BIJOU_CONTEMPORAIN

Bienvenue sur mon blog

  • Accueil
  • > Recherche : sieraad design 2013

29/10/2016

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

Jonathan Hens

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

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

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

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

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

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

 *

Actually

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

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

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

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

 

 

 

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

 

 

Enregistrer

Enregistrer

16/03/2015

After Identity Crisis: Ceci n’est pas “art jewellery” (2/4) by Ezra Satok-Wolman

Classé dans : Ezra SATOK-WOLMAN (CA),Reflexion,www Klimt02 — bijoucontemporain @ 21:39

« For real change to occur, action needs to take place. My intention with “Identity Crisis” was to drop a pebble into the water and hope that some of the ripples turned into waves. It is in that spirit that I am publishing this follow up essay.
(This is the second part of a text that will be published in 4 individual texts. Read the previous article: Part 1 ) »

After Identity Crisis: Ceci n’est pas “art jewellery” (2/4).

There are galleries, fairs, exhibitions, university programs, museum collections and stacks of books dedicated to art jewellery.  Art jewellery has gone global.  So how can art jewellery be dead?  The reality is art jewellery isn’t dead, but it has become unrecognizable.  One of the biggest problems that I see today is that art jewellery has become an “umbrella term,” used to refer to a number of different types of jewellery and philosophies about jewellery that collectively create a fairly schizophrenic personality.  It might be more appropriate to suggest that art jewellery has multiple personalities and may at times present itself as craft jewellery, alternative jewellery, or small scale conceptual art (that may or may not function as jewellery at all).

  • One of the biggest problems that I see today is that art jewellery has become an “umbrella term,” used to refer to a number of different types of jewellery and philosophies about jewellery that collectively create a fairly schizophrenic personality

Art jewellery should be more successful today than it has ever been, yet we have continued to slump even further into decline as the field has grown and as time has passed.  Our tendency has been to look for external reasons for our struggles, but I believe it is time we accept that the problems lie within what art jewellery has come to be, rather than factors that have impacted it.  We can no longer blame an unstable economy for the lack of art jewellery sales because the jewellery market in general is booming.  In a recent article about the Birmingham School of Jewellery’s 125th anniversary, Professional Jeweller Magazine1 reported that the UK has seen consistent growth in the jewellery and watch industry since 2009 valuing it today at £5 billion annually.  Why then has art jewellery struggled so terribly?  The contemporary art world is also booming, and it shouldn’t be so crazy to think that art jewellery should be enjoying similar success.  I can’t help but think that the problem must lie within the realm of art jewellery itself because things seem to be fine in the outside world.

  • The extremist approach to art jewellery has guided artists to become consumed with trying to reinvent jewellery, rather than focus on making jewellery art that other people will both react to and want to wear

The problems that have arisen regarding art jewellery’s sustainability may have more to do with issues that are not fundamentally relevant to jewellery at all, but rather relate to radical ideologies about art jewellery that have heavily influenced trends within the field.  We have allowed extremism and dogmatism to take the reigns and now find ourselves asking how we got here.  It is not that people don’t want to buy art jewellery, but perhaps more likely that people don’t want to buy this art jewellery.  The extremist approach to art jewellery has guided artists to become consumed with trying to reinvent jewellery, rather than focus on making jewellery art that other people will both react to and want to wear.  Looking at the full spectrum of what is produced today under the guise of art jewellery might have you questioning how many artists are capable of actually producing good functional jewellery.  Experimentation seems to take precedence over technique. “Narratives” and “concept” have become far more important than the end result.  Craftsmanship and attention to detail seem to be a thing of the past, and too much of either could have people telling you that you’re not an artist at all.  Ted Noten recently spoke about being criticized for this as an art student in a recent interview with The New York Times2 and was quoted saying; “if you want to be an artist you should have the tools and skills to make something.  If you want to come up with concepts, be a writer.”

While I am a dedicated supporter of art jewellery in all forms, the field could certainly benefit from some distinctions being made between the kinds of art jewellery being produced right now.   As art jewellery has grown and developed, a number of facets have taken shape and the term art jewellery has come to represent a diverse range of things, including at times costume, multi-media installations and performance art.  It may be unfair to say that art jewellery in general has failed or has become irrelevant, because some facets are doing much better than others.  There are certain kinds of art jewellery that will always appeal to the market better than others.  There are tremendous differences between the kind of customer that is looking for a highly conceptual piece of “jewellery art” for their private collection, and the customer that is looking for a piece of art jewellery to wear.  I am fairly confident that the number of customers looking to purchase well made art jewellery that can be worn will always outnumber those looking to buy unwearable or overly conceptual pieces that can not be worn.  For the purposes of clear communication and good marketing, it might not be such a bad idea to represent this kind of highly conceptual work separately altogether.  While there may be a place for conceptual jewellery within the spectrum of art jewellery, to have expectations that it will have success on its own commercially may still be unrealistic.

Beyond highly conceptual jewellery, the need to distinguish between art jewellery and craft jewellery is also crucial.  For too long we have allowed serial and edition craft work to masquerade as art jewellery.  Too many makers have resorted to focussing on multiple “editions” or serial work, which may appeal to requests from galleries for “new collections,” but often devalues the pieces overall.   As more makers attend fairs to exhibit and sell their work, art jewellery has been altered to fit the needs of the wholesale format.  Once again this is very reminiscent of craft jewellery, as artists look for ways to produce inexpensive multiples and work within margins.  The market is changing for galleries too, many of which are now spending a good amount of time in the field attending fairs themselves.  Contemporary art and design fairs have become hotbeds of activity for both artists and galleries, but it’s still too soon to say what kind of support will be cultivated in the form of new followers and collectors.

  •  Ultimately it is the audience or market that determines the value of the art we make.  We can only sell our pieces for what people are willing to pay, if they are willing to pay anything at all. 

I often hear people proclaiming that more art jewellery isn’t purchased because the audience isn’t educated, and doesn’t understand the value of what they are looking at.  I happen to disagree with this statement and have found quite the opposite in my experience.  People who have an interest in art jewellery tend to be quite educated.  They also tend to have both an understanding of, and appreciation for art and craftsmanship.  Ultimately it is the audience or market that determines the value of the art we make.  We can only sell our pieces for what people are willing to pay, if they are willing to pay anything at all.  Regardless of how educated the audience is or isn’t, they directly contribute to the valuation and commercial success or failure of an artist’s work, more so than galleries do.  You can’t fake craftsmanship, and it’s something that people have simply come to expect when it comes to jewellery whether you work in gold, plastic, paper or textile.

  • It may be fair to say that there is currently a lot of good craft jewellery and conceptual art being made by people who call themselves jewellery artists.  But calling something art jewellery and something actually being art jewellery are two very different things.

Art jewellery has changed dramatically over the last decade.  When I think back to what art jewellery was about when I first became interested in it, I remember a vastly different landscape.  Fundamentally speaking, art jewellery was about artists making jewellery.  The art jewellery movement began when artists who were highly skilled jewellery makers, started exploring different approaches to jewellery making that were outside the traditional boundaries of conventional jewellery. These artists experimented with various kinds of materials, forms, and techniques, developing a field that at the time was quite radical.  Art jewellery was about more than stringing together bits and pieces, or assembling collections of found objects.  Using alternative materials, casual construction, and giving the piece a socio-political title was not enough to qualify something as art jewellery.  It may be fair to say that there is currently a lot of good craft jewellery and conceptual art being made by people who call themselves jewellery artists.  But calling something art jewellery and something actually being art jewellery are two very different things.

  • Virtual success is measured by social media ratings which in turn has only fed our need for instant gratification.  In a “fast food” like manner we are constantly bombarded with content, giving us little time to digest between servings.

Before the internet became a mainstream resource and tool for communication, the information available about art jewellery was not only limited, but carefully curated as well.  “Information” came in the form of physical exhibitions, books and magazines.  There were no websites or blogs and therefore information was available periodically and for the most part regionally.  Today we each have our own websites or social media “channels,” and information is made available in real-time.  New work is “published” daily and essentially with little to no filter.  The internet has become the ultimate platform for the work we produce, providing artists with the ability to virtually exhibit and sell their work to a global marketplace.  Virtual success is measured by social media ratings which in turn has only fed our need for instant gratification.  In a “fast food” like manner we are constantly bombarded with content, giving us little time to digest between servings.

The art jewellery spectrum has been stretched beyond imagination.  Sometimes it seems as though artists are merely competing to see who can take jewellery to the furthest points of abstraction, physically and philosophically, while others compete to see who can use or repurpose the most obscure materials or objects in a quest to create the “nouvo-collage” on a pin or a string.  This is a complete departure from what art jewellery is intended to be, and a departure that I attribute in part to extremism.  Extremism has convinced students year after year that in order to succeed as a jewellery artist, they must reinvent art jewellery  and the materials they use to create it.  Extremism has replaced skill and technique with ego and shock value.  While I have seen some very interesting and thought provoking things arise from this extremist approach to art jewellery over the years, I would venture to say that it is work of the “extremist art jeweller” that could be pronounced dead rather than art jewellery in general.  If you look at the ideologies at either end of the “art jewellery spectrum,” what you will find are extreme interpretations of jewellery that may not have much potential for commercial success.

In my opinion, if you remove the craft jewellery, alternative jewellery, and the extreme conceptual jewellery from the mix, there really isn’t a tremendous amount of art jewellery being produced, and much of it probably does quite well in terms of sales.  The “art jewellery umbrella” currently covers a lot of work by default that quite frankly would be more accurately described as something else.  A good example of this dynamic exists at Sieraad Art Fair, the annual event in Amsterdam dedicated to art jewellery.  It was my experience at Sieraad that while there was some art jewellery at the fair, the work was primarily a mix of craft jewellery, alternative jewellery and highly conceptual jewellery.  I believe  Ward Schriver was making the same declaration in his review of the 2013 edition of the fair for Art Jewelry Forum,3 in which he concluded by saying; “If you are keen on seeing, and possibly buying, a great diversity of affordable, “modern” jewelry, you’ll have a field day at Sieraad.”

  • Many artists no longer think enough about who or if anyone will ever wear their jewellery, which has led to a complete disconnect with the wearer

Today’s iteration of art jewellery has been diluted.  Our standards have simply been watered down. Craftsmanship, functionality, and synthesis of concept and form are no longer important when assessing the success or failure of a piece. Photographs and artist’s statements have become more valuable currency than the objects themselves, often obscuring the true nature of the pieces they document, or how well or poorly they are made. The foundation skills necessary for making jewellery  are no longer required to make art jewellery, or so it would seem.  Some groups will tell you that a piece of art jewellery need not function as jewellery at all, as long as the intention exists.  Many artists no longer think enough about who or if anyone will ever wear their jewellery, which has led to a complete disconnect with the wearer.  Artists no longer produce jewellery for people to wear, but rather to build portfolios and develop their own artistic identities.  The wearer or end user has been erased from the equation, and herein lies another one of our critical dilemmas.  Jewellery is something that people need to have a very personal and individual connection with, much more so than art which is generally intended for a broader public audience.  Finding a happy medium can often be the biggest challenge when making art jewellery and must at least begin with a desire to do so.

1 Professional Jeweller – Jan 23, 2015, by Sarah Louise Jordan
http://www.professionaljeweller.com/article-15570-why-birmingham-is-boosting-the-jewellery-industry/

The New York Times – Dec 4, 2014, by Nina Siegal
http://www.nytimes.com/2014/12/05/style/international/ted-noten-jewelry-artist-brings-macabre-art-to-miami.html?_r=1

3 Art Jewelry Forum – Dec 23, 2013, by Ward Schriver
http://www.artjewelryforum.org/conference-fair-reviews/the-sieraad-fair-in-amsterdam

published by Klimt02

02/01/2015

EXPO ‘Genesis, Life & Form Through Different Lenses’ – Klimt02 gallery, Barcelona (ES) – 3 Dec. 2014 – 15 Fevr. 2015

Ezra Satok-Wolman and Wendy McAllister:

Genesis, Life and Form Through Different Lenses

Klimt02 gallery – 3-12-2014/15-01-2015

EXTENDED to FEBR. 15 !

Genesis, Life and Form Through Different Lenses by Ezra Satok-Wolman and Wendy McAllister. -   Exhibition  /  03 Dec 2014  -  16 Jan 2015 - Klimt02 Gallery Barcelona

Genesis: Life and Form Through Different Lenses is a duo exhibition of jewelry by Ezra Satok-Wolman and Wendy McAllister at the Klimt02 Gallery. The concept was born in Barcelona in 2012 after Ezra’s trip to the Sagrada Familia, when he came to realize that Gaudi’s infamous project was the perfect archetype for the macrocosm microcosm concept with nature as the basis for its artistic concepts and many of the structural elements. After seeing Wendy’s work in person for the first time at Sieraad Art Fair in 2013, Ezra realized that they were both inspired by the same subject matter and trying to represent very similar concepts in their work. On that same note, their interpretations are vastly different and the lens paradigm began to evolve into an exhibition concept. Not only did this draw a clear parallel with the Sagrada Familia project, but their subject matter was in line with Gaudi’s artistic motivation, to demonstrate the beauty and wonder of nature’s grand design and its connection to the rest of the Universe.

Ezra Satok-Wolman Brooch: The Mathematical Fingerprint of God, 2012 791 (19k) yellow gold, 750 white gold, silk 5.8 x 5.8 x 1.7 cm Back viewEzra Satok-Wolman Brooch: The Mathematical Fingerprint of God, 2012 791 (19k) yellow gold, 750 white gold, silk 5.8 x 5.8 x 1.7 cm Back view

Ezra Satok-Wolman Necklace: Genesis, 2014 3d printed nylon, meteorite, 500 palladium, 917 white gold, silk 11 x 11 x 11 cm Unique piece On displayEzra Satok-Wolman Necklace: Genesis, 2014 3d printed nylon, meteorite, 500 palladium, 917 white gold, silk 11 x 11 x 11 cm Unique piece

Wendy McAllister Necklace: Arctic Summer, 2014 Vitreous enamel, copper, oxidized sterling silver 21.95 x 21.95 x 6.35 cmWendy McAllister Necklace: Arctic Summer, 2014 Vitreous enamel, copper, oxidized sterling silver 21.95 x 21.95 x 6.35 cm

 

Wendy McAllister Brooch: Polar Vortex Vitreous enamel, copper, oxidized sterling silver 13.3 x 12.0 x 4.5 cmWendy McAllister Brooch: Polar Vortex Vitreous enamel, copper, oxidized sterling silver 13.3 x 12.0 x 4.5cm

Ezra Satok-Wolman Necklace: Nebula, 2014 3d printed nylon, 750 white gold, silk 10 x 10x 10 cm Unique piece On displayEzra Satok-Wolman Necklace: Nebula, 2014 3d printed nylon, 750 white gold, silk 10 x 10x 10 cm Unique piece On display

Ezra Satok-Wolman Earrings: Nautilus Galaxies, 2011 750 gold, natural violet diamonds 2.7 x 2.75 x 6.0 cm Hammered, fabricatedEzra Satok-Wolman Earrings: Nautilus Galaxies, 2011 750 gold, natural violet diamonds 2.7 x 2.75 x 6.0 cm Hammered, fabricated

Wendy McAllister Brooch: Amplus Vitreous enamel, copper, oxidized sterling silver with 24k gold leaf 4.25 x 3.25 x 1.33 inches Alternative viewWendy McAllister Brooch: Amplus Vitreous enamel, copper, oxidized sterling silver with 24k gold leaf 4.25 x 3.25 x 1.33 inches Alternative view

Ezra Satok-Wolman Brooch: The Perpetual Motion of the Universe, 2013 950 Palladium, 791 (19k) yellow gold, 750 white gold, natural coloured diamonds 6 x 6 x 2 cm Awarded at: Selected finalist for the 2014 Friedrich Becker Prize Smithed, fabricated Front viewEzra Satok-Wolman Brooch: The Perpetual Motion of the Universe, 2013 950 Palladium, 791 (19k) yellow gold, 750 white gold, natural coloured diamonds 6 x 6 x 2 cm Awarded at: Selected finalist for the 2014 Friedrich Becker Prize Smithed, fabricated Front view

Ezra Satok-Wolman Brooch: Cosmos, 2014 Carbon fibre, 500 palladium, 750 gold, 917 gold, diamonds 5.6 x 5.6 x 0.9 cm Front viewEzra Satok-Wolman Brooch: Cosmos, 2014 Carbon fibre, 500 palladium, 750 gold, 917 gold, diamonds 5.6 x 5.6 x 0.9 cm Front view

Blue Trillium, 2014 Fractal image, generated with 'Blue Penta-Hydra' by Wendy McAllister, brooch 2014 Original photograph by Victor WolanskyBlue Trillium, 2014 Fractal image, generated with ‘Blue Penta-Hydra’ by Wendy McAllister, brooch 2014 Original photograph by Victor Wolansky

 

Klimt02 Gallery
Riera de Sant Miquel, 65
08006 -  Barcelona
SPAIN

tel 00 34 933687235klimt@klimt02.net

27/10/2014

SIERAAD 2014 – International Jewellery Art Fair – Amsterdam (NL) – 6-9 Nov. 2014

SIERAAD  6-9 nov 2014 – Amsterdam


List of participants 2014

sieraad 2014

 

THE 13TH EDITION OF SIERAAD ART FAIR (SAF) WILL BE THE MOST INTERNATIONAL ONE YET. SAF IS THE ONLY PLATFORM IN THE NETHERLANDS WHERE PROFESSIONAL CONTEMPORARY JEWELLERY DESIGNERS FROM HOME AND ABROAD SELL THEIR WORK DIRECTLY AND IN PERSON. TO ADD LUSTRE TO THIS EDITION OF SAF THERE WILL BE SOME SPECIAL EVENTS AND STRIKING PRESENTATIONS.

La liste des participants commence somptueusement !!! : « Erato Kouloubi, ALCHIMIA Jewellery school in Florence, Alina Carp, Andrea Coderch Valor ……. Catalina Brenes, Catalina Gibert,  …. Wu Ching-Chih, David Choi ……….. Dora Haralambaki, Edith Bellod, ……… Gabrielle Desmarais, George Giannoutsos, etc etc etc pour ne citer que mes préférés ……… la Royal Academy of Fine Arts d’Anvers … (voir la liste (lien ci-dessus)

ceramic jewellery Dora Haralambaki.ceramic jewellery Dora Haralambaki - at stand 84

George GiannoutsosGeorge Giannoutsos at stand 1

 Erato Kouloubi  -  Deconstructing the Faith Ring / Sterling Silver www.eratojewellery.comErato Kouloubi  -  Deconstructing the Faith Ring / Sterling Silver  at stand 1

Niki Stylianou presents " Vessels and Matter II: Metaphors on Courtship, Intimacy and Domesticy" Necklace - Hand cut rubber, silk thread, watercolorNiki Stylianou –  » Vessels and Matter II: Metaphors on Courtship, Intimacy and Domesticy » Necklace – Hand cut rubber, silk thread, watercolor – at stand 1

Maria Tsimpiskaki, Corruption collection, brooch, 2014Maria Tsimpiskaki, Corruption collection, brooch, 2014  at stand 1

SO, stand 1 is a « GREEK » stand, with : Maria Tsimpiskaki - Niki Stylianou Erato Kouloubi   & George Giannoutsos

Catalina Gibert | Serra_2014 NecklaceCatalina Gibert - Serra_2014 Necklace – at stand 41B

Andrea Coderch Valor - 2011. Silver, wood (bois de violet), silk.Andrea Coderch Valor - 2011. Silver, wood (bois de violet), silk.  – at stand 41A

Liisa Hashimoto -  5set Red Seed Ring - at SIERAAD 2014Liisa Hashimoto (HINGE Dept.) -  5set Red Seed Ring – at stand 48

Cécile Bertrand - SIERAAD 2014Cecile Bertrand – broche « GUN » – at stand 74
stand 74 avec la « dream team » : Cécile BertrandSylvie Jousset & Isabelle Carpentier

Sylvie Jousset -  "catch me cactus" bracelet - Argent, maillechort, vrais cactus et plantes grassesSylvie Jousset -  « catch me cactus » bracelet – Argent, maillechort, vrais cactus & plantes grasses - at stand 74

Nevin Arig brooch-simple5 - at SIERAAD 2014Nevin Arig – brooch simple5 – at stand 71

SIERAAD 2014 International Jewellery Art Fair | Gabrielle DesmaraisGabrielle Desmarais at stand 75,
sharing with Isabelle Busnel, Edith Bellod and  Eun Mi Kwon

AND

they made a collective necklace !

sieraad 2014 - collective necklace - Isabelle Busnel sharing a stand with Mia Kwon, Gabrielle Desmarais and Edith Bellod and this is our collective necklace Isabelle Busnel sharing a stand with Mia Kwon, Gabrielle Desmarais and Edith Bellod and this is our collective necklace

Eun Mi Kwon - spring on skin #07 - 2014 porcelaine Eun Mi Kwon (Mia Kwon jewellery) – spring on skin #07 – 2014 – porcelaine  at stand 75

SIERAAD 2014  International Jewellery Art Fair | Isabelle BusnelIsabelle Busnel - neckpiece – at stand 75

Edith Bellod Necklace  Kaléidoscope Necklace Bouton 3 rows - at SIERAAD 2014Edith Bellod – at stand 75

CHING CHIH WU - SIERAAD 2014Wu ching-chih- at stand 18

 Judith Bloedjes - ring precious triplet 2014 - porcelaineJudith Bloedjes – ring precious triplet 2014 – porcelaine

 

SIERAAD 14 -  Catalina BrenesCatalina Brenes  at stand 64

Alina Carp - broochAlina Carp – brooch – at stand 25Lauren Markley - SIERAAD 2014Lauren Markley -at stand 44

SIERAAD -  Raewyn Walsh (- NTJ)Raewyn Walsh Vessel pendant, 2012 NZ, silver, epoxy, silk thread

Eily O'Connell at SIERAAD 2014Eily O’Connell-  at stand 31

Han-Chieh Chuang - red brick brooch serie - silver, copper, enamel, steel wireHan-Chieh Chuang – red brick brooch serie – silver, copper, enamel, steel wire – at stand 38

Silvia Beccaria - at stand 100Silvia Beccaria - gorgiera Splendor – 2011 -  at stand 100

Jeehyun ChungJeehyun Chung

papallona - Karolina Bik -  'graphium' ring - peridot, argent oxydéKarolina Bik -  ‘graphium’ ring – peridot, argent oxydé

Linda Ezerman - Necklace with a storyLinda Ezerman - Necklace with a story

Linda Ezerman - Sea Seed Brooches - SIERAAD 2014Linda Ezerman - new work ! – Sea Seed Brooches – Balsawood, pigment(powder), laquer and stamen -
SIERAAD 2014 at stand 53

SIERAAD 2014 --Jillian-MooreJillian Moore – at stand 33

maria diana, bracciale perle, 2013  (porcelain, stoneware, gold) ph federica cioccoloniMaria Diana, bracciale perle, 2013  (porcelain, stoneware, gold) – at stand 67

Mariko Sumioka -Mariko Sumioka

Merav O. Roth JewelryMerav O. Roth Jewelry

YUNG HUEII CHAO (TAIWAN), Bracelets (2010)  Nilckel silver I   Window Series  8 X 10 X 3 cm (each)   Selected Artist ,Talente 2011Yung Huei, Chao (Taiwan). « Windows Series ». Nickel silver Bracelets (2010) 

stand of Royal Academy of Fine Arts d’Anvers, with Vincent Verstrepen, Elitsa Macheva, Annika Wirken, Elya Tettelin, Josefine Mass, Mara Gabriela Grigoriu :

Annika Wirken -  ROYAL ACADEMY OF FINE ARTS ANTWERP - Annika Wirken

  Vincent Vestrepen - ROYAL ACADEMY OF FINE ARTS ANTWERP   Vincent Vestrepen

Josefine Mass - ANTWERPJosefine Mass

stand of Alchimia Contemporary Jewellery School, (stand 101), with :
Daria Borovkova (Russia), Amani Boudargham (Lebanon), Francesco Coda (Italy), Elena Gil (Costa Rica), Sana Khalil (Lebanon),  Daniela Malev (Germany), Lilian Mattuschka (Austria), Carla Movia (Italy), Federica Sala (Italy), Maria Ignacia Walker (Cile)

Alchimia Contemporary Jewellery School - with here Federica Sala neckpieceFederica Sala neckpiece

María Ignacia WalkerMaría Ignacia Walker

Klonneplein 1,
1014DD Amsterdam
tel +31 20 586 0710

 

 

 

 

 

 

 

 

17/02/2013

Attache moi !

Non, je ne vous parlerai pas d’un film d’Almodovar, mais de bijoux ….

…………. ou se passer la corde au cou ……………..

Hitchcockune touche d’humour ………… à la Hitchcock bien sûr !

Catalina Gibert L'mon_2012_Necklace Catalina Gibert L’mon 2012 Necklace

Catalina Gibert L'mon_2012_NecklaceCatalina Gibert  L’mon 2012 Necklace

Mia Maljojoki - Life is juicy  http://www.galerie-spektrum.de/bilder/lifeisjuicy%2009.jpgMia Maljojoki – Life is juicy (galerie-spektrum) 2013

Necklace 2010. Herend Porcelain, hemp rope – Hildur Ýr Jónsdóttir.Hildur Ýr Jónsdóttir – Necklace 2010. Herend Porcelain, hemp rope

Eleanor Bolton - Large Knot necklace on modelEleanor Bolton Large Knot necklace on model

Satomi Kawai, Connection and Division Necklace, 2010 - http://www.satomikawai.com/Satomi Kawai   connection-division neckIII 

Satomi Kawai - Symbiosis - Necklace Copper oxidized, pigment applied, fabric, and thread  http://www.alternatives.it/gallery/designer/Kawai/6.jpgSatomi Kawai – Symbiosis – Necklace Copper oxidized, pigment applied, fabric, and thread   Willemijn de Greef Halssieraad 'Leguaan' uit serie: Zuiderzeewerken II, 2009, Collectie TextielmuseumWillemijn de Greef. Weavings-Series. Necklace “leguaan”. hemp rope, yarn, silver [Halssieraad 'Leguaan' uit serie: Zuiderzeewerken II, 2009, Collectie Textielmuseum]

Necklace made of rope and porcelain Willemijn de GreefWillemijn de GreefNecklace made of rope and porcelain

willemijn de greefWillemijn de Greef - A few years back designers were invited by the Audex Textiel Museum in Tilburg (NL) to experiment with making yarn from natural materials. the project was named « One-Sheep Sweaters ». Jewelry designer Willemijn de Greef made thread and yarn from nettle fibers to created this stunning oversized necklace (2012)

Jorge Manilla - PARASITE OF YOUR LOVEJorge Manilla – « Parasite of your love »

Jorge Manilla - serie 'metamorfosis divinas'Jorge Manilla – serie ‘metamorfosis divinas’

Jenny Klemming.Jenny Klemming

Jenny Klemming necklaceJenny Klemming

Grace Hamilton ( We are a group of eight graduating students from Manchester school of art, coming from the practices of embroidery and textiles) Grace Hamilton (UK) -  handcrafted using traditional crochet and knotting techniques (We are a group of eight graduating students from Manchester school of art, coming from the practices of embroidery and textiles)

Fern Jellyman (Central St Martins) neckpiece  Cotton & poyester yarnFern Jellyman  (Central St Martins) neckpiece  Cotton & poyester yarn

Fern Jellyman neckpieces Cotton & poyester yarn, anodised aluminium climbing componentsFern Jellyman neckpieces Cotton & poyester yarn, anodised aluminium climbing components

14/02/2013

Enfoncer le CLOU ………….. NAILS (you know …,but not nails…)

Enfoncer le CLOU ………….. ou … « DES CLOUS ! » ?

ne dit-on pas aussi « lui river son clou » ? donc, définitivement,  je vous « rive votre clou » !! :  de toute façon, et de façon certaine, le clou est à la base du bijou. Ne parle-t-on pas de « clous d’oreille » ? donc, voici le ….. « clou du spectacle »  (avant que tout cela ne soit « mis au clou » ………  vous qui avez l’air de penser que cela « ne vaut pas un clou » !) (cf définitions du mot « clou »)

* (nails, les « clous », but NOT the nails « les ongles » …)

Rosa Borredá - antique nails neckpiece - (jewelry with nails) #nails #clousRosa Borredá – antique nails neckpiece

Rosa Borredá - (jewelry with nails) #nails #clousRosa Borredá  – ring

Rosa Borredá (jewelry with nails) #nails #clousRosa Borredá Jewellery (detail)

Rosa Borredá Jewellery - ring (jewelry with nails) #nails #clousRosa Borreda – ring with nails

Rosa Borredá - ring - (jewelry with nails) #nails #clousRosa Borreda – ring

Gilles Jonemann - France, 2003  - bague (ring) fer forgé (jewelry with nails)Gilles Jonemann – France, 2003  – bague (ring) fer forgé

SIERAAD 14 - Vincent Vestrepen - ROYAL ACADEMY OF FINE ARTS ANTWERP -  ‘A TOUCH OF STEEL’ (jewelry with nails): SIERAAD 14 - Vincent Vestrepen - ROYAL ACADEMY OF FINE ARTS ANTWERP -  ‘A TOUCH OF STEEL’  Vincent Vestrepen – 2014 ROYAL ACADEMY OF FINE ARTS ANTWERP –   ‘A TOUCH OF STEEL’ 

Katerina Asam, pendant, nails, cord, 2007 (Alchimia school) (jewelry with nails)Katerina Asam, pendant, nails, cord, 2007 (Alchimia school)

Iris Eichenberg - From the Series X, 2013, necklaces, wood, iron/ copper nails, copper chain (jewelry with nails)Iris Eichenberg - From the Series X, 2013, necklaces, wood, iron/ copper nails, copper chain

Marine Stampfli - (jewelry with nails) #nails #clousMarine Stampfli – nails jewelry

Marine Stampfli - nails bracelet - (jewelry with nails) #nails #clousMarine Stampfli nails bracelet

Rui Kikuchi Physis Neckpiece (Eucalyptus macrocarpa)  Old steel nails, 18K gold  25cm diametre  2009 (jewelry with nails)Rui Kikuchi Physis Neckpiece (Eucalyptus macrocarpa)  Old steel nails, 18K gold  25cm diam- 2009

Janos Gabor VARGA- Nail ring -- iron tube, nails, hard model wax (wax only used to impregnate the gaps between the nails -- does not hold anything) (jewelry with nails)ring 210 in progress – nail ring 2010 Par « Blind Spot Jewellery » (Janos Gabor Varga) – « this ring is a forging experiment and I wasn’t sure if it works. As I forced the nails into the ringhead they naturally took a twisted configuration. Untill the very last moment I wasn’t sure if they will be fixed but at the end they became a massive unit. « ‘Blind Spot Jewellery’ (János Gábor Varga) ring 210 – nail ring – 2010

 Sein auréolés : Sophie HANAGARTH - Des clous plantés dans un disque métallique s’assemblent et se superposent pour former un «sein en armure». - (jewelry with nails) #nails #clousSophie HANAGARTH – « Sein auréolés » – Des clous plantés dans un disque métallique s’assemblent et se superposent pour former un «sein en armure».

Sophie Hanagarth - Semence de tapissier, collier, semence, 1996 - -Tacks-Oats, necklace, nails, 1996 - (jewelry with nails) #nails #clousSophie Hanagarth – « Semence de tapissier », collier, semence, 1996 – -Tacks-Oats, necklace, nails, 1996

Sophie HANAGARTH - - Traquenard, bracelet, fer pur forgé,  -clous de fer à cheval, 2009-  -Trap, bracelet, hand forged pure iron,  -horseshoes-nails, 2009- (jewelry with nails)Sophie HANAGARTH – - Traquenard, bracelet, fer pur forgé, clous de fer à cheval, 2009-  -Trap, bracelet, hand forged pure iron,  -horseshoes-nails, 2009 Catalina Brenes ring - "Belong" / ring / silver 925, iron screw and a ruby / 2010 / series piece. (edited 10 copies) .... www.catalinabrenes.comCatalina Brenes ring « belong » silver 925, iron screw and a ruby / 2010

Viktoria Munzker - "New inferno" - Halskette, 72 cm lang -   Baumwollfaden, alte Sargnägel   2010 - (jewelry with nails) #nails #clousViktoria MunzkerNew inferno – Halskette, 72 cm lang -   Baumwollfaden, alte Sargnägel   2010 Viktoria Munzker - New inferno "No way out" Brosche, 13 cm lang - Silber, Peel-off maske, Sargnagel, Baumwollfaden  2010 -   (jewelry with nails) #nails #clousViktoria Münzker - Brooch: sewed material, old rusty nail and silver -  « New inferno » « No way out » Brosche, 13 cm lang – Silber, Peel-off maske, Sargnagel, Baumwollfaden  2010

Viktoria Munzker - New inferno -  - Sorrow - Anhänger, 11 x 4 x 4 cm    Sargnagel, Gold, Kunststoff mit Copal (Räucherwerk), Samtpuder    2010 - (jewelry with nails) #nails #clousViktoria Munzker - New inferno -  – Sorrow – Anhänger, 11 x 4 x 4 cm    Sargnagel, Gold, Kunststoff mit Copal (Räucherwerk), Samtpuder    2010

Phillip Sajet (earrings with nails)Philip Sajet earrings... lovely use of nails (jewelry with nails)

Philip Sajet earrings with nails (on right, gold, amethysts, nails)

Philip Sajet earrings -  argent niellé, attache en or, clous en fer (jewelry with nails)Philip Sajet earrings with nails -  argent niellé, attache en or, clous en fer (Galerie Diane & Eric Lhoste)

Philip Sajet earrings with nailsPhilip Sajet earrings with nails – (Ornamentum gallery)

Susan Ewington - 'small snow' earrings, sterling silver, glass, steel nails (jewelry with nails)Susan Ewington (AU) – ‘small snow’ earrings, sterling silver, glass, steel nailsFlorence JAQUET - "Kipik" -  Collier - Clous (nails), toile et fil de coton - Pièce unique - 2007  http://www.organiques.ch/images/colliers/kipik.jpg  (jewelry with nails)Florence Jaquet – «Kipik»  Collier – Clous (nails), toile et fil de coton – Pièce unique – 2007

« Dans un monde dominé par le désir de plaire, la séduction peut parfois être ressentie comme une obligation à laquelle l’on aimerait pouvoir se soustraire.
Ce collier à clous a donc été spécialement conçu pour les esprits indépendants, les solitaires heureux et pour toutes les personnes qui ne souhaitent tout simplement pas faire de rencontres.
Il envoie un message clair et fort pour dire «Ne m’approchez pas». Idéal pour les soirées pesantes, il est particulièrement indiqué lors de rendez-vous ennuyeux et convient également lors d’une rupture amoureuse. »

Karl Fritsch nail ringsKarl WHO ?????????????????????? Silver, crystal, 2011 (Karl Fritsch of course !!) (jewelry with nails)

Karl Fritsch  nail rings (on right : Silver, crystal, 2011)

Contemporary New Zealand Jewellery by Karl FritschKarl Fritsch ring with nails – 2010

Karl Fritsch  Screw ring  2010  silver, nails, screws  6.0 x 4.0 x 4.0 cm  Collection of the artist  © Karl Fritsch  Photo: Karl FritschKarl Fritsch  « Screw ring »  2010  silver, nails, screws  6.0 x 4.0 x 4.0 cm  Collection of the artist  © Karl Fritsch  Photo: Karl Fritsch

Karl Fritsch  ring (jewelry with nails)Karl Fritsch ring with nails

Karl Fritsch Ring: Untitled 2012 Silver, steel, cubic zirconiaKarl Fritsch Ring: Untitled 2012 Silver, steel, cubic zirconia

Karl Fritsch ring (jewelry with nails)Karl Fritsch ring

Bernhard Schobinger (jewelry with nails)Bernhard Schobinger ring

Sofia Bjorkman "natural born jewellery" (jewelry with nails)Sofia Bjorkman « natural born jewellery »

Lisette Colijn – necklace « silvernails » - silver 2008 (jewelry with nails) Lisette Colijn  – necklace « silvernails » - silver 2008

Alina Alamorean - (jewelry with nails) #nails #clousAlina Alamorean

ALINA_ALAMOREAN (jewelry with nails)Alina Alamorean

Alexandra Chaney - tetanophobiaAlexandra Chaney – tetanophobia

Alexandra chaney tetanofobia - colar- (jewelry with nails)Alexandra Chaney – tetanophobia (detail) Antje Stolz -   brooch (jewelry with nails) #nails #clousAntje Stolz -   brooch

Antje Stolz -   brooch 2007, coal, nails (silver), rubber thread, oxidised silver (jewelry with nails) #nails #clousAntje Stolz -   brooch 2007, coal, nails (silver), rubber thread, oxidised silver
Bas Bouman (NL) – « protector »-2007- oak, iron nails (jewelry with nails)Bas Bouman (NL) – « protector »-2007- oak, iron nails
Anabell's jewelry  colgantes, corteza de palmera. (jewelry with nails) #nails #clousAnabell‘s jewelry  colgantes, corteza de palmera
Mae Alandes  -  MINIMUM II. Plata. - earrings (jewelry with nails) #nails #clousMae Alandes  -  MINIMUM II. Plata. – earrings
Mae Alandes - Clavos de cobre y cierres de pin de latón bañados en plata

Mae Alandes  365. Clavos de cobre y cierres de pin de latón bañados en plata.

Mae Alandes  365. Clavos de cobre y cierres de pin de latón bañados en plata.    Texto: Extracto de « La Poinçoneuse » Bernard Heids Leck’s    Comme chaque matin  Comme chaque matin  Comme chaque matin  Comme chaque matin  (…)  Como cada mañana  Como cada mañana  Como cada mañana  Como cada mañana  (…)

kathleen hennemann - beton - http://www.khxx.com/index_flash.html  (jewelry with nails)Kathleen Hennemann beton serie rings

kathleen hennemann - symbole -  #nails #clous (jewelry with nails) Kathleen Hennemann – symbole ring

Kathleen Hennemann - symbole -  #nails #clousKathleen Hennemann – symbole ring

Brooch | Pat Flynn.  22kt gold, diamonds and iron.  ca. 1993   Pat Flynn – Brooch – 22kt gold, diamonds and iron.  ca. 1993 

Pat Flynn - His pairing of rusted nails and diamonds executed with flawless gold mechanisms and details (jewelry with nails)Pat Flynn -  bracelets – rusted nails and diamonds executed with flawless gold mechanisms and details 

Akiko Kurihara - “Nail” FlourishRing in oxidised silver 360£  (jewelry with nails)Akiko Kurihara – “Nail” FlourishRing in oxidised silver

Akiko Kurihara - Brooch: Nails, 2008 Oxidized Silver Photo: © Tanel Veenre (jewelry with nails)Akiko Kurihara – Brooch: Nails, 2008 Oxidized Silver Photo: © Tanel Veenre

  New Pieces | AndyCooperman.com (jewelry with nails) Andy Cooperman -  New Pieces – commission using antique square cut nails

nailed rings by Liron Loval  nailed rings by Liron Loval

Liron Loval’s artistic foot steps since her first year student at the Jewelry Design Department at the Shenkar College. (jewelry with nails): Liron Loval’s artistic foot steps since her first year student at the Jewelry Design Department at the Shenkar College. (jewelry with nails)Liron Loval’s artistic foot steps since her first year student at the Jewelry Design Department at the Shenkar College. « experiment with combinations of wood and metal, using nails, screws, and wood. »

Nadine Kuffner -  EXPO "Précieux passages" - 18-28 sept2013, Bib. Forney Paris
Nadine Kuffner -  (EXPO « Précieux passages » – CIRCUITS BIJOUX – 18-28 sept2013, Bib. Forney Paris)

final result ?

OUCH !

perhaps need these rings ?

Band-Aid Rings by Michelle Lopez -- Used bandaids never looked so good.Band-Aid Rings by Michelle Lopez

 

 

 

 

07/01/2013

EXPO ‘New Nomads. New Traditional Jewellery. Edition 2012′ – MMKA Museum, Arnhem (NL) – 24 Nov. 2012 – 27 Janv. 2013

(cf SIERAAD Art Fair 2012 – Amsterdam – 1–4 Nov. 2012)

The Museum of Modern Art Arnhem invites you to the opening of the exhibition New Nomads on Friday 23 November at 3pm. Isabella van den Bos, jury member New Traditional Jewellery, jewellery collector and chair of the Foundation Art in Business, will open the exhibition.

New Traditional Jewellery edition 2012 at the MUSEUM of MODERN ART IN ARNHEM in the Netherlands. The exhibition shows 37 beautiful pieces of jewellery from over 14 countries, This year’s theme was NEW NOMADS, contemporary jewellery designers took the traditional jewellery of for instance nomads, pilgrims, explorers, world travellers, refugees and colonists, as the starting point for new designs.

Each edition of the biannual international design competition New Traditional Jewellery has a different theme. This year’s theme is New Nomads. Contemporary jewellery designers take the traditional jewellery of for instance nomads, pilgrims, explorers, world travellers, refugees and colonists, as the starting point for new designs. The jury selected five winners from a group of 300 competitors. Contemporary themes as globalisation and digitisation can be found in many of the designs. Personal stories, family history and local traditions are often used as source of inspiration. The exhibition consists of 37 pieces of jewellery from more than 14 countries, including Israel, Mexico, China, New Zealand and The Netherlands.

————-

2 WINNERs 2012 New Traditional Jewellery Edition : Sang Hee Park & Hester Popma van de Kolk

3 Student WINNERs 2012 New Traditional Jewellery Edition : Patricia Dominques, Maryvonne Wellen & Juliane Kessler

A reflection on the preservation of worldwide cultural heritage, on the reassessment of symbol bearers, on the creation of new traditions and on the simultaneous revival of old ones in a new form, was the purpose of this year’s” New Traditional Jewellery” contest with the title “New Nomads”.

Hester Popma van de Kolk  Necklace: Wearable Home 2012  Chips from sim cards, credit cards, mobile phone cards, yarn  two-sided necklace  WINNER 2012 New Traditional Jewellery Edition Hester Popma van de Kolk  Necklace: Wearable Home 2012  Chips from sim cards, credit cards, mobile phone cards, yarn  two-sided necklace  WINNER 2012 New Traditional Jewellery Edition

Hester Popma-van de Kolk, NL - “Wearable Home” – 2-sided necklace  - Chips from sim cards, credit cards and mobile phone cards, yarn -
On the underside the chips are woven together with yarn to form a flexible square mat. One side is decorated, the other is gold. The yarn remains visible as a reference to the contacts that are made using chips.
This necklace is only done justice when it is worn”, says the jury. “In several, playful ways things are hidden and things are made visible, and at all times only one side of the necklace is visible. The decorated side refers to the issues of the day: time, communication, money. The golden side (the back of the chips) calls up associations of illustrious civilizations, like the Egypt of the pharaohs and the Mayas. At the same time the chips contain information not visible to the naked eye. This necklace is a bridge in time”.

Hester Popma van de Kolk  Necklace: Wearable Home  Chips from sim cards, credit cards, mobile phone cards, yarn  two-sided necklace  WINNER 2012 New Traditional Jewellery Edition Hester Popma van de Kolk  Necklace: Wearable Home  Chips from sim cards, credit cards, mobile phone cards, yarn  two-sided necklace  WINNER 2012 New Traditional Jewellery Edition

 Juliane Kessler  Brooch: Traffic Sign 2012  Aluminium, steel  Student WINNER 2012 New Traditional Jewellery Edition Juliane Kessler  Brooch: Traffic Sign 2012  Aluminium, steel  Student WINNER 2012 New Traditional Jewellery Edition

Juliane Kessler – Title: Traffic sign (brooch)   Material: aluminium, steel
Juliane Keßler: ” Some animals roam the world, using the currents of the wind and the sea for transport. We, the new nomads, consume a lot of fossil energy for our fast progress. Overall, economic efficiency dominates. I oppose this by recycling old traffic signs made of aluminum. Traffic signs regulate movements of people. It takes a lot of energy to transform this aluminum into jewellery with guilloches.”

 

 

MMKA
Utrechtseweg 87
6812 AA – Arnhem
Netherlands
Telephone: +31(0)26 377 53 00
Fax: +31(0)26 377 53 53

website: www.mmkarnhem.nl
mail: info@mmkarnhem.nl

25/10/2012

SIERAAD Art Fair 2012 – Amsterdam – 1–4 Nov. 2012

SIERAAD Art Fair, international jewellery design fair – 01.Nov.2012 – 04.Nov.2012

SIERAAD Art Fair, international jewellery design fair(ring by Serin Oh from Korea, one of the winners of the biennial international design contest New Traditional Jewellery 2010)

This year the poster will feature a ring by Serin Oh from Korea, one of the winners of the biennial international design contest New Traditional Jewellery 2010: True Colours. After the great success of last year another delegation of Korean contemporary jewellery designers will be present at the fair this year – definitely something to look forward to because in our Western eyes these artists give a unique interpretation of their cultural history.

 Pieces from Serin Oh from KoreaPieces from Serin Oh

SIERAAD International Jewellery Art Fair | Vivian MellerVivian Meller brooches

Ute van der Plaats, porselein, zilver en katoen - at SIERAAD ART FAIRUte van der Plaats, porselein, zilver en katoen
Kika Alvarenga, ring silver green turmalines - at SIERAADKika Alvarenga, ring – silver green turmalines
Lien Hereijgers  VOSTOKRING - at SIERAADLien Hereijgers  VOSTOKRING
Sound jewellery of ceramics, Audiowear consists of a series of musical jewellery made of ceramics, inspired by musical instruments like flutes and xylophones. It is a unique project of Elasticbrand, a design studio in Brooklyn, NY run by the artistic duo Arjen Noordeman and Christie Wright. - at SIERAADSound jewellery of ceramics, Audiowear consists of a series of musical jewellery made of ceramics, inspired by musical instruments like flutes and xylophones. It is a unique project of Elasticbrand, a design studio in Brooklyn, NY run by the artistic duo Arjen Noordeman and Christie Wright
TZURI GUETA tour du cou chardon -  His organic/futuristic jewellery in silicones refer to biology, neurons, algae and plants. He himself calls it ‘lace fed by silicones’, and he took out a patent on his invention. He also designs fabrics using this unique process which he has sold to all the great couturiers: from Gaultier to Armani and from Vuitton to Dior. His latest achievement is the collaboration with French couturier Stephane Rolland for the 2013 fall/winter collection - at SIERAADTZURI GUETA tour du cou chardon -  His organic/futuristic jewellery in silicones refer to biology, neurons, algae and plants. He himself calls it ‘lace fed by silicones’, and he took out a patent on his invention. He also designs fabrics using this unique process which he has sold to all the great couturiers: from Gaultier to Armani and from Vuitton to Dior. His latest achievement is the collaboration with French couturier Stephane Rolland for the 2013 fall/winter collection
 Linda Ezerman  Necklace, handmade, unique piece,felt, kelp, miyuki beads, resin, rubber, ink - at SIERAADLinda Ezerman  – stand 28 – Necklace, handmade, unique piece  from the series ‘tide land wet beach caught by seaweed’, felt, kelp, miyuki beads, resin, rubber, ink
Uli RAPP at SIERAAD Art fair 2012, stand 52Uli Rapp, stand 52
Xinrui (Sherry) Yu - at SIERAADXinrui (Sherry) Yu
Alice Bo-Wen Chang, stand 55 (SIERAAD Art Fair)Alice Bo-Wen Chang, stand 55
Stefania Lucchetta (SIERAAD Art Fair)Stefania Lucchetta
Jillian Moore (SIERAAD Art Fair)Jillian Moore
Ute Decker -  snapshot from the bench with new arm sculptures by ute decker for Sieraad, Amsterdam, 1 - 4 Nov. www.sieraadartfair.comUte Decker – snapshot from the bench with new arm sculptures by ute decker for Sieraad, Amsterdam stand 27

Uk Collect_ive stand 35, a new generation of UK Art Jewellers, with Farrah Al-Dujaili –  Laura Bradshaw Heap Melanie CodarinKatie LeesYu-Ping LinGrace PageNatalie SmithAnna Wales

Katie Lees (SIERAAD Art Fair, Uk Collect_ive stand 35, a new generation of UK Art Jewellers)Katie Lees

 Farrah Al-Dujaili Brooch 2011Farrah Al-Dujaili Brooch 2011 -  Copper, enamel paint, watercolour, pencil, pastel – Dimensions: 14cm x 8cm x 5cm

 

SIERAAD 2012
Gasholder WesterGasfabriek
Klönneplein 1
1014 DD – Amsterdam – Netherlands
Telephone: 00 31 (0)33 4337009
website: www.sieraadartfair.com
mail: aberens@sieraadartfair.comand on FB : https://www.facebook.com/pages/SIERAAD-Art-Fair-international-jewellery-design-fair/106391316050449?ref=hl

ALL PARTICIPANTS here

with, among them :

Alchimia Contemporary Jewellery School in Firenze Italy:
Valentina Caprini IT — Andrea Coderch Valor ES — Patrick Davison GB — Catalina Gibert Nadal ES —  Sam Hamilton IR — Dinah Lee USA — Weronika Marek PL — Izabella Petrut RM — Giulia Savino IT — Anna Helena van de Pohl de Deus USA

 

‘NEW NOMADS’ New Traditional Jewellery 2012

More Info: http://www.newtraditionaljewellery.com

exhibition New Nomads

exhibition New Nomads will be shown during SIERAAD Art Fair, 1 – 4 November 2012, in the Gashouder, WesterGasfabriek, Amsterdam  www.sieraadartfair.com 

For the 2012 design contest and exhibition the professional jury of New Traditional Jewellery (NTJ) has chosen the theme ‘NEW NOMADS’, because both literally and figuratively this theme offers many possibilities for inspiration.

NEW TRADITIONAL JEWELLERY, international jewellery design contest - JURY (gauche)NEW TRADITIONAL JEWELLERY, international jewellery design contest - JURY for 'new Nomads' droite

the professional jury of New Traditional Jewellery (NTJ) at (hard !) work ….

The history of jewellery is as old as mankind. While people went in search of parts with the best living conditions they carried their valuables with them, wearing them on their bodies. Jewellery that represents economic and social status, as it still does nowadays in the case of nomadic tribes. The dissemination of religions went hand in hand with an unprecedented range of religious jewellery and ornaments, ranging from small containers for religious texts to reliquaries and portable altars.
To this day, jewellery made of stable materials like gold and gems is the guarantee for your ‘ticket home’ in times of crises or when you have to flee from high-risk areas. Due to the global financial crisis prices of this so-called ‘flight gold’ have skyrocketed. Is there an alternative? Nowadays there are quite different streams of migrants but the principle is the same: people in search of parts with better living conditions. The whole world is on the move, from refugees to tourists, from emigrants to employees of multinationals. And you don’t even have to get up from your chair: Skype e.g. has made videoconferencing into a social medium.
NTJ asks contemporary professional jewellery designers to build bridges between the traditional jewellery of e.g. nomads, pilgrims, explorers, globetrotters, refugees or colonists and possible symbols bearers representing the mobility of the ‘NEW NOMADS’. Check the attachments for conditions and criteria.

all nominees New Nomads:
Ariane Ernst D — Alejandra Solar Mex — Auk Russchen NL — Barbora Dzurakova SK — Casey Fenn UK — Dana Hakim IL — Daniela Malev D — Edu Tarín ES — Hee Won Kang ROK — Heng Lee RC — Hester Popma-van de Kolk NL — Jie Sun CN — Judy McCaig UK — Juliane Keßler D — Katharina Dettar D — Laila Smith UK — Leon Mommersteeg NL — Maria Hees NL — Matthew+Amanda Caines UK — Maryvonne Wellen NL — Minna Karhu FIN — Noa Liran IL — Patricia Domingues P — Peter Vermandere B — Petra Bole SLO — Raewyn Wash NZ — Ricarda Wolf D — Robean Visschers NL — Roseanne Bartley Au/NZ — Sang-Hee Park ROK — Saskia Govaerts B — Sina Wassermann D — Sung-Min Jung ROK — Tabea Reulecke D — Verena Klette D — Vernon Bowden NZ –

The exhibition during SAF: 1-4 november at Gashouder Westergasfabriek Amsterdam

the exhibition “New Nomads” will be then shown in MMKArnhem (museum for Modern Art in Arnhem) ,  November 24. – January 27. 2013!
The next exhibition will be published after the summer.

Maria Hees. Necklace: foam, porcelain, rubberMaria Hees (NL) – Necklace: foam, porcelain, rubber

New Nomads: Roseanne BartleyRoseanne Bartley (AU/NZ)

New Nomads: Noa Liran.Noa Liran (IL)

Robean Visschers (winner New Traditional Jewellery 2006)
Robean Visschers ring (winner New Traditional Jewellery 2006)
Robean Visschers – for 2012 competition
SIERAAD - new Traditional_Jewellery-- Auk Russchen - (Nederland, 1971) Broche ‘Ode’, 2010Auk Russchen – (NL) Broche ‘Ode’, 2010 (winner for 2010 New Traditional Jewellery « True Colours »)
sang hee park
Sang-Hee Park
Amanda Caines - Necklace - Suffolk dump dig pottery figure with ThamesMatthew+Amanda Caines – Necklace – Suffolk dump dig pottery figure with Thames
Tabea Reuckle, nominee New NomadsTabea Reulecke
from JOYA 2012 (ENJOIAT award) to SIERAAD Art Fair,   Jie Sun, nominated piece for New Nomads.Jie Sunfrom JOYA 2012 (ENJOIAT award) to SIERAAD Art Fair,  nominated piece for New Nomads


28/05/2012

‘NEW NOMADS’ New Traditional Jewellery 2012 – SIERAAD Award

‘NEW NOMADS’ New Traditional Jewellery 2012

More Info: http://www.newtraditionaljewellery.com

 

exhibition New Nomads

exhibition New Nomads will be shown during SIERAAD Art Fair, 1 – 4 November 2012, in the Gashouder, WesterGasfabriek, Amsterdam  www.sieraadartfair.com 

the exhibition “New Nomads” will be shown in MMKArnhem,
November 24. – January 27. 2013!
The next exhibition will be published after the summer.

 

SIERAAD Award NEW TRADITIONAL JEWELLERY®
Inspired by old traditions. The International contest for gold, silver and jewellery designers


‘NEW NOMADS’ New Traditional Jewellery 2012 - SIERAAD Award dans Concours / Competition DEZE-DUSNTJ_DEF_LOGO
Theme:  ‘NEW NOMADS’

Objective
The preservation of worldwide cultural heritage, the reassessment of symbol bearers, the creation of new traditions, the revival of old traditions in a new form.  These last two years inspiration was to be found in jewellery from traditional costume traditions (2006)  and symbols of faith (2007) 2008 symbols of Intimacy

This year (2012) participants are invited to design a piece of jewellery based on a new theme: ‘NEW NOMADS’

MAPA dans Exposition/Exhibition

New Traditional Jewellery 2012: international design contest and exhibition. For the 2012 design contest and exhibition the professional jury of New Traditional Jewellery (NTJ) has chosen the theme ‘NEW NOMADS’, because both literally and figuratively this theme offers many possibilities for inspiration. The history of jewellery is as old as mankind. While people went in search of parts with the best living conditions they carried their valuables with them, wearing them on their bodies. Jewellery that represents economic and social status, as it still does nowadays in the case of nomadic tribes.

The dissemination of religions went hand in hand with an unprecedented range of religious jewellery and ornaments, ranging from small containers for religious texts to reliquaries and portable altars. To this day, jewellery made of stable materials like gold and gems is the guarantee for your ‘ticket home’ in times of crises or when you have to flee from high-risk areas. Due to the global financial crisis prices of this so-called ‘flight gold’ have skyrocketed. Is there an alternative? Nowadays there are quite different streams of migrants but the principle is the same: people in search of parts with better living conditions. The whole world is on the move, from refugees to tourists, from emigrants to employees of multinationals. And you don’t even have to get up from your chair: Skype e.g. has made videoconferencing into a social medium.

NTJ asks contemporary professional jewellery designers to build bridges between the traditional jewellery of e.g. nomads, pilgrims, explorers, globetrotters, refugees or colonists and possible symbols bearers representing the mobility of the ‘NEW NOMADS’. On behalf of the technical jury, the executive committee of the jury and NTJ wishes all participants much inspiration and success!

jury 2012: Isabella van den Bos, verzamelaar sieraadkunst, voorzitter Foundation Art in Business Els van der Plas, directeur, Premsela, Dutch Platform for Design and Fashion,  Herman Hermsen; sieraadkunstenaar en Professor für Schmuck- und Produktdesign Fachhochschule Düsseldorf University of Applied Sciences. Marjan Unger, art historian and publicist ; Theo Smeets, University of Applied Sciences Trier – Dept. Gemstone & Jewellery Design – Campus Idar-Oberstein; AZIZ, fashion designer/artist Eveline Holsappel, Curator applied art and design, Museum voor Moderne Kunst, Arnhem. Chequita Nahar; jewellery designer, Coordinator Department Jewellery & Product Design, Academie Beeldende Kunsten Maastricht.

NEW TRADITIONAL JEWELLERY, international jewellery design contest - JURY (gauche)NEW TRADITIONAL JEWELLERY, international jewellery design contest - JURY for 'new Nomads' droite

JURY  is suffering !

2 dans Prix/AwardsTove Knuts

4 dans SIERAAD (NL)Robean Visschers

6 dans www NOOVOeditionsNina Schuler

8

Nora Rochel

 

 

 

 

TERMS AND CONDITIONS NEW TRADITIONAL JEWELLERY 2012
The group of potential contestants is distinguished into two categories:
Category A : established jewellery artists and silverdesigners
Category B : final-year and advanced students of all art academies and fourth-level students of the gold
and/or silversmith disciplines of training colleges, or comparable levels of part time education
or evening classes
v   Each participant may submit only one finished piece of jewellery
v  The ornament should be wearable, the parcel can not be more then 2 kilo’s.
v  The designs may not have been exhibited before nor seen/sold by third parties. Only ornaments made
v  specifically for this contest will be eligible for nomination.
v  Apart from the design the participant is also expected to supply an explanation of the underlying idea,
v  an inspirational text (no more than 15 lines) and a photograph of the source of inspiration, high resolution (330dpi, min. 15 x 15 cm)
v  All nominated designs will remain in the possession of the organization during all exhibitions and will
v  not be returned for the duration (2.5 years at the most)

Submitting the design
v  Fully completed registration form by email before 1 June 2012
v  Payment of registration fee; before 1 June 2012
v  Fully completed design form by email before 1 June 2012
v  By handing in the design form the contestant assures the organization of having designed and made
v  the design himself/herself and that he/she has not submitted the designs to other design contests
or offered them for sale.
v  Fully completed design + registration form by regular mail together with the design to be in our possession between: Monday June 25. – Saturday July 8. 2012
Registration fee €39.00 per person payable to
Rabobank 32 85 05 420 | IBAN: NL31RABO 03285054 20 – BIC CODE RABO NL2U / OR PAYPAL (info@sieraadartfair.com)( Bankcosts have to be pay paid by the participant!)
WE DO NOT ACCEPT CHEQUES!!
AND parcels are not to exceed a weight of two kilos!!