´

porvocação…

2010-05-16T17:09:00.001+01:00

Moving Window from wwwPORVOCACAOcom on Vimeo.

lisa walker

2009-11-12T12:31:00.001Z

brooch, 2008
plastic, silver, lacquer

> lisa walker

introducing steinbeisser

2009-11-07T12:40:00.000Z

>steinbeisser

barocco : baroque pearl jewerly exhibition

2009-10-07T13:23:00.003+01:00

" barocco : baroque pearl jewerly exhibition"

>pe/ah
>felix lindner

zhuji exhibition
9.september.2009- 11.october,2009
east china international jewelry city, shanxiahu, zhuji city, shaoxing county, zhejing province,china

shanghai exhibition
12.october.2009-25.october.2009
global club mingshijie (shanghai fashion hub) no.1158 luochuan middle rd, shanghai, china

papaver argentum by ling cheung

2009-10-06T20:34:00.003+01:00

preview of 'papaver argentum': a pop-up show by lin cheung
in the windows of central jewellery ltd.
do come and join us on saturday 24th october between 11 am and 4 pm for a glass of wine.
all brooches will be for sale and profits go to the poppy appeal.

115 clerkenwell road
london
ec1r 5by
+44(0) 207 405 2789
>lin cheung
>papaver argentum

op vooraad

2009-09-07T21:09:00.001+01:00

invitation op vooraad during "inside design" and "dutch design double" in amsterdam
>op vooraad

joana rosa

2009-07-31T13:50:00.004+01:00

fotos por jabulani maseko
>joana rosa

Mia Maljojoki-Lollipops in the woods - Bites from everyday

2009-05-05T21:27:00.002+01:00

photo: mirei takeuchi

>mia maljojoki

gejaagd door de wind

2009-03-28T13:16:00.002Z

ted noten
earrings: new identifications 2008
14krt gold, produced by jeweller kaptijn, urk
>zuiderzee museum

jewellery compendium

2009-02-23T14:32:00.001Z

>darling publications

marc monzó - sun

2009-01-21T13:03:00.002Z

sun - 2008
gold

oona

sara borgegård`s opening at hnoss

2008-12-30T19:37:00.004Z

galleri hnoss and konstepidemin are proud to present the jewellery artist sara borgegård.

borgegård is inspired by artificial environments. structures that we today take for granted and view as completely natural, but that in fact are constructed and arranged by man.

borgegård’s jewellery contain influences of buildings and machinery. but it is not only the expression that reminds us of industrial structures. also most of the materials, such as industrial iron sheets and scrap wood allude to a manufacturing process and an expression that historically can be seen as opposites to traditional jewellery.

in spite of this, the decorative character of the pieces is emphasized by the use of colours. borgegård covers the straight constructions with glaring colours, making these shapes into her own visionary architecture.

opening

jan 10th 2009 at 12:00-16:00

the exhibition remains until feb.1st

> hnoss

tomás colaço

2008-12-18T19:12:00.005Z

goat indoors oil on canvas 160x110cm 2008

> tomás colaço

good by(e) nest by estela sàez vilanova opening photos

2008-11-18T16:21:00.002Z

opening on 15th of november at gallery louise smit in amsterdam. (prinsengracht 615)

>louise smit

tedwalk - françoise van den bosch award 2008

2008-11-12T23:12:00.005Z

necklace: tianjin 2006
red drill

on sunday november 23d, jewellery designer ted noten will be awarded with the
françoise van den bosch award 2008 at 15.00 hours

location: stedelijk museum ’s-hertogenbosch, magistratenlaan 100

special performance at 16.00 hrs

> stedelijk museum`s-hertogenbosch

> ted noten

> françoise van den bosch

how to look at pictures

2008-09-22T22:14:00.004+01:00

"Untitled", 2008. Oil and graphite on book page, 15,5 x 24 cm.
"Untitled", 2008. Oil and graphite on book page, 14,5 x 24 cm.

> jorge nesbitt

carsten nicolai_snow noise

2008-08-17T17:02:00.004+01:00

2002: acrylic tubes, polystyrene boxes with copper tubes, dry ice, lamp with magnifying glass, wall drawing, sound, random noise generators; dimension variable

»... to imagine an individual soul in each and any starlet of snow is utterly absurd, and therefore the shapes of snowflakes can by no means be deduced from the operation of a soul in the same way as in plants.« - Johannes Kepler, 1611.

On entering the laboratory-like space, visitors are invited to initiate the process of growing a snow crystal. Cooling units provide the opportunity to cool down specially prepared glass cylinders to a temperature of minus 25 degree Celsius. Only a few minutes after the glass has been placed into the cooling unit the formation of simple snow crystal structures can be observed. In the course of time, increasingly complex structures develop, none of which repeat. A systematic survey of the tremendous variety of snow crystals in the form of a diagram helps the visitor to identify individual crystal structures. Through a very subtle light and sound design snow noise is centring on micro- structures shifting the focus of our perception.

> carsten nicolai

musikverein´s acoustics

2008-07-18T21:18:00.003+01:00

erato, muse of lyric poetry and song

a golden sound in the golden hall

at the opening concert the audience was not only impressed by the architecture. they also found the acoustics of the großer musikvereinssaal to be a phenomenal achievement. this amazement has lasted until today. “if it was only a question of the großer musikvereinssaal it wouldn’t have been necessary to invent the microphone,” wrote hans weigel on the one hundredth anniversary of the building.

what is it that makes the music in the main concert hall sound so resonant? what is the secret of the golden sound in the golden hall? “this achievement,” wrote the viennese critic theodor helm as early as after the opening concert, “is partly a stroke of pure luck (unfortunately acoustics still cannot be precisely forecast or calculated), and on the other hand it is undeniably merited by the excellent architect hansen...”

helm’s statement was absolutely right. the excellent acoustic qualities of the main concert hall are not the result of strict trials – scientific studies of acoustics were only systematically carried out decades later.

the golden sound in the golden hall is, seen in this way, really “a stroke of luck”. on the other hand – and helm was right again here – the acoustic phenomenon is the direct result of the architectural masterpiece. if the rectangular form represents the best basic structure for the acoustics of a concert hall then the elements dividing the space – the partitioning of the ceiling, balconies, caryatids – provide for an ideal spread of sound waves.

other details contribute to the wonderful sound. a hollow space under the wooden floor creates a resonant background, in a similar way to a violin. the ceiling, which is made of wood and is not simply mounted but is hung from the rafters, also gives the sound in the hall an extra dimension. all these factors are still pondered over by experts.

the golden hall is still a mecca for acoustic scientists from all over the world. where can the magic interplay of sound and hall be better studied than in the großer musikvereinssaal?

+ musikverein

turtle-shell

2008-05-18T19:16:00.002+01:00

today's fashion magazines treat turtle-shell as if it was just another shade of plastic. yet genuine turtle-shell remains highly prized by those that really understand it.

turtle-shell is an ancestral material that has always stimulated man's imagination. In classical times virgil, ovid and juvenal described furniture encrusted with turtle-shell. in his satire, "the dialogue of the gods", lucien de samosate shows apollo telling vulcan how mercury invented a turtle-shell lyre.
many of the peoples in western polynesia used it to decorate themselves or objects that symbolised power. asia was also a big consumer of boxes and canes decorated with turtle-shell from china. many were preserved in the shoso-in treasure from the 8th century, in the nara period. canton later became the main centre of production.
in japan, the first turtle-shell workshop dates as far back as 16th century nagasaki.
from the remarkable cradle of henry iv, made from one complete shell, to the finest inlaid furniture of the 18th century and onwards to the combs, glasses and cigarette holders of the 19th and 20th centuries, it could be found everywhere in europe and asia. inlaid, joined or moulded for the pleasure of connoisseurs.
turtle-shell is a living, noble material that is both natural and sophisticated. it is rich in infinite reflections that range from dark brown to blonde, sometimes taking on honey tones that give it the transparency of glass.
the great portuguese navigators were the first to introduce turtle-shell into europe from the l6th century onwards. ferdinand cortez was one of the first to refer to it. the raw material that was being imported had to be reinvented and mastered by the craftsman of the day.
this took 30 to 50 years of research and practice to arrive at the perfect mastery of the 17th century, the period during which turtle-shell became highly sought after.
meanwhile, fashion in furniture was changing. around 1625, heavy dressers in solid oak began to be replaced by flamboyant lacquered cabinets that merchants brought back from the east indies. ebony and turtle-shell decoration was an exotic product highly sought-after by the nobility. the complex work of these new materials demanded totally new know-how.
in france, it would appear that marie de médicis was at the root of the taste for ebony furniture. the specialists in this craft took the name of ebénistes (cabinet makers) and were mentioned the first time in paris in 1638.
germany and england welcomed turtle-shell with the same enthusiasm. the france of louis xiv saw the golden age of turtle-shell in particular thanks to the cabinetmaker charles-andré Boulle (1642-1732). he developed and perfected en france the veneering of marquetery already used by the florentines since the start of the 16th century.
this technique resulted in some of the finest masterpieces of the art of furnishing that included consoles, desks and tables, hanging wall clocks, coffers and cabinets.
the discovery in the 19th century of the possibility of autografting enabled a higher volume of work, and considerably extended the applications. turtle-shell could now be welded, turned, sculpted, shaped and this enabled craftsmen to create work of lace-like dexterity.
the fashion for long hair was particularly suited to this new application of turtle-shell, leading to the creation of all sorts of accessories such as combs, hairpins and brushes that were very often produced in turtle-shell up until the 1960s.
before the war, rich spaniards came to paris to buy enormous combs (up to 60 cm) for their mantillas, sculpted and pierced like the finest jewellery. these objects were sold in shops called "articles de paris", at milliners and in some specialised boutiques.
the extreme lightness of turtle-shell makes it a favourite material for opticians. glass frames in turtle-shell weigh no more than 16 g, do not slide and are totally analergic. its anti-static properties enable the creation of combs that are still sought after by hairdressers.
the finest travel trunks, commissioned by prestigious clients, were produced either in ivory or turtle-shell and customised with the client's initials incrusted in gold in the turtle-shell. these exceptional orders, which required months of work, stopped at the outbreak of the 2nd world war.
turtle-shell craftsmen such as those at the maison bonnet, of which there were nearly 200 at the start of the 20th century, can now be counted on the fingers of one hand.

katrin korfmann

2008-05-18T17:22:00.003+01:00

_timed - still frame_

> katrin korfmann

leonor hipólito in "out of the shell"

2008-04-28T19:13:00.003+01:00

>leonor hipólito
> gallery loupe

brainfood _corpus

2008-04-28T18:34:00.003+01:00

>action:corpus 4.45min -06 _vidal hertov "click"
> hertov
> gustavsbergs konsthall

andra röster, andra rum

2008-04-28T18:10:00.005+01:00

>other voices, other rooms

> moderna museet

3anksy

2008-04-15T15:36:00.003+01:00

_cones sinking

>bansky

princess >andrea crews

2008-03-20T16:34:00.007Z

art_ performance_

+ princesse

not it! do it! pedras&pêssegos

2008-02-22T20:52:00.009Z

>photo (luís espinheira):
1 hugo madureira
2 miguel flor/nuno paiva
3 joão cruz

from 23.02 to 08.03.2008

+ pedras&pêssegos blog

where are you from? contemporary art from portugal

2008-01-30T16:57:00.000Z

andré cepeda
estrada nacional nº1, pombal
2005
digital print s/ alumínio (digital print on aluminum)
126x160cm

> faulconer gallery

chris gilmour

2008-01-22T15:59:00.001Z

fiat 500 cardboard and glue life size 2002-2004
>chris gilmour
>perugi

hard rock waltzer / scultura contemporanea austriaca

2008-01-16T17:06:00.000Z

leopold kessler

> villa manin

* happy holidays * guilhermina suggia *

2007-12-19T16:49:00.000Z

24/12/1903
guilhermina suggia e virgínia suggia
"desejamos felizes festas"
(cedido por professora elisa lamas)
> suggia weblog (pt)
> cello.org (en)
> wikipedia (en)

javier moreno frias "strength as demonstration of one’s identity"

2007-11-26T11:03:00.001Z

>para aumentar a imagem click to enlarge the picture

"mesh"
brooch, 2007
plastic, silver, paint, gold 14 kts.

"plex"
brooch, 2007
bone, bioresin, gold 14 kts.

"meadow"
brooch, 2007
pvc, aquaplast, silver, paint.

"furrow"
brooch, 2007
bakelite, plastic, aquaplast, glass, silver, paint.

a field lies fallow.
the earth rests, it has just one season to collect energy for the coming years of sowing and harvesting.

the alternation of exhaustion and recovery: for centuries a set routine helped people to cultivate their land. nowadays man has started to exploit his own body. with a comparable system of performance and relaxation taking turns, someone’s shape becomes a proof of willpower. achieving as distinction, muscles as adornment.

strength as demonstration of one’s identity. javier moreno frias develops jewellery in reaction to this phenomenon. In his pieces he employs the specific artificial materials used in sports equipment. instead of displaying an imposing physique, he proposes the use of his ornaments as a statement. in amazement he recalls nature’s autonomy:the gradual processes, traditional cycles and logical results. the haven of the fallow field.

ward schrijver
>galerie rob koudijs

life project - artur félix

2007-11-13T17:19:00.000Z

foto: artur félix [2007 ] 

a minha atenção centrou-se num só objecto, tornando-o mais real e absoluto, compensando tudo o resto que inevitavelmente deixei de fora. ao maníaco parece legítimo tudo sacrificar pelo objecto da sua atenção. tudo investe e irá até ás ultimas consequências. Esta obsessão é responsável pelas grandes ideias; quem se destaca numa determinada área, é maníaco. E é admirado. "life project" é o que sempre fiz, mas contextualizado noutro suporte.

[ projecto construído de acordo com as regras do "dogma 2005" ]

>life project journal
> rede cultural

shari pierce - cardboard democracy

2007-11-09T17:35:00.001Z

>cardboard, housepaint, metal chains
> jewelers werk

sebastian buescher - the pygmy retrospective

2007-11-03T17:24:00.000Z

“ […] the pygmy retrospective is a collection of my favourite pieces over the past three years. The work is taken from several collections and is meant to show my evolution, the introduction of new materials, processes and the development of my ideas. since I view my work as emotional, pieces are linked to specific times of my life, sometimes hard and sometimes joyful.”

> galeria alternatives

patrick mcmillan - james: jewellery and metal enquiry show

2007-10-27T18:48:00.000+01:00

> patrick mcmillan - cloning 2007
> birmingham city university

susan pietzsch exhibition　-everglaze

2007-10-27T09:36:00.000+01:00

> studio j

carla castiajo - auto-portrait

2007-10-18T14:04:00.001+01:00

>para aumentar click to enlarge

> galeria marzee, broche "auto-portrait", gold, hair

leonor hipólito - camouflage

2007-10-09T01:18:00.000+01:00

photos by arne kaiser

sara borgegård - marzee prize and international graduate show

2007-10-05T19:06:00.000+01:00

para aumentar click to enlarge
photos by johan söderling

> marzee
> on klimt02

miguel branco...

2007-10-04T20:00:00.000+01:00

para aumentar click to enlarge

karl fritsch‘s “metrosideros robusta” and “the baby brick”

2007-09-28T15:37:00.000+01:00

> sofie lachaert
from 30.09 till 21.10.2007

super - fotografia de fred j. gomes

2007-09-26T15:28:00.001+01:00

22h, 28.09 / 27.10.2007
> lab65

manuel caldeira - desenhos

2007-09-10T14:07:00.000+01:00

para aumentarr click to enlarge

> baginski

ruudt peters - sefiroth - galerie spektrum

2007-09-02T18:27:00.001+01:00

abbildung vorderseite: “manipura” brosche 2007, foto: rob versluys
para aumentar click to enlarge

die galerie spektrum zeigt:
ruudt peters
sefiroth
14. september bis 27. oktober 2007

> spektrum
> ruudt peters

pia aleborg - in the act

2007-08-28T14:09:00.001+01:00

para aumentar click to enlarge

> hnoss
jewellery art at hnoss gallery, konstepidemin, 413 14 göteborg opening, saturday september 1st 2007 at 12.00
the exhibition runs until september 23rd

animals - platina stockholm

2007-08-21T15:50:00.002+01:00

"when a human is called 'a dog', 'a horse', or 'a snake', we know what this means.

but what does it mean to a dog, a horse, or a snake to be called 'a human'?"

curator Mia Maljojoki

+ press release /platina

karin seufert - shopstop3

2007-08-21T10:00:00.000+01:00

necklace 1,5 x 2,6 m - para aumentar click to enlarge

die mobile galerie aurum setzt mit karin seufert,
berlin wieder schmuckakzente.
einladung zur vernissage am 29. august,
19 – 21 uhr

> aurum

pedro sequeira - drawings

2007-08-18T16:04:00.000+01:00

para aumentar click to enlarge

> pedro sequeira

aleksandra mir - mandalas

2007-08-13T02:21:00.000+01:00

+ mandalas
> aleksandra mir

uovo

2007-08-11T18:35:00.000+01:00

> uovo magazine

> preview

2007-08-07T00:58:00.000+01:00

alexandra rodrigues
rings
sidewalk stone/pedra da calçada

preview é uma antevisão do trabalho realizado por 3 recém-graduadas do curso de joalharia do ar.co e 1 do royal college of arts em londres. alexandra rodrigues, ana margarida carvalho e sónia graça terminaram o curso de joalharia do ar.co e margarida matos finalizou o mestrado em joalharia no r.c.a., com uma bolsa da fundação calouste gulbenkian, após ter em 2004 terminado também o curso de joalharia do ar.co.

inauguração/opening

15 . 09 . 2007 _17h

> galeria reverso

> jiro kamata - remembering tesa ring

2007-08-02T19:31:00.000+01:00

tesa ring
2000
tape, silver, 24k gold coat

updated web site > jiro kamata

> kontti - korutaidenäyttely

2007-08-01T12:46:00.000+01:00

kati nulpponen: "marlene"
necklace. 2007
photographer: kimmo heikkilä

finnish jewellery art association warmly invites you to attend "kontti -
contemporary jewellery" exhibition opening on sunday 5th august at 3 pm.

>korutaide yhdistys

curated by karen pontoppidan

melitina balabin, clarice finell, tuija hietanen, mari keto, helena lehtinen, sari liimatta, eija mustonen, kati nulpponen, maria nuutinen, kaisa nyberg, tiina rajakallio, anna rikkinen, janna syvänoja, nelli tanner, terhi tolvanen, tarja tuupanen

kontti- contemporary jewellery
simonkatu 2
00100 helsinki, finland

exhibition is open:
6th of august until 2nd of september.
monday-friday 12-18, saturday-sunday 12-18.

> petit cabanon - hosts architecture and visual culture

2007-07-25T16:20:00.000+01:00

> petit cabanon

> christian gozenbach - skins, a hunter’s collection

2007-07-17T18:16:00.001+01:00

peau de téléviseur blanc, skins, 2001
62 x 77 x 3 cm, objet réel aplati
centre d’art en l’ile, genève

+ skins, a hunter`s collection

> susan pietzsch - eine kette keine kette

2007-07-13T19:00:00.000+01:00

. .. -. . -.- . - - . -.- . .. -. . -.- . - - . . .. -. . -.- . - - .
+ oona

> pia aleborg - apartfrom

2007-07-13T17:57:00.000+01:00

+ apartfrom

> antonio riello`s jewel weaponry

2007-07-10T17:45:00.001+01:00

+ antonio riello

> ted noten _www.20ltd.com special series

2007-07-04T14:39:00.001+01:00

special edition of 6 bags, to be sold exclusively via www.20ltd.com

sales start very soon..

> ted noten

> kepa karmona

2007-07-04T13:55:00.001+01:00

batman & robin _2001
our culture populates its surroundings with wasted stocks that are drowning us. my pictorial language is one of popular stereotypes. like the world of marketing, more interested in container that in contents, it has an attraction and visual strength. the dayaks of borneo cover their bodies with tattoos representing plants, fruits and animals of the forest, which, with a deep mystical sense, help them to move and to hunt without breaking the original harmony between themselves and the jungle. equally my jewels try to create a system of signs that helps us, if not to find the harmony, at least to
survive in our displacements by the urban forest and to move between the culture of the consumption and the decrease of natural resources.

> kepa karmona

> maria nuutinen _olipa kerran

2007-06-30T17:25:00.000+01:00

para aumentar click to enlarge
opening /once upon time
tuesday, 3th of july, 2007 at 6 pm.
exhibition from 4th of july until 29th.
open hours: wed-fri 12-18, sat-sun 12-15

> galleria rantapaja at klimt 02
> amazing animal
+ maria nuutinen at klimt02
+ maria nuutinen

> the history "bling bling"

2007-06-30T15:01:00.000+01:00

+ absolut/bling

> fabergé meets bordallo – the obelisk collection and some other little silly things

2007-06-26T16:18:00.001+01:00

photo by c.b.aragão >para aumentar click to enlarge

> fabergé meets bordallo – the obelisk collection and some other little silly things

>2nd skin - cork jewellery symposium

2007-06-13T15:37:00.000+01:00

+ esad . 2nd skin

>golden clogs, dutch montains

2007-06-06T14:44:00.000+01:00

> exhibition velvet da vinci gallery
next
> ornamentum gallery

para aumentar click to enlarge
1 manon van kouswijk - necklace "heart beads"
2 gésine hackenberg - plate & necklace "my home is my castle"
3 katja prins - brooch from series "machines are us"
4 andrea wagner - brooch "sandbox sister"
5 constanze schreiber - pendants "memento mori IV"
6 ineke heerkens - brooch "stretching bud"
7 iris eichenberg - objects "hearts"
8 iris nieuwenburg - brooch "newly-weds"
jantje feischhut
stephanie jendis
francis willemstijn

>impressions on portuguese contemporary jewellery

2007-06-01T12:30:00.000+01:00

works: leonor hipólito e inês nunes; photos: c.b. aragão

impressions: or jewellery that transmits visions of a culture from a group of artists that works for the body poetically and functionally.
this exhibition attempts to show in an eclectic way what is currently being made in the field of jewellery in portugal. authors of three generations and coming from different backgrounds are presented under five thematic groups illustrated by five photographs: - listening, drawing, enhancing, trusting and remembering draw the eye and guide the mind of the viewer, offering an understanding of the pieces and how they may be used.
>participants:
>listening
i look carefully at the jewel, i listen aloud to its whisper.
>alexandra lisboa, ana albuquerque, ana cardim, cláudia cabral, hugo madureira, leonor hipólito e manuela de sousa
>drawing
i trace a contour, a line, a curve. i impress a jewel on your body.
>alexandra serpa pimentel, dulce ferraz, inês nunes, inês sobreira, liliana guerreiro, nininha guimarães dos santos e paula crespo
>enhancing
colours envelop my body. the jewel diverts and marks its sense.
>bagau, carla castiajo, catarina silva, martaeliseu, rita faustino, rita ruivo e valentim quaresma
>remembering
remembrance is made love by the jewel. I kept what you gave me.
>estefânia rodrigues de almeida, josé carlos marques, margarida matos, marília maria mira, natasha duncan, pedro sequeira, suzana rezende
>trusting
i believe in the jewel. it embodies faith, prayer, protection.
>ana henriques, diana silva, joão martins, manuel vilhena, miriam castro, teresa milheiro e tereza seabra
>2nd skin cork jewellery
>gisela ribeiro, josé carlos marques e vânia moreira
promoted by icep
curated by cristina filipe
16 june till 18 july 2007 at gallery landskron schneidzik, nuremberg, germany.

>contretype . pedro barateiro - andré cepeda - carla filipe - joão maria gusmão & pedro paiva - eduardo matos - manuel santos maia

2007-06-01T00:47:00.002+01:00

photos by lisa cepeda .
para aumentar click to enlarge

>tervetuloa espanjalaista korutaidetta

2007-05-30T15:48:00.001+01:00

brooch by marc monzó
spanish contemporary jewellery

pilar cotter nuñez, marc monzò, gemma draper, marcus teipel, thelma
aviani and estela sàez vilanova.

opening: tuesday, 5th of June, 2007 at 6pm.
until 1st of July. open hours: wed-fri 12-18, sat-sun 12-15.

galleria rantapaja
+galleria rantapaja at klimt02

>clip-Leonor Hipólito

2007-05-30T15:41:00.000+01:00

+ metal museum
+ delta axis power house

>lepidoptera domestica | manon van kouswijk

2007-05-29T18:52:00.001+01:00

para aumentar click to enlange
Manon van Kouswijk began Lepidoptera
Domestica in 2005. The work consists of a butterfly
collection and an artist’s book in which the collection
is depicted. A new series of jewellery designs ‘ Precious
Stones’ arose as a result of another collection.
Galerie Ra is presenting both projects at the new fair:
Object, in Las Palmas, Rotterdam.
A large number of domestic objects served as a starting point for the butterfly collection. Based on these objects, the book explores various aspects of collecting:
pleasure and obsession, uniformity and diversity,
grouping and arranging, flea market and Wunderkammer. The text is in English and the book costs € 25,
We sincerel y hope you visit Object, where at Stand 16
Manon van Kouswijk | Lepidoptera Domestica can be
seen along with a selection of jewellery from other artists
represented by Galerie Ra, including Christian Hoedl| C- Collection Printemps, Éte 07.
Following Object, Manon van Kouswijk | Lepidoptera
Domestica can be seen in Galerie Ra until 7 July 07.
Manon will be on hand to provide information about her
work during a celebratory reception on Sunday 17 June
from 15. 00 to18. 00. You are also cordially invited to attend.
Galerie Ra is closed during the Object fair and
for the summer period from 10 Jul y to 20 August 2007.
+galerie ra

karin seufert at galerie marzee

2007-05-29T16:56:00.000+01:00

para aumentar click to enlarge
Hello,
on sunday the third of june there will be an exhibition at Gallery Marzee.
If you have time, it would be very nice to see you there!
Warm regards, Karin
Hallo,
zondag de derde juni is er een tentoonstelling bij Galerie Marzee.
Het zal super zijn, als jullie kwamen!
Hartelijke groeten, Karin
Hallo,
kommenden Sonntag, den 3ten Juni ist eine Ausstellung bei Galerie Marzee.
Es wäre schön, wenn ihr kommen würdet!
Liebe Grüße, Karin
+ galerie marzee

ted noten op object rotterdam

2007-05-29T15:57:00.001+01:00

solo presentation hit-and-run by ted noten at art fair object rotterdam
6-10 juni 2007
gallery majke hüsstege (Stand 19)
address:
las palmas
wilhelminakade 66
3072 ar rotterdam
+tednoten
+majke husstege
+objectrotterdam

imperfection please

2007-05-29T15:51:00.001+01:00

+ galerie rob koudijs

CCBOMBARDA

2007-05-25T11:16:00.001+01:00

para aumentar !click! to enlarge on the image

teruo akatsu . illusion dust

2007-05-16T18:18:00.003+01:00

>necklace, 'Illusion dust', dust / silk thread

circles of gathered dust threaded onto a silk thread to form a short necklace

"I use fragments of roof tiles, which I cut up or carve. When worn on the body, the finished work appears to be an artificial form designed particularly for human use, and its functionality seems to be the main source of its beauty. However, it soon becomes clear how much of the work is the result of pure chance. It is not initially designed to ornament the body; its creation depends much more on the texture and shape of the material. With the paradoxical nature of my work, I hope to question the true meaning of jewellery.

I aim to transform 'negative' jewellery into positive existence by accumlating dust over it. The use of dust is suggestive of the passing and accumulation of time. I collect dust from everyday places and thread it on to stainless-steel wires or incorporate it into sheets of material. The colours and nature of the dust play on important part in my jewellery-making.

The general conception of jewellery is focused on the fact that it adorns the body. However, this kind of understanding limits appreciation of my kind of jewellery. If we look at jewellery in terms of the relationship between the body and its surroundings, then we begin to see how we relate ourselves to objects, other people and our whole environment. With this in mind, the characteristics- including the advantages and disadvantages- of the materials themselves add meanings to my work.'

"Collecting dust from a variety of domestic environments, (Akatsu) exploits its transient nature, supporting his fragile surfaces with stainless-steel cores. Gold moulds in the form of rings allow other fragments of dust to coalesce into a felted ring of near-impossible wearability. Exploring meanings attracted to and accrued by jewellery, he also excavates jewellery from fragments of traditional clay roof title, the structure of the tile defining by chance the final qualities of the neckpiece.'

by

power house museum

fist we quake now we shake

2007-05-05T18:00:00.000+01:00

The first globetrotters in jewellery (by Liesbeth den Besten)

Jewellery makers are globetrotters, restless nomads who may settle everywhere where they can find fellow craftsmen and women. The world is big, but the world of jewellery is small – its size related to the size of the contemporary author jewel itself.

However, this goes for the situation anno 2006. In 1993, the year of the first Jewelry Quake, the situation was quite different.(...)read +
+ klimt02

Chapéus . Fátima de Burnay

2007-04-21T13:56:00.000+01:00

fotografia: lisa cepeda

Nascida em Madrid, Fátima de Burnay começou a criar os seus chapéus e toucados únicos, coloridos e esculturais há sete anos. Inicialmente concebidos para si própria e para um círculo restrito de clientes, as suas colecções ganharam maior expressão quando expostas na loja de Helena Benaroch.
A partir de 2003, as criações de Fátima passaram a ter cenário próprio na loja Kala que abriu em Madrid com a sua prima Eugénia Silva, conhecida top model espanhola. É daí que os seus chapéus e toucados de festa partem para os mais diversos destinos no Mundo, nomeadamente para o Japão.
Para além da sua actividade comercial, Fátima cria ainda adereços para teatro e ópera. Participou também como artista convidada em duas sessões da exposição "Doméstico", iniciativa anual que promove artistas da cena alternativa espanhola.

Na Pedras & Pêssegos, Fátima apresenta a nova colecção composta por peças feitas em palha e adornada com flores, plumas e penas. texto: susana medina

+ Pedras e Pêssegos

colecção lola garrido

2007-04-19T16:51:00.000+01:00

Lola Garrido, crítica e pioneira do coleccionismo no seu país, é a actual directora artística da instituição e reuniu ao longo de vinte anos a colecção que agora apresenta. São 70 as imagens seleccionadas e abrangem quase todos os movimentos e estilos fotográficos desde o início do século XX até aos anos 90. É uma história da fotografia em imagens contada pelos grandes nomes da fotografia mundial como Edward Steichen, Dorothea Lange, Alexander Rodchenko, Robert Mapplethorpe, Man Ray, Lee Miller, Henri Cartier-Bresson, Robert Capa ou a recente galardoada com o Prémio Hasselblad, Nan Goldin. O título da exposição remete para o sujeito fotografado, revelado pelo fotógrafo e salvo do esquecimento pelo coleccionador. As imagens são de uma riqueza visual verdadeiramente impressionante e muitas delas fazem já parte do nosso imaginário colectivo.

Edição: Fundação Foto Colectania, 2006 (texto bilingue com tradução para português)
ISBN 84-611-3307-2
978-84-611-3307-9
D.L.: M-43679-2006

+ noticias cpf

skin case photos

2007-03-31T19:20:00.000+01:00

click to download

colman´s mustard

2007-03-22T11:32:00.000Z

Colman`s Mustard
Few brand names are so firmly linked to a product as the name “Colman’s” is to mustard. Colman’s history dates to 1814 when Jeremiah Colman first created this zesty blend of brown mustard (Brassica juncea) and white mustard (Sinapis alba) at a water mill in Stoke Holy Cross, England.
Colman’s Mustard, a uniquely prepared blend of mustard seed that produces a flavorful heat sensation, is widely recognized as THE English Mustard in the U.K. For nearly 200 years, this time-honored process delivers the finest quality mustards. Thus, the Colman’s Mustard legacy begins.
The Colman factory moved to Carrow, a prime location on the outskirts of Norwich, England, in 1850 and even today is still well served by the network of local farms in Norwich.

It was in 1855 that the now famous bull’s head logo apeared on the company’s English Mustard and was introduced as the brand’s trademark.

The Ultimate seal of approval was given in 1866, when Queen Victoria recognized this English jewel by bestowing the Royal Warrant upon Colman’s Mustard. Her Royal Majesty’s household still uses Colman’s products today and the Royal Warrant graces each Colman’s item.

From English pubs and palaces across the pond to the U.S., Colman’s unmistakable, tangy flavor deserves a royal welcome with a place of honor on your table.

retroparadise vintage clothes acessories vinyl

2007-03-20T19:03:00.000Z

www.retroparadise.pt

dan flavin retrospektive

2007-03-14T18:24:00.000Z

by jaime garcia

+ pinakothek der moderne + dan flavin art institute

gijs bakker and jewellery - pinakothek der moderne münchen

2007-03-14T18:05:00.000Z

+ pinakothek der moderne
+ gijs bakker

carsten höller

2007-02-22T23:34:00.000Z

+ air de paris
+ webcam controler

Jun Konishi Diplom Ausstellung 2007

2007-02-16T14:20:00.000Z

Jun Konishi
Piece 2007
Carbon fiber reinforced plastic
"C1049"

At first, these objects seem to be only black plastics, but are actually "Carbon fiber reinforced plastic". These fibers are 1/10 of a human hair's thickness. As a material, it is used from huge rockets or airplanes to common things as tennis rackets or fishing rods. The carbon fibers are well known as an industrial material of the leading edge today. Its chemical symbol "C" is similar as that of the diamond, although the so-called "eternal brightness" does not exist. However, visually they play tricks on my eyes, as if they consist of much more mysterious natural material than the diamond. These strange feeling in itself must be a symbol of our modern life filled with industrial materials.
I have cut the carbon fibers out and made holes in them. An object would not exist as jewelry without the human will of wearing it on the body. The relationship between these objects and human bodies are one hole. The figures stamped on the surface could be called the serial number, but I also believe that I have stamped my own time.
The beginning of the act as human beings to wear objects and the industrial material... I have made this work intentionally to catch a glimpse of the specificity of contemporary jewelry through the relationship between the human act and the industrial material.

Jun Konishi

Klasse für Schmuck und Gerät Prof. Otto Künzli

2007-02-16T14:13:00.000Z

schmuck klasse
adbk

skin case . 2nd Skin - Cork Jewellery Symposium

2007-02-08T17:08:00.000Z

+ESAD EVENTOS

Hüseyin Çağlayan (aka Hussien Chalayan)

2007-01-09T00:59:00.000Z

resurrects the ghost of fashion past with revolucionary morphing robo-dresses

> cypnet > boingboing > fashionfile > icon > style > designboom > we-make-money-not-art

static/

2007-01-08T01:33:00.000Z

+ vitor bastos - static

* merry x-mas & happy 2007

2007-01-03T00:58:00.000Z

_opening pedras e pêssegos abertura

2006-12-02T14:49:00.000Z

Get Your Own! | View Slideshow

_kadri malk interview

2006-12-02T14:45:00.000Z

_ in some texts on your work the conintrospection, mystery or spirituality can be found as identity sights of your work. are they in your opinion, suitable concepts to define it?
every concept, any notion, any emotion that is evoked in the beholder’s eye while looking at a piece of art, is true. Mostly it tells more about the viewer than about the work. if one can notice spirituality in my jewellery it reflects the spirituality in the psyche of the viewer.
Similar attracts similar. there is mystery present in your soul when you become fascinated by mystery in my work. It’s that simple.
+ interview to kadri mälk on klimt02

_cabrita vs gulbenkian

2006-08-26T10:14:00.000+01:00

by spy fotographer sara borgegård
"no primeiro dia ainda não dá para ver grande coisa", avisara pedro cabrita reis. mas, no segundo, já havia estantes metálicas alinhadas ao longo da galeria, rolos de alcatifa, canteiros vazios e as enormes placas de parquet de madeira que em 2001 deixaram de servir de chão ao museu. saiu tudo de um armazém da gulbenkian, para os lados de carnaxide. e é com esse material, mais o tijolo, alumínio e vidro que se há-de comprar, que o artista construirá a sua fundação de homenagem aos 50 anos da instituição lisboeta.

+ dn online
++ dn online
+++gulkenkian

ga_ radioactiva

2006-08-12T20:43:00.000+01:00

☢ henhouse ☣

photografhy|fotografia_hugo madureira

shigeko hirakawa

2006-08-09T13:11:00.000+01:00

_domesticated water
_

+ shigeko hirakawa

_andrei molodkin

2006-08-07T17:08:00.000+01:00

_blue ballpoint pen on canvas|2002 love
_iraqi crude oil in the form of merry christmas|2005 sweet crude eternity
_iraqi crude oil in the form of a skull|2005 sweet crude eternity
-----andrei molodkin conceptualizes the ideas of our present day culture in an ongoing series of crude oil sculptures. the artist collects residue oil from the pipelines of national corporations to create his art. in a labor-intensive process, wax sculptures are casts into acrylic blocks. through means of heat and pressure the wax sculpture melts away - leaving a negative space. the hollow imprint of the mold is then filled with crude oil creating liquid sculptures.(...)
+ kashya hildebrand

_bart lodewijks

2006-08-05T21:20:00.000+01:00

_culturgest, porto
“que farias com este espaço?” foi a frase escolhida por bart lodewijks e pela sua mulher, danielle van zuijlen, na primeira apresentação (a um de dezembro de 2002) do projecto hotel mariakapel, um espaço de exposições e residências em horn, na holanda. confrontados com o trabalho que agora apresenta no espaço da culturgest no porto podemos compreender a posição central que esta questão ocupa no corpo do seu trabalho. não desdenhando o valor dos trabalhos que têm vindo aí a ser apresentados, vale a pena visitar a galeria da culturgest no porto também pela sua arquitectura, pelas dificuldades que apresenta e questões que levanta enquanto espaço expositivo copiosamente ornamental. nesta exposição, mais especificamente, é este espaço que está sob a análise de um artista que tem vindo, precisamente e através do seu percurso, a estudar as possibilidades do lugar, significado e/ou significante.
ler + josé roseira _artecapital
+ culturgest

lukas roth

2006-08-01T22:36:00.001+01:00

+ lukas roth
+roth at dwell

buddha machine | FM3

2006-07-25T21:09:00.000+01:00

+ fm3
(((clik))) 9 loops, 6 cores à venda na materia prima| at sail in materia prima

juntos no rivoli

2006-07-25T15:59:00.000+01:00

´