It was that week of the year again…
The only week in the year when I iron my clothes and apply lipstick every morning. The week when I hardly get any sleep at night, experience consistent dehydration in the afternoons and become hoarse to speechless over the course of the day. The week when even I (who rarely ever drinks a drop of alcohol) am longing for a drink every evening. The week when Munich is invaded by the community of the contemporary jewellery world, without the people of Munich even noticing it.
The week before last was Munich Jewellery Week 2017. What a harmless title for this jam-packed abundance of everything to do with contemporary jewellery. I think Munich Jewellery War would be as appropriate, because you easily get the feeling that you need to fight your way through the week in order to simply persevere, no matter if you came to see or show or both. Or Munich Jewellery Walk, as there is definitely a lot of walking involved during these days. From one exhibition, artist talk, party event to the next all day, several days... Or Munich Jewellery Wow, because it is altogether an overwhelming experience, stimulating and exhausting simultaneously.
Last year I had only started writing the KARMA CHROMA- blog and gone into the MJW with the expectation of writing a rich synopsis of all I saw and heard, but the task was just too big for me. In the end, I wrote two articles about two artists whose shows I had visited during the week. Given that around 80 jewellery exhibitions had been on show and I had seen probably half of them, that is a bit meager of course, but I think I prefer it that way. This year, I had an exhibition with three colleagues myself and did not manage to see too much unfortunately. So, this year I will merely write about our project during the MJW 2017.
Our exhibition with the curious title “A BARBARIAN, A TITLE, & A MIRACLE” showed a large number of the latest jewellery pieces and artworks of other media of Attai Chen, Mielle Harvey, Barbara Schrobenhauser and me in the two rooms of the “Verein für Originalradierung München” (an association, which usually is specialized in showing etching art). Barbara, Attai and I studied together almost the whole time in the Munich jewellery class at the ADBK and have been very good friends and colleagues ever since with a lively exchange. Attai Chen and I have been a couple for the last nine years, during which our work has been profoundly influenced and inspired by each other. Mielle is from an earlier generation of Künzli graduates, though I have felt connected with her work for a long time as she was one of my idols when I began to explore art jewellery. She is also a lovely person, so it was both an honour and a pleasure to make this exhibition project with her. The four of us felt that our work was strongly connected in some ways, but was also different enough to create an interesting diverse exhibition together. It wasn’t a curated exhibition though, so we needed to elaborate a concept for our show.
An extract of our exhibition text reads:
“The exhibition, ‘A BARBARIAN, A TITLE & A MIRACLE’ is designed like a collage, created from the collision of diverging and intersecting nuggets of meaning. A group show is a kind of assemblage of different artistic positions, joined temporarily to create a new whole. To this end, we take on the exhibition like a game of scrabble, juxtaposing our individual bodies of work to expose new meanings.”
The idea of making a collage, which created new perspectives and meanings for our work, was the core of the concept when we developed the title, the invitation card and the presentation of the work. For our strange title, we wrote down our four first names on paper, cut the letters apart and played a scrabble game with them until we found a sequence of words, we liked. In the process, many even odder titles came up, but we liked “A BARBARIAN, A TITLE, & A MIRACLE” the best. It could be the title of a poetic story or the beginning of a joke...
For the presentation of the work, we built four long tables assembled from many boards of different colour, material and thickness. We collected pieces of old furniture from different eras and other disregarded boards for several months to have enough interesting material at hand. We all liked this idea also for ecological reasons. It was agreed that in the past we’d experienced that too much waste is created for exhibitions which are only on display for a few days, so we wanted to try to produce as little new waste as possible for this project.
Building the tables went astonishingly fast, but laying out the jewellery pieces took more time than anticipated. For two full days, we were trying different variations. We felt that finding the right way to place the pieces on the patchwork tables was the key to making the show work. The “new nuggets of meaning” became our motto and a running joke during this phase. It was important for us to not only lay pieces next to each other by chance, but to choose them very carefully in order to find interesting partners and relevant groups. In the end, I think we succeeded very well. One visitor even liked one particular “new nugget of meaning” so much, she said, that the two pieces belonged to each other and purchased them together.
Attai Chen (born 1979 in Jerusalem, Israel) showed his new paper jewellery series Matter of Perspective, which addresses the theme of multiple perspectives and how we perceive our surroundings. The explosive disorder of his previous paper series is now bundled and tamed in oval shapes. The way he cuts the paper has also changed quite a bit. Attai is building countless little flat projections of cardboard, which he merges into complex abstract views. Even though Attai was mainly inspired by the Pre-Renaissance perception of space and perspective, for me they are like peepholes to futuristic apocalyptic cityscapes. The backs of the pieces are made with an intricate technique of layering and sanding graphite dust to smooth and slightly shiny surfaces.
Barbara Schrobenhauser (born 1979 in Traunstein, Germany) also exhibited totally new works: There were three freshly finished brooches, where Barbara explored the possibilities of creating a three-dimensional shape only by knotting a string. Like often with Barbara’s pieces, the viewer can only fully understand her works by touching them and so this exhibition was a great opportunity to do so. Barbara showed also several pendants and necklaces made of string and wooden handles. The strings were woven together elaborately to close the handles’ open shape and were hung into each other like the links of a chain. What I enjoyed about these pieces was the playful moment when people tried them on. Even though Barbara had actually planned them to be worn in a particular way, the visitors found different ways to wear them.
Mielle Harvey (born in 1971 in New York, USA), presented pendants, necklaces and brooches from two series: Silver Scenes and Moments of Sky. The delicate pieces, which she created in versatile techniques like painting, drawing and patinating silver, appear like windows that capture a glimpse of a fleeting moment. A passing butterfly or bird, a fluffy cloud or a view of a beautiful landscape, they all represent precious moments, which we too often overlook. I especially fell in love with one piece titled Cameo III, which was made by the lost wax casting technique. It shows a detail of a birch tree forest in an oval frame. At least this is my interpretation of this pendant, because it is almost abstract.
And I (Carina Shoshtary, born 1979 in Augsburg, Germany), showed most of my new pieces from the last 1 ½ years, which included necklaces, brooches and earrings. My idea was to create ceremonial jewellery for a fictitious tribe of hunter gatherers. The most characteristic material is still the graffiti paint, but now involves other found materials into my work, e.g. driftwood, seeds and shells etc. My colour emphasis shifted towards the colour red, which is truly fascinating for me at the moment. Associations to the body are always present. Some pieces contain shapes with bright red openings which invite the viewer to have a look inside the “organism”. One lady said that the pieces appear very seductive for her, but that there is also something unsettling about them. I liked that; it’s exactly the kind of ambivalence that I am looking for.
In our second smaller room, the four of us each exhibited other artworks.
Attai presented one of his new paper wall sculptures, which are a big replica of the brooches of his Compounding Fractions -series. A lot of people who knew his jewellery were amazed at how well he transported the details and the overall impression of the jewellery into a much bigger scale.
Barbara had four of her paper vessels in the second room. The pieces, which are created with incredibly complicated and time-intense techniques, were quite astonishing for the visitors, as many thought at first that they were made of stone and marble. Also, here people needed to touch and feel the paper to comprehend the objects.
Mielle, who is never working on a theme only in the medium of jewellery, but is always simultaneously drawing and painting, showed a couple of drawings on a big wall. The themes of her jewellery pieces were resumed here and gave people a wider insight into her creative work.
I showed four large-scale photographs of my beautiful sister in law wearing my jewellery pieces. The photographs are part of my second collaboration with Munich based photographer, Laurens Grigoleit, who in my eyes is a master of light. Some people even asked me if they were painted images. I will surely write more about this collaboration on the blog soon.
Altogether we were really happy with our exhibition. We want to thank everybody who came during this week, we really met many wonderful people! We also want to thank the "Radierverein" to rent us their beautiful rooms for this week!
Our special thanks goes to Katrin Eitner and the “Förderverein zum Aufbau einer Juliane Noack Künstlerförderung” for supporting this exhibition with a grant of 700 €. Our project was the second they funded, but there are more to come. So please follow up the news on their website!
And finally, we want to thank Tereza Novotna, who a few months ago started an internship with Attai and since then has become an irreplaceable force in many ways for all of us (e.g. when none of us had the energy anymore, she jumped in and made us this incredibly clever and handsome exhibition plan with the info about all the pieces): You are amazing, Tereza!!! Ty jsi nejlepší! Milujeme tě a rozhodně bychom tě adoptovali, kdyby nám to tvoje rodiče dovolili. Objímáme tě.
1Tereza Novotna: Exhibition plan for A BARBARIAN, A TITLE, & A MIRACLE
2/3 Building of the exhibition A BARBARIAN, A TITLE, & A MIRACLE, Photos: Carina Shoshtary/ Attai Chen
4-10 A BARBARIAN, A TITLE, & A MIRACLE, Munich, 2017; Photos: Carina Shoshtary
11 Attai Chen: Untitled; Necklace, 2017; Paper, paint, silver, wood, graphite; Photo: Mirei Takeuchi
12 Barbara Schrobenhauser: Confused and Concentrated; Brooch. 2017; Cotton, string, stainless steel; Photo: Mirei Takeuchi
13 Barbara Schrobenhauser: Vom Tragen und Halten II; Neckpiece, 2017; Wooden handels, woven string; Photo: Mirei Takeuchi
14 Mielle Harvey: Moments of Sky Necklace; Necklace, 2016; Sterling silver, oil paint, silk cord; Photo: Mielle Harvey
15 Mielle Harvey: Cameo I, Pendant, 2017; Lost wax cast sterling silver, patina, oil paint, silk cord; Photo: Mielle Harvey
16 Carina Shoshtary: Over the Rainbow; Necklace, 2016; Graffiti, silver; Photo: Mirei Takeuchi
17 Carina Shoshtary: Carnivore 3; Necklace, 2017; Graffiti, glass, silver; Photo: Mirei Takeuchi
18-24 A BARBARIAN, A TITLE, & A MIRACLE, Munich, 2017; Photos: Carina Shoshtary, Tereza Novotna