Page 1


A todos los que siguen ayudรกndonos a construir.

To all those who continue building this Symposium.


| Francisca Kweitel


Introduction | Pamela De La Fuente




The skin I inhabit I Célio Braga


TRUST ME I Gemma Draper


¿And now what? / Y ahora qué? I Manuel Vilhena


Workshop I Lisa Walker




The artist and the encounter with the world I Célio Braga Solid questions I Gemma Draper In faraway lands / En terras lejanas I Manuel Vilhena Presentation I Lisa Walker Exhibitions


The unexpected of the everyday | Mexican contemporary jewelry


Re.Trato | Brazilian contemporary jewelry


Sample | Argentine contemporary jewellery


Rhizome and Fluid Objects | Chilean contemporary jewellery


joyEROS | Chilean contemporary jewellery


Pop Up | Argentine contemporary jewellery


EN CONSTRUCCIÓN II | Célio Braga, Gemma Draper, Manuel Vilhena, Lisa Walker



before, during and after the symposium, but lessons from our original experience were crucial to this second edition. EN CONSTRUCCIÓN deserved a new opportunity to prove itself, to try again, to start over. And this time we were able to work as a team. This second edition confirms that encounter goes beyond jewelry and becomes a common space of experimentation, debate and reflection, yielding to the creative process that enables us to enjoy beauty as a space of poetry. Debates, corporal exercises, videos, performances, sound is repeated as a necessity throughout the workshops… this comprehensive representation shows that the undertaking of jewelers is no more than the undertaking of artists, crossed by the entire body with all the senses. The beauty inherent in what is imperfect and incomplete is what makes EN CONSTRUCCIÓN function, what makes it unique, tangled, humble and smiley. There is an overriding need to meet, to see ourselves reflected in others, in relation to, to share, to have a space for exchange. The energy of this conglomeration is very powerful and workshop professors return transformed by their

EN CONSTRUCCIÓN Symposium began in 2012 with a hypothesis: there is a vacuum where all energies and possibilities converge and where anything can happen. It is a space that enables it to be livable, that is constructed with what is intangible, with what takes place in encounters, exchanges, and that evolves into growth. We felt, in Latin America, an underlying need to set out on a direction that had been going on for decades on the other side of the ocean. This gap itself is what drives desire and motivation for something new, something different, with colors of its own. Thus, calmly and steadily the Symposium began to take shape. Lessons were drawn from what existed, while in turn adapting to the possibilities offered by our idiosyncrasy and surroundings. The determination to carry out our idea was so strong that we took the leap almost without thinking. Longdistance organization was discontinuous due to certain communications deficiencies, increased by a mountain range in the middle. Work on the field was demanding 6

Latin experience. They take back home that warmth and power, that we hope they will be able to expand in their own cities. We offer them the blazing shine of what is new, while in turn we apprehend their knowledge and experience. Exchange is undoubtedly a large moving mass, affable, of thick sensations. If repetition is continuity and the essence of tradition, then we hope this meeting lives on over time, driven by people with the essential strength and enthusiasm to do so; and that there are always new generations to mix with the old ones and exchange views. And that this tradition is able to transform itself over time and grasp the needs of what happens around it!

It is touching to know that everything is impregnated on our skin, that an experience that crosses the body lasts forever and that we were, are and will be a part of this. An immeasurable Latin American construction, our own…! Francisca Kweitel

I close my eyes and I stay there a little longer… I’m moved as I go over the faces, not always festive; serious, having fun, worried, aloof, concentrated, sleepy, smiling, fragments of intermittent conversations, murmurs, songs, debates and reflections, exchanges of pieces, intersections and invitations, a true coming and going that is amorphous and intangible, although not ephemeral. 7

In the year 2012 and for the first time, a meeting of Contemporary Jewelers was held in Buenos Aires, bringing together from Chile and Argentina all the strength and proposals that this corner of the world had to offer. The meeting was the first edition of the EN CONSTRUCCIÓN Symposium and gathered many more participants than was imagined. What was initially conceived of as a project between two countries flourished into becoming a Latin American event. This success entailed the responsibility of its continuance and for this, the Parque Cultural of Valparaíso was seen as the ideal spot. During a week four refurbished rooms that used to function as cells and the torture center of the old prison, housed the four workshops held during the Symposium. Gemma Draper, Celio Braga, Lisa Walker and Manuel Vilhena worked in parallel with 60 participants and offered them the opportunity to listen to each other, find each other and observe each other through windows and hallways, to share the experiences of their work or simply lunch hour. In addition, seven exhibitions were inaugurated each day, setting an intense rhythm of activities that involved

young students from our School and well established groups, such as the one from Brazil. The seven exhibitions were mounted in non-traditional exhibit spaces, giving a sense of integration and dynamism to jewelry we seek to visibilize. At the Altamira Brewery, Mexico lead us into its capital city and Latin American depths with its exhibition, “The unexpected of the quotidian”. The Broca Group from Brazil presented us “Re-Trato”, at the Casa E Gallery of the Librería Metales Pesados with a profound exhibit on this group’s development over the last years. Nearby, at the Tienda Mercado Moderno on Lautaro Rozas St., Argentina’s installation of the exhibition “Muestra” called us to wear jewelry. Other spaces as unusual as these, such as the Lutheran Church, showed the work of students from our Chilean School of Jewelry graduating from the Yearly Plan under the tutoring of artist and instructor Alejandra Wolff; and the JoyaBrava Jewelers Association presented JoyEROS for the first time in our country at the Ascensor Gervasoni Gallery. The last exhibits to open were the work of students from the 8

Kweitel-Kohon chair from UBA (University of Buenos Aires, Argentina), mounted at the Parque Cultural, and the main EN CONSTRUCCIÓN exhibit showing work of the guest instructors. This week so full of activities could only end with a deep reflection on what took place, a summary of what was lived, of the responsibilities and regards we face: a final and intense day of conferences open to the public. It is impossible to summarize everything that organizing and participating in this Symposium has meant; a sum of Latin American energy that creates ties and that leads us to think there is something very good going on and that we are responsible for its ongoing growth. Pamela de la Fuente Head of Pamela de la Fuente School of Jewelry Bachelor of Arts, with a specialization in goldsmithing and Bachelor of Arts in Art Theory and History, University of Chile Diploma in Jewelry, National Autonomous University of Mexico (UNAM)





“The skin I inhabit” is a workshop that will use clothes for the construction of objects and to produce meanings related to the body, identity, memory, the passing of time and pain. The magic of these clothes lies in the fact that they host us, they host our sense of smell, our sweat; they are even shaped by the shapes of our bodies and the marks of our lives. Bodies come and go while the clothes that used to host these bodies survive. They circulate in second hand stores, charity markets and stores, or are handed down from father to son, from brother to sister, from sister to brother, from lover to lover, from friend to friend. Clothes have a capacity to assimilate and differentiate, to draw near and push away, to include and exclude. Clothes receive and provide a code for the marks of our individuality and identity. Through conceptual, symbolic and poetical analysis, each participant -by his or her personal and poetical experiences and the group experiences as a whole- will be encouraged to push the limits of the “clothes”

materials through the related processes of folding, kneading, cutting, tearing, disassembling, shattering, destroying, sewing, embroidering, reconstructing, transforming and repairing. Material for the workshop: Used clothes, thread, needles, scissors, cutters, paper, color pencils and glue. Used clothes will be the main material for the workshop, both to produce objects and as material to produce ideas and meaning. Clothes should be chosen on the basis of personal reasons; the number of items (type, color and material) is personal and optional. Each participant can bring other materials of personal significance (i.e. photos, texts, newspaper or magazine clippings, pages from books...). Paper sheets, either big or small, depending on the needs of each participant. The workshop will explore each person’s personal universe; therefore, all materials must refer to their own universe.


To be without being. To say without stating. To walk someone else’s walk in loneliness. Celio, almost his soul. Celio, a halo of his. surprises you, meets you, covers you. To dismember. To tear or to change into someone else’s skin in order to, find your own skin, your own smell, your own sweat. A line of snippets of the past, an itinerary around your own outline.,I dive into it, I hug my own line in order to get out. And I do get out. Getting out of jail. Of the gaze Alejandra Agusti of the other. So as to, from now on, be the custody of my own gaze.



y experience in Chile was extremely rewarding, exciting and enriching. First I feel very fortunate to have met Gemma, Lisa, Manuel, Francisca, Pamela, Marian and Andrés. From my personal point of view the organization of the symposium was perfect, I couldn't think of anything done in a different way. As I arrived in Santiago, Pamela and Andreas was waiting for me. On our way to the apartment I could gradually absorb the city of Santiago. As we arrived in the apartment Fran, Marian and Gemma were waiting for me, such a warm welcome. On my first night in Valparaiso, on16th floor of a building in downtown Santiago I felt blessed, tasting a delicious Sushi meal (that Fran left for me) and admiring the illuminated city and the impressive mountains that surrounds Santiago. The next day, Sunday, we had a wonderful lunch at the Mercado Municipal of Santiago. The meal was delicious and the atmosphere of joy and relaxation of the Chilean people made a great impression on me. On Monday morning on our way to Valparaiso, absorbing for the first time the landscape that links Santiago to Valparaiso, enjoying the warm and bright sun, the blue clouds and the countless full blown trees, covered in white flowers, I felt happy and at easy...and not to forget my first and very interesting first conversation with Manuel. Arriving in Valparaiso I felt completely bewitched by the beauty of the city, by the streets going up and down, the colorful houses, shops and restaurants, the friendly dogs walking freely everywhere and the lovely cats walking and resting on the rooftops of the houses. We spend owrs days at the Posada Camila 109 and everyday it was a pleasure to wake up and stare at the most beautiful view of Valparaiso and enjoy the wonderful breakfast prepared by Erika. Tuesday was our first working day and the start of the workshops. In my workshop 'The Skin I Live In' I had a group of 14 participants and they were all extremely dedicated, curious, talented, sensitive and eager to learn and exchange experiences. We started working with personal textiles and from the power of those materials we started weaving ideas, 16

deconstructing and making objects, stitching and starting conversation and reections on the responsibility of putting new objects in the world, on the need to create meaning through the understanding of the nature of each material, in our case; personal textiles. The result of those 4 days of working together were amazing and I feel very proud to have shared those days with such a sensitive and committed group of students. From the whole experience I have learned a lot and I hope I have left with them a little of what I know. I was truly inspired and impressed by everything and everyone and I hope to have inspired them in return. I left Chile with a warm heart, happy, with my mind full of ideas and with the willingness to share more, to learn more and to be more involved with creative people in the utopia of making this place, a better place. I only wish I had more time to have given more of myself. Hugs, CÊlio




Explore / Relocate our jewellery practice through the concepts of the Production, Value and Exchange system. When we do our job, we define ourselves and we position ourselves in society. We are immersed in situations and conditionings that can be activated as possibilities and constraints. We belong to the group, we choose to be active agents of it and our contribution transforms it. This simple and complex fact takes place even if we do not pay attention to it. The hybrid nature of jewellery as applied art, in the sense of being art to be worn, offers us a lot of room as creators and demands true responsibility. Perception of jewellery as an individual or isolated activity is loaded with new options when we perform it in the light of artistic practices such as the Situationist International, and other creative strategies of collaboration-shared authorship that critically revise the concepts of production, value and exchange systems. This is the proposal: To use intellectual stimulus, the quality of questioning (critical) texts and projects and our capacity to respond as a starting point to make/create/develop an intervention-a jewellery

presence in public space. To use this exercise as a catalyst, as yeast for a specific aspect of the very practice that each participant wants to question or attempt in a different way. The methodology is experimental (in the sense of experiment and experience) and seeks to encourage participants to use ideas, self-reflection, fantasy, curiosity and play as working tools. Over three days we will work on the public intervention/presence, which will be presented on the fourth day. This intervention can be expressed through the production of a piece, or through any other method of expression. Participants are encouraged to be open to work in groups and take risks.


“ A gaze, my own. We navigated down our own interior, and others’, we entered and exited constantly, trying to be present, listening so as to listen (to ourselves), to look so that we can then look (at ourselves). This whole process was happening simultaneously, an attention/ tension I could not always sustain. We got together to create meaning, to create discourses, by means of the simplicity/scarcity of materials, to give them new meanings and to relate them to our own views in regard to the diverse production carried out. We agreed and disagreed; we created empathy and at times dislike… We transformed the space of the workshop into a very intimate place where we laid out on the table all our truths, our lies, pains and joys. We kneaded each other for a few days. We laid many questions on the floor. What we do... how do we do it? Who looks at it? Who do we do it for? Why do we do it? And what is most important of what we do? We did not do jewelry... or maybe we did jewelry all the time… that was a permanent question… we did no produce from materiality, the materiality that is expected or demanded from a “piece”; we produced from the mind, from what cannot be touched nor seen, that was the road we had to travel individually and collectively. Collectively usually brings about conflict, which we were able to face, without perishing in the attempt… In this way I (we) walked along a thread that got thicker and thinner, which had knots that challenged me to undo them, to stop and think, to make decisions. How? Why? What for? And when? To untie or to continue tying… Jessica Morillo


Some reflections after attending the EN CONSTRUCCIÓN II symposium, in Valparaíso, Chile, September 1 – 5, 2015.


As usual, it is a fascinating challenge and a privilege to work with people you do not know and who come from very different places and circumstances, whatever the point of view.

I like the simultaneity of all four workshops with peculiar themes and methodologies. I like that we can only guess what the other groups are up to by means of informal conversations at the end of the day, or just glimpsing at an intervention in the shared spaces. And that during the course of the week, a feeling or a mood is created, and a set of collective work and exercises, without knowing everything about everybody, without being able to define it, because it is being created on the go. I like to think that for an individual, it is contagious and it is transmitted to the other participants, within the groups of each workshop, but also, in a more silent and subtle way, with all the participants, just for the mere fact of working like a community during the symposium. I believe it is a wise move and a virtue of this EN CONSTRUCCIÓN proposal, to strengthen the meetings, to produce interchange, dialogue and new connections, to generate a creative energy that permeates the entire group because of its porosity. Like the holistic proposal displayed in workshops, conferences and parallel exhibitions. I like it and I think it was very wise to engage and involve local agents to perform these activities.


The heterogeneous selection of artists that the workshops propose allows understanding the discipline of Jewelry in a broad sense and the specific proposals of these workshops offer supplementary interpretations that feedback each other. A very good exercise. A healthy occasion to understand the fluid nature of the discipline and to promote expansions, hybrids and bordering languages. 24



I am curious to know how the proposal of the symposium will evolve and continue after this second edition. I like to think of the possibility of contributing with differences, introducing variety and diversity in the most international scene from a project that has its own voice. I like to think about the possibility of a symposium that is thought, felt and proposed from Latin America that does not follow nor wants to follow its development through assimilating models from other European symposia.


As a personal experience, I have lived it as a great gift. The opportunity of meeting and working together with Celio, Lisa, Manuel, Francisca, Pamela and all the participants of the symposium has been and is a great joy. The energy and passion of the workshop participants were inspiring. Many thanks! And congratulations on the symposium’s excellent organization! Gemma Draper. September 2015





Is a 3 day workshop that questions the fundamental basis on which we understand contemporary jewellery. In doing so, it overturns and puts in perspective some basic principles, unveiling the common concepts and attitudes that support our status as contemporary jewellers, consciously refreshing our view of our media. It investigates Jewellery’s characteristic vocabulary and grammar, aiming at reviewing our position as artists, at obtaining new ease in self-expression and at bringing more clarity to the conceptual approach. It presents an opportunity to question one's own responsibility in the making of work and what that means to the outside world, as such, there is no theme to focus on, rather, a personal and unique individual approach to the main idea of Jewellery. There is a one theory day where a discussion will address personal and general points of view on Jewellery and two days where practical work, exercises and collaboration between participants

blends into producing one final piece. A fun and dynamic workshop where the most serious subjects are always treated with simplicity and humour.



2012, in the beginning of the year, I heard about the event. Too late to apply for a workshop, I decided to go anyway. The idea was to squeeze in a workshop hoping someone would drop it in the last moment. Nop, everybody was there, waiting to have the experience of sharing and learning from Ruudt Peters, Estela Saez, Jorge Manilla and Nelli Tanner. At this point, I have been in contact with jewellery since 2002, but very far from experiences beyond rings, earrings and so on and so forth. At this point, I have never heard about Ruudt, Manilla, and their work relating the body to the world through art jewellery. I was longing through the streets of BA waiting for the day the artists speeches I will take place, since my attempt to attend a workshop was not successful. The artist's experiences shared at the speeches changed forever the way I relate to my work, to other people's work, to art. 2015, the new simposio edition, would take place in Valparaíso, Chile. The subjects of the workshops were not very appealing to me in the first place. And the price was high, considering the “cambio”. Nevertheless I decided to attend Manuel Vilhena’s workshop, having heard he was a very good teacher, etc.. And I was very excited to see you again, dear Francisca, who had provided me a new way to see jewellery and my work since EN CONSTRUCCIÓN 2012, organized by you and Pamela. Getting there, the first contact to the simposio crowd was at the exhibition of the Mexican crowd, in a pub. It was very strong to see the people getting together as a one group seeking in the same direction. And this feeling of unity, empathy, brotherhood, if you want, was experienced through the forthcoming days. The workshop with Manuel turns out to be important for me as an jeweller and as a person, and as an artist that cares about the other. The side exhibitions of the many groups who exposed their works were rich, mature and had its own personalities and 32


strength. The sharing and the warm and enchanted reaction among the colleagues was a present for us all. For me, the strongest sensation about the simposio was this sense of proximity, respect, wish to connect, to share, not in a naïve way, but in a mature and prolific way. It was very intense in this sense, and I would guess it has its own colours, comparing to what happens in other parts of the world. I think a serious, strong and luminous movement is emerging from en construccion that concerns the work and the artists in latin america. I don’t know in which direction it will head exactly but in a relevant way , the road is being paved. About Manuel's workshop: I chose Manuel's workshop mainly for the proposal of questioning about contemporary jewellery. It is even embarassing to keep on trying to define this subject these days but this call instigated me to, who knows, get some things sorted out, eventually. Manuel was dedicated to be clear and simple in a very generous way. It was a pleasure to follow his series of thoughts and conclusions about the jewellery matter in the first day. The exercise proposed by him in the second day was very personal, and one had to use sensibility, intuition, and empathy towards the others. Despite the fact he was very straight forward and helped us a lot to focus in the aspect we chose to explore, I, personally had some difficulty in naming my aim. Nevertheless, we were all involved in the process and in pursuing a relevant result. The class was divided in doubles. Each one of us was constructing a piece that once used by the double, would promote a clear, stunning effect, changing one chosen user's characteristic to its opposite or enhance it. The results were indeed stunning! The way the various materials were explored towards the expression of an idea were in general very mature, creative as well as successful. And the changes were undoubtedly conspicuous! I think to whole process was very direct, simple, and nevertheless, very Thais Costa deep, intelligent and sensitive. Obrigada, querido Manuel!





Happy Birthday Symposium EN CONSTRUCCIÓN. The second time is a special time. To start with, there is the first occasion - it is the easiest one because there is an idea, the enthusiasm and the thrill of discovery. The second, however, is, I think, rather more difficult. It needs perseverance and the will to continue something that will last for a long time - already knowing the joys and troubles it brings. So, congratulations on your second birthday! May many more follow. Setting up a Symposium is no easy matter, it involves complex logistics with participants, with teachers and artists, with chefs, travel agents, cleaning personnel, venue hosts, security guards, the lot. In today's world, where things change rapidly, it becomes harder and harder to manage times and tides and to keep more than seventy people together and happy for almost a week. Francisca Kweitel and Pamela de la Fuente managed, or should I say, “magicallied”, to set up a fabulous Jewellery experience for all of us. This symposium proposed not only the opportunity to work together, but also to be together, and that is something that crowns the experience with precious feelings. Precious stones set in the jewel that is the Symposium EN CONSTRUCCIÓN. I had the chance to meet three artists whom I knew by name and work, but had never met personally. To work besides Lisa, Gemma and Célio opened up for me many intellectual resources and stirred emotions that were hidden away in some recess of the heart and that came up by this meeting in a setting of intimacy and respect. Working as a Jewellery artist is often times a solitary enterprise and to be able to share ideas, experience and stories is indeed a treasure. And so it was to have worked with a fantastic group of twelve high-octane-grade people, which were so eager to 36


explore, that basically had me pinned down to the ground and for a while made me forget my home and my family - as they became it. I was completely immersed with the participants on a journey of personal discovery. For what is our work but that, in the end? Sure enough, on the way, some pieces -and some beautiful ones- were made, but the important thing is, I believe, to realize the strength and the impact that one's work will have in the environment outside ourselves, outside of our studios, into the real world. As the days rolled by, and the Chilean atmosphere began to seep in and bring with it a sense of belonging, we were no longer tourists, but born-and-raised Valparaíseans, walking the hills, dodging the friendly dogs, talking to people on the streets, bargaining cab fares and checking the best places for the famed Empanadas. I smile at the possibility that maybe the people of this colourful town started to notice and feel the energy and enthusiasm that was being created at the old prison building in the only flat part of town. The symposium was a mixture of four teaching workshops, exhibition openings, lectures, shared meals and shared time together. It was flawlessly orchestrated and the motors behind the whole experience deserve our sincere accolades. It is the driving genius and force of Francisca and Pamela that turned this idea into reality, and the results, together with the work of the participants, are nothing short of spectacular for the development of the Contemporary Jewellery field in South America. A movement which will create a presence and remind the over-intellectualised-western-thinking-art-world that emotion is still the driving force of all we do. And amidst tears of joy and tears of rage, of holding tools and holding hands, of kisses and goodbyes, of discovery and introspection, of fear and courage, I believe we all came home a little bit more ourselves. I did. Manuel Vilhena.





The workshop will be an investigation into the materials we have in our environment, and the potential these materials have to be made into jewellery. This workshop addresses our intrinsic nature to “make”. We will be researching and investigating the history, associations and aesthetics of these collected materials, and experimenting with a large array of techniques and possibilities to enable expression of this research. We will be challenging the idea of “concept”, what this means and how we choose to work. We will meet regularly individually and in groups to discuss progress. At least 3-4 weeks before the workshop the participants will need to start collecting materials. They may find them on the street, in the rubbish bin, at the pub, at their jobs, they might buy some things from their favourite shops, for students there might be materials around their art school, or they may already have a collection at home. It´s very important that each person collect a good large pile from by the time they start the workshop - the materials they

collect will be the basis of what they do in the workshop. I would hope they get obsessed with collecting, and that some great, interesting things turn up. Collect stuff you hate and you like. Don´t think about jewellery, just collect and obsess!


As participants in Lisa’s workshop, we collected materials over a month before coming to Valpo. “Without thinking about jewelry” was the instruction. First day, bags and bags full of… everything! And nothing at the same time. After necessary introductions we immediately went to work. Tables covered with all the treasures, each one of us with our own. It was as if the planet had exploded and parts of “almost everything” had fallen into our workspaces. It was paradise. The instructions were “get on with it” and “make many pieces, without thinking”. “No WHY”. “Hands are very smart”. Lisa’s constant feedback was “keep going”. Except for some moments and exceptions, this was the first time we were not suffering at a workshop. Working and working the magic would happen. And it did. The third day we split into 2 groups (by strict raffle) and for the whole morning we worked in the patio, over a large worktable. We observed and commented on our progress. Our views not always coincided thus making the Paula Zuker experience even more enriching.

There are objects that haunt us… Among an infinite amount of options, we select, albeit not so freely. Thus, on the table we suddenly find symbols that some way live within us. A special little stone, pipe cleaners, remnants of something, a dead butterfly, a range of pink colors, soft textures… By joining objects together meaning starts to emerge, as if by putting them together they shimmered. Constructing this way things start to touch each other within us, bells ring, something lets go, something becomes tense, memories and people surface… In other words, an internal hand moves the external one to generate living objects. Ana Hirsch Classes with Lisa Walker were very special; she is special, with her long history of making magic.



very millimetre in Valparaiso was a wonder - beautiful, old, grotty, colourful, full of character, a huge presence and atmosphere, this small city where the symposium was held. The Valparaiso cultural centre with its intriguing prison history, was beautiful, almost like a spaceship planted in the middle of poverty and dilapidated but beautiful houses. I meet my “students” who I see immediately are all of different ages and experience, come from all over south america, who are brimming and wonderfully chomping with energy and expectation. We slowly get to know each other, I’m thankful we have quite a few days to allow our relationship to gradually build. Everyone interprets my brief completely differently, some fly straight away and just make and make, letting their instinct take over. Others fight and struggle, and some then eventually fly too. It is remarkable to experience this, to see the struggle, and then a loosening, to watch everyone’s voices show themselves. We all eat together some evenings at beautiful old traditional restaurants, visit openings of each other's work, celebrate this jewellery connection we all have. I adore getting to know Celio, Gemma, Manuel and of course Fran and Pamela. Pamela and me can’t speak to each other as we don’t share a language but I have a strong feeling we’d get on very well if we did. And an incredible moment at the end where the students all hug me and each other as a thank you for the workshop. Well I truly hug you all back as a thank you for your enthusiasm, passion, commitment and dedication to this jewellery life we’ve chosen! It has been an honour watching and experiencing this week with you all! Bye then, Lisa


PARTICIPANTES “THE SKIN I INHABIT” CéLIO BRAGA | Alejandra Agusti, Gabriela Nirino, Isabel Trujillo, Maria Eugenia Guevara, Maria Ines Reynoso, Maria Teresa Belloni, Rafael Alvarez, Sergio Fernandez, Yolanda Sucre, Rita Soto, Natalia Ramirez, Alejandra Wolff, Francisca Kweitel. “TRUST ME” GEMMA DRAPER | Adriana Montorzi, Alejandra Fredes, Alicia Mazzolo, Ana Weisz, Carolina Bernachea, Marcela Pascual, Miriam Korolkovas, Pía Walker, Vicky Biagiola, Andrea Gallardo, Jessica Morillo, Paulina Catalán, Gabriela Ravelo, Bernarda Guillén, Pamela de la Fuente. “AND NOW WHAT?” MANUEL VILHENA | Ana Cristina Berrio, Graciela Di Mónaco, Liliana Horrisberger, Lucia Mishquila Brichta, Micaela Mornaghi, Nora Capitman, Sandra Tamborini, Thais Costa, Laura Rodriguez, Paulina Diaz, Carla Perez de Arce, CasaKiro. “WORKSHOP” LISA WALKER | Ana Hirsch, Laura Leyt, Lucinda Walmsley, María Eugenia Muñoz, Massiel Muñoz, Mayte Amezcua, Mercedes Castro Corbat, Miriam Pappalardo, Paola Raggo, Paula Zuker, Renata Meirelles, Silvia Beildeck, Udi Lagallina, Marcos Honorato.




WHAT IS CONSTRUCTED: CONVERSATIONS IN CONTEMPORARY JEWELRY Within the framework of the 2nd Symposium on contemporary jewelry held this year between August 31st and September 5th, a large conference was held with the participation of the guest artists who contributed as workshop professors. The same day their work was shown in the exhibit EN CONSTRUCCIĂ“N II, Lisa Walker, Gemma Draper, Celio Braga and Manuel Vilhena presented, with different performances, the frame of their work and their take on contemporary jewelry practices, inscription and themes.

Lisa Walker, a New Zealand artist, went over the main themes she has developed over the years, focusing on identity and the tradition of jewelry. From materials to portability and ergonometry, Lisa Walker has burst into the model New Zealand jewelry has installed as national characteristic. Her use of natural materials is probed under the attention of the industrialized day-today, focusing on what is not seen, which is in turn revealed under a new perspective in the appropriation of decontextualization. Her work, just like a readymade, meddles into gender and trade stereotypes. The latter focuses more on results than on processes and on concepts pertaining to luxury and design. Her being a foreigner marks a large part of Walker’s work. Considered portable sculptures, these objects bring to the forefront the mechanism of their construction or their origin, breaking away from the

trade-union hierarchy of craftsmen and the secrets of their alchemy. The day-to-day experience becomes visible as they appeal to senses and meanings of the present. In this way, notions of traditional jewelry and of the field of inscription in fashion and luxury are questioned. Celio Braga, starting from a seemingly random relationship between text and image, trade and discourse, positions his work in the relations between body and existence, body and memory, body and violence; danger and fear zones. However, these topics do not have an illustrative visibility; the body is recalled under organic forms made of remains or residues of fabric, hair and wax. These organs, as he calls them, highlight the unmentionable aspects of the real experience of an unmentionable body.

Braga’s objects made of remnants, residue and ruins evoke the inevitable marks of time, pain, disease and death in their creases. Braga reveals the futility and absurdity of existence, as well as the fragility of the body that “doctrines” of modern knowledge attempt to standardize under categories of gender and health. Walker’s suggestion of oddness as nonconformity with the exotic local and a fixed identity of New Zealand national tradition is transmuted by Braga into objects whose excess is repeatedly contracted in the formal condensation of seemingly bodiless organs. In this way, bodily categories defining men and women, and the practices and functions that separate art and design are suspended. Embroidering, sewing, folding, covering are metaphorical acts referring to the brevity of the present and to ephemeral ties.

Gemma Draper, in her conference “Solid Questions vs. Ambivalent Fictions”, suggests questioning jewelry from its place of inscription as well as from the practices of crafting objects and their uses. What to do and how to do it when lacking the necessary physical space to develop a workshop? These are questions that, from the experience of moving, enable crossing the limits of practicing a trade. The notion of territory is questioned. Managing what can or cannot be done forces one to trace an itinerary without a map, acknowledgement without direction. From the margins, this experience enabled a critical position regarding institutions. Language, education, urbanism and urbanity become part of questioning the practice of one’s trade, while at the same time an excuse for confrontation and encounter with others. If jewelry is a workshop trade that

revolves around the bodies that wear it, then relations between object and body can extend in movements when the body is understood not only as medium, but also as an essential element in meaning construction. What is jewelry if not a space for people; what is luxury when precariousness occupies the place of excess. Which body uses it, or which body resignifies the object while using it, what uses do other bodies construct. Her experience enabled her to relate the discipline to dance, drawing, photographs and even her own itineraries and discoveries through the city, installing questions and generating work that refers to jewelry without jewels. Manuel Vilhena, through a performance-like presentation, went over the symbolic origin of objects

currently considered the paradigm of jewelry design and market. After referring to his education, Vilhena suggested considering jewelry as a scenario for encounters, communication and desire. His formal quest leads him to experiment with “stagings” that pursue a relationship with the other. If jewelry has become a place for desire, then it must be accessible to all, Vilhena states. In this way, the creative exercise seeks exchange and encounter between the object and the sensitivity of a subject, questioned by what this object hides in its shape and material, but that is revealed precisely when this mediation is produced. Vilhena’s reflections addressed reclaiming a practice that currently demands a context within art. Contemporary jewelry has installed a new space for its exhibition and circulation. The window display has

moved to the gallery and jewelry objects have turned into close relatives of artistic objects. Jewelry objects establish a direct contact with the people who wear them, dress and invest with them, mask and reveal, protect and expose them. Only Vilhena directly addressed the relationship with the market. Jokingly, but very seriously, his work considers, at least in its ways of formal serialization, what the fashion industry underlines in its processes of widespread growth. His presentation highlighted the experimentation underlying all research and design work that constantly appeals to our contemporary relationship with objects. If I had to summarize and establish a common thread among each project’s different specificities, I would venture to point out that it is a question: What is jewelry and which are its displacements today? How

can a contemporary project be elaborated without eluding relations with the present and the context under which these experimentations are inscribed? What new relationships can we create with these new objects that escape their direct portability but do not elude today’s bodies? What is contemporary jewelry and what space is it assigned in the margins of design, fashion, market, art and culture? In addition, what should be taught today in schools of design or in jewelry workshops, and what does this mean? To which community of creators do we belong and in what space within cultural critique are we

inscribed? What must contemporary jewelry represent, say, show, think, practice, design, construct, elaborate? From the different perspectives, I take away the act of doing, an exercise and work that is nourished by life, by the experience of the present, in the present and for the present. Alejandra Wolff




To live in Mexico City implies a lot of things. Some have to do with being used to the unexpected. We are part of a community where the surprise constantly happens, becoming part of our identity. For better or for worse everything works miraculously, while at the same time nothing works. The capital serves as the center for the economic and cultural activities of the country, receiving thousands of Mexicans who migrate in search of opportunities not found in rural areas. This is how surprisingly creativity emerges, creating unexpected trade options, broadening the spectrum of the informal economy, generating small and random ways to solve problems, inventing tools and using certain materials in an improvised and genius way. A constant redefinition of objects and their function is generated. These objects are full with new meanings and

forces us to look at them in a new way. What this exhibition intends to address is the surprise, the wit, the comic and the tragic that appears unexpectedly in our city and shows us that nothing is what it appears. Through contemporary jewelry, we want to explore the possible outcomes arising from all this chaos and wit that our metropolis posses. Participants: Mayte Amezcua, Elvira Bessudo, Raquel Bessudo, Sandra Bostock, Lorena Lazard, Carol Neumann, Jackie Roffe, Laura Elena Sánchez, Martacarmela Sotelo Management: Mayte Amezcua Place: Cervecería Altamira, August 31st, 7pm.


I I am always astonished by the unusual places in which you can find beauty. That moment when a lonely ray of sun shines upon an abandoned string showing its exact overwhelming way of being fully what it is. The marvel of day-to-day occurrence takes us aback. Somewhat exaggerated perhaps, if you have never felt touched by a piece of junk you came across by chance, the yellow symmetry of a halved lemon, the music that comes and fades from a window while you are walking down the street and gives you a feeling of an nameless memory. Beauty is no minor issue, whatever it means to each one of us. To me, a place of protection: a shelter for the soul. Finding beauty in daily events protects us from helplessness. Mayte, Elvira, Raquel, Sandra, Lorena, Carol, Jackie, Laura and Martacarmela not only find it in the overflowing life of the city of Mexico, they create and recreate it in pieces that talk about color, humor, drama and movement. Choosing to believe in the value inherent in everyday life is choosing to create little universes of wonder in day-toGabriela Nirino day experiences. And here come the Mexican jewelers to share theirs.


“RE.TRATO” This is the first Art Jewelry Project of the Broca Group. Ranging from individual to collective means of expression, it elected the sensorial memory of the human body as its leading thread. Based on reflection and experimentation, each participant focused on a part of the body, both as a project and as a personal process: tonsils; membranes; eye; dyslexia; uterus; hair; chest cavity; aura; navel; skin; cells; and, gesture. These starting points transformed, and brought life to, a new body.

Miriam Andraus Pappalardo, Nicole Uurbanus, Renata Meirelles, Renata Porto, Samantha Ortiz, Silvia Beildeck and Thais Costa. The Broca Group came together in 2012 with the purpose of exploring new expres-sions of contemporary jewelry. It is comprised of 12 artists who live and work in Brazil and carry out periodic group meetings where studies, critical analyses, and practical research embody the dynam-ics of the work process. Managment: Grupo Broca Place: Galería Casa E, September 1st, 6.30pm .

Participants: Clau Senna, Kika Rufino, Maria Alves de Lima, Marina Sheetikoff, Miriam Mirna Korolkovas,


COHESION, COMMITMENT, PROFOUNDNESS, three words with which I could define the mark left by RETRATO, by the Brazilian group that since 2012 works seeking to break through limits and new languages in the field of jewelry. Outside there was a blackboard with the name of the group BROCA and of the exhibit RE-TRATO written in white chalk, and I wondered about the word games, re-trato as the act of doing a portrait, recording, trying again… who knows, everything at the same time. The sound of the wooden floor and the scent of paper in the bookshop were the entrance hall of a pure and white space where the objects seemed to emerge, lying on the floor or on the walls, or suspended from some higher universe, an installation with impeccable mounting criteria. Each artist stood by her work, donating herself, open to exchange. With very different ways of looking, the exhibit links together the observation of experiences of personal sensory memories of the human body. Through one specific choice each proposal delved into a part of the body: eyes, tonsils, cells, navel, aura, gestures, skin, bleeding, cocoons, dyslexia, time, hot flashes were able to give life to a transformed body, a new body. I believe that RE-TRATO was able to explore the perception of the perception of the perception and so on, combining the possibility of immersing ourselves in an increasingly concentrated, profound and at the same time vast and infinite universe. The drill bit (broca) is a metallic cutting piece that creates holes in various materials. Its function is to drill a hole or cylindrical opening. The drill bit looses its sharpness over time with use, needing re-sharpening. The BROCA group shows that it is willing to drill deeply into the language of jewelry and allow itself to be drilled in each one of its members. They were able to make their individualities stronger and with them build a broader, more solid and Sandra Tamborini growing structure.


“SAMPLE” Subgroup of cases of a statistical argentine population. Representative samples are taken to allow the inference of properties of the total population. Sample size should be sufficient to allow the projection of result to the total population with a relatively high degree of accuracy. This “sample” shows the diversity of languages that coexist in contemporary jewelry in Argentina and the broad and endless possibilities that expand from this group. The array of materials, colors, scales and concepts are part of the exploration that this discipline, that mingles with the arts, the crafts, the design, shows in relationship with the body. “A wide territory awakens a dim image in a sensitive body. The body then grabs the substance from the territory: shapes it. Transformed into a maker, the body translates that what it senses. In each work the trace of

a boundless and vast universe where heaven and earth converge. All that we love, all that we fear, the whole mystery of beings and things.” Vera Somlo Participantes: Alejandra Agusti, Alejandra Fredes, Alicia Mazzolo, Ana Hirsch, Ana Weisz, Carolina Bernachea, Gabriela Nirino, Graciela Di Mónaco , Jessica Morillo/ansiosa Hormona, Laura Leyt, Lucía Mishquila Brichta, Luz Arias, Marcela Pascual, Mercedes Castro Corbat, Micaela Mornaghi, Rafael Alvarez, Sandra Tamborini, Vicki Biagiola. Management: Lucía Mishquila Brichta y Francisca Kweitel Place: Mercado Moderno. September 1st, 8pm.


EXPERIMENTAL DIVERSITY “MUESTRA: subconjunto de casos de una población estadística argentina.” In the core of the nonchalant charming elegance of Cerro Alegre, at “Mercado Moderno”, Calle Lautaro Rosas in Valparaiso, took place the opening of the Argentine exhibition, just after the first day of the symposium “EN CONSTRUCCIÓN II” workshops, on September 1st, 2015. A gathering of 18 artists that apart from the common nation of origin share the quest and obstinacy of inquiring body and material. Curated by Lucia Mishquila Brichta and Francisca Kweitel, the exhibition in a clear, simple and objective way reveals skills as technical as investigative. Impersonal and inanimate identical white floating bodies forward the oneness and communion of the show, allowing each piece to be responsible for the agency of its neutral support, reinforcing the power of the whole. Elegant humor, fiction and narratives. Delicate traces in contrast to density of matter. Textile archeology and the construction of spaces, volumes or passages shaped by different wefts. Whirling lines soaked in color and memory, inaccurate forms magnetically connected. Plastic botanical imaginary, mythological languages, cosmos and seduction. Geometric systems, reverse paths and inflections. Complex organisms or simple compositions,translucent ships inhabited by playful characters. Encapsulated beings, waiting veiled for revelation. The ritual and silent pleasure between time and matter. Structures as register of doing. Complexity of simultaneity. Transforming repetition processing others from the same. Altered matter, agglomerated matter, induced matter, matter essence. Daring weight, logic and the sensation of sight. Active questioning in which actions and forms Miriam Pappalardo become pieces of desire.


“RHIZOME AND FLUID OBJECTS” A rhizome is a growth diagram that produces sprouts that grow indefinitely and do not have a center that binds them together. Transformed into a model of knowing, the metaphor refers to the organization of elements and relationships that do not follow a traditional hierarchy where one part subordinates the other. From this perspective, every text and image finds in the other a possible relationship, whose scope can develop new sprouts, concepts and ideas. Through appealing to the form of designed objects and to the unfolding of ideas and practices that have resulted from the work of material and conceptual experimentation, we have appropriated this conceptual displacement, and thus show a feature pertaining to the current correspondence between art and design, between jewelry and contemporary art. This exhibit shows seven proposals approaching the same topic: What characterizes objects today and the relationships we have with them when their utility is mainly symbolic? Do the objects we wear speak about our subjective and cultural construction of the present?

These proposals contain notions such as vestige and expiration, tradition and experimentation, gender and power, violence and memory, suggesting not only a critical reflection of the practice of contemporary jewelry but also of the subjects that wear it. The fluidity of these objects is not exclusively in their shapes, unfolded modular and organically, but in the mandatory borrowing of the physical metaphor in relation to a sociocultural phenomenon. Today, in times of fluidity or gasification, structures, categories, identities and institutions seem to overflow to the point of extending limits to the brink of their disappearance. Alejandra Wolff Participants: Melaine Hernandez, Consuelo Naranjo, Carola Donoso, Carla Perez de Arce, Bernarda Guillén, Pamela Mijón, Diego Díaz. Management: Escuela de Joyería Pamela De La Fuente Place: Iglesia Luterana. September 2nd, 6.30pm.


Valparaiso is a surprising city, with its graffiti and the unexpected paths offered to discover it. The contemporary jewelry exhibitions of the EN CONSTRUCCION II Symposium were hosted in innovative and uncommon places: a brewery, a bookshop, a boutique and a Lutheran church. The students from Pamela de la Fuente’s school of jewelry presented their artistic proposal at this last space. I was thrilled to learn that the city of Santiago had a unique school of contemporary jewelry; this says a lot about Chile’s interest in disseminating this artistic task. The diversity of materials used by the students along with the conceptual proposal developed confirms the school’s creative commitment. Although metal is used, the combination of materials generates a step toward exploration and discovery in a form of contemporary expression. “Rhizomes and fluid objects” reflects the concern of every artist without considering if the piece is portable or not, beautiful or not. A feeling is expressed, a way of seeing life, a position that, in this case, took rhizomes as a base. I imagined the set of pieces made with lead, bronze, porcelain and copper put one on top of the others as piled up human beings, or nomads walking in groups: women, elderly, children and those who were coming on the road. The artistic concept is well grounded and the observer is aware that contemporary jewelry goes beyond attending an object exhibit; it is an experience that opens up to reflect upon a subject: introspection about the passing of time and how old age corrodes, how our body is able to become sick with our own thoughts, or materializing the word “anguish” in a Mayte Amezcua necklace, as well as showing the craft of embroidery in brooches with organic shapes.


“JOYEROS. EROTICISM, JEWELLERY, BODY” Jewellery and eroticism share a common ground : both involve the body . The dynamics of this exhibition was to bring together the power of creativity and eroticism that instead of “represent” the erotic, set participants and protagonists erotic objects in the field of creation. Therefore , it was not about to narrate the erotic through a shape/image ; Nor it was intended to enhance functional and ornamental appliances for excitation . No, the aesthetic - erotic objects of this proposal should be built as signals or signs that promised or announced pleasure from a personal perspective .

seeking to cause . No doubt, this exhibition expresses the wonderful variety of human experience in front of the inexhaustible announcement of eroticism made creation. Maria Carolina Pavez, Curator and Visual Artist. Participants: Paulina Amenabar, Viviana Arévalo, Soledad Ávila, Pamela De La Fuente, Mónica DíazPinto, Pascale Durandin, Loreto Fernández, Polin Fugón, Gabriela Harsanyi, Natalia Hernández, Caco Honorato, Paulina Latorre, Joyce Marin, Massiel Muñoz, Valeria Martìnez, Ana Nadjar, Liliana Ojeda, Ilonka Palocz, Mónica Pérez, Cecilia Roccatagliata, Vania Ruiz, Rita Soto Ventura, Yoya Zamora Paula Zuker, María Elena Zúñiga. Managment: JOYABRAVA Place: Galería Ascensor, September 2nd, 8pm.

This perspective of work opened jewellery beyond a selfreferential aesthetic reality (“beautiful” in itself), because it regarded the body not as mere support of the jewel but as a constituent part of the whole. It is from there that comes the initiative to do a simultaneous exhibition of jewellery and the photographic record on the body. Therefore, in preparing the project, the artists had to visualise a body and an area or route that were relevant to express the contents and sensations they were 76

Between September 1st and 5th the second symposium of contemporary jewelry UNDER CONSTRUCTION was held in Valparaiso, Chile. There was an explosion of jewelry in Valparaiso within the framework of the symposium. The exhibition JoyEros, recently been presented in Barcelona, was one of the high-quality exhibits opening every day, … This exhibit was visited not only by instructors and participants of the symposium, but also by people from the world of art and jewelry, in addition to students and young artists. JoyEros fostered our reflection upon the aesthetics of sexuality, the logic of desire and adornments for seduction… The audience could be seen having fun, curious, tense, reactions that develop from the artists’ proposal of confronting the participants to eroticism and sexuality through jewelry. After seeing this exhibit I have the feeling that as jewelers we are most likely the most privileged artists because, ultimately, our pieces are not exhibited in white galleries, but on the body’s sacred geometry, on the soft warmth of Sergio Fernández. skin that feels and desires…


“POP UP” A new exhibition space is open in order to show and sell pieces of contemporary Jewelry produced by fashion design students from the Kweitel- Kohon accessory design chair at the University of Buenos Aires. This “Pop up” shows the selection of the work of sixteen (carefully chosen) students on their last year of studies at the university. These pieces show the results of exercises done during an average period of two months each, meeting on a weekly basis in a “workshop” ironically deprived of any technical infrastructure except from empty and big tables. This space allows and creates the necessary conditions to become an incredibly active, energetic, bubbling enviroment where dialogue, confrontation,

research and debate take place in order to push the students to discover and construct their own and unique universes. Participants: Gisela Battista y María Burundarena, Lucia Chain, Madelaine Ekserciyan, Maia Llinares, Isabel Martinez de Hoz, Toia Poggi, Paula Bragazzi, Joy Colman, Belén Esquivel y Natalia Kesselman, Camila Fernandez Polo, María García Sacchet, Javier Huertas, Elisa Lutteral, Fernanda Ompre y Dolores Romang, Lis Quispealaya. Organizan: Mercedes Castro Corbat, Guigui Kohon y Francisca Kweitel. Place: September 5th, 2 to 3pm.



It did not even pop! It did not even pop, and it was over. That is how successful the Pop Up Shop presenting the work of several students from the Kweitel-Kohon chair, University of Buenos Aires was. In less than half an hour practically all the pieces exhibited had been sold, leaving several buyers dressed without dancing. Few of us were lucky enough to get something. They were all very interesting and heterogeneous pieces, both materially as well as aesthetically, with quite affordable prices. Even low, I should say. I do not know if it was the way they were displayed, or the effervescence of that evening when the Symposium was closing, but I think these were object- jewels that caused infatuation among those who chose them. As if each piece had been waiting to be adopted by the right person. As if they knew Vania Ruiz-Casa Kiro something about us from the moment they were created.



EN CONSTRUCCIÓN II Parque Cultural de Valparaíso. September 5th, 7 pm EN CONSTRUCCIÓN II “Let us not be afraid of a fragmented totality; let us fear a fragment that claims to be a totality. Unity is not a point of departure, it is a finishing point”. Felipe Noé

EN CONSTRUCCIÓN II It is not about dazzling sparkles, excessive objects or simply the admiration of what is tangible. It is that geological rupture that shakes and astonishes you, that gap that enables going into the world of the most petty minutiae, where pace slows down and one can see in detail the most mundane in what surrounds us. To search in what is incomplete, in the essence of things, in what the expansion of senses allows. They are made of materials that are found in their most primary state, discarded objects or they construct their own matter. Everything is transformed, everything starts over. They face the unknown without fearing what might come of it.

Something (that could be called soul) makes these pieces different from each other and all the possibilities… Celio Braga A reflection on the human condition and the fragility of the body in relation to time. Everything is crossed by the body, which accumulates experiences and sensations, knowledge and doubts, attempts and failures, pursuing how to speak without finding a voice, attempting to stop and not being able to. Moving through painting, drawing, sculpture, objects, videos and performances, seeking to speak without words.


Gemma Draper Memory that has evaporated from certain places, the memory of people and the things that inhabit them. Songs we learn from others, or the things they say to us and we are not able to understand until later on. The objects we exchange and the circuit through which they move, their value charging and discharging like batteries. The infinite number of ways to carry out a simple act. The lines that are useful for writing last names on documents. Words that are modified in their use so that the can name, with conviction, what matters to us.

birds flying, trains whistling by, a teardrop on a woman’s face or the dismal gray of a winter day. Chapters that gradually write up the history and interesting mathematical formulas that explain everything or nothing at all. Lisa Walker I research the differences between an acceptable notion of beauty or stereo-type, and something else I want people to be forced to work on new syllogisms, analogies and positions. I am continually pushing towards the extreme.
I use a large range of materials and techniques.
I make reactionary work, consciously active with influences from all walks of culture and life. The pieces are often laced with references to contemporary jewellery of the last forty years. I position my work around the history, future, and boundaries of jewellery. I make pieces for the future.

Manuel Vilhena Doing, without having answers for everything. Doing in its simplest form, constructing and transforming upon ideas that sprout from nothing or from everything, watching people on the streets,


After the conferences, which left an aftertaste of exquisite authenticity, the cold weather did not hinder our desire to visit the workshop instructors’ exhibit. The warm atmosphere, the strong feeling of connection and knowing that we were all part of a same group of travellers, fostered the encounter with each creator’s universe. The space, the lighting, the music and wine at the exhibit hall of the Parque Cultural de Valparaiso also contributed to our enjoyment of the show. These small soulful pieces spoke to us without words; the changes in posture necessary to appreciate the exhibition: crouching, ducking, bending down or raising one’s head, were strategies for expanding the senses and valuing the large capacity for transforming ideas and the way of understanding the world beyond one’s own rationality. The exchanges, the skin-deep sensitivity, the encouragement to continue working (keep going) without having answers for everything, were captivating. Flooded with (happy?) nostalgia, the travellers that had once arrived with bags full of curiosity and expectations, were now starting our unrelenting goodbyes, we embraced emotionally, and exchanged promises of meeting again soon with new and old friends. And we exited, with excess baggage of enthusiasm and motivations, of thousands of questions and want for more, more of sharing this journey with others, of an upcoming meeting. There is no doubt that Under Construction Symposium is a great route for moving freely through contemporary jewelry in Latin America, and the friendly portuñol was our passport. If the trip of life is only about being increasingly ourselves, this is the perfect opportunity for searching, finding and connecting with each other. Isabel Trujillo Thank you so much Francisca, Pamela and each one of you!


PANTALLA ABIERTA was conceived as an audiovisual documentation space,

Analía Sirabonian

Borax 08001

Demps + FB

Escuela de Joyería Pamela de la Fuente

Nelli Tanner


Poleta Rodete

where different approaches coexist showing worldwide contemporary jewellery.

Casa Kiro

Consuelo Naranjo

Francisca Kweitel

Katja Koeditz

“Sin Título”


Teresa Estapé





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

EN CONSTRUCCIÓN II Symposium Management and coordination from Argentina I Francisca Kweitel Management and coordination from Chile I Pamela de la Fuente I

This catalogue is the result of a week of activities and meetings around world´s contemporary jewellery, between August 31st and September 5th 2015, in Valparaíso, Chile.

Francisca Kweitel 94

En Construcción II. English  

contemporary jewellery symposium

En Construcción II. English  

contemporary jewellery symposium