenkar 2016 - Tal Barash Efraim - Final Project Presentation Tal fraimShenkar 2016 – Final Project Presentation  - neckpiece

Tal Barash Efraim - closeup of my my design  Tal Efraim - closeup of my my design 

 Tal Barash Efraim - Jewelry Design Dept. Shenkar  juillet 2016  - brooch Tal Efraim - Jewelry Design Dept. Shenkar  juillet 2016  – brooch

Tal Efraim, Brooch: Heart, 2016, Fine Silver, 925 silver, porcelain, pearls, 9.5 x 9.5 x 1 cm  From series: Connectionary. Photo by: Ilan Besor Tal Efraim –   Brooch: Heart, 2016, Fine Silver, 925 silver, porcelain, pearls, 9.5 x 9.5 x 1 cm  From series: Connectionary. Photo by: Ilan Besor
« What piece or work has given you the most satisfaction? « As part of my collection Connectionary, I designed a broche titled Heart. It captures my aesthetical view of what jewellery art is all about; having a great amount of details, being made of a variety of materials, and yet still consisting of an overall look that is very clean. »

«  By documenting details such as day-to-day mechanical joints, swivels, hinges and physical connections of objects in my sketchbook, I create my own private alphabet, which will later be transformed into the language of my designs.
My pieces are all one of a kind – whilst I can make to order any piece several times, each will be a little different due to the nature of handwork and craft.« 

 

Tal Efraim interviewed by Klimt02

(when you discover that « your discovery », « your « coup de coeur »" is not anymore (yet !!) « yours ….. :-( & :-) )

 

* 2017 Exhibition  06-15 Oct 2017  XI Florence Biennale of Art.  Fortezza da Basso, Florence, Italy
* Education:
2012-2016 Jewelery Design BA, Shenkar College of Engineering, Design and Art, Ramat Gan, Israel
2007 Design & Technology Major, Masada College, Sydney, Australia
* Group Exhibitions:
2016 Glasses Design Exhibition in Opticana Glasses Museum, Tel Aviv, Israel
2016 Graduate Show Exhibition, Shenkar, Ramat-Gan, Israel 
* Grants, Awards and Residences:
2015 H. Stern excellence award in Jewelry Design for high achievements, Shenkar College

 

Image de prévisualisation YouTube

 

 

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