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EXPO ‘UN VRAI BIJOU’ – une « Ecole » Française du bijou ?

Un vrai Bijou !
[ bijoux contemporains en France ]

Monika Brugger- bijou dématérialisé en expérience de lumière

Exposition –
Château-Musée Grimaldi – Cagnes-sur-Mer – Février-Avril 2007
Galerie Artcore > Janvier-Février 2005
Association les 7 péchés capitaux
Commissariat et catalogue : Christian Alandete
Scénographie : François Bouvier

Avec :

Catherine Abrial / Louise Barthelemy / Virginie Bois / Odette Bombardier / Babette Boucher / Brune Boyer-Pellerej / Frédéric Braham / Dominique Brunet / Monika Brugger / Christophe Burger / Véronique Buri / Faust Cardinali / Maria de Castro / Claude + Françoise Chavent / Cirrus / Florence Croisier / Olivier Daunay / Marie Debourge / Ann Gérard / Nathalie Gouliart / Esty Grossman / Morgane Guilcher / Sophie Hanagarth / Ulrike Kampfert / Stéphane Landureau / Florence Lehmann / Patricia Lemaire / Sarah Leterrier / Benjamin Lignel / Monique Manoha / Marie-José Morato / Astrid Meyer / Agnès Moulinot / Oncle John / Laurence Oppermann / Orlan / Suzanne Otwell-Nègre / Juliette Pailler / Bastien Peletier / Claude Pelletier / Karol Pichler / Andréa Pineros / Agathe Saint-Girons / Mildred Simantov+Max Friedman / Martin Szekely / Georges Tsak / Patrick Veillet / Claire Wolfstirn

L’exposition présente pour la première fois, un corpus significatif de «bijoutiers» contemporains travaillant en France, se situant dans une démarche contemporaine et une reflexion par rapport au bijou. L’exposition qui rassemble pour la première fois une cinquantaine d’approches singulières met l’accent sur une pratique parfois radicale et tente de définir la spécificité d’une «école» française.



Appel à candidature pour EXPO – ‘I CARE A LOT’ – deadline : 15 Mars

Classé dans : EVENEMENT / Type of EVENT,Exposition/Exhibition — bijoucontemporain @ 3:04

I would like to invite you to take part in our Open Call for an exhibition (2010) - I Care A Lot – a portable discussion on the Middle East. This is an invitation for all visual arts professionals and students from all countries.
We’ll have our 1st opening at Idar-Oberstein University’s symposium, Germany, May 18th, 2010.

2nd opening : In September 2nd, 2010, we’ll have another exhibition at Platina Gallery in Stockholm, Sweden.

The 3rd opening will take place in Articula Gallery, Lisbon, Portugal, on 6th of November.

- Deadline for submission: March 15th, 2010
- Read on our international Jury on our website:

All the best,
Yosef Bercovich and Dana Hakim, directors of icarealot.


We are pleased to announce that Gallery Articula in Lisbon, Portugal will show the project on the 6th of November, 2010. This will be our third opening after Idar-Oberstein,Germany and Gallery Platina, Sweden. Deadline for the open call: 15th of March, 2010.

PS : I Care A Lot received 193 entries and 253 works! Thank you for your care and support in the project. Jury sessions will start soon :) (…) – 20.03.2010(Written by: icarealot)

re-lecture du bijou ancien : plus blanc que blanc ….

Amy TAVERN, Anya KIVARKIS, Constanze SCHREIBER, Lin CHEUNG, Uli RAPP …… Nouveau regard -de femme?- sur ce qui faisait la fierté des coffrets à bijoux d’antan : camées, chevalières, broches à noeud-noeud, rangs de perles, breloques zé pendeloques …. le tout passé au « ripolin », blanchi, comme on blanchi l’argent, pour lui donner une nouvelle vie, une nouvelle « honorabilité », une nouvelle « virginité », laquelle virginité ne peut se traduire « que » par du blanc ….. un monde qui semble neutre, à la Martin Margiela, tout blanc, tout « propre », comme une nouvelle page blanche sur laquelle tout peut s’écrire, s’inventer, s’imaginer …..

Martin Margiela bague 'structure' 2008Ufo Products Acrylic Cube Diamond Rings.jpg

Martin Margiela bague ‘structure’ – 2008- la pierre n’est plus qu’un souvenir… comme sur ces bagues de « Ufo Products » Acrylic Cube Diamond Rings

Amy TAVERN (US) – My most recent body of work chronicles my interest in graffiti and historical jewelry. I find graffiti’s colors, patterns, and symbols, as well as the sense of rebellion and history it conveys, to be fascinating. I am also captivated by layered and chipped paint, rust, and other forms of architectural decay often found alongside graffiti. My experiments with spray paint on metal are direct results of these interests. For this current series I also turned to antiquated styles of jewelry from the Renaissance and Victorian eras, among others, for design inspiration. I wanted to create thought-provoking jewelry by combining the refined with the urban. This body of work is a conclusion to all of these experiments  as applied to traditional forms of jewelry like the necklace, the earring, and the brooch.
website  :

Amy Tavern - necklace, sterling silver, spary - 2009Amy Tavern - earrings ,untitled,  sterling silver, spary paint - 2009
Amy Tavern – necklace, sterling silver, spray paint- 2009 — earrings ,untitled,  sterling silver, spray paint – 2009

Anya KIVARKIS (US) creates jewelry that embraces Victorian style ornamentation while eschewing its historical context. Her work is full of dripping, deformed pieces that seem antique-yet-contemporary, mangled-yet-exquisite.
Les créations de l’américaine Anya Kivarkis font le lien, entre période ancienne – principalement de style Victorien – et contemporaine. Ses pièces détournent les images du luxe et de la joaillerie pour n’en laisser paraitre que l’illusion ; les pierres précieuses sont ici réduites à leur seule forme. Son travail est présenté pour la première fois en France à l’exposition « l’Education sentimentale » à l’espace Solidor, Cagnes-sur-mer. (voir la TRES intéressante présentation de l’expo faite par Christian Alandete, que je cite dans l’article présentation de l’exposition « l’Education sentimentale »)

Anya KIVARKIS -  brooch 'Gilles legare sketch' 2006 - silver, enamel ...Anya KIRVAKIS -    untitled #4 brooch from the 'Blind Spot series' 2007 - silver, enamel

Anya KIVARKIS – brooch ‘Gilles legare sketch’ 2006 – silver, enamel … –  Untitled #4 brooch from the ‘Blind Spot series’ 2007 – silver, enamel 

Constanze SCHREIBER (DE) – « Nearly all of my works are inspired by antique jewellery pieces. At this moment (2006) I focus mainly on pieces out of the 19th and early 20th century. Their beauty and power fascinate me and I am intreged by their symbolic meanings.The symbolic meanings make the pieces so powerfull for me. They had a function in their time. By saying this I think of the protective amulets or the memento mori pieces, that remainded the wearer of his or her mortality. The symbols keept their meanings through the centurys. I believe that there is a crutial truth in the symbols and archetypes of the past that still is valid today. I see them as attempts of the human beeing to give a form to essencial themes as love, live and death. In my works I am searching for a contemporary continuation of traditional jewellery pieces.  » (
website :

Constanze Schreiber necklace 'renske' 2009 silver, copper, gold, silk.jpgConstanze Schreiber - necklace 'Elisabeth' 2005 - fur, silver, lead

Constanze Schreiber necklace ‘renske’ 2009 silver, copper, gold, silk– necklace ‘Elisabeth’ 2005 – fur, silver, lead (fourrure utilisée : astrakan = agneau mort-né. Un hasard ?)

Lin CHEUNG (UK) – Les bijoux de la britannique Lin Cheung s’inscrivent dans une réflexion sur les relations que chacun entretient avec ses bijoux. En s’appuyant sur des standards anciens, elle parvient à créer des bijoux nouveaux : une boucle d’oreille en forme de perle dorée ou un pendentif en forme de coeur sont par exemple laissés dans leurs écrins ouverts pour transformer le tout, écrin+pendentif, en broches. Et les titres donnésà ses bijoux parlent bien de 2ème vie : « wear again », »hidden value », ….

« The focus for my making is about communicating an observation from the ordinary and extraordinary life around us. It analyses our relationships with each other and our relationships with the meaningful objects we own and use in our daily lives. It also questions the subject of jewellery, teasing out our relationships with it: what we wear and why we wear it. The ‘unique value’ associated with jewellery, be it intrinsic, inherent, perceived or added to jewellery through the owning and wearing of it informs my recent work and is the basis for further research. From these lines of enquiry, I begin to shape ideas into wearable and usable pieces with renewed meaning. » About the ‘Hidden value’ serie (2006) : «  Lockets are symbols of sentimental value, often containing a photograph or a lock of hair from a loved one. Whether a locket is full or empty, the perception of preciousness is in the concept of the locket itself : believing that it should contain something of value. Whether the lockets of this necklace are full or empty is of no consequence to the final meaning, either way, the value remains hidden. »
website :

Lin Cheung - wear againUli RAPP - multi-chains necklace, made of screenprinted textile with a rubber backing - sept 2009

Lin Cheung – « wear again » brooches –
Uli RAPP – multi-chains necklace, screenprinted textile with rubber backing – 2009

Uli RAPP – Amsterdam based artist, Uli Rapp has created some contemporary jewelry by screenprinting onto fabric and rubber. Her inspiration comes from classic 16th century designs. She also designs fabric using old and new printing techniques.
c’est la mort du « bling-bling » ! même les chaines d’or ne sont plus qu’une « impression », et sur plastique de surcroît !


EXPO ‘Thread Bare’ – bijoux de Joanne HAYWOOD – Rochester Art Gallery (UK), 13 Fev – 25 avril 2010

J’ai tout d’abord découvert les bijoux de Joanne HAYWOOD à la Galerie CARACTERE, à Neuchatel (CH) : premier coup de coeur …. en attente de faire des économies ! ;-)

 Joanne haywood-- Garden Rings - 2008-09
Joanne haywood -Garden Rings – 2008-09 -coton crocheté, argent noirci

J’en profite pour vous présenter cette expostion : « Thread Bare », à la Rochester Art Gallery.
« Thread Bare » presents four contemporary artist-makers who use textiles to explore the human condition and gender-related concerns, relationships between past and present, and narratives constructed around personal and cultural identity. Contradictions and ambiguities abound in each artist’s work. Craig Fisher’s soft, sculptural installations question representations of violence and macho stereotypes whilst Lucy Brown explores the complex issue of female identity, reworking vintage garments into abstracted, figurative forms. Joanne Haywood takes part with her recent work. Mixed-media jewellery draws on the conflicts of opposites : skeletal wire forms and fleshy crocheted volumes; the natural and unnatural; the absence or presence of colour; the interplay of light and shadow.

Joanne haywood-- 2006-07 -BaubleJoanne haywood- Fibonacci - 2008-09- 2006-07 - Big Red
Joanne haywood -’Bauble’ ( 2006-07) -  ‘Fibonacci’ (2008-09)  – ‘Big Red’ (2006-07)

Joanne Haywood’s work takes up the human story through pieces that reach back into the faraway history of the Thames Valley and the exposed objects that come to light through mudlarking. Taking the clay pipes that speak in their materiality of the bones and shell that also archaeologically evidence London’s history, Haywood is interested in the transitional, as seen through metal oxidisation or the juxtaposing of skeletal metal and the fleshliness of textiles.
In her Pipe Flower Neckpieces, she builds onto the historical artefact something of the living textile, reminiscent of the loss of textile artefacts to water damage and time but also indicative of the re-inventive power of threads. Like Minta’s missing brooch in Virginia Woolf’s To The Lighthouse, (in) significant objects, especially those of desire sustain and prevail, and offer themselves unexpectedly from the past for our engagement and re-visitation.

 2009-10 - Bilston Commission DetailJoanne Haywood- Artifact Neckpiece IndigoJoanne haywood- Tree Ring - 2008-09
‘Bilston Commission’ Detail (2009-10) -  ‘Artifact Neckpiece Indigo’ (2009-10) – ‘Tree’ Ring (2008-09)

Joanne Haywood défini son travail ainsi : My work explores the essence of materials and the permanence of jewellery as physical objects and a transitional idea. Wire compositions are altered by charcoal and wood oxidisation  ….  » Drawing on the contradiction and conflicts of opposites: Skeletal forms and fleshy volumes, natural and unnatural, the absence of colour and the addition of colour, light and shadow, within and beyond control.(source blog « mar de Color Rosa« )   : the Joanne Haywood blog for more information


Rochester Art Gallery
Medway Visitor Information Centre,
Ground Floor, 95 High Street,
Rochester, Kent, ME1 1LX  – UK
Opening hours : Mon-Sat 10am – 5pm, Sun 10.30am – 5pm, Free admission


-  A  -  Mixed-media Jewellery - Methods and Techniques (Design and Make) - Joanne haywood

« Mixed-media Jewellery – Methods and Techniques (Design and Make) » – Joanne haywood

ART AUREA – Institut für Schmuckkultur (Institute for Jewelry Culture) – Allemagne

Classé dans : Allemagne (DE),www ARTAUREA — bijoucontemporain @ 4:47

The Institut für Schmuckkultur (Institute for Jewelry Culture) was founded by Reinhold Ludwig in 2007 with the purpose of documenting the work of distinguished manufactories, designers and artists and communicating this to the public in a competent fashion. By means of innovative concepts and publications, the Institute helps to maintain, cultivate and further develop a discerning jewelry culture and the applied arts, a goal which is also supported by this internet platform with its Art Aurea magazine and Modern Jewelry Collection.

Modern Jewelry collection

The Modern Jewelry Collection, abbreviated MJC, annually presents the most important works created by discerning jewelry designers, manufactories and artists. Being presented on Art Aurea, these creations are simultaneously nominated to be included into the virtual Art Aurea museum. The pieces shown under the “Jewelry” heading, accompanied by a short portrait of the respective designer or manufactory, may serve the public as an orientation with regard to demanding, contemporary jewelry. Designers and artists from all over the world creating ambitious, authentic and contemporary jewelry are invited to apply for their pieces’ inclusion in the MJC

Modern Jewelry Academy

The Modern Jewelry Academy decides whether a piece will be included in the virtual Art Aurea museum. It is an international board of trustees composed of leading galleries, jewelers, museum curators, journalists and connoisseurs of modern jewelry. Thus, a publicly viewable, worldwide reference list of important pieces of jewelry will be created successively as the years go by, serving buyers and collectors as an orientation guide and thereby promoting the development of contemporary jewelry culture

art aurea


Art Aurea Magazine
International magazine for APPLIED ARTS, JEWELRY AND DESIGN
quarterly (4 times a year)
Aboservice Art Aurea
Guell GmbH, Heuriedweg 19, 88131 Lindau, Germany
Phone: +49(0)1805-01 25 73
Fax +49(0)1805-01 25 74

EXPO ‘Hoar Frost’ – Craft2EU gallery, Hambourg (DE) – 13 Jan 2010 – 6 Mar 2010

 Kathryn Partington -'ethereal' neckpiece 2009 - silver & silk, transfers 2Anke HennigEisschollen 2009 Silver

Kathryn Partington – neckpiece ‘Ethereal’ 2009 – Silver and silk, transfers
Anke Hennig – necklace  ‘Hybrid II’ 2009 Makrolon
 Michaela Kirchner – necklace ‘Eisschollen’ 2009 Silver

*Kathryn Partington produces one-off wearable items of jewellery by utilising her background training within the discipline of tableware ceramics & printed  textiles. She does not leave us with the association of the hoar frost on our skin. She rather conserve it in silver, silk and porcelain with fine patterns. These are applied in various printing and embossing techniques. some of them seems total magic ; it glimmers ever so softly, shimmers delicately and comes across changing just like a changing picture does.

*Anke Hennig combines with her jewellery the colours of winter and icy glitter with her delicate transparency of textile weave, called Monofil. The secret of her invention she keeps all to herself. The rosettes which are made into brooches and earrings are light and precious : a flexible development of the chains, partly because of the secrecy of their technique and at the same time their beauty.

*Michaela Kirchner experiments with tiniest structures, which line up around the neck of the person carrying them as if they were silver-coloured floating ice. Their amorpheus shapes are, melted into tiny glitter sructures which catch the light from all sides and throw back the light, shimmering and prescious.


« Hoar Frost »
craft2eu – agency and gallery for european arts and crafts
Eppendorfer Weg 231
20251 – Hamburg
Telephone: 0049-(0)40-480 928 22/24
Fax: 0049-(0)40-480 928 22/24

EXPO ‘Bijoux de création’ – Musée du Temps, Besançon (FR) – 22-23 mai 2010

Classé dans : Ateliers d'Art de France,Exposition/Exhibition,France (FR) — bijoucontemporain @ 1:18

25 créateurs bijoutiers haut de gamme, tous professionnels, exposeront dans la cour du Musée du Temps de Besançon, les 22 et 23 mai 2010.

(annonce présentée dans le site de la SEMA , pas trouvé d’information supplémentaire … Triste)

Au programme :
- Exposition vente des créations des créateurs de bijoux
- Démonstrations de savoir-faire, atelier découverte de gemmologie
- Exposition sur le thème de « Vénus »
- Intermèdes musicaux

EXPO bijou de cration 2010

et NON, contrairement à ce que dit l’affiche, PAS d’info sur Triste

Prix La Relève
Ateliers d’Art de France encourage les artisans d’art en début de carrière par la remise de Prix La Relève, sur des salons métiers d’art dont elle est partenaire, en province. En coopération avec les organisateurs de salons, elle sélectionne le lauréat, exposant pour la première fois à ce salon, sur des critères de savoir-faire et de créativité. Les artisans d’art ainsi choisis se voient remettre cette répompense, d’un montant de mille euros.
Le prix La Relève sera remis lors de « Bijoux de Création ».


Musée du Temps
Palais Granvelle
96 Grande rue
25000 BESANCON – France
tél :
fax :


EXPO ‘Walking the Gray Area’ Galeria La Refaccionaria, Mexico – April 2010

Curated by Mexican architect and curator Valeria Vallarta Siemelink and German artist and curator Andrea Wagner, Walking the Gray Area will show works by 20 artists from their respective continents : Latin America and Europe.

leonor_hipolito - brooch

Leonor Hipolito (PT)’s jewelry Red rose or body part?

From Walking the Gray Area:

Each artist has a unique approach to jewellery: different ideas, different interests, different materials and techniques, different countries. But all artists have one thing in common: like the curators themselves, they are or have all been migrants: born in one place, living/working/studying in another one.

The artists have been paired randomly : the names of the Latin American artists were written on a piece of paper, which was folded and placed in a bowl. The same was done with the names of the European artists. The curators had fun taking turns to pick a name from one bowl and pairing it with a name from the other bowl. 20 couples were formed and they will carry out both verbal and visual dialogues through a blog that has been created for this purpose.

The artists have been individually selected based on their artistic excellence, technical abilities and creative response to diverse subjects. As a collective, the group has been selected based on the great differences between their work, their varied and experimental approach in the use of materials and techniques and on the rich possibilities that lay on the exchange among them. Each artist will create an individual piece of jewellery as a product of the dialogue.

The resulting exhibition, Walking the Gray Area, will be presented at the Symposium Gray Area, Encounter of Contemporary Jewellery between Latin America and Europe in Mexico City in April of 2010. The exhibition will be presented at Galeria La Refaccionaria in Mexico City.


Mirla Fernandes (Brazil) – Heranca Necklace (latex, paint, porcelain)
Jorge Manilla (Mexico/Belgium) Necklace


en parallèle à l’expo de la galerie « La Refaccionaria », symposium :

« Gray Area, First International Encounter Of Contemporary Jewellery Latin America – Europa »

What does Contemporary Jewellery mean ?

 What does Contemporary Jewellery mean?

Benjamín Lignel Bethel, Metalsmith Magazine, 2006

The following question is part of a questionnaire sent by the Italian Association for Contemporary Jewellery to its members : Italy and France, whilst boasting a long history in high-end jewellery, by and large remained untouched by the experimental jewellery movements of the ’60s (most active in the US, England, and Holland). Today, the studio Jewellery community in both countries remains small, and I found from experience that the otherwise simple task of defining one’s activity is unexpectedly daunting for us, and continues to fuel many of our conversations.

This is a ‘French’ answer to an Italian question, written in English: a nice metaphor for our international community of gold-tinklers, but one which complicates the task of defining jewellery – the English use alternatively design jewellery and contemporary jewellery, the French may say creation (i.e. creative) jewellery, the Italians art goldsmithing, while American readers will prefer art or studio jewelry. Having trained in the UK (and to simplify matters), I used the expression Contemporary Jewellery, though, as you will see, I am not at all convinced that it does the profession much justice.

What does Contemporary Jewellery mean ? dans Benjamin LIGNEL (FR) police_state_badge

William Clark Police State Badge, 1970 and 2005 Sterling silver, 10k gold
Photo: Richard Matzinger

What does Contemporary Jewellery mean?

Not very much, to anyone outside the profession; but the question is a helpful reminder that:
1. In most countries, the debate will never find an audience outside the actual community that launched it.
2. This is a simplistic label, falling short of the profession’s complex heritage and range of interests.
But it’s a tricky one, and I tried to list some of the ways one could answer it:

Contemporary Jewellery is a type of practice – understood as the contemporary offspring of a craft-based design activity that finds its origin in medieval workshops. Such a definition stresses contemporary jewellery’s historical past, and finds antecedents in the British and American Arts & Crafts movements, the renewed late XIXth century interest in manual skills (as a last stand against industrialisation), and the emergence of radical jewellery movements in the 60s: it underlines the notions of individuality, craftsmanship, and its troubled relationship to the production mainstream;

or a type of object: poised between high-street jewellery and art (the former’s glorified other, the latter’s poor relative), we know what it’s not (‘just’ manufactured artifacts for wearing), and what it wants to be (the expression of individual talent that reflects on, and sometimes influences, contemporary culture), much less what it is.

happy_family dans Estela Saez VILANOVA (ES)

Benjamin Lignel – Happy family NHS (two adhesive rings), 2002 Rubber, gauze, ink
Edition of 300 – Photo: Joel Degen

A few distinctive characteristics, however, seem to be beyond debate: the human body as a general working area; an open attitude to methods and material that echoes art’s own agenda, complicated by the notion of wearability; the distinctiveness we associate with individual expression; and an emancipation from consumer goods’ vocation to ‘just’ satisfy consumer desires.

It could also be defined as a market (I follow here the argument that cultural artifacts are defined less by methods of production than by distribution, accessibility and ultimately, potential impact on a larger consumer base). In most countries, a limited number of galleries take care of both distribution and promotion – while the designer-maker is expected (if (s)he wants to make a living) to be represented by at least five galleries, and complement consignment sales by direct, off-the-anvil transactions. From my point of view, the Contemporary Jewellery market works in ways similar to the art market, but on a scale so small, that its lack of visibility questions its existence.

hand dans Leonor HIPOLITO (PT)

Estela Saez Vilanova – GBN  -Silver, wool, paint

So then: most jewellers would agree that Contemporary Jewellery is a fast-evolving profession at a crossroad between craft, design, and art, currently ridged by identity concerns. However, I think that the problem, rather than one of identity, is one of image. Although the lack of an established definition has contributed to an extremely rich range of output -personal answers to a collective question- it seems that diversity stands in the way of a more cohesive front, one that would focus on explaining to people that there is a life after Cartier, Pomellato and Tiffany’s. And the unsuspecting public still lumps the practice together with its craft-based past, judges its production on a par with high-end (or any other) jewellery, and considers artistic ambition rather like a presumptuous fancy (unless one equates artistic with skilled, meaningful or committed to self-expression).

bag dans Mirla FERNANDES (BR)

Mirla Fernandes – Fe 2008 Latex and mineral pgiments

This happens at least for two reasons:

Firstly, there are not enough of us to rally a larger population to Contemporary Jewellery’s standards: exposure is limited by the output (there are comparatively few jewellery design programs, fewer graduates that stick to the trade, and not many pieces produced per year per jeweller). This scarcity of active jewellery makers is further complicated by our cultural antagonism with serial reproduction -and therefore, bigger distribution 1). A cynical bystander would add: this is a micro-profession, which means little appeal to the press, anemic cultural budgets, no specific courses in the history of Contemporary Jewellery (to my knowledge), and therefore, no history. As a result, Contemporary Jewellery is always deemed a subsidiary activity, on the margin of mainstream jewellery creation. Secondly, designer-makers are by nature a/o trade, uncommunicative, or certainly not prone to enthusiastic pamphlet scribbling. Who’s ever heard of Contemporary Jewellery, outside its confidential network of galleries and specialized clientèle?

Leonor dans Reflexion

Leonor Hipolito – Sin titulo – Silver, cotton

The situation, and this is my point, demands more than just communication: instead of shunning assertive promotion/information strategies (for fear of contamination?), we must resist inertia from within and without that confine Contemporary Jewellery to its ill-defined (but restricting) marginal position, and explore new means of proliferation.

So we should communicate more. And explain our intentions. But in the end, let us not be too intent on defining our practice as one thing only: if anything, I would even drop the Contemporary or Studio used to qualify this jewellery: whatever specific meaning it may have had is now superseded by a vague sense of institutionalized otherness.

Let’s be proud, and call it jewellery.

« Let’s be proud, and call it jewellery«  (photo Sandra Kocjančič)



About the Author : Benjamin Lignel (1972) first trained in philosophy & literature, then in art history, at New York University, and finally in furniture and jewellery design, at the Royal College of Art in London. Hence his interest in the functional object, complicated by a penchant for art, and further perverted by sustained exposures to literary works, often momentous, sometimes pertinent.





 Footnote1) The dominant discourse by jewellers and gallerists alike tend to equate value with uniqueness. While the argument certainly has weight from a mercantile point of view, it seems very outdated when applied to artistic value: not only have multiple editions (either executed by fine artists or copied from original work) been produced since the XVth century, as a way to reach a wider audience, but anyone in today’s contemporary art world trying to champion a pre-Warholian superiority of the unique, hand-made piece would be laughed at. 

AGC Associazione Gioiello Contemporaneo – Italie

Classé dans : AGC Italia,ASSOCIATION,Italie (IT) — bijoucontemporain @ 11:45

sur Facebook ( :

AGC è un’associazione italiana senza scopo di lucro fondata nel 2004 con l’obiettivo principale di valorizzare e diffondere la cultura del gioiello contemporaneo attraverso conferenze, convegni, mostre, etc. Il sito Internet rappresenta una prima interfaccia per gli iscritti e visitatori, i quali possono avere una visione d’insieme attraverso le news, il giornale online, informazioni di mostre e conferenze, libri.
Questo gruppo è stato creato per dare notizie immediate ai fans AGC ma soprattutto per generare idee da condividere, ma anche immagini, scambio di spazi disponibili per mostre, forum di discussioni.
AGC is an organization active in Italy since 2004 with the aim of promoting and giving value to contemporary jewellery as a form of art through conferences, round tables, exhibitions, etc.
The internet site, with news, an on-line journal, information, comments, books, represents a first platform of information.
This group is created to give AGC fans recent news and generate idea and image sharing, exhibition spaces exchange, forums.

AGC vetrina



tél :  Italia 086228638 – From abroad (+39) 0668308233 


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