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29/10/2016

EXCHANGE-BIJOU 1 – Jonathan Hens – the HIGHWAY of success !

Jonathan Hens

I discovered his works at fall 2013 during PARIS – CIRCUITS BIJOUX , at the exhibition ‘Precieux Passages’ at Bibliothèque Forney. A first « face to face » with a (very) STRONG creation !

Strong creation that encountered SUCCESS : in 2012 the Royal Academy of Fine Arts Antwerp presents his works, together with some other students, at SIERAAD 2012 Amsterdam, we saw his works at Marzee Graduate show 2012 AND 2013, an exhibition during SCHMUCK 2014 (« Lights ON/Lights OFF » 3 stations Galerie, Munich), an exhibition during SCHMUCK 2015 (« Oscure sacrifices« , together with Jorge Manilla, at 3STATIONS,  Munich), an exhibition during SCHMUCK 2016 (« Trans-it » – 3STATIONS,  Munich), has been selected  for TALENTE 2016, Munich, he is presented at AUTOR 2016 (the International Contemporary Jewelry Fair in Bucarest, Romania) ……
This is not the « Route of Success », it’s an HIGHWAY !!!

 Jonathan Hens Page aimée · 1 mars · Modifié ·   X10IONS OF THE TRIBE #7 necklace 2015 pewter/ sutures/ leather/ rubber/ diamond dust ® Hanne Nieberding Jonathan Hens   ·   X10IONS OF THE TRIBE #7 necklace 2015 pewter/ sutures/ leather/ rubber/ diamond dust ® Hanne Nieberding

« After having researched different kinds of sub-and material-cultures, Jonathan Hens constructs with his own culture of tin while exploring the different qualities of the metal, making himself a master of his practice. By engraving, pouncing and printing, he develops a new dimension to the material. This results in graphic surfaces combined with archaic shapes and volumes. Hen’s pieces, beautiful as they are, are not indented as mere objects, but as points of recognition in a world of Tribal Ravers. They cross time and cultures. They are an ode to the pleasures of the now. »
– Jonas Belde, Fashion Designer, at Marzee graduation show 2012 Jonathan Hens (MA) - Belgium, Antwerp, Koninklijke Academie voor Schone Kunsten - #8, 2012, necklace, pewter, sutures - 430 x 260 x 99 mm - After having researched different kinds of sub-and material-cultures, Jonathan Hens constructs with his own culture of tin while exploring the different qualities of the metal, making himself a master of his practice. By engraving, pouncing and printing, he develops a new dimension to the material. This results in graphic surfaces combined with archaic shapes and volumes. Hen's pieces, beautiful as they are, are not indented as mere objects, but as points of recognition in a world of Tribal Ravers. They cross time and cultures. They are an ode to the pleasures of the now. - Jonas Belde, Fashion DesignerJonathan Hens (MA) – at Marzee graduation show 2012 - Belgium, Antwerp, Koninklijke Academie voor Schone Kunsten – #8, 2012, necklace, pewter, sutures – 430 x 260 x 99 mm –

Autor 2016.  Jonathan Hens. Alliages Choice.: Jonathan Hens works presented at Autor 2016  

« Jonathan Hens’ striking work speaks of recent developments in today’s world, which has seen a fusion between the banal and the subcultures and becomes a place where men and women have merged into androgynous beings.
His designs are the result of an intense search for an alternative identity. Rather than a classic example of beauty, the viewer gets to see Hens’ interpretation of it. He chose the material pewter to launch his fetishism line.
His dark look mirrors (or reflects) ‘the now’, a place where there is scope for experiment and self expression. His atypical aesthetic has no truck with traditional techniques. Jonathan Hens creates a visual game between austere forms and a rough edge finish. He heightens the geometry and black textures by using suture thread to bind the various elements.
His work raises many questions, such as what beauty means today and whether or not there is still a difference betweens the sexes.
Jonathan Hens’ work gives us greater insight into the diversity of our world. » / Jorge ManillaJonathan Hens -   THE CITY IS MY CHURCH - 2014 - #1 Necklace  -Pewter/ Sutures/ LatexTHE CITY IS MY CHURCH – 2014 – #1 Necklace  -Pewter/ Sutures/ Latex

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Actually

HUMAN 2.0 by Jonathan Hens 2016HUMAN 2.0 by Jonathan Hens
BEYOND FASHION 3m2 PROJECT ROOM  PRESENTS
HUMAN 2.0 BY JONATHAN HENS
Oct 13- Nov 10, 2016
24/24 window display
beyondfashion 3m2 project room
Pourbusstraat 7
2000 Antwerpen
www.beyondfashion.be
+32 472 420 683
Jonathan Hens - HUMAN 2.0 #6  necklace 2016 pewter/ sutures/ latexJonathan Hens - HUMAN 2.0 #6  necklace 2016 pewter/ sutures/ latex

Jonathan Hens – Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex: Jonathan Hens – Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex

Jonathan Hens – Human 2.0  Performance By Vincent van Reusel on the nocturnal opening night of our new project with work of Jonathan Hens!: Jonathan Hens – Human 2.0  Performance By Vincent van Reusel on the nocturnal opening night of our new project with work of Jonathan Hens

Jonathan Hens work is also featrured by the gallery’s permanend collection in there new gallery space: Galerie beyond, Sint Jorispoort 27, 2000 Antwerp
www.galeriebeyond.be

 

 

 

Education
2011-2012 Master Jewellery design & Silversmithing – Royal Academy of Fine Arts, Antwerp (Belgium)
2008-2011 Bachelor Jewellery design and Silversmithing -Royal Academy of Fine Arts, Antwerp (Belgium)
2007-2008 Bachelor Fashion design – Royal Academy of Fine Arts, Antwerp (Belgium)

 

 

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03/09/2016

In a PINKY world ……..

Classé dans : COUP DE COEUR,Japon (JP),Jiro KAMATA (JP) — bijoucontemporain @ 0:22

Jiro KAMATA

« Jewellery is an object of value. This is the single most important notion in my work as an artist-jeweller.

I make jewellery from old camera lenses. The lenses I use have already retired from active duty, covered in a light layer of dust, sitting in some obscure corner in a camera shop. But Imagine if we were able to talk with these lenses what great stories they might tell us! They have witnessed so many memorable and precious moments from people’s lives.

An investigation of the meaning of ‘value’ is integral in the work of goldsmiths such as myself. What is the real meaning of value for human beings?
This question, always present in my mind, is what drives me to keep
creating jewellery.«   Jiro Kamata 2012

Jiro Kamata : O-Jewel (ring ? brooch ???): Jiro Kamata Sunny brooch

Jiro Kamata : O-Jewel (ring ? brooch ??): Jiro Kamata   Sunny ring, 2005. – Plastic lens (UV400), gold 750

Jiro Kamata : O-Jewel (ring ? brooch ???): Jiro Kamata  sunny ring, 2005 – sunglasses, 18k gold

JIRO KAMATA - BI ring 2014 - dichroic mirror, silver: JIRO KAMATA – BI ring 2014 – dichroic mirror, silver

 

 

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06/02/2016

During SCHMUCK 2016 : AJF 2016 awards – 24 Fevr.-1er Mars 2016

AJF ANNOUNCES FINALISTS FOR 2016 ARTIST AWARD

Five Finalists Shortlisted for International Prize
Mill Valley, California, USA–Art Jewelry Forum (AJF) is pleased to announce the five finalists for its 2016 Artist Award. The finalists will exhibit their work with Sofia Björkman, from Platina, during the international art jewelry fair Schmuck, in Munich, Germany, from February 24 through March 1, 2016. 
The Five finalists for AJF’s 2016 Artist Award are:
Lynn Batchelder –  Carina Shoshtary — Seth Papac — Aric Verrastro — and Timothy Veske-McMahon.
Finalists were chosen from the largest group of Artist Award applicants to date–151 artists representing 35 countries–and judged on originality, depth of concept, continuity of design, and quality of craftsmanship. This year’s jurors were Philip Clarke of New Zealand, inaugural director of Objectspace; 2014 Artist Award winner Seulgi Kwon, from South Korea; and AJF board member and collector Susan Kempin, who is from the United States.
  The unrestricted cash prize of $7500, generously funded by Susan Beech and Karen and Michael Rotenberg, will be awarded to one of the five finalists. AJF would like to thank Sofia Björkman and PLATINA for providing a showcase for the winner and finalist during Schmuck and donating the gallery’s profits to AJF. The winner will be announced in February 2016.
Lynn Batchelder, Tunnel, 2015, brooch, steel, silver, 127 x 51 x 38 mm, photo: artist: Lynn Batchelder  Tunnel, 2015, brooch, steel, silver, 127 x 51 x 38 mm, photo: artist
MFA, Metal, State University of New York at New Paltz, New York, USA, 2013
« My studio practice relies on a drawing process where forms and ideas develop intuitively through the initial exploration of a line on paper. In these works industrial steel becomes transparent and delicate as cuts made with the jeweler’s saw reflect the quality of a line drawn by hand … I am constantly trying to capture small moments of contrast where control and imperfection collide. »
Lynn Batchelder, Tunnel (on the body), 2015, brooch, 5 x 2 x 2 inches, photo: artist - TALENTE 2016: Lynn Batchelder, Tunnel (on the body), 2015, brooch
Carina Chitsaz-Shoshtray, Confused Brand, 2015, necklace, 9 x 33 x 25 cm, photo: artist:
Carina Shoshtary- Confused Branches, 2015, necklace, 9 x 33 x 25 cm, photo: artist
MA, Academy of Fine Arts Munich, Germany, 2012
  »My work starts with an intuitive experimental play with found materials, which usually come from my immediate surroundings. In the process of experimenting, the materials are being thoroughly transformed; the original source cannot be identified anymore … My jewelry pieces may appear like artifacts of a past civilization, fossils from another planet, or the ornaments of fabled beings. »
Carina Shoshtary, Confused Branches 3 detail, 2015, necklace, 9 cm x 33 cm x 25 cm, photo: artist: Carina Shoshtary, « Confused Branches 3″ (detail), 2015, necklace
Seth Papac, Cali Condensation, 2015, necklace, raised and anodized aluminum, brass, rayon, velour, 1016 x 508 x 102 mm, photo: artist:
Seth Papac Cali Condensation, 2015, necklace, raised and anodized aluminum, brass, rayon, velour, 1016x508x102 mm, photo: artist
MFA, Metals/Jewelry, Cranbrook Academy of Art, Bloomfield Hills, Michigan, USA, 2009
« Life in Southern California, with its unreal sunsets, light-bleached buildings, and vestiges of 70s style, brought my memory to a saturation point, forming crystals of experience … These merged into objects with varying physical relationships to the body–at the scale of architecture, at the scale of jewelry, and in between. Utilizing the vocabulary of jewelry and architecture, space and place are explored–from the past to the present, from the personal to the cliché, from the obvious to the mysterious. »
Aric Verrastro  Aric Verrastro - Spaces, 2015, necklace, steel, acrylic paint, polyster, thread, 58 x 8.5 x 3 cm, photo: artist -
Aric Verrastro – Spaces, 2015, necklace, steel, acrylic paint, polyster, thread, 58 x 8.5 x 3 cm, photo: artist
 MFA, Metalsmithing/Jewelry, Indiana University, Bloomington, Indiana, USA, 2015
« I have recently been displaced from living in a city, which has left an emptiness in my life. The creation of each piece has become a method to fill the void. The forms are architectural, modular, constructed from steel, becoming allegorical representations of the energy of a thriving, vibrant environment … As jewelry, the body completes the piece as people fill and give life to architectural spaces, expressing the vitality and connection I feel toward the urban human experience. »
Timothy Veske-McMahon, Borve VI (on the body), plastic, aluminum, 8.5 x 12.5 x 1 cm, photo: artits:
Timothy Veske-McMahon  Borve VI (on the body), plastic, aluminum, 8.5 x 12.5 x 1 cm, photo: artits
MFA, Metalsmithing, Cranbrook Academy of Art, Bloomfield Hills, Michigan, USA, 2013
« We seek out and delve into mirrors for clarifying affirmation but, in truth, are met with a foreign body … This perceived closeness of similarity and familiarity is a deception–fictitious shorthand we use in identifying within society and relationships. If the act of definition is a loss of information, is it possible to create a loss-less object? »

 

 

07/12/2014

Coup de coeur : Julia Maria Künnap – une beauté qui COULE de source …

Classé dans : COUP DE COEUR,Estonie (EE),Julia Maria KUNNAP (EE),pierre / stone — bijoucontemporain @ 0:07

MELTING beauty ………………

Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Prof Kadri Mälk. Before this she studied at Konstfack, Stockholm and in 2006 was the Artist in Residence at Alchimia School of Contemporary Jewellery in Florence. She has exhibited in various group exhibitions throughout Europe and in 2013 presented her first solo exhibition in the Emerging Artist Platform at Sienna Patti.

Julia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artistJulia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artist

“..I usually don’t regard the equipment used for accomplishing my works as important enough to talk about separately, but questions that have arisen in connection with those fusible stones show that an explanation is needed. A dealer from Munich was convinced that I’m approaching the issue in a post-modernist fashion: I purchase a cut stone and melt it down by the corners – “the melting point of quartz is said to be quite low!” That is, for better or worse, impossible. There are no hat tricks, bamboozling or conjuring in making my work. All of the stones are cut from one piece of raw material without any glue or resin.
Working with this material in this way was as if I was stepping across some invisible doorstep. I had been told, stone cutting is an “entire science in itself” that demands “extremely great skills and experience”, as well as “very expensive equipment”. Additionally, I had a certain awe for a rare natural material such as large gemstone crystals – I didn’t want to grind them aimlessly into dust. Luckily, my art-academy education encouraged me: I nonetheless started searching for solutions to execute my idea, not for accommodating it or pouring it into a more simply- and quickly-workable material.
I derive from classic cuts when constructing my own, but I redo them according to my own style. I’ve used a step cut in the case of many stones: it is an older type of cut, which gives the stone a calmer and more static reflection, and it doesn’t shine in such a crazy way. The “Nobody’s Perfect” ametrine is cut using Standard Round Brilliant in principle, but I made it 9-fold instead of the usual 8-fold mirror-image symmetry – while something akin to a notched 8-pointed cross makes up (below) half of a standard brilliant pavilion, this stone’s design has nine branches.
My faceting workshop is located in my kitchen sink. The machine, with which I cut these stones fits onto an A4-size sheet of paper and costs less than the average Estonian’s holiday trip to a warm, sunny destination. I’ve gradually rebuilt and improved the machine according to my needs: for a faceted cut, it has a faceting head, with which I can hold the stone at the correct angle. For the most part, I cut the facet part first, and then cover the entire polished area with sealing wax for safety and carve end polish the flowing forms.
It’s quite pointless to talk about the amount of time spent working the stones. Raw crystal can be observed for a week or two, a couple of years, or a dozen before cutting. After the work is complete, there is always the feeling that it could have been done better; but I suppose that is merely the blink of an eye in comparison with the age of the stone itself.”

 Julia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in ItalyJulia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in Italy

I am inspired by imperfection. It is a strong source of motivation. If I see a perfect thing—an artwork, a poem—I just breathe in and breathe out. It just comes and then goes. But if I see something that irritates me, I start analyzing. Why am I irritated? Why isn’t it perfect? Where is the ‘mistake’ made? Usually, once I have deconstructed the whole piece in my mind, I already have so many good ideas. In the end, these ideas don’t have much to do with the source of inspiration. (Sienna Patti)

Julia Maria Kunnap, Regret, brooch– obsidian, gold – at Art gallery Putti "Endless closeness" exhibitionJulia Maria Kunnap, « Regret » brooch– obsidian, gold at Art gallery Putti « Endless closeness » exhibition

read her INTERVIEW on AJF by Aaron Decker (dec. 2012) :
« Can you comment on the juxtaposition of the facets with the parts that appear melted or in liquid form?
Julia Maria Künnap: There is a large contrast in many ways. The stones cannot melt like this. The drop could not freeze like this. Even if you could melt quartz, it would be so wrong. Gems just don’t melt. Glass does. It is trying to capture a moment in something so eternal as stone. »

Julia Maria Künnap - A Half At Every Angle, (brooch), 2014. Rock crystal, gold, 2 1/2 x 1 3/4 x 3/4Julia Maria Künnap – « A Half At Every Angle » brooch, 2014. Rock crystal, gold, 7.6 × 3.1 × 1.3 cm

JULIA MARIA KÜNNAP-EE,  brooch "From the Middle of a Dream", 2010, obsidian, gold, 50 x 20 x 10 mmJulia Maria Künnap - brooch « From the Middle of a Dream », 2010, obsidian, gold, 50 x 20 x 10 mm

Julia Maria Künnap -  it-starts-rai-ning earringsJulia Maria Künnap -  it-starts-rai-ning earrings

Julia Maria Künnap -   "Nubis" brooch 2011Julia Maria Künnap – « Nubis » brooch 2011 – obsidian, gold, 6.5 x 5 x 1 cm, photo: Ulvi Tiit, Collection of Estonian Museum of Applied Arts and Design, Tallinn, Estonia

 

26/08/2014

EXPO ‘Jiro Kamata: I-Land’ – ATTA Gallery, Bangkok (Thailand) – 31 Juill.-27 Sept. 2014

Jiro Kamata: I-Land

Jieo Kamata expo(Brooch: Momentopia, 2008-2010 – Camera Lens, paint, silver)

For the “I-Land” Mini Exhibition, Jiro chose to exhibit three series of work—’Momentopia (2008-2010), Arboresque (2010-2012) and Spiegel (2011-2013)’—all made with camera lenses.
Jewellery is an object of value. This is the single most important notion in my work as an artist-jeweller.
I make jewellery from old camera lenses. The lenses I use have already retired from active duty, covered in a light layer of dust, sitting in some obscure corner in a camera shop. But imagine if we were able to talk with these lenses, what great stories they might tell us! They have witnessed so many memorable and precious moments from people’s lives.
An investigation of the meaning of ‘value’ is integral in the work of goldsmiths such as myself. What is the real meaning of value for human beings? This question, always present in my mind, is what drives me to keep creating jewellery.
Jiro Kamata

 Jiro Kamata Brooch: Arboresque, 2010-2012 Camera Lens, paint, silverJiro Kamata Brooch: Arboresque, 2010-2012 Camera Lens, paint, silver

Jiro Kamata Pendant: Spiegel, 2011-2013 Camera Lens, mirror, silverJiro Kamata Pendant: Spiegel, 2011-2013 Camera Lens, mirror, silver

 

 

ATTA Gallery
O.P. Garden, Unit 1109, 4,6 Charoenkrung Soi 36
10500, Charoenkrung Road, Bangrak – Bangkok
Thailand
Telephone: + 662 238 6422
website: www.attagallery.com
mail: info@attagallery.com

17/04/2014

EXPO ‘Dana Hakim: My Four Guardian Angels-the blue series’ – Gallery Marzee, Nijmegen (NL) – 23 Mars-28 Mai 2014

Classé dans : Dana HAKIM (IL),Exposition/Exhibition,Gal. Marzee (NL),Hollande (NL),www Klimt02 — bijoucontemporain @ 20:58
Dana Hakim: My Four Guardian Angels-the blue series

at Marzee

Dana Hakim - at Marzee

« My Four Guardian Angels – the blue series
The ancient use of amulets as a metaphysical protection against varies dangers (evil eye, demons,hate etc.) is shifted into our post-modern society and our current fears. One of the main fears in our ״fear society״, is the fear from the “other”, the different, the immigrant, the foreigner and the Alien. This body of work comments on the way we perceive the « other » and put an emphasis on our human need to feel protected. As a result, the visual language that was chosen for the collection consists of shapes of aliens-creatures, protection elements and materials that are related and connected with safety. » Dana hakim

Dana Hakim - my four Guardian angels

Dana Hakim Neckpiece: My Four Guardian Angels - the blue series, 2012 Iron Nets, Black Mirrored Plastic, Cotton Threads, Paint, Lacquer 37 x 22 x 3 cm Photographer: Josef BercovichDana HakimNeckpiece: My Four Guardian Angels – the blue series, 2012Iron Nets, Black Mirrored Plastic, Cotton Threads, Paint, Lacquer37 x 22 x 3 cmPhoto: Josef Bercovich

Dana Hakim Neckpiece: My Four Guardian Angels - the blue series (Detail), 2012 Iron Nets, Black Mirrored Plastic, Cotton Threads, Paint, Lacquer 37 x 22 x 3 cm Photographer: Josef BercovichDana HakimNeckpiece: My Four Guardian Angels – the blue series (Detail), 2012Iron Nets, Black Mirrored Plastic, Cotton Threads, Paint, Lacquer37 x 22 x 3 cm - Photo: Josef Bercovich

Dana Hakim Bracelet: My Four Guardian Angels - the blue series, 2012 Iron Nets, Rubber, Reflective Light Threads, Cotton Threads,Paint, Lacquer 13.5 x 11.5 x 2.5 cm Photographer: Josef BercovichDana HakimBracelet: My Four Guardian Angels – the blue series, 2012Iron Nets, Rubber, Reflective Light Threads, Cotton Threads,Paint, Lacquer - 13.5 x 11.5 x 2.5 cmPhoto: Josef Bercovich

Dana Hakim Neckpiece: My Four Guardian Angels - the blue series, 2012 Iron Nets, Reflective Light Threads, Cotton Threads, Paint, Lacquer 47 x 14 x 1.5 cm Photographer: Josef BercovichDana HakimNeckpiece: My Four Guardian Angels – the blue series, 2012Iron Nets, Reflective Light Threads, Cotton Threads, Paint, Lacquer47 x 14 x 1.5 cmPhoto: Josef Bercovich

Dana Hakim Neckpiece: My Four Guardian Angels - the blue series, 2011 Iron Nets, Paint, Reflective Light Threads, Cotton Threads, Mirrored Plastic, Lacquer 12 x 40 x 2 cm Photographer: Josef BercovichDana HakimNeckpiece: My Four Guardian Angels – the blue series, 2011Iron Nets, Paint, Reflective Light Threads, Cotton Threads, Mirrored Plastic, Lacquer -12 x 40 x 2 cmPhoto: Josef Bercovich

Dana Hakim Brooch: My Four Guardian Angels - the blue series, 2011 Iron Nets, Threads, Paint, Lacquer 7 x 5 x 1.5 cm Photographer: Josef BercovichDana HakimBrooch: My Four Guardian Angels – the blue series, 2011 – Iron Nets, Threads, Paint, Lacquer – 7 x 5 x 1.5 cm - Photo: Josef Bercovich

Dana Hakim Brooch: My Four Guardian Angels - the blue series, 2011 Iron Nets, Paint, Lacquer, Reflective Light Threads 7 x 5 x 3 cm Photographer: Josef BercovichDana Hakim - Brooch: My Four Guardian Angels – the blue series, 2011Iron Nets, Paint, Lacquer, Reflective Light Threads
7 x 5 x 3 cm Photo Josef Bercovich

 

 

Galerie Marzee
Lage Markt 3
6511 VK Nijmegen
The Netherlands

Phone +31 24 3229670
Fax +31 24 3604688

29/12/2013

EXPO ‘Materiality’ – J-Tour Gallery, Shanghaï (CN) – 5-20 Janv. 2014

« Materiality – Relationship between material and contemporary jewellery” , an exhibition curated by Anna Cheng, was hosted at Ame Gallery (Hong Kong) last month. It is our great honor to showcase works from 16 artists from all over the world, showing a wide spectrum of contemporary jewellery works.  The objective of this show is to highlight the use of unconventional materials used in contemporary jewellery today.

« Materiality”, the dual city exhibitions that feature 16 artists from around the world to interpret materiality in contemporary jewellery.
Material can be referred to as the physical or conceptual properties of the artwork. The Material the artist uses can be seen as a tool or a medium to convey his/her concepts and ideas. The Material itself can also be the inspiration, which becomes the focal point of the art piece.
The unconventional use of materials is one of key themes in contemporary jewellery today. Artists may use any materials that inspire them in their jewellery composition to tell a story and make a statement.
In this exhibition, we focus on the Material chosen by the artists and how it is used as the theme in their contemporary jewellery works.

If you have missed the show in Hong Kong, you can catch it in Shanghai : It will be at J-tour space  from 5 – 20 January.

 

Materiality – Relationship between material and contemporary jewellery” ,
Participating artists:   Adelina Carmichael (Australia) –  Alix Manon (Belgium) — Anja Eichler (Germany – China) –  Corrado De Meo (Italy) — Hana Hong (USA) — Jessica Armstrong (USA) –  Joo Hyung Park (UK) — Kee Ho Yuen (USA – Hong Kong) — Lawrence Woodford (Canada) –  Lital Mendel (Isreal) — Masumi Kataoka (USA) — Mina Kang (Korea) — Minwon Kim (Korea) — Noa Liran (Isreal) — Noy Alon (Israel) — Viktoria Münzker (Austria)
New Nomads: Noa Liran.
Noa Liran  – « Know where you came from and where you are going » Necklace , eggshell, silver
Noa Liran - Necklace , eggshell, silver - detailNoa Liran – Necklace , eggshell, silver – detail
Viktoria Munzker "Yellow Richelieu" brooch - fish scales, aluminium, lacquer - 2013Viktoria Munzker « Yellow Richelieu » brooch – fish scales, aluminium, lacquer – 2013
Masumi Kataoka, contemporary Jewelry | Work 2011-2013 -  Balloon, Animal Intestine, Sterling Silver, Nickel, 2011
Masumi Kataoka – brooch -  Balloon, Animal Intestine, Sterling Silver, Nickel, 2011
Mina Kang - brooch 2013 - ramie fabric, thread , stainless steel  ("Materiality ......" exhibition)
Mina Kang – brooch 2013 – ramie fabric, thread , stainless steel
Corrado de Meo - bracelet "a lot of stories" - polystyrène, silver, oxide, electroformed // Materiality – a contemporary jewellery exhibition in Hong Kong and Shanghai
Corrado de Meo – bracelet « a lot of stories » – polystyrène, silver, oxide, electroformed
Joo Hyung Park - melted series detail of a brooch - From "Beauty in imperfection" collection. Brooch, ring Brass, sterling silver 2013, 2010Joo Hyung Park – melted series detail of a brooch – From « Beauty in imperfection » collection. Brooch, ring Brass, sterling silver 2013, 2010
Anja Eichler - EiEiEi series - 'Void in red' collier 2013 - hardened quail eggs, silver, mirrors, steel cable 2,3 x 1,8 x 2,3cm (per element) 50cm (entire length)

Anja Eichler – EiEiEi series – ‘Void in red’ collier 2013 – hardened quail eggs, silver, mirrors, steel cable 2,3 x 1,8 x 2,3cm (per element) 50cm (entire length)

Lital Mendel -  "once more" necklace - paper
Lital Mendel -  « once more » necklace – paper
Hana Hong Blue Bloom I , Brooch Paper towel, sterling silver, Linen, cotton thread, steel
Hana Hong Blue Bloom I , Brooch Paper towel, sterling silver, Linen, cotton thread, steel 
Alix Manon - One earrings - wood, paper, bistre, thread, glue, steel wire - "One" consists of two pieces that are similar but different in weight, choise of material and texture. The earrings are like sisters, they belong together but express their own personality. // Materiality – a contemporary jewellery exhibition in Hong Kong and Shanghai
Alix Manon – « One » earrings – wood, paper, bistre, thread, glue, steel wire
Kee Ho Yuen - 'planning an idea' ring 2012 - anodised aluminium, bird eye maple wood, brass, rock, acrylic paint, clear acrylic ... (EXPO Materiality)Kee Ho Yuen – ‘planning an idea’ ring 2012 – anodised aluminium, bird eye maple wood, brass, rock, acrylic paint, clear acrylic …
Email:info@jtour.org / jewellerytour@163.com
Shanghai city Changning District
Songhong road 685
Tel: 021-52830705

06/11/2013

Jorge Manilla – Contemporary Savagery

Classé dans : COUP DE COEUR,Jorge MANILLA (MEX),JOYA (ES),Mexique (MX) — bijoucontemporain @ 2:22

JOYA Barcelona 2013 presents « Jorge Manilla  - Contemporary Savagery »

«Para algunas personas la violencia es la prueba viviente de que el hombre es salvaje… para otras es el camino hacia la civilización. Sin tomar en consideración nuestra percepción y entendimiento del tema, lo único de lo que podemos estar seguros es que la violencia es parte de nuestra condición de seres humanos y está motivada por emociones crudas: miedo, pasión, celos, dolor, tristeza y hasta amor son conceptos que se encuentran dentro de las razones que llevan a la violencia. Mis objetos no son sólo materiales y formas distorsionadas sino emociones diseccionadas, memorias rotas y órganos que revelan un alma desnuda y la fragilidad de nuestra situación».

«For some people violence is living proof that man is a savage… for other people it is the road to civility. Regardless of our understanding or appreciation of the subject, the only thing that we can be sure of is that violence is a part of our human nature and is motivated through raw emotions: fear, passion, jealousy, pain, sadness and even love are concepts that are buried within the reasons for violence. My objects are not merely materials and distorted shapes but rather dissected feelings, broken memories, and dry organs that reveal a naked soul and the fragility of our situation».

Jorge Manilla durante su conferencia en Joya Barcelona 2013
Jorge Manilla durante su conferencia en Joya Barcelona 2013
D’abord, le premier … « choc ». Rencontrer Jorge Manilla. Un Monsieur du bijou. Séquence émotion. c’est que je n’ai pas l’air mais je suis très timide, et très naïve, et très impressionnable …..
Puis, le second choc …… la conférence.
Il parle, doucement, de violence. Il revient à plusieurs reprises sur « l’actualité » du Mexique, la violence des rues, les morts, les tueries, la drogue, les armes, les mafias, cette actualité à laquelle il revient, inlassablement, quotidiennement, comme malgré lui, comme attiré par un aimant. Il le dit doucement, calmement, d’une voix douce, avec un sourire, il nous parle de la mort au quotidien au Mexique, si présente, si ….. « habituelle », si … « courante », cette mort violente qui fait partie de la vie de tous les jours. Cette mort qui est partie intégrante de la vie, et plus particulièrement pour certaines cultures, sans cette crainte, cette peur ou ce refus que nous lui vouont dans nos cultures contemporaines de pays « développés » ….
Ils nous fait même rire, nous racontant ses « transferts » d’ »human ribs » trouvés dans la décharge d’un cimetière et ramenés en Hollande dans son sac à dos, son histoire,, racontée à la douane, d’os trouvés dans le jardin de sa grand’mère par le chien, le douanier et son regard entre halluciné, dubitatif, soupçonneux … « have fun with your dog » …. les « human ribs » méticuleusement nettoyés, en se posant mille questions sur QUI pouvait être cet être humain, quelle existence, quelle vie …. , les os découpés, tronçonnés, leur « beauté intérieure » et le bijou qui en découle …..
Jorge Manilla - serie 'metamorfosis divinas'  detail
Jorge Manilla – collier de la serie ‘metamorfosis divinas’  detail
Et il parle, de son travail, de sa création, de ses bijoux. Il parle de ses nouvelles créations, qui nous racontent sa vision de « sauvagerie contemporaine ». Toujours de cette voix calme. Cela « rentre », « s’enregistre », inconsciemment, comme une « petite musique de nuit ».
J’entends beaucoup ce fait qu’il vient et revient sur « son » matériau, un matériau qu’il casse et coupe et déchiquette et détruit pour se l’approprier, qu’il soit bois, cuir, os, plâtre, il lui faut le « digérer » pour le « recracher » totalement transformé, « fait sien ». Ce n’est plus du cuir, ou du bois, ou autre … c’est ….. « matériaux divers », « mixed materials », lit-on régulièrement …… c’est ce que son corps -ses mains-,  son mental, son imaginaire, son vécu, son ressenti « regurgitent ».
Un mot espagnol rend -à mon oreille- parfaitement cela : son matériau est « machacado », haché menu ….
La mort est violence faite à la vie, mais manger, mastiquer, mâcher, faire craquer les os, transformer, digérer, pour vivre, est destruction, mais EST VIE, EST violence !
Il suffit de voir un gros plan de son matériau :
Jorge Manilla - "Contemporary Savagery" (te mato por que te amo) (detail) 2013
Jorge Manilla – « Contemporary Savagery » (te mato por que te amo) (detail) 2013
C’est pure digestion, défécation, régénération, transformation, régurgitation, plus rien n’est reconnaissable, identifiable. C’est SON matériau. Alors avec ça il peut commencer à créer.
Et là, le troisième choc. Après les paroles. Je parodierais en disant « après les mots… le choc des bijoux » ! On rentre dans une salle. Obscure.
Jorge Manilla al FAD Barcelona 2013 : "Contemporary Savagery"
Jorge Manilla al FAD Barcelona 2013 : « Contemporary Savagery » (photo Morebcn)
Et noir sur noir, dans le noir, sous des spots de lumière crue, une rangée de …. bêtes ? déchets ? carcasses ? viscères desséchés ? restes d’animaux ? choses calcinées, carbonisées, d’un autre age ? …… bijoux ??!!?  vous attendent, en rangs, en silence, alignés  …..
Moi qui d’habitude tripote, essaye, retourne, là je suis déroutée, intimidée, subjuguée. Quoi faire avec … « ça » ?? le porter ? je n’ose même pas essayer …. ça a un toucher de … peau veloutée, ou rêche, de … « trucs à poils », dur et mou …
Ce n’est pas du bijou « doux », comme pourrait l’être une bague ronde et lisse en porcelaine de Violaine Ulmer par exemple, ce n’est pas du bijou « pour jours calmes », ce n’est pas un bijou « en paix », est-ce même un « bijou »? le porterais-je ? c’est un cri, une blessure, une plaie ouverte, une souffrance qui a été, un mal intériorisé, c’est …. c’est impressionnant.
Rien dire. Regarder. Se laisser imprégner. Se laisser envahir. imprimer dans sa mémoire. Se laisser marquer.
Jorge Manilla at the FAD Barcelona during JOYA 2013 -  "Contemporary Savagery"  -  (photo Morebcn)
Jorge Manilla al FAD Barcelona 2013 : « Contemporary Savagery » (photo Morebcn)
Jorge Manilla - "Contemporary Savagery" 2012. Necklace: mixed materials. Photo courtesy of the artist
Jorge Manilla – « Contemporary Savagery » 2012. Necklace: mixed materials. Photo courtesy of the artist

“For some people violence is living proof that man is a savage… for other people it is the road  to civility. Regardless of our understanding or appreciation of the subject, the only thing that we can be sure of is that violence is a part of our human nature.

While researching for this project, I found that most of the time humans perceive, relate to each other and are motivated through their raw emotions. For example: fear, passion, jealousy, cowardice, pain, rancor, bad blood, sadness and even love are concepts that are buried within the reasons for violence. This range of diverse emotion, rational and irrational, are the reasons why violence became the source of inspiration for my work.

In my artistic research, I decided not to work literally with violence but with violent thoughts, feelings and memories. I explore In which moment we become a victim and in which moment we are the victimizers ? As a result, I have made troubled objects in non-attractive shapes with surprising and frightening images. I created the imperfect perfection, black images that mirror and reflect our imperfect reality. My materials create cataclysmic scenes, explosions that seem to melt the objects.  

In the end my objects are no longer merely materials and distorted shapes but rather dissected feelings, broken memories, and dry organs that reveal a naked soul and the fragility of our situation”.

Jorge Manilla

PS : je fais exprès de ne pas mettre de photos « en clair » des bijoux de cette série « contemporary savagery » : je vous laisse les découvrir par vous-même ici et là (par exemple chez ma « confrère » de Mar de Color Rosa )

01/08/2013

EXPO ‘Delirio & Cordura’ – Centro Cultural Scuola Italiana, Santiago (Chile) – 8 Aout-13 Sept. 2013

Delirio & Cordura – 8-08/13-09 – Centro Cultural Scuola Italiana

Delirio & Cordura - 8-08/13-09
El Centro Cultural Scuola inaugurará el día jueves 8 de Agosto a las 19:30 horas la muestra de Joyería Contemporánea “Delirio y Cordura”. La exposición está conformada por las obras de 26 joyeros, 16 chilenos y 10 de diferentes nacionalidades quienes actualmente están estudiando en la prestigiosa escuela de joyería Alchimia en Florencia, Italia.
Para la muestra, cada orfebre se inspiró en la temática sobre el delirio y la cordura, escogiendo uno o ambos conceptos, por tanto la armonía y equilibrio versus la locura e irracionalidad de las formas, colores, materiales, fueron el motor creativo de cada joya. « Nos gusta mantener delirio y cordura separados mutuamente. Hay espacios para el orden, como las universidades, y también hay momentos para la locura, como el carnaval. Pero ¿Qué pasaría si estuvieran juntos? », es la reflexión que plantearon este grupo de orfebres y que se ve reflejada en este montaje. Cabe recalcar que en esta muestra el trabajo de los diferentes materiales utilizados (plata, oro, cobre, piedras, acrílicos, ceras, cerámicas, entre otros) y técnicas con que se realizó cada joya, dan forma a diversas piezas que destacan por su creatividad, complejidad, manufactura y destreza que trascienden lo meramente ornamental, convirtiéndose en objetos exclusivos y únicos que dan cuenta del estado de la joyería contemporánea.
La exposición estará disponible en la Sala Terracota del Centro Cultural Scuola Italiana del 8 de Agosto hasta el 13 de Septiembre. .
Centro Cultural Scuola Italiana
 
exponen : Carolina GimenoCarolina Hornauer — Claudia Correa — Claudio Pino — Francisco Ceppi — Gabriela Fissore — Maria Eugenia Muñoz — Nicolas Hernandez — Paola Raggo — Paulina Jaschan — Pia Walker — Rafaella Pruzzo — Rocco Napoli — Veronica Perez Artigas — Valentina RosenthalWalka Studio — Yessica Bordon
Carolina Hornaüer -  …”Todos saben bien, seguro, un importante secreto, excepto individuos de un estilo como yo. Nos mecemos en la ilusión de que afuera hay un espacio libre para los fuera de lo común. Es claro el impulso interior y el anhelo de vivir igual que todos. Tu ves que por ejemplo todos los autistas estamos de acuerdo en saber que rodeados de gente estamos solos como nadie en el mundo”…
Carolina Hornaüer -  …”Todos saben bien, seguro, un importante secreto, excepto individuos de un estilo como yo. Nos mecemos en la ilusión de que afuera hay un espacio libre para los fuera de lo común. Es claro el impulso interior y el anhelo de vivir igual que todos. Tu ves que por ejemplo todos los autistas estamos de acuerdo en saber que rodeados de gente estamos solos como nadie en el mundo”…

expo DELIRIO y CORDURA - brooch by ... ?WALKA STUDIOHorn, goldplated brooch

Pia Walker Foto: Karen Clunes
Pia Walker - Foto: Karen Clunes
Paola Raggo y sus "Delirios nocturnos", estarán presentes en la muestra "Delirio y Cordura" Fotografía: Karen Clunes

Paola Raggo y sus « Delirios nocturnos »- Fotografía: Karen Clunes

Carolina Gimeno - muestra "Delirio y Cordura"
Carolina Gimeno
Gabriela Fissore  "De la cordura me quedo con el COR (del latín corazón) Antiguamente se pensaba que en el corazón yacían las facultades de la memoria, era el centro de la vida interior, en donde se ubicaban sentimientos, pensamiento, voluntad. Tres piezas que muestran parte de este corazón. Abstracción de arterias coronarias."
Gabriela Fissore  uno de los colgantes que presento en la expo « delirio o cordura »-  plata, cobre, laca japonesa - « De la cordura me quedo con el COR (del latín corazón) Antiguamente se pensaba que en el corazón yacían las facultades de la memoria, era el centro de la vida interior, en donde se ubicaban sentimientos, pensamiento, voluntad. Tres piezas que muestran parte de este corazón. Abstracción de arterias coronarias. »
Claudio Pino - Interactive Mirror 14k Gold, 925 Silver, mirror, pearls, opals. 2012
Claudio Pino – Interactive Mirror 14k Gold, 925 Silver, mirror, pearls, opals. 2012

 

Sala Terracota del Centro Cultural Scuola Italiana
Avenida Las Flores 12707
San Carlos de Apoquindo
Las Condes – Chile
Mayor información contactar a Ma. Gabriela Castillo Coordinadora Centro Cultural Scuola Italiana cultura@scuola.cl 2 5927544
Lunes a Viernes de 8 a 17 hrs.
cultura@scuola.cl
tel Fono: (56) 02 5927544
www.scuola.cl

12/07/2013

Des P’tits trous, encore des p’tits trous ….

« Des P’tits trous, encore des p’tits trous ….
des p’tits trous, des p’tits trous, toujours des p’tits trous
Des trous d’seconde classe
Des trous d’première classe »
(« le poinçonneur des Lilas » – Serge Gainsbourg)

Image de prévisualisation YouTube

Pendentif Elytre  Mathilde QUINCHEZ  Son travail sera exposé à L'age d'or  26, rue du Docteur Magnan 75013 Paris  Du 17 au 20 Octobre 2013  Mathilde QUINCHEZ  Pendentif Elytre –
Son travail sera exposé pendant les « Circuits Bijoux » à L’age d’or  26, rue du Docteur Magnan 75013 Paris  Du 17 au 20 Octobre 2013

Monika Brugger broochMonika Brugger broche

Monika Brugger - Fragile - brooch - silverMonika Brugger – Fragile – brooch – silver

Haruka Oe - ringHaruka Oe -silver ring 2007

Haruka-Oe- ring
Haruka Oe -silver ring 2007
Rossella Cigognetti TornquistRossella Cigognetti Tornquist Brooch (detail) Her work is particularly inspired by natural elements: surfaces like bark, wood, or structural elements from the animal kingdom, such as animal bones

Nevin Arig  Brooch: Return to the roots 2009  Chiseled silver, coral, pearl, gold haliteNevin Arig  Brooch: Return to the roots 2009  Chiseled silver, coral, pearl, gold halite

Sara Bran - using lace techniques with gold    http://www.sarabran.fr/Sara Bran – using lace techniques with gold  

Julie Blyfield  Brooch: Shell 2011  Sterling silverJulie Blyfield  Brooch: Shell 2011  Sterling silver

Leanne Ryan   _Brooch  Fine Silver, Sterling Silver, Raw silk cocoons, Seed pearls.  Approx. W 5.5cm x H 4cmLeanne Ryan  (Perth, Western Australia)  Training and Further Education (TAFE) Central, Perth.  Brooch  Fine Silver, Sterling Silver, Raw silk cocoons, Seed pearls.  Approx. W 5.5cm x H 4cm  Photographer: Matt Reed
Leanne Ryan -Pendant  Sterling Silver, Heishi ‘Vulcanite’ Trade Beads, Raw silk cocoons – cut & edges dyed, silk cord.  Approx. diameter 6cm

Leanne Ryan -Pendant  Sterling Silver, Heishi ‘Vulcanite’ Trade Beads, Raw silk cocoons – cut & edges dyed, silk cord.  Approx. diam. 6cm

Ursula Woerner - 2te heimatUrsula Woerner – 2te heimat    

Ángela Bermúdez "Contigo & disancia" fermall/broochÁngela Bermúdez « Contigo & disancia » fermall/brooch
(recién graduada por la EASD de Valencia,  es portada en el blog Des del Sud con sus piezas de Proyecto Final del CFGS de Joyería, dirigido por la profesora Heidi Schechinger, en el curso 2011/2012)
viruthiers: Ángela Bermúdez Pöhlmann
Ángela Bermúdez (serie Turismo de interior)
Angela Bermudez (Viruthiers) 'Media Pension' broche 2012, plataAngela Bermudez (Viruthiers) ‘Media Pension’ broche 2012, plata
Angela Bermudez (Viruthiers) "Final de Trayecto" broche 2012, plata Angela Bermudez (Viruthiers) « Final de Trayecto » broche 2012, plata
Trinidad Contreras (BORAX08001)Trinidad Contreras (BORAX08001)
Trinidad Contreras Brooch  (BORAX08001)Trinidad Contreras Brooch  (BORAX08001)
Trinidad Contreras broochTrinidad Contreras brooch
Dana Hakim My Four Guardian Angels BroochDana Hakim My Four Guardian Angels Brooch
Anya Pinchuk - Bloomington, Indiana  - silver broochAnya Pinchuk – Bloomington, Indiana  – silver brooch
Patricia Nowogrodski,  1001 Nights Brooch, Cooper, Black Oxide, Zircon.Patricia Nowogrodski,  1001 Nights Brooch, Cooper, Black Oxide, Zircon.
Vera siemund, necklace, 2011, enamelled steeldrilled, sawn, embossed, enamelled, mounted - 220 x 260 x 35 mm - steel hemispheres, red enamelled inside, drilled pattern   sawn portraitVera Siemund, necklace, 2011, enamelled steeldrilled, sawn, embossed, enamelled, mounted – 220 x 260 x 35 mm – steel hemispheres, red enamelled inside, drilled pattern   sawn portrait
Deganit Stern-Schocken  Necklace 2012  Silver, stainless steel, polystyreneDeganit Stern-Schocken  Necklace 2012  Silver, stainless steel, polystyrene
Eric De Gesincourt  earrings   from a ping pong ballEric De Gesincourt  earrings   from a ping pong ball
Dana Hakim, "My Four Guardian Angels, The Blue Series", Brooch 02, 2012         Iron, black mirrored plastic, cotton threads, paint, lacquer. 250X180X20 mm (from Bezalel Academy)Dana Hakim, « My Four Guardian Angels, The Blue Series », Brooch 02, 2012         Iron, black mirrored plastic, cotton threads, paint, lacquer. 250X180X20 mm (from Bezalel Academy)
Lebanese designer Malaika Najem's Child Soldier collectionLebanese designer Malaika Najem‘s Child Soldier collection
Malaika Najem - detailMalaika Najem – detail
Marjorie Simon First Thoughts on Miami Foliage NeckpieceMarjorie Simon First Thoughts on Miami Foliage Neckpiece
Julie Usel. Tear me Apart. 69 rings in copper: 1 in silver, ring boxJulie Usel. Tear me Apart. 69 rings in copper: 1 in silver, ring box   

Romi Bukovec - wood - painted (several times) and brushedRomi Bukovec – wood – painted (several times) and brushed

Liangchao Shao (China) www.shao-design.com/  - experiment : necklace - straw (BIAD)
Liangchao Shao (China)   – experiment : necklace – straws (BIAD)
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