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Think Twice: New Latin American Jewellery

Exhibition  /  13 Oct 2010  -  08 Jan 2011
Published: 17.08.2010
Museum of Arts and Design of new York
Management:
Holly Hotchner
Helena Biermann Angel. Brooch: Hit the Road, 2007. Nickel wire, silver, flexible magnet, pain, insects, blood, seeds. Piece for section A Flair for Invention. Helena Biermann Angel
Brooch: Hit the Road, 2007
Nickel wire, silver, flexible magnet, pain, insects, blood, seeds
Piece for section A Flair for Invention
© By the author. Read Klimt02.net Copyright.

Intro
(...) Think Twice: New Latin American Jewelry, presented by the Museum of Arts and Design from, will feature unique work by nearly 80 jewelry makers, representing over 20 Latin American countries. Think Twice aims to bring the audience a clear picture of the landscape of contemporary jewellery in Latin America and its development in the last 10 years, showing the way in which visual artists and jewellery makers born or living in Latin America view and relate, through jewellery, to such a vast and diverse continent.  (...)
Think Twice: New Latin American Jewelry Showcases Contemporary Jewelry From The Region For The First Time In a U.S. Museum 

Think Twice: New Latin American Jewelry, presented by the Museum of Arts and Design from October 12, 2010 through January 8, 2011, will feature unique work by nearly 60 jewelry makers, representing over 20 Latin American countries. Among the artists included are the Brazilians Mirla Fernandes, Dionea Rocha Watt, and Claudia Cucchi; Valentina Rosenthal and Walka Studio from Chile; the Argentinians Elisa Gulminelli, Francisca Kweitel, and Silvina Romero; Jorge Manilla, Martacarmela Sotelo and Eduardo Graue from Mexico; and Miguel Luciano from Puerto Rico. 

The show has been guest-curated by the Netherlands-based, Mexican-born architect and historian Valeria Vallarta Siemelink. 

Objects of adornment have played a significant cultural role throughout Latin America’s history, from the spiritually potent jewelry of the pre-Columbians to the eye-catching ornaments worn by Mexican drug gangs to advertise their status and menace. Now a new generation of jewelry makers working outside the field’s conventions are examining how this complex relationship with physical adornment evolved--and why. 

Think Twice aims to bring the audience a clear picture of the landscape of contemporary jewellery in Latin America and its development in the last 10 years, showing the way in which visual artists and jewellery makers born or living in Latin America view and relate, through jewellery, to such a vast and diverse continent. 

The exhibition, conceived by Otro Diseño, is born out of a passion for jewellery as a medium of personal and cultural expression and of the conviction that the fresh, intense and highly creative work of Latin American jewellery makers outstandingly represents and nurtures the culture they live in and therefore greatly enriches and diversifies the international landscape of contemporary jewellery.

“The new Latin American jewelry must be appreciated for what it is. One shouldn’t impose stereotypes or resort to clichés,” says guest-curator Valeria Vallarta Siemelink. “Far from being an imported concept from the West, jewelry-as-art in Latin America is very much a product of the region’s history and its diverse and dynamic modern societies.” 

“This is a very special show,” adds Ursula Neuman, MAD’s jewelry curator. “This jewelry is virtually unknown in the United States. The artists’ realize their sophisticated concepts through intriguing choices of materials and techniques, creating unique works that present a fascinating amalgam of indigenous cultural elements and the latest trends in international contemporary jewelry design.

” To bring clarity to Latin America’s complex culture and history, the exhibition is organized around three themes, addressing the region’s past, its unique fusion of ethnic influences, and its ever-changing socio-political realities. 

History, Memory, Tradition
The tension between tradition and modernity is crucial to Latin American history. Heritage and memory, both personal and collective, are among the subjects expressed by these artists through pre-Columbian and colonial jewelry methods and traditional craft techniques. Take the Colombian Mariana Shuk. She has made a series of rings using traditional ring shanks ordered from mega-jewelry suppliers. She creates a ring by interlacing two identical shanks. Its shape determines which techniques—stone setting, enameling, filigree—she will employ to customize it in the Colombian colonial style. The process has produced a perplexing assortment of rings that confronts past and present, value and insignificance. By contrast, another Columbian artist, Linda Sanchez, creates her jewelry pieces by employing weaving techniques that have been used by an Amazonian tribe since ancient times. 

A Flair for Invention
The artists in this section are some of the boldest jewelry makers anywhere. Skilled at improvisation, they make brilliant use of a rich variety of native materials along with such everyday objects as balloons and drawer handles. A spontaneous attitude and a contrary vision are central to their daring approach. The Mexican Andres Quiñones can make an exquisite choker from sticks of bamboo, a few broken guitar strings, a handful of freshwater pearls and silver wire, all of the materials collected from garbage dumpsters in Mexico City. Colombian Helena Biremann presents Hit the Road, a series of brooches that collect the insects stuck to a car in its 286 km trip from Munchen, Germany to Domaslav, Czech Republic. 

Forging Identity: Latin America as a Source of Inspiration 
These jewelry makers are creating an individualistic language, expressive of who they are and where they come from. Art, religion, money, violence, tradition, family, gender are among the themes that define their lives, uniting their collective and individual identities. Foreign-born artists, who are somehow bound up with Latin America or have had a profound impact upon it, are included in this section. Alcides Fortes, for example, was born in Cape Verde, trained as a gold and silversmith in the Netherlands, and today lives and works in Mexico. He specializes in politically charged jewelry, creating such works as a necklace made out of the porcelain portraits recovered from the graves of a family killed in the Mexican revolution. The piece reveals both an admiration for Mexico’s culture and history as well as a loathing of its corruption, economic disparities, and veiled racism. By transforming the common objects of his native land into fetishized commodities, Miguel Luciano examines how American consumerism has affected Puerto Rican culture. Plantainum, for example, is a series of necklaces and pendants featuring a platinum-covered plantain. The shell is seductive and pristine, but underneath the fruit is rotting. 

Figurative and abstract, conceptual and symbolic, traditional and experimental, contemporary Latin American jewelry is tremendously varied, and it is this diversity that enables it to communicate its ethnicity and to transcend it. 

Remarks

About the Think Twice curator

Valeria Vallarta Siemelink holds a BA in Architecture at the National University in Mexico City. She studied Exhibitions Design as a postgraduate at the National Institute of Anthropology and History, carrying out her fieldwork in various archaeological museums of the state of Veracrúz, México. She holds an MA in Museum Studies by the Reinwardt Academy in Amsterdam. She holds diplomas in Art History, Cultural Management and Latin American studies.

Ms. Vallarta Siemelink has worked as an independent curator since 1994, after being awarded with the Funding Program for Cultural Projects and Joint Ventures by the National Endowment for the Arts and Culture to organize Sin Los Privilegios de la Vista, the first collective Latin American art exhibition for the visually challenged public. Since then, she has developed various exhibition projects for Mexican museums such as the National Museum of Art, Museum of Modern Art, Museum Carrillo Gil, Museum Rufino Tamayo, Museum Dolores Olemdo, among others.

In 2005 she co-founds Otro Diseño and in co-operation with the Latin American Design Foundation, organized two editions of the Latin American Design Biennale in Amsterdam, the Netherlands. Living in the Netherlands since that year, Ms. Siemelink Vallarta has curated and co-organized exhibitions like Wlaking the Gray Area, Ultrabarroco, Martyrs Everywhere, Southern Divas, Extremely White and Reinvented South, among others. At the head of Otro Diseno, she organized the successful Gray Area Symposium Mexico 2010, that included a five day symposium and thirteen international jewellery exhibitions in Mexico City.


The exhibition’s next venue will be the Bellevue Museum of Arts, Seattle, WA, USA.

15th May to 15th October 2011
Bellevue Arts Museum
Seattle, Washington
www.bellevuearts.org

Dionea Rocha Watt. Pendant: Protection Locket, 2006. Silver, human hair. 3.1  x  5.5 cm. Piece for section History, Memory, Tradition. Dionea Rocha Watt
Pendant: Protection Locket, 2006
Silver, human hair
3.1 x 5.5 cm
Piece for section History, Memory, Tradition
© By the author. Read Klimt02.net Copyright.
Lucia Abdenur. Object: Green Relicary, 2007. Glass, silver, pigment. Ø 7 cm. Piece for section History, Memory, Tradition. Lucia Abdenur
Object: Green Relicary, 2007
Glass, silver, pigment
Ø 7 cm
Piece for section History, Memory, Tradition
© By the author. Read Klimt02.net Copyright.
Ximena Briceno. Brooch: Pebbles on the Shore of Eternity, 2010. Titanium. 8.5 x 4 x 10 cm. Piece for section History, Memory, Tradition. Ximena Briceno
Brooch: Pebbles on the Shore of Eternity, 2010
Titanium
8.5 x 4 x 10 cm
Piece for section History, Memory, Tradition
© By the author. Read Klimt02.net Copyright.
Hugo Celi. Pendant: Relicary, 2010. Silver, gold, human bone, velvet, reclaimed wooden box. 9 x 4 cm. Piece for section History, Memory, Tradition. Hugo Celi
Pendant: Relicary, 2010
Silver, gold, human bone, velvet, reclaimed wooden box
9 x 4 cm
Piece for section History, Memory, Tradition
© By the author. Read Klimt02.net Copyright.
Carlos Martiel. Piece: Fuego, 2008. Photograph and hand object. Piece for section History, Memory, Tradition. Carlos Martiel
Piece: Fuego, 2008
Photograph and hand object
Piece for section History, Memory, Tradition
© By the author. Read Klimt02.net Copyright.
Mariana Shuk. Ring: El Reverso de la Historia I, 2009. Silver, enamel. Piece for section History, Memory, Tradition. Mariana Shuk
Ring: El Reverso de la Historia I, 2009
Silver, enamel
Piece for section History, Memory, Tradition
© By the author. Read Klimt02.net Copyright.
Martacarmela Sotelo. Necklace: Roots, 2010. Cactus plant fiber, nylon coated wire. Ø 82 cm. Piece for section A Flair for Invention. Martacarmela Sotelo
Necklace: Roots, 2010
Cactus plant fiber, nylon coated wire
Ø 82 cm
Piece for section A Flair for Invention
© By the author. Read Klimt02.net Copyright.
Kika Alvernaga. Ring: Gambiarra V, 2009. Silver, black gold, Brazilian black tourmaline, resin. 2,2 x 5.5 cm. Piece for section A Flair for Invention. Kika Alvernaga
Ring: Gambiarra V, 2009
Silver, black gold, Brazilian black tourmaline, resin
2,2 x 5.5 cm
Piece for section A Flair for Invention
© By the author. Read Klimt02.net Copyright.
Leda Daverio. Brooch: Nest, 2010. Silver, nickel silver, earth, lemon verbena, plastic, nylon, steel. Ø 5.6 cm. Piece for section A Flair for Invention. Leda Daverio
Brooch: Nest, 2010
Silver, nickel silver, earth, lemon verbena, plastic, nylon, steel
Ø 5.6 cm
Piece for section A Flair for Invention
© By the author. Read Klimt02.net Copyright.
Laura de Alba. Necklace: Love Handles, 2001. Recovered drawer handles, yarn. Ø 22 cm. Piece for section A Flair for Invention. Laura de Alba
Necklace: Love Handles, 2001
Recovered drawer handles, yarn
Ø 22 cm
Piece for section A Flair for Invention
© By the author. Read Klimt02.net Copyright.
Laura Alvarado. Brooch: Eva Jewells, 2010. EVA Foam, tin plate. Ø 8 cm. Laura Alvarado
Brooch: Eva Jewells, 2010
EVA Foam, tin plate
Ø 8 cm
© By the author. Read Klimt02.net Copyright.
Udi Lagallina. Brooch: Maria, 2009. Textile, fresh water pearls, steel. 13 x 14 x 5 cm. Piece for section A Flair for Invention. Udi Lagallina
Brooch: Maria, 2009
Textile, fresh water pearls, steel
13 x 14 x 5 cm
Piece for section A Flair for Invention
© By the author. Read Klimt02.net Copyright.
Jorge Castañón. Brooch: La Caja Amarilla, 2009. Reclaimed Wood, gold. 6.2 x 5.1 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Jorge Castañón
Brooch: La Caja Amarilla, 2009
Reclaimed Wood, gold
6.2 x 5.1 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
Alcides Fortes. Necklace: Olvidos de la Revolucion, 2007. Silver,  photographic images recovered from tombstones, porcelain, copper. Ø 28 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Alcides Fortes
Necklace: Olvidos de la Revolucion, 2007
Silver, photographic images recovered from tombstones, porcelain, copper
Ø 28 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
Raquel Paiewonsky. Photograph: Mutacion, 2006. Diasecprint, acrylic. 138 x 90 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Raquel Paiewonsky
Photograph: Mutacion, 2006
Diasecprint, acrylic
138 x 90 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
Elisa Gluminelli. Brooch: Inflacion, 2003. Bills, coin, silver, copper. 9 x 9 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Elisa Gluminelli
Brooch: Inflacion, 2003
Bills, coin, silver, copper
9 x 9 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
Telma Aviani. Neckpiece: Apito, 2010. Wooden whistle, recovered  feathers and wood stick from indigenous craft, cotton. 5 x 30 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Telma Aviani
Neckpiece: Apito, 2010
Wooden whistle, recovered feathers and wood stick from indigenous craft, cotton
5 x 30 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
Marie Pendaries. Necklace: Bucle d’Or, 2008. Human hair, gold, glass box. Ø 16 x 11 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Marie Pendaries
Necklace: Bucle d’Or, 2008
Human hair, gold, glass box
Ø 16 x 11 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
Miguel Luciano. Photograph: Platano Pride, 2006. Chromogenic print. 76.2 x 101 cm. Piece for section Forging Identity: Latin America as a Source of Inspiration. Miguel Luciano
Photograph: Platano Pride, 2006
Chromogenic print
76.2 x 101 cm
Piece for section Forging Identity: Latin America as a Source of Inspiration
© By the author. Read Klimt02.net Copyright.
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