- Edited by:
- Edited at:
(...) I know of almost no artist that can survive without a teaching- or other kind of job I don’t think it is only a matter of money, but also a matter of response. (...)
Answers to the interview Market, lies and websites: Klimt02 versus Klimt02 (Part 1)
Is contemporary jewellery a restricted matter of a small group of people?
Yes, if you talk about ‘artistic’ jewellery I think that is very much so.
The relationship between jewellers and art galleries is of mutual necessity, but the jeweller seems to be dissatisfied. When must the jeweller consider a new relationship? Why don’t new alternatives emerge? Is it perhaps the incapacity to reach a new agreement or is it just that deep down jewellers have adapted to things as are now?
I think a lot of artists are craftsmen in the sense that they make very labour-intensive handcrafted work. The market for that kind of products is generally limited. We often want the gallery to be a impossible combination of a salesperson for our product, and a conservator for our artistic ideas.
There are a couple of different roads though, we for some reasons often avoid:
The commercial road: create for already existing firms
The autonomous road: make objects totally independently
The design road: Try to figure out how to produce your object in a series and make a product of it.
In my own gallery the artists are making a model for negotiating with the gallery.
That might help.
I think before entering the gallery it is important to know what the intentions are of that gallery.
Waiting for the galleries to become your sort of person isn’t wise.
If there is a need for other ways of presenting jewellery, it is up to us.
In the free information age, Internet, gallery owners have lost their power situation as anyone has access to all kind of information that had been treasured as if it was gold dust. When will we believe that we are the only ones that can make possible a change? Is it perhaps, the responsibility that each one has the only way of changing some situations?
I wish it was true. But a lot of jewellery-people make scarcely use of the Internet.
More and more jewellery is bought by the Internet though.
But that is another kind of jewellery with a very different audience.
I would love to set up something, even without the prospect of earning from it.
The gallery can keep it’s gold dust.
The jewellery buyers, in our area, are very much gallery-related, like people that have their own ‘pub’.
Of course they could find information about a jewellery exposition on the net, even buy a once or twice a necklace or ring from the net, but that doesn’t change their fondness of their own gallery.
And I don’t think it’s the gallery it’s responsibility to change the audience.
Neither should they stand in the artist’s way when searching around for a different audience.
We are waiting for a saviour, to save us from our ills; a person who stand up for us while we are lagging behind. When will we realize that in order to achieve these changes we will have to start taking decisions and changing attitudes?
Is it a question of professionalism?
No, I rather say a matter of time fashion and need
We accept the established order, but we do not agree with it… What’s wrong?
That is exactly what is wrong.
Contemporary jewellery moves in a rather limited market, for many reasons including the fact that it does not move a large amount of money. The issue would be to enlarge this market… but, how can we do it?
I don’t know.
Painters often have to buy for a gallery-space. We are not the worst of.
I know of almost no artist that can survive without a teaching- or other kind of job I don’t think it is only a matter of money, but also a matter of expectations.
There are different ways to stimulate contemporary ‘art’ jewellery
In the Netherlands money is provided for people so they have time to develop their art-work.
The strange thing is the moment the ability to make interesting material grows, the expectations grow too.
In America contemporary jewellery is still much more a craft-related art form.
I think for them to have more time to just develop their work would be already a luxury.
They don’t even consider an audience, like we do in Europe.
Why is contemporary jewellery not so well known?
Because it is badly defined, often not wearable, or cheaper and prettier at the nearest warehouse.
How is the market? If I sell, would that be enough for me?
If that is enough for you, run away from your gallery right now.
Is internet a solution? Should we pay for it?
Not a solution, Not an alternative.
It is another medium with it’s own interesting possibilities, and we should consider these possibilities very seriously.
I think paying for it is in contrast to what people expect from the internet:
Easy access, free and different, immaterial.
Contribution or viewing fees are attractive for the people who work and create for the internet. It is very time-absorbing work (I know this very well).
Sponsoring might be a more realistic option.
People won’t pay for the internet unless you offering them some real gold dust in their mailbox...
RemarksFilippine de Haan:
Jeweller, director of hotel275.
Zhou Yiyan interviewed by Klimt0228Oct2016
Sara Malm interviewed by Klimt0227Oct2016
Christine Jalio interviewed by Klimt0225Oct2016
Big Dreams in Small Packages. An interview with Kadri Mälk and Tanel Veenre24Oct2016
Tal Efraim interviewed by Klimt0224Oct2016
Claire Kahn interviewed by Patina Gallery about her new exhibition Peaceable Kingdom14Oct2016
Nicola Heidemann interviewed by Klimt0212Oct2016
Maja Houtman interviewed by Klimt0211Oct2016
Sari Liimatta interviewed by klimt0207Oct2016
Karen Lester interviewed by Klimt0230Sep2016
Kathleen Dustin interviewed by Klimt0230Sep2016
Jelizaveta Suska interviewed by Klimt0227Sep2016
Ariel Lavian interviewed by Klimt0223Sep2016
Elwy Schutten interviewed by Klimt0220Sep2016
Nichka Marobin, art historian and blogger, interviewed by Klimt0219Sep2016