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To all of those who built this Symposium


Index. EN CONSTRUCCIÓN Symposium | Julieta Dentone

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Introduction | Francisca Kweitel

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Workshops

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Workshop “En busca del arquitecto perdido” | Estela Saez

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Workshop “Aire” | Ruudt Peters

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Workshop “Solo una mirada” | Jorge Manilla

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Workshop “Blanco” | Nelli Tanner

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Conferences

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Nelli Tanner I Work in progress

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Ruudt Peters I Ánima

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Estela Saez I Do you know who I am?

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Jorge Manilla I Una historia común

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Exhibitions

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“EN CONSTRUCCIÓN I” | Nelli Tanner, Ruudt Peters and Jorge Manilla

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“Quiltro” | Chilean contemporary jewlery

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“Botánica” | Mexican contemporary jewlery

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“Conjunción” | Argentine contemporary jewlery

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WHY EN CONSTRUCCIÓN?

EN CONSTRUCCIÓN is located in the development stage of contemporary jewellery in Latin America, with the possibility of extending its meaning to new fields. The concept of contemporary jewellery has currently evolved, becoming an independent and interdiciplinary field of study; it is a means for analysis, experimentation, individual expression and cultural communication, with the ability to provoke, critique, gather, convey and generate meanings. New generations invite us to look at contemporary jewellery from outside of its conventional frame, reinforcing the study of the relationship between jewellery and those who own and wear it, without forgetting its inevitable meaning as a cultural object and a means of artistic expression. In Latin America, while some expressions focus on understanding and working in these directions, this

stance is relatively new. On the other hand, due to the lack of institutional support for training and production, as well as regarding spaces for exhibition, experimentation and research, it is necessary to create other proposals that open up new paths. Concerning these issues, EN CONSTRUCCIÓN seeks to bring together young generations of jewelers and artists, renowned exponents and the general audience, creating a new space for discussion, debate and analysis of contemporary jewellery.

Julieta Dentone

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INTRODUCTION For over a year and without ever having seen our faces even once, we exchanged e-mails with Pamela de la Fuente –Chile-, seeking to clarify our interests, inquiries and wishes regarding this project that we were creating. EN CONSTRUCCIÓN stemmed from our own need to bring experiences together, from a wish to connect with the inside and outside and to open a space for debate and exchange. A project that was initially conceived for Argentines and Chileans turned into a huge power plant of Latin American energy where Mexicans, Colombians, Ecuadorians, Peruvians, Uruguayans, Chileans and Argentines bravely crossed over borders in order to participate in this first meeting. The symposium grew to be much larger than we had imagined, thus demonstrating once more the need on this side of the Atlantic to participate in group activities, exchanging culture, experiences and knowledge.

With no funding or governmental financial aid the project was hard work, but the energy and enthusiasm of the symposium’s prospective participants gave us strength to continue working intensely. Four floors for four workshops. MARQ, Architectue Museum- couldn’t have been a better space to host the workshops. From Thursday March 29th to April 1st 2012 each one of the museum floors hosted one of the workshops. Nothing else, no other gallery, office or person foreign to the symposium that could sidetrack the research that was ongoing in situ. Estela Saez, Ruudt Peters, Jorge Manilla and Nelli Tanner showed the vivacity they would gradually foster throughout the workshops. It was an ideal atmosphere. The noon intervals took place almost as if by magic in a joint time and space. About 60 people enjoyed the museum garden while

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eating packed lunches. During lunchtime the participants exchanged about research processes, questions, cultural similarities and differences. Monday April 2nd was a holliday. Ruudt, Nelli and Jorge, along with a magnificent installation team, were forced to suffer the intense heat on the last floor of the MARQ while putting together the exhibition that would open two days later. A space “under construction” that was to be created out of what existed, searching inside, enabling the most while using the minimum. Tuesday the 3rd. Four conferences held in Ciudad Universitaria (University of Buenos Aires) sparked the interest of jewelers, designers, artists, students and lay audience: a joyful atmosphere fostered analysis and reflection on diverse experiences and trajectories. The presentations -so varied in terms of materials, forms and personalities- revealed the multiplicity of this discipline. Wednesday the 4th. The closing of the sympoium left

a door ajar. The exhibit “EN CONSTRUCCIÓN I” opened, giving way to the celebration of such a large event. The drums in the background went over Latin American rythms while a huge exchange of conversation, photos and telephone numbers took place. Smiles expressed what everybody wanted: “MORE”. I thank all the institutions and people that in a way helped make this symposium possible, I thank Koru and Área Gris for having been my guides in this endeavor without even knowing it and all the participants that trusted the need for this project! Francisca Kweitel

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WORKSHOPS

EN BUSCA DEL ARQUITECTO PERDIDO | ESTELA SAEZ AIRE | RUUDT PETERS SOLO UNA MIRADA | JORGE MANILLA BLANCO | NELLI TANNER MARQ, Architecture and Design Museum of the SCA (Central Society of Architects) 11


MARQ, Architecture Museum Four workshops on four floors and a space of common gathering: the garden. Just after crossing the MARQ’s entrance fence, the workshop participants got together in the museum’s front garden, each day in different combinations. Once inside the building, the participants of Estela Saez’s workshop on the ground floor could start working. The first landing hosted Ruudt Peters’ blue world, and another story up was Jorge Manilla’s surprising forest. Almost touching the sky, Nelli Tanner’s whiteness and spiritual silence.

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EN BUSCA DEL ARQUITECTO PERDIDO | ESTELA SAEZ

Jewellery is a discipline commonly associated to small-scale realizations and to the body. Furthermore, key questions relate to what we make, what we intend to express through our creations and for who are they meant. All of these elements define a jeweler, stating the specificities of his/her practice. But what happens if, additionally, we connect the conventional jewellery thinking to unfamiliar and unexpected physical and mental spaces? Could this free up or at least loosen the borders of the discipline? And what could this possibly mean? Would it enlarge the possibilities and outcome of our

creative process? En busca del arquitecto perdido combines crossdisciplinary thinking and assignments aiming to embrace a critical discourse towards jewellery and a different approach to making. Space will be taken as a starting point, attempting to sneak out, explore and therefore perceive new atmospheres and circumstances and gaining new outlooks. It will raid the lost architect inside us. Materials: masking tape, drawing materials, various materials (woods, metals, papers, plastics, etc).

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P

rofessionalizing, spreading out and empowering the voice of independent jewellery in Latin America, is not an easy task. Nor is the task of finding the optimal situation for this discipline to flow. Among others, it is a matter of scope, measurements, and of overall atavistic tradition rooted within the discipline. Currently contemporary jewellery in Latin America claims introspection and avant-gardism, the Symposium "EN CONSTRUCCION" made it rather visible. The pursuit of personal and group frequencies takes place in meetings like this. Communication, exchange of knowledge, these elements open doors to transform and understand jewellery as a discipline that moves beyond the ornamental and that can become a way of understanding life. Here we walked the path of fullness and personal freedom. This freedom provides opportunities for development and the precise harmony to build up relationships that give us the strength to move forward. Accepting and understanding this amalgamation, commitment and attitude, writes the global history of jewellery. Sharing these circumstances with each one of my architects has left a deep impression on me. "EN CONSTRUCCIĂ“N" provided the basis to generate possibilities and situations that discovered the rich history and powerful personality of Latin America, this part of the world in great need of projection. Thanks to Milagros for her strength, her ancestors and the hope to reinvent their links without losing her own story. To Anna for the ability to overcome situations using mind and soul to move forward and rediscover herself. To Paula, highlighting everyday life, her surroundings and making sense of the artistic creation. To Daniela, behind her voice, her blue and her spirit great need to deepen and discover the secrets this discipline hosts. To Ă ngela for her "touch" and the universality of her creations. To Gabriela, innate passion of someone who knows what she wants, accuracy and consistency will achieve the desired goal. 17


To Udi, experience, strength and energy to find and redefine a discourse where culture and individual merge ... a reference. To Renata, through her music, joy, body and spirit she draws a sphere, in great need of sharing and expressing her personal point of view. Miriam ..., calm and capacity. Synthesized perceptions and emotions meet intuition and rationality. To Micaela, fragility and perception accompany a process seeking fluidity. To Fernanda, youth, strength and essential calmness move together to find and shape her naturalness. To Kika, the sweetness of her jet black eyes state new paths to self-realization. To Nora, constant struggle, through her creations she overcomes acquired taboos. Draw Nora, draw! To Nano, pure energy, channelled in his unique "on-working", wisdom and balance between the mundane and the spiritual. To Pamela for her calm and gentle help, keen to experiment and to convey knowledge from new perspectives. And to my dearest Fran, pure power and tenacity. Main responsible of the tangibility of "EN CONSTRUCCIĂ“N". Let this movement continue, until the voice of Latin American jewelers is heard worldwide. Estela Saez Vilanova

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These days represent more FLOORS for my construction as a person and a contemporary jeweler, filled with new materials, emotions that open and close as doors, techniques to continue growing, people, conversations that give me structure and strength to continue standing. I’m MOVED by Latin passion for contemporary jewellery, the will to express it to the world at large, generating our own vision, learning and growing together. En Construccion symposium meant LIVING in a state of constant emotions. It was a MIX of cultures, thoughts and jewels that left a whirlwind inside of me that will continue growing until the next edition. During her workshop, ESTELA SAEZ gave me goosebumps, my eyes welled with tears full of new ideas, questions, buildings, laughter and the construction of my own path. From the beginning we were guided by a wonderful result: a SHARED one. Jewellery created through experience from interactions with eachother, with a message and a feeling moved by another heart. During the workshop we went through all kinds of interpretations of our surroundings, joint ideas for a chair that would dissapear after much work, only to take on another meaning; different means of expression, interesting conversations, use of minimum material, intervened by different hands, strong emotions when seeing each one of us expressing and acting what we had inside. Pieces created on an uncommon scale, inside which one could live and feel. It was a very inspiring workshop; the group had a very interesting dynamics. Estela guided us toward results that could express details and important parts of each one of us. Thank you infinitely; I take home many emotions and a desire to join strengths in Latin America through Fer Barba contemporary jewellery. A hug full of joy

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AIRE

| RUUDT PETERS

AIR is a workshop where you learn to discover the freedom and openess of creativity. Not all human beings are aware of the qualities of their own breath. The in and outgoing breath offers us a lot of freedom, spirit, view and creativity. When we operate from the movements of breath we generate strength and energy that leads to your form language. It is essential for an artist to draw from this inner force. You will get in contact with yourself, and learn to focus on your personal freedom and drive it. I will guide you to your experience, and support you in translating this into making art jewellery. AIR is about taking another space at our contemporary experience of making, a statement about how you can relate to your own inner force.

Artists and students are stimulated to produce work around this idea. In doing so, it is important that not only rational reflection, but also the subconscious enters into the work process. AIR is built on step-by-step education in which the end product is not the most important goal. “The goal is the means and the means is the goal� (M. Gandhi). The emphasis lies on personal guidance and development. The participants are given the tools with which to continue this process on their own. By means of direct action people learn to take steps. Materials: a large quantity of BLUE material, basic tools and supplies.

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afflatus

IS THE CLOSED IMPACT MEANING OF THIS. WITHOUT AFFLATUS A

PIECE HAS NO SOUL. Ruudt Peters

G. Kohon

M. Castro Corbat

L. Ojeda

J. Marin

M. Molinelli Wells

G. Squassini

M. Amezcua

S. Rio

M. Callis

M. Massone

F. Kweitel

G. Nirino

ASSIGNMENT: AIR. 12 looks‌ Each participant attempted to represent air in a video less than one minute long. The most diverse images appeared, not only in relation to breathing, but also regarding how to look at life, how to observe our surroundings, the history we carry and that we build, sound as a means of transportation, soft images, sweet caresses, longer seconds, courageous and fast steps, sudden changes and the awareness about the lack of air made us breathe the group’s essence. 24


Ruudt asked us to choose 10 images for a presentation. Personally, I connect my work with what I live, with my surroundings. In my presentation the image: Perception… without noticing it BLUE The perception that would be….. The inner feeling that comes from a material impression on our senses, is what I most treasured in my heart As Ruudt’s trademark. And of course experimenting and crossing boundaries… as an artist and a human being. Ruudt Peters, a warm, intelligent, and close human being, that conveyed his craft and passion for “X” (Jewellery). Incredible, I am moved by having lived this… The group… A group of women of different ages and from different countries. Each one of them with projects, missions and direction. Facing the assignments Ruudt gave us… Amazement, uneasiness, laughter, execution, results, feedback. Joyce: spirituality, Machi: unconsciousness, Lili: transformation, Mayte: flowing, Miriam: one, Guigui: life, Gaby N: sound, Maru C: freedom, Marina: existence, Sil: connection, Fran: block, Gaby S: fear, Mercedes: connected. THANK YOU. Joyce Marin

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SOLO UNA MIRADA | JORGE MANILLA

Love, suffering and personal experiences have been the subject of my new work: we have a common story because we’re alive and we have feelings. These elements are the starting points for my workshop "Solo una Mirada". In this workshop we will walk through a creative process based on sensitivity and personal experiences. The student will learn to give new meanings to the

materials and how to compare new shapes, forms and textures with feelings. Students will learn to define an idea or concept, and learn the difference between objects, jewellery, and statements, and to work in a very personal and consistent way. Materials: natural elements, artificial materials, heavy materials, light materials and representative images.

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N CONSTRUCCIÓN. Four Workshops at the same place, a number of exhibitions, but above all the constant dialogue between participants was the key to this symposium’s success. SOLO UNA MIRADA. I left my country 10 years ago, looking for answers about my life and work. I went to Europe. Over the years I discovered that there are more questions than answers; these questions have kept me active up till now. And every day they give me new energy to keep moving forward. I have always believed that knowledge has to be shared. I believe knowledge is like fruit, after a while if you don’t eat the fruit it rots. And for me EN CONSTRUCCIÓN was the perfect occasion to share my knowledge. From the first day I loved the idea of being part of this project which was made with such passion, like we say in México, “with the heart in the hands.” Solo una mirada was the title of my workshop; emotions, feelings, and life experiences were essential elements in this workshop, foundations for a creative process. A group of 15 people of different ages and personalities gave the workshop a special energy. Self portraits of the people they didn’t want to be, personal decisions and difficult moments in selecting the materials with which to work, comparing emotions to materials and textures; these were some of the excercises the participants had to engage in. The workshop grew slowly but intensely; to start day two, the students had to reflect on the previous day. And every day was just like that: sharing emotions, suffering, laughing, drinking mate and working. People from other workshops came to take a look and didn’t understand what was going on in this space... Chaos and structure that gradually met and took over the space... A strange atmosphere. Participants of the other workshops were making comments: “It looks like a temple of ritual objects...” or “It’s like an archaeology museum”, “this distribution of space makes me nervous.” And nobody knew what the outcome would be, or how we would get there. 30


At noon it was time for lunch; conversations and questions didn’t stop between the participants. It was as if nobody wanted to stop, or to take a break. It was as if everybody wanted to share and take the most possible information. A photographer was walking around between the participants and the work, very quietly, almost invisible, capturing special moments with her camera. And then Fran would be there as quick as a flash, looking to see if everything was okay and then she would disappear again. All the time small things were happening around me; I was trying to keep myself focused on my workshop, on the students. Guiding the students with their emotions, with their mistakes and virtues, but trying to be very careful that they never lost the motivation and the red thread of my workshop. I still feel the same emotion when I think about the end of this project. And after a week of working hard we reached the last day. In the morning we started with a long talk about concepts, references, and interpretations... And with this talk I told them that the moment had arrived to take the control of the workshop and show me what they had learned that week. I went out, I returned the participants their space, their emotions, that I had been guiding for four days. The result of this was a real catharsis, overflowing emotions, tears, laughter, performances, objects and jewellery pieces were the outcome of those wonderful days. THE END But what was really important for me? It was not the objects, jewellery or performances, for me the most important thing was the experience. And the process after the workshop, what they will remember and use after the workshop when they return to their comfort zone. And I know this worked, something has changed in their way of thinking and working. This experience was the best jewel that they could have created for me. 31


With this project Francisca Kweitel has created a big collective brain. Each of us was one of the neurons in the brain, and during one week this brain was in full activity. During one week all the participants have discovered how important it is to work together, they won’t forget each other. They are waiting for the moment to come together again and set free this collective (of) thoughts. Thanks again Fran, for your generosity and energy, thanks for the organization of this project, thanks for making this Latino meeting possible and thanks for your continuous work. Because as all of the keynote speakers said, there is no time to lose, the road is very long. The only option is to keep working, very hard and consciously. Because history does not repeat itself, and history is not made at night history is made in daytime with the sun on your face, with joy all around there is a multitude what are you waiting for? history is not going to make itself.. you have to start now... Miguel Guardia

Let’s hope this will be the ďŹ rst of many meetings. Jorge Manilla 33


This symposium was for me like that vacation you don’t want to come to an end and where you meet people that you will remember for a long time, with the benefit of extending longlasting ties of intense learning. Participating in Jorge Manilla’s workshop was essential; the common language enabled fluent communication; his Latin American belonging and his European experience allowed me to think and visualize many things about contemporary jewellery and about the people who work in this field. During the workshop I felt exposed, and that is when doubts, fears, enthusiasm and contradictions appeared; but that situation enabled me to think (during the workshop days and even today) what it is I want for the future and what I need to continue learning (understanding work, work methodology, regards). This is very important to me and I value it very much as a result of the symposium; I felt emotionally supported by how Jorge managed the workshop and by my colleagues’ affection. I wanted to participate in Jorge’s workshop because of his proposal and also because of the teammates that I knew and I was interested in interacting with. I never imagined that the people that I didn’t know from Argentina, Brasil, Chile or Colombia, would be so valuable. It was wonderful to be with them, their contributions were crucial, we saw ourselves as if in a collective mirror. The workshops, conferences and exhibits were impeccable. We had the chance to see and live all of that during a week and I can only imagine all the work it involved… They put together something that undoubtedly was significant for all of the participants. It is the first time I take place in an activity that gives me such a broad perspective. This symposium will definitely trigger changes in Argentine and Latin American jewellery. Rafael Álvarez THANK YOU, IT WAS FANTASTIC!!!!!

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BLANCO

| NELLI TANNER

BLANCO is a workshop where we talk about the colour white, its meanings and its symbolic use in cultures. We often start by putting ideas on white paper. We wear white clothes for specific occasions. Official documents are often white. We have sayings like white as snow. Is white really white? White can be described as empty, silent, clean, light, uninterrupted. White can be a silence or an endless view. White can make a landscape or hide it. White can blind or disguise us. When we talk and lie sweetly, we talk about white lies. Can we hide under white, as anonymous?

Can a lie be white? In the workshop we will research about white: collecting, looking and exploring the boundaries of a personal white. The workshop starts as a white paper at the beginning of a project. The workshop gives beginnings and engourament to each participant to develop a way of working. Through conceptual and material thinking and try-outs the participant gets a support to his/hers way of expression. Materials: white men’s shirts, an important image and object, basic hand tools for jewellery.

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A

FTER-THOUGHTS | EN CONSTRUCCIÓN I 29.4.2012 White. Dogs running free around the city of Buenos Aires. Noise of the traffic. Lot of kissing and warm smiles. Long conversations and strong emotions. White shows its colors: intensive yellow, red, blue.

BLANCO workshop was a mind-opener to jewellery and jewelers in Latin America. For four days we were talking, making, sharing and re-questioning jewellery. We shared direct and warm-hearted days of communicating in the fourth floor of MARQ museum in a white space. The question that was raised along the BLANCO workshop and other workshops was “What is our identity as jewelers?” Well, what is an identity? Something that makes you who you are? Something very personal but something to be shared with others? Is identity something that separates you from others or brings people together? What is your identity as a jeweler? Working together for four days raised the questions about future. What if we start working more together? How to find a way to share, communicate and enjoy jewellery? Can you experience identity together with others? EN CONSTRUCCIÓN I offered a place to meet, talk and start sharing. I was touched by the emotions and passion of the jewelers. I hope this gathering gave you curiosity and strength to find answers to the questions of the identity of Latin American jewellery. Don’t forget that you are making it while working in your atelier. You are making the identity while speaking of jewellery. You are the jewellery. You are the jewellery of Latin America. Nelli Tanner

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EN CONSTRUCCIÓN symposium was a huge party, a celebration of the spirit of a group of people with many things in common. A parenthesis in our daily lives that allowed us to learn, show, and see how others do it. It gave us the chance to share ideas, feelings and to clear up doubts while reinforcing what each one of us is doing in our own worktables. Argentines, Chileans, Brazilians and Mexicans seeking reinforcement, inspiration and methodology from those who have been shaping the path of contemporary jewellery on the other side of the world. The experts showed us different points of view, different colores, different ways of expressing our personal spirits. Nelli, white, sweet and with clear pedagogy, led us in her workshop through a path toward the inside, to explode in pieces with greater meaning. We explored techniques on paper, thread, wire, imprinting memories and feelings in inspired and meaningful manual labor. The conferences and daily contact with the other experts enriched our experience even more. Jorge Manilla, rough on the outside and soft and caring on the inside showed us his work with identity, quality and an enormous strength that makes us proud as Mexicans. Ruudt with his experience and strong presence encourages us to move forward in the creation of an identity of our own, that can show the world a contemporary jewellery with cultural values, conveying the richness of our origins. Estela with an almost magical image, begins her conference by singing and shows us creativity in everything she touches. Each day was lovelier than the previous one. The corners of Buenos Aires that we gradually discovered leave us longing to return. Cristina Celis Thank you Fran, Jorge, Nelli, Ruudt and Estela for this parenthesis of happiness.

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“EN BUSCA DEL ARQUITECTO PERDIDO” ESTELA SAEZ | Milagros Monforte (Lima, PE), Udi Lagallina (San Pablo, BR), Nora Capitman (Buenos Aires, ARG), Renata Meirelles Limongi (San Pablo, BR), Erika Rufino (San Pablo, BR), Paula Zuker (Santiago, CH/ARG), Nano Pulgar (Santiago, CH), Gabriela Miguel (Rosario, ARG), Ana Weisz (Mar del Plata, ARG), Daniela Acuña (Santiago, CH), Miriam Andraus Pappalardo (San Pablo, BR), Micaela Mornaghi (Buenos Aires, ARG), Ma.Fernanda Barba Soto (DF, MEX), Pamela de la Fuente (Santiago, CH). “AIRE” RUUDT PETERS | Marina Massone (Buenos Aires, ARG), Liliana Ojeda (Santiago, CH), Gabriela Squassini (Buenos Aires, ARG), Marina Molinelli Wells (Buenos Aires, ARG), Mayte Amezcua (DF, MEX), Guigui Kohon (Buenos Aires, ARG), Miriam Mirna Korolkovas (San Pablo, BR), Mercedes Castro Corbat (Buenos Aires, ARG), Silvina Rio (Barcelona, ESP/ARG), Marina Callis (Buenos Aires, ARG), Gabriela Nirino (Buenos Aires, ARG), Joyce Marin (Quito, EC/CH), Francisca Kweitel (Buenos Aires, ARG). “SOLO UNA MIRADA” JORGE MANILLA | Patricia Alvarez (Buenos Aires, ARG), Rafael Alvarez (Buenos Aires, ARG), Graciela Di Mónaco (Rosario, ARG), Renata Porto (San Pablo, BR), Maria Alves de Lima (San Pablo, BR), Jessica Morillo (Tucumán, ARG), Ma.Victoria Alonso Fierro (Concón, CH), Cecilia Richard (Córdoba, ARG), Paula Dipierro (Buenos Aires, ARG), Helena Aguilar (Envigado, COL), Milagros Musacchio (Córdoba, ARG), Raquel Carneiro Amin (Campinas, BR), Ma.Laura Licandro Alcántara (Buenos Aires, ARG), Alejandra Ferrer Escobar (Medellín, COL), Luz Arias (Buenos Aires, ARG), Soledad Ávila (Santiago, CH). “BLANCO” NELLI TANNER | Silvina Signes (Río Negro, ARG), Cristina Celis (DF, MEX), Massiel Muñoz (Santiago, CH), Silvia Beildeck (Río de Janeiro, BR), Anne Luz Castellanos (Buenos Aires, ARG/MEX), Cecilia Roccatagliata (Santiago, CH), Carolina Dutari (Buenos Aires, ARG), Lucía Mishquila Brichta (Buenos Aires, ARG), Ma.Eugenia Muñoz Curbelo (Santiago, CH), Karina Merino (Santiago, CH), Holinka Escudero (DF, MEX), Laura Leyt (Buenos Aires, ARG). 42


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CONFERENCES

NELLI TANNER I WORK IN PROGRESS RUUDT PETERS I ANIMA ESTELA SAEZ I DO YOU KNOW WHO I AM? JORGE MANILLA I UNA HISTORIA COMÚN School of Architecture, Design and Urbanism. University of Buenos Aires 45


NELLI TANNER | WORK IN PROCESS She studied jewellery for five years in Finland and for two more years in Amsterdam. She moved to Helsinki in 2003 to work and study and stayed there for six years sharing workshops with other artists. She defined her vocation as a coming and going. Currently she lives in a house far away from the big cities. There, her workshop has a large window overlooking the garden. The place gives her peace and silence, and she spends her days working. She is inspired by daily objects of everyday life and is guided by curiosity. Everything starts with how different situations seduce her, such as the contrast between black and white, the greys she can perceive, snow, and smoke, distances, order and disorder. In her work, she places, replaces, repeats and superimposes layers. She takes her camera everywhere and then translates those files into her jewlery. She defines her work as walking on very thin ice, where fragility is predominant and it doesn’t matter if 46


one falls down: you have to get up and keep moving, trying to find another path. She works in a team with Anna Rikkinen because she believes that group work lets you see another world. “Certainty and uncertainty at the same time, two hearts and two brains working together”. In a joint long distance work with Francisca Kweitl for “Walking the gray area”, they reflect on what things one takes with oneself when one goes on a trip. What if you cannot take your home, your friends or family? What if you couldn’t take any object with you? What would travel with you? Working with someone on the other side of the world was positive: sharing images, talking and questioning themselves was a very enriching experience. This year, inspired by objects she found in her attic,

elements that many would deem useless, she is reflecting on the attachment we generally have toward things and what makes it so difficult for us to let these things go. Currently she is teaching in the jewellery specialization in Saimaa University of Applied Sciences in Imatra, Finland. It is a small but very active school. She has about 15 students, over a total of 140, who after 4 years of studies receive their Bachelors degree in Fine Arts. There they learn painting, sculpture, photography, video and performance, among others. Each student creates their own world in their workplace and she encourages them to find inspiration and to use the materials that can be found in the area -stones, woods, materials from nature- in surprising ways.


RUUDT PETERS

| ÁNIMA

Born in the 50’s into a catholic family of hairdressers, he is the only member of the family who is still religious. As a child he pretended he was a priest. He studied in the Rietvald Academy and has worked in jewellery for the past 40 years. In 1994 he travelled to India and became interested in alchemy (the passage from lead to gold) as a search for wisdom in life. Minerals, what is considered masculine and feminine, the transformation and relationship between East and West. He believes transformation is something that happens within oneself, “when you search inside yourself, you become a better person”. He deems that time and wearing uncover inner beauty. Displeasure can be the motor and the impulse to research something deep inside. Drawing is a tool that enables him to get started. He draws blindly, without knowing what will turn out, trying to discover his feminine side, letting himself go and fly. He works with storyboard, placing his 48


thoughts from left to right in a non-linear way –he shows a very diverse sequence of fast images of thoughts that go through his mind. Religion always reappears. Fascination with the image of Christ hanging from the cross encourages him to propose an image that doesn’t make him suffer. He organizes “Lingam”, where 130 jewelers and artists are invited to create their own symbols of fertility. In his insallations, he always seeks to reflect the concept of his work. In this exhibit much controversy is created surrounding the presentation of phallic and fertility symbols in a catholic museum, with great repercussion in Dutch press. Once, he chose to set up many ladders in a gallery, placing jewels at the top. But it didn’t work as he expected: his customers were women over 50 and they were afraid of climbing up the ladders.

When he had to present a series that he felt was not ready for life yet, he created an installation with pillows and lamps hanging low over each object, representing the incubators where premature babies are put. He considers that jewels should be autonomous objects that go beyond their relationship with the body; that can be linked to the surroundings. Each jewel is on a body that in turn is intimately related to its surroundings. Ruudt Peters defines himself as a dreamer. He teaches in different schools, searching for what is profound with his students, digging deep in the quest for good work.


ESTELA SAEZ

| DO YOU KNOW WHO I AM?

Estela sings in order to create silence in the room. She was born in north Catalonia, in the Pyrenees plains, a place that marked her culture and identitiy. She has always been restless and has questioned everything. Her parents were very hardworking bakers. She spent her days around them but because she didn’t like cakes, she focused on the work they did. She studied with Ramón Puig Cuyás in the Escuela Massana. She learned diverse techniques that were to be her expression tools. She has worked on sculptures, which she considers extensions of jewellery. After winning a scholarship she went to Germany, after which she never wanted to go back. She continued on to Amsterdam, where she found a context full of jewellery, many people who made a living of it and infinite presentations in this discipline. Amsterdam, a city where it rains endlessly, is a refuge for hard work and fosters concentration for this. “In order to work you need a lot of determination”. She seeks to create atmospheres, to make them visible and to show them through her work. 50


The key to her work is volume, nature and its roots that help her to understand herself more from within. TERRA was her ďŹ rst individual exhibition where she showed her roots and the earth that she was receiving at that time. The installation was set up in a gallery exhibition room that she completely covered with soil. She experimented drawing with soil from her hometown, water and glue; with this she would discover the conceptual foundation of her work. Inspired by the fragility of a nest –Good by(e) nest seriesshe began to think that it was a very comfortable place but if one gets too settled in it, one cannot develop fully. In the beginning, she created mud structures and drawings where she added the color that the pieces were missing. The presentation was done with photos of her family carrying the pieces/nest. She got her masters degree from Idar Oberstein, where they specialize in the carving of precious gems.

She wanted to work with stones but they were too hard and the process was too slow. Thus, she began to work with cardboard as a transitional material because it offered her speed. She did fragmented pieces, skeletons or parts of something that was or will be. After, she could pass that to stone in very thin sheets, seeking transparency and lightness, and those cardboard pieces became entities in themselves. Estela keeps the pieces for a year because she needs to see that when she awakes happy she likes them and when she awakes sad she still likes them. Estela Saez coordinates activites, she attends symposiums that enable her to understand herself, and she enjoys searching for her autonomy and not depending on galleries. She paints, writes, sings and looks for ways of expression. She carries out artistic projects jointly with other artists. She is not political or religious but she searches for the most intimate and deepest answers of life in her work.


JORGE MANILLA

| UNA HISTORIA EN COMÚN

“And if your words are not enough, tell it in another way…” He was born in Mexico, a city with a population of 25 million. He comes from a family of jewelers and engravers that were persecuted for conveying popular messages of social critique. He defines himself as “a jeweler by mistake”. He studied classic jewellery and a year before getting his degree he was already producing in series and doing very well. One day he asked himself whom he was working for, and at that moment decided a turn in his life. He took an admissions exam for the KASK Royal Academy of Fine Arts in Ghent, Belgium and he moved. There he discovered another way of seeing life, but at the same time felt nostalgic for his country and his old daily routine. He thus began to understand his history, the history of a country filled with power abuse, blood, suffering, but also joy. The mixture of two cultures: European and Latin 52


American. He found inspiration in religion, rituals, faith and devotion. At one point he realized that he was fitting too comfortably into what was expected of him and he felt the need to be honest with his work. He reflected about his origins and that place of extreme contrasts, hopes, reflections, ideas, dreams, colors, paths and faces, light contrasts. Thinking about how human relations are constructed, he thought that in order to build something it is necessary to destroy a lot. He worked with leather and wood to create his own organs that could suffer marks similar to scars on skin. This resulted in the creation of black pieces, heavy in appearance but actually very light. He found feeling, emotion and passion in his pieces. Jorge defines his process as a constant quest. He does not use conventional techniques or materials, because it is through experimentation that he can tell

a story, a personal experience, his or the spectator’s. He believes that materials speak for themselves, but that one must know how to use them so one does not opque nor take value from them. A jewel for him is a three dimensional object that does not have a front and back but is instead understood as a totality. And he considers that the way in which a work is presented is part of its process. He sees jewellery as a process in which while looking for answers, questions are obtained. “If you have something to say, say it to the world, if you cannot, say it in your country, if you cannot say it in your country, say it in your city, if you cannot say it in your city, say it in your home and if you cannot say it in your home, say it to yourself”. Notes taken by Rosario Fernandez Pazos –student-. Kweitel-Kohon chair. Accesory Design, FADU-UBA.


Kweitl-Kohon chair exhibition Accesory design, FADU, UBA Conference room


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EXHIBITIONS

EN CONSTRUCCIÓN I | NELLI TANNER, RUUDT PETERS y JORGE MANILLA MARQ, Architecture Museum QUILTRO | CHILEAN CONTEMPORARY JEWLERY Jose Hernandez Folk Art Museum BOTÁNICA | MEXICAN CONTEMPORARY JEWLERY Jose Hernandez Folk Art Museum CONJUNCIÓN | ARGENTINE CONTEMPORARY JEWLERY Gachi Prieto Gallery 59


“EN CONSTRUCCIÓN I” “Outside is inside, we walk through where we have never been, the place where this and that meet is right here and now, we are the intersection, the X…” Octavio Paz.

EN CONSTRUCCION I, presents a selection of the work of three renowned artists of contemporary jewellery: Ruudt Peters –Holland-, Nelli Tanner –Finland-, and Jorge Manilla –Mexico-Belgium-. The three of them reflect on the same discipline, questioning their own creative processes and use of materials. A process that becomes an endless search of creation, invention and recreation, and that generates an ongoing dialogue between the spectator and their work. Ruudt Peters, a great alchemist that can transform materials completely and turn them into his source of inspiration. His work presents constant research between consciousness and unconsciousness, what is feminine and what is masculine. He considers his jewels communication objects whose “beauty lies

both in their interior qualities and in what they provoke on the outside”. Nelli Tanner takes everyday life and her surroundings as a starting point. She thinks of her work as work in progress, work based on processes, in between what is finished and what is not. Her work, full of subtleties, hides almost imperceptible differences, where the presence and the trace of absence can be perceived. Jorge Manilla, inspired in his own history, maintains an interesting balance between his Latin American roots and his European everyday life. His creations condense a ritual dimension where his own emotions are confronted with the search for uneasiness, in order to carry out his work.

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Anima Dila Anodized aluminium. 2010

Anima Damina Anodized aluminium. 2010 Anima Devota Anodized aluminium. 2009

RUUDT PETERS 62


Hiljaa Hilja Silver, aluminium. 2009

Behind the white curtains Aluminum, brass, metal, plaster, plastic, wood. 2009

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NELLI TANNER


Never ending lies Leather, wood, steel. 2012

Worser for you II Leather, wood, steel. 2012

JORGE MANILLA 64


PANTALLA ABIERTA was conceived of as a space of audiovisual documentation, where different proposals would coincide: documentaries, video art and clips in relation to Argentine and worldwide contemporary jewellery.

Borax08001

Julieta Grana

Gemma Draper

Mercedes Castro Corbat

Marijke Schurink

Maite Uribarri

Rita Bamidele Hampton

Francisca Kweitel

Virginia Jakim/AnalĂ­a Sirabonian

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A city, a park, a tower in the middle… What happened inside the tower? Occupying the last floor of the tower, EN CONSTRUCCION symposium unleashed a group of forces translated into jewels. The exhibition surprised everyone. The place, the works of art, their display, hidden inside white painted wooden structures, translated into a rhythmic out of time composition, ordered-disordered, allowed the audience to enthusiastically appreciate each one of them. Jorge, Ruudt and Nelli’s pieces interacted with the stage, and the stage in turn interacted with the audience. Jorge looks for and finds discarded material just like an archaeologist. Nelli supplements her work with the charm of the stories from freezing lands of northern Europe. Ruudt penetrates in his own entrails and searches deep inside for the theme of his work. We have gained a lot with the presence of these three artistis among us, and we have also been able to add to our shrewd regard, the product of their hands and minds. Miriam Mirna Korolkovas Inside the tower, a precious gift!

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“QUILTRO, DE ORIGEN INDEFINIDO” Group exhibition of contemporary Chilean jewellery.

The importance of “quiltro” as a character of our culture is noteworthy. An antisystem urban animal, which has learned to survive in the city, lives freely and breeds uncontrollably. Traveller and city wanderer, he usually covers long distances. He’s curious and a victim of the car, his worst predator. Son of the city; he belongs to everyone and to nobody at the same time. Due to his unknown racial origin, a result of uncontrolled breeding, he carries the best of all races in his genes, thus making him superior to any pure race. Maybe the best definition to describe the making of our national identity. Meaning, there is “something” that is recongnizable and many other things that are indefinite. Stray dog and creole. He travels with no apparent direction, but alert to discovery, to what is multiple, to what is new and to changing possibilities. Source: “Chilean Race”, by Jorge Castro.

Artists: Massiel Muñoz, Ana Nadjar, Soledad Avila, Mónica Pérez, Paola Raggo, Paulina del Fierro, Pía Walker, Caco Honorato, Eduardo Sepúlveda, Carolina Hornauer, Carolina Méndez, Claudia Betancourt, Marta Morrison, Valentina Garreton, Gabrila Harsanyi, Guillermina Antúnez, Loreto Fernández, Pilar Aguila, Pilar Labra, Stefanía Piccoli, Verónica Pérez, Mariela González, Vania RuizIlonka Palocz, Liliana Ojeda, Nicolás Hernández, Valeria Martínez, Paulina Latorre, Gabriela Fissore, Esteban Recszincszki, Paulina Amenábar, Pamela de la Fuente, Cecila Rocatagliata, Angela Cura. Organized by Joya Brava, association of Chilean contemporary jewellery. Location: Jose Hernandez Folk Art Museum, during the month of April 2012. 69


“BOTÁNICA” Group exhibition of Mexican contemporary jewellery.

The interpretations of the theme by different Mexican artists covered a broad range: from the realistic representation of fruits, flowers and seeds, the abstraction of scientific concepts pertaining to plants, photosynthesis and vascular conducts, the use of a specific flower as a symbol of a character, as a vehicle for knowledge, to installations of utilitarian art.

Artists: Mayte Amezcua, Raquel Bessudo, Gabriela Campo, Cristina Celis, Dora Corona, Holinka Escudero, Eduardo Graue, Lorena Lazard, Jackie Roffe, Zinna Rudman, Agnes Seebass, Cynthia Serrano, Martacar- mela Sotelo, Fernanda Barba Soto, Laura Elena Sán- chez, Alberto Dávila Quezada. Organized by Galeria Medellin174. Location: Jose Hernandez Folk Art Museum, during the month of April 2012.

Cynthia Serrano. MX

Martacarmela Soto. MX

Mariela González. CH 71

Laura Sánchez. MX


Carolina Hornauer. CH

Holinka Escudero. MX

テ]gela Cura. CH 72

Pamela de la Fuente. CH


Lorena Lazard. MX

Massiel Mu単oz.CH 73


Mexico and Chile. Two countries. Two exhibitions. Two groups of artists. Sharing a space. Conceiving their pieces around a good excuse. One very different from the other. While in Quiltro the search refers to that other world that transcends the world of the stray dog: hybridity, identity, courage, temper and struggle. In Botanica, inspired by science and nature, they scattered leaves, flowers, petals, seeds and pods. To hang, attach, wear and think. To tell us they are alive, in each and every one of their pieces

Gabriela Squassini

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“CONJUNCIÓN” Group exhibition of Argentine contemporary jewellery. Twenty years ago in Argentina we were still looking for a name for the jewellery that didn’t come from colonial tradition or indigenous culture. This contemporary jewellery that has increasingly developed in our country originated in post-war Europe and the United States and was established as a new artistic discipline in the 60’s. New strategies and new materials supplemented a cultural revolution that is still an influence for us. Although the concept of considering a jewel as a mere sumptuary accessory is still in force, it’s important to remember that for over 40 thousand years of culture, body ornamentation functioned as an identity document. No society has left the body unadorned, naked, a pure product of nature. Modifications of the body, including dress and jewellery, were the main means by which a culture affirmed its value system. Metalwork is a privileged craft because it gathers all metallurgical techniques but on a small scale; this renders it a powerful instrument for exploration and knowledge. Since ancient times it has been

intimately linked to practices of magic and alchemy, due to its ability to manipulate the hidden forces in matter. Metals and stones unleashed the technique and challenged imagination; strange shinings that come from deep in the earth and upon which we project enormous value. Gaston Bachelard said that a jewel is a psychological monstrosity of valuation. Intimate objects loaded with meaning stem from this rebellious practice, that can create full worlds in intimate spaces, seal the quality of precious metals, guarantee the authenticity of gems, or even turn materials into precious ones. Objects as bridges, between matter and imagination, between nature and culture, between the body and society. This exhibition shows the varied contemporary creation in present-day Argentina. Warning: approaching an object with curiosity can cause amazement and discovery; it can open the door to an intimate, concentrated and precious world… Ariel Kupfer 77


Artists: Ana Weisz, Ariel Kupfer, Cecilia Richard, Celina Saubidet y Marina Molinelli Wells, Daniela Pepe Woll, Elida Kemelman, Florencia Gargiulo, Florencia Pierantonelli, Francisca Kweitel, Grabriela Horvat y Paula Dipierro, Gabriela Miguel, Gabriela Squassini, Graciela Di Mónaco, Guigui Kohon, Irina Fiszelew, Jessica Morillo, Jorge Castañon, Josefina Fiore Pes, Juan Vellavsky, Laura Leyt, Laura Licandro y Rosa Alcántara, Leda Daverio, Lorena Sosa, Luz Arias, Magalí Anidjar, María Boggiano, Marina Callis,

Marina Massone, Mercedes Castro Corbat, Micaela Mornaghi, Paula Isola, Paula Levy, Sandra Tamborini, Silvina Rio, Silvina Romero, Soledad Kussrow y Diana Domeniconi, Viviana Carriquiry. Organized by Marina Molinelli Wells. Original music for the performance: Mariano Ondarts. Location: Gachi Prieto Gallery, March 21st to April 7th, 2012

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Marina Massone

Mercedes Castro Corbat 79

Jorge Casta単on


The Argentine Contemporary Jewellery exhibition surprised and captivated me while I discovered its complexity. Putting together joint exhibitions is not an easy task, especially when it involves diverse authors with proposals that suggest different paths. However, “Conjuncion” led me to a galaxy of worlds that were united through sound. The use of sound offered an exquisite context to the exhibition: it went along perfectly with the rhythm of a peculiar melody composed of familiar sounds coming from a jewellery workshop. The lighting that focused on each piece with clocklike precision, lead the spectator in a slow itinerary through each one of the works of art. I was fascinated by the exhibition’s austerity, no objects locked behind a glass case, everything delicately suspended on the wall; a bold proposal that speaks of the maturity of this group of creators that define themselves as jewelers, but that are clearly trying to break away from the ideas of adornment and portability Liliana Ojeda

Francisca Kweitel

Guigui Kohon

Sandra Tamborini

Leda Daverio 80

Josefina Fiore

Silvina Romero


ACKNOWLEDGEMENTS GENERAL ORGANIZATION | JULIETA DENTONE, LARA WEISSTAUB MARQ | HERNÁN BISMAN, MARTA GARCÍA FALCÓ, LAURA LEYT GACHI PRIETO GALLERY, MUSEO DE ARTESANÍAS JOSÉ HERNÁNDEZ FADU | GUIGUI KOHON, MARÍA LAURA VAZQUEZ, CEMA ACCESSORY DESIGN STUDENT’S WORK, FADU | EVA NOWODWORSKI, SARA RIGAZIO, JULIETA GRANA, ANALÍA SIRABONIAN, GISELA TABACMAN, ANALÍA ILLESCAS, CAMILA GRECO-CAROLINA SPADILIERO “QUILTRO” LILIANA OJEDA | “BOTÁNICA” MAYTE AMEZCUA | “CONJUNCIÓN” MARINA MOLINELLI WELLS EDITION OF “PANTALLA ABIERTA” | SERGIO DEFORTUNA, VIRGINIA JAKIM PHOTOGRAPHIC RECORD | ANALÍA SIRABONIAN CONFERENCE PHOTOGRAPHIC RECORD | M.LAURA VAZQUEZ PERSONAL PHOTOS | CRISTINA CELIS, FER BARBA, MAYTE AMEZCUA, NELLI TANNER, RUUDT PETERS, JORGE MANILLA, CECILIA RICHARD, RENATA MEIRELLES, MIRIAM KOROLKOVAS, JESSICA MORILLO, KIKA RUFINO, ANA WEISZ, SILVIA BEILDECK, MARINA MOLINELLI WELLS, MILI MUSACCHIO, GUIGUI KOHON, M.EUGENIA CURBELOS, HOLINKA ESCUDERO ORIGINAL MUSIC FOR “CONJUNCIÓN” AND MUCH MORE! | MARIANO ONDARTS MANY DIFFERENT TYPES OF HELP| NOEMÍ DREISPIEL CREDENTIALS | LUCINDA WALMSLEY COLLABORATORS FOR THE ELABORATION OF THIS CATALOGUE | GEMMA DRAPER, MONFORT, EDNA ACOSTA, HOLINKA, CLAUDIA GOMEZ, RUBEN KWEITEL, GUIGUI, SANDRA TAMBORINI, JUANAMARAÑA, CECILIA ROCCATAGLIATA, NOEMÍ BUENDIA, VIVIANA MIGLIOLI, SOLEDAD KUSSROW, MARIANO ONDARTS, GABRIELA Y MARCELO SQUASSINI, SILVIA ALICIA, TOOLS, IBIS CAMPO, BRENDALI, RAFAEL ALVAREZ, NOELIA MACCHI, MA.EUGENIA MUÑOZ, FRANCINE, GUILLERMO ONDARTS, LUVITAMINA, ELISA, LUZ ARIAS, NORA CAPITMAN, ALEJANDRA AUGUSTI, SANDRA FRIAS, ELIDA KEMELMAN, JORGE CASTAÑON, LILIANA MACKLIN, NELIDA FERRARI LAZAR, NATALIA CASAL, THAIS COSTA, MARINA MOLINELLI WELLS, ANLUZ, GABRIELA HORVAT, FAZO, VERÓNICA ARDITI, SILVINA RÍO, MIRIAM PAPPALARDO, SOFIA SEPULVEDA, MÓNICA PEÑOLES

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CATALOGUE General edition and design | Francisca Kweitel Premedia | HĂŠctor Nichea English translation I Mercedes Pico

EN CONSTRUCCION SYMPOSIUM Management and coordination in Argentina | Francisca Kweitel Management and collaboration from Chile | Pamela de la Fuente www.simposioenconstruccion.blogspot.com | simposioenconstruccion@gmail.com

The catalogue is the result of a week of activities and meetings in relation to Latin American and European contemporary jewellery, between March 29th and April 4th 2012, in Buenos Aires, Argentina.

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En Construcción. inglés.  

Art. Argentina

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