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

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

0 + 0 = 0 by Lisa Walker

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

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

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

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

Lisa Walker Dick Necklace 2016  Lisa Walker Dick Necklace 2016

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

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



Selection 4 SCHMUCK 2016 : Kadri Mälk


Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek  24/02–1/03/2016

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek / #jewellery #brooch by Kadri Mälk     brooch by Kadri Mälk

Kadri Mälk  Brooch: Very Guilty 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm: Kadri Mälk  Brooches : « Very Guilty » & « Guilty » 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm

interview :« Kadri Mälk – Love Me Or Leave Me Or Let Me Be Lonely »
By Aaron Patrick Decker (THANKS to AJF)

I ascended old stairs to a cozy apartment in Tallinn, Estonia, where I had the pleasure of interviewing the renowned Estonian jeweler Kadri Mälk. As the head of the metals department in the Estonian Academy of Arts, she shines a spotlight on younger Estonian jewelers. She has given rise to a generation whose work is strong, individual, and definitely Estonian. Mälk’s work is dark, poetic, and wholly of her own voice. Utilizing such traditional jewelry materials as gold, silver, gemstones, and jet, she creates a recipe whose melancholy fragrances permeate through all her work. 
Aaron Patrick Decker: How did you come to jewelry?
Kadri Mälk: Initially I studied painting for four years and really enjoyed it. Before that, I worked in a publishing house. After studying painting, I suddenly felt that maybe it wasn’t for me, maybe I needed something more intimate. After that I went to the Academy to study jewelry. I was either 28 or 29 when I graduated. I felt somehow that I was late, an autumn flower. I remained a freelance artist and was on my own for about nine years; meanwhile I was invited to teach. Initially it was just a small workload, like once a week. I enjoyed staying in my atelier and working on my own schedule and freedom. I liked it so much, no due dates and a kind of wild life, a lifestyle I still really appreciate.
After graduation I began some studies in stonework. First in St. Petersburg in a stone-cutting factory, a huge factory that received quite high-quality raw materials from Siberia. Then I studied gemology in Finland at the Lahti Design Institute for two years. I was offered to prolong my studies in London in 1993–94 and receive the highest degree one could get in gemological studies. During that time in Estonia, there was no one in the field of gemology. It’s a small field in general, but in Estonia, no one had this sort of certification.
But then my professor, Kuldkepp, fell ill and couldn’t return to the department anymore. Until this point I had worked alone. Leading a department is not just about being an ideological leader, there are other concerns about finances, and finding a team that works. You have to find people who fit together. I had no experience in this work so I was very afraid of the proposal to take the department. And especially since I was offered the gemological certification, which was seductive.
Simultaneously, I got a chance to work in Germany. I was young, bold, and at that time ready to jump. I applied to Bernd Munsteiner’s studio. He rejected me at first, saying he had too much work to also teach an apprentice. Somehow he changed his mind and decided to bring me in. They were intrigued by Estonia, the wild northern forest, so they said okay. He was concerned about my age and the time allotted; to learn stone cutting and faceting requires a large amount of time. I went in there not being able to speak German, and they had a certain dialect. I had some stone-cutting experience from St. Petersburg, but not at the level at which his workshop operated. It was very generous of him to take me.
We began at 7 a.m. and the first break was at 10:30 for some coffee. It was very tight and regimented. Funnily, during lunch they turned off the power in the shop; I thought I could work more during this time, but it was not allowed. He didn’t believe in the beginning that I could learn facet cutting, but at the end he was happy with where I got. I remember having a notebook and just trying to write down everything during lunchtime. I wouldn’t eat. I’d just write what the workers were saying. The old knowledge. It was my passion, stones.
You have said you were close with your professor; can you talk about your decision to take over the department?
Kadri Mälk: She was the reason I decided to take over the department. It was kind of fatal serendipity—as I saw it then, but not anymore. I had to do it because she could not. She was an extraordinary personality in the time and circumstances, she did not fit the environment, didn’t fit the times. If you read her writings, you could tell she had such a drive sourced from somewhere else. She had such a mission to pass on things to people, not in a direct way but in an indirect and metaphoric way. Her teaching methods were not pedagogical at all, she was often much more abstract. She locked the students in the room and said, “Just work.” All should be concentration, creativity driven to the work. No cinema, no theater, no magazines, no outside information, and it should all come from yourself, come through you. Extreme methods, but very effective. She wanted you to achieve the maximum. She was not very communicative, didn’t go anywhere, didn’t move around, her efforts were very concentrated on certain students. I can’t find the right words to completely describe her, but she wanted students to open up by closing off.
Do you think becoming a professor so early shaped you as an artist and continues to shape you?
Kadri Mälk: I was a baby professor. I was elected when I was 37. I had already been a renowned artist for some time, but as an educator, administrator, or team member, I had no experience. Looking back, I realize now the trust from admin and colleagues when I took over the department. My creative past supported me and proved to them I could survive in the school. Just recently somebody outside of the academy, and artists, came to me and said, “Now, Kadri, I realize you have done it well…” In the beginning, others were hesitant because I was seemingly unsuitable for the job. The highest hesitations came from me. I was unsure if I could rise to the occasion. And when the women came, 15 years later, it was some confirmation.
I just liked to make my pieces. And it’s so funny, I still go about my work in a similar way. Nowadays students are much more oriented by a schedule and thinking about making work for exhibition. Deadlines. My satisfaction came from my pieces, from the process. I liked how they came to me, how they happened. When I was in school, learning about the art field was not included. The professor tried to keep this off us, all these associations, how this works, etc. I remember asking her what happens when I graduate. She didn’t tell me anything about the real life of artists. It was all about the work. It was a conscious decision to keep the art world away from us.

Kadri Mälk  necklace "Amnesia" 2010  - ebony, tourmaline, silver, - photo Tanel VeenreKadri Mälk  necklace « Amnesia » 2010  – ebony, tourmaline, silver, – photo Tanel Veenre

Kadri Mälk - "Mid-day of life" 2008 brooch - jet, silver, almandine, smoky quartz - photo Tanel Veenre: Kadri Mälk – « Mid-day of life » 2008 brooch – jet, silver, almandine, smoky quartz – photo Tanel Veenre

Do you think your work changed during this period?
Kadri Mälk: No, not because of the Academy. The majority of my time went into the Academy, but this didn’t affect my work. In the first years, we gave assignments to students in the form of certain themes. Later on, especially at the MA level, where the study is more conceptual, they must meet their choices themselves to reinforce their spiritual identities.
Someone asked me, “What do you like best about teaching?” I feel lucky that I have the possibility to notice and follow how personalities develop and begin to blossom; how new talented personalities emerge in a creative surrounding; and how they act and react. And how passionate they may be in their work! It’s the achievement of every member of our staff.
Not much changed about me, either. Of course I had to modify my talking towards topics, concentrate, and learn to convey or see the methods that worked best, but at the core I didn’t change.
It’s very different to be just a teacher rather than the department leader. You are responsible for all that happens. The biggest difference is that the academy and the students are number one, followed by your work and your family. The academy and the students are number one. They can call me at any time if they need. I feel better in this. They know that they can come, they are not lost.
I think that’s quite admirable. I haven’t heard of another professor so invested in the program in the ways you are. What do you think some of the most important things to pass on to your students are, what do you hope they take away from you and the Academy?
Kadri Mälk: A kind of attitude, that you should believe in yourself. People shouldn’t take you off your path. Younger artists are vulnerable, in a condition to be shaped or reshaped; it’s important to tell them or convince them that whatever happens you should turn that attention in to yourself, otherwise you get lost. If you take into consideration all the opinions you hear, you get lost; there is so much noise. You don’t know where to look or where to go. You don’t orient yourself any longer in the world. Believe in yourself … it’s hard to when you’re young. Believe and be strong in your core.
Then your core begins to fortify?
Kadri Mälk: Yes, it becomes stronger. It crystalizes, the elements that are more important, the ones that are harder, take shape, and the rest falls apart. It comes with time, you shouldn’t force or exaggerate. You have to be patient.
There are so many conferences, so many books asking the big question—is jewelry art? It’s not my task to answer it.
My comment to it is very simple: love me or leave me or let me be lonely. 
Or to put it differently: take it or leave it or let me be lonely.
What do I mean with that? It’s very simple. There is always another way out. It’s not only taking or leaving. There is another possibility which is hardly seen. You just have to be patient and look carefully.
Also, the creative process has confusion, has crisis. You should not be afraid of these things, they are natural. Fear that your next work will fail is so very normal. Crisis is normal in art making. Art is always about starting again in hesitation.
What are your impressions of younger jewelers now coming into the field, at large and in Estonia?
Kadri Mälk: (long pause) It is very hard to generalize, even here the local scene is quite diverse. You can se
more design-oriented work, more personal work. I try to encourage these people who are afraid of having somehow veiled, personal, or exceptional ways of expressing. If they compare themselves to what is happening in different places with people their age, they begin unconsciously to bring other aesthetics into their own work. I want to encourage people who are different, who are slightly insecure.
Francis Bacon said, if you are going to decide to be an artist, you have got to decide that you are not going to be afraid to make a fool of yourself.
Making art is so simple—all you have to do is to wait quietly, staring at a blank wall until the drops of blood appear on your forehead. Be aware that criticism always comes along with creative work. If you can’t handle it, you have to quit.
How frequently and easily success transforms into depression! You can avoid it by leaving some loose threads in your work, some unresolved part that carries you forward in your new work. What you need to know in your next piece is silently present in your last. You can find it while looking in patience. It’s like a seed crystal for your next destination.
I am not really analytical like most. I am interested mostly in my unconscious choices, what I like and what triggers me.
If someone were to ask about your work, how would you describe it to them?
Kadri Mälk: Look at the originals. You should look at the original pieces and see for yourself.
Do you think that is an important idea, to see things in person?
Kadri Mälk: Yes. We are so much in the age of reproduction. We see the screen or the page with the picture. We don’t look at the original anymore, we don’t feel the tactility of the pieces or taste the iron. It is very harmful to humankind to go about it in this manner. Go to the originals. Otherwise it is so meta-meta, you don’t feel, you don’t know the scale, the details, or the material from the copies.
What are some of the things that inspire you?
Kadri Mälk: I don’t know what inspiration is exactly. Sometimes things are more intense and sometimes less intense. Sometimes I feel that I can capture things, forms, colors, something in the air, and sometimes I feel like sand is running through my fingers.
Consciously I cannot, but it comes more from my subconscious. There’s some differentiation between mental and physical subconscious. One is staying here (Mälk points to her head) and one is here (she points to her stomach), the first is mental and then the second is more gut, subconscious. The feelings are very different. Or maybe the frequencies are different. I like life in all its expressions, that’s my source
In talking about those two polar ways—analytical and emotional—in your work, do you bring them together, is there one that’s more important to you?
Kadri Mälk: Usually it’s subconscious, these decisions you make. They are made before they are at your conscious level. You made the decisions in a big fog. Just as in crystallization, they come into being. And when they are there, it is your choice to call them either consciously made or born out of the sky.
Looking at your work, there is a quality of instantaneous moment; going deeper, you find more and more. The work is quite striking and emotionally charged. Seems very palpable, like it has a heartbeat. There is also a melancholy quality to many of your pieces. Is that a conscious decision or a more subconscious one?
Kadri Mälk: A tiger cannot avoid his stripes! (She laughs.)
That’s a great analogy. 
Kadri Mälk: I am very shy describing my work. I am afraid I cannot reach the truth through verbalization.
There is this quality of Estonian jewelers, not a reluctance, but an ability to keep the integrity of the work. It’s hard to describe the work prescriptively in its conceptual and formal functions, often it acts like poetry, it speaks with power but is not completely resolute. What is your opinion of this attitude?
Kadri Mälk: When I think of my jewelry, it’s easier to describe it. “It’s blue, violet, black, and purple. There is fog, there are shades of magenta.” You can be precise without being clear. And unclear may also be precise. It’s very much an oxymoron.

Kadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit RammulKadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit Rammul

Being precise but unclear, can you talk more about this notion?
Kadri Mälk: It’s really a sort of hologram, like a puzzle. As a notion and phenomenon, I think it’s possible. 
It is an interesting facet of Estonian jewelry. Sort of irresolute.
Kadri Mälk: Yeah, it’s in a stage of becoming. Being on the way.
Yeah, it’s not negative, its more open. 
Kadri Mälk: Yes, an ambivalence. 
Is there something that you want people to get from your work?
Kadri Mälk: To share the unsharable. What often happens is that the viewer approaches in a superficial way, which is natural. On the foreground they see materials, especially if there are unusual materials.
I’ve used a lot of moleskin in my work and it’s taken a kind of attraction or peculiarity in my work. I don’t feel a need to explain the choices I’ve made. How it came to me, it was just an incident. Or a happy accident.
When all my stuff was stolen from my atelier, I found a coat of my grandmother’s from the war, made out of moleskin. I took it apart, slices of extremely thin, like silk, soft silk paper like. Then I saw these pieces. The tenderness at first, the sensuality of the material, and that the fur grew in only one direction. It was so thin, the fur. It had such a strong character, though. I started to work with this, used it a lot, the coat is now gone into all the pieces. I also think the animal is present in the work. The mole, he’s blind, he doesn’t have sight but has extreme animal spirit. All this orientation in time and space. I studied how they moved, their lives, did more research. How they were trapped and caught. This animalism was powerful and important for me in these works. But you aren’t going to retell the story. If you put it into a story, it’s banal. 
Can you talk more about the jet in your work?
Kadri Mälk: When I carve it, like timber or wood, it has nerves like a human body. The stones have structure, they direct you. They tell you where to go. You should go there and you shouldn’t make the wrong decision. There is a negotiation with the stone when I cut it. Jet is mute, silencium. Only a big dust is coming. Your lungs are filled with jet powder. Like stones are directing you in advance, there are inclusions, by heat they will crack more. Jet is completely mute. This is what fascinates me. It’s not much used in jewelry anymore. 
I lack the habit and custom and will to interpret my works after they have been completed. The work either tells you something or it doesn’t. Once you have completed it, then keep quiet. The work must know whether it radiates or not. The piece of jewelry in your mind, in your imagination, is always correct and beautiful. Resistance starts when you try to convert it into material. Oh, la la! Materials are like elementary particles—charged, heavily charged sometimes, but indifferent. They don’t tell you much, you have to tell them the truth.
You have staged events and produced a number of books—JUST MUST, Castle in the Air, etc.—about Estonian jewelry and jewelers. You have made the work coming from the Academy available to a much larger audience. Give us your thoughts about publishing these books and what your intentions were at the time you did them.
Kadri Mälk: Firstly, I love books. I love their smell and the shade of the voice when you turn the page and then unexpectedly see a new image … It’s both emotional and intellectual. Since 1989 I have published twenty-something publications, some of them out-of-print already. The first ones were really ugly ducklings, black-and-white … I’ve strived always to tell something different with them, it has been my passion. Indeed, they have been acting as ambassadors of Estonian jewelry in the world, although it was not intended. So many students coming from abroad have said the pull came from the books. Strange! Usually nowadays the urge comes from the Internet. 
To make an impression abroad is not as important as to make an impression in your own soul.
Thank you.

 Kadri Mälk - "Fresh, dried, only young" 2001 brooch - sarcodon imbricatus (mushroom), silver, almandines: Kadri Mälk – « Fresh, dried, only young » 2001 brooch – sarcodon imbricatus (mushroom), silver, almandines

Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm). Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm)


EXPO ‘Pheromones’ – Ndsm Treehouse, Amsterdam (NL) – 25 Avril 2014

Classé dans : Eily O'CONNELL (IRL),Exposition/Exhibition,GALERIES,Hollande (NL) — bijoucontemporain @ 17:58

Eily O´Connell : solo exposition ‘Pheromones’ at NDSM Treehouse

25 april 2014 from 17:00

Eily O' Connell. "pheromones"

Amsterdam The Netherlands is famous for it´s jewellery designers who are exceptional due to the use of unusual materials. Ted Norton chose chewed-up chewing gum. Julia Walter works with bones and clay Noon Passama uses human hair Terhi Tolvanen collects twigs from the forest. They are all admired models for the Irish jewellery designer Eily O´Connell. This month she is commencing as artist in residence in the NDSM Treehouse where she will get down to work with dead moths, pheromones and linoleum prints of enlarged insects. In her exposition ‘Pheromones’ which will be on view on Friday 25 april from 17.00pm in the containers of the NDSM Treehouse, she experiments in true Dutch traditon with unusual materials. “  » I feel a strong bond with The Netherlands because I am constantly searching for the bounderies of what a jewellery should be. As I am designing a new jewellery line , and am definitely not going to use much silver or other traditional materials. I chose this place on NDSM specifically for the strong artistic community which is active here and the freedom to experiment with unusual materials. During her stay on the NDSM she searches like a beachcomer for materials, she recently found laboratorium phials (test tubes) which she strung together to make chains of. The theme in O’Connells work is genetic modification. In her city of abode, Dublin, she travels to the coast regularly to search for materials on the beach.The catch is usually pieces of crab, seaweed or (her biggest pride) a fossilized beetle. Black is the preferred colour but Gothic is not how she describes her style. « It’s more sinister. I select different pieces of nature and bring them together, which gives an alienating effect. There is something captivating and mystic about it. In the past she did a project on the death of bees, whereby she immortalized these indispensable flying insects in various jewellery. To further the research on insects she visited the University of Amsterdam. Here she met scientist Astrid de Groot she was researching the sexual behaviour of moths. The influence of Pheromones was apparently enormous, females and males with enough of this substance proliferated profusely. Less advantaged moths did not stand a chance. Designer Eily took dozens of dead moths along to use as subjects for her jewellery line. She arranged the moths in differnet positions on top of each other and took photos with her macro lense. It supplied surprisingly graphic images. She enlarged the countless legs on lino and modelled them into necklaces and bracelets.

Eily O’ Connell

Usually, Eily O’ Connell’s jewellery work mirrors crisis in the natural environment. ‘Pheromones’ mirrors the evolution of moths and thus a more positive subject told through limited edition lino prints.
The theme came about from contacting Amsterdam based entomologists to find out what interesting insect species they were studying. The subject was open to whoever responded and the only stipulation is that they would be studying an insect new to Eily’s work.
Astrid Groot from the Institute for Biodiversity and Ecosystems Dynamics in the University replied back to an email. She explained how she is studying the sexual behavior of moths, to understand how this contributes to speciation (the evolution process by which new biological species arise) and thus biodiversity.
Pheromones are emitted by moths in order to attract new mates and certain species give off specialist perfumes. As it is so important for us to understand evolution, the work Astrid and her team for their work is highly admirable.
We often think of moths are purely cardigan eating pests. Maybe now you will see that they are indeed a beautiful species with fascinating complexities.
As O’ Connells jewellery deals with darker notes, maybe once they are transported home to her native Ireland, they may evolve into a new species on route…




NDSM Treehouse gallery
TT Neveritaweg 61,
1033 WB Amsterdam


EXPO ‘TEMA PENDIENTE’ – CCEBA, Buenos Aires (Argentina) – 5-18 nov 2013

Pending Issue / Tema pendiente CCEBA, Centro Cultural de España en Buenos Aires

Exhibition of contemporary jewelry with recicled materials
TEMA PENDIENTE - CCEBA 5-18 nov 2013
Silvia Abrevaya — Alejandra Agusti — Gabriela Ahumada — Mirta Allutto — Florencia Alonso — Hebe Argentieri — Alicia Atencio — Iacov Azubel — Sara Elizabeth Bari — Gaby Bonelli — Mónica Borgogni — Paula Botto — María Camicha — Nora Capitman — Maria Carelli — Jorge Castañón — Anne Luz Castellanos — Nora Castillo — Mercedes Castro Corbat — Daniela Comaleras — María Celina De Lorenzi — Graciela Di Monaco — Graciela Fassi — Marina Fatta — Nélida Ferrari Lázar — Mirta Figueroa — Sol Flores — Fabiana Gadano — Patricia Gallucci — Paula Giecco — Martha Gigena — Liliana Ginocchio — Déborah Glinberg — Maria Fernanda Gomez — Elisa Gulminelli — Cecilia Hecker — Marcia Helman — Alicia Hidalgo — Claudia Rosana Jofman — Wanda Juarros — Elida Kemelman — Mirta Kraves — Alejandra Kunz — Liliana Labarta — Vanesa Lamadrid — Eleonora Lanne — Laura Leyt — Liliana Macklin — Magela Maggi — Marta Mallar Sirkis — Susana Mandelbaum — Patricia Mastaller — María Mendieta — Gabriela Miguel — María Rosa Mongelli — Cecilia Mórtola — Facundo Narduzzi — Iona Nieva — Gabriela Nirino — Silvia Ogasso — Claudia Olivieri — Dolores Oneto — Susana Ortiz — Alejandra Oyón — Irene Palomar — Maria Grazia Pane — Ana ParedesMabel PenaSandra Pulgar — Gabriela Rapoport — Patricia Rodriguez — Claudia Rosenberg — Maria Gracia Salinas — Marita Sario — Ruth Schaffer — Liliana Schissel — Claudia Schnaider — María Eugenia Solís — Maria Solórzano — Gabriela Squassini — Sabina Tiemroth — Albertina Tozzini — Beatriz Velardo — Fabiana Vodanovich Casañas — Silvia Vollaro — Ana Weisz — Anita Zalts — Beatriz Zarazaga.
Workshops of Jorge Castañón, Fabiana Gadano and Mabel Pena.
Humans are facing, embodied their own reflection, a powerful enemy: their own capacity for self-destruction.
To question the massive and indiscriminate urban waste production is the starting point for change, the need to modify behaviors that separate us from natural balance.
During the last ten years, contemporary jewelry in Argentina has grown exponentially, expressing ideas and concepts. On this occasion, the work of the workshops of Castañón, of Pena and of Gadano, is an invitation to make us think of that which is of use and of no use, which we do not know, which we forget, and of the possibility of generating profound changes in our lifestile habits in favor of ourselves.
Fabiana  Gadano, Brooch,
Fabiana  Gadano, Brooch – Water bottles, PET plastic (polyethylene terephthalate) Recycled material
Mirta  Kraves, Necklace,
Mirta  Kraves, Necklace – Water bottles, PET plastic (polyethylene terephthalate) Recycled material
Susana Ortiz, Necklace, Susana Ortiz – Necklace – Cardboard egg’s packaging  Recycled material
Ana Paredes, Brooch,
Ana Paredes – Brooch – Milk cream containers, HDPE plastic (high density polyethylene)  Recycled material
EXPO pendiente - Gabriela Miguel - Brooch:  Polyethylene garbage bags
Gabriela Miguel – Brooch:  Polyethylene garbage bags
EXPO pendiente - Mabel Pena - collar selva
Mabel Pena – collar selva – bolsas de supermercado –   Recycled material
CCEBA, Centro Cultural de España en Buenos Aires
Sede Florida 943
- Buenos Aires


EXPO ‘Dans la LIGNE DE MIRE’ – Musée des Arts Deco, Paris (FR) – 19 Sept. 2013-2 Mars 2014

Parcours du Bijou «Circuit Bijoux» – Paris – à partir de SEPT. 2013

De septembre 2013 à mars 2014

bannière Circuits Bijoux

exposition "Dans la ligne de mire, scènes du bijou contemporain en France"

« Dans la ligne de mire, scènes du bijou contemporain en France »

"Dans la ligne de mire" aux Arts Décoratifs PARIS
(neckpiece Marion Delarue Creation grant from the CEAAC  for the production of Korean natural lacquer pieces)

vernissage le 19 septembre

L’exposition se présente comme un circuit dans les collections permanentes du musée. Soixante-dix bijoutiers et orfèvres-plasticiens sont invités à présenter leurs créations les plus récentes au regard des œuvres du Moyen-Age / Renaissance, XVIIe / XVIIIe siècle, XIXe Siècle, Art nouveau/ Art déco, Moderne et Contemporain, ainsi que dans la galerie d’actualité et dans la galerie des bijoux. Comment se renouvelle le rôle de la parure aujourd’hui ? C’est la recherche plastique, l’audace formelle, l’aspect spectaculaire, la justesse dans la façon « d’interroger » le corps contemporain et de pointer les nouveaux comportements sociaux qui primera dans cette exposition-parcours du bijou en France.

collier Geraldine Luttenbacher

Liste des créateurs invités dans le projet «Dans la ligne de mire» :

* Créateurs indépendants
Marianne AnselinBrune BoyerFrédéric BrahamChristophe BurgerMonika BruggerFaust CardinaliTaher ChemirikCathy Chotard — Cathy Coez — Florence CroisierMarion DelarueEric de Gésincourt — Marie-Aimée Grimaldi — Joanne GrimonprezSophie HanagarthElie Hirsch Buchwald — Marie Masson — Evelie MouilaGilles JonemannEmmanuel LacosteCatherine Le GalFlorence LehmannPatricia LemaireBenjamin LignelGéraldine LuttenbächerChristophe MarguierAude Medori —  Astrid Meyer — Julia MorogeJean-François PereñaGalatée PestreAgathe Saint-Girons — Annie Sibert — Maud Traon — Patrick Veillet — Laurence VerdierClaire WolfstirnNelly Zagury


* Installations spécifiques
Arik Levy — Gaelle Chotard — David Roux-Fouillet — Aoi Kotsuhiroi — Alexandre Keller — Elene Usdin
* Bijoux de couture et métiers de la parure
Maison Chanel (avec les contributions des ateliers Lesage, Desrues, Goossens, Guillet, Lemarié, Gouvernel) — Maison Lanvin — Erik HalleyAnnabelle d’Huart (avec la Manufacture nationale de Sèvres) — Aurélie Lanoiselée — Camille Lescure — Mouton Collet — Aude TahonNatalia Brilli
* Haute-bijouterie et haute-joaillerie
Maison Hermès (par Pierre Hardy) — Maison Boucheron (par Shaun Leane) — Victoire de Castellane pour Dior Joaillerie

  Bijou "de langue" en or fin d'Emmanuel Lacoste, clin d'œil au dicton "la parole est d'or".Emmanuel LacosteBijou « de langue » en or fin, clin d’œil au dicton « la parole est d’or »

gilles jonemann - collier en verre créé pour l'expo "dans la ligne de mire"
Gilles Jonemann – collier créé pour l’exposition - ampoules de verre taillées, ressorts, pièces de jouet

Pendentif "aîtres"  Cuivre  Brune Boyer  Membre fondateur D'un bijou à l'autre  Son travail sera exposé au Musée des Arts Décoratives du 20 Septembre 2013 au 2 Mars 2014Brune Boyer – Pendentif « aîtres »  Cuivre 

Patricia Lemaire POINT DE MIRE - 2004 objet de déambulation maillechort, laiton  modèle Miyuki Koshimizu - photo François Kraemer  Le travail de Patricia sera visible aux Circuits Bijoux au Musée des Arts Décoratifs pour EN LIGNE DE MIRE à Collection pour ANTI BIJOU à Talent pour UN BIJOU POUR MOI chez Elsa Vanier pour SURPRISE PARTYPatricia Lemaire –  » POINT DE MIRE » – 2004 objet de déambulation maillechort, laiton  – modèle Miyuki Koshimizu – photo François Kraemer 
Musée des Arts Deco - "Dans la ligne de mire" masques d' Erik Halley
masque d’Erik Halley
Natalia Brilli
Natalia Brilli – quand tout objet de désir se recouvre d’un cuir doux comme une peau de bébé ….

 L’exposition « Dans la ligne de mire » propose un panorama inédit de la création française actuelle dans le domaine du bijou. Déployées au sein des collections permanentes du musée des Arts décoratifs plus de 600 pièces vont témoigner du rôle de la parure aujourd’hui, Des recherches plastiques, de l’audace formelle, de la justesse dans la façon d’interroger le corps contemporain et de pointer les nouveaux comportements sociaux. 55 créateurs de bijoux contemporains indépendants, sont ainsi invites à présenter leurs œuvres les plus récentes dans une scénographie des designers anonymes ponctuée de photographies, de vidéos, de clips d’artistes, de documentaires, de défilés ou campagnes de communication publicitaires.
Il a semblé important de mettre à l’honneur aujourd’hui aux Arts Décoratifs une cinquantaine de talents, émergents ou confirmés, afin de mieux faire connaître les expérimentations, tant au niveau des matières que des formes, menées par ces bijoutiers et orfèvres-plasticiens. Ceux-ci cherchent à inclure le domaine du bijou dans le champ de l’art contemporain, comme une pratique conceptuelle à part entière. Cette volonté les amène à rompre avec les conventions du bijou classique. Formés dans des écoles d’art, ils nourrissent une réflexion personnelle et critique, où l’observation des mutations dans les codes sociaux, les questions de valeur, de statut social, de destination, de genre, d’intimité, va prendre le pas sur les impératifs purement commerciaux ou la simple notion d’accessoire.
Les bijoutiers contemporains sont ceux que le public connaît le moins bien, ces derniers produisant essentiellement des pièces uniques, réalisées entièrement à la main, exposées seulement dans quelques galeries spécialisées, dans des musées d’arts appliqués ou d’art contemporain, en l’absence d’un appareil critique adapté et d’une couverture médiatique efficace. Ces créateurs consacrent toute leur vie artistique au domaine du bijou… Ainsi, leur production se démarque de celle qu’on englobe habituellement sous la dénomination « bijoux d’artistes », ces termes concernant des sculpteurs ou peintres souvent de grand renom, ayant dessiné ponctuellement des bijoux. Il en est de même pour les bijoux de designer qui jamais ne creusent aussi intimement et sur le long terme un vocabulaire personnel autour des multiples références historiques et symboliques du bijou.
« Dans la ligne de mire » consacre également une large place à des créateurs liés au domaine du bijou de couture et de mode, activité fondamentale dans l’histoire des industries du luxe en France, qui constitue un creuset de créativité et d’innovation sans équivalent hors de France. Cet apport original de la création hexagonale dans le domaine élargi de la parure (accessoires, broderies…) est représenté tant par des ateliers semi-industriels de haute-technicité que par des artisans travaillant seuls, qui savent transmettre avec virtuosité des savoir-faire traditionnels rares, complétés par l’apport de nouvelles technologies, au service d’expérimentations incessantes.
Ces deux domaines, l’un délibérément conceptuel et l’autre conçu comme un art appliqué, sont habituellement assez distanciés, leurs acteurs ne se croisant que rarement dans les mêmes lieux d’expositions. « Dans la ligne de mire » est l’occasion de montrer que ces scènes parallèles convergent dans un même imaginaire de la métamorphose complète du corps, liées par un idéal de réinvention perpétuelle des approches techniques, mues par des défis esthétiques visant pareillement à émerveiller, intriguer, voire choquer… Dans tous les cas, c’est la diversité des matériaux pauvres ou riches, la signification symbolique et le parti pris spectaculaire des œuvres qui priment alors.
Enfin, trois maisons de haute bijouterie ou de haute joaillerie ont été sollicitées pour la qualité d’innovation et de renouvellement des codes traditionnels de la joaillerie qu’elles ont su engager, grâce à une collaboration avec des créateurs. La maison Boucheron, dans le cadre d’une contribution exceptionnelle, a rencontré l’anglais Shaun Leane. La maison Hermès développe quant à elle le concept de haute-bijouterie, imaginé par le designer Pierre Hardy. Enfin, chez Dior Joaillerie, avec le travail iconoclaste et fantaisiste de Victoire de Castellane.
« Dans la ligne de mire » a été conçue comme un parcours de créations originales, disséminées dans l’ensemble des salles du musée, placées dans les vitrines au sein des objets, du mobilier et des period-rooms qui constituent les différents départements chronologiques, du Moyen Age à la période contemporaine. Les bijoux entrent ainsi en résonance avec le vaste répertoire ornemental des arts décoratifs : ils seront regardés avec plus d’acuité que s’ils avaient été présentés dans une salle vide uniquement réservée à leur intention. Quelques projets, hors-norme au regard de leur taille ou de leurs matériaux non précieux, sont présentés hors vitrines. Ces installations surprennent le visiteur par un rapport d’échelle et d’espace inattendu dans ce domaine du bijou. Certaines salles sont réinvesties par des artistes associant habituellement le bijou à un scénario (image ou texte) avec des propositions spécifiques mêlant bijoux, vidéos ou photographies.
Pour compléter le parcours, un projet intitulé «Bijoux de parade / Bijoux de combat», déployé à la manière d’un tableau vivant, prend place dans la Galerie d’Actualité du département contemporain. On y retrouve certains artistes déjà présents dans d’autres endroits du parcours, avec des créations inspirées par l’armure, l’uniforme militaire ou le camouflage, imprégnées d’une certaine violence liée à l’affirmation d’un pouvoir. Elles abordent en outre l’actuelle vogue des modifications volontaires de la surface du corps, piercing, tatouage, scarification.
Enfin, plusieurs interventions du designer Arik Levy, inspiré de son précédent projet Crystal Palace pour Swarovski, en particulier de grandes sculptures-cages et des agrandissements photographiques évoquant la taille du diamant, jalonnent également ce parcours du bijou contemporain au sein du musée.

Shaun Leane (when working for Alexander McQueen)- tribal origins / hooped necklacesShaun Leane (when working for Alexander McQueen)- tribal origins / hooped necklaces

Évelie Mouila - pieces that explore the sensation of wearing jewellery. Made by Évelie Mouila, the installation combines making & visual communication. Through her practice Mouila found an unexpected solution to materialise the relation between body, jewellery & clothes. Coming from the idea that jewellery alone can be seen as clothing, she creates jewellery that dresses the body, becoming clothing, & clothing that dresses the body is jewellery.   www.eveliemouila.comÉvelie Mouila – pieces that explore the sensation of wearing jewellery.


Musée des Arts Décoratifs

107 rue de Rivoli , 75001 Paris
Tél : 01 44 55 57 50
Site :

Le catalogue

« Dans la ligne de mire, scène du bijou contemporain en France »
Publié sous la direction de Frédéric Bodet, conservateur à la Cité de la Céramique à Sèvres. Spécialiste dans les domaines de la céramique, du bijou et de l’orfèvrerie, il a été commissaire de plusieurs expositions aux Arts Décoratifs et de nombreux projets dans le cadre de la Fondation Bernardeau et directeur artistique de la Nouvelle Biennale de Châteauroux en 2005 et commissaire associé de Céramique Fiction au musée des Beaux-Arts de Rouen en 2006. Il a entre autres dirigé le livre Circuit céramique (Les Arts Décoratifs, 2010) et contribué à l’ouvrage Céramiques XXe siècle (Les Arts Décoratifs, 2007)
- Michèle Heuzé, historienne du bijou, gemmologue, auteur de Dior joaillerie (2012)
- Karine Lacquemant, assistante de conservation aux Arts Décoratifs, département Moderne et Contemporain
- Benjamin Lignel, créateur de bijoux, designer, plasticien, critique
Editions Les Arts Décoratifs
192 pages, 150 illustrations
Prix : 39 €


la ROUILLE en majesté …..

Alexandra Chaney - 'tetanophobia 'Alexandra Chaney - ‘tetanophobia ‘

voir article   « Ode à la ROUILLE …. Marianne Anselin« 

« La matière qu’elle affectionne aujourd’hui, vielles cartouches, ressorts rouillés, la sécurise, même s’ils sont des déchets. Elle y voit de la beauté, voire de la préciosité, quand d’ordinaire il y a rejet. Sa timidité est dans l’air, c’est pourtant l’ambiguïté qu’elle cultive.
Éloignée des valeurs mercantiles de la joaillerie traditionnelle, Marianne place la préciosité et la rareté là où on ne les attend pas : « je les cherche dans la fragilité de la nature, dans l’action du temps en arrêtant la dégradation du fer rouillé, en utilisant des objets rebuts de notre société qui ne sont pas vides de sens mais porteurs de mémoire ». Là où certains voient imperfections, aspérités, couleurs fanées, elle perçoit comment le souffle du vent, le cliquetis de la pluie viennent à bout de l’airain, comment de l’artificiel la nature se réapproprie et fait son oeuvre. La matière est déjà en migration car « tous les éléments sont fluides. C’est une question de temps. C’est la courte durée de notre existence qui fait que nous appelons «dur» ou «mou» tel ou tel matériau. Le temps met à mal ces critères ». En intervenant, elle arrête un processus qui menait le métal à sa fin, fige l’action du temps sous la violence de sa forge et offre à porter une impalpable et pourtant bien réelle effigie du devenir, un souvenir magnifié.  “ » (Marianne ANSELIN)

Marianne Anselin - collier Mecanique 2007 Marianne ANSELIN (FR) – sautoir ‘mécanique’ – fer rouillé, graines guatemaltèque
Christoph Zellweger- Chain (1994) (detail)

Adrean Bloomard – ‘Amphora’ project/jewels (Alternatives Gallery) – corrosion due à la mer & au temps, comme d’anciennes trouvailles archeologiques ….. Bloomard – amphora brooch – oxidized copper, silver, Bloomardamphora necklace – oxidized copper, silver, enamel Bloomardamphora necklace – oxidized copper,, enamel Bloomardamphora Bracelet, oxidized copper, enamel Bloomardamphora brooch – oxidised copper

bijoux faits par la Galerie SYMBIOSE, Perpignan (Eliane Amalric et Thierry Arabia)* : Amalric et Thierry Arabia – collier rouille, perle tahiti, diamants, or, collier fils argent et or (janv 2010) Arabia- broche/pendentif  et  bague -  rouille, argent, diamants

EXPO Gal Elsa Vanier- Thierry VENDOME- Collier en or jaune, acier rouillé provenant d'un hublot, diamants et péridotsThierry VENDOME- broche 'ikebana' Or jaune. Acier rouillé. Perle de Tahiti
Thierry VENDOME- Collier – or jaune, acier rouillé provenant d’un hublot, diamants, péridots
broche ‘ikebana’ Or jaune. Acier rouillé. Perle de Tahiti

Philip Sajet  Ring: Rust  Iron, gold, niello on sîlverPhilip Sajet  Ring: Rust  Iron, gold, niello on sîlver

foto Luciano Cipullo ---------------------photofoto Luciano Cipullo ---------------------photo
Barbara Uderzocollier & bracelet ‘ruggine’ (rouille) … en chocolat !
Fabrizio Tridenti - bagues / rings
on pense (je pense !) souvent que ses bijoux sont en rouille, mais en fait il s’agit de peinture acrylique …

Stefano PedonesiStefano Pedonesi – Ring: sterling silver, oxidized copper (alors, rouille ou pas rouille ?)
Edgar Mosa - 'Di Indigetes' - rusted steel
Edgar Mosa – ‘Di Indigetes’ – rusted steel

« Relationships with time, space and objects were the focus of my attention during my time in Detroit, Michigan, USA. In an attempt to belong – as a bird makes its nest – I gathered materials that surrounded me; and searched for forms that could convey the struggle within.
Saw blades and rusty steel populated my studio, as vanitas on a still life. From them I created brooches that hung on the body like uncomfortable companions, burdens of a neglected past, that engaged a bittersweet relationship with the wearer. The pieces found their visual strength in the contrast between the delicate organic surfaces versus the sharp industrial edges » (
Edgar Mosa) Di Martino (FR) – « études » sur « l’usure »  (Projet de bijou sur le thème de » l’usure », jeu lancé par le forum « La Manufacture »)….. voilà du cuivre oxydé sans calcul (laissons agir la chimie), quelques gouttes de patine pour expérimenter…

Ingrid Ventura (Escola d'Art del Treball Barcelona)vu à JOYA Barcelona 2010 : Ingrid VENTURA – Escola d´Art del Treball

Montse Basora - (Taller Perill,Montse Basora – (Taller Perill, grupo « Joyas Sensacionales ») ‘lo perdido – lo encontrado‘ – pendant : silver, iron -2010

* galerie SYMBIOSE (Eliane Amalric et Thierry Arabia)
7 pl Gambetta
tél 04 68 34 12 59
fax 04 68 66 56 17


Se jouer des corps pour se parer de liberté : Du bijou contemporain comme espace de normativité – Alexandre Klein

Résumé -

« Derrière l’apparent oxymore, la notion hybride de résistance_adhérence annonce sa fécondité. Performativité d’une notion qui, faisant écho au concept philosophique de normativité, précise les modalités du jeu que le je entretient avec les normes dans l’acte de création. Effectivité d’un couple improbable au travers duquel se déploie la liberté du sujet moderne dans son entrelacement avec le monde. L’union duel de la notion invite à la nuance et à la finesse, évitant l’écueil d’un choix d’engagement se réduisant à un extrême ou l’autre. Comme nous le montrent les créatrices de bijou contemporain telles Virginie Bois et sa série sur les draps, Françoise Jacquey et Valérie Larrondo d’Oncle John et leur série de bijoux blessants, ou encore Sophie Hanagarth et ses bourses, mais aussi le créateur Stéphane Landureau et son collier Dialyse, la résistance aux normes, de la joaillerie ou du corps, s’effectue dans un jeu nuancé où les positions radicales se troublent, au profit d’une liberté visqueuse qui colle aux corps des libertaires autant qu’aux doigts des conservateurs. Ainsi s’ouvre des «caisses de résonances» essentielles, ainsi que l’explicite Isabelle Stengers, à la survie du sujet humain contemporain, témoignant du potentiel de l’art à être l’une des rares pratiques sociales à permettre encore de lutter contre la normalisation galopante. Ce sont ces pistes de friction des corps et des représentations que nous explorerons afin de préciser la richesse de cette notion en chantier de résistance_adhérence, qui de la création à l’éthique dessine le chemin d’une liberté toujours à cultiver.« 



« Nous ne manquons pas de communication, au contraire nous en avons trop, nous manquons de création. Nous manquons de résistance au présent .  » (Gilles Deleuze et Félix Guattari) 1

Notions issues de la physique des matériaux et de la mécanique appliquée 2, la résistance comme l’adhérence ont acquis avec le temps une connotation politique marquée, en France au moins, d’un brin de Seconde Guerre mondiale. Couple de possibles semblant résumer la position du sujet face au monde, ces deux notions ne sont que les miroirs de l’absence de nuances dans la création d’une identité et d’une position subjective qu’elle soit politique ou existentielle. Elles caricaturent en fait l’engagement politique, mais plus largement l’interaction du sujet humain au monde. Si la résistance était à l’origine une non-action, une force qui s’oppose au mouvement, un refus d’agir, elle est aujourd’hui pensée – et la résistance française face à l’invasion nazie n’y est pas étrangère – comme réaction, comme action de refus, bref comme un combat… une action. Ainsi, la résistance apparaît toujours-déjà comme un paradoxe, puisque toute résistance à quelque chose implique un rapport à ce quelque chose, une connaissance, une admiration, un rejet, peu importe, mais un rapport. La résistance implique a priori ou a posteriori une certaine adhérence avec ce contre quoi on souhaite résister.   C’est en ce sens que la notion de résistance_adhérence se présente comme un outil heuristique pour le philosophe. C’est en ce sens que travaillent les bijoutier(e)s contemporains qui tentent de renouveler, sans s’en extraire, les codes et usages de la bijouterie classique. Á la croisée de ces deux approches, nous souhaitons donc mettre en lumière la fertilité de cette notion qui reste à penser.

De la normalisation comme modèle

Les travaux menés par les philosophes de tradition française 3 nous avaient en effet conduits à une certaine impasse. D’une part, Georges Canguilhem (1904-1995) avait mis en lumière, dès 1943 4, la qualité fondamentale de la vie qu’est la normativité, la création de nouvelles normes, seul outil apte à déjouer la mort qui dès notre naissance croît en nous, reprenant ainsi l’intuition du médecin français Xavier Bichat (1771-1802) qui en 1800 définissait la vie comme « l’ensemble des fonctions qui résistent à la mort » 5. Á la suite de cette philosophie biologique, Michel Foucault (1926-1984), élève de Canguilhem, avait lui mis l’accent sur l’indéfinie normalisation qui touche notre société. Á la fois extension et exhibition de la norme, la normalisation est un processus à l’œuvre dans les sociétés occidentales contemporaines visant à la régulation et à la gestion des populations par l’adoption de comportements, d’habitus, de gestes, de postures et de représentation communes. Foucault avait ainsi produit la genèse de la biopolitique 6, forme de gouvernementalité des corps et des vivants qui qualifie nos sociétés contemporaines, montrant comment le capitalisme bourgeois et le libéralisme politique 7 favorisaient à leur profit l’adoption par les individus d’une norme unique d’existence et ce afin de mieux contrôler, gérer et réguler la population d’une société donnée. Entre l’appel à l’adhérence aux normes sociales définies au profit de l’accroissement du capital et la nécessité de création de normes propres par les individus et les groupes, le sujet humain apparaît alors déchiré, trop souvent fatigué de tenter d’être lui-même 8. Comment continuer à créer ses propres normes, à faire acte de liberté, dans une société où ce qui ne participe pas à la norme commune est exclu ? Telle est l’impasse dans laquelle nous sommes, nous, sujets occidentaux : comment continuer à transgresser les normes en place pour imposer ses normes propres et rester un sujet libre alors que toute nouvelle norme est trop rapidement récupérée par la normalisation ? Comment valoriser des valeurs propres, divergentes des valeurs   « prêtes-à-consommer » qui sont massivement diffusées, sachant qu’à terme, les cultures de résistance (telles le mouvement hippie ou la culture urbaine) sont vidées de leur contenu transgressif pour mieux être vendues au plus grand nombre ? Quels espaces reste-t-il dans ce mouvement galopant de normalisation ? Ainsi, entre la perte de valeurs et de repères qui caractérisent notre monde désenchanté 9 et la diffusion massive de valeurs « en kit », l’affirmation de sa liberté, la production de sa vie, de ses normes et de son identité propre reste un exercice de funambule tenant sur le fil d’un underscore , celui de la notion de résistance_adhérence. Un exercice vital au risque de voir la démocratie se transformer d’elle-même en totalitarisme 10, au risque de voir la science fiction d’un Ray Bradbury 11 ou d’un Georges Orwell 12 devenir réalité (si ce n’est pas déjà fait).

Mais rassurons-nous, tout n’est pas perdu. Il est possible de faire vivre un peu de liberté, d’une part, parce que la biopolitique n’est pas l’imposition d’un pouvoir issu du haut, mais bien le maintien par tous d’un pouvoir, de pouvoirs diffus et transversaux, pouvoirs sur lequel il est donc possible d’agir puisque nous en sommes les détenteurs autant que les gardiens. Comme le résume Paul Veyne reprenant la pensée de Foucault : « Nous ne pouvons échapper nulle part aux relations de pouvoir ; en revanche, nous pouvons toujours et partout les modifier ; car le pouvoir est une relation bilatérale ; il fait couple avec l’obéissance, que nous sommes libres (oui, libres) d’accorder avec plus ou moins de résistance. 13 ». D’autre part, parce que, comme l’exprime Guillaume Leblanc, la normalisation n’est pas encore totalement effective, elle le sera seulement lorsque nous assisterons à un « recouvrement tel de la normativité par la normalisation que la normativité sociale ne peut plus s’exercer dans la normalisation 14 ». Autrement dit, tant qu’il restera des espaces de créations, des mises en question et en jeu des normes en place, un espoir subsistera.

Mais comment s’exerce la résistance_adhérence ? Comment se réalise-t-elle en pratique ? C’est ce que nous pouvons découvrir avec des créateurs et créatrices se jouant de toutes parts des normes : les bijoutier(e)s contemporain(e)s qui font vivre la liberté et la normativité sur le fil de leur collier, sur les attaches de leurs bracelets ou les courbes de leurs broches.

Le bijou contemporain comme acte de résistance_adhérance

Le choix du bijou contemporain pour illustrer les processus de résistance_adhérence n’est pas anodin. Tout d’abord, car le travail sur la matérialité, sur les matériaux, fait écho à l’origine même des notions de résistance et d’adhérence, mais surtout parce que le courant dit du « bijou contemporain » est lui-même un acte de résistance_adhérence.

Comme le rappelle Christian Alandete 15, ce mouvement est né, en France du moins, en réaction aux valeurs de la joaillerie qui estime l’importance d’un bijou à son poids de carats, et a ainsi engagé une réflexion sur la définition même de l’objet bijou. Non totalement en résistance, puisque le premier collectif de créateurs contemporains, l’EPOC 16, fondé en 1979, rassemble des bijoutiers, créateurs, joailliers de formation classique, souhaitant se détacher des techniques et représentations classiques avec lesquelles ils ont été formées. En voulant sortir la joaillerie de ses fonctions et usages normés, ils ont engagé une véritable révolution dans le monde du bijou allant jusqu’à questionner le lien même de l’objet au corps 17. Car c’est finalement toute une esthétique, et avec elle une politique 18, qui était mise en question par la critique des formes et matériaux classiques de la bijouterie de style « Place Vendôme ». Il n’y a pas que de l’or et des diamants pour faire des bijoux, qui eux-mêmes ne servent pas qu’à parer, qu’à embellir, mais qui peuvent déployer, par le biais de formes, de concepts et de matières autres, une symbolique et des valeurs neuves.

Ainsi, c’est tout le monde de l’objet corporel qui est mis en question par ces créateurs, attaquant ainsi de front la normalisation des corps résultant du gouvernement biopolitique 19. Et si les créateurs et créatrices se multiplient, leur reconnaissance est encore marginale. Ainsi en témoigne le titre du principal volume consacré au bijou contemporain en France un vrai bijou !   affirmant la volonté de ces artistes-artisans de résister, de produire de nouvelles normes, mais tout en s’intégrant au monde du bijou, tout en affirmant leur adhérence au champ qu’ils souhaitent changer. Bijoutiers à part, certes, mais à part entière. C’est ainsi que se définissent les créatrices et créateurs.

Virginie Bois, plasticienne, diplômée de l’École supérieure des Arts Décoratifs de Genève et de l’École Boulle, enseignant à l’AFEDAP 20, a ainsi décidé d’interroger réellement la matière sur laquelle elle travaille. Reprenant des draps de mariage, des draps d’union, des draps de solitude ou des draps de honte, elle a ainsi produit une série à partir de draps de famille, coupés, déchirés, brûlés afin de former par exemple le collier Être.

Virginie Bois, collier Être, 2004, drap de famille (2 places) déchiré et brulé

Elle interroge ainsi la symbolique du bijou et ce dès le choix des matériaux, questionnant les liens qui, de la famille à soi, en passant par le lit, nous font Être. C’est toute la structure sociale qui est mise en question par ce travail sur la famille, mais également le rapport que nous entretenons avec notre corps, la manière dont nous constitutions notre identité à son contact. Un contact qui se veut résistant_adhérant, puisque les objets qu’elle produit tente de matérialiser l’intime «  pour et contre le corps » 21.

Ainsi sont remis en cause les liens du bijou au corps : le corps fait-il le bijou ou le bijou fait-il le corps ? C’est toute la question que posent Françoise Jacquey et Valérie Larrondo d’Oncle John et leur série « Sublimes cicatrices ».   Les plus beaux bijoux sont ici pensés comme ceux qui marquent le corps : bracelet griffant les poignets ou bague mutilant les doigts 22 sont ces objets qui interrogent le statut du bijou comme du corps qui le porte. L’empreinte sur le corps laissée par le bijou est, selon elles, ce qui fait l’esthétique. Ce qui rend le corps sublime est moins le bijou que l’usage « anormal », selon d’autres normes, que l’on en fait. Ainsi, le marquage corporel, que certains pourraient qualifiés de pratiques déviantes 23, est ici le moyen de création d’une esthétique renouvelée. La résistance_adhérence du bijou et du corps est ici performée par le port d’un bijou qui marque le corps, un bijou qui adhère à un corps qui y résiste !

Un bijou qui ne se porte pas ou qui est insupportable à porter semble aller à l’encontre du rôle classique du bijou en tant que parure. Pourtant, l’essence symbolique du bijou qui, de l’anneau papale à la bague de fiançailles 24, est une donnée classique de la bijouterie est ici mise en exergue. Ce jeu à la limite des usages et des formes est habilement exécuté par le créateur Stéphane Landureau 25 et son « insupportable collier dialyse  », que l’on ne peut passer au risque de s’ouvrir l’artère carotide.

Stephane Landureau, collier Dialyse, 2002, aiguilles de dialyse, matières plastiques


L’ensemble d’aiguilles de dialyse pointées vers le cou du porteur improbable symbolise la souffrance inhérente à cette thérapeutique qu’a subi entre 2000 et 2005 son auteur « dans l’attente d’un vrai bijou : un rein 26 ».

Du bijou sur le corps au corps dans le bijou, il n’y a qu’un pas que franchit habilement Sophie Hanagarth 27 et ses bourses .

Sophie Hanagarth, Bourses, 1999, silicone.

Renversant les codes imposés par le corps biologique, elle extériorise ce qui est normalement intérieur. Par l’affichage des parties génitales, dans sa série de Bijoux de famille, ou des excréments qui deviennent des ornements, dans sa série Médailles merdeuses.

Sophie Hanagarth, Médailles merdeuses, 2000, broches, fer blanc recyclé, cuir, acier.

Elle résiste aux codes moraux et sociaux qui touchent habituellement le corps. Pour autant, elle parvient à rester au plus près de la texture naturelle de ces éléments, assurant, par exemple, une mollesse originale à ces étrons de fer. La transmutation du métal fait perdre à ses médailles d’excréments leur rapport à la souillure afin de les transcender en outils de divinisation du corps, mais avec le souci de conserver une similitude avec leurs modèles biologiques. Car derrière la résistance aux codes et usages, l’artiste revendique une adhérence avec les contenus premiers du bijou : « Le bijou, on le pense aujourd’hui comme un accessoire de mode mais ce qui me plaît en travaillant le bijou comme je le fais, c’est de rester garante de certains signes comme le faisait l’art brut […] Je trouve intéressant de me sentir garante de cette continuité-là, par rapport au monde où on vit » 28.

Sauvegarder un brin de liberté

Ainsi peut-on apercevoir, dans les interstices de ces jeux de symboles, dans ces créations d’objets et de sens, les nuances de la normativité, les difficultés d’une liberté qui veut s’affirmer sans pour autant être exilée. Dans les plis du corps et des matières, les créatrices et créateurs de bijou contemporain engagent « la constitution de « caisses de résonance » telles que ce qui arrive aux uns fasse penser et agir les autres, mais aussi que ce que réussissent les uns, ce qu’ils apprennent, ce qu’ils font exister, devienne autant de ressources et de possibilités expérimentales pour les autres » 29. Esquissant des espaces de liberté, ces bijoutier(e)s nous incitent tant à mettre en jeu notre je qu’à participer de cette résistance_adhérence. Car si l’existence d’espaces absolument autres, d’hétérotopies dans un monde proprement isotopique, assurent pour tous le maintien de la liberté, il reste à chacun de s’en emparer pour la faire croître. Car, certes, tant que certains lutteront pour faire exister et pour publiciser dans la société des pratiques alternatives et problématisantes (ouvrant la voie à des formes nouvelles de questionnement), alors la liberté, entendue avec Foucault, comme la possibilité de transgression des normes 30, perdurera. Tant que des espaces autres,   des espaces «  absolument différents : des lieux qui s’opposent   à tous les autres, qui sont destinés en quelque sorte à les effacer, à les neutraliser ou à les purifier » 31, des contre-espaces d’utopies localisées, existeront, la liberté sera effective.

Mais reste encore à faire que ces actes de résistance_adhérence, de créations, trouvent une place dans notre société, atteignent le plus grand nombre, puissent participer à la mise en question de la normalisation ; il faut publiciser ces actions. C’est ce que nous tentons ici modestement de faire, conscient qu’il est du rôle du philosophe de s’engager dans le monde qui est le sien pour tenter de voir jusqu’où il est possible de penser autrement 32. Le bijou contemporain est de ces espaces totalement autres, de ces hétérotopies qui n’existent que parce qu’ils résistent aux topographies imposées, ces initiatives créatrices qui ne laissent pas indifférents, qui adhèrent au combat de la vie, qui engluent les normes dans une résistance_adhérence qu’elles font littéralement, performativement, exister. Il est donc l’objet d’une philosophie qui se nourrit de domaines extérieurs 33 pour mieux, elle aussi, résister au présent. Car à bien y regarder, nous ne manquons peut-être pas tant que ça de création, au contraire, elle se fait jour partout, dans les interstices des normes, dans des espaces peu fréquentés, dans ces lieux discrets et anonymes qui maintiennent du rêve et de la liberté dans nos sociétés, mais nous manquons évidemment de résistance_adhérence au présent. Heureusement qu’il existe encore quelques espaces créatifs, critiques et engagés socialement, des espaces qui font une place à la résistance_adhérence et à des articles qui tentent de la valoriser.


1 Deleuze, G., Guattari, F., 1991, Qu’est-ce que la philosophie ? , Paris, Les éditions de minuit, p. 104.

2 Trésor de la Langue Française Informatisé

3 Cusset, F., 2003, French Theory: Foucault, Derrida, Deleuze, & Cie et les mutations de la vie intellectuelle aux Etats-Unis , Paris, éd. La Découverte.

4 Canguilhem, G., 1943, « Essai sur quelques problèmes concernant le normal et le pathologique (1943) », 1966, « Nouvelles réflexions concernant le normal et le pathologique (1963-1966) », repris dans Le Normal et le pathologique , 1966, PUF, 2005.

5 Bichat, 1800, Recherches physiologiques sur la vie et la mort .

6 Foucault, M., 1981, « Les mailles du pouvoir », Dits et écrits , texte 297, Paris, Quarto Gallimard, 2001, vol. 2, p. 1001-1012 ; Foucault, M., 1982, « The Subject and Power», H. Dreyfus et P. Rabinow, Michel Foucault : Beyond Structuralisme and Hermeneutics , Chicago, 1982, Dits et Ecrits , « Le sujet et le pouvoir », texte 306, trad. F. Durand-Bogaert, t.2, p. 1041-1062 ; Foucault, M., 2004, Naissance de la biopolitique. Cours au Collège de France. 1978-1979 , Paris, Gallimard-Seuil.

7 Entendu comme mode de gouvernement où l’on gouverne moins pour gouverner mieux, le libéralisme politique s’oppose à la théorie de l’Etat-providence.

8 Ehrenberg, A., 1998, La Fatigue d’être soi , Paris, Odile Jacob.

9 Gauchet, M., 1985, Le Désenchantement du monde , Paris, Gallimard.

10 Gauchet, M., 2002, La Démocratie contre elle-même , Paris, Gallimard

11 Bradbury, R., 1953, Farenheit 451 , Denoël, coll. Présence du futur, 1955 trad. Henri Robillot

12 Orwell, G., 1949, 1984 , Gallimard, 1991.

13 Veyne, P., 2009, Foucault, sa pensée, sa personne , Paris, Albin Michel, p. 143.

14 Le Blanc, G., 2002, La Vie humaine. Anthropologie et biologie chez Georges Canguilhem , PUF., p.238.

15 Alandete, C., 2005, « un vrai bijou ? », Un vrai bijou ! Bijoux contemporains en France , Paris, édition les sept péchés capitaux, p. 13-16, ici, p. 15.

16 Etudes et Propositions pour une Orfèvrerie Contemporaine

17 Manoha, M., (dir.), 2004, Corps et objet , Paris, Le Manuscrit ; Klein, A., Manoha, M., 2008,   Objet, Bijou et Corps. In – Corporer , Paris,   L’Harmattan.

18 Klein, A., Manoha, M., 2009 «  Et si se parer devenait un soin ? », Journée d’études,   Le Bijou, ses fonctions et ses usages, de la Préhistoire à nos jours, ENS Ulm, Paris. Conférence; à paraitre, 2010.

19 Fassin, D., Memmi, D., 2004, Le Gouvernement des corps , Paris, Editions de l’Ecole des Hautes Etudes en Sciences Sociales,

20 Association pour la Formation Et le Développement des Arts Plastiques

21 Un vrai bijou ! , op. cit. , p . 24, nous soulignons.

22 Sublimes Cicatrices

23 On pense ici aux pratiques d’automutilation et de scarification entendues comme déviantes par la psychiatrie et la psychologie pathologique contemporaine.

24 Seraidari, K., 2004, « Les bijoux entre vie et mort », Manoha, M., (dir.), 2004, Corps et objet , Paris, Le Manuscrit, p. 61-77.

25 Bijoux Landureau

26 Un vrai bijou ! , op. cit. , p. 70.

27 Depuis 2002, Sophie Hanagarth est responsable avec Florence Lehmann de l’atelier bijou de l’école supérieure des arts décoratifs de Strasbourg qui est « un espace d’exploration et de réflexion propre au bijou. Qu’il soit objet de pouvoir ou simplement populaire, plus petit bagage et parcelle de matérialité, le bijou est un art transportable dont le lieu est le corps.

28 Interview de Sophie Hanagarth par Fanny Lasserre et Thierry Vasseur.

29 Stengers, I., 2009, Ces catastrophes qui s’annoncent , Paris, les empêcheurs de penser en rond/ La Découverte, p. 199

30 Foucault, M., 1984a, « l’éthique du souci de soi comme pratique de la liberté » (entretien avec H. Becker, R. Fornet-Betancourt, A. Gomez-Müller, 20 janvier 1984), Concordia. Revista internacional de filosofia , n°6, juillet-décembre 1984, p. 99-116, repris dans Dits et écrits , texte n° 356, Gallimard, quarto, vol. 2, 2001, p. 1527-1548.

31 Foucault, M., 1966, « Les hétérotopies », Conférence radiophonique, 21 décembre 1966, France culture, repris dans Foucault, M., 2009, Le Corps utopique, Les Hétérotopies , nouvelles lignes éditions, 2009, p. 23-36, ici, p. 24.

32 Foucault, M., 1984b, L’Usage des plaisirs. Histoire de la sexualité 2 , Paris, Gallimard, p. 16.

33 Canguilhem, G., 1966, Le Normal et le pathologique , Paris, PUF, 2005, p. 7.


Alexandre Klein est philosophe et historien des sciences. Après deux ans d’enseignement en Sciences de l’éducation et auprès de professionnels de santé, il achève actuellement une thèse intitulé « Corps et sujet dans la médecine contemporaine » à l’université Nancy 2 au sein du LHSP Archives H. Poincaré (UMR 7117 CNRS/ Nancy Université). Ses travaux portent essentiellement sur les représentations et usages du corps et leurs relations avec la constitution de l’identité, principalement dans les pratiques de santé. Il prépare actuellement la publication d’un volume collectif sur Les sensations de santé à paraitre en 2010 au P.U. de Nancy.

Il travaille également autour du bijou contemporain, en présidant l’association Le Porte Objet, et a publié, avec Monique Manoha (Le pôle bijou), différents travaux dont Objet, Bijou et Corps. In – Corporer en 2008 chez L’Harmattan.

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« star nationale »! Benjamin Lignel, AJF interview 2010 ‘Also known as Jewellery’ exhibition

que dis-je …. internationale !!!
bon, profitons-en ! ;-)

Benjamin Lignel is curator of Also Known As Jewellery*, an exhibition of French contemporary jewelry that has been traveling the world.

« What is Also Known As Jewellery*?
Also known as Jewellery
is a traveling exhibition of French contemporary jewelry. It features work by 17 makers, who are either French, or have lived in France for long enough to fool the baker when buying their baguette in the morning. The work selected was created, with very few exceptions, within three years of the project’s inception, and is meant to showcase what we described in the catalogue as the ‘more conceptual’ branch of French contemporary jewelry: i.e. jewelry which puts the practice itself at the heart of its experiments. The show was curated by Christian Alandete and myself: he trained as a curator, and has numerous exhibition projects to his name (both in the applied and the fine arts), I trained in art history and furniture design. It was one of the first projects undertaken in the name of the recently created la garantie, an association for jewellery

Where has it traveled?
The exhibition was launched in March 2009 at Flow, in London, and was then hosted by Alternatives in Rome, and Velvet da Vinci, in San Francisco. Our last host will be Idar-Oberstein’s Villa-Bengel, where the show will spend the summer, after a brief but most exciting stop at the Institut Français of Munich, where it is currently presented to coincide with the famed handwerksmesse (from the 3rd to the 9th March).

The first three venues are commercial galleries which were part of the project from the word go. In fact, the word go would not have been uttered had they not enthusiastically endorsed the project: they opened their doors to us, funded the invitations and opening party, were responsible for reception and re-shipment of work, and took care of local public relations. Given the nature of the exhibition, and its rather low commercial viability, theirs was a very big commitment (for which we are really, really grateful). The latter two venues have no commercial interest in the venture: they must have found the project solid and interesting enough to host it.
To show in such different places – different both in terms of gallery set-up and audience – almost means doing five different shows: for even if the pieces had remained the same throughout (they did not), the exhibition itself would have been re-configured to suit each gallery, and re-modeled – as it were – by the very contrasted expectations of each population of visitors.
How did the exhibition and catalogue come about?
I suggested the idea for a ‘French’ show to Yvonna Demczynska, the owner of Flow gallery, during the vernissage of an Italian show she hosted in 2008. No one participating in the conversation could remember seeing a French show: in fact, very few knew the work of more than a couple of French jewelers. This in turn determined the dual agenda of the project: give French jewelers as much exposure abroad as possible, and provide visitors with a comprehensive critical tool to access their work: hence the long tour on the one hand, and the catalogue on the other.

The original plan also included a French stopover, for our French contemporaries are painfully ignorant of the fact that such a thing as contemporary jewelry exists (there are exceptions – you know who you are – and things are improving slightly, but there is quite some way to go). This has not yet materialized, and may prove to be the one big frustration of the project.
 Why did you think it was important to undertake this project?
Recent projects have given the French jewelry ‘community’ a sense of itself (notably, the exhibition Un vrai Bijou organized by Christian in 2005, which brought together 51 makers), and shown that excellent – if confidential – work is being made in France. Yet, while French makers have been thriving creatively, given the adverse odds they face, they do so in relative insularity: the French scene is too small to attract much foreign attention, and its proponents are not well represented abroad. This isolation is a complete anomaly in a very international field, and we therefore thought that showing these makers’s work as a group to the outside world would prove salutary to both it, and them: i.e. by providing international exposure to those artists who have had little of it, and by making their work part of the current world-wide conversation on, and with, contemporary jewelry.

How did you select the jewelers for the exhibition? The writers for the catalogue?
Certainly, the selection reflects the aesthetical and conceptual affinities of Christian and myself: we both like work that tiptoes the invisible fault-lines between craft, fine arts and design, and which makes the most of that ambiguous position. This is a very vague selection parameter: we did not particularly care to have a coherent, seamless selection, but only that the work be of a very high standard, and that the exhibition reflect the diversity of experimental approaches present in France. The selection itself was quite simple – simplified to some extent by the limited number of makers, and further by the clear artistic choices that all of them have made. By no means does it represent the whole spectrum of French jewelry, contemporary or not.

As said before, producing a catalogue was fundamental to the project. We wanted to provide visitors (or readers) with multi-layered information about each artist, and chose an editorial approach that favored individual practice over a group study. In effect, the catalogue is made up of seventeen folded and rubber-bound posters. It can be read as you would a book, by leafing through the pages in sequence; or taken apart and enjoyed as a set of posters.
Each poster is treated as a self-standing publication, featuring a series of studio pictures shot specially for the catalogue (and in some cases pictures of older work for added background), a portrait of the individual artists wearing one of their pieces, a short C.V. and a 500 words essay written for the publication. Makers were offered the possibility of suggesting a writer (some did), but in most cases they were ‘matched’ with writers we felt would do their work justice, chosen from a wide range of disciplines: poet, artist, sociologist, philosopher, historian, anthropologist, gallery owner, curator. While looking for seventeen writers, coming at them with the bargaining power of two beggars on the dole, we found, surprisingly, that a lack of institutional interest for jewelry wetted the appetite of researchers. It afforded them a sort of intellectual terra incognita with more than circumstantial relevance to their ‘legitimate’ areas of research. Only two people turned us down out of nineteen who were approached.
How would you summarize the argument that Also Known As Jewellery* makes about contemporary jewelry in France?
I don’t think it makes one argument about contemporary jewelry in France : it makes seventeen of them – each one with its own history, and very individual ways to relate to the larger phenomenon of international contemporary jewelry (they had been starved, now they want food)

Do you think that nationality is a very useful way to think about contemporary jewelry? What is French about French contemporary jewelry?
The case for national ‘traits’, or ‘creative identity’, is a dubious one today, unless one is dealing with either a fairly rigid educational system, a concerted effort to perpetuate a vernacular style, or an artistic agenda that aims to (co-) produce a form of cultural identity. (I say ‘today’, because one cannot argue away the existence of, say, a Flemish school of painting – the product, I would argue, of a different information age, and a different relationship to territory.) A country is often too large a place and its frontiers too porous. More importantly, maybe, I have not found in my contemporaries the desire to exude ‘Frenchness’, whatever that may be. I did find some common fields of enquiry (gender, identity), a pretty conceptual bend (a self-fulfilling prophecy, as this was a selection parameter), a certain economy of means they all seem to share – but nothing as conclusive as the smell of a ripe camembert.

If there is such a thing as heritage, or lineage, I would argue that its strands are best seen in the tutor/student relationship. Contemporary jewelry is unusual (compared to design, say, or the fine arts) as long teaching tenures on the one hand, and a relative scarcity of schools on the other have allowed teachers to thrive, and their varied influence on students to be both quite visible and visible over time. Brune Boyer and Sophie Hanagarth in France, Otto Künzli in Germany, Caroline Broadhead in England are good examples of a ‘background’ that informs the way students approach the trade, and allows them to bloom.
Has it been successful?
Contrary to popular wisdom, I believe that translation is invigorating for any work of art – showing work coming from place A in place B, and finding how re-location has affected its capacity to inspire. From that point of view, the show’s success has been spectacular, as it engaged – and was commented on by – three very different crowds at its openings. A very academic crowd in London, necessarily well equipped to ‘get’ the show as a whole, and to relate to individual pieces; they were kind enough to acknowledge that French jewelry did, in fact, exist, bless them. In Rome, a mix of regular clients and uninitiated guests, who found themselves irked and excited in almost equal measures by conceptual propositions that are quite alien to the subtle material poems and technical pyrotechnics that are the hallmark of the Padua school. A roster of militant collectors and jewelry lovers in San Francisco, very sympathetic to the agendas of some of the makers (gender, corporeal identity), and quite committed to saying so.

Along the way, all of the 70-odd pieces featured in the show have been re-evaluated, re-interpreted, and re-appropriated by the curators who followed the exhibition, the spaces it was shown in, and the visitors who came to see it. I personally found it extremely rewarding and not a little surprising to see how context could modify the impact of different pieces. Munich will certainly be an interesting test, as the exhibition has to compete with many other equally seductive propositions . . .«  ( interview by Damian Skinner )

(Art Jewelry Forum)




GIOIELLO CAMPANO (IT) INTERNATIONAL JEWELLERY COMPETITION - deadline : 5 juill. 2010 dans Concours / Competition Immagine-27-300x68

The IJA and the consortia of Polo Orafo Campano, under the scientific consultancy of the POLI.DESIGN –Consortium of the Milan Politecnico – is holding an international design competition for designers under 35 years of age at December 31, 2010.
The competition seeks to inspire new ideas regarding innovative use of techniques and materials linked to traditional Campania goldsmithing and jewellery making, aiming to capture a contemporary style (category 1) or forms/styles of Campania arts (category 2) or which takes traditional materials and techniques of Campania jewellery to different areas of merchandise (category 3)
The competition is divided into 3 categories:
1_Materials and techniques of the Campania jewellery.
(materials such as coral, shellstone and lava stone, as well as techniques such as cameo, in a contemporary look)
2_Shapes and styles of Campania arts
(the jewellery in enriched with formal or stylistic elements belonging to the Campania artistic heritage – paintings, sculptural, archeological, decorative, etc – interpreted in contemporary style. There are no limits to materials or techniques employed, as long as they belong to the art of jewellery making)
3 _ New uses of materials and techniques of Campania jewellery
(coral, shellstone lava stone and cameo open up to different merchandise categories and make their way into consumer scenarios that go beyond traditional jewellery.

The competition is open to all Italian and foreign designers that are within 35 years of age at 31 December 2010. The competition is strictly individual, and each participant may submit one design per category of different competition. Furthermore, each design must be submitted by a separate competition application procedure. All designs must be totally original and expressly created for the competition.
Competition participation is effective upon delivery of project materials within indicated due dates, which implies full and unconditional acceptance of competition terms. Moreover, the participant has no reserves in allowing the duplication of all material presented/produced, on any forms of publication and by any means of printed text constituting promotional or informative materials related to the event.
The participant assures that the above-authorized purposes do not infringe on third-party rights, such as, for example, authors, participants withdrawn from the competition and permitted assigns.
Furthermore, the participant fully recognizes automatic disqualification should any condition be infringed. Subscription to the competition automatically exonerates the organization and jury from third-party liabilities over disputes regarding damages relevant to exhibition or false claims of property ownership.

The following must be submitted to take part in the competition:
1. max n. 2 designs in A3 in vertical (42 x 29.7 cm), black and white or color, applied to a solid and lightweight support (max. thickness 5 mm). A 5 cm banner shall be placed at the upper end, divided as follows: left hand side (5×5 cm) – IJA and Polidesign Consortium logos, which can be downloaded from or; in the center – the title « Concorso internazionale di design 2010. GIOIELLO CAMPANO – CAMPANIA JEWELLERY 2010 International Design Competition”, on the right hand side – (5×5 cm) participant name and competition category.
2. A brief summary (1000 characters with spaces) regarding the criteria selected in elaborating the design, including any pre-design sketches that illustrate design progression.
3. brief participant CV
4. general participant information (first and last name, birth date, address, citizenship, phone number, email, profession, design title, competition category)
5. Privacy disclaimer “I undersigned, consent to the processing and use of my personal data, in compliance to law 675/96 and all following modifications. I fully and unconditionally accept all competition terms. Signature”
6. CD with all materials requested (images in jpeg or tiff, 300 dpi resolution, 15 cm minimum base, word file)
The CD cover must include artists first and last name, title and design image, competition category and email.

Designs shall strongly be selected on the basis of originality, degree of innovation, ability to express forms, materials and techniques linked to Campania excellence in a contemporary style.
The spirit of experimental designs shall focus importance, while blending with the more functional and ergonomic characteristics of all jewellery. Particular attention and appraisal shall go to a user-centered design, where design takes on a methodological role, straying from a pure aesthetic nature.

All design materials must be submitted by hand, mail or courier strictly by Noon on 5 July, 2010 at:

Universal Marketing
Viale Palmiro Togliatti, 1663
00155 Rome, Italy

The package must clearly include the heading “concorso internazionale di design Gioiello Campano –Campania Jewellery international design competition”. The valid date relates to package reception, not to the postal stamp.

The jury is composed by members of the main international schools of jewellery design and representatives of the global goldsmith and jewellery culture. The members of the jury shall be listed on the site: or
All jury proceedings are reserved, though the final report containing classifications and mentions shall be made public. Voting is done on a majority scale; and all decisions stand final and not open to debate or reconsideration.

First prize: 2000 euros, second prize 1500 euros, third prize 500 euros

The outcomes decided upon by the jury shall be made public in occasion of the 2010 Italian Jewellery Awards. A selection of designs will be exposed during the Italian Jewellery Awards gala event and in occasion of upcoming expos. All participants grant immediate authorization to Italian Jewellery Awards to display their designs in public (show or exhibitions of various nature). Furthermore, such authorization covers the right to publish each personalized design on catalogues or any publications, without any remuneration or royalties due if no personal mentions.

All participants shall maintain exclusive design property rights. The IJA may exploit such designs solely for exhibitive or editorial purposes. IJA reserves the right to create a prototype model for any relevant exhibitions.

No materials submitted for the competition shall be returned.

11. INFO