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Talente. Masters of the Future Prizes 2023

Award giving  /  Awards   Artists   MunichJewelleryWeek2023  /  11 Mar 2023
Published: 13.03.2023
The winners of the Talente Prize 2023 and the Jury. .
The winners of the Talente Prize 2023 and the Jury. 

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Intro
Eight Talente prizes for design and technology were awarded to newcomers worldwide at the «Handwerk & Design» trade fair in Munich: Matthias Gschwendtner, Philsoo Heo, Susie Heuberger, Agnes Kelm, Yinglong Li, Haisheng Liu, Elisabeth Ott and Jeroen van den Bogaert are this year's awarded artists.
This year's Talente prize in the field of technology goes to Elisabeth Ott. Her kayak is made of birch plywood. Her goal was to design a wooden boat that was easy on materials and labour. For the curvature, she uses a technique that involves slotting the panel material. This keeps the board connected as a whole and retains its inherent tension. As a special element, the ends of the furrows are designed in teardrop shape.

Talente Prizes Design:

Agnes Kelm brings a new zest to sweeping. She frees functional brooms from any pretence of efficiency and turns them into an object that can serve as a kind of meditation through repetitive motion. The use of her brooms conveys calm in a hectic world. The jury also praised the convincing craftsmanship and pointed out the rarity of this craft.

Philsoo Heo from South Korea has created his sculpture Burn Out, a work about growing and becoming in nature. The sculpture is made of ceramic and represents a pile of burned firewood that can collapse at any time. In addition to the sculptural quality, the jury praised the calm and powerful, concentrated and mysterious monumentality of the work.

Yinglong Li from China lives in the UK. Her vessel object in the highly complicated window enamel technique combines traditional craft with digital technology. Inspired by impressionist painting, he plays with light and a finely nuanced choice of colours.

Matthias Gschwendtner's Log Chair impressed the jury with its combination of high-tech process and individual production. Waste materials from the wood industry are used to produce individual pieces through a multi-stage process. The seating comfort and the basic shape are the same, but in the details, depending on the particular pieces of wood, the individual chairs differ.

The necklace by Susie Heuberger (Mexico / Germany) is made of corn kernels, garnet stones, cotton and poly silk. Shape and material refer to Mexico in many ways. With her works, she alludes to the political, social, and ecological aspects of the country. From an economic point of view, corn as food replaces precious stones. At the same time, Susie Heuberger's use of thread refers to fundamental aspects of jewellery, whose origins and early design lie in work with textile materials.

Haisheng Liu (China / South Korea) has built brooches in the form of cans, which are made of so-called SCOBY leather, a plant-based, decomposable material. The pieces are fascinating both as objects and as jewellery. Haisheng Liu plays with the contrast between the solid form of a metal can and the flexible material of leather substitute, and on a second level with the contrast between an ephemeral material like decomposable leather and the lasting value of the jewellery.

Jeroen van den Bogaert from the Netherlands has created wall hangings whose arrangement refers to the form of the Christian triptych. In terms of content, he deals with the theme of masculinity. The focus is on toxic masculinity, with its focus on violence. Jeroen von den Bogaert emphasizes the ambivalence of rejection and fascination of this conception of masculinity and, at the same time, points out in the combination of contemporary photographs and historical motives how little change and development has taken place with regard to certain patterns of behaviour.
 
Jeroen Van den Bogeart. Textile: A Foolish Pleasure in Wicked Schemes, 2022. Textile, Jacquard weaving.. 210 x 180 x 0.5 cm. Photo by: Roel Backaert. Jeroen Van den Bogeart
Textile: A Foolish Pleasure in Wicked Schemes, 2022
Textile, Jacquard weaving.
210 x 180 x 0.5 cm
Photo by: Roel Backaert
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Matthias Gschwendtner. Furniture: Log Chair, 2021. Birch branches.
. 3d scanning, algorithmic modeling, 6-axis robot milling, assembly, and finish by hand.. 85 x 50 x 55 cm. Matthias Gschwendtner
Furniture: Log Chair, 2021
Birch branches.
3d scanning, algorithmic modeling, 6-axis robot milling, assembly, and finish by hand.
85 x 50 x 55 cm
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Susie Heuberger. Necklace: Ofrenda, 2023. Cotton, silk, ink, garnet Corn from Oaxaca wrapped. drilled, sewn and knotted. 61 x 22 x 5 cm. Photo by: Nima Ashrafi. Susie Heuberger
Necklace: Ofrenda, 2023
Cotton, silk, ink, garnet Corn from Oaxaca wrapped. drilled, sewn and knotted
61 x 22 x 5 cm
Photo by: Nima Ashrafi
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Philsoo Heo. Sculpture: Burn Out, 2023. Ceramics and burned clay dust. 160 x 80 x 80 cm. Philsoo Heo
Sculpture: Burn Out, 2023
Ceramics and burned clay dust
160 x 80 x 80 cm
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Agnes Kelm. Object: The Doing Itself, 2023. Beech, rattan, bent under wetness and heat, horsehair, copper wire. 100 x 80 x 80 cm. Agnes Kelm
Object: The Doing Itself, 2023
Beech, rattan, bent under wetness and heat, horsehair, copper wire
100 x 80 x 80 cm
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Yinglong Li. Vessel: I-PAJ 3, 2023. Silver, enamel, plique-à-jour [centre enamel). 9 x 4.3 x 8 cm. Yinglong Li
Vessel: I-PAJ 3, 2023
Silver, enamel, plique-à-jour [centre enamel)
9 x 4.3 x 8 cm
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Haisheng Liu. Brooch: Broken Can, 2023. SCOBY Leather, PLA, Sterling Silver, Hydraulic Forming, 3D Printing. 8 x 9.5 x 5 cm. Haisheng Liu
Brooch: Broken Can, 2023
SCOBY Leather, PLA, Sterling Silver, Hydraulic Forming, 3D Printing
8 x 9.5 x 5 cm
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Elisabeth Ott. Object: Kayak, 2023. Birch plywood, solid birch wood, epoxy resin. 40 x 287 x 68 cm. Elisabeth Ott
Object: Kayak, 2023
Birch plywood, solid birch wood, epoxy resin
40 x 287 x 68 cm
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