Current Obsession Paper for Munich Jewellery Week 2019

Current Obsession

Munich Jewellery Week 2019

Munich

Week

CURRE OBSESS NT ION

Social Club

The Social Club grants access to the high-quality journalism, publications and events that we produce – online, in print and in real life – as we follow the jewellery world’s most exciting artists and events around the world, from Amsterdam to Munich, Athens, Lisbon, Barcelona and New York.

Whether it takes place at parties, dinners, screenings or salons, we think it is through meaningful social exchange that the field moves forward – so put on your best spark­ ling jewels and join the Social Club!

CURRENT OBSESSION

I'M OBSESSED

I LIKE

I LOVE

Free entry to all Social Club events internationally, plus access to all exclusive online content on the Current Obsession Website.

All the benefits of I LIKE, plus the long-awaited Issue #7 of Current Obsession Magazine, delivered to your door.

Starting: Spring 2019

Release date: Summer 2019

All the benefits of I LIKE and I LOVE, plus all printed editions of the Current Obsession Paper (Munich, Amsterdam and New York) delivered to your door, hot off the press!

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*I LOVE and I’M OBSESSED require a minimum six-month membership — See current-obsession.com for more information

Current Obsession is delighted to introduce its new Social Club.

Building on the success of our international conversation series of the same name, we’ve now developed the Social Club into a membership programme aimed at giving our community more reasons to celebrate all things jewellery as well as more ways to show their support for our work.

The Social Club connects you to a layer of engagement beyond visits to exhibitions – to the discussions, connections, and networking that we sometimes feel are missing – by facilitating both in-depth conversations and unforgettable celebrations.

6

MJW PAPER

MUNICH JEWELLERY WEEK You can’t stop a force of nature like Munich Jewellery Week from expanding, sprawling and proliferating, just as you can’t stop a hurricane in its path. In both cases, perhaps it’s smartest to step aside and just enjoy watching the wild ungraspable thing blast by.

Every now and then, we hear concerns that MJW has gotten too big and that it’s no longer humanly possible to see all of its events. We hear complaints about the quality of exhibitions and works, that the open­to­all model is no longer working, that perhaps the week needs to be ‘juried’ in order to guard high standards.

And we listen… and we nod… but we totally disagree!

We love everything about this beast of a week. We love it precisely because of its unpredictability: the way it disrupts accepted orders and hierarchies. We continue to be inspired by the unexpected constellations of artists and alter­ native ways of presenting jewellery on show each year. The citywide exhibitions that comprise MJW are perfect counterparts to the austere presentations at the Handwerksmesse, and this is why it’s not just for the weekend that people come

This is the fifth edition of the Current Obsession Paper

FOUNDER, CREATIVE DIRECTOR

published on the occasion of Munich Jewellery Week 2019

Marina Elenskaya

to Munich – they don’t come on Saturday to see the fair and the award ceremony and then leave – but for the entire week, to spend days wandering the streets.

The most inspiring things about MJW, though, at least for us, are the informal social interactions that it allows – our conversations with artists, students and educators. As content developers and initiators, we see MJW as a pivotal force in advancing jewellery discourse beyond educational or institutional frameworks.

MJW is where new tendencies and developments in the field are most visible.

It remains a real opportunity for young and upcoming artists to be discovered, to make their mark. The real connections made here are priceless; after all, you might run into your jewellery crush, or finally get to touch, try on or buy that piece you’ve been obsessing about, directly from the artist!

See you in the streets, The Current Obsession Team

CURRENT OBSESSION IS SUPPORTED BY

info@current-obsession.com ABOUT CURRENT OBSESSION Current Obsession (CO) is a jewellery magazine and platform

MANAGING DIRECTOR

PRINTED IN THE NETHERLANDS

based in the Netherlands. Appreciated for its experimental

Sarah Mesritz

Rodi Rotatiedruk, Diemen

approach and unconventional style, it showcases new ways

magazine@current-obsession.com PUBLISHED BY CURRENT OBSESSION

of presenting and experiencing jewellery. CO collaborates with exceptional designers and artists and develops

ART DIRECTION & DESIGN

curatorial projects and events with renowned brands

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and cultural institutions.

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For advertising opportunities and other enquiries,

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please get in touch: paper@current-obsession.com

expertise of its team, and their desire to continue to search

EDITORIAL INTERNSHIP

COVER IMAGE BY

for what is ‘current’ in the field, have established CO as a trail-

Veronika Muráriková

Audrey Large

go-to platform for an international and cross-disciplinary

CONTRIBUTING PHOTOGRAPHER

Featuring jewellery by Aaron Patrick Decker

network of designers, artists and initiatives.

Audrey Large

CO connects diverse audiences in and outside of the field of jewellery and gives a voice to makers. The knowledge and

blazer in contemporary jewellery and beyond, making it the

COPYRIGHT: No part of this publication may be copied CO’s publishing, curating and facilitating activities now span a

CONTRIBUTORS

and/or reproduced without the written permission of the

variety of communities and art genres, though they always relate

Sofia Björkman, Aaron Patrick Decker, Hiyu Hamasaki,

copyright holder.

back to jewellery. Its ongoing projects include Munich Jewellery

Colombe d’Humeres, Kalkidan Hoex, Veronika Fabian, Saskia

Week and the OBSESSED! Jewellery Festival, which takes place

Kolff, Maxime Leblanc, Lars Sture, Anneleen Swillen, Karen

SPECIAL THANKS

in the Netherlands. CO is a media partner of New York City

Pontoppidan, Hansel Tai, Siteng Wei, Florian Weichsberger,

To all the artists who contributed to the content of

Jewelry Week and is responsible for the content and production

Namita Gupta Wiggers

the CURRENT OBSESSION PAPER

PARTNERS

Joy BC, Rae Brown, Lucie Gledhill, Marion Delarue, Dr. Petra

In 2019 CO launched the Social Club membership programme,

92Y, Anticlastics, Brooklyn Metal Works, CODA Museum, Galerie

Hölscher, Eve Lam, Hadal Lioz, Rosalie Peeperkorn, Dr. Angelika

which grants access to exclusive journalistic content and

Beyond, Galerie Door, Galerie Ra, JOYA Barcelona, New York City

Nollert, Sepus Noordmans, Roanne Sanchez-Watts, Mirei

events – online, in print and in real life – and provides the CO

Jewellery Week, MAD Museum, Parcours Bijoux, Rijksmuseum

Takeuchi, Takayoshi Teraima

community with new ways to show their support.

Amsterdam, Schmuckmuseum Pforzheim, Sieraad International

of its official newsprint publication.

Jewellery Art Fair, Oh My Blue Gallery www.current-obsession.com

2019

7

CONTENT

Jewellery: Private, Public, Political

8—11

Piercing the Divine Body

12—15

Vague Stimulus

16—17

Digital Artefacts

18—27

Kitchen Drawer Classics

28—30

The New Tribe

31—33

Must-See List

34—43

MJW PAPER

by Marina Elenskaya

0

Jewellery: Private, Public, Political

8

Contemporary jewellery’s subtle progression towards becoming more reflective of socio­political phenomena will be ‘officially’ recognised (and given a name) in Munich this March.

Brooch, Chatelaine no 15 – Hammer or Flashlight Holder, silver, gilded, steel

Tobias Alm, Chatelaine no 13 – Hammer or Flashlight Holder, leather, silver, gilded, ruby, steel, velvet, nylon

At the invitation of the museum’s director, Angelika Nollert, Pontoppidan has developed an exhibition that questions political and religious ‘­isms’ while simul taneously granting ‘socially aware’ contemporary jewellery the status of a movement. Though already an internationally renowned artist and educator, Pontoppidan admits that this was an unprecedented opportunity for her as a curator to show contemporary jewellery through a different lens and in doing so to encourage discourse, both within and outside of the field.

Brooch, Chatelaine no 14 –Hammer or Flashlight Holder, leather; silver, gilded, ruby, steel

The exhibition SCHMUCKISMUS, curated by Karen Pontoppidan, Professor of Goldsmithing at the Akademie der Bildenden Künste München, will showcase works from a new generation of makers. Over 150 pieces, many of them made for the occasion, will be exhibited in humble plywood boxes under the spectacular glass dome of The Design Museum. It’s hard to name a higher or more important stage for contemporary jewellery.

9

INTERVIEW

Shachar Cohen, brooch from the series Rated R, 2018, stainless steel Courtesy Galerie Rob Koudijs

Merlin Klein, pendant, Bohrkern aus einer Treppenstufe der Akademie der Bildenden Künste München, 2018 drill core (stone), chewing gum, wire robe

2019

Marina Elenskaya I'm curious to know what connec­ tions, if any, you would draw between your artistic prac­ tice, your role as a professor, and your role as a curator?

For example, are your decisions as a curator informed by your intimate knowledge of the processes behind the work being made by this new generation of artists, which include current and former students of yours at both Stockholm and Munich?

Karen Pontoppidan The subjects I engage with as an artist are also reflected in the choices I make as an educator and when curating. My main interest is in examining the relation between jewellery and society, and doing so in the awareness of general social issues such as gender, ethnicity, etc.

When I curate, I understand the assignment to be the presentation of a particular point of view or the pointing out of a particular aspect within a larger field.

When artists are invited to curate, this is very often the intention, and rightfully so.

When talking about the concept for the exhibition, it is important for me to stress that the selection of artists was subjective – and could be nothing but subjective.

The concept dictated that I would choose pieces that in my opinion fit the idea of Schmuckismus. The artists themselves then added a piece/pieces according to their understanding of Schmuckismus.

In my research, prior to the selection of the partici­ pants, I came across many very interesting works from a great variety of international artists, all of which were Schmuckismus to me. Therefore, this exhibition is only a small representation of a much bigger phenomenon, and the selection was a personal choice.

I am sure that an artwork communicates much more strongly when you can see (and touch) it than when it can only be seen in a photo. Therefore, I presume that pieces with which I was already rather familiar (such as the work of former students) took precedence, when

I was selecting for the exhibition, over work that I only knew from photos. Being a guest-curator does, in my opinion, allow one to make personal choices, but just as with, for example, the gender balance or the inter­ nationality of the selection, this is something I also want to reflect upon critically when I curate.

Please talk to me about the ‘Schmuckismus Paradox’: the exhibition engages with the significance of jewellery as a ‘mirror to a critical discourse’, while at the same time (studio) jewellery has a reputation for being limited to the individualistic expression of a given artist.

“I have no intention of ‘starting’ a movement; nor do I see any obligations for artists to join or continue using Schmuckismus as their concept.”

Art is a reflection of society, and so many different ap­ proaches to making art must co-exist in order to make a profound reflection.

Therefore, I don’t think it is beneficial for the field of contemporary jewellery to pretend that there is only one general approach. There are, and there should be, many different movements within the field. One of my motivations for curating this exhibition was to point this out.

If artists define their works as individualistic objects of self-expression – and I agree that this has been quite a dominant movement for the last while – then I expect they have profound reasons for choosing this approach.

For me, jewellery is a sign of group belonging, and it is strongly connected to cultural and political devel­ opments, so this is where I place my focus. Defining jewellery in relation to its social significance gave me an understanding of the importance of artistic work within a society, and from this I have also gained as an artist, since it has made all worries about the selfishness of artistic work obsolete.

Could adding an ‘-ism’ (-ismus) to jewellery (Schmuck) – implying a system, philosophy, ideology or movement – be considered a call to arms? And do you think artists might have a hard time being tied up with a movement?

In other words, what are your intentions with the title?

In curating this exhibition, I gave a title to an approach that was already ongoing within contemporary jewellery.

The specific philosophy behind SCHMUCKISMUS already existed in various forms internationally. Using an ‘-ism’ to create awareness of a particular phenomenon is a known method within the fine arts, and the ‘-ism’ in SCHMUCKISMUS refers to this.

I have no intention of ‘starting’ a movement; nor do I see any obligations for artists to join or continue using Schmuckismus as their concept. Rather, I see an opportunity to create a discourse that might help to sharpen expressions, no matter whether the intentions of a particular artist are in line with Schmuckismus or not. Also, even among the chosen artists, I don't believe that everybody would want to have their work always defined as Schmuckismus, but they were willing to en­ gage with the concept – willing to let me put this lens on their work.

For me, this is not a contradiction, since all artists develop and shift their focus from time to time. What was important for me was to make people aware of

MJW PAPER

Gisbert Stach, brooch, DE-Schnitzel, 2015, amber, silicone, steel wire

Carolina Gimeno, brooch Portable Pleasure, when Intimacy become Public. No 37, electro-formed socks, copper, vitreous enamel, brass, pearls

Tarja Tuupanen, brooch, Made in Taiwan II, Messing marble tableware (vintage), brass, Courtesy Gallery Marzee

10

the potential that jewellery has for engaging in socio­ political discourse.

Please talk about the connections you make between colonialism and how the loss and depreciation of true spiritual or political significance when it comes to body adornment has basically led to jewellery being seen as superfluous, or read as stereotypically ‘feminine’.

It is evident that symbols and the symbolic meaning of materials, for example, have lost their significance in Western cultures, in so far as symbolic meaning has become a matter of individual interpretation instead of something that is generally recognised.

There are many historical developments that can be referenced to explain this. Within the jewellery discourse, it is mainly the loss of religious symbolism that is named.

This is one important factor, but for me many politically motivated developments are also of great significance.

For example, there is the history of colonisation, and the ensuing appropriation of materials from other cul­ tures that would become ‘fashionable’ within Western culture. I suggest that, on a general semantic level, the ‘readability’ of jewellery has suffered because of this, since jewellery expresses its narratives through the cultural references of its materials and forms.

In addition, many of the materials that were acquired dur­ ing imperialism, such as ivory, have of course undergone a complete reversal of cultural meaning and cannot be worn uncritically today. In this I also see consequences for the acceptance of jewellery as a cultural sign, since the narratives of materials most often lead to issues of environmental or humanitarian concern, and therefore people in the Western culture are reluctant to do so.

You speak of the social significance that jewellery had for ancient civilisations and continues to have for indigenous

cultures, while the exhibition showcases work made by a new generation of artists. When do you think jewellery has had the most power, either for you personally or with regard to human history – and I mean powerful enough to warrant an ‘­ism’?

Jewellery has since the very beginning had social signif­ icance, and examples of this can be found throughout history and in many different cultures. In my opinion, jewellery still has the same powers – the only difference is that post­modern societies choose not to acknowledge this on a general level. What is, however, acknowledged is for example the use of the safety pin as jewellery (or anti­jewellery) within the punk movement of the 70s. The use of ‘bling’ is also acknowledged, as a sign of a music style, and in the early 80s would indicate the specific origins of artists. Clearly, these examples show that jew­ ellery still has a social significance, but they also show that in order for the significance to be recognized, it has to happen outside of mainstream culture. Of course, neither punks nor hip­hop musicians would add the suffix ‘­ism’ to what they were part of – such constructions are anchored in academic discourse – but a movement that has a strong socio­political origin and that is also based in identity politics could be described as such.

Other interesting examples for me are the use of jewellery by the suffragette­movement, and the strict renunciation of jewellery in male fashion after the French revolution.

In our present time, within Western culture, jew­ ellery is generally perceived as a matter of individual expression, although there are many examples that prove that jewellery still has great cultural significance beyond its commercial aspects. Very recently, this has become clear in the development of queer and gender theories, which show us that the appearance of an individual can never be seen solely as a matter of individual expression.

Jewellery has the fantastic potential to embrace this contradiction

“For me, jewellery is a sign of group belonging, and it is strongly connected to cultural and political developments, so this is where I place my focus”

Nanna Melland, ring, The Lone ranger atomic bomb ring (original), 1947, brass, aluminum, plastic, polonium-alpha particles, zinc sulphide GĂśran Kling, bracelet, Replica Five, brass, gilded; stainless steel

2019 11 INTERVIEW

#31a

SCHMUCKISMUS

Die Neue Sammlung

Opening: Fri 15.03 19:00

The Design Museum,

Mon closed

Pinakothek der Moderne

Tue-Sun 10:00-18:00

BarerstraĂ&#x;e 40

Thu 10:00-20:00

MJW PAPER

On the subversive nature of Hansel Tai’s work

by Marina Elenskaya

1

Piercing 2 the Divine Body

Green Ladder

Blurry Dance

Hansel Tai, a young Chinese artist based in Estonia, emailed me at Current Obsession in June 2016 with a submission: his graduation project from the China Central Academy of Fine Arts, titled Dirt Container. He wrote, ‘It’s about new forms of desires in the internet age. And I did some experiments about jewellery with lights. I love lights.’ That was the moment I discovered the disruptive universe of Hansel Tai, and once you see something like this, you can never look at the field in the same way again.

Nude Jade Pierced

2019

13

ARTIST IN THE SPOTLIGHT

MJW PAPER

White Vest

Hyper Renaissance

14

Tai’s work talks about queer culture and the digital age with the effortlessness granted to those who cannot remember ever not having a PC connected to the inter­ net. His work focuses on the impact that the internet’s subcultures have had on him, growing up as he did, with a computer ever-present in his room. It was the internet that first taught him about sex, violence and other taboo aspects of life. Everything he knows about real life, he first saw on the internet. (First you watch porn, and then you have sex.) Only someone in this position would think to make mixed media jewellery featuring close-ups of nude human skin collaged with the pixelated digital skins of computer game characters and avatars…

The internet has taken over. In our current moment, for the first time in human history, virtually any question that arises in conversation, any unknown or uncertain thing, can be answered, sorted out or resolved by a Google search. There’s no need to appease the ancient gods through ritualistic sacrifice or worship. We, as human race, have amassed a stand-in for a deity: a universal archive of knowledge. And we keep adding to it.

While the internet can be seen as a kind of placeholder for the sorts of justice and truth that we seek, a strong nostalgia for materials and symbols that might retain obscure powers still persists, regardless. The stunning nude figures of slender young males that can be seen in historic museums scattered around the world – the Kouroi of Ancient Greece – celebrate the divinity and perfection of the human body. Hansel Tai subverts this symbol – so iconic that it has entered our collective subconscious – by replacing these divine bodies with images of male torsos taken from gay porn found online.

He then collages these images, trying to find his own definition of beauty. These are real men, and their images sometimes appear rough and glitchy, in low resolution, so the work gives off a recognisable sense of what the

internet is really sometimes like. However, while the images of these men are glorious, they do contradict cultural norms – they are the internet Dirt Containers.

“Everything he knows about real life, he first saw on the internet.

(First you watch porn, and then you have sex)”

His series of highly glossy and highly polished metal brooches, titled BMP (Blue Milk Pierced), DBMP (DiamondBlue Milk Pierced) and CMP (Cyber Milk Pierced), are shaped like liquid splashes dotted with piercings. And just in case the intention behind the series was to somehow escape the viewer, Tai chose to have the pieces shot on the faces of shirtless men, their features distorted by expressions of ecstasy.

With his latest work, Nude Jade Pierced, Tai takes on China’s most sacred material: jade. Celebrated as the ultimate symbol of perfection and purity and valued for its translucent, skin-like glow, jade is often carved into intricate mythological and religious forms. Tai’s pendants, formally reduced and abstracted, are penetrated with heavy ready-made circular barbell piercings. With this gesture – which is inconceivable, on many levels, to those familiar with traditional jade carving – Tai subdues the sacred jade, evoking a strong emotional response from the viewer. He connects the desire and fetish for jade among a wider Asian audience directly to the repression of the LGBTQ community in China’s hyper-conservative political climate.

Hansel Tai’s work exists against the odds. His upbringing and education in China, and his later exposure to the work methods of the Estonian Academy of Arts, with its very pronounced aesthetic, barely left a mark on him.

He takes the best from both worlds, and with precision and determination he produces work in which materials and techniques are the means to a very specific end.

Each of his pieces acts with its own agency. He excels in transmitting his ideas through the medium of jewellery, and there is an urgency in his work like in no other.

15

ARTIST IN THE SPOTLIGHT

BMP (Blue Milk Pierced) Photography by Tanel Veenre, model Endel Maas

2019

About the Artist: HANSEL TAI is a Chinese artist and designer

Netherlands, Germany, France and the USA among other coun-

#93 NUDA VITA

currently residing in Estonia. He graduated in 2016 from the

tries. Tai’s work focuses on the Post-Internet Epoch,

The practice of collective and

Central Academy of Fine Arts in Beijing, where he studied

in which naturalness is shadowed by the body cult, deformation,

political body

Art Jewellery. He has continued his artistic research at the

subcultural signs and high gloss metal, and digital voodoo is

Estonian Academy of Arts in Tallinn as well as at the Gerrit

materialized into fetish objects.

Rietveld Academie in Amsterdam. He has exhibited in the

Opening Thu 14.03 16:00-19:00

ABC Westside Galerie

Wed-Sat 11:00-19:00

SchwanthalerstraĂ&#x;e 176

Sun 11:00-16:00

MJW PAPER

by Veronika Muráriková

Vague Stimulus

6

Meet Maxime – a young Frenchman from a small village in Normandy who decided to escape the gloominess of his native surroundings and pursue his yearning for artistic knowledge. After studying jewellery in Sophie Hanagarth and Florence Lehmann’s studio at l’École Supérieure des Arts Décoratifs de Strasbourg, he spent some time at Fablab Shibuya, a workshop for digital fabrication in Tokyo, and later finished his master’s thesis at the Design department at H.E.A.R. Strasbourg. In his own words, even though this was an amazing experience, he couldn’t wait to get back to jewellery making. This year, Maxime is presenting his work to MJW visitors for the very first time in the form of a mobile exhibition. Just text +33 6 73 04 61 70 to find out more.

3D rendering of anodized titanium créôle hoop

1

17

ARTIST IN THE SPOTLIGHT

Glass buttons made for Lucille Thievre

2019

What are you going to present during Munich Jewellery Week?

Veronika Muráriková

Maxime Le Blanc

I will present my latest collection in a simple mobile display of my own design.

Today, with an online presence, it is easy to craft an exportable image of yourself, and so I am not inter­ ested in repeating that pattern. This is what has driven me to work on a simple face-to-face display. I hope it will encourage people to think about different exhibi­ tion formats. I believe that established structures can benefit from allowing independent initiatives to operate disruptively inside them.

What are the pieces about, and what materials do you use?

Right now, I am focusing on titanium and glass. I saw a reliquary made of metal and glass. The diversity of light it offered inspired me, and I constrained myself to ex­ ploring its possibilities. But there are a lot of different thoughts that go into these pieces. I play with organic shapes, pareidolia, and I am passionate about Japanese culture too. When you look closer at the shapes I make, you can see the bulges of Hokusai’s demons.

and that a piece of jewellery is a personal object – an intimate bond is created between the object and the holder. Not to mention that having a jewellery practice implies having a close relationship with your workshop.

I create in my workspace, it is singular, and it is a con­ secrated space – which I think fits my creative process very well.

Talking of space, you were part of the shared artistic house The Wonder/Liebert in Paris, where you were working together with sixty other creatives, including filmmakers, fashion designers, curators and even tattoo artist. Are you still part of it?

Yes! I am still here and we are currently moving out to the other side of Paris. This time we hope to stay longer and settle down. I really feel like I am part of a crew.

Sometimes I wander around the building a bit, chat with a painter or a cook. It is so crucial for me. It’s like a monk taking a walk in a monastery. Our model is quite frugal, but we are subject to a minimum of pressure, which allows us to explore territories other than those that you find in the heart of the capital.

What are you working on now?

are currently collaborating on a second project.

Also, my main focus is on expanding the practice of what I call ‘les arts portés’. For me, this term designates all the ‘wearable’ arts – everything that can move with you, including jewellery, clothes, tattoos, wigs, etc.

I would like to find people to collaborate with on this subject.

“Sometimes I wander around the building a bit, chat with a painter or a cook. It is so crucial for me. It’s like a monk taking a walk in a monastery”

The way that jewellery involves working with diverse materials is appealing to me. This is common enough that most people can relate to what I am doing. I like the fact that jewellery is fairly closely related to tradition,

Last year I developed a project called 93100 Chic show, together with a fashion designer, Lucille Thièvre. It was a Sunday afternoon presentation of our work, featuring guest artists: musician, performers, choreographers, etc. The proximity we had in The Wonder allowed us to develop a strong affinity for each other’s work. With just a few words we organised a lively event, inviting people to share the joy and passion of our work. Lucille and I

About the Author: VERONIKA MURÁRIKOVÁ graduated from

Studio, she moved to Amsterdam where she is at the moment

Eva Eisler’s studio (Concept-Object-Meaning) at the Academy

interning for Current Obsession magazine. Her everlasting

#06

of Arts, Architecture and Design in Prague. After gaining

interest in all kinds of jewellery challenges Veronika to explore

Text me

Mobile Exhibition

experience as a goldsmith in Nastassia Aleinikava’s Jewellery

the field from different positions.

+33.6.73.04.61.70

Munich

You’d already finished one degree before attending l’École Supérieure des Arts Décoratifs de Strasbourg.

Why has jewellery attracted you so much?

MJW PAPER

by Audrey Large

1

Digital Artefacts

8

The artists selected for this feature – members of a new generation of jewellery makers – have in common a tendency to play with preconceived notions of jewellery design. In much the same way, I am interested in taking pre-existing ways of representing jewellery and twisting them around. In creating the visuals for this feature, my starting points were digital pictures of the artists’ creations, which I took as raw materials from which to make something new.

Upon receiving photographs of the artists’ jewellery, I asked myself what information was present in them. Nothing of the weight or the dimensions of the objects was communicated, they could not tell me whether a given object was a ring, a brooch, or some other type of jewellery, and there were no clues as to where one ought to place these objects on the body. Seen against a white background – decontextualized and removed from any sense of scale – many of the objects actually looked far from being pieces of jewellery. However, images have their own material laws and are full of other information. Some of this information, such as that which relates to colour and texture, can conjure very tactile sensations – and it was from these aspects that I sought to develop a visual narrative.

In my visuals, images are manipulated in many different ways. Sometimes they are made into textures and applied to 3D models, and in other instances they are rendered on a 2D plane, distorted in Photoshop, blown-up, copy-pasted, etc.

Whatever the outcome, the original object will have taken on a new form at a different scale. It may now be part of a digital body, a landscape, or a sky. The result is down to the combination of my own decisions and the conditions supplied by the software that I’m using.

My hope is that these visuals exhibit an appreciation for images as projections of the mind. As representations of the original objects they are unfaithful, but I see great creative possibilities in the gap created by processes of interpretation.

About the Artist: AUDREY LARGE (b.1994) Is a French designer currently based in Eindhoven, Netherlands. She graduated from the Design Academy Eindhoven with an MA in Social Design.

Her belief is that life is a visual effects movie, in which objects are images and images are objects.

AARON PATRICK DECKER treats an ancient tradition of enamelling with irreverence and childlike freedom.

Characterised by cut stars, messy colouring, and a

youthful play - the jewellery is a statement to say the least.

Bright colours, sawn out stars, class rings, dollar store aesthetics, and glittery gestures come together in rings,

earrings, brooches and necklaces. A military brat by design, Deckers' jewellery is an idyllic take on that rebel kid stuck in his room drawing flowers, tanks, guns, and

rings. All while a band of men pass by his window ‘left, left, left, right left…..’

COLOMBE D’HUMIERES was trained as a jeweller at Central Saint Martins. Colombe is interested in questioning the notion of value –especially the value of precious materials

and their underlying foundations. Colombe looks at symbols – what they represent and their subjective value, which depends on the materials from which they are made.

Stuck as a maker, Colombe is evolving as a puppeteer.

VERONIKA FABIAN explores the question of identity through her work with chains. Her intention is to allow the chain to escape or, in other words, to reinterpret

its expected purpose. The original assumption regarding chains is that they often are subservient to the main jewel.

Therefore, she transforms ordinarychains, still respecting

their original values but enabling them to form their own pattern and achieve jewellery status on theirown. The collection Chains For an Average Woman

is based on the notion of a woman's relationship to self-identity, chained as it is to the female personas of our time.

HIYU HAMASAKI was born in Japan and studied at the Hiko Mizuno College Of Jewellery in Tokyo. He creates art pieces from daily objects that can be found easily. The city

is full of treasures, there are more to discover. According to Hiyu, every little thing around us is a gem waiting to be found. There is a world of disarranged colours that can be

glimpsed in everyday life. Neon in Tokyo, multicoloured billboards, garbage mountains in life‌ from the accumulation of casual colours and shapes such as these,

you can feel the energy of the people living there.

SITENG WEI is currently a PhD student majoring in Gold and Silversmithing at RMIT University. Siteng is interested in the historical and contemporary role of jewellery and

objects and how it can be used as an alternative format to depict different concepts and ideas. The material practice of Siteng’s research investigates how to use object-based

materials to simulate the concepts and ideas of Chinese ink and painting and other Chinese traditional arts.

Bracelet, 2019, plastic, metal, photo by Mirei Takeuchi and Florian Weichsberger

28 MJW PAPER

2019

ARTIST IN THE SPOTLIGHT

by Saskia Kolff

2

9 Kitchen Drawer Classics

Pendants and bracelet, 2019, plastic, metal, photo by Mirei Takeuchi and Florian Weichsberger

Pendant, 2019, plastic, metal, photo by Mirei Takeuchi and Florian Weichsberger

In Florian Weichsberger’s Munich studio, next to a scalpel on a cutting mat, there are two small rectangular objects made of a material reminiscent of reconstructed mineral. One is a bar of translucent resin with rutile­like needles of white plastic bristle floating inside. The other is the nailbrush from which these bristles have been taken, their absence revealing neat rows of holes in its surface. For Florian Weichsberger, they are potential jewellery pieces in his new body of work DECONTEXT. Drawer knobs, paintbrushes, cloth hangers and potato peelers – we use them every day, and our eyes and hands no longer even notice them. Studying and transforming unassuming things such as these brings Weichsberger closer to the possible identities of objects. He wonders what value remains after he has literally stripped away their parts. At what point does an object become something completely new?

MJW PAPER

Brooch, 2019, plastic, metal, photo by Mirei Takeuchi and Florian Weichsberger

Bracelet, 2019, plastic, metal, photo by Mirei Takeuchi and Florian Weichsberger

30

In earlier work, Weichsberger was intrigued by the material jet – half fossil, half wood – because of its undertone of transformation. Equally ambiguous was the collection Second Space – gallery visitors walked up to what appeared to be ancient ritual pendants, only to find out that these ‘archæological finds’ were made of plastic. Without making the message too obvious, Weichsberger suggests a science fiction narrative of hu­ man development in which plastic is the marker material of our times. He is constantly searching for the point where a piece of jewellery becomes self-explanatory.

In the Warrior series, a shift in perception is again used to express an observation. This collection of weapon­ like objects makes passing through airport security impossible for any wearer, but the objects’ functionality is questionable. The wearer is protected against the ever more crowded space of social interaction but has less freedom to move and risks getting hurt. Some of the pendants hide sharp blades that slice at the cot­ ton threads supporting them, creating an unbearable sense of anticipation, as the string will surely eventually snap. Ominous connotations are never far away when it comes to Weichsberger’s work, but his pieces do not exist to teach moral lessons. ‘Besides,’ Weichsberger says, ‘anyone who wants to wear it, makes it his or her own at that moment. What that person sees in it could be totally different from what I meant when I did it. I don’t push the concept on the pieces, I like to leave them open to all ways of interpretation.’

should provide: ‘a break from the filters needed to live daily life in a structured manner. Being away meant I was able to open up much more and to be more aware of everything around me.’

Weichsberger started to notice the objects we use on a day-to-day basis, such as those from the drugstore, the hardware store or the kitchen drawer. Their shapes and materials have been around forever. ‘Most of them must have been designed at some point, in the 70s perhaps, or the 80s. It does not matter. The continuous presence of this “no name design” determines the aes­ thetics of our surroundings.’ Weichsberger did find slight differences between similar objects in the Netherlands and those in Germany. In his home country, practicality apparently prevails over attempts at ‘modern design’, for example. ‘Also, in the Netherlands, there is much more colour – in architecture, in the way people dress and in department stores like HEMA.’ Weichsberger thinks this explains the recent emergence of colour amid his usual repertoire of metal patinas, blacks, and greys.

Which of these run-of-the-mill objects caught Weichs­ berger’s eye? ‘I right away looked for the ones with an aesthetic feel, often plastics,’ he says. ‘But more importantly, I selected the ones that could be inter­ esting to transform.’ Such items would be altered – in a controlled way, but irrevocably – and all the while examined for any information their plastic, rubber or wood might still carry.

pieces in the Françoise van den Bosch Collection that might have resonated subconsciously. Weichsberger refers to some of the jewellery revolutionaries of the 60s and 70s, who used hardware store materials. There is bracelet by Marion Herbst made from four pieces of shower hose, and a necklace by Ruudt Peters made of Mobylette rubber fork gaiters and industrial tubes.

However, although Weichsberger might have rummaged through the same kitchen drawers or the same hardware store sections as Herbst and Peters, he did not do so to free himself from conventional goldsmiths’ mate­ rials, like they had. ‘For me, it was interesting to start with something already existing,’ Weichsberger says ‘to have an object as a starting point this time, instead of a concept.’ And as if to set them apart from other fully fledged ready-mades, Weichsberger transforms his finds. If he were to work with a porcelain urinal, it would not end up hoisted on a pedestal with a signature and a backhanded title. It would probably be laid on a dissection table, interrogated carefully with every cut, and made into jewellery.

The bulk of DECONTEXT was formed in Amsterdam. Back in Munich, Weichsberger refined some of the pieces and worked on solutions to a number of technical problems – eg how could he fit a work made from two different commercial furniture handles around a wrist?

The handles in question are now further removed than ever from the cupboards of a Dutch kitchen; they are instead at the tipping point of becoming something new entirely. The artist hopes they will ‘intrigue and ask questions, and open new perspectives for the viewer.’

And – spoiler alert – they are sporting some of the most intricate hidden spring closures in the world!

Early last summer, Weichsberger spent three months in Amsterdam as an artist in residence with the Fran­çoise van den Bosch Foundation. It provided what re­i­­dencies

In his previous work, Florian Weichsberger referred to the shapes of certain objects or symbols, constructing them himself. In DECONTEXT, the artist introduces col­ lected items as material. There are a few iconic museum

About the Author: SASKIA KOLFF is a Dutch art historian. When

Florian Weichsberger was the Françoise van den Bosch

#22

she got her degree in the mid-90s, her interest was in architec­

Foundation’s 2018 Artist in Residence at Studio Rian de Jong,

DECONTEXT

ture and town planning, but it has shifted over the years to

Amsterdam. Pieces created in the lead-up to his new body of

smaller and smaller and often wearable objects. At the moment,

work were shown at the end of the residency in a shop window

her antennae are turning to materials in the anthropocene.

display. This year Mallory Weston will be artist in residence at

She was a board member of the Françoise van den Bosch

Studio Rian de Jong. To find out more about the 2020 applica-

DIA

Opening: Thu 14.03 17:00

Foundation for contemporary jewellery.

tions, see website: francoisevandenbosch.nl

Georgenstraße 72

Thu-Sun 11:00-19:00

2019

ARTIST IN THE SPOTLIGHT

by Veronika Muráriková

The New Tribe

1

Sometimes when you see a piece of jewellery, you can just tell that there is a story connected to it. While scrolling my Instagram feed one evening, I came across the account of Kalkidan Hoex; the edgy, colourful style of the tiny girl posing in the pictures and the strong visual language of her work struck me.

Once I saw her in person, I knew I had to talk with her, I needed to know more.

I ended up sitting in the corner of a jewellery workshop at the Maastricht Academy of Arts, where Kalkidan is currently studying for a master’s degree.

Surrounded by pieces of jewellery, try­outs, books, and many drawings, I started to dig into Kalkidan’s personal history. She grew up in a multicultural family with Dutch parents, a Brazilian sister and a Colombian brother – and these facts have become very influential in her life and work.

TheNEWtribe

3

MJW PAPER

TheNEWtribe

32

Firstly, I want to know about Kalkidan Hoex as a person. How do people recognize you, and what defines you?

Veronika Muráriková

Kalkidan Hoex

Hmm, I can say a lot about that.

Somehow, I am just very much there. Like, people al­ ways see me and remember me. That could be because I am always so colourful. I just love colour! Maybe it has something to do with my background or my legacy. When I listen to music, I see its colours; I like to work with

within my own work at the beginning; I just didn´t know where to start. There was this feeling of a missing part in the work and within my personality. I started devel­ oping myself through the Academy a bit, but it was my graduation year when I became TheNEWtribe. I found out a lot, including that my way of working relates to where I come from – Ethiopia. I was adopted when I was almost two years old, and in fact I grew up here in the Netherlands.

So yeah, that is how TheNEWtribe started last year, and I realised that also my work is very social. It speaks to you in many ways. Sometimes I like to use texts in my illustrations, but I think in the future I will also use text in my jewellery pieces, if it fits.

Yes, I have noticed that in design in general the use of typography and language is becoming very popular.

And that is what I like about your work, too: that you are actually not afraid of using various media. How did you

“Somehow, I am just very much there. Like, people always see me and remember me.”

them, to combine them. And I think that’s why people always see me. I am also very social, which is my way of doing research or finding out about things. I go places. I talk to people. If I find someone interesting, I’ll ask them questions… I’m definitely not shy! Sometimes you might feel that there is some kind of hierarchy and you can´t talk to people, but why not? First of all – I am doing this for me, not for somebody else.

Does your work help you to develop your personality?

Yeah, it actually does; it is a big part of finding out who I am. Identity was an important topic in my graduation work last year – TheNEWtribe.

Can you tell me a little bit about it?

Yes, let´s just say I struggled with finding my identity

I guess you don’t have any specific memories from Ethiopia then?

I have no memories; it is completely blank.

So, jewellery has become like a tool for you – something you can use to help you find out more about your origins?

I think jewellery is a tool for finding out who I am, but also for creating a new subculture, one that represents the two worlds through different jewellery pieces. I mean, it doesn’t have to be super literal, like, ‘Hey, this is a super African artist,’ or something like that.

It is just there. I could do pretty much anything and it would just be there; but in order to make this stronger or more clear I have been researching this theme for my master’s studies – to make it even brighter and to give it a deeper meaning.

come to combine jewellery with graphic design?

I think it was always there, because I was making illu­ strations long before I started to do jewellery, and it’s funny, because they first thought I was perfect for graphic design. And I was very persistent about going for jewellery.

Was it because of a need to create something with your hands? To make 3D objects?

I very much have this need to create physical objects, but it’s not just that. I also make videos and animations from my illustrations, with graphics, letters and words that refer to a lot of things. So I can’t really say that I am just a jewellery artist; I do so much other work as well.

While studying, you also did some internships – with Oräik

2019

33

ARTIST IN THE SPOTLIGHT

“Why does it always have to be a gallery or a nice space? Who says it can’t be a random place, close to new people, so they can just come in and be introduced to what is hanging there?”

You mentioned that you are working on a comic book right now. Do you have any particular stories that you want to depict in this comic book?

Yes, I have some of the stories already ready. I am huge fan of Marvell – it’s great. I like the way they build up their stories and how they draw, how it speaks immediately, it is always linked somehow. So I want to use that kind of approach. Even the jewellery, I would like to make it special because it is going to be translated from the comic book. So it is not about buying the jewellery piece anymore, you can just buy a comic book and if you want to buy the piece with it, you can. I also see it as giving a new value or fantasy to the jewellery. In the book you will find out that the pieces have superpowers, and then you can also have them or feel them.

In Ethiopia, there are a lot of tribes who have ob­ jects that have certain meanings, and they really believe these object will protect them or can give them some powers. And that is the moment that you can bring alive in the comic book.

What materials do you like to work with?

and Göran Kling, for example. From my own experience, I know that this sort of thing has the potential to have a huge influence on one’s work. How was it for you, and how did you get this opportunity?

Actually, I’ve known and followed Göran Kling for quite some time, and there was once this opening of the Cult exhibition by Current Obsession at the Design Museum Den Bosch. So I was there, completely ready to send him a message that I wanted to do an internship with him after having seen his work again. I was in Stockholm for two months and I helped in his studio. It was great.

Personality­wise, he is a really nice guy, and he also taught me a lot. He was willing to help me if I wanted to try things out. So, in conclusion, it was a very relaxed internship.

He obviously does things in a different way; he relates pretty much to the 90s and brings that up in a very fresh and cool way in his jewellery pieces. But his way of thinking... I mean he has a community behind him in Stockholm and all of them are like street art people, they are freaking great. Meeting them was extremely interesting because, obviously, we both work a lot with Instagram. I was already doing it by that time, but it was not on the same level as it is now. And he advised me on how to develop it even more, to find and create the community that fits me. Together with his lifestyle, it was like a complete picture.

Yes, that is true: Instagram is a very powerful tool nowa­ days. So have you figured out yet who your audience is?

Well, it is mostly the younger generation, and I am also focused on people who have two identities – people who have been adopted, like me, or who came here with their families – and who can read my jewellery, who can see the resemblance when it comes to my illustrations as well. Even if we are speaking about dif­ ferent backgrounds, it all relates in the same way. We can somehow understand each other. So I guess these people are my audience...

When did you realize this?

[At school], I was the kind of girl who straightened her hair, dressed mainly in black, a little bit of colour but not much, and I was like this for almost two years. And then my teacher was kind of sick of it. She used to say that I was not myself. It annoyed her. I remember that once I came to school with my curly hair, because I was late and about to miss my lessons, and everyone was saying that it looked so cool, but I didn’t really believe them, and the first thing the professor said to me was, ‘WHAT? You have curly hair?! Does this mean you have been straightening your hair all this time?’ I said, ‘Yes,’ and she told me not to do that ever again, and in that moment something switched in my head. I understood that I could be myself, which was the best decision ever because new people also came into my life, I finally let them.

First of all, I use materials that are quick to work with.

The same also applies to the way I work. I look for quick solutions. Even finding objects is crucial; I see elements in them that fascinate me and that I try to remake. But I work with everything from aluminium, to silver, to… basically anything.

And what about your plans for the future?

We [the MAFAD master’s students] are going to be at Munich Jewellery Week. I would also like to go to OBSESSED!, and maybe there will be another pop­up in between, it is not clear yet. I have already done some pop­ups before. I usually take posters and nice stands and literally pop up somewhere in a museum, shop, or wherever it fits – so people can join us, maybe there is some music or other artists... Why does it always have to be a gallery or a nice space? Who says it can’t be a random place, close to new people, so they can just come in and be introduced to what is hanging there?

You can create a specific vibe or atmosphere in this way.

Just step out of your world!

#87

Opening: Thu 14.03 17:00-21:00

GLAZING IT

Fri 12:00-18:00 Sat 17:00-22:00

Pestalozzistraße 14

Sun 11:00-13:00

MJW PAPER

Must-See List

4 David Bielander, photo by Simon Bielander

3

Whether you are only in Munich for a couple of days or staying for the entire week, the chances that you’ll be able to see every exhibition, sit in on every discussion and raise a glass at every opening are slim. You simply can’t be everywhere at once! But no matter how much of MJW you are planning to take in, you’ll need to plan well and be efficient with your time.

The days of carrying around dozens of loose pages of hand­ annotated notes and directions cribbed from Google may be over, now that there is a neatly organised map available in both printed and online versions, but the task of making a personal selection of places to go and things to see is still both essential and difficult. How do you choose? Do you stick with artists that are already familiar to you, or do you to set out to discover some new names? Do you spend your time in central Munich, or do you dare to venture to locations further out? Do you prefer the more conventional set­ups of gallery exhibitions, or are mobile exhibi­ tions on the street more your thing?

There are many choices to make, but luckily Current Obsession is here to help! This year we’ve asked four industry experts to share their general impressions of the upcoming MJW programme. We’ve also asked each of them to pick five to ten events from the programme, and write a few sentences answering the question, ‘Why do you want to see this?’ We hope their answers will help to make the job of making your own personal Must­See List a little easier!

2019

35

MUST-SEE LIST

Sofia Björkman Sofia Björkman lives in Stockholm, Sweden. After completing her MA degree in 1998, she started PLATINA gallery and studio, which opened to the public in 1999. Since then she has been working as a jewellery artist and curator. She exhibits internationally, gives lectures and workshops, and cooperates with artists, curators, galleries, museums and institutions around the world. She is also a board member of the Art Jewellery Forum (AJF) and the Swedish arts and crafts center

Konsthantverkscentrum. PLATINA shows solo and group exhibitions by local and international jewellery artists as well as artists connected to the field. The first time Sofia Björkman went to Munich was in 1996, when she was selected for the international competition Talente. Since graduating, she has attended the events in Munich every year except one: a year in which she gave birth to one of her children. PLATINA has presented at FRAME at the Handwerksmesse since the start of 2009.

Lars Sture Lars Sture (Oslo / London) is the curator at Norwegian Crafts, where he runs the international exhibition and project programme.

as public and private collections in Scandinavia, the UK, Italy, Germany, France, the USA and Japan.

As a curator, Sture has been responsible for numerous exhibitions and projects for institutions, museums and galleries both in Norway and abroad. Sture was part of the team that established a master's degree in jewellery at Central St. Martins School of Art / University of the Arts, London, and later became the programme’s first option leader. As an artist, Sture’s work is in the collection of numerous museums as well

Sture studied Creative Curatorial Practice at the Bergen National Academy of the Arts (now the Faculty of Fine Art, Music and Design at the University of Bergen), graduated with an MA from the Oslo National Academy of the Arts, and received a Higher National Diploma from the Epsom School of Art, University of the Creative Arts (UK).

Anneleen Swillen Anneleen Swillen (BE, 1992) has a Master’s in Object and Jewellery Design from the PXL­MAD School of Arts in Hasselt, Belgium, and completed the postgraduate programme in Curatorial Studies at the KASK School of Arts in Gent. Currently, she is working on a PhD on the interactions between jewellery and presentation (University of Hasselt

and PXL­MAD School of Arts). Within her artistic practice, she uses various media, formats and contexts to explore and experiment with how jewellery is made, shown and experienced.

Namita Gupta Wiggers Namita Gupta Wiggers is a writer, curator, and educator based in Portland, OR. She is the Director and Co­Founder of Critical Craft Forum. Wiggers is the Program Director of a newly launched Master of Arts in Craft Studies at Warren Wilson College, North Carolina. This low residency program, the first of its kind, focuses on critical and historical craft studies. From 2014­17, Wiggers taught in MFA Applied

Craft + Design, co­administered by Oregon College of Art + Craft and Pacific Northwest College of Art, Oregon College of Art + Craft, and at Portland State University. From 2004­14, she served as Curator (2004­2012) and then Director and Chief Curator (2012­14), Museum of Contemporary Craft, Portland, OR.

36

MJW PAPER

Sofia Björkman A few years ago, I did a survey for myself on exhibitions titles during the MJW. I found titles as All about me, The exhibition and titles containing words as kings and gods.

Going through the titles this year 2019, I find a general change. Has the jewelry art field become more social, collective, generous and gender conscious?

What do these titles tell me? Nuda Vita ­ The practice of collective and political body, Overreacting ­Jewelry Speaks Feminism and Gender, In dialogue, Jewelery and Experiment, Heart Failure. Is this the end? Or just a new start, A Work in Progress, Whispers & Cries, Le bijou still a risky business.

In this context, it is not surprising that Karen Pontoppidan titles her exhibition,

at Museum Villa Stuck, The One Woman Group Exhibition, and that the artists in the exhibition “SCHMUCKISMUS” at the Pinakothek der Moderne, that she curates, explore social phenomena and queer theory.

I get curious about the social contexts, the gender approaches and reallwish that I have the chance to see all these exhibitions.

The Handwerksmesse is always a must, with all its events and the biggest platform for networking. So are also the CO Social Club. Besides that, this year I choose the collective events, social activities and exhibitions with crossing collaborations.

Therefore, I am especially curious of these events:

Full Disclosure 59a

AJF in Conversation— Curators & Collectors: How They Choose

The introduction to this exhibition sounds promising, and I am curious to see how they will visualize the col­ lective voice.

49b

Adam Shirley, Alissa Lamarre, Alyssa Bliven, Anke Huyben, Aaron Patrick Decker, Emily Culver, Hongzhe Ma, Jane Ritchie, Julia Heineccius, Juvana Soliven, Jiadai Wu, Matt Lambert, Naama Levit, Natalia Sarrazin, Rebekah Frank,

Moderator: Sienna Patti, Sienna Patti Contemporary

Ronit Dayan Vishovski, Seth Papac, Shelly McMahon,

Panelists: Deedie Rose, Toni Greenbaum, Anni Nørskov

Tatum Gentry, Timothy Veske-McMahon, Victoria

Mørch, and Karen Pontoppidan

Bulgakova, Yao Xiao, Yilun Lyu

Galerie Handwerk – Art Jewelry Forum

Goldberg Studios

Max-Joseph-Straße 4

Müllerstraße 46A

Thu 14.03 9:00-10:30

Opening: Wed 13.03 17:00-20:00 Seth Papac

Wed 11:00-20:00 Thu-Fri 11:00-21:00 Sat 11:00-19:00 Special Event: Brunch Friday 15.03 from 11:00-13:00

AJF in Conversation— The Next Generation of Gallerists 49b

MJW is about the jewellery, but it’s also about the people behind the jewellery, who come to network and to share experiences, thoughts and ideas. Therefore, events like these are real musts.

Fabricate 65

The staff and students of the Central Saint Martins BA course in Jewellery Design have continued to surprise us in recent years with intriguing new works and an always friendly atmosphere at their exhibitions. I am looking forward to seeing them again!

Caroline Broadhead, Joarla Caridad, Piran Caseley, Mary Chan, Shengyi Chen, Jianan Chen, Biying Chen, Lee, Veronika Fabian, Ching Fai Fermin Cheung, Melanie

NYC Jewelry Week Panelists: Atty Tantivit, Atta Gallery;

Georgacopoulos, Lucie Gledhill, Gabriella Goldsmith,

Karen Roy Andersson, Four; Irene Belfi; Elena and

Catherine Griffiths, Emine Gulsal, Andi Gut, Katy

Chiaralice Rizzi, Oh My Blue; Jenna Shaifer, Ombre

Hackney, Lydia Hartshorn, Miho Ishizuka, Yulia Kholdina,

Gallery

Eve Lam, Giles Last, Michelle Lung, Aidan Madden, Marlene Mckibbin, Maria Militsi, Frieda Munro, Charlotte

Galerie Handwerk – Art Jewelry Forum

Ooi, Khristina Stolyarova, Louis Tamlyn, Mizuki Tochigi,

Max-Joseph-Straße 4

Wen-Ju Tseng, Jessica Turrell, Frances Wadsworth

Fri 15.03 9:00-10:30

Jones, Yaling Wang, Max Warren, Nicholas Willis, Ariel YC Tsai, Qi Zhang Vitsœ Türkenstraße 36 Opening: Fri 15.03 17:00-20:00 Mon-Fri 10:00-19:00 Sat-Sun 10:00-18:00 Exhibitors’ Tour: 16.03 11:00

Biying Chen, Expensive Necklace, silver

Lin Cheung, Munesu Chingwena, Leo Costelloe, Le Er Moderator: Bella Neyman, curator and co-founder of

37

Anastasia Kandaraki, Symbiosis #1, brooch

2019

MUST-SEE LIST

Time / Time Past

Consolidation

59b

19

1+1=3 I am happy to find in the program a duo exhibition of two artists from different continents. The conste­ llation is surprising, and it will be exciting to see the dialogue that arises.

Iris Eichenberg, Marta Costa Reis Müllerstraße 46A Opening: Brunch Fri 15.03 from 11:00-13:00 Wed-Sat 11:00-19:00

Popeye loves Olive Art Space

Jorge Manilla, Corrina Goutos 84 GHz Raum Für Gestaltung Georgenstraße 84 Opening: Thu 14.03 19:00-22:00 Fri-Sun 12:00-20:00

91b

Anna Vlahos, Anastasia Kandaraki, Angelos Konstantakatos, Artemis Valsamaki, Constantinos Papadoukas, Elli Xippa, Erato Kouloubi, George Giannoutsos, Ioli Livada, Jee Hye Kwon, Lilly Kanellopoulou, Marina Zachou, Raluca Buzura, Vasia Pachi, Xenia Deimezi Atelier Cepissakova Ligsalzstraße 29 Opening: Wed 13.03 15:00-18:00 Wed-Fri 10:00–18:00

IDIOMATIC – Jewellery Conversation Between France and Germany

Iris Eichenberg, Untitled, bracelet and brooch, brass

The Popeye loves Olive Art Space was co­founded

by Erato Kouloubi, who is also one of the founders of Athens Jewellery Week. A strong force to connect people with a passion for jewellery.

34a

This exhibition focuses on dialogue and discussion. I am curious about the premis and hopeful that they will manage to visualize an enthusiastic conversation between the pieces, the artists, and those of us who come to see them.

Katharina Dettar, 78,8 %, object, steatite & flipbook, 2016 Guillem Trius / Marine Dominiczak, Memory objects in between before and after jaw bones surgery - seowon, necklace, casting, laiton, 2015 Marine Dominiczak

Sat 10:00–14:00

INTERIORS Chilean collective exhibition from Joya Brava 44

The Joya Brava group from Chile is one of the many groups from around the world that help to make MJW a truly global event.

Marion Delarue, Marine Dominiczak, Emmanuel Lacoste, Typhaine Le Monnier, Annie Sibert, Céline Sylvestre, Yiumsiri Vantanapindu, Anne Achenbach, Sophie Baumgärtner, Katharina Dettar, Pia Groh, Junwon Jung, Florian Milker, Janina Stübler French Institute, ground floor Kaulbachstraße 13 Opening: Thu 14.03 17:00-21:00 Wed 14:00-19:00 Thu 11:00-21:00 Fri-Sun 11:00-19:00

21 Grams 49a

Cecilia Roccatagliata, Valeria Martinez, Monica Diaz Pinto, Viviana Arevalo, Soledad Avila, Clarisa Menteguiaga, Monica Perez, Vania Ruiz, Gabriela Harsany, Loreto Fernandez, Yael Olave, Pia Walker, Paulina Latorre, Andrea Silva, Rita Soto, Pascale Durandin, Joyce Marin, Massiel Muñoz, Ana Nadjar, Yoya Zamora, Patricia Iglesias, Constanza Bielsa, Daniela Rivera, Liliana Ojeda,

The pieces in this exhibition have been made exclusively for the occasion by a group of 120 diverse international artists and are attempting to describe the soul. Who wants to miss that?

Melina Rapiman, Carola Donoso 120 international jewellery designers

Opening: Thu 14.03 17:00 with a typical Chilean drink Thu-Sat 10:00-19:00

Galerie Handwerk

Sun 10:00-14:00

Max-Joseph-Straße 4 Opening: Wed 13.03 19:00 Tue, Wed, Fri 10:00-18:00 Thu 10:00-20:00 Special opening times: 16.-17.03 10:00-15:00, 18.03 11:00-15:00

Corinna Goutos, Earbudshell

Reichenbachstraße 36

38

MJW PAPER

Lars Sture Munich Jewellery Week is soon upon us, and blimey, what a program! Going through the list of events in the brilliant Munich Jewellery Guide that the tireless women over at Current Obsession have once again so very kindly put together for us, I find plenty to whet my insatiable appetite. Munich Jewellery Week 2019 is going to be a marathon, and I’ve got some planning to do. Here’s my continuously expanding list of the big and small events away from the fair that I simply will not miss.

And finally: expand your knowledge and make a visit to Eva Fàbregas’ large­scale installation at Kunstverein München. I know it’s not jewellery, but I promise, you will love it!

SCHMUCKISMUS and The One-Woman Group Exhibition 31a

In Memoriam Bruno Martinazzi 1923-2018

51 12

The One Woman Group Exhibition Karen Pontoppidan Museum Villa Stuck Prinzregentenstraße 60 Opening: Wed 13.02 19:00 Tue-Sun 11:00-18:00

I will be paying my respects to an absolute hero of mine and one of the most significant sculptural jewellery artists of the twentieth century. With his passing, a hugely impor­ tant era that for decades defined (and perhaps to this day continues to define) what art jewellery could be is coming to an end.

Karen Pontoppidan, O.T. (Titanic), Ring, silver, enamel

Having boxed two major exhibitions – she is curating the large group exhibition of jewellery at the Pinakothek der Moderne and her own ‘One­Woman Group’ show at the Villa Stück – Karen Pontoppidan is most defi­ nitely sticking her neck out during Munich Jewellery Week 2019. Add to this her role as a professor at the Akademie der Bildenden Künste München, and you’ll see why Pontoppidan is quickly becoming one of the strongest voices in contemporary jewellery interna­ tionally. I will be listening attentively to the messages that she mediates through these two exhibitions.

Accompanied by his friends and admirers: Giampaolo Babetto, Mia Maljojoki, Wolfgang Rahs, Bernhard Schobinger, Robert Smit, Fabrizio Tridenti, Graziano Visintin Maurer Zilioli – Contemporary Arts Schleißheimer Straße 42 Opening: Wed 27.02 19:00 Special Opening hours: Sat-Sun 9.03-10.03 11:00–17:00 Opening hours during the Munich Jewellery Week:

Open late: FRIDAY LATE on the first

Tue–Sun 12.03-17.03 11:00 – 19:00

Friday of the month, 18:00-22:00, free admission

NUDA VITA The practice of collective and political body

Any jewellery exhibition that mentions Walter Benjamin and Giorgio Agamben in its introductory text must be worth seeing. When the show centres around ‘the idea of the political, public and collective body’, nothing will stop me from attending!

Vivien Bedwell, Daria Borovkova, Corrina Goutos, Satomi Kawai, Anna Lewis, Nina Lima, Daniel Ramos, Daniella Saraya, Hansel Tai, Martina Turini, Tanel Veenre, Maria Ignacia Walker Guzman, Snem Yildirim ABC Westside Galerie Schwanthalerstraße 176 Wed-Sat 11:00-19:00 Sun 11:00-16:00

BrunoMartinazzi

Tanel Veenre, NUDA VITA, Photo by Angelo Tassitano

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2019

39

I can already feel my feet getting swollen and tired as I purposefully rush around Munich, but there’s so much more to see. I wouldn’t want to miss the numerous shows by students and recent graduates, including: 92

Polyphonous 2019: Oscillations

50a

BÝT________SOUČÁSTÍ TO BE A PART_________

21

how about making dashi?

69

GRADUATES BE TRIPPIN’

MUST-SEE LIST

along with, I’m sure, many others. And you won’t want to miss them, either; here is where you’ll see the future! It’s the same with the seminars and talks: the line­up is just mind­boggling! Do not miss Current Obsession Social Club (I’m excited in particular about their event Intersectionality in Contemporary Jewellery) and the same goes for AJF’s In conversation line­up. I’m already kicking myself about having to miss Gijs Bakker’s lecture at the Pinakothek der Moderne, but you shouldn’t miss this one­hour event, which will surely provide a very useful education!

Expanding Stories promises to be the seminar of the week, not only because I’m part of it, but because you have the chance to widen your horizons in the com­ pany of Objectspace’s director Kim Paton and the formidable Warwick Freeman!

49c

Alien?

84a

Chun Cheng, Interpersonal Connection, earrings, acrylic, elastic cord

I will not miss this event with Nicole Schuster and Sebastién Carré. I cannot help but love Sebastién’s multifaceted and intricate work. In an art­jewel­ lery world populated with testosteronal statement pieces, Carré’s thought evoking sensibility really does intrigue me

Nicole Schuster, Sebastién Carré Werkstatt Galerie Zentnerstraße 3a Opening: Wed 13.03 18:00 Wed-Fri 13:00-19:00 Sat 10:00-12:00

Scrotum Clamp 79

I don’t need to say anything about this one other than, ‘For fuck’s sake, go!’, do I?

Tim ‘Hovis’ Carson, Harvey ‘Bunny’ Stevens, Petra

Galerie beyond - Selected

by Karin, René and Christian

‘Witchy P’ Bishai, Johnny ‘Big1’ Coughlin, Felieke ‘Scratchy’ van der Leest Bürgerhaus Glockenbachwerkstatt Blumenstraße 7 Fri 15.03 2019 Doors open: 19:00 On stage: 23:00

82

The line­up for Galerie Beyond’s group show includes many artists that I would like to know more about as well as some who are already personal favourites, like the fearless and über­talented Darja Popolitova.

Jiro Kamata, Patricia Domingues, Kiko Gianocca, Biesecke and additional jewellery Im Hofgarten Galeriestraße 6A Opening: Thu 14.03 15:00 Thu-Sun 11:00-19:00

Patricia Domingues

Christoph Weisshaar, Annemie De Corte, Marcus

40

MJW PAPER

Anneleen Swillen and possibilities, and really, in­between positions and crossovers make for the most interesting work) and types of events (such as pop­up shops, exhibitions, screenings, public debates, events focused on text, photographic displays, etc). I am not sure if there really is a tendency towards more mixed productions, or if it is simply that I am drawn to these concepts and ways of working. One thing is certain, however: collaborations and cross­overs offer fresh perspectives and are necessary in order for the field to grow.

NUDA VITA The practice of collective and political body 93

Daniel Ramos, Material Identities, hair, photo by Asia Flamini

This curated group show will bring together newly cre­ ated pieces by Vivien Bedwell, Daria Borovkova, Corrina Goutos, Satomi Kawai, Anna Lewis, Nina Lima, Daniel Ramos, Daniella Saraya, Hansel Tai, Martina Turini, Tanel Veenre, Maria Ignacia Walker Guzman and Snem Yildirim on the theme of Nuda Vita. Different photographers have been invited to represent and contextualize each individual jewellery collection, and their photographs will be on display in addition to the jewellery pieces.

According to the exhibition text, this project aims to be an artistic movement as well as a continuous platform for reflection and stimulation. The catalogue is described as an open organism, continuously modifiable and ready to include new projects. Add in a focus on questions and research, rather than providing answers, and this statement only sounds even more promising.

Machteld Lambeets, Margherita Pozzali, Laia Ribas Valls, Liao Yuhsiang Die Waldmeister Barer Straße 74 Opening: Thu 14.03 14:00

Lilian Mattuschka, Untitled, necklace, wood

You’ll find below a list of the events that I am currently most curious about and looking forward to. This selection of highlights undoubtedly says more about my interests and fascinations than it does about the quality of the events, which in any case can only truly be known after the fact.

However, there do seem to be more crossovers happening, both in terms of kinds of jewellery (between commercial, fashion, art, etc – though I prefer not to label too much, since that presupposes thinking in boxes and can exclude other perspectives

& friends 11

The shop is a recurring format within contemporary jewellery exhibitions and is fun to work with. It offers the potential to further critical discussions of contemporary jewellery’s commercial aspects, which remain both relevant and underexposed. The artists participating in both SALE and &Friends will explore this topic from their own perspectives.

Regular hours: Thu-Fri 14:00-18:00

SALE

Pauline von Angerer, Isabelle Enders, Ann-Kathrin Hartel, Kyung Jin Kim, Susanne Schwarz, Nadja Soloviev

33

others & me Volkartstraße 48

Curated by Asako Takahashi Participating artists Danni Chen, Jiye Yun, Nelly Stein, Paul Adie, Sarah Powell Akademie Galerie U-Bahnstation Universität Official opening: Thu 07.03 19:00-21:00 08-11.03 and 18-19.03 16:00-19:00 Tue-Sun 10:00-19:00 Special opening: Tue 12.03 19:00-22:00

Ann-Kathrin Hartel, Untitled, PLA, photo by Johannes Kersting

Fri-Sun 10:00-18:00

With this imitation of a shop, Danni Chen, Jiye Yun, Nelly Stein, Paul Adie and Sarah Powell will explore certain preconceptions of jewellery as an art form, along with its relations to and meanings within various disciplines and fields such as fashion, product design and fine arts. The word ‘SALE‘ works as an eyecatcher.

As the exhibition’s title, it raises some critical questions regarding the value and perception of jewellery. The decision to locate the exhibition in a metro station not only adds to the potentially ambiguous character of the project, but will hopefully also attract a new audience of curious travellers

2019

41

MUST-SEE LIST

Text me +33.6.73.04.61.70

A ROOM OF ONE’S OWN

Amidst the buzz of MJW – all its events, impressions, ideas and encounters – we might occasionally want to retreat to A Room of One’s Own. With their project, Lilian Mattuschka, Judy McCaig, Catalina Gibert, Jimena Ríos, Estela Sáez, Federica Sala, Flora Vagi and Doris Maninger will offer space for stillness and integrity, observation and contemplation, reflection and dia­ logue, individual experience and inner transformation.

These eight women are part of a generation that has faced revolutionary technological and social change.

Being part of this generation myself, and as a female artist, this project appeals to me.

Lilian Mattuschka, Judy McCaig, Catalina Gibert, Jimena

RCA

13

06

Information Point 75

Desiring to break free from the constraints of white­ walled gallery traditions and formal exhibition strate­ gies, the students of the Royal College of Art (UK) have put together a participatory program of special events consisting of rituals, reading groups, sales, a scone breakfast and film screenings. I am curious to see what new perspectives this multi­faceted event can give to the pieces on show.

This simple yet intriguing message immediately catches my attention. What to say? And, more importantly: Who will respond? And with what? Will it be something purely practical, such as the coordinates of this ap­ parently mobile exhibition? Will it lead to an elaborate discussion on the meaning of jewellery and the roles of MJW? Or will it become a visual conversation that consists entirely of emojis?

A little further down the rabbit hole, the attached web link takes me to Maxime Leblanc’s Instagram account, which gives me another link, this time to his website. I click on the link and…

Stop!

Ríos, Estela Sáez, Federica Sala, Flora Vagi & Special Montage by Doris Maninger Ashley Wahba, Chloe Valorso, Grace Windey, HaoRui LOT62 hosted by 84GHz

Wang, Haoyang Sun, Hongdu He, Joy Bonfield-

Schleißheimer Straße 62

Colombara, Micaela Mornaghi, Ming Zhao, Mingze Zhang,

Opening: Thu 14.03 17:00

Noura Alserkal, Puyu Liang, Rui Liu, Shiqi Li, Ting Deng,

Thu-Sat 10:30–19:00

Tsz Ying Wong, Wen Xin, Ximan Yuan, Yilin Gao, Yilin

An introduction this mysterious makes me want to know as little as possible about the project before­ hand. I want to be surprised.

Wang, Yiqi Wu, Yiwen Peng, Yujia Gao, Yunqi Zhang,

Mobile Exhibition

Yutian Zhang

Munich Text me +33.6.73.04.61.70

LOVAAS Fürstenstraße 6 Wed-Sat 10:00-18:00 Special events: Wed 16:00-18:30 ‘Magical Recall’ ritual.

Thu 12:00-14:00 ‘A Many Faced Death— the Death of MADtalks flyer

Fri 12:00-14:00 ’26 Ottos’ discussion. 14:00-16:00 ‘Accessibility in Contemporary Jewelry Academia’ round table.

Sat ongoing from 10:00 scones and ‘JAM Breakfast’, with ‘just lay down and watch’ video screenings throughout the day.

Florian Weichsberger

the Self’ reading group. 14:00-16:00 ‘Touch!’.

MADtalks 20b

As in previous years, I am looking forward to another inventive exhibition project by the master’s students of our Object and Jewellery department at the PXL­MAD School of Arts, Hasselt (BE). In addition to the annual mobile exhibition, this year’s project will also consist of three evening discussions at Café Clara. Find Lasma Ansone, Marth Audenaert, Elisa Cazzaniga, Anna Sophie Fink, Loes Indekeu and Eva Schrooten on the streets of Munich, or at one of the exhibition events, and you’ll be able to see a preview of their graduation projects, or join a MADtalk, and don’t forget to collect one of the small pieces of jewellery they’ve made as a symbol of their project.

Objects on a coffee break

DECONTEXT

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22

In between gallery­, fair­, exhibition­ and symposi­ um­hopping, you’ll need coffee and pastries to keep you going, and this MJW you don’t have to miss out on inspiring designs and encounters as you take your break.

Go to café Die Waldmeister to eat cake using tableware created by Machteld Lambeets, Margherita Pozzali, Laia Ribas Valls and Liao Yuhsiang. Their pieces are meant to be handled and to get dirty. They will challenge your everyday eating experience and encourage you to reflect on how we show and interact with contemporary craft.

Let’s free the pieces from their glass cases!

In this solo project, Florian Weichsberger will pres­ ent the collection he made during his residency at the Françoise van den Bosch foundation in 2018. By collecting items from daily surroundings, separating each from its initial purpose and transforming them into jewellery pieces, he aims to study the objects' meanings, functions and aesthetics in order to ex­ plore the importance, influence and roles of context.

This collection encourages us to question just what it is that makes a piece valuable (taking into consideration materials, design, function, concept, intellectual achievement, time invested, care taken, skills displayed, etc) and how much context is needed.

Master students of the PXL-MAD School of Arts, Hasselt (B): Lasma Ansone, Marth Audenaert, Elisa Cazzaniga,

Vivien Bedwell, Daria Borovkova, Corrina Goutos, Satomi

Anna Sophie Fink, Loes Indekeu, Eva Schrooten

Kawai, Anna Lewis, Nina Lima, Daniel Ramos, Daniella Saraya, Hansel Tai, Martina Turini, Tanel Veenre, Maria

Café Clara

Florian Weichsberger

Ignacia Walker Guzman, Snem Yildirim

Isabellastraße 8

DIA

MADtalk conversations on 3 evenings 18:00-20:00

ABC Westside Galerie

Georgenstraße 72

and a mobile exhibition in the streets of Munich and

Schwanthalerstraße 176

Opening: Thu 14.03 17:00

at other Munich Jewellery events

Opening: Thu 14.03 16:00-19:00

Thu-Sun 11:00-19:00

Wed-Sat 11:00-19:00 Sun 11:00-16:00

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MJW PAPER

Namita Gupta Wiggers This is my first time at Munich Jewellery Week, and I look forward to immers­ ing myself in the abundance of objects, exhibitions, spaces, talks, and people.

I’ve culled from and sorted the list of offerings multiple times. The following

Le bijou still a risky business

Keren Gispan, I Had Sex Yesterday

This first trio connects directly to an ongoing research project, Gender and Jewelry, on which I collaborate with Ben Lignel. These exhibitions and panels directly address questions about gender, sex, and intersectionality, and I am curious to see how such topics are addressed, both in individual sessions and collectively, given the state of cultural and critical connections in contemporary jewellery right now: 34b—100a—80

much­abbreviated list is organised into several thematic groupings or sets that are structured for comparison. In addition to the selections listed here, I aim to visit as many international exhibitions as possible.

34b

Alice Khau, Anaïs Arrayet, Anne Léger, Carla Garcia Durlan, Cécile Flory, Cécile Maes, David Bielander, Elvire Blanc Briand, Esther Knobel, Gésine Hackenberg, Helen Britton, Helena Lehtinen, Jasmin Matzakow, Jean Savard, Karin Seufert, Laurie Noyelle, Manon Écotière, Manon Papin, Marianne Anselin, Marie Masson, MarieCaroline Locquet, Marine Chevanse, Marine Dominiczak, Miranda Hoegberg, Monika Brugger, Nadja MilivintiGaujoux, Pauline Pinoteau, Peter Hoogeboom, Philip Sajet, Romain Jamet, Roxane Boisserie, Shuling Liu, Terhi Tolvanen, Tore Svensson, Ute Eitzenhöfer, Xiao

OVERREACTING: Jewelry Speaks Feminism and Gender

Chen, Yao Tan, Yiumsiri Vantanapindu

100a Institut Français 1st floor Kaulbachstraße 13 Opening: Thu 14.03 17:00-21:00

Philippe Sajet

Tombola – POPBRUNCH: Sun 11:30 Wed 14:00-19:00

Keren Gispan, Tamar Paley, Katia Rabey, Daniella

Thu 11:00-21:00

Saraya, Anat Aboucaya Grozovski, Yotam Bahat,

Fri-Sun 11:00–19:00

Sofia Zakharova, Batami Kober, Rill Greenfeld Galerie Tragbar

With levels of migration, of the movement of humans from place to place, at a record high, the exhibitions in this cluster have set out to address questions of place, space, movement, mobility, geography, and national identity. I am curious to understand how contemporary jew­ ellery engages with contemporary conditions through projects such as these: 88—1e—37

Current Obsession Social Club: Intersectionality in Contemporary Jewellery 80

A joint opening celebration for “OVERREACTING” & “Land Marks”- Two exhibitions side by side showing contemporary jewellery from Israel.

Meet the artist: Fri 15.03 11:00-13:00 A gallery talk to learn more about their work Tue-Fri 11:00-18:00

The Palace of Shattered Vessels: Chinese Porcelain and Contemporary Jewellery

Leslie Boyd, Kalkidan Hoex, Roxanne Reynolds, Namita Gupta Wiggers Lost Weekend

88

Opening: Wed 13.03 16:00-19:00

in the exhibition.

Moderated by Ashley Khirea Wahba / Speakers:

Allotropic

Zenettistraße 33

Schellingstraße 3 15.03 10:00-11:00

1e Pendergast, Oliver Ressler, Lauren Tickle-Tietje, Johanna Zellmer SHOWCASE_20A Donnersbergerstraße 20A Breakfast on the street: Fri 15.03 9:30-11:00 24/7 display

Sigurd Bronger, Carrying Device for Demolished China Porcelain

Ammeli Engström, Shane Hartdegen & Neil

Project Initiator-Angela Lu (CN), Project curators Florence Xia (CN), Noga Zhang Shahar (IL&CN), Project Organizer - FROOTS & NOGART, Beijing / Shanghai.

IHM Handwerk&Design Hall B1. 788, FROOTS & Nogart Gallery Wed-Sun 9:30- 18:00, Thu 9:30-21:00 Thu 14.03 15:00 Artist Talks, Panel 1 SAT 16.03 12:00 Artist talks, Panel 2

2019

43

5541 km 37

MUST-SEE LIST

FERROcity : Iron in the city 72 Rosa Borredá

Mari Iwamoto, Despo Sophocleous Amalienstraße 21 Opening: Tue 12.03 19:00 Wed-Sun 10:00–19:00

Vit Alexander, Marianne Anderson, Jivan Astfalck, Stephen Bottomley, Tim Carson, Rachael Colley, Bettina Dittlmann, Christine Graf, Joohee Han, Kirsten Haydon, Jeremy Hobbins, Michael Jank, Bridie Lander, Anna

I plan to visit several group exhibitions, which are always excellent ways of surveying a great deal of work in a short time. The group exhibition often presents unique display challenges, and the ques­ tion of how arrays of work can be exhibited is of particular interest to me. I am especially excited to spend time with objects by artists I have long admired and written about, and whose work I exhibited or collected when I was working at the Museum of Contemporary Craft: 72—15a—84b

Lorenz, Sarah O’Hana, Drew Markou, Toni Mayner, Simone Nolden, Jo Pond, Jo Pudelko, Rebecca Steiner, Elizabeth Turrell Museum Reich der Kristalle

Heart Failure. Is this the end? Or just a new start

Theresienstraße 41

84b

Opening Wed 13.03 18:00-21:00 Mon closed Tue-Sun 13:00-17:00

Ana Carolina Escobar, Ana Garcia Moya, Anne Léger,

Door is Open Galerie Door

Beiya Yang, Caterina Zanca, Christian Quiceno, Corrado de Meo, Dania Chelminsky, Deimezi Xenia, Dimitar Stankov, Donna Mason Sweigart, Dóra Dés, Egle Sitkauskaite, Elvira Cibotti, Eugenia Balabani, Eva Tesarik, Fabiana Gadano, Gigi Mariani, Hebe Argentieri, Heng Lee, Hillarey Dees, Hongzhe Ma,

15a

Iolo Livada, Iona Nieva, Iris Merkle, Isabelle Busnel, Izabella Petrut, Jil Köhn, Joshua Kosker, Juan Riusech, Juanjo Garcia Matin, Katja Turpeinen, Larah Nott, Lena Lindahl, Lluis Comin, Lucia Feugas, Mar Sanchez,

Coco Sung, Vasopressin, brooch

Margarita Alonso, Maud Traon, Michelle Kraemer,

Sanaa Khalil, No Space for Abstraction, object, olive wood, iron, rubber, leather, brass

Certain artists simply cannot be missed. Their work exemplifies a generation, a shift, or a singular vision. The artists in this cluster are just a few of those whose work pushes us to understand objects differently, who reify metaphor and make history.

And as much as I am simply interested in seeing their works, given my curatorial experience with and interest in the relationship between objects and space I am also particularly interested in looking at the ways their works have been exhibited in each of these different spaces: 12—31a

Klara Brynge, Eva Burton, Colombe d'Humieres, Tatjana

Natasa Grandovec, Nico Delaide, Nicole Polentas,

Giorgadse, Elena Gorbunova, Helen Habtay, Mielle

Nicole Schuster, Panjapol Kulpapangkorn, Peter

Harvey, Maria Hees, Idiots (Afke Golsteijn and Floris

Hoogeboom, Qiwei Liu, Ruozhu Tang, Rosa Borredá,

Bakker), Taehee Inn, Jutta Kallfelz, Typhaine le Monnier,

Sébastien Carré, Sílvia Serra Albaladejo, Teresa Faris,

Holly O'Hanlon, Jiun You Ou, Darja Popolitova, Danni

Victoria Ioannidou, Viktoria Münzker, Vittoria Ramona

Schwaag, Camile Smeets, Coco Sung, Robean Visschers,

Pallechi, Yiota Vogli, Yiqi Wu & Yu Hiraishi

Valérie Wagner, Qi Wang, Inette van Wijck, Kun Zhang Werkstatt Galerie Guest of Smudajescheck | Kunstraum van Treeck

Zentnerstraße 3

Schwindstraße 3

Opening: Wed 13.03 18:00-21:00

Opening: Wed 13.03 19:00-21:00

Wed-Fri 13:00-19:00

Wed-Sun 10:00-19:00

Sat 10:00-12:00

Special events during the week

In Memoriam Bruno Martinazzi 1923-2018

SCHMUCKISMUS 31a

12

30 international jewellery artists Maurer Zilioli – Contemporary Arts

Die Neue Sammlung – The Design Museum,

Accompanied by his friends and admirers: Giampaolo

Pinakothek der Moderne

Babetto, Mia Maljojoki, Wolfgang Rahs, Bernhard

Barerstraße 40

Schobinger, Robert Smit, Fabrizio Tridenti, Graziano

Opening: Fri 15.03 19:00

Visintin

Mon closed Tue-Sun 10:00-18:00

Schleißheimer Straße 42 Opening: Wed 27.02 19:00 Special Opening hours: Sat-Sun 9.03-10.03 11:00–17:00 Opening hours during the Munich Jewellery Week: Tue–Sun 12.03-17.03 11:00 – 19:00

Thu 10:00-20:00

ATHENS JEWELRY WEEK is a festival.

It is an institution that creates a space where artists and audiences from the contemporary jewelry field can meet to exchange ideas, network and develop future collaborations.

The works exhibited during AJW are not only art pieces that express states of being, provoke discussions and comment on current sociological structures and tendencies but are also a means to an end. The strong connections that are formed at AJW between individuals and groups from different cultures are a great

source of support for the event and each year inspire new and progressively more significant actions.

The organization of AJW has evolved since coming into being in 2016. With the fourth edition now approaching, we asked our friend, advisor, colla­borator and firm supporter – and AJW jury member – Jorge Manilla to give us some feedback and share his experiences of the previous editions of the festival. These are some phrases excerpted from his response:

“…In 2015, I was contacted by Erato Kouloubi, who invited me to give a lecture and workshop and at the same time to exhibit at her art space Popeye Loves Olive. And it was then that I discovered a small group of very talented people making contemporary jewelry in a serious, committed and independent way. After the first encounter I stayed very close to the Greek jewelry scene, admiring its development and dedication, because in some way I knew that in this place, Athens, all the elements that would be needed to create something new and innovative co-existed: history, creativity, the ambition to learn and a wonderful environment to inspire…

them the huge responsibility that this idea demanded…

…I was told about the idea of Athens Jewelry Week, I fell in love with it, and I did not hesitate for a moment in supporting this project. Of course, I explained to

...Another fact that seems important to me is that AJW has managed to enter into collaborations with important museums in Athens. Since the second edition they

…Since then, three editions of Athens Jewelry Week have been celebrated. And each one of them has been full of fresh new ideas… The Anticlastics have managed to evolve while maintaining their high level… I find that there is a good balance between the lectures, the exhibitions and all the other events and activities that every year surprise audiences…The festival seems to be becoming more and more international, giving beginners and professionals equal opportunities to participate, meet and get to know each other, and to exchange ideas about the field.

have shown their central exhibition, Art + Jewelry : Intersecting Spaces, at the Benaki Museum, while this year they are collaborating with the Ilias Lalaounis Jewellery Museum, which is going to host all of the schools that are participating… … The Anticlastics team has created a strong platform with immense possibilities that very professionally serves the contemporary jewelry field in Greece and promotes the exchange of ideas and networking with other countries…I would say that AJW is probably one of the most relevant events on the new contemporary jewelry scene, not only due to the commitment of the organizers but also, as I said before, due to the environment in which it takes place: the city of Athens, where you breathe history and culture…”

— Jorge Manilla

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