Back

Un peu de terre sur la peau

Exhibition  /  15 Mar 2012  -  19 Aug 2012
Published: 24.02.2012
Musée des Arts Décoratifs
Place
107, rue de Rivoli
75001 -  Paris
FRANCE
Mail:
Dominique.ForestE-maillesartsdecoratifs.fr
Phone:
+33 (0)1 44 55 57 50
Management:
Dominique Forest
.

© By the author. Read Klimt02.net Copyright.

Intro
Curated by Monica Brugger the exhibition Un peu de terre sur la peau - A Bit of Clay on the Skin - shows contemporary ceramic jewellery by 18 international artists.

Artist list

Yasar Aydin, Sweden, Carole Deltenre, France , Willemijn de Greef,  The Netherlands, Andi Gut, Switzerland, Gésine Hackenberg, Germany, Peter Hoogeboom, The Netherlands, Rian de Jong, The Netherlands, Manon van Kouswijk, The Netherlands, Natalie Luder, Switzerland, Evert Nijland, The Netherlands, Ted Noten, The Netherlands, Marie Pendariès, France, Katja Prins, The Netherlands, Tiina Rajakallio, Finland, Terhi Tolvanen, Finland, Luzia Vogt, Switzerland, Shu-lin Wu, Taïwan, Christoph Zellweger, Switzerland.
Unlike traditional jewellery, the traditional craft of the goldsmith, since the 1970s contemporary jewellery has become a field of experimentation at the frontiers of art, design and the artistic crafts. In this exhibition, eighteen French, Swiss, German, Finnish, Swedish and Taiwanese, artists are proposing a new and personal vision in their work. Although some pieces were conceived in reference to the history of jewellery, they can be made with the most diverse materials, using every possible assemblage process, in function of the techniques, symbols and the culture during a given period. This exhibition, conceived by the Fondation Bernardaud, is being shown in the museum’s Contemporary Space.

The exhibition is curated by Monika Brugger.

Dates and price

Opening hours:
- Tuesdays to Sundays from 11 a.m. to 6 p.m.
- It is open until 9 p.m. on Thursdays.
- Closed on Mondays.

Remarks

Un peu de terre sur la peau
While traditional jewellery is linked with precious metal craftwork of the applied arts, since the 1970’s contemporary jewellery has become a field of experimentation in new arenas of art, design and artisanal creation. Through the works of the 18 international artists (French, Swiss, German, Finnish, Dutch, Swedish and Taïwanese) we are offered a revitalized and personal vision. Certain pieces in the exhibit reference the history of the arts and traditions associated with jewellery while others totally reinvent their place, significance and materials. 

Jewellery has always played a role as a gauge of social status within a group as well as a means of differentiation or protest of the social order. Jewellery is the singular personal ornament worn against the skin that evokes a connection between human beings and the natural world. As this exhibition will demonstrate, as have others in the history of jewellery, body ornaments can be created with diverse materials and possibilities of assembly depending on the techniques, symbols and prevailing culture at a given time. While the Egyptians produced seal rings from faience, and the Greeks and Romans gilded terra cotta to imitate gold during ancient times, the use of ceramics in the fabrication of jewellery was abandoned and forgotten for centuries. The resurgence of ceramics occurred in 1773 when Joshiah Wedgwood of England invents a fine stoneware paste with strata of colors that perfectly resemble jasper used to produce neoclassic or romantic cameo-like subjects. 

Today it is the Dutch designer Peter Hoogeboom who, since 1994, has distinguished himself through the innovative incorporation of stoneware and porcelain with jewellery. This notable revival led to an admirable initiative by the European Keramiek Work Centre in the Netherlands (EKWC). The EKWC extended artist-inresidency offers to a number of contemporary precious metal-crafters that would allow them to explore the possibilities of incorporating ceramics in the creation of jewellery. Among the array of ceramic materials available today, some artists prefer porcelain when making jewellery. Porcelain can be modeled or cast, used alone or in combination with metal, wood or stone. It can vary in appearance, color and texture. Smooth and pure, fragile yet highly resistant, porcelain adopts any shape on the condition that one is cognizant of the techniques and constraints - particularly the one linked to its significant shrinkage during firing. Still associated in our collective consciousness with tableware or clinical applications as a scientific material, porcelain can today become an object of desire: a catalyst of visual and physical sensations adapting to the conceptual and poetic demands of contemporary jewellery. As evidenced with A Bit on Clay on the Skin.

Monika Brugger, exhibition curator
Yasar Aydin. Necklace: Let me, 2008. porcelain, silicone. 15x25 cm. Photo by: Yasar Aydin. Yasar Aydin
Necklace: Let me, 2008
porcelain, silicone
15x25 cm
Photo by: Yasar Aydin
© By the author. Read Klimt02.net Copyright.
Carole Deltenre. Brooch: Nymphes, 2007-2009. Porcelain, silver. 3 to 10 cm. Photo by: Carole Deltenre. Carole Deltenre
Brooch: Nymphes, 2007-2009
Porcelain, silver
3 to 10 cm
Photo by: Carole Deltenre
© By the author. Read Klimt02.net Copyright.
Willemijn de Greef. Necklace: Spakenburg, 2009. stoneware, hemp rope. 69.5x34.5x2.5 cm. Photo by: Frans Kup
. From the serie : Zuiderzeewerken II. Willemijn de Greef
Necklace: Spakenburg, 2009
stoneware, hemp rope
69.5x34.5x2.5 cm
Photo by: Frans Kup
From the serie : Zuiderzeewerken II
© By the author. Read Klimt02.net Copyright.
Peter Hoogeboom. Necklace: Spanish Collar, 1995. Ceramic, silver. 63x7x2 cm. Photo by: Henni van Beek
. From the serie : Handle with care. Peter Hoogeboom
Necklace: Spanish Collar, 1995
Ceramic, silver
63x7x2 cm
Photo by: Henni van Beek
From the serie : Handle with care
© By the author. Read Klimt02.net Copyright.
Natalie Luder. Object: Breakfast at Tiffany’s. Stoneware, brass goldplated, textile, wood. 80x80x30 cm. Natalie, LuderObject: Breakfast at Tiffany’sStoneware, brass goldplated, textile, wood80x80x30 cmPhoto by: Anaïs Bucher. Natalie Luder
Object: Breakfast at Tiffany’s
Stoneware, brass goldplated, textile, wood
80x80x30 cm


Natalie, Luder
Object: Breakfast at Tiffany’s
Stoneware, brass goldplated, textile, wood
80x80x30 cm
Photo by: Anaïs Bucher
© By the author. Read Klimt02.net Copyright.
Ted Noten. Pendant: Wearable gold 2, 2000. Porcelain, 24kt lustered gold, 18kt gold-plated. big: 46x20.5x2 | middle: 42x14.5x2 | small: 38x15x. Photo by: ATN, Atelier Ted Noten. Ted Noten
Pendant: Wearable gold 2, 2000
Porcelain, 24kt lustered gold, 18kt gold-plated
big: 46x20.5x2 | middle: 42x14.5x2 | small: 38x15x
Photo by: ATN, Atelier Ted Noten
© By the author. Read Klimt02.net Copyright.
Marie Pendariès. Installation: La dot, 2008. Photography, 28 porcelain pieces. various dimensions | detail. Photo by: Marie Pendariès. Marie Pendariès
Installation: La dot, 2008
Photography, 28 porcelain pieces
various dimensions | detail
Photo by: Marie Pendariès
© By the author. Read Klimt02.net Copyright.
Terhi Tolvanen. Necklace: Zig Zag, 2007. Porcelain, silver. ø18 cm. Photo by: Francis Willemstijn
. From the serie : Woodland. Terhi Tolvanen
Necklace: Zig Zag, 2007
Porcelain, silver
ø18 cm
Photo by: Francis Willemstijn
From the serie : Woodland
© By the author. Read Klimt02.net Copyright.
Luzia Vogt. Ring: Flüchtige Momente, since 2006. Porcelain, silver. 3.2 to 4.8 cm high. Photo by: Luzia Vogt. Luzia Vogt
Ring: Flüchtige Momente, since 2006
Porcelain, silver
3.2 to 4.8 cm high
Photo by: Luzia Vogt
© By the author. Read Klimt02.net Copyright.
Appreciate APPRECIATE