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Place_ment

Exhibition  /  17 Oct 2013  -  19 Oct 2013
Published: 19.09.2013
Alchimia, School of Contemporary Jewellery and Design
Management:
Lucia Massei Doris Maninger
Alessandra Pizzini. Installation: On my bedside table. Two portraits, chap stick, ear plugs, box. Alessandra, PizziniInstallation: On my bedside tableTwo portraits, chap stick, ear plugs, box. Alessandra Pizzini
Installation: On my bedside table
Two portraits, chap stick, ear plugs, box


Alessandra, Pizzini
Installation: On my bedside table
Two portraits, chap stick, ear plugs, box

© By the author. Read Klimt02.net Copyright.

Intro
The collaborative project p l a c e _ m e n t has been developed by three jewellery artists through their shared interest in the dynamic of jewellery as both public signifier and intimate object. Whilst their practices vary, each artist contributes to the field of contemporary jewellery through the manipulation of objects to raise questions about the idea of origin and, at the same time, to explore the complexity of cultural and personal identity in today’s increasingly hybridized world.

Artist list

Alessandra Pizzini, Johanna Zellmer, Beate Eismann
The ‘placing’ of precious object as a means of exploring issues related to identity and origin.

The collaborative project p l a c e _ m e n t has been developed by three jewellery artists through their shared interest in the dynamic of jewellery as both public signifier and intimate object. Their countries of residence and origin - Germany, Italy and New Zealand - continue to shape their individual practices and identities as contemporary makers. Whilst their practices vary, each artist contributes to the field of contemporary jewellery through the  manipulation of objects to raise questions about the idea of origin and, at the same time, to explore the complexity of cultural and personal identity in today’s increasingly hybridized world.

Alessandra Pizzini works with intimate objects as signifiers of identity. These personal or ‘favoured’ objects are usually things a person takes particular care of and keeps in special places, things like souvenirs, found objects, photos, heirlooms and, in particular, jewellery. The longing for such objects becomes more prevalent in those moments of transition that denote significant changes in our lives, moments frequently marked by ritual, celebration and, of course, by the object itself. With their unique symbolic and fetishistic character, such objects seem to have accompanied our human evolution as an anthropological constant.

In order to reflect on the specific circumstances that tie us to such items, Pizzini bases her work on evocative sets of objects gathered in her own home. Forms, materials and processes are chosen in an attempt to capture the affective tone of these transitional moments. Her methodology draws the audience into the experiences and emotions embedded in these objects without decoding their secrets completely. In doing so, she explores the way in which belongings can become spiritual, emotional and almost bodily habitats. By focusing our awareness on her selection of such contemporary ‘talismans’, Pizzini emphasises the importance of such moments in our present, inviting us not only to reflect on the rituals and traditions of the past, but also to engage in the creation of new rituals of our own. She also acknowledges that the significance of these intimate objects is very often determined by where and how they are kept, by their ‘place-ment’ in our lives. By de-contextualising these objects and‘ replacing’ them within the exhibition space, the artist invites the formation of new relationships and alternative interpretations, simultaneously affirming and subverting their semantic power.

Johanna Zellmer’s contribution to the larger framework of place·ment emerges as a direct outcome from her work with 10DM commemorative coins, during which the German eagle as heraldic sign emerged as the keyplayer. In the process of working with these coins, she became very interested in the question of national representation; a topic that poses a considerable challenge for a nation such as Germany with its particular history.
Responses from New Zealand and German audiences to this work led her to question how individuals identify with the iconographic symbols of their nations. New Zealand, as a former colony with Treaty obligations, is very attentive to the particular issues of a bi-cultural nation; a fact that confronts newly arrived immigrants with some interesting questions. As a German citizen with permanent residence in New Zealand, Zellmer is regularly confronted with the complexities of her own cultural ‘place-ment’.

Zellmer’s recent work explores these questions, particularly as they relate to New Zealand immigrants who have been unable to obtain dual citizenship. Through the work, she addresses the idea of nationhood and the relationship one has with one’s country of origin, as well as the politics that regulate citizenship and national  borders, and how all of these impact on the individual’s personal sense of identity and belonging. Her practice employs a variety of visual art methodologies, including photography, text and jewellery; portraits are framed, interviews transcribed and objects are forged from saw pierced coins. These objects become jewellery by integrating the unobtrusive plastic tubing used for hearing aids, enabling an individual fitting to each subject’s ear; when worn in bright daylight, the perforated passport number stamped on each piece appears on the neck of the wearer as part of the distorted symbol’s shadow. The physical use of currency, passport imagery and hearing aid components provides a direct link to relationships between national identity, capitalist economies and the sense of impairment experienced when engaging with an unfamiliar culture. By altering the metal coin and thus subverting its monetary value, Zellmer is retaining its status as familiar ‘precious’ object of our everyday while, at the same time, questioning whether the hybrid identities of contemporary culture can be effectively embodied in a single object.

Beate Eismann’s work investigates the potential of reproduction and its relationship to the object of origin. Playing with this notion, Eismann scans analogue printing masters (metal clichés) and uses the digital data as the basis for generating a three dimensional “re-materialisation” which is then used along with the original to create jewellery and form objects. The reproductions of printing masters are traded as ‘originals’ on the art market, something which essentially they are not. By working with clichés Eismann raises complex questions concerning the status of original and copy, original form and reproduction, and even the place of copyright.

Eismann’s practice repeatedly crosses and displaces boundaries between high-tech industrial printing, graphic design and contemporary jewellery. The traditional processes of printmaking have always fascinated her because they represent a very simple way to repeat an image presentation. In an extension of this fascination, Eismann now employs rapid prototyping technology which was developed for industry but is now increasingly being used in the applied arts. In this 3D printing technology, the material is applied in a stencil-like manner onto previously determined segments of a surface. During the countless repetitions of this process, the motif to be printed leaves the second dimension and reaches into the third; it creates space. Digital processes enable this step by optimising data duplication and realising it at a speed which could not even be thought of in the time of analogue print technology. Using these technologies, Eismann generates a three dimensional transformation, a ‘re-materialision of the original cliché; she then reworks and finishes the pieces by hand. Their final shapes not only reflect multiple print technologies but also carry an embedded reference to the long history of printmaking. By blurring the boundaries between the hand and machine-made (or mass-produced), and by replacing and juxtaposing the original with a copy, this work unsettles the hierarchies that privilege the one over the other and embraces the creative possibilities of contemporary hybridity.

The aim of this collaboration was to generate a ‘conversation’ at the intersection of these individual but related perspectives. By de-contextualising, re-working and re-placing existing materials, all three artists have used their work to challenge traditional readings of place, significance and value. Their work raises questions about the idea of origin and, at the same time, explores issues of cultural and personal identity in today’s increasingly complex world. Each artist’s interpretation has evolved through on-going dialogue, both in person and on-line, so that the conceptual framework of the project is appropriately hybrid in both its origins and outcomes.

The project will be launched in October at Alchimia, School of Contemporary Jewellery and Design in Italy. This institution was founded by Lucia Massei and Doris Maninger in 1998 and is situated in an historical building near the prominent Brancacci chapel in Oltrarno, the historical artisan quarters of Florence. The placing of this collaborative work within such an environment will serve to highlight the inseparability of past and present which is central to the work of all three artists.

Being a place of teaching, learning and exploratory exchange, Alchimia is well suited to the project’s aspiration to extend their conversation to engage a wider audience. The exhibition opening will therefore be followed by a symposium with floor talks by each artist. The associated publication, which includes academic essays by Mònica Gaspar, Petra Hölscher , and Pravu Mazumdar, is intended to further extend the parameters of the conversation to include philosophical and art historical enquiries alongside contemporary studio practice.

Alessandra Pizzini initially gained a degree in Jewellery Design in Milan, Italy, and subsequently worked in Milan as a designer for several years. Her passion for contemporary jewellery took her to the Academy of Fine Arts in Nürnberg, Germany, where she completed further studies in gold-and silversmithing. She was employed as Artistic Assistant at the Academy of Fine Arts in Nuremberg in 2002 and later also taught at „Alchimia“ Contemporary Jewellery School in Florence for one year. She lives as freelance designer and jewellery artist in Germany, and frequently teaches subjects such as Museum Pedagogy at tertiary institutions. In 2008 she gained the HWP stipend for women in education and research, which enabled her to investigate jewellery as a sociological and anthropological phenomenon. The human desire for adornment alongside the construction of a sense of identity through everyday objects is central to her considerations as educator and jewellery maker.

Johanna Zellmer completed a formal apprenticeship as a goldsmith in Germany and continued with silversmithing afterwards. A scholarship from the Carl Duisberg Association to study in Australia enabled her to complete a masters degree at the Australian National University Canberra School of Art. Together with her Australian husband, she decided to move to New Zealand and initially started teaching in Auckland. She now works as Senior Lecturer in Jewellery and Metalsmithing at the Dunedin School of Art, where she has also held the position of Postgraduate Coordinator for several years. Her research interests are the construction of national identities and cross-cultural matters within contemporary jewellery. She calls a small farm in Dunedin `home', as showcased in context of her work in the TVONE series Neighbourhood.

Beate Eismann completed her studies in jewellery at the University of Arts and Design / Burg Giebichenstein, after which she gained a scholarship from CONACYT and the Carl Duisberg Association for a 2 year residency in Mexico City. Upon her return in 1998, she accepted a lecturing position at the Staatliche Zeichenakademie in Hanau (Germany), which was followed by an appointment to Artistic Assistant at the Department of Jewellery, University for Arts and Design/ Burg Giebichenstein in Halle from 2000 to 2006. As a successful freelance artist , Beate attains regular scholarships and artist residencies, such as Master Artist in Jewellery at the Pratt Fine Arts Center, Seattle (USA), the Art Foundation of the Federal State of Saxony Anhalt Scholarship and Artist in Residence at the Institute for Research in Applied Arts, University of Applied Sciences Düsseldorf (Germany), to name but a few. Beate lives and works in Halle (Saale), Germany.
Alessandra Pizzini. Installation: In my living room. Collection of found and fabricated objects and jewellery pieces. Alessandra, PizziniInstallation: In my living roomCollection of found and fabricated objects and jewellery pieces. Alessandra Pizzini
Installation: In my living room
Collection of found and fabricated objects and jewellery pieces


Alessandra, Pizzini
Installation: In my living room
Collection of found and fabricated objects and jewellery pieces

© By the author. Read Klimt02.net Copyright.
Alessandra Pizzini. Piece: Sammlung 4. Mixed media. Alessandra, PizziniPieces: Sammlung 4Mixed media7 ring „cut“: found object, saw pierced
. 8 chap stick, plastic, cocoa butter
. 9 gift 2001: photo casket, metal, paper
. 10 brooch „relationships: More of a bind than a tie”: silver, fabricated
. 11 ring „cut“: found object, saw pierced, metal, pearl
. 12 brooch „relationships: More of a bind than a tie”: silver, fabricated, destroyed. Alessandra Pizzini
Piece: Sammlung 4
Mixed media


Alessandra, Pizzini
Pieces: Sammlung 4
Mixed media
7 ring „cut“: found object, saw pierced
8 chap stick, plastic, cocoa butter
9 gift 2001: photo casket, metal, paper
10 brooch „relationships: More of a bind than a tie”: silver, fabricated
11 ring „cut“: found object, saw pierced, metal, pearl
12 brooch „relationships: More of a bind than a tie”: silver, fabricated, destroyed

© By the author. Read Klimt02.net Copyright.
Alessandra Pizzini. Piece: Sammlung 3. Mixed media. Alessandra, PizziniPieces: Sammlung 3Mixed media1 brooch “Relationships: More of a bind than a tie”: silver, fabricated
. 2 brooch „Relationships: More of a bind than a tie”: silver, fabricated
. 3 find 1980/83: playing card, 7 of diamonds, paper
. 4 Secret note 1986: paper
. 5 ear plug: foam
. 6 find 1999: aluminium, paint; drilled. Alessandra Pizzini
Piece: Sammlung 3
Mixed media


Alessandra, Pizzini
Pieces: Sammlung 3
Mixed media
1 brooch “Relationships: More of a bind than a tie”: silver, fabricated
2 brooch „Relationships: More of a bind than a tie”: silver, fabricated
3 find 1980/83: playing card, 7 of diamonds, paper
4 Secret note 1986: paper
5 ear plug: foam
6 find 1999: aluminium, paint; drilled

© By the author. Read Klimt02.net Copyright.
Alessandra Pizzini. Piece: Sammlung 7. Mixed media. Alessandra, PizziniPieces: Sammlung 7Mixed media46 gift 1982, relic casket, brass, fabric
. 47 hair 2009
. 48 tooth 2001
. 49 find 2003, plastic, fluorescent / 50 „talisman“: silver, painted, empty
. 51 „talisman“: silver, electroforming, painted white, empty.. Alessandra Pizzini
Piece: Sammlung 7
Mixed media


Alessandra, Pizzini
Pieces: Sammlung 7
Mixed media
46 gift 1982, relic casket, brass, fabric
47 hair 2009
48 tooth 2001
49 find 2003, plastic, fluorescent / 50 „talisman“: silver, painted, empty
51 „talisman“: silver, electroforming, painted white, empty.

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Alessandra Pizzini. Piece: Sammlung 11. Mixed media. Alessandra, PizziniPieces: Sammlung 11Mixed media37 brooch, „black“: plastic, silver, rapid prototyping 
. 38 find 2013: paper, gold
. 39 find 1988: fake pearls, metal
. 40 find 2013: plastic, metal, glass
. 41 necklace „Afterwards“: rosin, aluminium. Alessandra Pizzini
Piece: Sammlung 11
Mixed media


Alessandra, Pizzini
Pieces: Sammlung 11
Mixed media
37 brooch, „black“: plastic, silver, rapid prototyping
38 find 2013: paper, gold
39 find 1988: fake pearls, metal
40 find 2013: plastic, metal, glass
41 necklace „Afterwards“: rosin, aluminium

© By the author. Read Klimt02.net Copyright.
Johanna Zellmer. Photograph: At the jewellers bench, 2008. Mixed media. Saw piercing 10DM coin commemorating the 50th anniversary of 20 July 1944, 
. titled “Resistance against National socialism”, minted 6th July 1994, silver 625/000
. coin Ø 36mm
. Photo Credits: Heeyoung Youn. Johanna Zellmer
Photograph: At the jewellers bench, 2008
Mixed media
Saw piercing 10DM coin commemorating the 50th anniversary of 20 July 1944,
titled “Resistance against National socialism”, minted 6th July 1994, silver 625/000
coin Ø 36mm
Photo Credits: Heeyoung Youn

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Johanna Zellmer. Piece: Coin eagles in the process of transformation, 2011. Saw pierced, forged and drilled, silver 625/000. 7 x 5 cm. Photo Credits: Johanna Zellmer. Johanna Zellmer
Piece: Coin eagles in the process of transformation, 2011
Saw pierced, forged and drilled, silver 625/000
7 x 5 cm
Photo Credits: Johanna Zellmer
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During interview, Dunedin 2012
. Photo Credits: Chris Reid.
During interview, Dunedin 2012
Photo Credits: Chris Reid

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Johanna Zellmer. Piece: Passport prototype, 2011. Paper, silver. 10,5 x 13,5 x 0,5 cm. With 10DM coin commemorating the 150th anniversary of the order Pour le Mérite titled “Kinship of Scholars and
. Artists”, minted 9th December 1992; hole punched and saw pierced
. Photo Credits: Johanna Zellmer. Johanna Zellmer
Piece: Passport prototype, 2011
Paper, silver
10,5 x 13,5 x 0,5 cm
With 10DM coin commemorating the 150th anniversary of the order Pour le Mérite titled “Kinship of Scholars and
Artists”, minted 9th December 1992; hole punched and saw pierced
Photo Credits: Johanna Zellmer

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Johanna Zellmer. Piece: Jewellery-aid in ear, 2012. Forged, drilled and assembled; silver, plastic tubing. 7 x 10 cm. Photo Credits: Chris Reid. Johanna Zellmer
Piece: Jewellery-aid in ear, 2012
Forged, drilled and assembled; silver, plastic tubing
7 x 10 cm
Photo Credits: Chris Reid
© By the author. Read Klimt02.net Copyright.
Johanna Zellmer. Photograph: Measuring ear to fit jewellery aid, 2012. Photo Credits: Chris Reid. Johanna Zellmer
Photograph: Measuring ear to fit jewellery aid, 2012
Photo Credits: Chris Reid
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Johanna Zellmer. Piece: Signs in the state of change, 2013. Giclée print with jewellery aid and passport; archival satin fine art paper, aluminium , silver and plastic tubing. 52 x 39 x 45 cm. Photo Credits: Chris Reid. Johanna Zellmer
Piece: Signs in the state of change, 2013
Giclée print with jewellery aid and passport; archival satin fine art paper, aluminium , silver and plastic tubing
52 x 39 x 45 cm
Photo Credits: Chris Reid
© By the author. Read Klimt02.net Copyright.
Beate Eismann. Pendant: Piece of Writing II, 2012. Metal cliché, enamelled copper plate, faceted glass stones, wood, tombac, silver, fine rope. 18,8 x 6,2 x 1,3 cm. Beate Eismann
Pendant: Piece of Writing II, 2012
Metal cliché, enamelled copper plate, faceted glass stones, wood, tombac, silver, fine rope
18,8 x 6,2 x 1,3 cm
© By the author. Read Klimt02.net Copyright.
Beate Eismann. Neckpiece: Moral Balance, 2012. Aluminium moulding of two printing masters from the Museum of the Printing Arts Leipzig, printed wood, silver, linen thread. 12,6 x 9,9 x 0,7 cm. Beate Eismann
Neckpiece: Moral Balance, 2012
Aluminium moulding of two printing masters from the Museum of the Printing Arts Leipzig, printed wood, silver, linen thread
12,6 x 9,9 x 0,7 cm
© By the author. Read Klimt02.net Copyright.
Beate Eismann. Neckpiece: PRINTED MATTER, 2011. Synthetic material, dyed, painted, blackened silver. 20 cm long each. Beate Eismann
Neckpiece: PRINTED MATTER, 2011
Synthetic material, dyed, painted, blackened silver
20 cm long each
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Beate Eismann. Brooch: Hare Hunt, 2012. Metal cliché, anodised aluminium moulding of the metal cliché, red gold wire, silver, wood. 9,2 x 7,9 x 0,7 cm. Beate Eismann
Brooch: Hare Hunt, 2012
Metal cliché, anodised aluminium moulding of the metal cliché, red gold wire, silver, wood
9,2 x 7,9 x 0,7 cm
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Beate Eismann. Piece: CON_TAINER I” and “CON_TAINER IV”, 2011. Enlarged positive and negative shapes of metal clichés as relief Synthetic material, silver plated, patinated 197 x 148 x 17 mm and 250 x 145 x 29 mm. 19,7 x 14,8 x 1,7 cm and 25 x 14,5 x 2,9 cm. Beate Eismann
Piece: CON_TAINER I” and “CON_TAINER IV”, 2011
Enlarged positive and negative shapes of metal clichés as relief Synthetic material, silver plated, patinated 197 x 148 x 17 mm and 250 x 145 x 29 mm
19,7 x 14,8 x 1,7 cm and 25 x 14,5 x 2,9 cm
© By the author. Read Klimt02.net Copyright.
Beate Eismann. Piece: CON_TAINER II, 2011. Enlarged positive and negative shapes of metal clichés as relief, Synthetic material, silver plated, patinated. 20 x 16 x 1,3 cm. Beate Eismann
Piece: CON_TAINER II, 2011
Enlarged positive and negative shapes of metal clichés as relief, Synthetic material, silver plated, patinated
20 x 16 x 1,3 cm
© By the author. Read Klimt02.net Copyright.
Beate Eismann. Pendant: PRINTED MATTER, 2011. Enlarged positive and negative shapes of metal clichés as relief Synthetic material, silver plated, patinated, silver, glass beads, fine rope. 19 x 7,5 x 1,1 cm and 18 x 8,5 x 1,1 cm. Beate Eismann
Pendant: PRINTED MATTER, 2011
Enlarged positive and negative shapes of metal clichés as relief Synthetic material, silver plated, patinated, silver, glass beads, fine rope
19 x 7,5 x 1,1 cm and 18 x 8,5 x 1,1 cm
© By the author. Read Klimt02.net Copyright.
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