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Die Denkende Haut

Exhibition  /  MJW-SchmuckTalente2018  /  08 Mar 2018  -  14 Mar 2018
Published: 27.02.2018
Kunstpavillon
Curator:
Iris von der Tann, Pravu Mazumdar, Dirk Allgaier
Management:
Martin Triebswetter
.

© By the author. Read Klimt02.net Copyright.

Intro
For people as well as for jewellery, everything begins with the skin - the surface, the countless surface possibility in jewellery pieces depending on the material and workmanship. We can try to look through the skin/surface and try to interpret with those pieces. On display are the latest works of 11 jewellery artists and 1 painter from Munich.

Artist list

Peter Bauhuis, Doris Betz, Babette Brühl, Florian Buddeberg, Attai Chen, Eunmi Chun, Anna Maria Eichlinger, Samira Goetz, Merlin Klein, Julia Obermaier, Carina Shoshtary, Nadja Soloviev
Every perception begins with the skin, the surface. For people as well as for jewellery. Here, in jewellery, there are countless surfaces – smooth or rough, monochrome or multicoloured, porous or impermeable, chaotic or orderly, depending on the material and workmanship. There are no limits to the diversity of haptic sensations. Likewise with the jewellery in the exhibition Die denkende Haut [The Thinking Skin]. Are we able to look through skin, though, through the surface, inwards, to the essence of the jewellery? Can we do it with people? Neither is a simple undertaking! But we can try to interpret, to read them.

For example, with Julia Obermaier, who cuts, polishes and assembles sculptural-architectural forms from agate, the stone that emerged from volcanic nodules over millions of years. The immortality of nature and the finiteness of man are brought together in an allegorical juxtaposition. Or with Carina Shoshtary, who takes graffiti, dissects it and recomposes it in her jewellery. Messages are thus preserved and interpreted anew. Freedom of thought is manifested in jewellery. The concrete necklaces by Samira Götz only appear to be heavy; they are, however, surprisingly light. They function as burden and liberation at once. The last example is Merlin Klein, whose ‘ash jewellery’ simultaneously stands for grief, solace and remembrance.

The works on display constitute not just surface, technique and workmanship; they are concepts, with a message for the beholder. They allow one to gaze deep into the essence of the individual, nature and the universe; this is jewellery and art, or art and jewellery, or only jewellery, or just art, wearable on the skin or an object in a vitrine, ultimately simply beautiful and an eternally exciting process when one allows the ‘skin to think’.

/ Dirk Allgaier, February 2018


Thinking is not only an abstract act of intellectual reckoning, but also a kind of responsive intelligence permeating our bodies and navigating us through our daily entanglements on the physical, emotional and creative planes. In this sense, dance is an embodied reflection on space; and the mind of an angler is in the hand curled around the fishing rod. Similarly, the movement of fingers on the keyboard of a piano is a visible extension of the musical thinking within the body of a performer, and the same fingers on the keyboard of a computer reproduce the dictates of a cerebral algorithm.

Between anything that touches and anything that is touched – be it an inanimate object or a living body – is the skin, which not only sends out signals like lustre, youth and freshness from
within, but also absorbs impulses from without, to be analysed, interpreted and answered in due time. The skin is an interface, revealing an inside and effecting responses in the environment; or thinking an outside by opening up and responding to stimuli. And when it becomes a foundation and support for structures of metals, stones, pearls, etc., then it draws in the elements of the world into its own cycle of impression and expression, transforming them into jewellery and enabling the enhancement of an adorned body.

But, owing to its intermediary position between an inside and an outside, the skin is afflicted with the same mysterious hybridity that characterises all limits and thresholds. Is it still the body? Or is it already part of the environment? Is it still an organ covering all other organs, a spread of epidermis capable of being seen, touched, injured? Or is it already a material, formed to a shield, a mask, an ornament? Or is it neither the one nor the other, but simply an immaterial and intermediary space of difference?

Such questions cannot be quite avoided in the familiar “practices of appearance” like the fine and the applied arts. They are also at the root of the constellation of jewellery and painting that are being presented in this exhibition.
/ Thinking skin by Pravu Mazumdar

Hours

Tue-Sat: 1pm to 7 pm.
Sun: 11am to 5 pm.

The artists involved are available in turns during the opening hours.
 

Opening

7th of March, 5pm to 10pm.
Doris Betz. Necklace: Napoli, 2018. Silver. 60 cm. Photo by: Erol Gurian. From series: Knit-laces. Doris Betz
Necklace: Napoli, 2018
Silver
60 cm
Photo by: Erol Gurian
From series: Knit-laces
© By the author. Read Klimt02.net Copyright.
Peter Bauhuis. Object: Policast, 2016. Silver 800, fine silver.. Ø15 x 16 cm. Photo by: Peter Bauhuis. Peter Bauhuis
Object: Policast, 2016
Silver 800, fine silver.
Ø15 x 16 cm
Photo by: Peter Bauhuis
© By the author. Read Klimt02.net Copyright.
Florian Buddeberg. Object: Icosahedron, 2018. Silver. 2.5 x 2.5 x 2.5 cm. Photo by: Florian Buddeberg. Florian Buddeberg
Object: Icosahedron, 2018
Silver
2.5 x 2.5 x 2.5 cm
Photo by: Florian Buddeberg
© By the author. Read Klimt02.net Copyright.
Attai Chen. Brooch: Cordyceps Survivor 3, 2018. Wood, paper, paint, pearls, silver, plastic, brass, copper, stainless steel, flock.. 16 cm x 7.5 cm x 5.5 cm. Photo by: Attai Chen. Attai Chen
Brooch: Cordyceps Survivor 3, 2018
Wood, paper, paint, pearls, silver, plastic, brass, copper, stainless steel, flock.
16 cm x 7.5 cm x 5.5 cm
Photo by: Attai Chen
© By the author. Read Klimt02.net Copyright.
Eunmi Chun. Necklace: The Blue Bird, 2018. Intestate of cow, thread.. 57 cm x 28 cm x 3.5 cm. Photo by: Mason Douglas. Eunmi Chun
Necklace: The Blue Bird, 2018
Intestate of cow, thread.
57 cm x 28 cm x 3.5 cm
Photo by: Mason Douglas
© By the author. Read Klimt02.net Copyright.
Anna Maria Eichlinger. Necklace: Lunar Orbit 1, 2018. Silver, silicone, leavings of dead wood.. 9 x 9 cm. Photo by: Erol Gurian. Anna Maria Eichlinger
Necklace: Lunar Orbit 1, 2018
Silver, silicone, leavings of dead wood.
9 x 9 cm
Photo by: Erol Gurian
© By the author. Read Klimt02.net Copyright.
Samira Götz. Necklace: DWELL II, 2018. Epoxy concrete, cotton thread.. 17 cm x 39 cm x 2 cm. Photo by: Mirei Takeuchi. Samira Götz
Necklace: DWELL II, 2018
Epoxy concrete, cotton thread.
17 cm x 39 cm x 2 cm
Photo by: Mirei Takeuchi
© By the author. Read Klimt02.net Copyright.
Julia Obermaier. Necklace: Space Between, 2017. Agate, resin, pigment, silver.. 27 x 8 x 4 cm. Photo by: Julia Obermaier. Julia Obermaier
Necklace: Space Between, 2017
Agate, resin, pigment, silver.
27 x 8 x 4 cm
Photo by: Julia Obermaier
© By the author. Read Klimt02.net Copyright.
Carina Shoshtary. Brooch: Venus 3, 2017. Graffiti, seashells, glass, silver, stainless steel.. 9 x 7 x 2 cm. Photo by: Mirei Takeuchi. Carina Shoshtary
Brooch: Venus 3, 2017
Graffiti, seashells, glass, silver, stainless steel.
9 x 7 x 2 cm
Photo by: Mirei Takeuchi
© By the author. Read Klimt02.net Copyright.
Nadja Soloviev. Necklace: Untitled, 2016. Rubber. 92 x 15 cm. Photo by: Nadja Soloviev. Nadja Soloviev
Necklace: Untitled, 2016
Rubber
92 x 15 cm
Photo by: Nadja Soloviev
© By the author. Read Klimt02.net Copyright.
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