BIJOU_CONTEMPORAIN

Bienvenue sur mon blog

  • Accueil
  • > Recherche : peter chang jewellery

04/03/2018

EXCHANGE-BIJOU 1 – Julia Obermaier present during SCHMUCK 2018 (Munich Jewellery Week (MJW) – 7–10 March 2018

Julia Obermaier, with her very talented creations, is, of course, VERY present during the   Munich Jewellery Week  2018 (MJW 7-10 March 2018)

Julia Obermaier is a Jewellery Maker from Germany.
She graduated in 2016 with a Bachelor of Fine Arts at the Trier University of Applied Sciences, Departement of Gemstones and Jewellery in Idar-Oberstein, Germany.
Since 2016 she has her own atelier in Kempten, Germany.

 

 at first present at the exhibition   Holy Rock with her group ASTONISH , at Internationale Handwerksmesse München, from the 7th to the 13th of march in  Hall B1, Stand-No. 759

ASTONISH is a collective of seven female contemporary jewellery makers sharing a common passion: (gem) stones. For the third consecutive year, they will exhibit their work at Internationale Handwerks Messe(IHM) in Munich, March 2018.
Artist list  :  Sharareh Aghaei – Eva Burton – Gabriela Cohn – Pia Groh – Helen Habtay — Stephie Morawetz — Julia Obermaier

Astonish HOLY ROCK

« Child of the elements.
You connect us to the past and our memories. You give us silence and peace. Hypnotized, we gaze at you when exploring your inner worlds. Born from time and the forces of nature you are everlasting and the matter of our making.
Every Rock is holy, indeed. From stones as silent observers, we make valuable experiences, we communicate through our making. Find the seven makers of ASTONISH for the third consecutive year at SCHMUCK, to pay hommage/tribute to ‘THE HOLY ROCK’ in you and me.
So let us celebrate together Gems and Jewels. »

 

Julia_Obermaier - ASTONISH Dancing on a wonky table – Necklace – Agate, resin, pigment, fabric, silver – 27 x 9 x 5 cm – 2017 – Julia ObermaierJulia Obermaier -   Dancing on a wonky table – Necklace – Agate, resin, pigment, fabric, silver – 27 x 9 x 5 cm – 2017 – Julia Obermaier

« My main subject is about private space. In my pieces I create rooms, containers, boxes or little caves. These spaces can be filled with ones own personal feelings, perceptions and sensations. I see my work as containers protecting the innermost emotions of the viewer or wearer, that they use to confront a busy world. »

 

Internationale Handwerkmesse Munich
Hall B1, Stand-No. 759.
Willy Brandt Allee 1, Messegelände
81829 -  Munich
GERMANY
And THEN she is present at   »Die denkende Haut – the perfect sense » -  EXHIBITION   08- 14 MAR 2018 - at  Kunstpavillon
.Die denkende Haut - the perfect sense -  EXHIBITION  /  MJW-SchmuckTalente2018  /  08- 14 MAR 2018 - Kunstpavillon - Garten Sophienstr 7a 80333 -  Munich  GERMANY - -Artist list Peter Bauhuis, Doris Betz, Babette Brühl, Florian Buddeberg, Attai Chen, Eunmi Chun, Anna Maria Eichlinger, Samira Goetz, Merlin Klein, Julia Obermaier, Carina Shoshtary, Nadja Soloviev
Artist list :     Peter BauhuisDoris Betz — Babette Brühl — Florian Buddeberg — Attai ChenEunmi ChunAnna Maria Eichlinger — Samira Goetz — Merlin Klein –  Julia ObermaierCarina Shoshtary — Nadja Soloviev
 » For people as well as for jewellery, everything begins with the skin – the surface, the countless surface possibility in jewellery pieces depending on the material and workmanship. We can try to look through the skin/surface and try to interpret with those pieces. On display are the latest works of 11 jewellery artists and 1 painter from Munich.  »
Every perception begins with the skin, the surface. For people as well as for jewellery. Here, in jewellery, there are countless surfaces – smooth or rough, monochrome or multicoloured, porous or impermeable, chaotic or orderly, depending on the material and workmanship. There are no limits to the diversity of haptic sensations. Likewise with the jewellery in the exhibition Die denkende Haut [The Thinking Skin]. Are we able to look through skin, though, through the surface, inwards, to the essence of the jewellery? Can we do it with people? Neither is a simple undertaking! But we can try to interpret, to read them.
For example, with Julia Obermaier, who cuts, polishes and assembles sculptural-architectural forms from agate, the stone that emerged from volcanic nodules over millions of years. The immortality of nature and the finiteness of man are brought together in an allegorical juxtaposition. Or with Carina Shoshtary, who takes graffiti, dissects it and recomposes it in her jewellery. Messages are thus preserved and interpreted anew. Freedom of thought is manifested in jewellery. The concrete necklaces by Samira Götz only appear to be heavy; they are, however, surprisingly light. They function as burden and liberation at once. The last example is Merlin Klein, whose ‘ash jewellery’ simultaneously stands for grief, solace and remembrance.
The works on display constitute not just surface, technique and workmanship; they are concepts, with a message for the beholder. They allow one to gaze deep into the essence of the individual, nature and the universe; this is jewellery and art, or art and jewellery, or only jewellery, or just art, wearable on the skin or an object in a vitrine, ultimately simply beautiful and an eternally exciting process when one allows the ‘skin to think’. / Dirk Allgaier, February 2018
« Thinking is not only an abstract act of intellectual reckoning, but also a kind of responsive intelligence permeating our bodies and navigating us through our daily entanglements on the physical, emotional and creative planes. In this sense, dance is an embodied reflection on space; and the mind of an angler is in the hand curled around the fishing rod. Similarly, the movement of fingers on the keyboard of a piano is a visible extension of the musical thinking within the body of a performer, and the same fingers on the keyboard of a computer reproduce the dictates of a cerebral algorithm.
Between anything that touches and anything that is touched – be it an inanimate object or a living body – is the skin, which not only sends out signals like lustre, youth and freshness fromwithin, but also absorbs impulses from without, to be analysed, interpreted and answered in due time. The skin is an interface, revealing an inside and effecting responses in the environment; or thinking an outside by opening up and responding to stimuli. And when it becomes a foundation and support for structures of metals, stones, pearls, etc., then it draws in the elements of the world into its own cycle of impression and expression, transforming them into jewellery and enabling the enhancement of an adorned body.
But, owing to its intermediary position between an inside and an outside, the skin is afflicted with the same mysterious hybridity that characterises all limits and thresholds. Is it still the body? Or is it already part of the environment? Is it still an organ covering all other organs, a spread of epidermis capable of being seen, touched, injured? Or is it already a material, formed to a shield, a mask, an ornament? Or is it neither the one nor the other, but simply an immaterial and intermediary space of difference?
Such questions cannot be quite avoided in the familiar “practices of appearance” like the fine and the applied arts. They are also at the root of the constellation of jewellery and painting that are being presented in this exhibition. »  / Thinking skin by Pravu Mazumdar
Julia Obermaier  Necklace 'Space between' agate, silver, resin, pigment  2017   MJW 2018 n°42  'Die Denkende Haut- The Perfect Sense'
Julia Obermaier  • Necklace « Space between » • agate, silver, resin, pigment • 2017 • ©photo by artist  MJW 2018 #42 : « Die Denkende Haut- The Perfect Sense » group exhibition
 
Kunstpavillon
Garten Sophienstr 7a
80333 -  Munich  GERMANY

06/11/2017

EXCHANGE-BIJOU 1 – Marion FILLANCQ – EXPO «Materio-Talk» – Paris Parcours Bijoux 2017 – Les Ateliers de Paris – 9 Nov.-9 Dec. 2017

Marion Fillancq, pensée taille 

Materio-Talk commence le 9 novembre aux  Ateliers de Paris ! Explorez les connections et les dialogues engendrés par la création dans le cadre du Parcours Bijoux : http://bit.ly/2hnUXJf
exposition imaginée par le créateur et commissaire de cette exposition : Sébastien Carré.

Parcours Bijoux 2017

Inauguration jeudi 9 Novembre, à partir de 18h30

Materio-Talk - Aux Ateliers de Paris - inauguration 9 novembre 2017 soir

 

 

avec les « duos » :
Akis Goumas (Gr) / Marion Fillancq,
Märta Mattsson Jewellery (Su) / Marie Masson,
Peter Hoogeboom (Nl) / Yiumsiri Kaï Vantanapindu,
Tanel Veenre (Ee) / Sébastien Carré
 
« Les artistes, appelés à créer une pièce pour chaque thème, ont également été appelés à créer deux bijoux sur leur propre sujet spécifique, l’un utilisant le matériel que l’autre artiste aurait utilisé ; l’autre doit contenir un mot supplémentaire, celui que l’autre personne de l’équipe aura utilisé pour décrire le travail de son coéquipier. En ce sens, le dialogue entre les artistes se manifeste par le discours des matières et évolue sous notre regard.
L’un des aspects les plus fascinants de l’exposition Materio Talk a été le fait que chaque artiste ait dû choisir un mot spécifique pour décrire le travail de son propre coéquipier. D’un même lemme, tous les artistes engagés dans ce projet ont développé leurs propres langages formels en constante réciprocité avec leur propre collègue, donnant vie à un dialogue tangible, mais particulier, sur les formes, les idées et les bijoux, capable de transmettre de grands sujets dans une petite taille. »
*
Beautés Primitives / Primal Beauty
« On ne peut comprendre son propre présent sans le passé car le passé fait partie de nous-mêmes et nous devons l’embrasser.
Le passé, et plus précisément le temps préhistorique, est le principal domaine d’étude de l’artiste grec Akis Goumas et de la française Marion Fillancq. Pour les deux, cette quête archéologique est, avant tout, une quête pour eux-mêmes.
Les fragments de la mer Egée permettent à Akis de construire son langage formel, tandis que les anciennes techniques du verre sont le point de départ de l’investigation de Marion: ils concentrent leurs travaux sur une mémoire reconstruite capable d’englober notre contemporanéité et qui posent toujours des considérations ouvertes sur la nature intérieure de l’homme. »
Nichka Marobin
Akis Goumas - "Inner" - photo by V.XeniasAkis Goumas -  Pendant: Inner, 2017 – Hammered bronze, casted sheets, steel, obsidian, pigments – Photo by: V. Xenias
« Je suis impliqué depuis plus d’une décennie dans l’étude des découvertes préhistoriques de la région égéenne et cela a affecté mon rapport au bijou. Mon processus créatif se développe comme une fouille conceptuelle en mon for intérieur et met en évidence des émotions, les impressions de souvenirs personnels ou collectifs, ou bien même des évènements obscurs du passé.
Dans un certain sens, ce processus ressemble à une excavation archéologique dans laquelle chaque couche a les caractéristiques d’une certaine période.« 
www.akisgoumasgallery.com – Akis GoumasMarion Fillancq, pensée taille - Nucléus & marionites -  photo F. GolfierMarion Fillancq, pensée taille – Nucléus & marionites -  photo F. Golfier
« Alors que l’Homme de la préhistoire taillait la pierre pour ses besoins. Il semble que nous taillons encore aujourd’hui, pour nos désirs. Ce postulat constitue la base du travail de Marion Fillancq et met en évidence des idées, concepts, ou esthétiques contraires. Ironisant souvent sur l’idée du luxe, c’est aussi certains statuts du bijou lui-même qui sont bousculés, créant une dualité contre laquelle Marion Fillancq elle-même, a du mal à lutter.« 
www.marionfillancq.com – Marion Fillancq
Sans titre (sparagmata) 2017  Pièce réalisée avec le mot proposé par Akis Goumas, sparagmata
Marion Fillancq - Sans titre (sparagmata) 2017 Pièce réalisée avec le mot proposé par Akis Goumas, « sparagmata ». Il désigne des fragments d’objets usés, ou délités par le temps
J’ai choisi d’utiliser MES sparagmata à moi, c’est à dire, mes chutes de laiton, avec en contrepoids, le positif de ces chutes, l’origine de ces productions dont il ne reste que du vide, un morceau de miroir trempé, serti.
Marion Fillancq - Sans titre (sparagmata) 2017 Pièce réalisée avec le mot proposé par Akis Goumas, "sparagmata". Il désigne des fragments d’objets usés, ou délités par le temps
Marion Fillancq - Sans titre (sparagmata) 2017 – détail – laiton brut, miroir trempé – Pièce réalisée avec le mot proposé par Akis Goumas, « sparagmata ». Il désigne des fragments d’objets usés, ou délités par le temps
Marion Fillancq - 'Schizophrène ascendant bling bling', 2017. Bronze cuivré, laiton argenté, oxydes de zirconium
Marion Fillancq - ‘Schizophrène ascendant bling bling‘, 2017. Bronze cuivré, laiton argenté, oxydes de zirconium
« Travail sur la pluralité de mes casquettes, la dualité qui m’habite, la gêne, le doute qui m’habite comme créateur face à un marché ambivalent. »
Marion Fillancq - 'Schizophrène ascendant bling bling', 2017. Bronze cuivré, laiton argenté, oxydes de zirconium - DETAIL
Marion Fillancq - ‘Schizophrène ascendant bling bling’, 2017. Bronze cuivré, laiton argenté, oxydes de zirconium – DETAIL
MATERIO TALK - Marion Fillancq - 3
Marion Fillancq   - détail de «schizophrène ascendant blingbling»
Marion Fillancq - (rouge) 'Flint Memory', 2017. Silex, alun, cuivre, cuir
Marion Fillancq -   ’Flint Memory’, 2017. Silex, alun, cuivre, cuir
« Travail sur la mémoire des matériaux, à travers les âges, du silex au métal. »
Marion Fillancq -   'Flint Memory', 2017. Silex, alun, cuivre, cuir (détail)
Marion Fillancq -   ’Flint Memory’, 2017. Silex, alun, cuivre, cuir (détail)
Marion Fillancq - nucleus & marionite, 2015. Cristal, miroir, rocailles.
Marion Fillancq – nucleus & marionite, 2015. Cristal, miroir, rocailles.
« Travail sur la question qui axe mon travail: qu’est ce que la préciosité? Ici, je propose comme réponse que la préciosité est représentée par ces perles, les marionites, qui nous rappellent nos origines et la naissance de l’intelligence de l’homme. Elles ne sont pas précieuses parce qu’elles brillent…. mais parce qu’elles sont taillées dans in matériaux réflecteur de mémoire, et d’authenticité…. »
Marion Fillancq -  (Celle avec 2 gouttes): Sève, 2017. Argent, Crystal, miroir.  Obsédée que je suis paf les techniques de la préhistoire.... j’ai choisi de les représenter ici comme la Sève de notre évolution, en mouvement, et «coulant», quelque part.
Marion Fillancq -  (Celle avec 2 gouttes): Sève, 2017. Argent, Crystal, miroir. 
« Obsédée que je suis paf les techniques de la préhistoire…. j’ai choisi de les représenter ici comme la Sève de notre évolution, en mouvement, et «coulant», quelque part. »
Marion Fillancq -  dorsale : "Sève", 2017. Argent, Crystal, miroir.
Marion Fillancq -  dorsale : « Sève », 2017. Argent, Crystal, miroir. 
discussion entre Akis Goumas et Marion Fillancq le soir de l'inauguration, 9 nov. 2017
discussion entre Akis Goumas et Marion Fillancq le soir de l’inauguration, 9 nov. 2017
 
 
Les Ateliers de Paris
30 rue du Faubourg Saint-Antoine
75012 Paris
(M° Bastille)
Tél. : 01 44 73 83 50
http://www.ateliersdeparis.com

30/10/2017

EXPO «Materio-Talk» – Paris Parcours Bijoux 2017 – Les Ateliers de Paris – 9 Nov.-9 Dec. 2017

Materio-Talk commence le 9 novembre aux  Ateliers de Paris ! Explorez les connections et les dialogues engendrés par la création dans le cadre du Parcours Bijoux : http://bit.ly/2hnUXJf

Les Ateliers de Paris présentent «Materio Talk», exposition imaginée par le créateur et commissaire de cette exposition : Sébastien Carré.

Parcours Bijoux 2017

Inauguration jeudi 9 Novembre, à partir de 18h30

Materio-Talk - Aux Ateliers de Paris - inauguration 9 novembre 2017 soir

 

Quelles histoires résident dans l’esprit de l’artiste lorsqu’il crée ? D’où vient ce choix de matières ou l’utilisation de certaines techniques pour transmettre une idée ? C’est à ces questions que tente de répondre cette exposition par la mise en valeur des mythologies personnelles de huit artistes dans le but de s’exprimer par le biais d’une œuvre d’art à porter ou arborer.
Ce sont ces histoires intérieures que nous essayerons de mettre en valeur, quatre groupes ont donc été constitués par des liens établis par l’intermédiaire de choix de techniques, de matières, de vocabulaire formel ou conceptuel afin de mettre en lien de jeunes artistes issus d’écoles françaises abordant le bijou d’art face à un artiste étranger de renommée internationale.
Quatre thématiques seront donc abordées par chaque artiste mais il faudra également que chacun réalise une Œuvre en employant la matière de l’autre artiste de l’équipe afin de mettre en valeur l’idée derrière l’œuvre et celle qui anime la main.
Textes de l’ exposition par / Texts of the exhibition by : Nichka Marobin – Blo(g)azette – The Morning Bark
Autour de diverses thématiques, quatre équipes ont été constituées pour créer des passerelles entre les pratiques de jeunes artistes français et de grands noms internationaux du bijou d’art afin de mettre en valeur le caractère universel du bijou comme objet d’expression pour l’artiste et de communication pour son porteur.
 
« Les artistes, appelés à créer une pièce pour chaque thème, ont également été appelés à créer deux bijoux sur leur propre sujet spécifique, l’un utilisant le matériel que l’autre artiste aurait utilisé ; l’autre doit contenir un mot supplémentaire, celui que l’autre personne de l’équipe aura utilisé pour décrire le travail de son coéquipier. En ce sens, le dialogue entre les artistes se manifeste par le discours des matières et évolue sous notre regard.
L’un des aspects les plus fascinants de l’exposition Materio Talk a été le fait que chaque artiste ait dû choisir un mot spécifique pour décrire le travail de son propre coéquipier. D’un même lemme, tous les artistes engagés dans ce projet ont développé leurs propres langages formels en constante réciprocité avec leur propre collègue, donnant vie à un dialogue tangible, mais particulier, sur les formes, les idées et les bijoux, capable de transmettre de grands sujets dans une petite taille. »
*
Beautés Primitives / Primal Beauty
« On ne peut comprendre son propre présent sans le passé car le passé fait partie de nous-mêmes et nous devons l’embrasser.
Le passé, et plus précisément le temps préhistorique, est le principal domaine d’étude de l’artiste grec Akis Goumas et de la française Marion Fillancq. Pour les deux, cette quête archéologique est, avant tout, une quête pour eux-mêmes.
Les fragments de la mer Egée permettent à Akis de construire son langage formel, tandis que les anciennes techniques du verre sont le point de départ de l’investigation de Marion: ils concentrent leurs travaux sur une mémoire reconstruite capable d’englober notre contemporanéité et qui posent toujours des considérations ouvertes sur la nature intérieure de l’homme. »
Nichka Marobin
Akis Goumas - "Inner" - photo by V.XeniasAkis Goumas -  Pendant: Inner, 2017 – Hammered bronze, casted sheets, steel, obsidian, pigments – Photo by: V. Xenias
« Je suis impliqué depuis plus d’une décennie dans l’étude des découvertes préhistoriques de la région égéenne et cela a affecté mon rapport au bijou. Mon processus créatif se développe comme une fouille conceptuelle en mon for intérieur et met en évidence des émotions, les impressions de souvenirs personnels ou collectifs, ou bien même des évènements obscurs du passé.
Dans un certain sens, ce processus ressemble à une excavation archéologique dans laquelle chaque couche a les caractéristiques d’une certaine période.« 
www.akisgoumasgallery.com – Akis Goumas Marion Fillancq, pensée taille - Nucléus & marionites -  photo F. GolfierMarion Fillancq, pensée taille – Nucléus & marionites -  photo F. Golfier
« Alors que l’Homme de la préhistoire taillait la pierre pour ses besoins. Il semble que nous taillons encore aujourd’hui, pour nos désirs. Ce postulat constitue la base du travail de Marion Fillancq et met en évidence des idées, concepts, ou esthétiques contraires. Ironisant souvent sur l’idée du luxe, c’est aussi certains statuts du bijou lui-même qui sont bousculés, créant une dualité contre laquelle Marion Fillancq elle-même, a du mal à lutter.«  
www.marionfillancq.comMarion Fillancq
*
Symétrie organique / Organic Symetry
« Le groupe d’oeuvres de l’artiste estonien Tanel Veenre et le français Sébastien Carré est regroupé sous le thème «Symétrie organique»: le premier s’inspire de la sexualité et explore comment, à partir de la symétrie humaine de l’appareil reproducteur, de nouvelles formes peuvent être réalisées dans une pureté de lignes capables de devenir autre chose et dépasser la mimesis de la réalité.
Les éléments organiques employés par Sébastien Carré lui permettent de créer de nouveaux mondes; des minéraux et de la végétation aux pellicules de film, tout peut être mélangé et rassemblé afin de créer un nouveau langage plastique. Les éléments assemblés sont soigneusement étudiés, choisis et ils témoignent de la nécessité pour l’artiste français d’étudier ce lien intérieur entre tous les êtres humains et les autres espèces.« 
Nichka Marobin
Sébastien Carré - Necklace: Cultural Balance, 2017 Sharkskin, Pearls, beads, filmstrip, cotton, silk and nylon thread - at "MATERIO  TALK" exhibitionSébastien Carré - Necklace: Cultural Balance, 2017 Sharkskin, Pearls, beads, filmstrip, cotton, silk and nylon thread – photo Milo Lee
« Végétal, animal et minéral sont combinés dans ces bijoux aux formes de paysages. Mélanger ces matières interactives me permet de réveiller un corps qui tend à être plus insensible en raison d’une société surconnectée. Célébrer la diversité nous fera grandir. Dans l’histoire du vivant, si les cellules n’avaient pas coopéré au lieu d’essayer de se détruire, la vie n’aurait jamais produit l’homme. Chérissons la diversité, être ensemble est déjà un trésor. »
www.sebastiencarre.com
Sébastien Carré

Tanel Veenre - Brooch: Crown of the Nature, 2017 Wood, reconstructed coral, silver, cosmic dust - Photo by: Tanel VeenreTanel Veenre – Brooch: Crown of the Nature, 2017 Wood, reconstructed coral, silver, cosmic dust – Photo by: Tanel Veenre
 » Je suis intéressé d’aller au-delà de la raison, de trouver le noyau de l’humain sous cette épaisse couche de culture. Les expériences extatiques sont comme des portes ouvertes vers le côté animal de l’Homme. Pour mon travail, j’ai basé mes recherches tout autant sur l’extase religieuse que sexuelle pour transcrire cette sensation de se perdre dans le plaisir. Je poursuis donc certaines idées du Baroque pour qui l’art se doit de produire une réponse émotionnelle du spectateur. Mes oeuvres sont donc une allégorie, qui vise à retranscrire ce pouvoir de la sensualité pour arriver à l’accomplissement de cette Utopie du plaisir. »
www.tanelveenre.com
Tanel Veenre
*
Cultures Modulaires / Modular Culture
Peter Hoogeboom (Nl) / Yiumsiri Kaï Vantanapindu
« La méditation contemporaine sur l’utilisation de l’argile et de la porcelaine est le principal trait d’union entre l’artiste néerlandais Peter Hoogeboom et l’artiste thaï-française Yiumsiri Vantanapindu pour le thème «Cultures Modulaires».
La recherche de Peter Hoogeboom commence par l’étude des éléments individuels en argile de l’histoire ancienne qui sont après transformés en petits morceaux numériques. Les pièces souples et élégantes rappellent cette vocation pour l’Antiquité et la culture passée qui émerge clairement de ses oeuvres. Ainsi, la mémoire collective et historique qui réside dans l’étude constante des techniques d’argile et de porcelaine d’Europe et d’Asie fournit des résultats inattendus. Une culture métissée et le concept d’hybridation offrent à Yiumsiri Vantanapindu un domaine d’étude et de création témoignant l’importance et la richesse des langues qu’une civilisation «sans frontières» pourrait offrir. Née en Thaïlande et vivant maintenant en France, la recherche de Yiumsiri se concentre sur le dialogue constant sur le passé et le présent, sur la mémoire collective et la contemporanéité en mélangeant les cultures. Ses pièces d’argile, de basalte, de porcelaine et de métaux sont une méditation sur son propre héritage avec une vue contemporaine. »
Nichka Marobin
at MATERIO TALK - Peter Hoogeboom - photo Peter HoogeboomPeter Hoogeboom - Necklace: Sacrifice, 2017 – Porcelain, silver, rubber, nylon. – 24 x 21 x 3.5 cm – Photo by: Peter Hoogeboom – From series: Broken
« Depuis 1995, j’applique de la céramique dans mes bijoux, un matériau qui dans son emploi contemporain est principalement utilisé pour fabriquer de la vaisselle. Parce que la fonction utilitaire de la céramique a été fortement liée à l’homme depuis le début de la préhistoire, je me réfère à cela en fabriquant de petits éléments en forme de jarre, de coupe ou de pot. On peut également faire référence à l’argile / terre en tant que nourriture pour les cultures dont nous nous nourrissons ainsi que notre bétail. »
www.peterhoogeboom.nl
Peter Hoogeboom
at MATERIO TALK - Yiumsiri Vantanapindu Bracelet: Black-Kam-Laï, 2017 Black porcelain and metalYiumsiri Vantanapindu Bracelet: Black-Kam-Laï, 2017 Black porcelain and metal
« Une frontière est un endroit composé de couches différentes, d’une ligne imaginaire à un endroit particulier, séparant ou regroupant deux territoires. Mon travail tourne autour du thème: «Sans Frontières». Par cela je souhaite exprimer que pour envisager un travail entre deux cultures, je dois ancrer ma réflexion par rapport aux diverses philosophies des lieux dans lesquels je crée tout autant que les différentes identités qui font l’individu que je suis. Par conséquent, l’art contemporain comme je l’appréhende se doit de souligner la diversité d’une manière intelligible. »
www.yiumsirivantanapindu.carbonmade.com
Yiumsiri Vantanapindu
*
Merveilles naturelles / Natural Wonder
« En observant les pièces de la suédoise Märta Mattsson et de la française Marie Masson, on est fasciné par le sens de la “circularité” qui s’exprime par le biais des éléments naturels utilisés par les deux artistes. Le sens de cette «renaissance» (mot utilisé par Märta Mattsson pour présenter son travail) ressort clairement des travaux de ces deux artistes fascinées par la nature. Dans le cas spécifique de Märta, les insectes sont ramenés à une vie éclatante qui nous charme grâce à un nouveau sentiment d’émerveillement. Pour Marie, les éléments naturels tels que la peau, les cheveux, le crin et les fourrures sont assemblés afin de recréer de nouvelles pièces qui re-méditent le corps lui-même. Dans ce sens, en regardant ces travaux, on peut penser au symbole antique et mythologique d’Ouroboros (du grec ancien οuροβoros), le serpent ou le dragon mangeant sa propre queue, représentant la renaissance éternelle.« 
Nichka Marobin
at LATERIO TALK - Märta Mattsson Brooch: Insectomania, 2017 Cicada wings, wood, glass, resin, lacquer, cubic zirconia, pigment, silver Photo by: Märta MattssonMärta Mattsson Brooch: Insectomania, 2017 Cicada wings, wood, glass, resin, lacquer, cubic zirconia, pigment, silver Photo by: Märta Mattsson
« Je trouve parfois de la beauté dans les choses que certains trouvent étranges ou repoussantes. Je suis fascinée quand il y a quelque chose que vous ne voulez pas voir et le sentiment provoqué par cette envie de ne pas regarder, bien qu’au final on finisse toujours par regarder. Mes bijoux jouent de cette tension entre attraction et répulsion. J’emploie des matières qui semblent inappropriées au premier abord, rendant l’ordinaire et les objets familiers extraordinaires et inconnus. »
www.martamattsson.com
Märta Mattsson

Marie Masson © Marie Masson - Cocarde - 2017 – Broche Cuir, plumes de faisan, Hématite, zincMarie Masson © Marie Masson – Cocarde – 2017 – Broche Cuir, plumes de faisan, Hématite, zinc
« Le travail de Marie Masson se situe entre le bijou contemporain, les arts décoratifs, la sculpture, la mode et l’objet de curiosité. Cheveux, crins, poils et peaux, racontent la mise à nu du corps. Sur mesure, elle assemble, détourne, et met en évidence des attributs naturels de l’homme et de l’animal. Elle les considère en tant que premières parures visibles et propose des objets singuliers, restituant une intimité artificielle. »
www.marie-masson.com
Marie Masson
 
 
As an art, jewellery creations are, at the same time, products of an established historical moment and pieces which carry with themselves layers of memory, universal messages of beauty and, above all, languages able to survive during the years. They are yet ephemeral because they can be broken, dismantled, fused and recomposed following the desires and circumstances of contingency and need.
More than traditional jewellery, contemporary jewellery offers a multiplicity of panoramas and languages. The use of different materials and the subversion of the hierarchy of what might be considered precious changed all perspectives. It is an evidence nowadays: studio jewellery is made also of non-precious metals and non-precious stones. From iron to plastics, from paper to wood, from fibers to insects each material can be worked, re-built and assembled in order to become a jewel, varying the traditional concepts of value and preciousness.
As different cartographies, contemporary jewels map and evoke new worlds and histories; they offer new languages and confront the viewer and the wearer to new perspectives and new interpretations.
Under the common vault of contemporary jewellery, materials surface as a formal language, the one that identifies an artist. Nevertheless, each Artist is always his/her own work: in each piece life blooms, emerges and marks a moment; the formal language reveals itself through the use of a specific material.
As a language, it evolves over the years and it finds similarities among the great variety of contemporary jewellery world creating unexpected connections and links.
The exhibition MATERIO-TALK, organized by the French Artist Sébastien Carré, focuses on the use of a specific material as a form of language and all the possible connections with other artists who are using the same material.
The themes proposed in this exhibition gather four French contemporary jewellers to four International contemporary jewellers, in order to investigate how the use of a common and specific material as a formal language can be achieved from two different sides, exploring the artistic process and all the connections between the artists.
The artists, called to create a piece for each theme, were called also to create two jewels on their own specific subject, one using the material that the other artist will have used. In addition to this, the second piece had to contain an additional word, the one that the other person in the team will have used to describe the work of his teammate. In this sense, the talk of material becomes a tangible conversation and dialogues are in front of our eyes.
One of a fascinatingaspect of the exhibition Materio-Talk has been the fact each artist had to choose a specific word in order to describe the work of his/her own teammate. From one single lemma all the Artists involved in this project developed their own languages in constant reciprocity with their own fellow member, giving life to a tangible, yet peculiar dialogue on forms, ideas, and jewels, able to convey great subjects in a small size.
As an invited collaborator of this group, I here add my own word able to embrace the whole production of Materio-Talk: transformation. / Nichka Marobin

 

Les Ateliers de Paris
30 rue du Faubourg Saint-Antoine
75012 Paris
(M° Bastille)
Tél. : 01 44 73 83 50
http://www.ateliersdeparis.com

03/10/2017

EXCHANGE-BIJOU 2 – Sébastien Carré – BUSY fall 2017 !!

Sébastien Carré

TRES présent cet automne, en particulier dans les diverses manifestations  du PARCOURS BIJOUX 2017 :

Du 18 octobre au 25 novembre 2017« PARCOURS BIJOUX 2017«  avec l’exposition « CLIVAGES« 
CLIVAGES interroge le matériau pierre, de son essence, à l’objet qu’il devient, autant que le cadre dans lequel il intervient. Sont présentées aussi bien des démarches plastiques que des approches narratives et conceptuelles. La volonté de cet événement est de susciter l’interrogation du public, tant sur la nature des matériaux utilisés aujourd’hui dans le monde du bijou que sur leur fonction.
Les artistes de l’exposition « CLIVAGES« :  Sébastien CARRÉ  — Laura PARISOT — Ulrike KAMPFERTEdu TARIN — Regina DABDAB — Elvira GOLOMBOSIJulia Maria KUNAPPPatricia DOMINGUESKatharina DETTARJordane SOMVILLE Marion FILLANCQ – Ana Carolina ESCOBAR.
Au Musée de Minéralogie
60 boulevard Saint Michel
75006 Paris
Ouvert :
Mardi – vendredi : 13h30 – 18h
Samedi : 10h – 12h30 et 14h – 17h

« pour Clivages  j y présente 4 pieces » :

Sébastien Carré - pour CLIVAGES -"Je Suis Paysage" - Collier - 2017 Grenat vert, Agathe, Malachite, Turquoise, Lapis-Lazuli, Hyolite, coquillage, perles naturelles, perles rocaille.Sébastien Carré - pour CLIVAGES – « Je Suis Paysage » – Collier – 2017 Grenat vert, Agathe, Malachite, Turquoise, Lapis-Lazuli, Hyolite, coquillage, perles naturelles, perles rocaille.

Sébastien Carré - à  CLIVAGES - Bracelet: Inflammation #5, 2014 Japanese paper, cornaline gems, beads, silk  Ø 11 X 4.5 cm - Photo by: Milo Lee - From series: Inflammation ProjectSébastien Carré - à  CLIVAGES – Bracelet: Inflammation #5, 2014 Japanese paper, cornaline gems, beads, silk  Ø 11 X 4.5 cm – Photo by: Milo Lee – From series: Inflammation Project

Sébastien Carré : pour CLIVAGES j y présente 4 piecesSébastien Carré – pour CLIVAGES – Necklace: For Common Good, 2015
Nylon, silk and cotton lacework, carnelian and labaradorite beads, beads – 53 X 5 X 2.5 – 3.5 cm – Photo by: Milo Lee

SebastienCARRE - AuCommencement  à CLIVAGESSébastien Carré – pour CLIVAGES – Necklace: Tellus, 2015 Rodent head, Jasper, bamboo beads, beads, printed leather, horsehair, cotton, silk Ø 45 x 10 x 4 cm Photo by: Milo Lee From series: Ogham Incensum

*****
****
*

« Très heureux d’être commissaire de l’exposition « MATERIO TALK » qui aura lieu du 9 Novembre au 9 Decembre 2017 chez Les Ateliers de Paris.
Vous pourrez y découvrir les oeuvres de 4 artistes internationaux renommés dans le milieu du bijou d’art mis en lien avec 4 artistes de la jeune création française.
Really happy to be curator of this show for Les Ateliers de Paris from November 9 till December 9 2017.
The exhibition will be showcasing art work from 4 international artists renown in the art jewelry field linked with 4 young artist from the french creation »
Avec / With:
Akis Goumas / Marion Fillancq
Märta Mattsson  / Marie Masson
Peter Hoogeboom / Yiumsiri Kaï Vantanapindu
Tanel Veenre / Sébastien Carré

More infos on the website of Parcours Bijoux 2017 and on an official Facebook Page

 Sébastien Carré at "Materio Talk" exhibitionSébastien Carré at « Materio Talk » exhibition

Sébastien Carré à MATERIO TALK - brocheSébastien Carré at « Materio Talk » exhibition – broche

Sébastien Carré à MATERIO TALKSébastien Carré at « Materio Talk » exhibition - necklace

 *****
****
*

« I am really glad to be one of the 15 artists selected to represent the french creation in art Jewelry during the next Contemporary Jewelry Triennale by Wcc-bf in Mons – Belgium.
Je suis très heureux de faire parti des 15 artistes sélectionnés pour representer la création française dans le bijou d’art lors de la prochaine Triennale du Bijou Contemporain organisée par le Wcc-bf à Mons en Belgique ».  28.10.2017 – 04.02.2018
Contemporary Jewelry Triennale by Wcc-bf in Mons - Belgium(La photo de l’affiche est une oeuvre de Marine Dominiczak)
Sébastien Carré - à WCCBF Mons - sept 2017 - Ring: Wave On The Beach, 2016  Japanese paper, turquoise, malachite, lapis lazuli, beads, silk, cotton, nylon thread  Photo by: Milo Lee PhotographySébastien Carré – à Contemporary Jewelry Triennale by Wcc-bf in Mons – Ring: Wave On The Beach, 2016  Japanese paper, turquoise, malachite, lapis lazuli, beads, silk, cotton, nylon thread  Photo by: Milo Lee Photography
Sébastien Carré - à Sébastien Carré - à Contemporary Jewelry Triennale by Wcc-bf in Mons 2017-2018Sébastien Carré - à Contemporary Jewelry Triennale by Wcc-bf in Mons – Brooch: Aqua Dream, 2016
Japanese paper, leather, Agata, Sodalite, beads, cotton, silk, nylon – 6 x 13 x 5 cm – Photo by: Milo Lee Photograpy
Sébastien Carré - à Contemporary Jewelry Triennale by Wcc-bf in Mons  - (pas sûr) - pièces en laqueSébastien Carré - à Contemporary Jewelry Triennale by Wcc-bf in Mons  -  Brooch: « Archaeological Layers », 2016. Japanese paper, Japanese Lacquer, Aluminum powder, Zoisite’s Ruby, African Turquoise, Aquamarine, beads, silk, cotton. 5 x 12 x 3.5 cm. Photo by: Milo Lee Photograpy.

 *****
****
*

Il aura également TROIS pièces en vente (!!!!!!!!) à la vente aux enchères chez Piasa
Vente aux enchères de bijoux d’artistes et de créateurs le 19 OCT 2017 À 17H
Pendant la semaine consacrée à l’art contemporain (avec la FIAC), du 14 au 22 octobre, PIASA organise une vente aux enchères regroupant 80 à 100 lots très soigneusement choisis parmi les « bijoux d’artistes » et «les bijoux de créateurs».

19 OCT 2017 À 17H
Exposition publique :
* 14 oct de 11h à 19h
* 16 – 18 oct de 10h à 19h
* 19 oct de 10h à 12h
Piasa
118 rue du Faubourg-Saint-Honoré
75008 Paris
01 53 34 10 10
métro : Miromesnil, Saint-Philippe-du-Roule, Franklin D. Roosevelt
piasa.fr
un petit aperçu ………………… !
ventes encheres PIASA !!!!!!!!! broche  "Cultural Biology / Biologie Culturelle" - Brooch / Broche 2016  Japanese Paper, Filmstrip, Hematite, Dalmatian Jaspis, white Howlite, beads, silk, cotton, nylon  Papier Japonais, Pellicule de film, Hématite, Jaspe Dalmatian, Howlite Blanche, perles rocaille, soie, coton, nylon  www.sebastiencarre.com  photo: Milo Lee Photographyventes encheres PIASA !!!!!!!!! LOT 112
Sébastien Carrébroche  « Cultural Biology / Biologie Culturelle » – Brooch / Broche 2016  Japanese Paper, Filmstrip, Hematite, Dalmatian Jaspis, white Howlite, beads, silk, cotton, nylon  Papier Japonais, Pellicule de film, Hématite, Jaspe Dalmatian, Howlite Blanche, perles rocaille, soie, coton, nylon  www.sebastiencarre.com  photo: Milo Lee Photography
VENTE AUX ENCHERES  !!! Sébastien Carré  photo: Lee makkam ·   Inflammation, 2014 Collier, bambou, laque japonaise, fibres naturelles Necklace, bamboo, Japanese lacquer, natural fibersVENTE AUX ENCHERES - Sébastien Carré -février 2014 ·  ·   Inflammation, 2014 Collier, bambou, laque japonaise, fibres naturelles Necklace, bamboo, Japanese lacquer, natural fibers  photo:Lee makkam
VENTE AUX ENCHERES - LOT 113
Sébastien Carré -  « Inflammation lombaire », 2014 Collier, bambou, laque japonaise, fibres naturelles Necklace, bamboo, Japanese lacquer, natural fibers  photo:Lee makkam

25/04/2017

AUTOR Contemporary Jewelry Fair – Grand Hotel du Boulevard, Bucarest (Romania) – 13-14 May 2017

AUTOR 2017

ready for its 16th edition ! May 13-14,  Grand Hotel du Boulevard, Bucharest. Come discover the emerging talents of contemporary jewelry.

Out of the 190 applications received for the 2017 editionn, our jury selected 90 artists to be discovered during our international fair
AUTOR 2017
 
AUTOR <3 community. AUTOR takes its 8 years mission further by shaping the contemporary jewelry community. We connect artists with passionate jewelry lovers, collectors, international galleries, distributors or specialised media. The 2017 jury includes Sofia Björkman – Jewellery artist and Founder of Gallery Platina in Stockholm Doris Maninger – Director of Alchimia Jewelry School in Florence, Lucia Massei – Director of Alchimia Jewelry School in Florence, Ruudt Peters – Artist, Professor Opere Summer School in The Netherlands, Paulo Ribeiro – Founder and Director of Joya Barcelona, Dan Pierșinaru – Founder and Director of Autor. This spring we launch the 4th issue of AUTOR – the contemporary art magazine, one more reason to be there!
 CRUSHED by Andra Lupu, Romania - AUTOR 2017CRUSHED by Andra Oana Lupu, Romania
« A celebration of fragility, life and feelings in a beautiful brooch.
”Crushed is what you feel when something beautiful is ending, crushed is how you feel when you lose someone dear. But every ending is a new beginning, it’s up to you how you start over, or whether if you take the good or the bad of every experience. In my new collection, I use thin layers of « crushed » melted silver, to create a jewelry as a metaphor to the fragility of life, relationships, feelings”. »
 Tubular Collection by Ana Pina, Portugal - AUTOR 2017Tubular Collection by Ana Pina, Portugal
« Ana’s jewelries celebrate multiple possibilities using geometrical wiseness. To infinity and back!
”The Tubular Collection combines round wires and tubes in a subtle way, creating both minimalist and statement pieces that aim to celebrate pure geometric lines and its multiple possibilities of combination. The rationality of orthogonal alignments is challenged by the mutable character of movement and by the seeming idea that the connections between the different elements are fragile and unpredictable, which accentuates the sense that any combination is possible – from the simplest isolated element to infinity” »
16psyche Collection by Anna Börcsök, Hungary  16psyche Collection by Anna Börcsök,  Hungary 
« Can a jewelry collection be an exclamation sign? Anna’s answer is yes.
”The jewelry and the wearer should be inseparable. Without them we are naked and helpless. These pieces are fractal based Armours and they determinate the movement and actions of the wearer’s position. I was studying the Ancient societies and examining the current social models to get a predictable image of the future. The collection is an exclamation point, an invitation to face our own limitations”. »
Second Shape by Giulia Boccafogli fashion jewelry, Italy - AUTOR 2017Second Shape by Giulia Boccafogli fashion jewelry, Italy
« The forgotten becomes unforgettable.
”Second Shape is a second chance for the material to be used in a different way and also a second chance for my jewelry to become something different: an ornament or almost a dress. I like the idea that a ruin could be such a great source of beauty and this is the reason why I tried to explore a different way to work the “forgotten” leather: a super clean and modern material that can be worked in an apparent rough way” »
Night Writing by Letiția Pintlie, RomâniaNight Writing by Letitia Pintilie, România
« The sensory jewelry.
”Vision, our dominant sense, allows us to perceive the world through images, motion and colour. We use the information received from it to recognise and interact with objects and environments, interpret spatial cues. When impaired, one way of assisting it is by supplementing information through other means, like tactile. I translated this into the collection by constructing the pieces on elements that address both the vision and the touch” »
 Alien Flowers by Gülnur Özdağlar/ tertium non data, Turkey Alien Flowers by Gülnur Özdağlar/ tertium non data, Turkey
« Exploring new horizons of beauty  ”This collection is a search for creating deep sea corals and tropic flowers of another planet” »
 Necklace series by Magali Thibault Gobeil Joaillière, CanadaNecklace series by Magali Thibault Gobeil Joaillière, Canada
«  »SOMEBODY GOT CRAZY WITH THE CANDY MACHINE »
Lost in my imaginary world where everything is so delightful. That little place inside myself where everything is calm, joyful and pretty. Where my mind goes when everything is so hard outside, in the real world. These crazy forms of nature made from artificial materials are the result of that retreating into that special world that protects myself from not going crazy in the real world. They touch all our senses. We want to eat them as if they were candies, to touch them because of their appearance so smooth, spongy and colourful We all need that little break to full our body with a bit of joy. »"
AUTOR 2017 Sandra Tepla Jewellery, Czech Republic: Atomic Visions by Sandra Tepla Jewellery, Czech Republic
« Jewelry stand for a vision of future.
”Atomic Visions: Human Impulse is about futuristic textile structures, exploring empowerment/dominance in a pre-apocalyptic ‘rise before the fall’. My infatuation with textile cord has enabled me to create large scale work of colours previously unknown to me. It is this ‘WHY NOT?’ attitude that does the trick; often producing the most striking creations” »
 About Colour/ (Im)movable Collection by Konstanze Prechtl, Austria - AUTOR 2017About Colour/ (Im)movable Collection by Konstanze Prechtl, Austria
« Colour sets us free
« I use a range of colours derived from my personal life and surroundings which are applied in different ways to various materials. Depending on the line of sight, the viewer and wearer discover different colour schemes. The series “(Im)movable” reflects on Movement and Restraint – Freedom and Restriction. Although each joint is movable, they are restricting and limiting each other”. »
 REflections Collection by Kapka Jewelry, Macedonia  - AUTOR 2017REflections Collection by Jana Acevska/Kapka Jewelry, Macedonia
« Jewelry speaks for today.
“Jewels as reflection of our internality are containing stories of the present, but also past, transmitted through generations. Relating the traditional with the contemporary is an endeavour to generate new stories, unique and specific, which is the idea behind the Reflections, new KAPKA jewelry collection”. »
 Lamella Collection by Veronika Fazekas, Hungary - Playing with magic. - AUTOR 2017Lamella Collection by Veronika Fazekas, Hungary - Playing with magic. - AUTOR 2017
 Lamella Collection by Veronika Fazekas, Hungary – Playing with magic.
« With these pieces my aim was to make a setting in a ’magical way’, using optical illusion and the help of the light. To see the settled lens, you need light which reflects it into your eyes. I could reach this with the help of lamellar structures.” »
Identity by Franziska Höhne, Germany - A non-gender jewelry.Identity by Franziska Höhne, Germany – A non-gender jewelry.
« ”The collection sharpens the senses to become more sensitive in dealing with each other. It encourages thinking beyond simple categories so everyone can become aware of their own identity and develop it freely without constant external conditioning. There are no obvious gender markers in the collection. Each person can decide for themselves how the jewelry is worn, giving hints of one‘s own identity or masking it” »
Colorful Emptiness by Adriana Díaz, Colombia/SpainColorful Emptiness by Adriana Díaz, Colombia/Spain
« A piece of jewelry to remind us how time flies. Each and every moment. ”These pieces are small receptacles that actually contain nothing except a patina that is evocative of the passing of time. They are like rusty cans that have been abandoned in some forgotten corner, exposed to the elements and disuse” »
Balloon bracelet + Silver earrings by Tengely Nóra Jewelry, HungaryBalloon bracelet + Silver earrings by Tengely Nóra Jewelry, Hungary
« Playing with balloons and chain lines to find new balances.
”My jewelries are made of sterling silver with the technic of rigidified chains. Each link is soldered one by one. The balloon collection was made to find a new closure method. The bracelets consist two flat separated parts and the balloons press them together – they are the lock of the two parts”« 
 Deforested by Mona Velciov Monotip, Romania Deforested by  Mona Velciov Monotip , Romania
  Mona Velciov,  Her collection for AUTOR 16 is dedicated to transforming protest into a powerful aesthetic statement.
”Due to the last 20 years of vast illegal logging, both by private companies and the government, hundreds of thousands of hectares of Romanian forests, one of Europe’s last virgin forests, were deforested. This body of work is a protest and a confession: of the pain these actions are causing to the forests that it is also my pain”.
AUTOR 2017 - Girls in Red by Diederick van Hövell, Belgium: Girls in Red by Diederick Van Hovell, Belgium
 » What color is your mood? “With the contemporary jewel as a medium, I search, with detours, a specific color to translate a mood, a technique to express a touching feeling, to transpose emotions. A portrait, a jewel, a thought – as a testimony of an interest in the individual, as an evocation of the distinctive signs, to learn about the intersecting identities of each other. This is my subject matter”.:

Earth's four elements -  Bracelets by Isabel Sabato Argentina Earth’s four elements -  Bracelets by Isabel Sabato Argentina

Fractured Bracelet by Kyri Hinkleman, USAFractured Bracelet by Kyri Hinkleman, USA
”Working with found objects, I am interested in taking the previous inferred meanings of materials and changing the context to represent a new experience. Discarded metal, found threads, forgotten hardware and even seemingly useless care tags are things that often go unnoticed. Through my work, I intend to rediscover and represent these findings through a fresh outlook”.
Tidal Surge by Heather McDermott Jewellery, ScotlandTidal Surge by Heather McDermott Jewellery, Scotland
« ”Unconventional in size and structure, each piece is an expression of sculptural form and is designed to create a statement. The continually changing shoreline is my constant source of inspiration and my collection is the contemporary interpretation of these surroundings. Stainless steel and silver wire is hand formed into soft geometric shapes mimicking fishing nets and lobster pots” »

 Framing the Unframeable by Letizia Maggio jewelry, Italy Framing the Unframeable by Letizia Maggio jewelry, Italy

 The Morning After by Shiran Shashua, Israel The Morning After by Shiran Shashua, Israel
”In this collection, I used paper as a main element giving it high value by setting it in a jewel. Using two different materials with different properties side by side. My inspirations comes from maps, latitude and longitude, compasses, arrows and signs”
 Past, loss, future by Christine Jalio, Finland - Exploring emotions Past, loss, future by Christine Jalio, Finland – Exploring emotions
”The collection shows that I am intrigued by asceticism, old age and sensitivity. The pieces have a sense of comfort and safety to them and look very heavy, but are very light. I am extremely fascinated by the human psyche and the emotions and reactions that are part of it. In my work I want to study the human life span and the transitions, choices and turning points of life”

AUTOR 2017 - Noha Nicolescu - Little Blue, ring, wood, silver 'I am a sky where spirits live. Stare into this deepening blue, while the breeze says a secret.' Rumi #autorfair: Noha Nicolescu – Little Blue, ring, wood, silver
‘I am a sky where spirits live. Stare into this deepening blue, while the breeze says a secret.’ Rumi

WEK, Portugal ★  “It's all about playing! Connecting long necklaces, matching colours. Join as much as you want! Play collection is focus on the lock, the main piece of the necklace. Thought to be more than functional, the lock means singularity, irreverence, the importance of details”.WEK, Portugal ★
“It’s all about playing! Connecting long necklaces, matching colours. Join as much as you want! Play collection is focus on the lock, the main piece of the necklace. Thought to be more than functional, the lock means singularity, irreverence, the importance of details”.

 Ana Barbu Uzura , RomâniaAna Barbu Uzura , România
”As more as I get closer to plants and nature and work with them, I feel like a more powerful concept is taking over in this approach, the awareness of fragility of life, and for that to be more obvious I need to leave my plants more to hazard. In order to do that I have this new way, more voluptuous, of exhibiting dying organic matter, just by putting it into small protective exoskeletons made of precious metals or under thin glass”.

***
*

AUTOR 2017 with mydaybyday gallery
Mia Maljojoki, Noelia Macchi , Tal Barash Efraim with myday-byday Gallery in Rome selected at the Autor Fair 2017 !!
 
 
 Grand Hotel du Boulevard, Bucharest
Bulevardul Regina Elisabeta 5, București, Roumanie
Téléphone : +40 21 210 2363
hello@dautor.ro

 

28/02/2017

#MunichJewelleryWeek2017 – EXPO (15) – « tog_ther ! » – Kunstpavillon, Munich (DE) – 7-12 Mars 2017

(15) tog_ther ! Fill in: e or a

Kunstpavillon
Opening Tue March 7th at 18:00
« ….Here, the motto is: chairs instead of showcases ! »

EXCHANGE-BIJOU 2 – Réka Lörincz

(15) tog_ther ! Fill in: e or a

with :   Peter Bauhuis — Emese Benczúr — David BielanderFlorian Buddeberg – Shirin Damerji — Anna EichlingerSusanne Elstner — Sławomir Fijałkowski — Christiane FörsterRéka LörinczDaniel Michel – Anna Moll — Pavol Prekop — Nicola ScholzKristýna ŠpanihelováGisbert Stach – Rose Stach — Norman Weber Arek WolskiChristoph Zellweger

*

Jewellery exhibitions are often presented in sterile glass cabinets. This leads to a distance between object and viewer and limits the freedom, which could develop in this sensual encounter.
Here, at the exhibition tog_ther !, curated by Gisbert Stach and Rose Stach, the motto is: chairs instead of showcases!
Twenty international author jewellery artists gather with their extraordinary objects in dialogue with strongly individualistic seats, from weight benches to a sandbag wall.
A potently interactive chair by Christoph Zellweger from Switzerland; a self-portrait stool by Arek Wolski from Warsaw; cheap pretense and reality from two female Budapest artists; and David Bielander Thonet chair sausage links, are among what’s to find.
Two female artists from Budapest play with cheap pretence and reality. Emese Benczúr forms the words “LET IT SHINE” on a rainbow-coloured surface using ear studs, while Réka Lörincz presents grooming gloves with enticingly glittering golden nails on a lavatory lid in her piece of art titled  Woman at Work. David Bielander, a native of Basel now living in Munich, even transforms the chair itself into a jewellery object by removing elements of the curved armrest of a Thonet chair and shaping them into sausage necklaces, explaining that the sausages had always been present in these chairs and he has now “set them free”!

Reka Lorincz at Schmuck 2017 Réka Lörincz – grooming gloves with enticingly glittering golden nails on a lavatory lid in her piece of art titled  Woman at Work.

 Réka Lörincz Object: Woman at Work, 2016 Gloves, artificial fingernails Photo by: Áron Weber  [ tog_ther ! Fill in e or a Exhibition  /  Munich Jewellery Week - Schmuck - 2017  /  08 Mar 2017  -  12 Mar 2017 Kunstpavillon Munich]: Réka Lörincz Object: Woman at Work, 2016 Gloves, artificial fingernails Photo by: Áron Weber

#15 tog_ther ! Fill in: e or a - David Bielander, Thonet (Sausages) 2007 Necklace made from one original Thonet no.14 chair bentwood, paint Foto©Dirk Eisel: David Bielander, Thonet (Sausages) 2007 Necklace made from one original Thonet no.14 chair bentwood, paint Foto©Dirk Eisel

 Nicola Scholz, 2015 Necklace intestine, gold 22 x 24 x 12 cm Foto©Mirei Takeuchi:  Nicola Scholz, 2015 Necklace intestine, gold 22 x 24 x 12 cm Foto©Mirei Takeuchi

Gisbert Stach, Superhero Videostill 2016 Sparklers, Silver Foto©Rose Stach - #15 tog_ther ! Fill in: e or a -: Gisbert Stach, Superhero Videostill 2016 Sparklers, Silver Foto©Rose Stach

 

Kunstpavillon
Alter Botanischer Garten
Sophienstraße 7A
Munich
Wed–Sun 11:00–17:00
Finissage Sun 12.3. 14:00-17:00
Artist Talk Sun 12.3. 15:00

 

06/01/2017

EXCHANGE-BIJOU 2 – Carlos SILVA at « IDEM »

Carlos SILVA

IDEM explores the possibilities of the « multiple » in small series of identical jewels and objects

actually, until JANUARY 13th 2017, in an exhibition at Galeria REVERSO , Lisbon :

IDEM  Jewelry Group Exhibition  @ RE V E R S O | Lisbon | Portugal Opening, December 11th at 4pm - CARLOS SILVA  Sofia Björkman, Ana Margarida Carvalho, Paula Crespo, Beatriz Horta Correia, Patrícia Domingues, Tatiana Giorgadse, Castello Hansen, Herman Hermsen, Leonor Hipólito, Claudia Hoppe, Birgit Laken, Floor Mommersteeg, Typhaine Le Monnier, Edgar Mosa, Inês Nunes, Maria José Oliveira, Lina Peterson, Claude Schmitz, Danni Schwaag, Carlos Silva, Edu Tarin, Andrea Wagner. #jewelrygroupexhibiti: Idem. Mùltiplos de Autor 11Dec2016 – 13Jan2017 – Galeria Reverso Lisbon, Portugal -
with : Sofia Björkman, Ana Margarida Carvalho, Beatriz Horta Correia, Paula Crespo, Patrícia Domingues, Tatiana Giorgadse, Castello Hansen, Herman Hermsen, Leonor Hipólito, Claudia Hoppe, Birgit Laken, Typhaine Le Monnier, Floor Mommersteeg, Edgar Mosa, Inês Nunes, Maria José Oliveira, Lina Peterson, Claude Schmitz, Danni Schwaag, Carlos Silva, Edu Tarín, Andrea Wagner

« Unique pieces, limited editions or serial productions nourish the universe of author jewellery in all its diversity. IDEM explores the possibilities of the « multiple » in small series of identical jewels and objects, created by national and international artists, who have made themselves available to celebrate with Reverso its 18 years of existence. »

Carlos Silva - brooch - at IDEM - Multiplos de Autor 2016-17Carlos Silva – at « IDEM – Multiplos de Autor » – brooch  – plaster, foam and oxidized copper

carlos.silva  Brooch - expansive foam, plaster and copper - Until November 29th at @ingallerybcn exhibition "3"  Carlos Silva – déc 2016 · -  Brooch – expansive foam, plaster and copper

Carlos Silva - nov 2016 ·  Brooch - plaster, foam and oxidized copper Carlos Silva - nov 2016 ·  Brooch – plaster, foam and oxidized copper

Carlos Silva - New pieces for a new project - brooches wip plaster white: Carlos Silva - New pieces for a new project – brooches wip plaster white

Lastly, Carlos Silva offered to us several reflexions -and not only- about SERIES ….

Carlos Silva - serie of RINGS at "GARAGEM" exhibition, Lisboa, 17-18 Dec. 2016Carlos Silva - serie of RINGS at « GARAGEM » exhibition, Lisbon, 17-18 Dec. 2016 - Rings – Oxidized copper

Carlos Silva - red rings - metalartwork - at "InRED" @ ingallerybcn exhibition  Carlos Silva - red rings - Oxidized copper and paint – at « InRED » @ ingallerybcn exhibition, Barcelona, dec. 2016

Carlos Silva- rings for New exhibition coming soonCarlos Silva- rings for New exhibition coming soon

 

 

Galeria Reverso
R. da Esperança 59/61
1200-655 -  Lisbon
PORTUGAL
Mail: mail@reversodasbernardas.com
Phone: +351 213 951 407

Enregistrer

31/12/2016

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
Christchurch
NEW ZEALAND
Mail:  info@christchurchartgallery.org.nz

 

07/12/2016

EXCHANGE-BIJOU 1 – Juan HARNIE – Aesthetical Injection(s)

everywhere in december !!! CELEBRITY ???…….

In 2016, he continues his experimentation with a new serie, « Aesthetical Injection » : Designing this collection Juan Harnie used medical materials to create attractive, floral looking jewellery. Juan has always seen beauty in materials that have little to no aesthetical value to others. These materials in particular are usually linked to unpleasant situations like hospitals and doctor visits, but now they are taken out of this context and made into uncanny pieces of jewellery.
Juan got his inspiration from flowers and plants, which always seem to please the eye of the beholder. Even when a plant or flower turns out to be hazardous, poisonous or possibly deadly, at first people will always attribute positive feelings towards seeing them. Contradictory, syringes that are designed to administer medicine and in fact heal people are met with fear, disgust and a general feeling of unease. Using these syringes in colourful, floral pieces of jewellery, mimicking the shape and colour of the ever-so-loved flower, might just make people reconsider their initial feelings towards syringes and see the beauty the designer saw in them.
In addition to the syringes, sterile medical gauze is used either to imprint the silver backs of the pieces or being drenched in coloured polyurethane and moulded into organic sculptured shapes sprouting silverwork and gemstones. This medical gauze once again fulfils its original purpose: being worn on the body and thus soothing an inner ache. »

Materials used for « Aesthetical Injection«  series : syringes, polyurethane, zirconia, brass, silver, gauze, resin

Juan Harnie: Juan Harnie ‘Aesthetical Injection’ -

'Aesthetical Injection' - Brooch/necklace - 2016 - Polyurethane, syringes, brass, medical gauze - Juan Harnie: Juan Harnie - ‘Aesthetical Injection’ – Brooch/necklace – 2016 – Polyurethane, syringes, brass, medical gauze

 Juan Harnie    - Scar(r)ed (2015) -'aesthetical injection' collection. - jewels made with medical gauze, syringes, polyurethane and silver: Juan Harnie  – Scar(r)ed (2015)  brooch -’aesthetical injection’ collection. – jewels made with medical gauze, syringes, polyurethane and silver

Juan Harnie - -'aesthetical injection' collection. - jewels made with medical gauze, syringes, polyurethane and silver: Juan Harnie - -’aesthetical injection’ collection. – jewels made with medical gauze, syringes, polyurethane and silver

Juan Harnie - -'aesthetical injection' collection. 2016 - jewels made with medical gauze, syringes, polyurethane and silver: Juan Harnie - -’aesthetical injection’ collection. 2016 – jewels made with medical gauze, syringes, polyurethane and silver

Juan Harnie - 'Still Scar(r)ed?' - Brooch - 2016 - Polyurethane, silver, syringes, zirconia, medical gauze, brassJuan Harnie - ‘Still Scar(r)ed?’ – Brooch – 2016 – Polyurethane, silver, syringes, zirconia, medical gauze, brass

  *

​Juan harnie DECEMBER 2016 exhibitions : 

galerie BEYOND‘Unlikely Beauty’ at galerie BEYOND (Antwerp) : Side expo by Juan Harnie (BE) and Ana Margarida Carvalho (PT)
Nov 6 – Dec 11 2016
Some new pieces of the ‘Aesthetical Injection’ collection exhibited. First tim they are shown in an expo.EXCHANGE-BIJOU 1 – Juan HARNIE - Aesthetical Injection(s) dans Belgique (BE) 1f642 :) The expo is called ‘Unlikely Beauty’.

'Unlikely Beauty' at galerie BEYOND - Juan Harnie pins: ‘Unlikely Beauty’ at galerie BEYOND - Juan Harnie Tiepins – Silver/Syringe/Resin

Juan Harnie - Tiepin - 2015 - Silver/Syringe/Resin Juan Harnie – Tiepin – 2015 – Silver/Syringe/Resin

Juan Harnie: Juan Harnie - Tiepin (worn) – 2015 – Silver/Syringe/Resin

*

« 12th Jewelry Award Expo » :
* Diamond Museum, 18/11/2016-05/01/2017, Bruges (BE)

Katelijnestraat 43 8000 Brugge Belgique

12th Jewelry Award Expo: DiamondLand, 21/09-10/10/2016, Antwerp (BE) Tour & Taxis, 17/10-13/11/2016, Brussels (BE) ​Diamond Museum, 18/11/2016-05/01/2017, Bruges (BE)This 12th edition of the Jewelry Award exhibits the 23 best jewels of the graduation students of seven different Jeweler schools . Contest theme is “Geometrical imperfection”

**

«Triple Parade Exhibitions»  10/11/2016-16/01/2017,
at  Gauguin Gallery, BEIJING
From 17th December to 16th January 2017
(at Shenxi Art Museum Tianjin was from 10th to 27th November 2016)

Triple ParadeThe main exhibition TRIPLE PARADE 2016 - Dialogue Across You and Me to Them: Creator, Wearer, Viewer represents 79 designers and artists

the artists and designers will be part of this year’s TRIPLE PARADE Central Exhibitions are:
Karin Johansson, Paul Derrez, Lin Cheung, Dinie Besems, Kim Buck, Lauren Kalman, Ezra Satok-Wolman, Katja Prins, Joo Hyung Park, Sofie Boons, Chiara Scarpitti, Trinidad Contreras Chaparro, Aisegul Telli, Ana Filipa Braganca, Gular Mustafa, Dukno Yoon, Hester Popma-Van De Kolk, Joson Thomson, Juan Harnie, Marie-Louise Kristensen,  Marion Delarue,  Minna Karhu,  Ruta Naujalyte,  Sangji Yun,  Sara Gackowska, Lee Yojae, Lee Myungjoo, Hong Kyunghee, Zixuan Feng, Zheng Yu, Haiming Ren, Dingchen He, Zhicheng  Zhou, Wei Zhou, Jingyao Sun, Ye Zhang, Yiping Zeng, Danyi Zhu, Yuxuan Zhu, Anqi Li, Heng Li, Wenqian Li, Muzi Li, Dongdong Zhuang, Jie Sun, Jing Li, Guangyao Yang, Xiao Liang, Yanli Duan, Hangchen Duan, Jinwei Chi, Zhaokun Wang, Jun Hu, Bai Xie, Yi Zhao, Xinan Yu, Hui Guo, Xiaodai Huang, Zhaodan Zhang, Kui Shu, Shijian Zhao. Peter Rust, Kirsi Manninen, Anne Bader, Shaofei Zhang & Qian Wang, Ying Jiang, Lin Ju, Yin Chang, Wenqi Xu, Hongyu Xu, Yan Li, Wenqian Li, Feiyu Lin, Liyin Wang, Weiming Lu, Ma Lu, Quanxia Chen.

Gauguin Gallery
Wang Jing S O H O Zhong Xin T 2
chaoyang Qu -  Beijing
CHINA

 Enregistrer

06/11/2016

EXPO ‘Triple Parade Exhibitions’ – SHENGXI Art Museum, Tianjin / Gauguin Gallery, Beijing (China) – 10 Nov. 2016-16 Janv. 2017

«Triple Parade Exhibitions» 

SHENGXI Art Museum at Tianjin (China), & then Gauguin Gallery at Beijing

Triple Parade in Tianjin: 10th.NOV – 10th.DEC. 2016
Location: Shengxi Museum of Fine Arts, Tianjin

Triple Parade in Beijing: 17th.DEC.2016 – 16th.JAN.2017
Location: Gauguin Gallery Beijing, Wangjing SOHO.

Triple Parade exhibitions in Tianjin & Beijing Exhibition  /  10 Nov 2016  -  17 Jan 2017 - Tianjin Shengxi Museum of Fine Arts & Gauguin Gallery Beijing

The main exhibition TRIPLE PARADE 2016 -  Dialogue Across You and Me to Them: Creator, Wearer, Viewer  – Central Traveling Exhibition Represented 110 jewellery designers & artists from 14 countries.

The Triple Parade 2016 international annual exhibition is a cultural exchange which is expanded between China and the rest of the world on a multitude of level, devoted to the hardcore awakening in jewellery design, with a very open and contemporary-oriented approach by focusing on the concept of dialoguing.

The pervious themes were: Triple Parade 2015 – Dialogue across Three Countries, Triple Parade 2014 – Dialogue across Three Generations. This year, the term Dialogue across You and Me to Them: Creator, Wearer, Viewer in our theme is vitally important marks the notion of social interaction. We believe that the significance and multiple capacities of the dialogue mark have not been truly recognized. Each of the three roles in a dialogue, which are briefly introduced in the plate sections devoted to them, addresses one perspective on how  » Dialogue » plays a progressive position in the contemporary jewellery design of our period. Jewellery examines how we define self, integration and segregation, the means used for communication – and how these issues are reflected in creative work.

the artists and designers will be part of this year’s TRIPLE PARADE Central Exhibitions are:
Karin JohanssonPaul DerrezLin Cheung — Dinie Besems — Kim Buck Lauren KalmanEzra Satok-WolmanKatja Prins Joo Hyung ParkSofie BoonsChiara Scarpitti Trinidad ContrerasAisegul Telli — Ana Filipa Braganca — Gular MustafaDukno Yoon Hester Popma-Van De Kolk — Joson Thomson – Juan Harnie Marie-Louise Kristensen –  Marion DelarueMinna KarhuRuta Naujalyte Sangji YunSara Gackowska — Lee Yojae — Lee Myungjoo — Hong Kyunghee — Zixuan Feng — Zheng Yu — Haiming Ren — Dingchen He — Zhicheng  Zhou — Wei Zhou — Jingyao Sun — Ye Zhang — Yiping Zeng — Danyi Zhu — Yuxuan Zhu — Anqi Li — Heng Li — Wenqian Li — Muzi Li — Dongdong Zhuang — Jie Sun — Jing Li — Guangyao Yang — Xiao Liang — Yanli Duan — Hangchen Duan — Jinwei Chi — Zhaokun Wang — Jun Hu — Bai Xie — Yi Zhao — Xinan Yu — Hui Guo — Xiaodai Huang — Zhaodan Zhang — Kui Shu — Shijian Zhao — Peter Rust — Kirsi Manninen — Anne Bader — Shaofei Zhang & Qian Wang — Ying Jiang — Lin Ju — Yin Chang — Wenqi Xu — Hongyu Xu — Yan Li — Wenqian Li — Feiyu Lin — Liyin Wang — Weiming Lu — Ma Lu — Quanxia Chen.

Ra Gallery Selection:   Sam-Tho Duong — Monique Vierling — Julian Steimer — Noon Passama — Thanh Truc Nguyen — Floor Mommersteeg — Bogki Min — Peter Hoogeboom — Mirjam Hiller — Karin Herwegh — Hartog & Henneman — Hilde Foks — Reka Fekete — Sarah Enoch — Sylvia Blickman — Paul Derrez.

K.A.U. COLLECTION Selection: Ted NOTEN — Lucy SARNEEL — Birgit LAKEN –Peter HOOGEBOOM — Willem HONING — Gemma DRAPER — Warwick FREEMAN — Bettina SPECKNER — Marc MONZO — Georg DOBLER.

 at TRIPLE PARADE

at TRIPLE PARADE

 » TRIPLE PARADE 2016 will open its door at 10th NOV in Tianjin in China, it embraced the aspirations in a great ambition, setting up an intensive program consisting of exhibitions, publication, workshops, forum, lecture, which included dialogues with international collaboration partners from Netherlands, United States, United Kingdom, China, Denmark, Spain. The exhibition represented an enormous challenge to everyone involved in purely quantitative terms: with over 260 works by more than a hundred designers and artists from 14 countries. 11 experts from 8 countries have been exclusively invited to be in Tianjin as speaker on the Design Forum. The publication consists of 7 groups of interviews, including 14 experts on board, giving perspectives from education, collecting, creating, curating, wearing, and dealing on contemporary jewellery design. I am confident that it will open up new perspectives on the giant, and I would like to invite all the visitors to discover the greatly relevant designs from a field so full of surprises, with such a future ahead of it. » Jie Sun (founder of Triple Parade)

 at TRIPLE PARADE


 

* Shenxi Art Museum
12 Nancheng street
Nankai District -  Tianjin
CHINA

 

* Gauguin Gallery
Wang Jing S O H O Zhong Xin T 2
chaoyang Qu -  Beijing
CHINA

 TRIPLE PARADE

 

EXPO 'Triple Parade Exhibitions' - SHENGXI Art Museum, Tianjin / Gauguin Gallery, Beijing (China) - 10 Nov. 2016-16 Janv. 2017 dans Aisegul TELLI (TR) 14976538_10211135464690832_2617370637365402107_oEnregistrer

Enregistrer

Enregistrer

12345