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Amsterdam

10/31/2018

Rob Koudijs Galerie - Room for new Jewellery
on show were two exhibits the first being
Paul Adies work Grounded.
The works were brilliant and had a gritty and industrial presence. These large frame like brooches were occupied with cylindrical and box like structures that seem to have clambered and clumped into place evident solder joins add to the feeling of the work being inside out. The work is really large much larger than I had imagined, this is something I keep encountering, Because the jewellery in publications and on social media are more often that not photographed off the body ,so it is a whole new experience seeing these works in the flesh.
Rob Koudijs was really lovely, talkative and helpful speaking with admiration about Adies work which was displayed in the galleries front room.
Mr Koudijs talked about the concept of trade fairs and the way the network connections may be strengthened for newer galleries. As time has gone on gallery like this can choose where to spend energy. Shmuck events in Munich are something worthwhile visiting. but for participation a small gallery from New Zealand will benefit from networks also closer to home and Radiant Pavillion could be a very good starting point. As for selection of Artists work success is in consistancy and quality of work but also work that is uniqueness. Supporting both young talent and very well established artists

Also on show was Mother the work of Jiro Kamata. These exquisite brooches are made from geometric forms which are carefully covered in precisely cut facets of mother of pearl shell. The work was developed through a careful project where the artist responds to a video found by chance on you tube, where woman of all ages respond to the word Mother with a single word
such as blessing. these works are engraved in reverse on the back of each brooch and are cleverly reflected back to the viewer in the glass top of the display cabinet.

The gallery boasts a busy exhibition schedule and great stable of artists including Helen Britton, Beppe Kessler and Octavia Cook and many more excellent makers
Koudijs Gallery also has publications for purchase some of which the gallery publishes itself. and additions to my collection are

Galerie Rob Koudijs 5 year Jubilee magazine
Terhi Tolvanen- Re-inventing nature (this book is beautiful)
Helen Britton -interstices

Galerie Ra,
On arriving at gallerie Ra happy to find and exhibition by Tanel Veenre called The Garden of Heavenly and Earthly Delights having been part of an intensive weekend workshop with Tanele two years prior also visiting his work at Avid it was really great to to see his work in a new context this particular work was based of erotic sensuous forms confronting ideas around gender and sexuality the work is and exceptionally well crafted poetic and in its fleshy form substantial. Tanels work occupied panels in the central area of the modest gallery.
One wall of the gallery is lined with glass shelved cabinets which is good for the jeweller as you can get a good look at mechanisms.. showing around 50 selected artists at one time there was a very nice mix of established and emerging artists work on display also a cabinet of drawers housing a selection of Iconic pieces by various makers which are often part of a historical reproducible series as explained to me by the owner a reserved and polite Paul Derez, The gallery also has an extensive array of publications for sale online and participates in international trade fairs and exhibits.
In terms of what makes for a good addition the Ra stable? Derez's answers point to the quality and consistency that is really valued and the furthering of ideas and concept. And of course wearability. there is a real appreciation of the new and innovative here as with MARZEE and Koudjis. Galerie Ra is an a very Iconic gallery in my mind, but of real interest and where the conversation ende up were with works that conveyed a newness like Carina Shoshtary's Point of Equilibrium works, the work is made from layers and layers of grafitti paint which the artist salvages and carefully creates scales which are used to construct beautiful forms ...these pieces really illustrate a cross over of materiality... a cultural vernacular a cultural artefact in the process, but the concept behind the work is talking about symmetry or the holiness of symmetry and references in ancient religious text which has led Islamic carpet to make deliberate mistakes in their work to seperate the manmade creations form the devine
Similarily I really enjoyed Attai Chens for its incredible detail this work is made up of paper, paint, wood and finished with graphite these miniature built up environments present intense sculptural worlds dealing with perspective and a restructuring of traditional painting techniques to the artists more multifaceted world view. And then there was Estonian blacksmith sculptor/jeweller Nils Hint, his work reminded me of the lead mortuary crosses I had seen in the wellcome collection. by squashing I guess the metal becomes sort of closer to its natural form ..the shapes are morphed in to these soft blobby shapes which are actually really joyful.

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MARZEE

10/30/2018

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Gallery MARZEE
Its Huge! over 850 feet square and the largest gallery for modern art jewellery in the world had its beginnings 40 years ago as a small jewellery shop run buy the director Marie-Josè van den Hout. by chance The annual MARZEE International Graduation Show was on, this exhibit is a very important event for MARZEE and has become an international event with a great amount of prestige for the graduates involve. The 2018 included jewellery and objects from art schools and academies from Europe, US, Asia and Australia and also wonderful to see the work two Whitireia graduates in the mix. After an extensive look around at the MARZEE works for sale displayed in back lit wall cabinets and the hundreds of works in the mobile drawers, I met a very friendly and welcoming Nikki Heffels who was kind enough to take time out of her day to talk with me about the space. Something that Is very special is the scope that MARZEE provides. The message is that contemporary jewellery is a big picture, and there are more pieces to come, I can see that the gallery appreciates and looks for innovation an concept in choosing maker, Thats what makes it successful. It feels like a hub and has an air of an institution to it, offering everything you want to see and more. In talking with Niki who is actually Marie Joses daughter, I learn that the gallery by its sheer size has in a way a life of its own, Advice is to take it slow in terms of building a business, Niki relayed to me there is are real advantage of starting off small and building solid foundations and networks. Another topic is the importance of clear communication especially in the artist gallerist relationship. The MARZEE collection was incredible and vast, a personal collection, selected by Marie-Jose from the galleries stable of artist throughout the years. In both collecting and selecting work the Van den Hout's criteria is that of education quality and concept,the thinking behind jewellery is important to MARZEE and it shows. highlights for me were, peices by Iris Bodhemer, Lucy Sarnel, the work of Phillip Sajet and the list goes on the graduate show was very impressive. I really loved it all and am still now processing the experience. The gallery also has a great array of publications for purchase and I brought some home to add to out TJATJ workshop library.
The Gallery Marzee Collection;international contemporary jewellery,
the MARZEE collection complete postcard set
MARZEE magazines #12 #13 and #14
Sajet Jewellery ,Iris Bodemer
Catalogue Notes,Good as Gold

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De Passerel Het Atelier

10/30/2018

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while in Apeldoorne I also visited a community ceramics studio opposite the museum. This inspiring space called the atelier is a branch of a wider society which helps cater for the needs of adults and children with disabilities and the elderly in the region. Their motto is to live, work, and learn from and with each other as not everyone can do it alone. The studio Offers work and daytime activities to people with a disability and using creative activities to encourage personal development. The group learn to make a good products and to work together in it. taking part in running the store learn customer service skills, Some of the people I met were making Xmas decorations and wall hangings in preparation for one of the fairs the studio participate in annually, The store itself had the best ceramics and fibre art and the studio was public facing so you could see from the outside works in progress and the makers in action such a great friendly and welcoming space and community initiative definitely and top notch community model

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CODA Museum, tour of store room, contemporary jewellery collection

10/30/2018

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Oct 30 APELDOORN
I travelled to appledoorn by train in anticipation of a fantastic display of European contemporary jewellery, unfortunately I had arrived in the middle of the exhibit change over...

However I was very generously offered a private tour of the store room which is home to the largest collection of contemporary jewellery in the Netherlands. Carin E.M. Reinders curator and art historian is truly passionate about collecting jewellery and CODA ensures its collection reaches a wide audience in regular exhibits and interpretations. The jewellery store is extensive and houses not only jewellery but paper works and design concepts for example CODA was gifted the archives of the renown Onno Boekhoudt consisting of 'sketches correspondence and ephemera, photos tools and Marquette. The system used for cataloguing the collection is simple and effective each carton safely cushions and protects the precious artwork and allows for immediate inspection, the Technician explained that sometimes excessive tissue can be problematic in risking damage to works and less packaging also means CODA is able to fulfil its agenda of keeping its collection visible as a tool for educating in particular art students and emerging artists. I was invited to pick some boxes and take a closer look at the contents, but in truth I had a really hard time choosing I ended up looking at a few glass pieces,

this particular brooch by David Mandel was a definite favourite this super cool necklace called Incognitos Anonymous, 2011 by Felieke van der Leest were exceptional up close up. I was also very lucky to be able to view the works for the next show 'Wealth' while they were waiting to fill the cabinets.

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The Tate Modern-Anni Albers

10/29/2018

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The Anni Albers exhibit was really encompassing I was particularly taken with Ablers ability to genrate and abstract ideas from her immediate environment.The exhibit was great because it illustrated so well her creative process there where opportunities for the viewer to touch the textiles She used in her craft and to see working drawings in the form of small weaving the work talks in everyday language. A unique woman's perspective ,like this photographic study of carefully pattern created with corn kernels. and her gorgeous 1958 weaving Pasture and bobby pin and gold plated bath chain necklace 1940's

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The Wellcome collection

10/29/2018

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Wellcome Collection is a free museum and library that aims to challenge how we all think and feel about health.
Through exhibitions, collections, live programming, digital, broadcast and publishing, we create opportunities for people to think deeply about the connections between science, medicine, life and art (from the website description)
I loved this Museum and highly recommend a visit if you can, I saw the permanent exhibits medicine now and medicine man these are some of the great things on show

Julian walker, Acts of faith this work looks at how the ideas of faith and hope and dependance are made in physical medicine this vast number of non prescription medicines are carved into images of the parts of the body they are meant to treat. I love the way this work is and plays with the idea of ex voto object / milagros and Egyptian amulet/charms

Julian Walker, Acts of faith (detail)

these examples of mortuary crosses where made of lead. and were made to be placed on the victims of the plague in mass burials .

this incredible cinese antique curio is actually multiple strings of teeth and was used at a shop front a dentists sign

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Stedelijk Museum

10/29/2018

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Stedelijk Museum - ART AND COUNTERCULTURE 1967-1970
the exhibit was presents Amsterdam as a laboratory for artistic and social innovation.
,The “Magical centre Amsterdam”, to use the words of artist Robert Jasper Grootveld, a member of the Provo movement, reaches its zenith between 1967 and 1970. By which time, Amsterdam has won itself a reputation as a city where anything goes. The Dutch capital flourishes as a progressive and artistic haven, a place that attracts hordes of young people from all over the world. It’s also a time when art is in the throes of change. Artists rebel against the establishment and seek alternative, new platforms: on the streets, in magazines or on TV. Idea begins to take precedence over (the traditional) form – art can be a happening, an intervention in the city, or anything was possible,'I think perhaps this pursuit of creative activism is something that has influenced Peter and Hildah I think perhaps these values lie at the very core of the Handshake project?
The work titled Continuous Drawings was of interest to me incorporating the community and environment in a really incredible way. Briefly described it was a collaborative public performance Where in 1966 Dutch artist Tjebbe van Tijen and a small group attempted to draw a continuous chalk line from the Institute for Contemporary Art in London to Rotterdanm in the Netherlands. However the line disappeared when van Tijen and a friend were arrested by London police for refusing to clean the pavement of the drawing. Eventually the line was to reappear at the airport continuing over people and their luggage and on to a flight to Schiphol, There it wound on through customs and over a number of taxis, until the drawing arrived at the Stedelijk Museum in Amsterdam. It sprawled across the entrance ,halls and stairways, and with the help of a cherry picker the line carried on into the streets growing through the city to final reach its end Point at Rotterdam.

Another point of interest for me was the show Stedelijk base, a permanent installation of iconic works by influential artists consisting of over 700 pieces displayed in historical, social groupings in particular
The necklace by Ted Noten Tactile pieces 2-Moscow as it examines the idea of a souvenir but also of a sort of melancholy to recall perhaps a not so wonderful time through objects. This particular necklace is made of a crucifix a Mercedes emblem a signet ring painted day glow yellow military looking pouch.
A forty-two-day railway journey from China to Moscow provided the materials for Notens global tactile pieces, aiming to capture the mood of alienation he experienced after many days in the same rickety railway carriage, Noten bought objects at every stop on route without any premeditated plan. He also exchanged possessions with other passengers of which he later altered joined and fabricated to make a series of large neck pieces. A clever way of conducting research and blurring the lines between souvenir and meaningful cultural artefacts.

Other work which captured my attention was The artist Ferdi Tajiri's Hortiscuplture these large scale brightly colored sculptures used nature as a sexual metaphor these pieces express much of what the art and counterculture exhibit was about and this work has become iconic its expression of the female body and space in the world.Interestingly Ferdi began her career as a jeweller making welded frame like pieces which in time morphed into large scale frames that give structure to her horisculpture works. I found this quote on a website which offers a different perspective on the wearing of jewellery. "When a woman wears my jewellery she is reserved. When I wear it, I isolate myself, which I like. It must be a wonderful feeling for every woman, even if you’re beautifully made-up, to keep others at a distance through your jewellery - then people can see you.” - Ferdi, 1955

Van gogh Museum, I enjoyed sseing goghs works in the flesh but the take away for me was
IJohn Chamberlain s sculptural work and learning that Vangogh had influenced him greatly in his practice...freedom with expression through paint is mirrored in his powerful and and evocitve sculptures.

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Victoria and Albert Museum

10/27/2018

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Frida Kahlo , Making herself up exhibit,
This was a brilliant display of Fridas personal belongings in particular adornment, including a beautiful layered and riveted conch shell bangle dating back to 250-900AD and many of Kahlo's incredible headdresses
Of special interest to me was one of Kahlo’s favorite possessions a string of over-sized jade beads, which she frequently wore. Diego Riviera acquired these Beads as part of a pre-Colombian art collection. They came from Mayan burial sites south eastern Mexico . Which Kahlo Reassembled into necklace. Wearing these beads would have be a vernacular and political choice for Kahlo and direct connection with her history.
It was strange to leave the exhibit and head directly into the gift shop this illustrated to again the common place cultural appropriation , commodification of the votive, milagros other cultural artefact into souvenir.

Another Highlight of the day was the much anticpated William and Judith Bollinger Jewellery Gallery which displays a staggering 3,500 jewels from the V&A's jewellery collection. showing work which spans the generations

coral tiara

Brooch, Lucy Sarneel

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Barbican Center - the Curve gallery

10/26/2018

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Francis Upritchard - Wetwang Slack
Wetwang Slack was an Iron age burial ground where skeletal remains where found buried within chariots, many of the finds from the site are now housed in the British museum. the title could suggest an archaeological discovery in the form off an overview of the artists material practice. the show progresses through Francis new figurative sculptural textile works to floating shelves stacked with decorated hats of all shapes and sizes some truly beautiful glass urns, brightly colored polymer clay and ceramics.

Upritchards floating shelves of decorated felt hats

the artists beautiful glass vessels depicting fauna and mythical figures

Positioned at the end of the show were her works made with a Brazilian rubber called balata. This is wild rubber and is exclusively collected processed by natural methods and crafted by expert hands in and around the artisan communities of Belem in Brazil.
Amazingly Upritchard has been given permission to work with with this incredible material and has been since 2004 during a residency in Belem where she met the De Oliveria Pinto who expertly manages the extraction process. The Balata figures a melding of myth and history are all limbs and movement, the sculptures convey a sense of being stretchy true to its materiality. The work on a whole for me had a newness to it a brilliant mythical and jumble of object and adornment. The way the works progressed made for a really wonderful sense of discovery.
The artists has sought to extend the bounds of her sculptural craft In a very material responsive and visceral way. This kind of reinterpretation of artifacts could be likened to the fetishistic souvenir. Like a fantasized vision of an ancient culture. This show and my initial experience of the British Museum for are very much entwined, I can imagine Upritchards works infiltrating, hovering above and about alongside the collections in the Enlightenment Gallery.

these figures reference Ashinaga-tenaga (translated as Long Legs and Long Arms) who are characters who are part of Japanese mythology

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Gallery S O

10/26/2018

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Gallery S O -HS group guided tour of collection and discussion with Katharina Dettar

Founded in 2003 by Felix Flury in Solothurn, Switzerland, and later opened a second space in Brick Lane, London. 'The gallery's main focus is exploring the potentialities of the contemporary object and the interplay of function, form and concept. providing a space for an open and fruitful dialogue between different artistic disciplines'. Alongside representing internationally renown and very well established jewellers and metal smiths and publishing its own catalogs and books

The exhibit on show was Bettina Speckner-TRUE
comprising work made from different photographic techniques, including photo-etchings on zinc, Tintypes and Alutypes depicting a mix of her own images, and images found from flea markets and antique stores. the work to me was surprising both in the scale (I had imagined they would be much smaller) and in intimacy of the subject matter. the imagery was sentimental in its essence all lost memory or murky narrative

a real highlight of the visit for me was handling a few of Bernard Shobingers wonderful works which all seem to honor the quality of the substance they are made of, expressing materiality in the best way immediate and lively, I especially loved this unapologetic and huge rock crystal ring it was great to to be allowed to touch after experiencing so many amazing objects at a distance. I think this is one of the very special things about contemporary jewellery spaces, is that tactile experience. The beautiful moments of discovery you can make, like when you look at a brooch back like such as this Peter Bauhaus brooch. Its is interesting to me consider the span of some of these artists careers, its something here about pace...thats important, finding a steady pace and building up the body of work .

Gallery S O organizes temporary art and design exhibitions in its unique project space . I really like that flexibility of space. Katherina talked about how important of portable light weight /easy to store display cabinets are in terms of flexibility, trade fairs pop ups etc, . the cases in the gallery's back room and are purpose built held together with only a few bolts each and so can be dismantled easily to store flat and travel when needed. On display of David Bielander's Blue Python made of titanium and silver and beautiful beads and bowls of Manon Kouswijk.

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