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To Recover

Exhibition  /  07 Oct 2015  -  07 Nov 2015
Published: 03.09.2015
.

© By the author. Read Klimt02.net Copyright.

Intro
Reinterpreting a work, a fiction or precis is a way of addressing time, a way of exploring a landscape in order to try and understand it.
 
To revisit, remake, salvage, reinterpret, adapt, convert, converse, rethink…
 

Why have we asked some of the artists we work with as gallery owners to reinterpret one of their works? We could say it’s because we’re interested in talking about time. And by “revisiting” we mean discussing the notion of time. But in what way? That’s the question.
Time passes, it is made, interpreted, felt and suffered, it escapes, drifts away, becomes trapped or stretched, sometimes it is intelligently ignored and, why not, it is exercised. Reinterpreting a work, a fiction or precis is a way of addressing time, a way of exploring a landscape in order to try and understand it. And we thought this exercise would provide an interesting opportunity to discuss time.


Revisiting in order to reflect... an exercise for the artist.
 
Are there any changes in these artists’ works? Should there be? Is time involved? Without a shadow of a doubt, the answer is yes. But that barely scrapes the surface of what we want to know.
We’re more likely to find out what we want to know if the work enables us to answer questions such as: What kind of time is involved? Is there any usefulness? Is there any spirituality? Are there any aesthetics? Is there any abstraction? Is there any progress?
The exhibition is also designed to be understood through an analysis of the different types of answers provided by the works as a whole. As you will see, there are answers that simplify, offering minor changes, non-answers, coherent answers (if you have prior knowledge of the artist’s trajectory), inspired answers, uninventive answers... As we have said, evaluating the “revisits” as a whole provides additional knowledge.
When it comes down to it, what we most value is the sensation we observe and feel when the artist takes some distance and moves away from the centre stage in an attempt to provide an answer. As observers, we believe this circumstance helps to achieve universality and thus provide an intellectual satisfaction, that of communicating and objectifying the creation to the full in order to express and play with a more authentic reality.


Revisiting in order to look afresh... the viewer’s exercise.
 
We switch from observation to understanding, and vice versa. We observe in order to find differences between similar things and we understand when we find similarities between different things. Accustomed as we are today to viewing several pieces in a highly random fashion, pausing to stop in order to take a fresh look at a work “inaugurated” some time ago is another exercise we wish to propose. This exercise may help us assimilate better in this era of accumulation and, on occasions, superficiality. There can be no doubt that the way in which a work attracts and engages us is based on the knowledge we may have of it.
Knowledge without criticism is an indication of the end of everything. Yet, on the other hand, what can be said of criticism without knowledge? Are we capable of enjoying what these workers of art offer us? Will we be capable of evaluating what they show us? Can we offer knowledge-based criticism? Frankly, we find there is a lack of humility on the part of the viewer. And we’re all viewers.
Let’s enjoy this opportunity.


Opening : 7 October from 19 h.
Hourly: Monday to Friday / 11 -14 and 16-19 h.

 
Noon Passama
. Formal Research - A necklace, 2015 / Formal Research - H rings, 2015
. Rigid clay, silver, gold
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. Formal Research - A necklace (2015) composing of six chain units is the starting point of the group of six rings. A closed-end loop of each ring was divided in sections, one / two / three /… / six, by the difference between the fat and thin parts. The works were made under the following keywords: dividing / sequencing / sizing.
. Formal Research initially focused on one classical type of jewellery: the chain. The project is mainly about the form of each connecting chain unit and how the unit connects to its neighbours.
. During the sculpting process, the shapes were transformed because of them being in the hand and through time. I did not edit the outcomes and will present the rings as they are. The try-outs are the finals and vice versa.
. 
.  .
Noon Passama
Formal Research - A necklace, 2015 / Formal Research - H rings, 2015
Rigid clay, silver, gold

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

Formal Research - A necklace (2015) composing of six chain units is the starting point of the group of six rings. A closed-end loop of each ring was divided in sections, one / two / three /… / six, by the difference between the fat and thin parts. The works were made under the following keywords: dividing / sequencing / sizing.
Formal Research initially focused on one classical type of jewellery: the chain. The project is mainly about the form of each connecting chain unit and how the unit connects to its neighbours.
During the sculpting process, the shapes were transformed because of them being in the hand and through time. I did not edit the outcomes and will present the rings as they are. The try-outs are the finals and vice versa.


 

© By the author. Read Klimt02.net Copyright.
Manon van Kouswijk
. Pearl Grey necklace, 2008 / Pearl Grey Revisited necklace, 2015
. Glass elements (saucer, hand formed cup handle with attached glass beads), diverse glass and plastic beads, polyester thread, glue.
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. The original "Pearl Grey" of 2009 was an assemblage work consisting of found and made elements of porcelain, glass, wood, plastic and pearl. It referenced a traditional cup and saucer of which the cup had been magically replaced by a bead necklace. For this new work I have translated that idea to the typology of a glass 'saucer and cup’. It is again a combination of found and made elements but this time the work is completely transparent; almost like an x-ray of it’s predecessor..

Manon van Kouswijk
Pearl Grey necklace, 2008 / Pearl Grey Revisited necklace, 2015
Glass elements (saucer, hand formed cup handle with attached glass beads), diverse glass and plastic beads, polyester thread, glue.

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

The original "Pearl Grey" of 2009 was an assemblage work consisting of found and made elements of porcelain, glass, wood, plastic and pearl. It referenced a traditional cup and saucer of which the cup had been magically replaced by a bead necklace. For this new work I have translated that idea to the typology of a glass 'saucer and cup’. It is again a combination of found and made elements but this time the work is completely transparent; almost like an x-ray of it’s predecessor.


© By the author. Read Klimt02.net Copyright.
Tore Svensson
. Mr. T brooch, 2011 / Mr. T Revisited brooch, 2015 (5 different versions)
. Veneer wood, acrylic paint, silver
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. The reason why I chosen my self-portrait, is that it is probably one of my most well known pieces of jewellery. It is made in steel and etched.  The material and techniques I mostly work with. For the Re-version I saw out the silhouette in 2 mm veneer, divided the image in 3 parts and painted them in similar but for each piece different colours, before I glued them together. The fact that they are divided in three parts, with the dark sawing-line between, gives them a comic-like impression.
. This impression is even emphasised by the bigger size, which is possible by the lightness of the material, and is completely different from the original steel-one. While the surface of the steel-portrait and other previous work was the key technology for building the image, the colour for some years been a part of my jewellery.
.  .
Tore Svensson
Mr. T brooch, 2011 / Mr. T Revisited brooch, 2015 (5 different versions)
Veneer wood, acrylic paint, silver

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

The reason why I chosen my self-portrait, is that it is probably one of my most well known pieces of jewellery. It is made in steel and etched.  The material and techniques I mostly work with. For the Re-version I saw out the silhouette in 2 mm veneer, divided the image in 3 parts and painted them in similar but for each piece different colours, before I glued them together. The fact that they are divided in three parts, with the dark sawing-line between, gives them a comic-like impression.
This impression is even emphasised by the bigger size, which is possible by the lightness of the material, and is completely different from the original steel-one. While the surface of the steel-portrait and other previous work was the key technology for building the image, the colour for some years been a part of my jewellery.

 

© By the author. Read Klimt02.net Copyright.
Karl Fritsch
. Untitled ring, 1993 / Untitled Revisited ring, 2015
. Silver, cubic zirconia
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. I think i a trying to always make the same ring but the beast is changing all the time, often it is friendly but sometimes it even bites back when i try to catch it.
.  .
Karl Fritsch
Untitled ring, 1993 / Untitled Revisited ring, 2015
Silver, cubic zirconia

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

I think i a trying to always make the same ring but the beast is changing all the time, often it is friendly but sometimes it even bites back when i try to catch it.
 

© By the author. Read Klimt02.net Copyright.
Stefano Marchetti
. Untitled brooch, 2007 / Untitled Revisited brooch, 2015
. Silver, silver and titan powder, epoxy resin
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. In the Nineties, in the making of the older brooch, my goal was to control the metal, to have the metal do whatever I wanted. In this latest brooch, made a few days ago, I let instead the metal take control over myself, and let it take me wherever its will would go.
. 
.  .
Stefano Marchetti
Untitled brooch, 2007 / Untitled Revisited brooch, 2015
Silver, silver and titan powder, epoxy resin

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

In the Nineties, in the making of the older brooch, my goal was to control the metal, to have the metal do whatever I wanted. In this latest brooch, made a few days ago, I let instead the metal take control over myself, and let it take me wherever its will would go.

 

© By the author. Read Klimt02.net Copyright.
Jiro Kamata
. Bi ring, 2014 / One ring, 2015
. Camera lenses, Dichroic Mirror, 18K gold
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. I was working long time with camera lens and now I am working with dichroic mirror. Two different materials but they have strong connection each other. Round shape, glass, light, transparent, refraction, colors, value etc. For this ring I tried to show some new direction with this two material, that I have never done. Two different things but it is now in one..
Jiro Kamata
Bi ring, 2014 / One ring, 2015
Camera lenses, Dichroic Mirror, 18K gold

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

I was working long time with camera lens and now I am working with dichroic mirror. Two different materials but they have strong connection each other. Round shape, glass, light, transparent, refraction, colors, value etc. For this ring I tried to show some new direction with this two material, that I have never done. Two different things but it is now in one.

© By the author. Read Klimt02.net Copyright.
Karin Johansson
. Untitled necklace, 2003 / Two rings, 2015
. 18k Gold
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. The starting point of my new pices is a necklace in oxidized silver made in 2003. I always enjoyed the way it moves, the sound it makes and how the parts are connected with a double ring. To point out, and make the playfulness and rythm in the necklace more visable I lifted out and set the rings free. Two + two + two+… became 12 golden rings.
.  .
Karin Johansson
Untitled necklace, 2003 / Two rings, 2015
18k Gold

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.


The starting point of my new pices is a necklace in oxidized silver made in 2003. I always enjoyed the way it moves, the sound it makes and how the parts are connected with a double ring. To point out, and make the playfulness and rythm in the necklace more visable I lifted out and set the rings free. Two + two + two+… became 12 golden rings.
 

© By the author. Read Klimt02.net Copyright.
Lisa Walker
. Rubbish From My Workshop Floor brooch, 2002 / Untitled necklace, 2015
. Wood, string
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. Rubbish From My Workshop Floor I first made in about 2002.    Back then it was simply an automatic action to collect the sweepings from my floor, scoop them up, put them on my table and try and make something.  Offcuts, rubbish, accidents, undesigned, ignored or not taken seriously materials and objects, have all become attractive to me.  So when me and Karl renovated our new workshop recently, we had a pile of offcut wood after the renovation.  This piece is made of building materials, they are treated and sawn to suit a specific purpose.  They're strung, as simply as possible, on the thick cord from a broken sash window.
.  .
Lisa Walker
Rubbish From My Workshop Floor brooch, 2002 / Untitled necklace, 2015
Wood, string

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

Rubbish From My Workshop Floor I first made in about 2002.    Back then it was simply an automatic action to collect the sweepings from my floor, scoop them up, put them on my table and try and make something.  Offcuts, rubbish, accidents, undesigned, ignored or not taken seriously materials and objects, have all become attractive to me.  So when me and Karl renovated our new workshop recently, we had a pile of offcut wood after the renovation.  This piece is made of building materials, they are treated and sawn to suit a specific purpose.  They're strung, as simply as possible, on the thick cord from a broken sash window.
 

© By the author. Read Klimt02.net Copyright.
Gésine Hackenberg
. Still Life, 2009 / Pink Balancing Glass brooch, 2015
. Glass by Theresienthal, silver
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. The ‘Still Life’ Brooches that I have made between 2009 and 2012 can be seen as a contemporary interpretation of 17th and 18th century Dutch Still Life paintings. This subject was preferable used to portray items of daily life that were emotionally and economically significant for people of that time.
. Within my ‘Still Lifes’, I sliced existing glasswork and rearranged them into new compositions. They represented a perfect translation of the three dimensional to the two dimensional, the realistic vista of the glasses to the medium of jewellery. The body is taking on the role of the canvas as it were...
. Within the new work I explored another way of looking at tableware than in a static composition: I wanted to express a certain precarious dynamic that is inherent to drinking glasses during a sociable meal. I tried to catch this moment of a glass tumbling, undecided yet if it is going to fall or stay upright.
.  .
Gésine Hackenberg
Still Life, 2009 / Pink Balancing Glass brooch, 2015
Glass by Theresienthal, silver

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

The ‘Still Life’ Brooches that I have made between 2009 and 2012 can be seen as a contemporary interpretation of 17th and 18th century Dutch Still Life paintings. This subject was preferable used to portray items of daily life that were emotionally and economically significant for people of that time.
Within my ‘Still Lifes’, I sliced existing glasswork and rearranged them into new compositions. They represented a perfect translation of the three dimensional to the two dimensional, the realistic vista of the glasses to the medium of jewellery. The body is taking on the role of the canvas as it were...
Within the new work I explored another way of looking at tableware than in a static composition: I wanted to express a certain precarious dynamic that is inherent to drinking glasses during a sociable meal. I tried to catch this moment of a glass tumbling, undecided yet if it is going to fall or stay upright.

 

© By the author. Read Klimt02.net Copyright.
Sari Liimatta
. But I love Him object, 2005 / But they don´t love him pendant, 2015
. Glass beads, metal link, thread (polyamide), a plastic toy
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. Just as men are not just men, and women just women, meat is never just meat. It has it´s past and origin, a story which is so often simply forgotten. Living creatures which are very much alive until they are nothing more than materials, for those who still choose to use them. Even the life before their death is so often more than problematic, as we all know. As we all know.
. 
.  .
Sari Liimatta
But I love Him object, 2005 / But they don´t love him pendant, 2015
Glass beads, metal link, thread (polyamide), a plastic toy

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

Just as men are not just men, and women just women, meat is never just meat. It has it´s past and origin, a story which is so often simply forgotten. Living creatures which are very much alive until they are nothing more than materials, for those who still choose to use them. Even the life before their death is so often more than problematic, as we all know. As we all know.

 

© By the author. Read Klimt02.net Copyright.
Simon Cottrell
. Double Drops brooch, 1999 / Three Drops Hard Blunt brooch, 2015
. Monel 400, Stainless steel.
. 
. Everything I've made since 1999 is related to that 'Double drops' brooch in some way or another. It was the first piece made with the aim of making simple geometric forms defined by complex interleaving planes. It was at the start of what is a still unfolding branching flowchart ...not unlike a universally incestuous family tree, each new piece, is just one more successional recombination of those 'Double drop' genes. Within each of these new works some genes from its earlier relatives are more dominant than others, some new works hark back to some earlier works more than others.
. Most of my works since 1997 really are part of the same continually resolving project. Individually all of these works are a reworking of aspects of their predecessors.
. If I were to call 'Double drops' 1999 Part-1 then 'Three drops hard blunt' would be Part-387. 
.  .
Simon Cottrell
Double Drops brooch, 1999 / Three Drops Hard Blunt brooch, 2015
Monel 400, Stainless steel.

Everything I've made since 1999 is related to that 'Double drops' brooch in some way or another. It was the first piece made with the aim of making simple geometric forms defined by complex interleaving planes. It was at the start of what is a still unfolding branching flowchart ...not unlike a universally incestuous family tree, each new piece, is just one more successional recombination of those 'Double drop' genes. Within each of these new works some genes from its earlier relatives are more dominant than others, some new works hark back to some earlier works more than others.
Most of my works since 1997 really are part of the same continually resolving project. Individually all of these works are a reworking of aspects of their predecessors.
If I were to call 'Double drops' 1999 Part-1 then 'Three drops hard blunt' would be Part-387.

 

© By the author. Read Klimt02.net Copyright.
Annelies Planteijdt
. Beautiful City - Pink Stairs necklace, 2001 / Beautiful City-Pink Stairs Black Crystal necklace, 2015
. Gold, Tantalum, pigment
. 
. New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.
. 
. I started to re-consider a piece from 2001, that never has been sold, although I liked it very much, 'Beautiful City - Pink Stairs'.
. This piece is really symmetrical, so I decided to look for a way to separate it in two parts and finish both parts in a different way, in order to get two different pieces. I have re-collected parts of other (unsold) pieces from about the same time (1999 and 2000) and have been re-approaching and re-thinking them: I made 'Crystals' with them, like I did in my most recent work. So I have been mixing time and thinking. And size: the sizes I used earlier were different from the sizes I used in the later 'Beautiful City' series, they wouldn't have fit. But because the 'Crystals' are liquid (they adapt to the square) the size of the elements was not important anymore. So I could re-take these old pieces into the new time now, I have re-used them, re-connected them.
. This 'expansion' offered me more possibilities: I re-used the material I already had without loss of material or time. The possibility to re-make the old pieces still exists. And it gave me two new pieces. So I multiplied my possibilities. A new life.
.  .
Annelies Planteijdt
Beautiful City - Pink Stairs necklace, 2001 / Beautiful City-Pink Stairs Black Crystal necklace, 2015
Gold, Tantalum, pigment

New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.

I started to re-consider a piece from 2001, that never has been sold, although I liked it very much, 'Beautiful City - Pink Stairs'.
This piece is really symmetrical, so I decided to look for a way to separate it in two parts and finish both parts in a different way, in order to get two different pieces. I have re-collected parts of other (unsold) pieces from about the same time (1999 and 2000) and have been re-approaching and re-thinking them: I made 'Crystals' with them, like I did in my most recent work. So I have been mixing time and thinking. And size: the sizes I used earlier were different from the sizes I used in the later 'Beautiful City' series, they wouldn't have fit. But because the 'Crystals' are liquid (they adapt to the square) the size of the elements was not important anymore. So I could re-take these old pieces into the new time now, I have re-used them, re-connected them.
This 'expansion' offered me more possibilities: I re-used the material I already had without loss of material or time. The possibility to re-make the old pieces still exists. And it gave me two new pieces. So I multiplied my possibilities. A new life.

 

© By the author. Read Klimt02.net Copyright.
Ted Noten
. Superbitch Bag, 2000 / Superbitch Bag Revisited, 2015
. SLS 3D print, nylon 20% glass compones, yellow dyed
. 
. What has more value the real piece or the copy? The copy of a thought is on the end the art piece.
.  .
Ted Noten
Superbitch Bag, 2000 / Superbitch Bag Revisited, 2015
SLS 3D print, nylon 20% glass compones, yellow dyed

What has more value the real piece or the copy? The copy of a thought is on the end the art piece.
 

© By the author. Read Klimt02.net Copyright.
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