BIJOU_CONTEMPORAIN

Bienvenue sur mon blog

15/09/2016

EXPO ‘Saturation Point’ – Gallery Loupe, Montclair (NJ), (USA) – 17 Sept.- 8 Oct. 2016

Classé dans : Exposition/Exhibition,Gal. Loupe (US),Israel (IL),Naama BERGMAN (IL),organics,USA — bijoucontemporain @ 0:19

SATURATION POINT / Naama Bergman

Artist Reception/ opening reception :  Saturday Sept. 17, 6-8 pm
saturation point - Gal. Loupe - Naama Bergman
 
 Gallery Loupe is proud to present Saturation Point, the first solo exhibition by Israeli artist Naama Bergman ; the show will feature her most recent works. Through inventive, impeccably fabricated jewelry and vessels, Bergman exploits the idea of change: emergence, growth, decay, and the tension that accrues between cultural heritage, physical matter, and fleeting time. By combining contradictory materials such as steel and rust within classic formats like urns and pods, she questions the essence of creation, potential, and transformation; she provokes a confrontation between preservation and decomposition, while at the same time positing questions about the hegemony, function, and mutability of mediums and forms. Bergman makes protean objects that tell a continuing tale about the very nature of existence.
Tradition and nostalgia play major roles in Bergman’s aesthetic. As a Sabra of east European heritage, she regards her work as tropes for the dichotomy between familial roots and present day reality. In her latest works, Bergman allows salt to grow slowly upon vessels, pendants, and brooches made from iron mesh. The openwork armatures are hard but delicately crafted, while the salt – a natural preservative – both helps to maintain the rigid support but also breaks it down. Although constantly altering, these pristine objects and jewels are simultaneously frozen in time. Other works will be presented that possess similar existential and cultural references, although they are made from very different substances, such as jewelry wet-molded into shape from animal intestines that have been treated in a salt solution – meant to be viewed as reminders of their former natural life.
Naama Bergman -  Salt Necklace 02. 2015. Salt, Iron Wire, Thread  SATURATION POINT / Naama Bergman -  Salt Necklace 02. 2015. Salt, Iron Wire, Thread
Naama Gergman - Salt Necklace 02. 2015. Salt, Iron Wire, Thread - detailsNaama Bergman -  Salt Necklace 02. 2015. Salt, Iron Wire, Thread – details
Naama Bergman - Salt Brooch 09. 2016. Salt, Iron Wire  SATURATION POINT Naama Bergman - Salt Brooch 09. 2016. Salt, Iron Wire 
SATURATION POINT / Naama BergmanNaama Bergman -   Salt Brooch 06. 2016. Salt, Iron Wire
Naama Bergman -   Salt Brooch 04. 2016. Salt, Plastic Mesh - SATURATION POINT / Naama Bergman -   Salt Brooch 04. 2016. Salt, Plastic Mesh
SATURATION POINT / Naama Bergman - Salt Necklace 06. 2016. Iron, Salt, Thread
Naama BergmanSalt Necklace 06. 2016. Iron, Salt, Thread 
Naama Bergman - Salt Necklace 03. 2015. Salt, Iron Wire, Hemp thread - detailNaama Bergman - Salt Necklace 03. 2015. Salt, Iron Wire, Hemp thread – detail
Naama Bergman was born and raised in Tel Aviv. She holds a BFA from the Department of Jewelry and Fashion, Bezalel Academy of Art and Design, Jerusalem.   Currently living in Munich, she is pursuing graduate studies in jewelry at the prestigious Academie der Bildenden Künste, with Karen Pontoppidan, having also studied there with Otto Künzli. Bergman is the recipient of several awards, including a 2015 and 2016 Study Scholarship for Foreign Graduates in the Fields of Fine Art, Film, and Design/Visual Communication and Film from DAAD, a German foundation, which supports emerging artists; a 2008 and 2009 scholarship for metal design from the Israel Cultural Foundation in America; the Eithan Ron Prize, an award for excellence in jewelry design, and Irit Strauss Prize, a scholarship for excellence in history and theory, from Bezalel Academy of Art and Design, Jerusalem. She has been included in exhibitions around Israel and in New York, the Netherlands, Germany, Tokyo, London, and Paris.

 

 Gallery Loupe
50 Church Street
NJ 07042 – Montclair/ New Jersey
United States
Telephone: 973.744.0061
Fax: 973.744.0062
website: www.galleryloupe.com
mail: contact@galleryloupe.com

 

Enregistrer

24/01/2016

Selection 4 SCHMUCK 2016 : Henriette Schuster

Classé dans : Allemagne (DE),COUP DE COEUR,Henriette SCHUSTER (DE),SCHMUCK / MJW (DE) — bijoucontemporain @ 18:51

Sur le FIL du bijou, avec Henriette Schuster (Germany)

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

Working with silver and thread, Henriette’s jewellery is arrestingly simple and direct: small elements, often in pairs, sit in delicate balance with one another, a subtle dance of interdependence and connection.

Henriette Schuster http://www.henrietteschuster.com/c.php: Henriette Schuster

« Almost Invisible » : « Henriette Schuster is a quiet jeweler, and the title of her show at Gallery Funaki Almost Invisible is perfect. She makes simple pieces with delicate domestic references or pure abstractions. There is nothing big or boisterous about her or her work. It is just humble, quiet poetry.
Susan Cummins: Henriette, what is your story? What compelled you to become a jeweler, and what was your path to learning how to do it?
Henriette Schuster: I have known I wanted to be jeweler since the age of six or seven. My grandfather built pianos, and I used to watch him at work when he handmade the keys using ivory, ebony, felt, bone, glue, and shellac. He didn’t say much, but one day he handed me a pair of his working pliers and a piece of wire. It was here that I began making jewelry.
I went against my parents’ wishes by dropping out of my studies in architecture and following the recommendation of Hermann Jünger to take up training in gold- and silversmithing at the renowned Neugablonz Fachschule für Glas und Schmuck (Neugablonz College for Glass and Jewelry). After completing my degree, I was accepted into the Academy of Fine Arts in Munich as one of Otto Künzli’s first students in 1991. I graduated in 2000. Simultaneously, I have worked in my own studio in Munich since 1988.
Can you talk about what you took away from your studies at the Academy in Munich? Are you still connected to a strong community of jewelers  who studied there? Do you work on jewelry projects together? What is a recent example?
Henriette Schuster: My training in Neugablonz had provided me with the skills to be a gold- and silversmith. That training is not a requirement but a good basis for further studies at the Academy. Entering the Academy meant leaving behind the safe terrain of the trade, even the jewelry, and facing the adventure of becoming an artist.
Artists are often envied for their freedom to do what they please, to think and work freely, but dealing with this kind of freedom is quite a challenge, and I realized this very quickly. To me, it means: paying attention to every detail; taking work and looking at it from another perspective or from upside down; always starting again, and not giving up but knowing when to give up; and taking time to find your own dialogue with your work, believing in it, and always double-checking. Find and hide. See and be seen. Fear and be brave.
For the past 13 years, I have worked in my small studio where I also have a gallery space. Here, I exhibit the works of other artists, not always jewelry artists. It is here, during the Schmuck fair in Munich, that I am able to reach an international public and to invite colleagues such as Lisa Walker, Karl Fritsch, Helen Britton, David Bielander, Volker Atrops, and most recently Doris Betz.
What leads you to pick the objects you include in your jewelry, such as balloons, cups, and mittens? Have you begun doing more abstracted shapes recently? Why? Does jewelry reflect the nature of the person who made it? Does yours? How?
Henriette Schuster: My work has always had a personal reference. I find metaphors for my memories, experiences, observations, difficulties, hopes, and dreams. I’m interested in the relationship (co-existence) of two elements and the balance they strike, how they move and fit together. I also apply these considerations to abstract geometrical forms. The abstract form allows a more spontaneous and playful way of working. These two themes have been the basis of my work ever since my studies.
Your jewelry is almost invisible. These days, the big and ambitious seems to steal the limelight, so why do you persist in doing things that don’t draw attention?
Henriette Schuster: When I hear this question, I remember that as a child I used to play the piano in the basement, hoping that someone would hear me….
Almost Invisible is what I called my drawings, and Katie Scott suggested that this should be the title of my exhibition at Gallery Funaki. I look upon the large stage from a distance, and at times I’m jealous, but it drives me crazy and exhausts me to take part in a big performance. And I can wait. I love working on my own. This is probably not a wise career choice, and some people even think I’m arrogant. But I feel nervous when people from all over the world who know my work come to visit. Last year, a visitor commented, “I love your work. It’s so humble.” This really touched me. » (THANKS to AJF)

 Henriette Schuster - Handschuhe - Silber 925 - 2011Henriette Schuster – Mittens – blackened silver 925, elastic – 2011

Henriette Schuster Pendant: Teacups, 2013 Blackened silver, elastic: Henriette Schuster – Pendant: Teacups, 2013 Blackened silver, elastic

Henriette Schuster - Haus - Gold 750-  2004Henriette Schuster - Haus – Gold 750-  2004

Henriette Schuster - plug - Silber 925 - 2005Henriette Schuster – plug – Silber 925 – 2005

Henriette Schuster - Arme - Silber 925 - 2003Henriette Schuster – Arme – Silber 925 – 2003

Henriette Schuster - wheels - 2010 - pendant - blackened silver, elasticHenriette Schuster – wheels – 2010 – pendant – blackened silver, elastic

Henriette Schuster - Scheiben - Silber 925 - 2010Henriette Schuster – Scheiben – Silber 925 – 2010

Henriette Schuster - Minute und Stunde - Silber 925Henriette Schuster – Minute und Stunde – Silber 925

Henriette Schuster - Räder - Silber 925 - 2010Henriette Schuster - Räder – Silber 925 – 2010

Henriette Schuster - "plug" 2005 - blackened silver, elasticHenriette Schuster - « plug » 2005 – blackened silver, elastic

 Henriette Schuster Pendant: Bell 2013 Blackened silver, elastic: Henriette Schuster Pendant: Bell 2013 Blackened silver, elastic 

 

 

21/09/2015

EXPO during JOYA Barcelona OFF 2015 : ‘BUBBLE AND SQUEAK’ – Amaranto Joies Galeria, Barcelona (ES) – 7-31 Oct. 2015

exhibition being part of « OFF JOYA » 2015

http://www.joyabarcelona.com/images/Prensa/logo_joya.jpg

BUBBLE AND SQUEAK

Amaranto Joies

Opening: 7 October at 18:30h

Bubble and Squeak Exhibition  / 07- 31Oct2015 -  Amaranto Joies

 Attai ChenMari Iwamoto Junwon Jung Barbara Schrobenhauser Carina Shostary met during their studies at the Academy of Fine Arts in Munich in the jewellery department of Prof. Otto Künzli. Their jewellery is as diverse as are their cultural backgrounds. “Bubble and Squeak” shows their latest art works : A composition of different approaches to create Contemporary Jewellery, which is fresh and richly flavoured.

Attai-chen_  Saturated in dispute     Brooch.  Wood, color, silver, plastic, stainless steel, brass, enamel.: Attai Chen -  « Saturated in dispute »  Brooch.  Wood, color, silver, plastic, stainless steel, brass, enamel

 Carina Shoshtary -    Rabbit´s Foot Necklace. Graffiti, wood, silver, paint, string: Carina Shoshtary -    Rabbit´s Foot Necklace. Graffiti, wood, silver, paint, string

Mari Iwamoto -  Litte monster Ring. Plastik,color: Mari Iwamoto -  Litte monster Ring. Plastik,color

Junwon Jung - Brooch and brick Brooch. Plaster plastic gold: Junwon Jung - Brooch and brick Brooch. Plaster plastic gold

Barbara Schrobenhauser -  "Time on my side" (Big white pearl) Brooch. Eucaliptus fiber, pigment, glue, 585/000 gold, stainless steelBarbara Schrobenhauser -  « Time on my side » (Big white pearl) Brooch. Eucaliptus fiber, pigment, glue, 585/000 gold, stainless steel

 

 

Amaranto Joies Galeria
Sant Domènec 23
08012 Barcelona
Spain
amarantojoies.blogspot.beMonday to Saturday, 11 – 14:30h / 17 – 20:30h

 

 

08/05/2015

OH ! SURPRISED/SURPRISING faces …..

OH surprise !

 Otto Kunzli Friend, 1997 - OH !Otto Kunzli - Friend, 1997

Pascale Orellana - OH !Pascale Orellana

Criska Jewels - OH !Criska Jewels

   Selen Ozus  Selen Ozus

Selen OzusSelen Ozus

'face 1994', by Paul Derrez - OH!Paul Derrez ‘face 1994′

Monica Cecchi Piece: Lei, 2009 Tin 10 x 11 x 8 cm & 11 x 10 cm Sculpture-Brooch - OH !Monica Cecchi Piece: Lei, 2009 Tin 10 x 11 x 8 cm & 11 x 10 cm Sculpture-Brooch

Trnidad Contreras - wedding rings - container & rings 3 - OH !Trinidad Contreras – wedding rings – container & rings 3 

Tod Pardon ring   Tod Pardon ring

dongchun lee - OH !Dongchun Lee

MANFRED BISCHOFF German, born 1947 René Descartes Ring 1998 Mirrored glass, coral, gold, and copper alloy  Manfred BISCHOFF   René Descartes Ring 1998 Mirrored glass, coral, gold, and copper alloy 2 x ¾ inches The Museum of Fine Arts, Houston

09/03/2015

During SCHMUCK 2015 – EXPO ‘Salto Mortale’ – Büro Hermann, Munich (DE) – 12-14 Mar 2015

Salto Mortale    /  12 -14 Mar 2015

Opening: Thursday, 12. March 2015 from 18 h

 

Salto Mortale -Exhibition

Judit Pschibl, Nicola Scholz and Barbara Schrobenhauser present recent works in a pop up space in Maxvorstadt. They are based in munich and all of them studied at the Acadamy of fine arts in Munich with Otto Künzli.

Judit Pschibl Necklace: 2pp, 2013 PolypropylenJudit Pschibl Necklace: 2pp, 2013 Polypropylen

Barbara Schrobenhauser Necklace: Glowing, 2015 Cooper, string 3 x 3 x 2 cm Photo by: Mirei Takeuchi  Barbara Schrobenhauser Necklace: Glowing, 2015 Cooper, string 3 x 3 x 2 cm Photo by: Mirei Takeuchi

Salto Mortale.  - Nicola Scholz Necklace: Untitled, 2014 Gut Photo by: Mirei TakeuchiNicola Scholz Necklace: Untitled, 2014 Gut Photo by: Mirei Takeuchi 

 

Büro Hermann
Heßstr. 27
80798 -  Munich GERMANY
tel +49 176 23568016
Mail: barbaraq@gmx.de
judit.pschibl@web.de
nicolascholz@gmx.de

06/07/2014

EXPO ‘Otto Künzli. L’exposition, bijoux de 1967 à 2012′ – MUDAC, Lausanne (CH) – 2 Juill.-5 Oct. 2014

Classé dans : Exposition/Exhibition,MUSEE,Otto KUNZLI (CH),Suisse (CH) — bijoucontemporain @ 0:28
Vernissage mardi 1er juillet dès 18h, en présence d’Otto Künzli et Marian Bantjes 
 Otto Künzli. L'exposition, bijoux de 1967 à 2012.2 juillet - 5 octobre 2014
Otto Künzli, Cozticteocuitlatl, pendentifs, Collection de la Confédération, Mudac, Lausanne. Photo: Eva Jünger.
« COZTICTEOCUITLATL, pendentifs, 1995-1998 – «Traduit littéralement, Cozticteocuitlatl signifie «excréments jaunes des dieux», expression aztèque pour dire or. [...] Quand j’ai commencé ce projet, je n’en avais qu’une vague idée. J’étais en pleine Mickey-obsession et je cherchais à savoir si cette satanée souris avait existé ou non avant Walt Disney. J’ai dévoré toutes les sources disponibles dans le domaine, dans ma quête de silhouettes plus ou moins familières. Je les ai variées et combinées, retournées dans tous les sens et j’en ai même inventées. Mes sources d’inspiration incluent un masque japonais de renard, un cœur taillé dans un vieux coffre en bois d’Engadine, les arches dorées du M de McDonald’s,Maus d’Art Spiegelmann, le vieil ours en peluche de Thérèse, E.T…»
Considéré comme l’un des maîtres du bijou conceptuel, l’artiste suisse Otto Künzli possède des mains intelligentes et un esprit malicieux. Il met en doute les évidences et critique les travers de notre société avec ironie: c’est un briseur de conventions. Il joue avec les symboles, jongle avec nos références collectives. Utilisant le bijou comme moyen d’expression, il n’en oublie pas sa fonction d’ornement.Le vaste choix d’objets exposés permettra au visiteur de plonger dans cet univers foisonnant, généreux, critique et émaillé d’humour.
Le mudac, dont les collections comprennent plusieurs pièces d’Otto Künzli, sera la seule étape suisse de cette exposition, première de cette ampleur consacrée à cet artiste et initiée par la Neue Sammlung – The International Design Museum – de Munich où elle a été présentée au printemps 2013, avant de voyager ensuite au Tokyo Metropolitan Teien Art Museum.

 Otto Künzli, Die Schönheitsgalerie / Susy, 1984 © Otto Künzli, MunichOtto Künzli, Die Schönheitsgalerie / Susy, 1984 © Otto Künzli, Munich

Otto Kunzli - 'Shanzai' 2012 - bagues sceaux (pierre a savon)
Otto Künzli, Shanzaï, 2012. Bagues sceaux, stéatite (pierre à savon)
Otto Kunzli - the big american neckpiece 1986Otto Kunzli – the big american neckpiece 1986
EXPO mudac_ Otto Kunzli -pendants 1993Otto Kunzli -pendants 1993
EXPO mudac_ Otto Kunzli - der rote punkt - 1980, broche et 1992, 2005Otto Kunzli - der rote punkt – 1980, broche et 1992, 2005

 

MUDAC
Place de la Cathédrale 6
1005 Lausanne – CH
tel +41 21 315 25 30
info@mudac.ch

13/05/2014

EXPO ‘Danner Rotunde. Neu Kuratiert von Otto Künzli’ – Die Neue Sammlung – The International Design Museum, Munich (DE) – 14 Mars 2014 – 14 Mars 2015

Danner Rotunde. Neu Kuratiert von Otto Künzli

Die Neue Sammlung – The International Design Museum
(Munich, Germany)
14-Mar-2014 – 14-Mar-2015
Danner Rotunde. Neu Kuratiert von Otto Künzli

In 2014 ten years of jewellery in the Pinakothek der Moderne are celebrated with a new, ‘revisited’ exhibition in the Danner Rotunda – open to the public as of March 15.

Since 2004 Die Neue Sammlung has incorporated contemporary jewellery in the Pinakothek der Moderne in its permanent display in the Danner Rotunda as well as in temporary exhibitions. As such, one of the most multifaceted artistic forms of expression today is permanently being presented in a museum of this type for the first time alongside art, architecture, graphic works and design.

The Danner Rotunda forms a central core in which exhibits by more than one hundred jewellery artists from around the world are shown – thanks to the commitment of the Danner Foundation with its extensive collection and private donors, as well as gifts from individual jewellery makers.

The first presentation was curated by Prof. Hermann Jünger, the director of the jewellery class at the Munich Art Academy between 1972 and 1990, together with Otto Künzli who took over the professorship in 1991. Through the revamping of the Danner Rotunda in 2010, Karl Fritsch – as the representative of a younger generation – set a completely new accent.

Subsequently Otto Künzli was once again overhauling the collection for the reopening of the Danner Rotunda in 2014 which includes exhibits solely from the Danner Foundation’s and the museum’s own holdings without any loans. Whilst forming a link to the concept of the initial installation, the protagonists in the international world of jewellery are shown in a new light, reciprocal effects can be highlighted, associations provoked and dynamic correlations created between the works.

Bernhard Schobinger, Necklace, 1988Bernhard Schobinger, Necklace, Flaschenhalskette, 1988Glass, tape
Peter Chang, Bracelet, 1995Peter Chang, Bracelet, 1995 Plastic

Jiro Kamata, Pendant, 2012Jiro Kamata, Pendant, 2012 – Optical lenses, stainless steel, silver

Hermann Jünger, Necklace, 1957

 Hermann Jünger – Necklace: Untitled, 1957 – Gold

 

 

Die Neue Sammlung – The International Design Museum
Barer Strasse 40
80333 – Munich
Germany
Telephone: +49 89 272725-0
website: www.die-neue-sammlung.de
mail: hoelscher@die-neue-sammlung.de

29/04/2014

EXPO ‘PULSAR’ – Fabrika12, Valencia (ES) – 8-12 Mai 2014 – Melting Point Valencia 2014

« Pulsar. Emmiting, Contracting, Evolving«  is one of the exhibitions in Fabrika12. The artists will be present
Opening Party 9/5 at 20h
« PULSAR »   forma parte del recorrido de exposiciones de Melting Point 2014 del 8 al 11 de mayo.

Melting Point Valencia 2014

Inauguración: 9 mayo, 20.00 h
Fechas: 8-12 mayo

with : Barbara SchrobenhauserCarla MayerhoferJunwon JungKvetoslava Flora SekanovaMari Iwamoto

poster valencia  - PULSAR

Barbara Schrobenhauser -   graduated about a year ago from the Akademie der Bildenden Künste, class of Otto Künzli.Barbara Schrobenhauser -   graduated about a year ago from the Akademie der Bildenden Künste, class of Otto Künzli.
« The time on my side », 4 containers 2011, eucalyptus fiber, newsprint, glue, glass, wood charcoal, chlorophyll, glass powder
JunWon Jung- 2012 brooch, titan zinc, steel, plexiglass 200 x 80 x 15 mmJunWon Jung- 2012 brooch, titan zinc, steel, plexiglass 200 x 80 x 15 mm
Kvetoslava FloraKvetoslava Flora
Kvetoslava Flora Sekanova (aka Kvetoslava Flora) Brooch,  2013 – Australian newspaper, silver, mixed media,  7.5x4x0.5cm (showing front and back views) – in  2012 Flora won the Danner Prize and she is currently continuing her jewellery studies at the Academie der Bildenden Künste in Munich, Germany while continuing to exhibit her work both nationally and internationally.
Mari Iwamoto - broche, 2013, hout, schil van de winterkers, verf,  koord, zilver | brooch, 2013, wood, winter cherry skin, colour, string, silver - 155 x 65 x 40 mmMari Iwamoto – brooch, 2013, wood, winter cherry skin, colour, string, silver – 155 x 65 x 40 mm
 Mari Iwamoto. Mari Iwamoto

Fabrika12
C/Marques de Caro 12, B.iz.,
46003 Valence
tel+34 657 64 68 61

11/03/2014

EXPO ‘Karen Pontoppidan – Canvas Context Cash’ – Maurer Zilioli, Munich (DE) – 12-16 Mars 2014

 SCHMUCK 2014 – Munich – 12-18 Mars 2014

Maurer Zilioli-Contemporary Arts zu Gast bei reillplast,

« Karen Pontoppidan – Canvas Context Cash »

Inauguration : 12. März, 18 Uhr
Aperitivo: 14. März, 17 Uhr

« In the trilogy CANVAS CONTEXT CASH, presented for the first time in Munich as a cohesive work group, Karen Pontoppidan takes her stand in the non-ending debate on the relation between the free and applied arts, and particularly between painting/drawing on the one hand and the identity of the contemporary goldsmith on the other. Born in Kerteminde/Denmark, she has dealt with this topic time and again under a variety of headings in the course of her complex biographical trajectory and has in fact devoted her energies essentially to this problem to have her work resonate with it in a series of steps. Against the backdrop of her previous works her recent objects can be seen as a matured conclusion creating interstices of humour and irony and presenting a jewellery that renders the viewer thoughtful and yet never ceases to “clothe” the wearer.

CANVAS consists of geometrical bodies of wood wrapped in canvas and beset with jewellery quotes
like embossed ornaments, appliquéd medaillons or floral décor. Art and craft unite in a cheerful conspiracy.
CONTEXT fathoms out further possibilities of this terrain and reaches out for bolder forms –
in the way of a response to a rising trend that intends to eliminate all individual traits involved in the artistic process or as intrinsic elements of an artistic strategy. Pontoppidan commissions befriended painters to colour the interior of miniature boxes of industrial canvas, leaving the job of binding to other colleagues. The whole set consists of 99 objects and functions as a witty and enigmatic comment on a common practice in contemporary art.
CASH constitutes something like a concluding remark on the economic system associated with aesthetic behaviour. Art reveals itself more and more as a simple definition, dependant on things like context, success and the ambience, in which the individual objects are anchored.
 
Thus we find ourselves treading on an elastic ground generating value shifts and hybrid creatures.
Contemporary jewellery has become part of such a trend, involving positions that associate themselves with the general discourse of art and respond to it by means of an aesthetic language that is immanent to its material. Karen Pontoppidan’s work is one such voice. A jewellery artist with an absolutely avantgarde breeding, she worked from 2000 till 2006 as an assistant to Otto Künzli and since 2006 as a professor at the Konstfack in Stockholm. Although she mercilessly eradicates all traditionalistic temptations besetting jewellery art, although her work displays a strong proclivity towards things like absurdity, defamiliarization and play, she values her background in jewellery and the goldsmith’s craft, even though this is not always immediately visible.
Were that not the case, her “nasty” approach could never be quite so effective.
For the process involved in her work jewellery is subjected to a mysterious transformation, with
conceptual action and critical reflection on the one hand and aesthetic and ornamental recapitulation
on the other melting into a compact and handy form. »
Maurer Zilioli Contemporary Arts - Karen Pontoppidan CASH 2

Karen Pontoppidan cash2

Karen Pontoppidan Context2  - Maurer Zilioli Contemporary Arts -Karen Pontoppidan Context2
Maurer Zilioli Contemporary Arts - Karen Pontoppidan Canvas49 Karen Pontoppidan Canvas49

 

 

Maurer Zilioli – Contemporary Arts
Amalienstraße 21
80333 München
www.maurer-zilioli.com
Info: +49-15773362236
info@maurer-zilioli.comDi-Fr 10-19 Uhr
Öffnungszeiten: 10-19 Uhr

06/03/2014

EXPO – Schlegelschmuck, Munich (DE) – 13-21 Mars 2014

 SCHMUCK 2014 – Munich – 12-18 Mars 2014

Schlegelschmuck Munich is participating in International Schmuck 2014 and is pleased to present the work of five distinguished, contemporary jewellers :
Barbara SchrobenhauserGrant McCaigNhat-vu Dang –  Rafael Hafner — Jie Sun

inauguration : 13. mars 2014,  17 – 19 uhr

schlegelschmuck during Schmuck 2014 Munich!

 

Barbara Schrobenhauser -  Barbara Schrobenhauser graduated about a year ago from the Akademie der Bildenden Künste, class of Otto Künzli.Barbara Schrobenhauser « Aluminum 3″, 2011, aluminum foil, leather string – She graduated about a year ago from the Akademie der Bildenden Künste, class of Otto Künzli.
Barbara Schrobenhauser -Barbara Schrobenhauser« The time on my side », brooch, newsprint, charcoal, glue, some with glass
Nhat-vu Dang green bracelet
Grant McCaig  rings 2012Grant McCaig  rings 2012
Grant McCaig, bangles !!Grant McCaig, bangles

 

schlegelschmuck
nordendstr. 7a
ecke adalbertstraße
80799 münchen schwabing

tel: +49 (0)89 -2710071

 

1234
 

MODELSCULPT |
Valérie Salvo |
dochinoiu |
Unblog.fr | Créer un blog | Annuaire | Signaler un abus | Françoise Fourteau-Labarthe
| Aidez les jeunes artistes
| Tableaux de Christian Maillot