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Schmuckismus

Exhibition  /  Klimt02MemberAtMJW2019   MunichJewelleryWeek2019  /  16 Mar 2019  -  16 Jun 2019
Published: 29.01.2019
Petra Zimmermann. Brooch: Important Meeting, 2003. Polymethyl methacrylate; rhinestones; gold leaf; silver, blackened.. 10 x 11 x 1.8 cm. Photo by: Petra Zimmermann. Petra Zimmermann
Brooch: Important Meeting, 2003
Polymethyl methacrylate; rhinestones; gold leaf; silver, blackened.
10 x 11 x 1.8 cm
Photo by: Petra Zimmermann
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Intro
In 2019, Die Neue Sammlung is inviting Karen Pontoppidan, the renowned Danish jewelry artist and Professor of the Jewelry and Hollowware Class at Akademie der Bildenden Künste München, to curate the annual jewelry exhibition at Pinakothek der Moderne.

Artist list

Tobias Alm, Yasar Aydin, Dovile Bernadisiute, Beatrice Brovia, Carla Castiajo, Nicolas Cheng, Eunmi Chun, Shachar Cohn, Iris Eichenberg, Carolina Gimeno, Dana Hakim, Hanna Hedman, Stefan Heuser, Mari Iwamoto, Hannah Joris, Sana Khalil, Merlin Klein, Göran Kling, Nadine Kuffner, Benjamin Lignel, Sanna Lindberg, Jasmin Matzakow, Nanna Melland, Nicola Scholz, Katrin Spranger, Gisbert Stach, Vivi Touloumidi, Tarja Tuupanen, Jing Yang, Petra Zimmermann
A selection of works by 30 international jewelry artists under the Pinakothek’s glass dome. Included are works from recent years, as well as one piece by each artist designed and produced especially for the exhibition. All the objects on show share and stand out for their engagement with and exploration of social phenomena. Pontoppidan’s concept was born out of the deep conviction that the rigid political and religious “–isms” of our day require careful review. 

The origins of jewelry go hand in hand with the onset of the earliest civilizations. Anthropologists often describe the origins of jewelry as a marker for belonging to a specific group as against other possible communities, and at the same time as something that identifies an individual position within membership of a particular social group. In both cases, the art of adorning oneself can be described as political as it constitutes an expression of fundamental social structures. 
Nowadays jewelry is often described as an individual expression of personality. Jewelry is thus ascribed to the private sphere, instead of being read as an important cultural badge. Yet at the very latest with the emergence of queer and gender theories it has become clear that the way individuals present themselves can no longer be read as an individual expression of personality. Scientists point out that in our everyday lives normative structures of thinking regulate the spectrum within which humans adorn themselves. The right to a “queer” look is then not something individual but a political issue and at least partially a hard-won one. It is precisely this discrepancy between jewelry often being perceived as private and yet its function as a social symbol that makes jewelry a wonderful form of expression for formulating critical thought. Throughout its history, jewelry has time and again served to describe social structures. This fact has conversely given rise to work that emphasizes jewelry’s potential for critical discourse. 

The last 50 years in the history of studio jewelry has seen many works that formulate critical approaches, for example to specific value systems. Most of these objects are rooted in a discourse that is part of a critical study of jewelry traditions. In recent years, a further approach can be discerned in jewelry. In the contemporary works of a young generation of artists, jewelry has for the most part extricated itself from the clutches of self-reflection. Instead, it is used directly as an instrument for social discourse. Topics such as ecology, consumer society or feminism are addressed directly through the medium of jewelry. More restrained jewelry practices also exist, which nevertheless focus on topics that are no less relevant – such as questions of identity formation or the status quo of being human in the 21st century. 
The latest approach that can be observed in expression through 
jewelry consists often of relying on the cultural significance of the materials used as the paramount quotation within the pieces. Another path lies in questioning how handcrafts are seen as well as their social value, or in challenging the suggestion that each piece must possess so-called good form.
/ Karen Pontoppidan 


A catalogue spanning approximately 160 pages will be issued by Arnoldsche Art Publishers on the occasion of the exhibition and will include contributions by Hanne Loreck, Angelika Nollert, and Karen Pontoppidan, with a book design by Yvonne Quirmbach. Our thanks goes to the participating jewelry artists.
 

Opening

March 15th, 2019, 7 p.m.
Tobias Alm. Brooch: Châtelaine no 14 – Hammer or Flashlight Holder, 2017. Leather; silver, gilded; ruby; steel.. 9 x 9 x 5 cm. Tobias Alm
Brooch: Châtelaine no 14 – Hammer or Flashlight Holder, 2017
Leather; silver, gilded; ruby; steel.
9 x 9 x 5 cm
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Iris Eichenberg. Necklace: Years later, 2009. Nylons, mirror, silver.. 11 x 3 x 4 cm. Photo by: Travis Rozee. Iris Eichenberg
Necklace: Years later, 2009
Nylons, mirror, silver.
11 x 3 x 4 cm
Photo by: Travis Rozee
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Shachar Cohen. Brooch: From the series: Rated R, 2018. Stainless steel.. Photo by: Mirei Takeuchi. Courtesy Galerie Rob Koudijs.. Shachar Cohen
Brooch: From the series: Rated R, 2018
Stainless steel.
Photo by: Mirei Takeuchi
Courtesy Galerie Rob Koudijs.
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Hanna Hedman. Necklace: From the series: While they await extinction, 2011. Silver, partly oxidized; copper, powder-coated; paint.. 40 x 18.5 x 7 cm. Photo by: Sanna Lindberg. Hanna Hedman
Necklace: From the series: While they await extinction, 2011
Silver, partly oxidized; copper, powder-coated; paint.
40 x 18.5 x 7 cm
Photo by: Sanna Lindberg
© By the author. Read Klimt02.net Copyright.
Stefan Heuser. Brooch: Ein Meister Der Selbstbeherrschung Erzählt – Ein Selbstporträt, 2011. 500 sleeping pills, gold (needle), steel.. 12 x 13 x 5 cm. Photo by: Mirei Takeuchi. Stefan Heuser
Brooch: Ein Meister Der Selbstbeherrschung Erzählt – Ein Selbstporträt, 2011
500 sleeping pills, gold (needle), steel.
12 x 13 x 5 cm
Photo by: Mirei Takeuchi
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Mari Iwamoto. Brooch: Ungefähr Stern, 2018. Bread, gold leaf.. 12 x 12 x 3 cm. Photo by: Mirei Takeuchi. Mari Iwamoto
Brooch: Ungefähr Stern, 2018
Bread, gold leaf.
12 x 12 x 3 cm
Photo by: Mirei Takeuchi
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Göran Kling. Bracelet: Replica One, 2010. Brass, gilded; stainless steel.. 6 x 6 x 3.8 cm. Photo by: Göran Kling. Göran Kling
Bracelet: Replica One, 2010
Brass, gilded; stainless steel.
6 x 6 x 3.8 cm
Photo by: Göran Kling
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Nanna Melland. Necklace: 687 Years, 2006. Copper, iron, plastic.. 71 x 17 cm. Photo by: Mirei Takeuchi. Part of: Nordenfjeldske Kunstindustrimuseum. Nanna Melland
Necklace: 687 Years, 2006
Copper, iron, plastic.
71 x 17 cm
Photo by: Mirei Takeuchi
Part of: Nordenfjeldske Kunstindustrimuseum
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Vivi Touloumidi. Brooch: Untitled, 2013-2015. Volcanic pumice stone, stainless steel.. Photo by: Vivi Touloumidi. From series: What will Kosmos say?. Vivi Touloumidi
Brooch: Untitled, 2013-2015
Volcanic pumice stone, stainless steel.
Photo by: Vivi Touloumidi
From series: What will Kosmos say?
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Tarja Tuupanen. Brooch: Untitled, 2013. Ready-made marble tableware, brass.. 16 x 6 x 1 cm. Photo by: Lassi Rinno. From series: Notions of skill. Tarja Tuupanen
Brooch: Untitled, 2013
Ready-made marble tableware, brass.
16 x 6 x 1 cm
Photo by: Lassi Rinno
From series: Notions of skill
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Jing Yang. Necklace: Ich bin keine Vase, 2017. Brass, cotton.. 10 x 16 x 76 cm. Photo by: Jing Yang. Jing Yang
Necklace: Ich bin keine Vase, 2017
Brass, cotton.
10 x 16 x 76 cm
Photo by: Jing Yang
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