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01/11/2014

EXPO ‘la mort vous va si bien’ – Janus Gallery, Montreux (CH) – 1er Nov. 2014 – 15 janv. 2015

Janus Gallery - « la mort vous va si bien » 

 EXPO - Janus Gallery - Montreux (CH) 'la mort vous va si bien'

Mort et Bijou, deux compères qui marchent main dans la main depuis la nuit des temps. Memento mori, vanités, bijoux de deuil, bijoux funéraires de toute sorte et plus récemment crânes os et squelettes avec ou sans intention particulière derrière, ont toujours peuplé le monde de la parure.
Janus Gallery s’est demandé comment les bijoutiers contemporains interpréteraient ce thème, et plus particulièrement comment ils approcheraient l’idée séduisante et dérangeante de « la mort vous va si bien ».
Pour le découvrir, Janus Gallery a invité plus de 120 bijoutiers contemporains du monde entier à participer à un concours-exposition sur le thème « la mort vous va si bien »

Janus Gallery - "la mort vous va si bien" JANUS GALLERY Avenue Claude Nobs 2 CH - 1820 Montreux   +41 (0)21 963 18 84 www.janusgallery.ch

 21 artistes ont été au final retenus pour faire partie de cette exposition, et cette lourde tâche que de les choisir a été dévolue a un jury d’exception.Composé de 7 membres, et présidé par Mme Carole Guinard. Il se compose par ordre alphabétique de:
Mme Elizabeth Fischer, responsable Design Bijou et Accessoires, HEAD – Genève
• Mme Thérèsa Flury fondatrice du Club des Pies, un club dédié aux amateurs de bijoux,
• Mme Florence Grivel, historienne de l’art,
• Mme Carole Guinard, bijoutière contemporaine, scénographe au mudac, chargée de la collection de la confédération(collection de bijoux de la confédération helvétique), présidente du jury La Mort vous va si bien,
• M Vincent Lieber, conservateur du Musée Hstorique et des Porcelaines de Nyon,
• M Denis Pernet, curateur indépendant, directeur de La Nuit des Musées (Lausanne) et
• Mme Ilinca Vlad, galeriste chez Janus Gallery.
Nous nous réjouissons de vous faire découvrir cet univers étrange et fascinant dès le 1er novembre 2014.

artistes participants :   Sylvie GodelKatheryn Leopoldseder Sophie BoudubanMonica Wickström –  Aurélie Dellasanta  — Kiko GianoccaJessica Andersen –  Cathy ChotardEero LintusaariTiffany Rowe – Nils Schmalenbach  — Constanze Schreiber – Ambroise DegenèveFlorie DupontTuija HietanenSarrah KacemAude MedoriLucile BurnierMarianne AnselinDiana Dudek –  Emeline Fichot

  Katherine Leopoldseder - Fearfully and Wonderfully Made (Psalm 139) Lung Necklace, 2010 Cigarette filters, oxidized copper, Sterling silver, fresh water pearls, silk -Katherine Leopoldseder – Fearfully and Wonderfully Made (Psalm 139) Lung Necklace, 2010 Cigarette filters, oxidized copper, Sterling silver, fresh water pearls, silk 

  Tiffany Rowe - OFF WITH HER HEAD!  necklace  Vinyl, acrylic, ribbon.  For this statement necklace I was largely inspired by the notion of decapitation and blood  Tiffany Rowe - OFF WITH HER HEAD!  necklace  Vinyl, acrylic, ribbon.  For this statement necklace I was largely inspired by the notion of decapitation and blood

 Aurélie Dellasanta  - SKELETONS, work 2007-2009 - www.aureliedellasanta.comAurélie Dellasanta  – SKELETONS, work 2007-2009 

Sylvie Godel "Lots of bones" sculpture portable, bijou sculpture - porcelaine Sylvie Godel « Lots of bones » sculpture portable, bijou sculpture – porcelaine 

Bracelet n. t. 2007 9 x 8 x 4,5cm Fine silver, electroformed   behind me – dips eternity before me – immortality myself – the term between. poem by Emily Dickinson www.constanzeschreiber.comConstanze Schreiber – Bracelet n. t. 2007 9 x 8 x 4,5cm Fine silver, electroformed  
behind me
dips eternity
before me
immortality myself 
the term between.
poem by Emily Dickinson 

 Ambroise Degenève - MEMENTO MORI  bracelet feuilles d'or, plâtre, os, or jaune, 2014  Sous un certain angle, un simple cercle d’or, figure hautement symbolique. Le port de la pièce est nécessaire pour éprouver son lent processus d’usure. image d’une vie périssable.Ambroise Degenève – MEMENTO MORI  bracelet feuilles d’or, plâtre, os, or jaune, 2014  Sous un certain angle, un simple cercle d’or, figure hautement symbolique. Le port de la pièce est nécessaire pour éprouver son lent processus d’usure. image d’une vie périssable.

Janus Gallery : Marianne Anselin -   - « 28 janvier 2011 »  - bague -  Broche en feuille du Costa-Rica, résine, argent, or et inox ressort, 2011. 6 cm x 4 cm Arrêter le processus de dégradation naturel d’une feuille en la ramassant.Marianne Anselin «28 janvier 2011»  – bague en feuille du Costa-Rica, résine, argent,  2011. -  Arrêter le processus de dégradation naturel d’une feuille en la ramassant.

 Florie Dupont - THE REMAINS COLLECTION - Bague, argent plaqué or rose, cuir, silicone, perle, 2014Florie Dupont – THE REMAINS COLLECTION – Bague, argent plaqué or rose, cuir, silicone, perle, 2014
Fondée sur une étude délicate et sensuelle de la peau et des surfaces lors d’un stage au Musée d’Histoire Naturelle de Genève à l’atelier de taxidermie, THE REMAINS COLLECTION questionne la beauté de la mort à travers les notions de fonction, d’ornementation et de préciosité. Fondée sur une étude délicate et sensuelle de la peau et des surfaces lors d’un stage au Musée d’Histoire Naturelle de Genève à l’atelier de taxidermie, THE REMAINS COLLECTION questionne la beauté de la mort à travers les notions de fonction, d’ornementation et de préciosité.

  Sarrah Kacem (CH) QUE TOMBENT LES PAILLETTES Pièce unique - Sautoir fait de paillettes et de chaînes facettées en acier - Ecrin en bois – 2013 Dimensions (cm) – Sautoir 105 x 31 x 8 – Ecrin 90 x 18Sarrah Kacem (CH) QUE TOMBENT LES PAILLETTES Pièce unique – Sautoir fait de paillettes et de chaînes facettées en acier – Ecrin en bois – 2013 Dimensions (cm) – Sautoir 105 x 31 x 8 Ecrin 90 x 18
« La paillette évoque généralement une ambiance festive et gaie célébrant la joie de vivre. Lorsqu’elle a une durée de vie limitée tout comme le confetti, elle devient éphémère. Jetée dans l’air, sa trajectoire se termine en jonchant le sol. La paillette abandonnée se meurt et tombe dans l’oubli marquant ainsi la fin des festivités. Seul l’éclat lumineux de sa couleur persiste et chatoie. L’assemblage des paillettes permet de capter les reflets de couleur scintillante de cet instant. Mon défi a été de mettre en valeur et d’apporter de la profondeur à ce matériau souvent considéré comme léger et futile. Par la conception d’un sautoir imposant, je place la paillette au rang d’un élément de parure. »

 Sarrah Kacem - que tombent les paillettes - détail Sarrah Kacem (CH) QUE TOMBENT LES PAILLETTES – détail

 Aude Medori - LA MORT AUX DOIGTS bague poison (2009) argent, ressort acier, seringue, coton 43mm /57mm / 20mm ©photo : Claire PathéJanus Gallery : Aude Medori - LA MORT AUX DOIGTS bague poison (2009) argent, ressort acier, seringue, coton 43mm /57mm / 20mm ©photo : Claire Pathé

Aude Medori - LA MORT AUX DOIGTS bague poison (2009) argent, ressort acier, seringue, coton 43mm/57mm / 20mm ©photo : Claire Pathé
« J’ai réalisé La mort aux doigts en 2009, c’est une de mes pièces de diplôme. J’avais alors choisi de travailler sur le thème de la liberté et des limites qui la définissent, en prenant un axe philosophique. Pour ce faire, j’abordais des questions existentielles telles que : la conscience, le corps, l’espace, le temps, l’autre, les autres, en revisitant des bijoux historiques. Cette pièce correspond en l’occurrence à la question de la liberté face au temps, autrement dit : la question du suicide. Inspirée par la relecture du « Mythe de Sisyphe » de Camus et par les nombreux débats sur l’euthanasie qui avaient lieu en France à ce moment là, je revisitais la bague poison en une bague attelle, proche formellement d’un objet médical. Le geste victorieux (le V si symbolique de l’index et du majeur) permet au système sur ressort de libérer le fatal curare. A manipuler avec précaution… »

 Aude Medori - LA MORT AUX DOIGTS bague poison (2009) argent, ressort acier, seringue, coton 43mm /57mm / 20mm ©photo : Claire PathéAude Medori - LA MORT AUX DOIGTS bague poison (2009) argent, ressort acier, seringue, coton 43mm/57mm / 20mm ©photo : Claire Pathé

La Commune de Montreux et Janus Gallery ont le plaisir de vous annoncer le nom du premier vainqueur de ce concours. Il s’agit de Mme Lucile Burnier, jeune bijoutière contemporaine suisse (1989), issue de la HEAD, qui poursuit actuellement ses études à l’ECAL. Son oeuvre puissante NON CONSIGNÉ sort des sentiers battus, traitant non de la mort individuelle mais de celle collective, par le biais de la mort industrielle. Ses deux colliers, qui faisaient à l’origine partie de son travail de Bachelor, ont surpris les membres du jury par leur maturité, leur puissance leur beauté formelle et leur côté iconoclaste.

Janus Gallery : "la mort vous va si bien" - Lucile Burnier - "NON CONSIGNÉ" est une collection de bijoux sur la mort industrielle européenne - Matériaux : Verre de bouteille bière / vin Coton Porcelaine Bois Vinyl Packaging : Bois Lucile Burnier - « NON CONSIGNÉ » est une collection de bijoux sur la mort industrielle européenne – Matériaux : Verre de bouteille bière / vin Coton Porcelaine Bois Vinyl Packaging : Bois
« NON CONSIGNÉ est une collection de bijoux sur la mort industrielle européenne. Elle est un regard sur notre société qui semble impuissante et indifférente face à cette situation. Au début de mon travail de Bachelor, j’ai été marquée par les évènements qui se déroulaient sur le site sidérurgique de Florange en France. Les conséquences de la mondialisation économique font que l’Industrie européenne est en crise. Elle subit des fermetures, des délocalisations et semble être condamnée à disparaître malgré la ferveur de ses ouvriers qui se battent, corps et âme, pour la préserver. Elle laisse des régions en zone sinistrée, aux paysages industriels en friche et un savoir faire en péril.
J’ai commencé mes recherches par réaliser des illustrations en sérigraphie de ces paysages, à partir de photographies de hauts fourneaux de Berndt et Hilla Becher. J’ai ensuite joué avec les codes, les formes et les matériaux de l’industrie. Je me suis intéressée au rebut comme les bouteilles de bière, contenant en verre banal dont la beauté des formes indiffère. Je les ai coupées et réassemblées ce qui a créé une nouvelle esthétique. De même, par un changement de matériaux, des tuyaux en PVC deviennent précieux et séduisant en porcelaine. Au final, les différents éléments ont été assemblés entre eux par un travail sur les noeuds.
Ma collection, aux pièces imposantes, est un cri face à l’indifférence et l’impuissance. L’orange fluo symbolise cette menace. Les bijoux sont ensuite rangés dans des boîtes en bois inspirées des coffrets à vin, elles sont leurs cercueils.« 

Lucile Burnier - non consigné - Matériaux : Verre de bouteille bière / vin Coton Porcelaine Bois Vinyl Packaging : BoisLucile Burnier – non consigné – Matériaux : Verre de bouteille bière / vin Coton Porcelaine Bois Vinyl Packaging : Bois

A côté de cette oeuvre novatrice, deux autres pièces ont soulevé l’enthousiasme du jury, recevant ainsi une mention: il s’agit du collier VENEER du bijoutier contemporain suisse Kiko Gianocca (1974), et de linstallation NECKLACE OF TEARS de l’artiste contemporaine finlandaise Monica Wickström (1955). Fort différentes l’une de l’autre, ces deux oeuvres contemporaines d’une fragilité émouvantes, s’inscrivent tant dans le mouvement des vanités que dans celui des memento mori.

Kiko Gianocca - “Veneer” Neckpiece 2014 Wood veneer, balsa wood, brass, silverKiko Gianocca – “Veneer” Neckpiece 2014 Wood veneer, balsa wood, brass, silver
« “Veneer” is my latest body of work, it is a series of neckpieces. At first glance a wooden veneer has all the attributes that resemble something dead. It has been so manipulated by man that it is only the ghost of the tree that it once was. As soon I start to work with the veneer however, even just with a little water to give it elasticity, it moves and seems to return somehow to its past life. The pieces’ irregular shapes are also partly inspired by the inkblot images used in a Rorschach test, a method of psychological evaluation. Like in these inkblot images, in my neckpieces you can find references of butterflies, flowers and other elements, symbols that remind us that beauty don’t last and life is short.
Each piece is given a unique shape informed by the grain of the wood. In this way the thin layer of veneer references it’s three-dimensional past as solid wood. Like each of us, these works are made up of different elements, each with their own identity and uniqueness. The final works have a shadow-like presence, representative of something belonging within. I like to think that the neckpiece gives the material from which its made the opportunity, through its shape and moving parts, of a second life »

Monica Wickström - NECKLACE OF TEARS, 2014 installation, 24 g, 350 x 370 x 0,55 mm 24 used single doses of eedropsMonica Wickström – NECKLACE OF TEARS, 2014 installation, 24 g, 350 x 370 x 0,55 mm 24 used single doses of eyedrops

 

JANUS GALLERY
Avenue Claude Nobs 2
CH – 1820 Montreux
+41 (0)21 963 18 84
www.janusgallery.ch
info@janusgallery.com
téléphone : 0041 – 21 963 18 84

 

 

 

 

 

24/08/2013

EXPO ‘La Frontera’ – Velvet da Vinci Gallery, San Francisco (USA)– 14 Aout-15 Sept. 2013

Classé dans : Exposition/Exhibition,Gal. Velvet da Vinci (US),USA — bijoucontemporain @ 2:07

La Frontera opens August 14 at Velvet da Vinci Gallery

expo la frontera - affiche - Velvet da Vinci

Exposición que explora el espacio de la frontera y lo que representa, entablando un diálogo entre diferentes artistas que a través de la joyería expresan cómo entienden esta realidad geográfica de implicaciones económicas, políticas, sociales, culturales e ideológicas.  A través de 150 piezas, diseñadas por  90 creadores provenientes de distintos continente se reflexiona sobre nuestra frontera con Estados Unidos y las implicaciones que ésta tiene para cada uno de nosotros.

Martacarmela Sotelo, Visiones de la frontera, Martacarmela Sotelo, Visiones de la frontera

 

Artists:  Rameen Ahmed — Mayte Amezcua — Eliana Arenas — William Austin III — Iacov Azubel — Maria Fernanda Barba — Brooke Battles — Ela Bauer — Victor Beckmann — Kristin BeelerAline Berdichevsky — Jesse Bert — Elvira Bessudo Raquel Bessudo — Linnèa Blakèus & David Alexander Calder — Arturo Borrego — Sandra Bostock — Alejandra Bremer — Gabriela Campo — Jorge Castañon — Cristina Celis — Celeste Christie — Thea Clark — Kate Connell & Oscar Melara — Bruno Cuervo Aceves — Jessica Davies — Alberto Dávila — Clementine Edwards — Beate EismannDanielle EmbryNicolas Estrada — Brenda Ligia —  Sol Flores — Andrés Fonseca — Christine Forni — Monica Guerra — Elisa Gulminelli — Pierce HealyHeidemarie Herb — Thomas Hill — Holland Houdek — Marta HrycKevin Hughes — Mary Frisbee Johnson — Tammy Young — Eun Kim — Barbara Knuth — Alejandra Koreck — Claire LavendhommeLorena Lazard Ria Lins — Criselda Lopez — María Eugenia López — Jorge ManillaAlix Manon — Carmen Marcos Martínez — Gigi Mariani — Wendy Maruyama — Judy McCaig — Edward Lane McCartney — Emma Messer — Molly Mitchell — Katharina Moch — Nancy Moyer with Mark Clark — Dawn E. Nakanishi — Alja Neuner — Brigid O´Hanrahan — Mabel Pena — Chiara Pignotti — Ramón Puig CuyàsKerianne Quick — Alexander Romero Reyes — Poleta Rodete — Jacqueline Roffe — Zinna Rudman — Elizabeth Rustrian — Carmen Lucia Sandoval — Chiara Scarpitti — Agnes Seebass — Marina SheetikoffAlejandra SolarMaria SolórzanoMartacarmela Sotelo — Olga Starostina — Rachelle Thiewes — Demitra Thomloudis — Sabina Tiemroth — Julia Turner — Martha Vargas — Elizabeth Wilson –  Jette Zirpins

 

Julia Turner Brooch: Three Days Walking (Mourning Brooch) 2013 Steel pins, vitreous enamel, steel, wood 5 x 5 x 0.7 cm

Julia Turner  Three Days Walking (Mourning Brooch)

« Borders separate but also unite » (Octavio Paz)
Historically the relationship between Mexico and the United States has been complicated, deep, and conflicted. Due to geography, this relationship is unavoidable and comprised of many underlying currents: economic, political, social, cultural, ecologic and ideological.
La Frontera (The Borderlands) is the physical space where the relationship between Mexico and the U.S is most evident. In recent years, drug trafficking and violence have made it the focus of almost daily news. However, the extremely porous nature of the border allows not only the illegal passage of arms and drugs, but also ideas, money, projects, families, and culture.
The border is an environment of opportunity both legal and not. Nearly 2000 miles long, the U.S. – Mexico border is the most frequently crossed international border in the world. Companies use differences in labor and environmental regulations to their advantage and create discontent on both sides of the border. Since the 1980s economic and political refugees from Central America have swelled populations at the border and migrations across it. The construction of the 700- mile U.S. – Mexico Border Fence of the past several years is the most tangible symbol of failed politics.
The exhibition LA FRONTERA seeks to explore this physical space and what it represents. This is why we want artists either born in either of these countries or who live in either of these countries to express how they understand the border.

Jorge Castañón - "Hacia dónde va tu Sangre ? " -   'LA FRONTERA' exhibition -   Algunas veces queremos cruzarlas, otras , necesitamos cruzarlas, buscando recomenzar, renacer, una segunda oportunidad posiblemente.  Tal vez nuestros cuerpos puedan lograrlo, pero … qué será de nuestro corazón, nos acompañará?  Qué buscamos y qué dejamos, dos ideas de signos opuestos que nunca se igualan.  Nace una herida, que eternamente intentaremos que cicatrice.Jorge Castañón – « Hacia dónde va tu Sangre ?  » Iacov Azubel bracelet, "¿Son necesarias las fronteras?" Iacov Azubel bracelet, « ¿Son necesarias las fronteras? »
Judy McCaig Brooch: No-Man’s Land 2013 Steel, silver, tombac, perspex, paint, Herkimer diamond, taramita 8.8 x 12.6 x 1.5 cm Photo: Eduard Bonnin
Judy McCaig Brooch: No-Man’s Land 2013 – Steel, silver, tombac, perspex, paint, Herkimer diamond, taramita 8.8 x 12.6 x 1.5 cm - Photo: Eduard Bonnin
Nicolas Estrada - brooch Suffering 2013 Silver, quartz, wood, iron 8 x 8 x 2.7 cm Photo: Manuel Ocaña Mascaro
Nicolas Estrada – brooch Suffering 2013 Silver, quartz, wood, iron 8 x 8 x 2.7 cm Photo: Manuel Ocaña Mascaro

 

Velvet da Vinci
2015 Polk Street
CA 94109 – San Francisco
United States
Telephone: 415.441.0109
Fax: 415.386.2492

06/04/2013

EXPO ‘Mariposa/papallona/Butterfly’ – Amaranto joies, Barcelona (ES) – 4 Avril-18 Mai 2013

Mariposa/Papallona/Butterfly - Amaranto Joies 2013

Mariposa/Papallona/Butterfly

Una exposición comisariada por PHILIP SAJET
 55 creadores = 55 mariposas

Philip-Sajet-Mariposa .jpgPhilip Sajet

“There are as many butterflies as that are people, probably even many more.
Mystica tells us, that departed souls sometimes return as butterflies to comfort and reasure us.
But whatever the case, one thing is sure in this life they live short.
They are light and extremely agile and in the eyes of some are considered as very beautiful
The only animal who looks alive while not being it.
That is their tragedy. To be pinned on a board. 
The butterfly for the artist is also a metaphor for life.
How big or small, how light or heavy do you make it?
It was my personal curiosity to ask artists whose work fascinate / intrigue me to show me their Butterfly.
Yes almost as intimate as this question sounds, so intimate in a way it is.”   Philip Sajet
*
Petr Dvorak - Garnet/garnet/Butterfly  My garnet/garnet/titanium butterfly is a transformation of my perception of the world, my vision of impressions, desires and illusions. Within each of us is a butterflyPetr Dvorak - Garnet/garnet/Butterfly 
My garnet/garnet/titanium butterfly is a transformation of my perception of the world, my vision of impressions, desires and illusions. Within each of us is a butterfly
Peter Skubic - Butterfly  2013
Peter Skubic - Butterfly  2013
The pieces is a butterfly in my still. It means the reflecting steel-sheats makes the piece as well as invisible,
because mirrors are invisible. You can only see the reflection of the surface and the colour and imagine spaces.
I make it from a suggestion of Philip Sajet.
Patrícia Domingues  Descanso  Fotografía Manuel OcañaPatricia Domingues  Descanso – broche Fotografía Manuel Ocaña
 Ramon Puig Cuyás “Rerum natura I” Ramon Puig Cuyàs – “Rerum natura I”
 Vera Siemund Vera Siemund
I always liked to mix different quotations in my pieces.

To do a butterfly seemed to be very easy, but suddenly this insect really gave me problems. It became so serious but at the same time too sweet. I had to leave nature immediately and go back to the topics I am familiar with.
 Manon Van Kouswijk Butterfly. Originally made for the 10 year anniversary of PEAH, a jewellery label run by Felix Lindner and Samantha Font-Sala.Manon Van Kouswijk Butterfly.
Originally made for the 10 year anniversary of PEAH, a jewellery label run by Felix Lindner and Samantha Font-Sala.
Fanny Agnier ButterflyFanny Agnier Butterfly
Philip-SajetPhilip Sajet
Andrea Wagner - Lepidoptera Reef Enclave Andrea Wagner – Lepidoptera Reef Enclave
Lisa WalkerLisa Walker
 Robean  Visschers Butter Fly Robean Visschers – butter-fly brooch
As a child I was already wondering how « things » got their name. Sometimes a word or a name is a combination of 2 or more words. also in the case of the Butterfly. Why?? I combined a pack of butter with a fly. Quess what? It doesnt look like a butterfly. For me its a strang name for a beautiful animal.
Silvia Walz Morpho con alas desplegadasSilvia Walz -   Morpho con alas desplegadas –
El morpho es una mariposa azul que vive la mayor parte del tiempo en el bosque con las alas plegadas. Sin embargo cuando esta en búsqueda de compañero, sale de su escondite, desplega las alas y vuela en lo alto.
Atty Tantivit - Lepidopterophobia
Atty Tantivit – Lepidopterophobia
Gregory LarinGregory Larin
Florie DupontFlorie Dupont
 Eva Burton Heteroneuma  Eva Burton Heteroneuma
Tabea-ReuleckeTabea Reulecke
Beate Klockmann  Gold ButterflyBeate Klockmann   Gold Butterfly
Grego GarcíaGrego García
 Edu Tarin Alas

Edu Tarin  – Alas
La crisálida dejó su esqueleto olvidado para ver nacer las alas de mariposa. Alas que llevará a través del viento. Alas que el cuerpo posee y que maneja a su antojo.
Chang Wei Hsuan Chang Wei Hsuan
 Manuel Vilhena    brooch Manuel Vilhena  The brooch comes with a book, The book is (ia a way) the statement for the piece. Fotografía Neumuller
Surasekk Yushiwat Butterfly Effect. The keyword of this product come from question “Butterfly colors this world but how they color anyone who wear t-shirts ?”. The graphic of butterfly effect come from difference movements during daily routine activity of wearer in each days, so there are no cliché graphical.Surasekk Yushiwat Butterfly Effect. The keyword of this product come from question “Butterfly colors this world but how they color anyone who wear t-shirts ?”. The graphic of butterfly effect come from difference movements during daily routine activity of wearer in each days, so there are no cliché graphical.

 

Amaranto joies
Sant Domènec 23
08012 Barcelona
tel. 93 217 14 40
amarantojoies@d-dos.com
www.amarantojoies.com

 

 

22/08/2010

EXPO ‘Think Twice: New Latin American Jewellery’ – Museum of Arts and Design of New York (USA) – 13 Oct 2010-8 Janv. 2011

Museum of Arts and Design of new York (MAD) – (New York City) -  13-Oct-2010 – 08-Jan-2011 
Think Twice: New Latin American Jewelry Showcases Contemporary Jewelry From The Region For The First Time In a U.S. Museum

« Think Twice: New Latin American Jewelry, presented by the Museum of Arts and Design from October 12, 2010 through January 8, 2011, will feature unique work by nearly 60 jewelry makers, representing over 20 Latin American countries. Among the artists included are the Brazilians Mirla Fernandes, Dionea Rocha Watt, and Claudia Cucchi; Valentina Rosenthal and Walka Studio from Chile; the Argentinians Elisa Gulminelli, Francisca Kweitel, and Silvina Romero; Jorge Manilla, Martacarmela Sotelo and Eduardo Graue from Mexico; and Miguel Luciano from Puerto Rico. 
The show has been guest-curated by the Netherlands-based, Mexican-born architect and historian Valeria Vallarta Siemelink. 
Objects of adornment have played a significant cultural role throughout Latin America’s history, from the spiritually potent jewelry of the pre-Columbians to the eye-catching ornaments worn by Mexican drug gangs to advertise their status and menace. Now a new generation of jewelry makers working outside the field’s conventions are examining how this complex relationship with physical adornment evolved–and why. 
Think Twice aims to bring the audience a clear picture of the landscape of contemporary jewellery in Latin America and its development in the last 10 years, showing the way in which visual artists and jewellery makers born or living in Latin America view and relate, through jewellery, to such a vast and diverse continent. 
The exhibition, conceived by Otro Diseño, is born out of a passion for jewellery as a medium of personal and cultural expression and of the conviction that the fresh, intense and highly creative work of Latin American jewellery makers outstandingly represents and nurtures the culture they live in and therefore greatly enriches and diversifies the international landscape of contemporary jewellery.
“The new Latin American jewelry must be appreciated for what it is. One shouldn’t impose stereotypes or resort to clichés,” says guest-curator Valeria Vallarta Siemelink. “Far from being an imported concept from the West, jewelry-as-art in Latin America is very much a product of the region’s history and its diverse and dynamic modern societies.” 
“This is a very special show,” adds Ursula Neuman, MAD’s jewelry curator. “This jewelry is virtually unknown in the United States. The artists’ realize their sophisticated concepts through intriguing choices of materials and techniques, creating unique works that present a fascinating amalgam of indigenous cultural elements and the latest trends in international contemporary jewelry design.

” To bring clarity to Latin America’s complex culture and history, the exhibition is organized around three themes, addressing the region’s past, its unique fusion of ethnic influences, and its ever-changing socio-political realities. 

History, Memory, Tradition
The tension between tradition and modernity is crucial to Latin American history. Heritage and memory, both personal and collective, are among the subjects expressed by these artists through pre-Columbian and colonial jewelry methods and traditional craft techniques. Take the Colombian Mariana Shuk. She has made a series of rings using traditional ring shanks ordered from mega-jewelry suppliers. She creates a ring by interlacing two identical shanks. Its shape determines which techniques—stone setting, enameling, filigree—she will employ to customize it in the Colombian colonial style. The process has produced a perplexing assortment of rings that confronts past and present, value and insignificance. By contrast, another Columbian artist, Linda Sanchez, creates her jewelry pieces by employing weaving techniques that have been used by an Amazonian tribe since ancient times. 
A Flair for Invention
The artists in this section are some of the boldest jewelry makers anywhere. Skilled at improvisation, they make brilliant use of a rich variety of native materials along with such everyday objects as balloons and drawer handles. A spontaneous attitude and a contrary vision are central to their daring approach. The Mexican Andres Quiñones can make an exquisite choker from sticks of bamboo, a few broken guitar strings, a handful of freshwater pearls and silver wire, all of the materials collected from garbage dumpsters in Mexico City. Colombian Helena Biermann presents Hit the Road, a series of brooches that collect the insects stuck to a car in its 286 km trip from Munchen, Germany to Domaslav, Czech Republic. 
Forging Identity: Latin America as a Source of Inspiration 
These jewelry makers are creating an individualistic language, expressive of who they are and where they come from. Art, religion, money, violence, tradition, family, gender are among the themes that define their lives, uniting their collective and individual identities. Foreign-born artists, who are somehow bound up with Latin America or have had a profound impact upon it, are included in this section. Alcides Fortes, for example, was born in Cape Verde, trained as a gold and silversmith in the Netherlands, and today lives and works in Mexico. He specializes in politically charged jewelry, creating such works as a necklace made out of the porcelain portraits recovered from the graves of a family killed in the Mexican revolution. The piece reveals both an admiration for Mexico’s culture and history as well as a loathing of its corruption, economic disparities, and veiled racism. By transforming the common objects of his native land into fetishized commodities, Miguel Luciano examines how American consumerism has affected Puerto Rican culture. Plantainum, for example, is a series of necklaces and pendants featuring a platinum-covered plantain. The shell is seductive and pristine, but underneath the fruit is rotting. 
Figurative and abstract, conceptual and symbolic, traditional and experimental, contemporary Latin American jewelry is tremendously varied, and it is this diversity that enables it to communicate its ethnicity and to transcend it. » (Klimt02)
Artist list:
Mirla Fernandes (Brasil),Kehisha Castello, Helena Biermann (Col.), Tota Reciclados (Arg.), Udi Lagallina (Bresil), Martacarmela Sotelo (Mex.), Kika Alvarenga (Brasil), Silvina Romero (Arg.), Elisa Gulminelli (Arg.), Zinna Rudman, Célio Braga, Martha Camargo, Maria Paula Amezcua, Magali Anidjar (Arg.), Walka Studio (Chile), Mauricio Lara, Gabriela Horvat (Arg.), Jorge Castañón, Nilton Cunha, Jimena Rios, Thelma Aviani, Alcides Fortes (Cape verde), Samantha Fung, Alex Bourttiea, Marie Pendaries, Renata Porto, Martha Hryc, Teresa Margolles, Paula Isola, Beate Eismann, Aurelie Dellasanta (CH), Giselle Morales, Fiorenza Coredro, Francisca Kweitel (Arg.), Alina López, Ana Paula Campos, Dionea Rocha Watt (Brasil), Eduardo Graue (Mex.), Mariana Shuk (Col.), Stella Bierrenbach, Hugo Celi, Luis Acosta, Isel Mendoza, Dani Soter, Linda Sánchez (Col.), Andrés Fonseca, Ana Videla, Alex Burke, Benjamin Lignel, Alejandra Agusti, Lucia Abdenur, Claudia Cucchi (Brasil), Chequita Nahar, Ariel Kuipfer, Ximena Briceno, Julieta Odio, Guigui Kohon (Esp.), Nuria Carulla, Santiago Ayala, Carlos Martiel, Jorge Manilla(Mex.).

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Silvina Romero (Argentina)

EXPO Think Twice - Mirla FernandezMirla Fernandes (Brasil) – necklace

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Celio Braga, Brazil

AURÉLIE DELLASANTA - Switzerland/Mexico - Suicide Brooch, 2007 Painted metal, gilded metal, paper  (THINK TWICE)Aurelie Dellasanta – ‘suicide brooch’ 2007 painted metal, gilded metal, paper

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 Francisca Kweitel (Arg.)

guigui kohon -   Basuradejoyería 2010.Guigui Kohon -’Basura de joyería’ – Jewelry waste 2010

Chequita  Nahar - brooch - Think Twice: New Latin American Jewellery at the MAD NYC - Chequita Nahar Lontai – brooch, 2010, oak, porcelain, string

EXPO 'Think Twice: New Latin American Jewellery' - Museum of Arts and Design of New York (USA) - 13 Oct 2010-8 Janv. 2011 dans Amerique Latine dans Andres FONSECA (Col.)
 

 

 

 

 

Kika Alvarenga (Bresil)

 Jorge Manilla - Palabras ( Think Twice)Jorge Manilla – ‘Palabras’

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Jorge Manilla – necklace ‘de votos y ex-votos’

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Dionea Rocha Watt (Brazil) – ‘Vanitas’ – image made with silver dust

 dans Aurelie DELLASANTA (CH)Claudia Cucchi (Brazil) – Brooch-  Untitled 2005 – Silk, perspex, nylon, emerald

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Elisa Gulminelli (Argentina) 

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Udi Lagallina (Brasil) – brooch

Gabriela Horvat, Necklace, 2009Gabriela Horvat, Sin titulo necklace 2009

Jorge Castañon, Dos cuencos brooch - nickel silver and woodJorge Castañon, Dos cuencos brooch – nickel silver and wood

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Martacarmela Sotelo (Mex.) – collares linea ropa- proceso lineas ropa mezclilla roja

Marta HRYC - "aplastada"Marta HrycAplastada – Plata, algodon. 2009

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TotaReciclados (Arg) (Marcela Muñiz + Valeria Hasse)

 

Museum of Arts and Design of New York (MAD)
2 Columbus Circle (59th Street and Broadway)
NY 10019 – New York City
United States
Telephone: 212.299.7777
Fax: 212.299.7701
website: www.madmuseum.org
mail: info@madmuseum.org

Joyeros Argentinos

 

09/07/2010

découverte(s) on METALinclinations – APPEL à CANDIDATURE / CALL for ENTRIES pour METALinclinations2 – Deadline 18 Juill. 2010

online Metalsmithing and Jewelry Competition and Exhibition

 

METAL Inclinations, an International online Metalsmithing and Jewelry Competition and Exhibition (2008-09) is presented by The Society for Midwest Metalsmiths (St Louis, Missouri, USA). This exhibition includes selections of the most exemplary fine metal art created by metalsmiths, silversmiths, goldsmiths and jewelers all over the world. 

 

pour PARTICIPER à l’expo 2010 :

Call for Entries: Extended Deadline: July 18, 2010
METAL Inclinations2 will debut on the Internet October 31, 2010- and remain online for two years until October 31, 2012.
METAL Inclinations2 International juried all jewelry (jewellery) exhibition for 2010-12 will include selections of the most exemplary fine metal art jewelry created by metalsmiths, silversmiths, goldsmiths and jewelers all over the world. The Society for Midwest Metalsmiths is a not-for-profit organization. Check this site frequently for updated information.
Information:
TO ENTER right now, use the Juried Art Services website.
To download a printable PDF of the complete propectus
Start your application process on the Juried Art Services Website.
To ask questions about this exhibition go to the METAL Inclinations Forum:
www.metalinclinations.wetpaint.com

Hillerud
(Brooch by Gillian Hillerud, a selected artist for METAL Inclinations1)

Chao-Hsien KuoChao-Hsien Kuo
CHAO-HSIEN KUO (Lahti, Finland) – ‘Lilac’ bouquet ring – silver – All parts move, so ring sits comfortably on hand.
‘Lumipallo’ ring – silver – All parts move

« I have been building a garden of my own for many years. A garden of imagination. I collect the seeds of inspiration by taking close-up photographs of flowers and plants, which I encounter in my daily surroundings or during traveling. I like to observe how a bloom is set on the stem, how the petals unwrap to reveal an enclosed surprise and how leaves sprout from branches, from which I can almost hear the popping sounds. I want to capture the gesture of a flower and to depict the energy and liveliness of a plant. » (CHAO-HSIEN KUO (Finland))

Allyson BoneAllyson Bone
ALLYSON BONE (USA) – Pierced Brooch #2 – hand pierced, fabricated oxidized sterling silver
Pierced Ring #5  - oxidized sterling silver

« The work I create is a balance of my desire to create something that is simple and also complex. I want my designs to appeal to a large audience, but I also want to reward those who are curious and investigate further. To accomplish this I include hidden details. Piercing the surface of the metal, I can create intricate surface patterns which often disguise the silhouettes of whimsical creatures. I have found that the process of hiding the iconic outline of a rabbit or a horse in a complicated pattern is very gratifying for me, like telling a secret. » (ALLYSON BONE (USA))

Tura Sugden
TURA SUGDEN (AU/USA) – ‘black Swallowtail’, 2008 – copper, fine silver, imitation rhodium plated, anticlastic raised – (photo Bob Toy)

« Communication between the fields of art and science plays an important role in the advance of both disciplines. A relationship between the two is inevitable. I question both the fear and the acceptance of insectual images, and I have found that working with entomological images and patterns has inspired dialogue and exposed the beauty that insects can inspire and reflect. » (TURA SUGDEN (USA))

Vina Rust Second Place
VINA RUST (USA) – Equisetum Bracelet – Stained Cell Series – sterling silver, 14K gold, liver of sulfur patina, hand-fabricated

« This body of work is concerned with revelation of the interior, with slicing past the surface. Inspired by botanical illustrations and photomicrographs, it has allowed me to both explore the idea of exposing intricate internal structures with devices such as the cross-section or selective staining of cells, and pay tribute to imagery that has cultivated a sense of wonder in me. My influences vary from Rackham illustrations to « ethnic » jewelry, but tend to share a common thread: acute awareness of natural forms, and of the tension between beauty and menace so often found in nature’s defenses. » (VINA RUST (USA))

Vina RustVina Rust
Vina RUST (USA)- Spartina Study (Brooch)- Stained Cell Series – sterling silver, gold, liver of sulfur patina
Vina RUST (USA)- Marram Study (Brooch) – Stained Cell Series – sterling silver, gold, liver of sulfur patina

Diane Falkenhagen
Diane FALKENHAGEN (USA) – Rococo Landscape -Oxidized Sterling Silver, 23 Kt Gold Leaf, 14 Kt Gold, Mixed Media Image on Sterling Silver

« In my mixed media jewelry I combine two-dimensional pictorial space and three-dimensional jewelry forms. Instead of gemstones, pictures form the central elements of my fabricated brooches, lockets and neckpieces. My diminutive pictorial expressions are either invented or borrowed from historical sources. I use a variety of art materials and techniques to create the images which are chosen for their emotional and intellectual impact as well as their aesthetic value. The jewelry forms that support the images are contemporary yet suggestive of historical styles of ornament. They are primarily fabricated from metal, but often incorporate more eclectic materials. » (DIANE FALKENHAGEN (US))

Sun Kyoung Kim
SUN KYOUNG KIM (US) – ‘Pair ‘ – ring for two people – Sterling silver

« The artist creates jewelry that involves participation of public to produce lively experiences for individual participants. The artist’s interactive jewelry invites two or more people and lets them interact with it. The wearers of her work create a truly impromptu performance while interacting with her work. The artist’s work is refined, elegant, and feminine in aesthetic. She employs curved lines in the design and uses precious metal, sterling silver to accentuate the elegance. The artist’s work is more or less intimate and private in that it does not accommodate a large group of people. » (SUN KYOUNG KIM (US))

Sharon Massey
SHARON MASSEY (USA) – steel bracelet

« I am interested in defining preciousness in my work through sentimentality, intimacy, and emotion. I seek to pay homage to goldsmithing traditions through technique and format, while challenging conventional materials and their value. I borrow historical ornamental motifs and reinterpret them to suggest a feeling of familiarity, as well as the passage of time. The content of my work lies in its use of appropriation and material innovation. In my work, I hope to express the value of sentimentality through ornamentation. » (SHARON MASSEY (USA))

Jillian Moore Award of MeritJillian Moore
JILLIAN A. MOORE (US)- ‘Symbogillis’ – electroformed & fabricated copper, nickel-silver, paint and ink
‘Knobbles’ – electroformed & fabricated copper and brass, paint

« My work combines electroforming and fabrication to achieve incidental organic textures as well as smooth biological forms. The surfaces are then painted. Abrasives remove paint from high points in the organic surface, and areas of interest may be printed on. The resulting objects belie their processes and instead reference living creatures of my own invention. » (JILLIAN A. MOORE (US))

Renee Zettle-Sterling
Renee ZETTLE-STERLING (USA) – Object of Mourning #3 – silver, copper, doily dipped in latex paint, rubber casting, fabrication, mix media

 » Objects of Mourning  2007-Present Through this body of work, I am investigating how objects are a source of meaning beyond their physical properties. I am especially interested in how objects help us move through the difficult passage of mourning. During the process of mourning objects can links us to loved ones that have passed or moments in life that are fleeting, such as childhood. The objects that I am creating become an outlet for displacement, emptiness, loss, and sentimentality. » (Renee ZETTLE-STERLING (USA))

Mary Hallam Pearse
MARY HALLAM PEARSE (USA) – ‘That Little Something’ Brooch – Sterling Silver, Fine Metal Paper, Pearls, Glass 2008 Printed, Fabricated

« In my current body of work I seek to examine how jewelry functions as an image, a means to construct desire, and the consequence of transfer from image to object and back to image. Found images are appropriated from a variety of sources, including magazines and various publications then printed on thin sheet of metal paper resembling the historical tin-types. This game of skill requires that the player complete the image by putting the jewels in to the impressions. These pieces are similar to the games children once received as party favors and to the game bagatelle. » (MARY HALLAM PEARSE (USA))

Mary Hallam Pearse
MARY HALLAM PEARSE- ‘Feeding Desire’ – Brooch  2008 Sterling Silver, Fine Metal Paper, Pearls, Glass Fabricated 

Sunyeoul Lee
SUNG-YEOUL LEE (USA)  – ‘Penetration’ – Poly Rope, Resin, Copper, Tool Dip, Powder Coating (Resin Casting, Rubber Coating, Powder Coating, Forming) 2007

« My goal is associating the idea of intimacy in jewelry objects to the body while the rope functions as a vehicle which conveys metaphorical meaning of connection. When the piece is on the body, it seems to penetrate or bind the wearer. I feel that it expresses the physical and conceptual connection between piece and wearer. It is important to me that the wearer can be able to relate to the symbolic meaning of the rope and at the same time feel themselves tied and connected with the rope or knot while wearing my work. » (SUNG-YEOUL LEE (USA) )

Eun Yeong Jeong
EUN YEONG JEONG (USA) ‘read or dead’ – Loofah, Wool, Sterling Silver, Plastic, Stainless Steel. Techniques:Dipped, Dyed, Soldered, Felted, Hand-Fabricated.

« Natural forms, processes and movement inspire me to create jewellery. When a form emerges from different elements, it tends to follow no exact model in which it crystallizes. Materials like stones or life forms like plants all have a different shape and character which has its origin somewhere in a void not comprehendible for the human mind. We try to understand how and under which circumstances they receive a life but the creation of these forms remains invisible for the human eyes. » (EUN YEONG JEONG (USA))