Current Obsession Paper for Munich Jewellery Week 2016

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PAPER

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CURRENT OBSESSION

Studio Visits With Schmuck'16 Artists

Introducing

Social Club

Talente'16 Jewellery MJW Nominees Must-See List According to Jewellery Experts

Photography by Elza Jo

Contemporary jewellery in the context of today's visual culture

Content Editor's Note

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Clusterschmuck: Institutional and Community Sustenance for Contemporary Jewellery

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With text by Dr. Petra Hölscher, Senior Jewellery Curator at Die Neue Sammlung

SOCIAL CLUB / Munich Edition Introduction and MJW Programme

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The 2016 Talente Award Nominees in Jewellery

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Photography by Elza Jo

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Studio Visits Moniek Schrijer, Henriette Schuster, Petra Zimmermann, Lori Talcott & Daniel Von Weinberger

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MJW Must-See List, according to Jewellery Experts Peter Skubic, Karin Roy Andersson, Linnéa Eriksson, Paul Derrez, Jiro Kamata, Anneleen Swillen, Tanel Veenre, Jorunn Veiteberg

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Vernacular Open Call

Credits CURRENT OBSESSION published this paper on

CONTRIBUTING PHOTOGRAPHER

COVER IMAGE BY

THE 2016 PROGRAMME WAS MADE POSSIBLE

the occasion of Munich Jewellery Week 2016

Elza Jo

Elza Jo

BY THE GENEROUS SUPPORT OF:

www.current-obsession.com

Jewellery by Annie Huang,

Antwerp, Eindhoven, Amsterdam,

COPY EDITOR

Sense of Belonging VI, bangle,

Stockholm, Florence, Honolulu

Nina Moog

metal, gold-plated with engraved words

FOUNDING EDITOR

PR

SPECIAL THANKS

Marina Elenskaya

Larisse MacDonald/Inspiragency

Elisabeth Kieser and the team of Lost

info@current-obsession.com MANAGING DIRECTOR

Weekend, Dr. Petra Hölscher, Akiko Kurihara, PRINTED IN THE NETHERLANDS BY

Peter Skubic, Jelizaveta Suska, Fumiki Taguchi

Rodi Media/Dijkman

International Trade Fair Munich,

Sarah Mesritz magazine@current-obsession.com

24.02- 01.03.2016 Management and PUBLISHED BY CURRENT OBSESSION

Organization: Handwerkskammer für München

Marina Elenskaya & Sarah Mesritz

und Oberbayern, Wolfgang Lösche,

ART DIRECTION & GRAPHIC DESIGN Linda Beumer & Anna Hennerdal

Frank Neidlein, Eva Sarnowski and ADVERTISING

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For advertising opportunities and other EDITOR

enquiries, please get in touch via:

COPYRIGHT, © 2016 Current Obsession All

Kellie Riggs

magazine@current-obsession.com

Rights Reserved: No part of this publication may be copied and/or reproduced without the

EDITOR-AT-LARGE Mariah Tuttle

PARTNERS:

written permission of the copyright holder

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Editor’s Note

Another year has passed. Right now we are in Bavaria and once again it’s Munich Jewellery Week. Time kind of stops here, doesn’t it?

It is during these few days on the streets of Munich that contemporary jewellery is able to decide what exactly it is, isn’t, or more importantly, what it can be. Through trial and error, through action and experimentation, through experience and collaboration, the field lives up to its own name by being just that: contemporary – present day, continuous, existing. What’s new happens here first, what’s reoccurring here gains its traction, and what the future holds is often decided. With each passing year this field takes itself all the more seriously in Munich, as these are the grounds on which the inter­ national values of our field are being formulated and put to the test.

on the metro in route to the Messe; new friends are made at the Pinakothek’s café because the Sunday lecture is packed full; or the seed gets planted for a new, fruitful collaboration while attending an exhibition (like it happened for me, meeting CO founder, Marina in 2012) - these moments seem to happen magically.

Sometimes our jewellery community can feel quite small, but it is at this time every year we are reminded that it spans every continent on the globe, always expanding.

For us at CURRENT OBSESSION, MJW is about creating and sustaining a meaningful cultural framework around jewellery, and generating more possibility for community.

If it just so happens to be over some weissbeer and bratwurst, even better.

See you on the streets.

Our community is also fortified here. All who pass through can speak to that in different ways. Whether your first artist interview is spontaneously conducted at the beer hall, or

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Kellie, and the CO Team: Marina, Sarah, Linda, Anna and Mariah.

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Cluster sc hmuc k

A hub can be many things: a pocket of culture; a space for gathering and talking; a place of exchange and camaraderie.

For one week each year, Munich becomes full of hubs created especially for, and by, the contemporary jewellery world. These hubs have quite the range, and the many exhibitions scattered throughout the city are perhaps the most accessible. Many jewellers come together to show what they do. Whether it’s a local German jewellery crew, or an international one from places like New Zealand, Finland or the United States (like in this year’s Specials - Handshake, Hibernate and American Gothic respectively), one can begin to meet these otherwise unreachable international communities and converse about what it means for jewellery to be from a certain place or school of thought. More experimental groups create spaces almost unrecognizable from a typical jewellery show. Performances that encourage participation and interaction are becoming more common during Munich Jewellery Week (like this year’s The Dinner), which brings together the community in new and interesting ways.

Less formal affairs are equally important opportu­ni­ties to recognize and expand our relationships.

The annual Saturday dinner at the beer hall may,

at first, be a loud, crazy congregation of crowded tables with steaks and steins, but it also offers an informal chance to have a common conversational denomi­nator (jewellery) with - at first - a complete stranger. Other instances may seem more transient, but may actually be the foundation of someone’s MJW experience: the metro ride on the way to/from the Messe, or seeing another group of people walking down the street holding their maps and totes in search of the next venue. These moments remind us of the worldwide jewellery network we are actively creating just by being at MJW together.

Book launches, lectures, panels and artist-meets are other variations of hubs that are equally important and possibly more intimate. This year, the amount of groups creating formal situations for sharing and discussing has noticeably grown. There will be three days of artist and professor talks in conjunction with the exhibition Germany’s upcoming talents, gut; The Meet, will be a discussion about collecting, publishing and exhibiting with representation from Art Jewelry Forum, Norwegian Craft and Current Obsession; MAD-talks is a presentation of five researchers and tutors from the Department of Object and Jewellery in Hasselt, Belgium; the first edition of the Current Obsession Social Club (more on that further on…).

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But perhaps the most important hub radiates from the museum. Located smack dab in the city centre, the Pinakothek der Moderne is the nucleus of MJW. The solo-show opening has become the ultimate meeting point and the annual Sunday lecture is a rare invitation to access some of the best minds in the field. The museum leads by example as a potent dose of much needed institutional support in a field that sometimes seems invisible next to other art genres.

(The Design Museum) legitimizes the Contemporary Jewellery community in a way that is necessary and special, and it emits that respect outwards into the streets of Munich every March. It elevates everybody’s game.

Current Obsession contacted Dr. Petra Hölscher, Senior Jewellery Curator at The Design Museum, in an effort to get some Museum perspective. To our delight, she responded with a lovely and detailed description about her relationship with the museum, their acquisition history, the growth and impact of SCHMUCK, and the importance of collaboration.

SUPPORT FROM ALL SIDES: Institutional Sustenance For Contemporary Jewellery Text by

Shortly after the opening of Pinakothek der Moderne in September 2002, I became a member of the curatorial staff of Die Neue Sammlung. Since 2009, I have been working in the field of Contemporary Jewellery.

At first, I was more in the background dealing with the organization of exhibitions. In the last few years, however, I have become more and more responsible for the exhibition program itself: the purchases, contacts, and the research. I try to do this in close contact with jewellery artists, curators of other houses, teachers, gallery persons, collectors or people who are interested in this medium. Without this kind of networking, nothing would be possible.

Only a few people know that our jewellery collection is one of the youngest in the European museum world; it is only about twenty years old. In 1990, after Florian Hufnagl became the Director of Die Neue Sammlung, the jewellery artists Hermann Jünger and Otto Künzli convinced him to start collecting studio jewellery. In 1995, with the same aim, Peter Skubic donated sixty jewellery pieces from his private collec­ tion (to commemorate his 60th birthday). Gallery Spectrum also gave us marvellous pieces to help us build the collection, followed by Sepp Schmölzer.

Private collectors, for example Helen W. Drutt, were very kind to donate pieces to help broaden the collection. The Danner Foundation also agreed to give their jewellery collection – built up from the beginning of the 1980’s through today – as a permanent loan to the museum. In 2009, Claus Bury provided us not only his complete correspondence

concerning studio jewellery, but also all of his jewellery drawings. This made us realize the necessity for archiving not only jewellery and objects but also drawings and sketches. In fact, very soon after, Peter Skubic gifted his jewellery sketches through 2011 and Otto Künzli presented us material about his first Australian trip in the 1990’s. We were also given parts of the archive and private library of Hermann Jünger, the son of Helga Zahn donated his mother’s drawings, and Bruno Martinazzi and Manfred Nisslmüller donated sketches of their work. There is a sense of pride and generous support from all sides: the artists, collectors and gallery persons, and we would be very grateful if it were to continue.

Step by step, we are also becoming a place for research. Now, some of my students are doing their theses related to contemporary jewellery themes.

Meanwhile, we have a special jewellery library that is continually growing, and - as our youngest project – we are creating a photo database of the artists and moments behind the scenes (workshops, exhibition openings, parties, meetings, trips etc.). While doing this, we have also asked galleries to put together material about their own history. This year Alan Preston and Areta Wilkinson will speak about the founding of Gallery Fingers in Auckland, New Zealand, which is the direct result of a project from three years ago when we asked Warwick Freeman and Alan Preston for a short history about Studio Jewellery in New Zealand. With the support of Creative New Zealand, the resulting research project began.

Dr. Petra Hölscher

We all know that sometimes things happen at the same time. In our former building at Prinzregentenstrasse we had no space to show a permanent exhibition.

The new space at Pinakothek der Moderne changed everything. At the opening of the Danner Rotunda in 2004, we had over 2,000 visitors. It was an incredible and unforgettable evening, and it showed us the high interest and trust in our work with jewellery. Then, in 2006, we did the very first extensive jewellery exhibition to honour one of the field’s leaders: Hermann Jünger. It was such a success that we decided to pursue exhibitions highlighting Gijs Bakker, Dorothea Prühl, Giampaolo Babetto, Peter Skubic, Otto Künzli, Anton Cepka and now, this year, Thomas Gentille. In my eyes, each of these exhibitions is one more mosaic stone in the development of the history of contemporary jewellery.

In 2010, we began inviting leading academic jewellery programs – from Prague, London, Tokyo, Stockholm, to New York, and this year Oslo – to show their ideas of contemporary jewellery, which allows us to be introduced to the upcoming masters. We also are continuing our jewellery lectures by inviting artists, collectors, colleagues and art historians to speak about their knowledge, which provides other perspectives into the jewellery movement. For example, in 2014 we invited SUNY, New Paltz, to showcase their students’ work, and in 2015 Toni Greenbaum gave an intensive and very interesting talk about the jewellery history in the United States. This year, we are showcasing one of the leaders of American studio jewellery, Thomas

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Gentille. We do not begin to know all about jewellery in the United States but we know a little - a tiny bit more - and that's a good beginning.

We are trying to do all these activities in what is still a young field of art even though we are not a specia­ lized jewellery museum. In fact, we are a Design Museum and the jewellery collection is one of twenty­-four varying collections that include glass, porcelain, textile, wood, furniture, automobiles, sports, plastics, graphic design etc. etc. etc. I am very glad to say that our new director, Dr. Angelika Nollert, has an interest in contemporary jewellery

and will continue to develop our jewellery program.

We look forward to hosting the jewellery family every year. But the events at the Pinakothek are only some of many reasons thousands of people come to Munich for one week every year. Without the efforts of Galerie Handwerk and the other galleries in town like Galerie Biro, Galerie Spektrum, Fred Jahn and Isabella Hund; without SCHMUCK and the famous exhibition at the fair; without the Herbert Hofmann Award and the Bavarian State Award; without the work of the jewellery class at the Akademie der Bildenden Künste in Munich– without all of these

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contributors – this incredible atmosphere of Munich Jewellery Week would not be here. It would not be the same and it would not be as successful.

Of course, it is very nice to know that for many visitors, the opening of our exhibition is the starting point of their week, a meeting and beginning point.

From my point of view this is one of the original ideas of a museum – coming together, meeting people, looking at and discussing art objects and having an interesting and a good time together.

Contemporary jewellery makes this possible for us.

The Social Club: Community Sustenance for Contemporary Jewellery Current Obsession has created a new venture: THE SOCIAL CLUB. Munich Jewellery Week cultivates a sense of community whether we access it in the lecture auditorium at the Pinakothek der Moderne, or on the streets looking for the next MJW red triangle. To support that sense of community – and to connect and empower jewellers and designers spanning geographical, cultural and generational backgrounds – we would like to contribute to the development of a much-needed platform for discussion and cultivation of the next generation of writers and speakers in our field. Future Social Club events can and should be diverse types of exchanges: group dialogues on a specific subject, experimental artist talks, or… a new kind of mind-blowing brainstorming session yet to be inven­ ted. We want to support the unknown ways of looking at, thinking about, discussing, reacting to, and ultimately creating jewellery. The Social Club conversations should mirror the breadth of possibilities of the (jewellery) world we are obsessed with.

Our long-term goal is to have people (that means you!) eventually create new variations of the Current Obsession Social Club within their own hubs.

and the MJW16 PAPER, as well as future goals,

Mari Funaki Emerging Artist award and has

jewellery industry, and promoting contempo-

ideas and obsessions (of course!).

exhibited habitually during Munich Jewellery

rary jewellery in the New York area. Along with

Sarah Mesritz, Kellie Riggs, Mariah Tuttle

Week (this year via the exhibition Invisible

her partner, Brian Weissman, she co-founded

Wall) and is involved in both the Bórax 08001

Brooklyn Metal Works, a unique metal art stu-

Collective and Plateaus Jewellery Project.

dio that provides classes and gallery space to

DAY TWO: SPREADING THE WORD // New methods in Self Publication,

promote artists, designers, and makers.

Promotion and Collaboration

Steven Gordon Holman

Thursday, February 25th 10:00 –11:00

Steven Gordon Holman is an American jeweller

Carolina Gimeno, co-founder of Bórax08001

whose work explores stories, myths, and the

Carolina is a Chilean-Spanish jeweller based

More and more artists are contemplating new

personal and cultural iconographies that over-

in Stockholm. She attended the Massana

and fresh ways of exploring and presenting

lap with his rural upbringing. Steven has been

School in Barcelona where she met the other

their work. They are taking owner­ship and

involved in several exhibitions during Munich

members and participants of Bórax08001.

creating not only a broader context, but also

Jewellery Week, most notably with the Blanco

The members of this jeweller’s collective are

a wider audience for their work by pioneering

Collective and the exhibitions Trophies In

now spread out all around the world, and

collaborations and redefinitions of jewellery’s

the Reign of Coyote (2015) and American

their activities are focused on disseminating

relationship to other media. Hear the following

Gothic (2016).

contem­porary jewellery through different

artists discuss their unique creative avenues of self-publication via books, blogs, and zines.

media and actions that directly involve the city Melanie Isverding

as a place for exhibition.

Melanie Isverding is a German jeweller who lives Adam Grinovich

and works in both Munich and Halle. She has an

Annika Pettersson co-founder of A5

Born in the United States and now a permanent

active and strong history of awards, exhibitions

A5 is an experimental group of artists focusing

resident of Sweden, Adam is an active jeweller

and bodies of work and has been involved in

on contemporary jewellery, craft, collabora-

and collaborator with other artists and

some of the key artist run exhibitions during

tion and exhibition. During last year’s Current

designers. He will be discussing the evolution

Munich Jewellery Week including Lux is

Obsession PAPER Launch Party, A5 overlapped

and development of his publication Zine #1.

the Dealer (2015), Bonzo Gonzo (2014),

the event with their popular 'Feed the Creator'

The Lunatic Swing (2013) and Slanted for

pop-up styled exhibition of sausages and

Granted (2012).

unique ceramic rings. Annika Pettersson, a

Hanna Hedman The Swedish jeweller Hanna Hedman will be

Swedish jeweller exhibiting her own work

discussing her collaborative relationship with

84 Ghz Sylvia Katzwinkel

during Munich Jewellery Week, is a founding

the photographer Sanna Lindberg and her

Dr. Sylvia Katzwinkel, from 84GHz - one of

member of A5.

forthcoming book Murmuring (which becomes

Munich’s strongest continual hosts for excellent

available during Munich Jewellery Week).

contemporary jewellery programming, has

Raewyn Walsh, co-founder of The Jewellers

been helping jewellers for over ten years find

Guild of Greater Sandringham Raewyn is

Carina Shoshtary

exhibition opportunities during what has be-

part of a group of jewellers promoting events

Carina Shoshtary is a jeweller of German and

come Munich Jewellery Week. This year, 84GHz

and conversations surrounding jewellery in

Current Obsession Social Club: Munich Edition

Iranian origin and a 2016 Art Jewelry Forum’s

will be showcasing several MJW

Aotearoa New Zealand. The Jewellers Guild

This first version of the Social Club is just one

Emerging Artist Award Finalist. She will be

events: Hibernate, Nature Morte, and

publication, The Overview Newsletter, is

of many possible variations. For the Munich

discussing her interests and creative pursuits

By Royal Appointment.

habitually available online to showcase inter-

Edition, we will host four mornings of informal,

related to her fairly new blog KARMA CHROMA.

intimate but dynamic conversations with

views, exhibitions and local activities. This DAY FOUR: CREATING COMMUNITY //

includes the Handshake project and various

leading and fresh voices from the international

DAY THREE: GOING ROGUE // Artist-run

Local Hubs of the Contemporary

New Zealand MJW exhibitions during the last

jewellery community. Listen to experienced

Exhibitions in Munich

Jewellery World

several years.

artists from all over the world working in new,

Friday, February 26th 10:00 –11:00

Saturday, February 27th 10:00 –11:00

How do they do it? Where to begin? Several

Meet people who are building contemporary

some espresso and a little somethin’ somethin’

experienced artists and hosts from both

jewellery communities and culture around the

to nibble on. Start your day with us: listen,

independent ways; participate; be inspired.

PROGRAMME

So come on down to Lost Weekend, grab

Munich and abroad will be on hand for an

world. They all offer unique examples of how

share, question, gain some insight on the inner

DAY ONE: BREAKFAST WITH CO //

informal discussion on just how they have

different people in different places are shaping

workings of our field’s future, and expand your

Meet the team

approached putting together, or supporting,

the next creative variations of an international

jewellery posse.

Wednesday, February 24th 10:00 –11:00

artist led exhibitions throughout current and

language of jewellery. Come hear them reflect

previous iterations of Munich Jewellery Week.

on the development of their collectives and

Dr. Petra Hölscher is right: Contemporary

how they stay strong, curious, and active.

jewellery makes this possible for us.

Want to meet some of the people who make Current Obsession happen? Several mem­

Patricia Domingues

b­ers of the core Current Obsession Team

Patricia Correia Domingues is a Portuguese

Erin Daily, co-founder of Brooklyn Metal Works

Let’s start now.

will be there to discuss our latest issue,

jeweller trained in Spain, Estonia, and Germany.

Erin is a trained jeweller and metalsmith with

Concept and text for SOCIAL CLUB / Munich

SUPERNATURAL #4,

She has won the Talente prize as well as the

a long history of teaching, working with the

Edition by Mariah Tuttle

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Talente’16 p. Nominees as Seen by Elza Jo

Elza Jo is an established Dutch photographer and a graduate of the Royal Academy of Arts in The Hague. She has her own way of telling a story, which creates a special energy found throughout her work.

This series of analog photographic collages featuring a selection of Talente’16 Nominees was made especially for the PAPER. Keep your eyes peeled for the online feature with special effects!

Paul Adie (Great Britain), Tata Akhatova (Uzbekistan), Irene G Barrera (Spain), Dovile Bernadisiute (Lithuania), Shachar Cohen (Israel/ Germany), Maria Camila Fernandez (Argentina), Katrin Feulner (Germany), Veronika Gocova (Czech Republic), Steffi Götze (Germany), Jonathan Hens (Belgium), Annie Huang (South Afrika/UK), Sarah Yeonjeong Kim (New Zealand), Maria Kobelova (Czech Republic), Eölisa Lutteral (Argentina),

T he f u l l l i s t of Ta l e n t e N o mi n e e s i n Jewe l l e r y :

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Aiza Mahmood (Pakistan/Germany), Thanh-Truc Nguyen (Germany), Darja Popolitova (Estland), Eva Ruzickova (Czech Republic), Nina Sajet (Netherlands), Dana Shapira (Israel), Nelly Stein (Germany), Janina Stübler (Germany), Fanmiano Tang (China), Edu Tarin (Spain), Karen Vanmol (Belgium), Sanna Wallgren (Sweden), Kun Zhang (China/Germany)

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Janina Stübler

Edu Tarin, in collaboration

Paul Adie

Dovile Bernadisiute

Sarah Kim

Aiza Mahmood

Extra Large 1, necklace

with Klein & Becker Gmbh &

Untitled, brooch

Plastic Object Found On The

untitled, necklace

Necklace no. 4, necklace

(textile, rope, brass, labels)

Co, Mold E1, brooch (granite,

(steel, brass solder

Platform, brooch

(copper, paint, cotton thread)

(iron, river stone,

silver, stone cutting, CNC

and silver solder)

(aluminium foam, rubber

machining, electroforming)

and stainless steel)

granite and thread)

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StudioVisits

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WITH SCHMUCK 2016 ARTISTS Each year, we peek inside the studios of several of the artists chosen to participate in Schmuck, and well, we love it. Being able to connect the images of the jewellery or the pieces we see in the exhibition at the Internationale Hand­werksmesse with the artists themselves and their places of making is addictive.

This year’s participants do not disappoint.

We are lucky enough to peer into shared studios, nooks and hidden corners, a double

garage and a former diamond-cutting factory.

We are invited to hear the hammerings of the shipyard in the distance in one corner of the world, and to watch the waves roll into the bay through the window of another.

The following artists share their studios and somethings old, some new, some borrowed, and, well, some shiny… and they introduce their work for this year’s Schmuck exhibition.

Lori Talcott

Petra Zimmermann

Daniel Von Weinberger

Henriette Schuster

Moniek Schrijer

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M o ni e k Sc hri j er Wellington, New Zealand

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My studio is in a double garage in Island Bay, which is the located on the south coast of Wellington City.

The city is about twelve minutes away by car. I have been in this studio since August 2015 when I returned to Wellington after being the Artist in Residence with the Francois van den Bosch foundation in Amsterdam for two months. The garage is divided into parts with frames and polythene. Basically I’m inside a bubble, and I share the garage with one other creative genius, CJ, who designs and builds interior solutions for neat places in Wellington and beyond. I have a simple set up inside my bubble: a desk and soldiering station, but utilize tools that builders would use in the other part of the garage like jigsaws, drills and a sander.

The piece Tablet Of, included in Schmuck’16 is made out of porcelain slate which I engraved with a pen engraver. It was the first work I made in my current studio and to me it speaks of human history. THEN , NOW and the FUTURE… It could be a message from the Stone Age, emoji hieroglyphics, an alien credit card, a postcard, a pre and post-apocalyptic communication from the future now… Or maybe it’s

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just a pizza recipe, I don’t know. My practice tends not to be project based. It seems to be constantly revealing itself over time as I further investigate and navigate the world around me. I’m just creating one body of work, I think. My Scribble Rings are included, which are 2D scribbles transformed into 3-­dimensions and made from bronze. I love bronze and the history of bronze, but I had them chrome-plated so that they reflect well. Mirror brooch is the same size as a smart phone and is ideal for selfies… that’s about all it can do. To me it has a bit of humour.

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EYE SPY Something old: 4. Old jewellery box of my mums, which she received on her 21st birthday. As a child I was obsessed with the treasure (jewellery) and random things kept inside.

Something sparkly: 3. A collection of real and fake stones that

Recently I have opened a showroom / gallery called Nook Gallery with my buddy and fellow jeweller, Chloe Rose Taylor. It’s a small little space (a nook) in the city, and is painted mint green with amazing colour changing lights, simple shelves and jewellery drawers. We are really enjoying educating and showing Wellington the power of art jewellery, though we are only open for a few hours over the weekend as we both are busy ladies.

I may or may not use one day.

1. Closer details of Mirror Brooch.

2. New Mirror Jewellery Box, next to chrome Scribble Rings and Bronze Brooch which has just got home from a two-year grand tour.

5. My studio inside.

6. Bench view, you can just see the sea behind the trees.

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Hen r iet t e S c hus t e r Munich, Germany I have been working in my studio/gallery space called Geschäft since 2000, when I graduated from the Academy of Fine Arts in Munich and my daughter was born. The original owner of the buil­ding where my studio is located was the inter­ nationally renowned tinsmith, Lorenz Sporer. He established a large workshop here in 1882 and it is where the company remains to this day. My studio was a run down laundry and storage area for many years, but with some help from dear friends and my partner, we removed all the layers of wallpaper and floorings to reveal its original and beautiful state.

The old building is protected from new development, so I had to make sure I was careful with every detail.

A wall with shelves separates a small working area behind the front space, where I enjoy an element of privacy from the outside world. Sitting at my workbench I can reach everything I need within arm’s length. Water supply, phone line and Internet are not available, but I love the imperfection, the lack of comfort, and the need to improvise. The gallery space has limited opening hours, but from time to

time I host solo and group exhibitions. Recently I have made the space available for shows, lectures and other kinds of ‘pop up’ shops.

My recent series of rings, selected for Schmuck’16, are a continuation of my series Zerfügt from 2006 and represent my research into the relationship and balance of two elements on a sculptural level. All these pieces are one-of-a kind originals and are created spontaneously. Rings, pendants and drawings are a part of my most recent solo exhibition at The National in Christchurch, New Zealand.

My own work has always had a personal reference.

I find metaphors for my memories, experiences, observations, difficulties, hopes, and dreams. I’m interested in the relationship (co-existence) of two elements and the balance they strike, how they move and fit together. I also apply these considerations to abstract geometrical forms. The abstract form allows a more spontaneous and playful way of working.

These two themes have been the basis of my work ever since my studies.

EYE SPY Something old: 4. A pair of children’s getas (japanese wooden shoes) collected in Japan with porcelain arms from the flee market covered in wax.

Something new: 1–3. Work in progress around my bench.

5. Entrance to my gallery and studio.

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Petra Zimmermann Austria, Vienna

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EYE SPY

Welcome to my studio!

My studio is located at Linke Bahngasse in Vienna, Austria. I share the space with two other artists, Kurt Rudolf and Christian Ganzer. I´ve been working there for two years, but I’ve known my colleagues for almost twenty years. Kurt Rudolf and I met in 1996 at the summer academy in Salzburg in a jewellery course by Peter Skubic, and I studied with Christian Ganzer at the University of Applied Arts Vienna. All three of us have our own individual working rooms and we share the main space with all the tools and machines. Beside my think/draft/sketch desk in the main room, I have my bench in a cosy corner where, withdrawn from the rest of the world, I work on my pieces. Something very important for my working atmosphere is the cassette recorder with radio function. At a certain point, my creative mess turns into chaos and I start cleaning up accordingly.

At the moment I´m working on two pieces, a bracelet and a ring, using historical metal purses and acrylic.

One of the most important tools for this is the pressure vessel for ‘cooking’ the acrylic. The appropriated historical parts in my newest pieces are not only material for something new, but they also carry a narrative. Within this narrative I try to visualize, to rework, to deconstruct, to rearrange, to compliment, to abridge, to eliminate, to reshape and finally to translate the upper part of a 1920’s evening purse deconstructed and rearranged into a brooch or to change the function of the historical, mother-of-pearl purse by visibly repairing it with neon polmethyl methacrylate.

Something old: 1. The historical mother of pearl purse changed it´s function - visibly repaired with neon polmethyl methacrylate. (brooch, 2015; included in SCHMUCK'16) Something new: 3. The arrangement on the wall, in front of my desk, that I use for juxtaposing all the collected basic material I need for my work.

It is constantly changing. This area is complimented by finished pieces as well.

2. Mirror at the studio wall.

4. My studio's main space.

I´m especially interested in the cultural history of jewellery, not only from the view of the maker, but also from the view on the wearer.

5. Views of my desk with material and new works.

(Photos: Wolfram Otto)

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Lo r i Ta l c o t t Seattle, Wa s h i n g t o n , USA 1.

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My studio is located in a converted garage behind my house, in the neighbourhood of Ballard, Seattle.

Originally a maritime, working class borough, in recent years, Ballard has become gentrified – traditional diners and fisherman supply stores being replaced by trendy restaurants and boutiques. That said, the old is evidenced amongst the new, with the shipyards and Fishermen’s Terminal still thriving. My studio is a couple blocks from the locks – a working waterway – where huge barges and small boats, tiny smolt and full grown salmon, make their way between salt and fresh water. During the day, I experience my surroundings through walking. At night I can hear the faint hammering from the shipyard, muffled horns from the locks, seals barking, and the smell of low tide. Both the sounds of people physically working and the rhythms of nature anchor my place in the world. Two workbenches frame my studio space – both belonging to my great grandfather and passed down to me from my father. Many of my tools were passed down as well – saws, hammers, punches, trammels, and engravers.

These I use in my work everyday. For me, the old is not about sentimentality, but rather, practicality – using what one already has in order to make something new.

I think about jewellery as action – as a verb rather than a noun. Alongside its symbolic meanings, I am interested in what jewellery is doing in the world – as a ritual, emotional, and performative object.

How it is an agent in negotiating social, temporal, and spiritual boundaries. Research, and the language that evidences it, is an essential component of my process and studio practice – each discipline informing and illuminating the other. I see these structures of exchange as ‘falsework‘, the remo­vable wooden structure upon which an arch or road is built. Dismantled, the beautiful and laboriously made false work haunts the place where it once existed.

The pieces selected for Schmuck’16 are from my recent series, Homeopathic Objects. Stemming from the Latin homeo, ‘same‘, and pathos, “to suffer, feel emotion”, the word homeopathic evokes the associative mode of thinking that anchors this work. Homeopathic Objects draws on the theory of Sympathetic Magic, the belief that there is an invisible tether that binds people, places, and objects across time and distance, and the concept of similia similibus curentur, that like cures like. Historically and cross-culturally, systems of magic have custom­ arily been practiced for the purpose of affecting the future, controlling the forces of nature, and protecting the wearer from physical or metaphysical harm. Homeopathic Objects descends from this genealogy, but is less about commanding external, metaphysical entities and more about material meta­ phors having the capacity to affect the embodied experience of the wearer.

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Something Old: 1. Both of my workbenches including this one belonged to my great grandfather and father.

Something Borrowed: 4. The anvil.

2. Arranging and moving around found objects, which I often use as prompts, or as parts in a collaging process that informs what I am working on.

3. The Ballard Train Trestle.

(Photos: Teresa McCann)

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I started making jewellery when I was fifteen years old. It was the time of Carnaby Street in London, the Sixties, you know. And also in Antwerp, boutiques started to open up in the former whorehouses. The hippies and the mods. This is probably all Chinese to you… I made earrings from champagne corks and wooden clothes pegs. I am talking about 1965, lol.

It is how I paid for my studies in the famous art school from Antwerp and I haven’t stop making jewellery since.

My whole house is my studio and workplace. Poor wife. I started in the attic. When it got too stuffed and the ten children were out of the house, I started to work in the living space, sometimes I work on the dining room table. Poor wife. Or I work in the salon.

The salon is also slowly getting stuffed. There is a table of four meters (ten children, you know). And I started stuffing my work into our bedroom and the former children’s bedrooms (no pictures of those rooms, a veto of my wife :-)). Poor wife.

I am located in Antwerp, Belgium. We have been there about thirty years and lately it’s becoming more and more a bobo (bourgeois-bohemian neighbourhood). It is known for the riots of the Maghreb people and it is known as Borgeroko from Borgerhout (that is the name of the place). And Morocco because there are a lot of Moroccans living here too. But it is also becoming more of a neighbourhood for young artistic people.

The front of my family home is a house from the end of the 19th century. The back of the house used to be a diamond-cutting factory from 1923. This is where we live and where I work.

EYE SPY

I sent so much work for the Schmuck’16 submission… They invited me and I now have sent five red jewels. I took red as a theme and then I wanted to show different ways I see the jewels, I even made some ties. The minimal jewels are the work I am doing now, and I am also working on the Chairs to Wear. But I am always busy with different things; I am now also making my website.

Something old: 5. The attic and its many contents.

(Photo: Chris Wolf) 1. Installation of a Bertoia Chair from the 1950's (from Chairs to Wear), covered in laminated Hitler stamps; 2015 (Photo: Chris Wolf)

Everything inspires me. I really use everything. And not only that, but I keep searching. I hate very, very much the people that make the same thing their whole lives and call that their ‘style’. I think that those are people are not artists. Ok, they make jewels and earn their money but this has nothing to do with art. And they are allowed to do what they want but to me they are retailers. Perhaps I am jealous, I don’t earn my money. I am just constantly spending money :-) but I think that the adventure and the love is more important.

2. The staircase going up to my attic atelier with paintings, collages and box art.

(Photo: Liliane Lacasse) 3. Detail of my work table. (Photo: Jef Boes) 4. My workplace in the living room downstairs.

(Photo: Chris Wolf) 6. Jewel in Paper Origami and Over Sized T-Shirt with pictures of our cleaning woman, Agnes, wearing my Pig Jewel, Pearls for the Swine.

(Photo: Jef Boes)

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You Can’t Do It All: The Must-Sees 18 p. of MJW With over seventy exhibitions, talks, presentations, performances and parties dispersed all over the city of Munich, it is flat-out impossible to see everything. Sacrifices have to be made!

So like last year, we’ve tried to ease navigating the plethora of possibilities dotting your map by inviting a diverse team of contemporary jewellery experts to help make the decisions for you! The impressive group of artists, gallerists, curators, and enthusiasts offer their knowledge, perspective and taste to help guide each and every one of you to just the right handful of events. There’s something out there for everyone, and that of course includes the very Schmuck’16 exhibition itself, around which this whole week of musings has evolved.

So to start things off, enjoy an exclu­sive interview with the sole Schmuck’16 juror himself, PETER SKUBIC: This Austrian artist has been changing the game of jewellery since the 1970’s. He boasts an impressive amount of works in private and museum collections all over the world including the Metropolitan Museum, NYC; the Museum of Modern Art, Tokyo; and the Die Neue Sammlung in Munich, among many others. Born in 1935, he is somehow always the youngest and most delightful guy in the room. And if you’re lucky, you might even catch him at the Messe eating a pretzel.

We’ve seen it.

CURRENT OBSESSION: Were you surprised to be chosen as the juror of such a respected exhibition this year? What was the process like?

of where contemporary jewellery has been and where it is headed. Where do you think contemporary jewellery is headed?

PETER SKUBIC: I was not surprised to be invited to make the selection. I had asked for this job many years before. This year, I was not sure if I could make it so last minute, but I did it. The selection was not easy because we had 720 artists to choose from, with a lot of photos, and there were only places for sixtyfive. I preferred to make a very personal selection.

We worked two hard days.

PS: It is not possible to answer your question.

I think everyone should look at the exhibition and create their own meaning!

Where to find the exhibition: Number 1a on the MJW map Internationale Handwerksmesse, U-bahn Messestadt West

CO: How did you approach narrowing the artists down? Was there a secret formula, a key, a thread of any kind, or were you looking for something in particular?

'Handwerk & Design' 2016 www.ihm-handwerk-design.com

24.02–01.03.2016 09:30–18:00

PS: The idea behind it all was remembering that jewellery is one of the mediums of art. Yes, jewellery is part of the body, but it has to also work by itself, I mean as a sculpture or as a concept. Jewellery can be art (not all painting is art for example, jewellery too) but some pieces are art. How do you know when something is art? When something is art, you just know. I think it is a question of quality.

Fairground Messe Munich, Hall B1 SCHMUCK 2016 Herbert-Hofmann-Award Ceremony 27.02.2016 17:00

I made the selections with my own feeling. The work had to be near my own answer to the question of what is jewellery; there must be extraordinary ideas behind the jewel.

CO: So what is jewellery to you?

PS: I don´t know what jewellery is, but I am on the way to find out. Therefore, I am still working. Other artists help me on this path with their own work and I learn from their approaches and ideas. Okay, jewellery is a sign on the body, but how?

CO: What was it that spoke to you about certain work or about certain artists that you included?

I like the work of Sigurd Bronger. It is full of humour. It is not for the everyday and it makes you think about what the artist really means. Lauren Kalman’s work is deep and full of philosophy. She works with her body in extreme ways. Simon Cottrell is a sculpture-artist. His pieces could also be much bigger. Kyoko Fukuchi works through new ideas with traditional techniques and forms with a deep background; I collect her works. Kadri Mälk tells fairy tales of the Estonian forest… And Tanel Veenre is a star of a new thinking in jewellery but not only that, he is full of energy

*Current Obsession would like to point out that the Must-See selection was made by the team of experts (+ the editors of CO) based on the information provided by the participating artists.

The entire list was presented to the experts and the selections were made based on experts’ personal interests, preferences

Thinking about that selection was hard and personal.

and experi­ences. This list is intended to help the visitors make choices during Munich Jewellery Week; it is not commercial

CO:The complete list of artists is quite varied… some are very experienced artists and others are emerging talents. It could be seen as a statement

and does not pursue any other purpose but that of curatorial selection.

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The Must-See List of MJW 2016 according to:

Karin Roy Andersson and Linnéa Eriksson

Jiro Kamata

Two girls out of Four: the gallery/shop/workshop, in Gothenburg Sweden, that is! Four is one of contemporary jewellery’s few collective, artist-run spaces. Cool girls creating fresh jewellery – and their own space for it – showcasing for about twenty other international artists with excellent programming.

The Japanese born artist is by now a Munich local. He graduated from the Academy of Fine Arts in Munich in 2006 (under Otto Künzli) and has stayed there ever since. Kamata has become a contemporary jewellery staple; keeping his immaculate work innovative yet collectable, he keeps the bar very high all around.

Anneleen Swillen Packed with new and exciting ideas inside and out of the jewellery world, Anneleen received her Masters in Object & Jewellery in 2014 at PXL-MAD, Hasselt, followed by a postgraduate in Exhibition and Management of Contemporary Art at the Tebeac School of Arts in Ghent. Now she’s on to her PhD researching ‘Presentation as Creation’ within artistic contexts. Just recently she organized and curated Current Obsession’s OOGA BOOGA EXPERIENCE in Amsterdam.

Paul Derrez Paul Derrez is Galerie Ra in Amsterdam. He is a stoic gallerist but also a formidable artist with a unique, sometimes reserved (as you shall see!) but decisive voice.

In 2015 he was one of the three Schmuck prize winners, rightfully so.

Tanel Veenre This man is basically the Jewellery King of Estonia and one of the most active individuals in the contemporary jewellery kingdom. Coming from a background of fashion editing and photography, Tanel produces jewellery straight out of your wildest dreams and places it in outstanding contexts.

It all adds up to being a continuously persuasive force of what contemporary jewellery can look like today.

Jorunn Veiteberg Dr. Veiteberg is a Norwegian critic, curator, historian of many creative fields, an extensively published writer and Professor of Curatorial Studies. She has been a member of a number of important juries, many of which in Munich, such as the presti­ gious Danner-Preis in 2011, Talente more than once, and the sole juror of Schmuck’14.

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It is very hard to make a short Must-SeeList… We will have to bring our running shoes to Munich!

Tanel Veenre The predilection, Neckpiece, amber, neck of a violin, wood

Unbearable Lightness

Akademie Galerie Emi Fukuda, Naama Bergman U-Bahnhof Universität (U3,U6) nördliches Zwischengeschoss Opening 23.02 18:00 23.02.2016–05.03.2016

Untittled.

Thomas Gentille.

American Jewelry

Wed–Fri 13:00–19:00, Sat 13:00 –16:00,

This one is a must see! Thomas Gentille, a man with such life experience and a true master of materials. He delves into a richness of material knowledge, colourful geometry, and stunning eggshell inlays.

Besides the opportunity to experience his beautiful crafted work, you don’t want to miss the chance to wander around this fascinating building, and it will all be alongside a tremendous mass of interesting people. So take the chance to mingle and make new connections with jewellers from around the world at the Pinakothek.

THE BOX

Pinakothek der Moderne

Opening 26.02 19:00 Galeria Thomas Cohn

Veenre, Julia Maria Künnap, Nils Hint, Kristina Laurits, Sofja Hallik, Darja Popolitova, Villu Plink, Eve Margus Villems, Ketli Tiitsar, Maria Valdma Piret Hirv. Brazilian Artists: Sonia Gomes (Venice Biennial 2015), Marcia Cirne Lima, Udi Lagallina, Marina Sheetikoff.

27.02.2016 –05.06.2016

Another must-see is The Box curated by Bella Neyman and Ruta Reifen. Five artists have each been given a box containing a non-precious white material with the task to manipulate and put value into the ‘blank pages’. It’s a diverse and interesting group of artists all starting off from the same point. We are very much looking forward to seeing the outcome.

Other European Artists: Liv Blavarp Bettina Speckner (Germany), Hanna

Galerie Biró Junior in colaboration

Hedman(Sweden), Carina Shoshtary

with Platforma, New York, USA

(Germany), Katja Prins (Netherlands), Anna Talbot (Norway), Nel Linssen

Curated by: Platforma, Bella Neyman &

(Netherlands), Beppe Kessler

Ruta Reifen

(Netherlands), Karin Johannsen

Artists: Sofia Björkman, SW; Réka

(Sweden) and more.

Lörincz, HU; Bruce Metcalf, USA; Gisbert Stach, DE; Demitra Thomloudis, USA; Timothy Veske-McMahon, USA Pestalozzistraße 8, Munich 25.02.2016 –28.02.2016 Thu–Sat 11:00 –18:00, Sun 12:00–15:00 www.galerie-biro.de

Thomas Gentille, Pin, eggshell inlay (emu).

Photography by Eva Jünger

(Norway), Terhi Tolvanen (Finland),

www.galeriathomascohn.com.br

Finally, we want to recommend Federica Sala, who will be exhibiting at Four later this spring. Federica Sala works with glass.

Crystalized minerals contrast with amorphous and fragile materials and her work relates to today’s complex society of recognized science and changing concepts of the world.

28.02–05.03 16:00–19:00

Barerstraße 40, Munich

Estonian Artists: Kadri Malk, Tanel

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84GHz with Kunstgießerei München Federica Sala Schleißheimer Straße 72, Munich Opening 26.02 18:00–22:00 26.02.2016 –28.02.2016 Fri 18:00 –21:00, Sat – Sun 11:00 –19:00

Federica Sala, Loud Silent, glass, egirina, silver

The Estonian crew not only make great pieces, they also make wonderful shows.

Although the exhibition will be located in a challenging environment, at the fair, we are sure we won’t be disappointed.

Last year we got completely hooked on Naama Bergman’s pieces made of salt crystals. She created a material that was completely new to us but still felt ancient – a feeling we very much appreciate in contemporary jewellery. This year she has collaborated with Emi Fukuda and we will definitely visit their show at U-Bahnhof Universität.

Sofia Björkman

ESTONISHING !

Dissolved Revolved

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Naama Bergman, Salt Brooch

Karin Roy Andersson and Linnéa Eriksson of Four

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Paul Derrez

Fresh, energetic and optimistic pieces.

Bracelets for Paul and Willem from Galerie Ra Who makes bracelets nowadays? These students from Antwerp!

Maurer Zilioli – Contemporary Arts guest at Kunstbüro Reillplast

3 Stations

Fabrizio Tridenti

Students from the Royal Academy of Fine

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Arts Antwerp, Belgium Amalienstraße 21, Munich Aperitivo 26.02 17:00

Welserstraße 23, Munich

24.02.2016–28.02.2016

25.02.2016 –28.02.2016, Thu 15:00 –19:00,

10:00 –19:00

Fri, Sat 10:00 –18:00, Sun 10:00 –14:00

The Meet

www.maurer-zilioli.com

Absolventen Interesting subjects and a must for professionals!

Fabrizio Tridenti, untitled, brass, plastic, corrugated cardboard, iron, acrylic paint

Hidden wonders are happening in Hildesheim.

everyday epics Villa Stuck Art Jewelry Forum, Current Obsession,

Galerie Artefakt

Norwegian Craft

Strong work in the most beautiful setting.

Georg Dobler Prinzregentenstraße 60, Munich Hans-Sachs-Straße 13, Munich

25.02.2016 9:00–12:00

24.02.2016–05.03.2016

Limited seat availability!

Kunstpavillon

Mon–Fri 11:00 –18:30, Sat 11:00–15:00

www.villastuck.de

Alexander Blank, Kiko Gianocca, Jing He, Sophie Hanagarth, Jiro Kamata, Florian Weichsberger

Jiro Kamata

The Schmuckklasse of the Munich Academy decided to do a new event this year.

The Schmuck Party that happened every Friday was a long time tradition during Munich Jewellery Week, but this time they will organise Auktion! at the academy with the work of former and current students from the department. I am very curious!

"The In-Between-age" – postcard release!!!

25.02.2016 –28.02.2016 Thu, Fri 11:00–18:00, Sat 11:00–15:00, Sun 11:00–18:00

Internationale Handwerksmesse and 'Handwerk & Design' 2016 Halle B1 Booth number 751 in Hall B1 Dana Seachuga, Edu Tarin, Eva Burton, Gabriela Cohn, Helen Habtay, Julia Maria

Cardboard

Lalala

A year ago, in Munich, David Bielander presented his wonderful cardboard bracelets at the Internationale Handwerksmesse München Fair. This year he will show his work at Galerie Wittenbrink under the title Cardboard. I am very excited to see his new body of work, as well the presentation, which is always something inventive.

Two Munich-based Korean artists, Junwon Jung and Siyoung Kim, will show their newest work. Last year I saw Junwon´s work at Kunstarkaden and I was impressed. His approach to jewellery is very unique while maintaining perfect technical solutions. I’m really looking forward to seeing the development of his practice.

Obermaier, Katharina Anna Reimann, Saerom Kong, Sharareh Aghaei, Stephie Morawetz.

Akademie der Bildenden Künste Akademiestraße 2–4, Munich Dana Seachuga, Armlink 3, copper.

Photography by Edu Tarin

26.02.2016 15:00–17:00

Special Event 26.02 22:00,

Sophie Hanagarth, French Kiss, iron, leather

'Auktion!'

Last year I was in Idar-Oberstein for a two-month artist-in-residence. I spent most of the time with students and finally came to understand why they are working with this difficult and crazy material, ‘Gemstone!’ We can definitely check out the work of talented selected artists from Idar-Oberstein in their show, Astonish.

Sophienstraße 7A, Munich David Bielander, Cruzifix, cardboard, staples.

Photography by Dirk Eisel

Astonish

Galerie Wittenbrink David Bielander

Junwon Jung, Siyoung Kim

Türkenstraße 16, Munich

Elisabethstraße 16 Rgb, Munich

24.02.2016–01.03.2016

26.02.2016–01.03.2016

Wed–Sat 10:00–18:00, Thu 10:00–20:00

Fri–Mon 13:00–20:00, Tue 13:00–18:00

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Anneleen Swillen, 'Object & Jewellery, PXL-MAD Hasselt

Galerie Handwerk David Huycke, Anneleen Swillen, Gésine Hackenberg, Claudia Hoppe, Tine De Ruysser, Bert Willems Max-Joseph-Straße 4, Munich Seminar Room of Galerie Handwerk 26.02.2016 10:00

Myths 2016 Test Drive

Shelf Life I have always had an interest in packaging materials and their expressive potential.

The box offers the possibility to hide and to show, to surprise and to protect, to store and to take along. The press text from Jewellery Box states: “the box should be for jewellery, what the frame is for painting”, an interesting thought that deserves some more attention and deeper understanding.

I believe presentation cannot be regarded as supplemental or secondary (only), so the fact that the artists from Jewellery Box put forth to place the piece of jewellery and its box in unity and harmony, is a promising idea.

Micheko Galerie Lin Cheung, Takashi Kojima, Fumiki Taguchi Theresienstraße 18, Munich Opening 24.02 18:00 24.02.2016 –02.04.2016

It seems like an annual tradition is in the works for the Object & Jewellery department of PXL-MAD… In 2014, the master students of the program in Hasselt explored the city of Munich as MAD about SCHMUCK: they showed their pieces of jewellery in transparent spherical vitrine backpacks. This allowed the group to visit all the MJW exhibitions and events while their own pieces were on display as well. They came across diverse places and contexts while confronting and engaging people from the jewellery field as well as passers-by who were not (yet) familiar with contemporary jewellery.

Last year’s MAD Exhibitionists, were inspired by jewellery sellers in the street wearing self-designed coats that were opened from time to time to flash their creations to the public. Golden gadgets were handed out and could be seen everywhere in the city, thus marking the people that were connected.

The curators, Loukia Richards and Christoph Ziegler, opt for a mobile presentation not only by turning a trailer (which will be parked in front of Gallery Weltraum) into a gallery, but also by presenting ‘take-away’ jewellery and engaging the public as promoters. Through this participatory project, Myths aims to explore new places and new audiences for jewellery by suggesting other ways to think of, wear and buy jewellery - thoughts that definitely should be considered as necessary for the future of the field. And speaking of the future, the participating artists (eighteen artists from eight different countries) have an interest in sustainable and/or daily materials and share a strong respect and awareness for the environment. Myths will raise questions not only about the economic value of contemporary jewellery, but also its ecological value. Let’s have a test drive and take away some jewellery!

01.03–02.04.2016 Gallery opening hours Thu –Fri 14:00 –19:00, Sat 11:00 –15:00 www.micheko.com

Vitsoe Elena Bonanoni, Caroline Broadhead, Season Cheng, Lin Cheung, Olivia Cosh Hall, Lucie Davies, Naomi Filmer, Melanie Georgacopoulos, Rosie Greener, Emily Grimble, Katy Hackney, Lily Harte, Stacey Huang, Jieun Kim, Giles Last, Holly Matthewson, Marlene McKibbin, Maria Militsi, Akiko Shinzato, Ella Stern, Esna Su, Yuxi Sun, Florance Tebbutt, Anna Tuhus, Juliette van de Kerchove, Misha Venter, Max Warren, Silvia Weidenbach, Scott Wilson, Jennifer Wong, Scarlett Zhang Türkenstraße 36, Munich 20.02.2016–01.03.2016 Private opening 19.02.2016 Mon –Fri 10.00 –19.00, Sat 10.00 –18.00,

Christoph Ziegler Joanne Haywood, Judith Schwendener,

I SPY WITH MY LITTLE EYE

Sun 11:00 –19:00 25.02: Presentation by Lin Cheung and Naomi Filmer, 16.00 –17.00 27.02: Exhibitors Tour, 11.00 –12.00

Lital Mendel Jewellery Design, Dita Antonopoulou, Yolande Duchateau Contemporary Jewellery, Anne Dinan, T-Squared, Eugenia Feroussi, Linda Savineau, EDELPLAST – Billie Van Nieuwenhuyzen, Kalliopi Andrikopoulou Syn Apeiro, Marion Delarue Contemporary

Spantidaki, Martijntje Cornelia, Nolia Shakti, Christoph Ziegler, Loukia Richards

from the PXL-MAD in Hasselt (Be): Jasmijn Coenen, Zoë Detrez,

Parked in front of Gallery Weltraum

Stephanie Morreau

Rumfordstraße 26, Munich

The city of Munich is buzzing during MJW, and even with a well-planned agenda, it’s still difficult to visit all the events one wants to see! The window exhibition of the recent BA and MA graduates of HS Düsseldorf can be visited 24/7, thus offering a nice opportunity to reveal your inner jewellery ‘spy,’ and to have a look at night when all the other events are closed.

24.02.2016 –01.03.2016

Franziska Behler-Pohl, Linda Gehrig,

Internationale Handwerksmesse

14:00 –20:00

Karin Heimberg, Alessa Joosten, Hayan

and 'Handwerk & Design' 2016

www.myths2015.de

Kim, Sally Kiss, Karin Maisch, Felicia

Halle B1

Mülbaier, Sarah Regensburger, Alexandra

Interactive event 27.02.2016

Seuss, Katharina Tannous, Jian Zhang

9.30 –18:00 Donnersbergerstraße 20A, Munich www.facebook.com/MAD-pixels-

Opening 25.02 13:00

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24.02.2016 –28.02.2016

Akiko Shinzato, Wearing Makeup-clown.

Photography by Barney McCann

Object, Juan Harnie, Thikwa Werkstatt für Theater und Kunst, Eleftheria

Master students of Object & Jewellery

Thu –Mon, 11:00 –19:00 /

Because of my special interest in presentation within (and beyond) artistic context, I am very curious about the many prese­tations happening throughout MJW. I’m also especially interested in the more self-reflective exhibitions that address the very theme of presentation; they always grab my full attention. As the title suggests, the idea for Shelf Life originated from the shelf, one of the archetypes for presentation. The shelf can both function as a way to discard or to display. ‘How does the shelf affect the jewellery piece?’ and ‘What is it like to live on a shelf ?’ are just some of the questions from the press text, which appeal to me. The pieces (some created in response to the idea of shelves) of Central Saint Martins staff and students, will be installed in Vitsoe’s furniture showroom interior, located in Munich’s City museum quarter, and thus combining jewellery, furniture design and fine arts (and even ice cream around the corner). I will definitely participate in the exhibition tour on Saturday to learn some more about this project!

Opening event 26.02 17.00 –20.00 Curated by Loukia Richards and

With this year’s participatory event, the mobile exhibition will have an even greater focus on interaction between maker, piece and audience. This time they’ll be handing out ‘pixels’ and encouraging the public to participate in their event on Saturday during the international Handwerkmesse. On Friday morning, come and join PXL-MAD researchers and tutors for a lecture series about the program’s artistic practice and research!

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Tanel Veenre

My first suggestion is to escape from Schmuck 2016 at some point and go to the Residenz Museum, or even better: the new and fantastic State Museum of Egyptian Art. It’s about the bigger picture of jewellery that might help you to understand why we are here where we are! What are the basic meanings of jewellery? And how do they relate to the concepts we are praising now?

**Big Fish**

The Dinner Duo Annika Petterson and Mia Maljojoki sound like a good start for a real girl power glam rock band. Jewellery shifting into the world of video and performance isn`t that new of an intrigue, but still there are many grey areas left to explore. These girls won’t let us get bored; some social critique and a play with stereotypes might be in their lyrics.

Mika Yamakoshi, Lindsey Fontijn, Lisa Plaut, Madelief Geus, Sara Leme, Yunting Zhang Various locations around Munich 25.02.2016 –27.02.2016 Visit our website for location and time. www.jewellerydepartment.nl

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Unsichtbar Peter Skubic is a sparkle. Once you have seen his eyes and heard his laugh – the jewellery world just isn’t the same for anyone after that. His endless source of creativity and joy of creating should make every maker in the field jealous. Shine like a Skubic!

Lynn Batchelder, Seth Papac, Carina Shoshtary, Aric Verrastro, Timothy Veske Galerie Isabella Hund www.artjewelryforum.org/ajf-a

Peter Skubic

nounces-finalists-for-2016-artist-award 26.02.2016 –18.03.2016 Tue –Fri 11:00 –14:00,15:00 –19:00,

Annika Petterson, Mia Maljojoki

Sat 11:00 –16:00/18:00

Giesinger Bahnhofplatz 1, Munich Opening 24.02 20:00 –00:00 25.02.2016 –27.02.2016

‘Hibernate’ The Project Finnish artists have a silent sincerity that is rare these days. I would call their jewellery positively depressing. Its Nordic melancholy can be understood better if you have ever been lost somewhere on the snowfields and the horizon is blurred. But under this cool skin is a warm heart that heats up every material and meaning. It’s the real thing.

Hibernate Book

Takayoshi Terajima, Saika Matsuda

The Art Jewelry Forum Award has become one of the major lift-offs for young artists in a field where, every year, hundreds of newcomers are trying to make their voices loud and recognized. And 2016 seems to be a good year for the United States in many ways – four out of five finalists are from the US (Lynn Batchelder, Seth Papac, Aric Verrastro & Timothy VeskeMcMahon; Carina Shoshtary is a graduate of Munich Academy). With that said, mathematically there is a chance of 80% that the generous 7,500 cash prize will land in America. The AJF Award finalist display has also become a most colourfulcorner of the usually very well curated PLATINA booth at the Internationale Handwersmesse.

Kulturzentrum Giesinger Bahnhof

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I don`t know much about about Takayoshi Terajima and Saika Matsuda – but Google was giving me lots of images that got me thrilled. I’m really into the play with symmetry, futurism, pop art and archaic forms. These pieces got me connected with my inner child – and I love it!

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Takayoshi Terajima, Saika Matsuda, Experiments of Jewellery, tatami, copper, brass, zinc, wood, plastic, rubber

Genuchten, Koen Jacobs, Martina Turini,

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Rietveld Academie Jewellery Department: Niki Ulfstedt, Gongon Chang, Inge van

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Peter Skubic, Blinde können das nicht lesen (Blind people can not read this) Stainlesssteel, lacquer, rockkristall. Photography by Petra Zimmermann.

As a passionate educator, I am super thrilled about shows around different academies – and there seem to be many of them this year. I expect to see the biggest twist of the Contemporary Jewellery mainstream from the Rietveld. Lately, they seem to have been balancing between hardcore conceptualism and fine art narratives. Our endless thirst for fresh ideas and new blood will hopefully fulfil all the jewellery vampires.

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84 GHz Helena Lehtinen, Eija Mustonen Tarja Tuupanen Georgenstraße 84, München

Meindlstraße 4 Munich

Opening 25.02 19:00

23.02.2016 –29.02.2016

25.02.2016 –27.02.2016

Tue –Sun 10.00 –20.00, Mon 10.00 –17.00

Fri – Sun 12:00 –19:00

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I visited New Zealand for the first time last year, and I was very impressed by the vitality and diversity in the contemporary jewellery scene there. A solo show by Maori artist Areta Wilkinson was among the highlights. She is not having a show in Munich, but her Sunday conversation with Allan Preston – another great NZ artist – is a must for me.

Pinakothek der Moderne Studio Jewelry in Aotearoa New Zealand Alan Preston & Areta Wilkinson.

Barerstraße 40, Munich 28.02.2016 Lecture 11:00

SPECIALS, a HandShake Alumni exhibition: 21 jewellery artists from New Zealand And more from New Zealand: Twentyone artists are included in this show at the Münchner Residenz. Handshake is an interesting concept for building networks, cooperation and exhibitions initiated by Peter Deckers. The initial HandShake project began in 2011 where aspiring artists were paired with their heroes to serve as cross-continental mentors.

David Clarke & Bettina Speckner

Studio Jewelry in Aotearoa New Zealand

David Clarke & Bettina Speckner David Clarke and Bettina Speckner both work with found objects and tell poetic and melancholic stories through them.

They manage to combine strong ideas and emotional appeal.

Kelly McDonald, Holey dollar and dump, installation

Münchner Residenz, Einsäulensaal Organised by Makers 101 and curated by Peter Deckers

David Clarke, Bettina Speckner

Residenzstraße 1, Munich

Kurfürstenstraße 7

Celebration day (artists present)

Opening 25.02.2016 17:00 –21:00

25.02 14:00 –16:00

25.02.2016 –18.03.2016

25.02.2016 –27.02.2016

Fri –Sat 10:00 –20:00, Sun 10:00 –18:00

10.00 –18.00

www.christianpixis.de

INVISIBLE WALL

www.misterclarke.wordpress.com/ www.bettina-speckner.com

When I was the juror of Schmuck’14, two years ago, I included a series of brooches made out of old tin boxes by Jo Pond. To her, they represented British craft and to me they raised questions about cultural heritage and values. This year she is participating in the group exhibition, Invisible Wall.

(IM)PRINT

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Deborah Rudolph, Jing He, Jo Pond, Lisa Kröber, Patrícia Domingues, Panjapol Kulpapangkorn Hanna Hedman Photography by Sanna Lindberg

Since I work at HDK in Gothenburg, I have to follow up on some of the interesting artists working in Sweden. Nicolas Cheng started as a research fellow there last year, and with Beatrice Brovia, Kajsa Lindberg and some exciting, international colleagues he has organized the exhibition (IM)PRINT. At the same gallery, Hanna Hedman is showing the result of her collaboration with the photographer Sanna Lindberg.

Welserstraße 29, Munich Opening 24.02 18:00 24.02.2016 –29.02.2016 Wed 15:00 –19:00, Thu 10:00 –20:00, Fri, Sat 10:00–18:00, Sun 10:00–14:00 www.invisiblewalljewellery.tumblr.com

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Beatrice Brovia, Nicolas Cheng, Hanna Hedman & Sanna Lindberg, Kajsa Lindberg, Liesbet Bussche, Lin Cheung, David Clarke, Niels Van de Wouwer, Silke Fleischer, Nils Hint, Göran Kling,

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Yuka Oyama

Hanna Hedman & Sanna Lindberg

24.02.2016 –28.02.2016

Türkenstraße 67, Munich

Opening 25.02 16:00

Book signing 25.02 16.00 –18.00

Fri, Sat 11:00 –20:00, Sun 11:00 –16:00

www.easyupstream.com

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CO’s PICKS Given the 30+ excellent endorsements from our experts (plus the many more events on the list, all worth checking in their own right), Current Obsession would like to suggest two more events by name for your MJW consideration.

The first comes with a very important announcement about our future…

Gold Artist Volker Atrops has been a CO favourite since the very beginning, long before the birth of the magazine. His work seeks to remind us that jewellery is about culture, about privacy, and that it’s embedded within us. For the last however many years in Munich, one got used to seeing Atrops going rogue in the Antiquarian bookshop on Zieblandstrasse; his shows have been sensitive and never dull, real for you, for us, and full of treasures. He would give his jewellery back to the people by placing it in the most unassuming of places. But this year, you won’t find him at the bookshop. His show, Gold, will be within the context of a gallery. Just how that was determined and how it will be put together is a mystery to us, but we trust his intentions and look forward to the outcome.

The authenticity of Atrops’s work and his prior exhibitions in Munich have always influenced Current Obsession’s mission to remain humble: to give the voice to the maker, and to remind our readers why the jewel is relevant and important as a social agent, a personal token, a meaningful acquisition, and a fresh addition to your outfit.

Galerie RSTR4 Volker Atrops

So with that in mind, Current Obsession would like to announce the theme of our forthcoming #5 Issue: VERNACULAR. We are interested in investigating the notions around language, slang, the common, the naïve, legitimacy and identity; and how these notions are communicated through jewellery. The Vernacular Issue will investigate the realness of objects at play in various cultural habitats, and will examine jewellery’s many different edifying roles at work. What are jewellery’s native languages? Are there international values to be determined or discovered?

Where are the artists/designers/makers that create new voca­bularies around what they do? We want to uncover visions embedded in specific cultural frameworks and highlight practices experimenting with semantics and intention.

OPEN CALL: If you are interested in the possibilities of this theme and would like to contribute to our future issue somehow, please don’t hesitate to get in touch with us. We are intrigued by the fact that we don’t know exactly what we are looking for. We’ll know it when we see it.

Send your contribution to: info@current-obsession.com Reference: OPEN CALL www.current-obsession.com

Milchstraße 4, Munich 25.02 –27.02.2016 11:00 –18:00

#3 Paper Launch Party!

Exhibition poster, Gold, Volker Atrops

And last but not least, don’t forget to come and dance with us to celebrate the release of our third newsprint issue, our fourth map, and the first edition of the Social Club! #3 PAPER LAUNCH PARTY Thursday 25.02 20:00–02:00 Lost Weekend, your MJW Headquarters Schellingstraße 3, Munich

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CURRENT OBSESSION Get the CURREN T OBSES Supern SION atural Is s ue #4 during M unich J eweller at the f y Week ollowing location s: Chrome Yellow B ooks, Pinakot hek der Modern Lost We e and ekend C afé - Bo okshop

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CURRENT OBSESSION’s 2016 AGENDA: FORTHCOMING #5 ISSUE: VERNACULAR More details about our open call inside EXHIBITION: CULT This fall at The Stedelijk Museum 's-Hertogenbosch More SOCIAL CLUB Want to organize a Social Club for your city and jewellery community?

Let us know!