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Decoration imageArt jewellery forum, space for opinion, debate and exchange. Access to conferences, articles and interviews about the art jewellery creation written by the most relevant figures on the world of art, jewellery and crafts.


Articles

Nicolas Estrada, Brooch, 2014

Diaphanous: a Master's Degree Project by Nicolas Estrada

Nicolas Estrada presents his Master Project, with a body of work divided in three series: Fragility, Delicacy and Light. The pieces were inspired in the past experiences of the artist and its strong influence in his personal way of see the world.

Nicolas Estrada

Germany , Nicolas Estrada, 2014

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Harold O’Connor: Between Art and Nature

Among the most accomplished metalsmiths of his or any generation, O’Connor enjoys a dual reputation as both artist and esteemed teacher. His jewelry resides in seventeen museum collections worldwide5—and he has taught and lectured in sixteen countries, including Korea, New Zealand, the Czech Republic, and Japan.
A must read article to understand the works and career of the North American artist.

Andrea DiNoto

Eugene , Metalsmith, 2014

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Dialogues: a concept to curate. Preziosa 2010’s edition

The conversation widened in an attempt to outline the current overall situation in research jewellery and its history through the interaction between the two generations. On the latter point there was almost unanimous agreement: Babetto, Dahm and Peters’ generation was the one marked by revolution, by the tearing up of the rulebook, by the overstepping and destruction of the limits, and was consequently a generation in a constant battle to spread the word of another way to think and create jewellery.

Maria Cristina Bergesio

Florence , Le Arti Orafe, 2010

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Xavier Monclùs: Narrative Jewellery. An introduction

The purpose of this seminar was to realize jewellery starting by images found by the participants. Students wishing to participate in the workshop first compiled a small collection of images that can be obtained from your everyday environment.

Le Arti Orafe

Florence , Le Arti Orafe, 2014

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Portable Pleasures, when intimacy becomes public: a Master's Degree project by Carolina Gimeno

This project was developed with the aim of to highlight the relevance that decoration on the body has, as a way to construct identity and communication. Rooted on to explore the relationship between gender, the feminine culture, and decoration within the Western world. And thinking of jewellery as a socialisation method and not as a consequence of natural differences between sexes.

Carolina Gimeno

Stockholm , Carolina Gimeno, 2014

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Philip Sajet, Desire and Greed Workshop at Le Arti Orafe Jewellery School

From the beginning of its activities, LAO considered of primary importance to offer its students the opportunity to meet with various artists, designers, goldsmiths, and learn about different approaches and points of view to the issue of creating jewellery.

Le Arti Orafe

Florence , Le Arti Orafe, 2014

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The Tool Belt: a Master's Degree project by Tobias Alm

The exam work of Tobias Alm investigates normative thinking connected to the appearance of the human body in a cultural setting. This investigation touch upon clichés of male and female identity as well as the common use of artefacts designated to confirm or reject such identities.

Tobias Alm

Stockholm , Tobias Alm, 2014

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After the End of Contemporary Jewellery

‘It´s the talk of the town’ says Jorunn Veiteberg. I meet the Norwegian art historian at Georgonhof, a restaurant in Munich. It is Schmuck – the annual jewellery week – considered by many to be the ‘Venice biennial’ of contemporary jewellery.

André Gali

Oslo , Norwegian Crafts, 2014

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Identity Crisis: An Essay about the Current State of Art Jewellery and the Future of it

I began to write this paper in the autumn of 2013 and am quite pleased with my decision to take my time. I had apprehensions about declaring the end or “perversion” of Art jewellery, and questioned whether anyone would even take me seriously.

Ezra Satok-Wolman

Barcelona , klimt02, 2014

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A Misunderstanding or Backwardness: Why Some Galleries at SCHMUCK 2014 Lagged Behind Others

I would like to share my experience on the year’s event in the field of contemporary and conceptual jewelry – SCHMUCK-2014 in Munich. The fact that completely shocked me is the prohibition to take photos in the galleries. We, as gallery representatives, went there to get to know new designers and artists and their works, to purchase their works for our collection, to meet our friends and gain new contacts, which come in handy during discussions as well as when organizing new exhibitions.

Agita Putāne

Riga , Klimt02, 2014

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Looking back at China’s first International Art Jewelry exhibition

Last year in late September, a major jewelry event took place in Beijing that to date has received little attention. I had the pleasure of traveling to China for the 2013 Beijing International Jewelry Art Biennale that took place during Beijing Design Week (BJDW). Modern jewelry in general is quite new in China, and art jewelry is essentially just getting off the ground.

Ontario , Ezra Satok-Wolman, 2014

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Socratic Dialogue: CHANGE

CURRENT OBSESSION is exploring the potential of modern media meetings. We installed a micro forum as a part of the CURRENT OBSESSION website (talk.current-obsession.com) and tried to employ a way of discussion called Socratic Dialogue between people from various disciplines, curated by Adam Grinovich. The topic we selected was CHANGE.

Eindhoven , Current Obsession, 2013

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Jie Sun: China Universities Lecture Tour

The actually discussion during my presentations are mostly in the understanding of "contemporary" and how I bring my ideas, thoughts and put the "soul" into my own creation. I am interested by the question how globalization influences creative disciplines throughout the world, as well as how to develope it on different culture basement.

Jie Sun

China , Jie Sun, 2014

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Ruth Robinson (1916-2013)

Ruth had a strong, warm, outgoing personality, feisty and often dismissive of authority. An elegant dresser, she could be seen wearing leather trousers in her eighties, remaining young at heart by drawing on much younger friends for whom she sometimes acted as an advisor. She remained active until her last few years when she suffered from dementia and restricted mobility.

Bruce Robinson

Barcelona , Klimt02, 2014

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Yvonne Joris (1950-2013)

She was one of the first museum officials who recognized the importance of the new movements in ceramics and jewellery and made it the museum’s core focus.

Liesbeth den Besten

Barcelona , Klimt02, 2013

+ info

Checking the temperature

The name From the Coolest Corner can be interpreted as a play with the prejudices of the Nordic area: cold, cool and not the centre of attention. The team behind this touring exhibition hope to change that fact by presenting the newest and most advanced of Nordic jewellery to a wide audience.

Sanna Svedestedt

Gothenburg , Sanna Svedestedt, 2013

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Analysis of ‘Transplantation A sense of place and culture- British and Australian Narrative Jewellery’

Perhaps the most pressing, urgent and demanding pieces deal with more than a simple dialogue between two places. The narrative jewellery that acknowledges a constellation of location reveals to us that the distance between our homeland and ourselves increases with any looking back.

Samuel O’Hana

Manchester , Samuel O’Hana, 2012

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Impressions of Schmuck 2012 in Munich

Munich in March seems to have become for jewellers what Milan is for designers. Besides the important Jewellery exhibition ‘Schmuck 2012’, many jewellers and galleries use this moment to present their jewellery all over Munich. Of the almost 50 exhibitions I managed to visit 15 of them in two and a half day!

Birgit Laken

Haarlem , Birgit Laken, 2012

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The Left and the Right

(...) recently I have become less and less satisfied with my outcomes, struggling to develop my current body of work. How do you create good work, which is original and from the heart? I had heard rumours about Ruudt’s course. That it was tough, an intensive experience. I decided to throw myself in and see where I would land.  (...)

Laura Bradshaw-Heap

London , Laura Bradshaw-Heap, 2012

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Commentary on ‘Transplantation A sense of place and culture- British and Australian Narrative Jewellery’

(...) I left the exhibition a number of hours later with a sense of fondness for the obvious intimacy portrayed in the work. (...)

Samuel O’Hana

Manchester , Samuel O’Hana, 2012

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Master Class: David Bielander & Helen Britton: Authenticity in the age of style surfing

(...) It seems that some makers of contemporary jewellery may have forgotten their roots, in an attempt to make work to show at exhibitions such as Schmuck in Munich. (...)

Laura Bradshaw-Heap

London , Findings Magazine, 2011

+ info

Liana Pattihis case study for the Research Fellowship for Innovation in Vitreous Enamel Surfaces in Jewellery

The research project is based on the premise that there is huge and largely unexplored potential for innovation within the field of enamelled jewellery. By taking both a practice-led and theoretical approach the aim of the project has been to identify factors that might hinder innovation and present a series of alternative approaches that encourage a more experimental and open-minded approach to enamel.

Jessica Turrell

Bristol , Arts and Humanities Research Council, 2010

+ info

Jewellery talk

(...) In 2006 Daniela Hedman & Kajsa Lindberg took on the opportunity to travel around Europe and make an investigation about the field of contemporary jewellery. The suggestion came from Ruudt Peters, at that time their professor at Ädellab/Metallformgivning, Konstfack Sweden. (...)

Daniela Hedman, Kajsa Lindberg

Stockolm , Ädellab/ Metallformgiving, 2008

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Lisa Walker’s speculations in glue

(...) Walker decided to assemble her pieces using glue, an idiosyncratic process that made her stand out in the field. Being considered the Anti-Christ of the jewellery world, glue is used ‘secretly’ in both traditional and contemporary jewellery. (...)

Dionea Rocha Watt

Oxford , Journal of Modern Craft website, 2010

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TO THE LIGHT, THROUGH THE NIGHT: International Jewellery Exhibition JUST MUST

(...) Hope gives us courage to carry on. A gift involves hope. An artist’s gift is greater than that of other people, and as with any gift, the bearer must reciprocate. Somebody always needs to be saved. The artist speaks to all, even if only a few will listen. (...)

Vappu Thurlow

Tallinn , Kunst.ee magazine, 2008

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Kadri Mälk and her inevitable imperative

(...) I have never understood why conceptualism is so often confused with communal propaganda in Estonian art. In Just Must, the conceptualization has been put in place very exactingly, and is zestfully well-tempered, it doesn’t do anything ostentatious but it certainly is dramatic. (...)

Peeter Laurits

Tallinn , Eesti Ekspress Areen, 2008

+ info

Where? Wear? Worn?

(...) Walker is clever. She has recognised jewellery’s capacity to provoke and to critique notions of the ‘decorative’. In her practice she challenges the fundamental premise of the craft, one that historically has preference for skill, technique, preciousness and glamour. (...)

Roseanne Bartley

Melbourne , Roseanne Bartley, 2009

+ info

For an ecumenical communication within Contemporary Jewellery

Did we need two youngsters from Barcelona in order to be able to create a new and pioneering resource which would throw open windows and throw down blond plaits, take biblical doors off their hinges and build Brooklyn-type bridges between jewellery lovers around the globe, workers in the sector and all the curious Ulysses’ navigators gravitating around the world of Contemporary Jewellery? Obviously we did. (...)

Bianca Cappello

Milan , AGC, 2008

+ info

Repeat after me

(...) if an object is good once, it will be good 20 times over, is what fuels this essay. My more seasoned conviction, that contemporary jewelry needs the visibility that editions would provide, also plays a part. (...)

Benjamin Lignel

Bethel , Metalsmith Magazine, 2008

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,

New Graduate: Liana Pattihis

Having evolved her own style of enamelling right from the beginning, Liana Pattihis describes the processes involved in discovering her new techniques.

Pat Johnson

London , British Society of Enamellers, 2007

+ info

Objects to show off.

(...)
What makes the work of these artists valid? Their concept of jewellery as an artistic language, and the transformation of its discourse.
(...)

Silvia Micolau, text

Barcelona , b-guided#22,

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What does Contemporary Jewellery mean?

(...) Contemporary Jewellery is a type of practice - understood as the contemporary offspring of a craft-based design activity that finds its origin in medieval workshops. (...)

Benjamin Lignel

Bethel , Metalsmith Magazine, 2006

+ info

My Memories about Colour

(...) Mari Ishikawa’s works illustrate deep roots in japanese tradition and rituals, revealing at once a transformation and metamorphosis of their content in a contemporary jewellery aesthetic. (...)

Mari Ishikawa

Barcelona , Lucca Preziosa, 2007

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Architectonics, Foundations in Jewellery

(...) While architecture defines the spaces where we interact with one another jewellery defines who we are as individuals within these defined spaces. (...)

Heather Skowood

Liverpool , architectonicsjewellery, 2006

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Lecture by Maria Nuutinen at the Koru2 International Contemporary Jewellery Symposium.

The main idea of my work is people and our behaviour.

Maria Nuutinen

Lappeenranta , Koru2, 2006

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A few words about Perception

(...) Being inside a car you can see only a projection of the outside world on the windshield of the car. (...)

Micha Maslennikov

Moscow , Mi-Mi Moscow, 2006

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Polish designer's jewellery

I belong to these who are of the opinion that Polish goldsmithing after the WW II has really recovered as late as in 1990 (...)

Andrzej Bielak

Krakow , STFZ Goldsmithing Artists' Association, 2006

+ info

Ramón,Puig foto R. Puig

Text ot the conference at the Arts Ornata Simposium, Barcelona 1999

(...) Creation is not communication, creation is loneliness, a loneliness calmly accepted. (...)

Ramon Puig Cuyàs

Barcelona , Ars Ornata, 1999

+ info

genèric forum

The Flower in the Wound: Situations & Reflections Part 2

This is the second part of Margaret West conference during the workshop Situation at Sweden in 2004.

Margaret West

Gothenburg , Konstepidemin, 2004

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Ramon Puig. An hybrid mind

Ana Campos

Porto , Esad, 2003

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The Flower in the Wound: Situations & Reflections Part 1

(...) Many things can incite an artist to make jewellery, irrespective of its potential role as a social catalyst. It is often prompted by existing situations, though it is not necessarily directed towards subsequent ones. What happens happens (or mis-happens). But, like all jewellery, it is haunted by the presence or the absence of a wearer. (...)

Margaret West

Gothenburg , Konstepidemin, 2004

+ info

Lecture by Sari Liimatta at the Koru2 International Contemporary Jewellery Symposium.

Is jewellery as an art form a media, which we try to use, to literally connect us to the society?

Sari Liimatta

Lappeenranta , Koru2, 2006

+ info

Lecture by Lin Cheung at the Koru2 International Contemporary Jewellery Symposium

My work questions the subject of jewellery, teasing out our relationships with it: what we wear and why we wear it.

Lin Cheung

Lappeenranta , Koru2, 2006

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MERCURY-Re P: on Location

(...) Visual and verbal language — objects and words — are two distinct and separate modes of human expression. (...)

Margaret West

Sydney , JMGA, 2006

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Lecture by Anna Rikkinen & Nelli Tanner at the Koru2 International Contemporary Jewellery Symposium

(...) the process of making art in a dialogue of two artists, a space and public. (...)

Anna Rikkinen, Nelli Tanner

Lappeenranta , Koru2, 2006

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Lecture by Manon van Kouswijk at the Koru2 International Contemporary Jewellery Symposium

Within my work I focus on the value and meaning that everyday objects represent to us.

Manon van Kouswijk

Lappeenranta , Koru2, 2006

+ info

Lecture by Ted Polhemus at the Koru2 International Contemporary Jewellery Symposium

(...) Instead of using ornament to secure us symbolically within our tribe, we use ornament by and large to set ourselves apart as separate, distinct individuals. (...)

Ted Polhemus

Lappeenranta , Koru2, 2006

+ info

Lecture by Florence Lehmann at the Koru2 International Contemporary Jewellery Symposium

(...) Since 1998, I has been working on the theme of birth: my work revolves around the analogy between the birth of forms and the birth of human beings, between creation and procreation.(...)

Michèle Heuzé-Joanno

Lappeenranta , Koru2, 2006

+ info

Lecture by Tanel Veenre at the Koru2 International Contemporary Jewellery Symposium

Decadent jewelry perceives an order in the endless chaos?

Tanel Veenre

Lappeenranta , Koru2, 2006

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Dutch Jubilees

Three celebrating jewellery galleries in one year – this is only possible in Holland.

Liesbeth den Besten

Amsterdam , Klimt02, 2006

+ info

Lisa Walker & Karl Fritsch. New Zealand Tour

(...) Their work is as much provocative and challenging to a maker of jewellery such as myself as it is to a wearer. (...)

Kate Ewing

Auckland: A Treasury of New Zealand Craft Resources Trust, 2001 , A Treasury of New Zealand Craft Resources Trust,

+ info

The Wedding Band, The (ir)refutable symbol of union

(...) The rings, preferentially valuable, that continue to seal unions are piled up in the gutter and the circle that previously represented infinitely perfect love, now finds itself empty and lifeless (...)

Jose Carlos Marques

Porto 2006

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Coming into view

(...) There is an ongoing discussion in the crafts community about how craft works can reach out to a broader audience and redefine the cultural relevance of this embattled discipline of creativity. (...)

Sakurako Shimizu

New York 2006

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People Don’t Care About Ideas, They Just Like Cool Objects

(...) Is jewelry an art form? ‘Jewelry’ is no doubt a confusing term. Simple words like ‘ornament’, ‘design’ and ‘craft’ all seem to fail in describing this highly hybrid discipline. (...)

Sakurako Shimizu

New York 2005

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The joy of making the invisible visual by utilising the hand

(...) And what about a young jeweller like Suska Mackert who hardly makes any jewellery at all, and still considers herself a jeweller? (...)

Liesbeth den Besten

Stockholm: Craft in Dialogue, 2005 , Craft in Dialogue, 2005

+ info

genèric forum

The Padua School of jewellery, considered from inside

(...)
The emphasis lies on stylistic developments, from Mario Pinton’s “primitivistic figuration” of the post-war period through the influence of Programmatic, Kinetic and Minimal Art in the period which reaches from the sixties till the eighties, and the experimental Post Modern work of Francesco Pavan and Giampaolo Babetto in the eighties, till the work of the younger generation which started in the nineties and the “new logics in the use of geometry” in the work of Babetto, Visintin and Pavan in the period from the 1990s to the present
(...)

Liesbeth den Besten

Holland , Klimt02,

+ info

genèric forum

Images, codes and poetry: the jewellery of Suska Mackert

(...)
Making use of a variety of media, she underlines that jewellery’s complex grid of relationships between maker, object, message, wearer and spectator cannot be analysed solely from the viewpoint of the physical encounter.
(...)

Love Jönsson

Munich 2005

+ info

Reading jewellery. Comments on narrative jewellery

(...) Till now, not much attention has been paid to the narrative in jewellery and this is strange. We are living in a culture in which the narrative is omnipresent and jewellery is treated in terms of material, style and concept, not in terms of the process of viewing and interpreting (...)

Liesbeth den Besten

, Norway, 2006

+ info

genèric forum

Beyond the showcase

Liesbeth den Besten

2004

+ info

Emmy,Van Leersum necklace / neckpiece: (object to wear), 1968

After the revolution, jewellery without boundaries Jewellery in The Netherlands since 1990.

Liesbeth den Besten

2003

+ info

genèric forum

JEWELRY -The State of the Nation

2003

+ info

Young Wodaabe nomad preparing himself for the Yankee ritual

A look at Constel.laciò: a jewel open to dialogue with the receptor

Ana Campos



+ info

Roseanne, Bartley Foto Bartley

Culturing the Body: a social experience

(...)
Jewellery is a communication device, a cultural signifier through which notions of individuality or communal identity can be transmitted. It is an intimate broadcaster, often employed as a decorative lure, or an indication of social consequence.
(...)

Roseanne Bartley



+ info

genèric forum

Letter to Graziella Folchini about the book review The Padua School of jewellery, considered from inside.

(...)
what would have interested me as a reader,
is the question of meaning.
What does a material represent to an artist? In the short history of contemporary art jewellery, the semiotic function of certain materials, the values (beyond the economical) and meanings which are attached to materials by artists, is very interesting.
(...)

Liesbeth den Besten

Amstelveen 2005

+ info

genèric forum

Letter to Ms. Liesbeth den Besten about the book review The Padua School of jewellery, considered from inside.

(...)
I agree with you about the radical minimalism
of Emmy van Leersum, but I confirm the original expression of Babetto’s minimalist works.
In fact, I do not think that the use of gold
contradicts the concept of minimalism.
(...)

Graziella Folchini Grassetto



+ info

genèric forum

Semantics of the word "jewel"

(...)
It addresses the work we do as artist-jewellers and the conotations the word "jewellery" has for the public in general and to some extent to ourselves. By changing that concept, we would be able to present a larger audience with a different perception of what we do. Unfortunately, up to now, no new name has been coined. Maybe it will, maybe not. This is a seed for change.
(...)

Manuel Vilhena



+ info

Amber Jewelry of Sigitas Virpilaitis: Postmodern Approach.

(...)
he puts forward intellectual, but not decorative aspects of the artwork. Amber is seen through a new prism and is considered not as a unique stone from the Baltic region or national symbol, but as a material, that could invoke various cultural associations, oftentimes having nothing to do with national identity.
(...)

Ruta Pileckaite



+ info

Contemporary Jewellery:
Georg Dobler, Winfried Krüger, Karen Pontoppidan, Marianne Schliwinski.

(...)
For all their diversity, these four artists have in common a tendency to draw their inspiration from the natural world, even if they approach such themes in very different ways and express them in their own individual stylistic languages.
(...)

Graziella Folchini Grassetto



+ info

Photo-Sensitive Cities.

(...)
But the most attentive citizen to the reality of his city is aware that a city’s cultural memory also depends on his commitment, energy and awoken movement.
(...)

Carla Castiajo



+ info

Mah Rana: Between Remembering and Forgetting.

(...)
It is our consciousness that gives
these objects real potency
(...)

Augustus Casely-Hayford



+ info

Stefano Marchetti. The New Generation in the Padua School and the European Postavanguardia.

(...)
the individual component is emphasised,
isolated, and thus distinguished
as an autonomous entity
(...)

Graziella Folchini Grassetto



+ info

The created Jewel.

(...)
What will define what a jewel is
or isn't will be the will,
the intention of its creator
(...)

Ramon Puig Cuyàs



+ info

Suite on David Watkins.

(...)
in his work he rehearses every possible variation, uniting chance and calculation, intuition and method, all as if it were musical improvisation.
(...)

Mònica Gaspar



+ info

 
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