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Le Associazioni per il gioiello contemporaneo ACJ (Regno Unito) e AGC (Italia) collaborano per una mostra che seguirà un itinerario nei due paesi a partire da Novembre 2019 e nel corso del 2020/21. Il progetto si intitola Connessioni | Connections e verrà esposto in diverse sedi per ciascun paese.
UK: a Londra al Goldsmith Centre Scotland e Lighthouse a Glasgow
Italia: a Livorno al Museo del Mediterraneo ed a Padova all’ Oratorio di S. Rocco
Questa notevole opportunità è frutto della collaborazione paritetica delle due organizzazioni.
Il tema: Connessioni / Connections propone la realizzazione di un gioiello che possa rappresentare: relazione, contatto, reciprocità, network.
La Selezione dei 25 soci AGC è avvenuta attraverso un panel di persone autorevoli nel campo, referenti di ACJ.
Mirella Cisotto Nalon, già Capo Settore Attività Culturali del Comune di Padova, ha selezionato le opere dei soci ACJ, utilizzando gli stessi criteri e condizioni per assicurare la stessa qualità dei progetti e delle realizzazioni.
Gli autori hanno realizzato le loro opere con i materiali rappresentativi il proprio lavoro: dai metalli nobili, alla stampa su seta, all’organza e la porcellana, al ferro ed alle resine, alle tecniche proprie dell’oreficeria, all’uso del niello e del mokume gane, i colori dei pigmenti e gli acrilici, papier-maché e polystirene.
Si è realizzato il catalogo che illustra tutte le opere, i testi di presentazione e le sedi d’esposizione.
L’inaugurazione della mostra si svolgerà a Londra, nella sede del Goldsmith’s Center il giorno 11 novembre 2019; seguirà il prossimo 2020 il 19 febbraio alla Lighthouse di Glasgow, il 6 giugno al Museo della Scienza del Mediterraneo di Livorno ed in ottobre a San Rocco di Padova.

https://www.acj.org.uk/index.php/2-uncategorised/498-connections-connessioni

Italia

Nato nel 1973 Gaspare scopre la sua vocazione artistica sin da giovane. Frequenta l'istituto d'arte della sua città, Lanciano, e studia percussioni al conservatorio di musica a Pescara. Nel 1991 inizia il percorso formativo come orafo apprendendo l'arte della creazione del gioiello con il maestro Romeo di Cesare a Pescara. A Valenza segue corsi di design e da modellista con il prof. Giuseppe Turrisi, e si specializza nella tecnica di lavorazione a cera persa. Apre il proprio laboratorio nel 2000 collaborando con varie gioiellerie in Italia e all'estero. Con i suoi lavori partecipa a diverse mostre internazionali (tra cui MACEF, Orocapital, Gioielli in Fermento, Zeughausmesse), ed espone le sue creazioni in Italia, Belgio, Svizzera e Germania. Nel 2012 si trasferisce a Berlino. Curioso del potenziale della gioielleria contemporanea come forma di comunicazione, ha sposato questo concetto. Gaspare è membro dell’agc – associazione gioiello contemporaneo.

Born in 1973, Gaspare developed his passion for arts and music in his early years. After attending the arts high school in his hometown of Lanciano, he enrolled at the music conservatory of Pescara to study percussions. In 1991 he began his apprenticeship as a goldsmith. He learned the art of jewellery making with master Romeo Di Cesare in Pescara and attended design workshops and wax modeling classes with prof. Giuseppe Turrisi in Valenza. In 2000 he opened his own workshop and extended his collaboration with jewellers in Italy and abroad. His works have been showcased at various international and private exhibitions in Italy, Belgium, Switzerland and Germany (such as MACEF, Orocapital, Jewels in Ferment, Zeughausmesse). In 2012 he moved to Berlin. Curious about the artistic potential of contemporary jewellery as a means of communication, he has embraced this concept in recent years. He is a member of agc – contemporary jewellery association.

PREMIO INCINQUE JEWELS - IL GIOIELLO SI RACCONTA

Mostra collettiva del "Premio Incinque Jewels - Il gioiello si racconta" che intende promuovere la cultura del Gioiello Contemporaneo sul territorio di Roma

Curato da Monica Cecchini e da Emanuele Leonardi

Esposizione 10-13 ottobre 2019, Roma

promosso dall’Associazione Culturale Incinque Open Art Monti,

presso la Galleria Incinque Open Art Monti, Roma

Il “Premio Incinque” vuole favorire una riflessione sul tema della “COMUNICAZIONE” in senso ampio e includente, creare un dialogo tra colui che realizza l’opera e chi la osserva. Vuole indagare sulla funzione del Gioiello come oggetto simbolico, non solo dalla valenza artistica, ma come portatore di un messaggio dal valore sociale, che trasmetta una storia sottolineandone le origini e la volontà di trasmetterle con nuove interpretazioni.Così da unire mondi trasversali e culture differenti.

Ha chiesto ai partecipanti di pensare e progettare un Gioiello che valorizzi le antiche arti ed al tempo stesso crei un legame con l’Arte Contemporanea, ne è così nata l'esposizione, che è una collettiva di 30 artisti, selezionati da una giuria di esperti del settore.

Inaugurazione aperta a tutti giovedì 10 ottobre 2019 alle ore 18.30

Chiusura 13 ottobre 2019 ore 21

L’evento è all’interno della storica manifestazione Ottobrata Monticiana.

Media Partner: Nouvelle Factory
Sponsor: Vinus - Vignaioli tuscolani

Galleria Incinque Open Art Monti Via della Madonna dei Monti, 69 - 00184 Roma
telefono: 39 349 2618428 mail: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

sito web: www.incinqueopenartmonti.com
UFFICIO STAMPA: Francesca Telleschi telefono: 39 3391449042 mail: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

Italy

Let’s do the Renaissance.

Today as never before, the current art system is aimed more by commercial tasks than contents and intellectuality, real drive of the system. As scientific method teachs, it would be unrealistic to rethbrinking the whole art market at once, so ambition is rather of restarting a reflection on the status of the art, from a smaller but very important sector: the artist's jewel.
The innovative power of this process is the introduction of a legal point of view: this is my commitment for AGC.

UK

My work spans jewellery to writing, researching and curating, and mentoring and teaching. Importantly, they are for me just different manifestations of making, equally central to my personal and spiritual growth and the process of making me in an art practice that is, in the same way Italian writer Italo Calvino referred to literature, " an existential function, ... a search for knowledge"*. This "wisodm as practice"**, as defined by the contemporary German philosopher Peter Sloterdijk, is then by default slow and mindful, not only of the provenance, destination and context of each project, but also of my natural cycles of thinking, making and, most crucially, reflection. My practice is both a platform and a method for reflection and philosophical enquiry: a personal space in which to ask myself questions, test answers and reactions, and understand how I think and why. It is how I raise my awareness of myself and of how I navigate in the cosmos. In the Socratic spirit that knowledge is virtue, I am driven by the desire to always become a better person. Deeply rooted in mindfulness, my practice is where I learn to exist as an integral, rather than dominant, part of all that surrounds me, resulting in a radical ethical approach. The need to investigate, uncover, say, comment or express creates the narrative that fills most of my work. This story-telling takes the form of jewellery pieces which are, at the same time, a means to and an expression of my questioning, reflection and growth, and an invitation to the viewers and wearers to also question, reflect and grow by, quite literally, embracing them close to their bodies.

A new piece will first manifest itself sometimes from simply holding a found object, sometimes from a recurring word or phrase (often already a title!) echoing in my head, or more often from a situation, a moment of clarity, or the need to understand something or to share a line of personal enquiry. Materials, with no hierarchy of value, are included simply according to how they fit this process. Any hesitation as to their choice is a vital clue to me that my question or answer is not sufficiently clear and a piece is not ready to be made, and I cannot and must not force it into material existence. When the moment is right, assembling is normally fast and instinctive, and my design process is dictated by an innate make-do attitude: as with everything else in life, I thrive on applying my knowledge to constructive problem solving and finding low-tech workable solutions from available resources and basic staples.

Most of my jewellery work then comes to be embodied in a one-off piece or small ensemble. Very rarely, I have happened upon questions that have worked at an even slower pace but the need to externalise them has been stronger, in the path of understanding them, than the importance to find clear answers. And this is where my occasional series are born, never knowingly finite but projects that need to remain open to reflection and enquiry, to be re-examined and re-explored until that time when they might feel resolved.

Words and language are for me another material which accompanies me through the making process, and their manipulation is just as essential a factor in determining how the work will finally manifest itself. As a result, titles are never just a necessity or an afterthought and instead, whether at the origin of its concept, or as a final reflection, they form an integral part of each piece.

Most important of all, I have learnt that the "studio" for me is far from being confined to the walls of my physical workshop and it extends to wherever I happen to be at any particular moment, processing information, asking new questions, reflecting. Over the years, I have learnt to listen to the rhythms of my thinking and to let them guide me: be it the workshop, the keyboard, the pen, the classroom, a book or a museum, my workstation stays fluid. And whereas I used to be daunted by not making enough, I have come to understand that "making" does not necessarily equate to a new jewellery piece. And so I now confidently reach for the bench only when it calls. And, when it is time, it always does.

Italia

La mia visione del gioiello contemporaneo non prescinde dal gioiello come ornamento e pertanto non mette in discussione ne l’estetica del bello ne l’indossabilita’ del monile. La mia ricerca punta a dare un’identita’ , una funzionalita’ al gioiello al di fuori del corpo che lo indossa, trasformandolo in oggetto, integrandolo in una scultura, in un quadro, in una prospettiva piu’ ampia. La nuova collezione dei GIOIELLI VIRALI nasce dalla passione per le immagini del microscopio elettronico, per quel mondo mistertioso che si cela dietro le apparenze della materia.
I microrganismi con la loro affascinante e complessa architettura diventano gioielli, sculture, immagini. Qusto progetto cerca anche di essere un ponte fra arte e scienza e di poter finanziare la ricerca sulle nuove terapie geniche. I gioielli, combinano elementi forgiati con le tecniche tradizionali della gioielleria classica ad altri frutto della ricerca e delle nuove tecnologie di modellazione e stampa 3D. L’arte e la tecnologia, la macchina e la mano oggi come non mai hanno bisogno l’una dell’altra. Mescolare le nuove tecnologie con quelle piu’ tradizionali in gioielleria come in altri campi significa per me aver capito che la tecnologia ha bisogno della manualita’ e della creativita’ dell’uomo tanto quanto l’uomo ha bisogno di essa per superare i limiti della sua natura.

My personal view on Contemporary Jewellery does not challenge the wearability or aesthetical point of view, which has already been investigated from nearly a 100 years ago. My research is focused on giving the jewel a new function, a life beyond the body, transforming it into an object, a part of a sculpture or a painting, creating a broader perspective. My new collection VIRAL JEWELLERY comes from my long-standing passion for electronic microscope images, that mysterious world hidden behind our tangible existence. Microorganisms with their fascinating and complex structure become jewels, sculptures, images. This project aims to be a link between art and science and is looking to fund the research on genic therapy. The jewels combine elements created with the traditional jewellery techniques alongside elements coming from the new 3D modeling techniques. Mixing new technologies with more traditional techniques in jewelry as in any project means being aware that technology is empty without the human hand and creativity and that man needs technology to overcome his limits.

Italia

Il mio interesse per il gioiello risale all’università, quando inizio a studiarlo dal punto di vista storico e iconografico. In seguito approfondisco le mie conoscenze sul piano stilistico e formale. Negli anni insegno storia del gioiello in alcune scuole di design, ma mi piace anche seguirne la progettazione da parte degli studenti. E poi apprendo come lavorare con i metalli, con la cera, con gli smalti. Da qualche anno la mia ricerca si è orientata verso un possibile connubio fra metallo e tessuto, ma ultimamente il tessuto è diventato protagonista, indurito con resine, per ottenere volumi importanti, organici, ma leggerissimi.

Mi interessa la progettualità, partendo dalla forma piana ritagliata nel tessuto, che viene dipinto, elaborato, cucito, indurito con resine. Mi affascina lo stupore davanti alla materia, la sua leggerezza, l’elaborazione cromatica, a volte la non-piacevolezza estetica.

My interest in jewelry goes back to my years at the university when I began to study it from a historical and iconographic point of view. As a I deepened my knowledge both on a stylistic and formal level. Over the years I have taught history of jewelry in several design schools but I have also enjoyed following the design of the students. I have learned how to work with materials such as metals, wax and glaze.

For several years now my research has been oriented towards a possible bond between metal and fabric, but lately the fabric has become the key player, hardened by resin, to obtain large volumes which are consistent but very light.

My interest lies with the design process, starting from the flat shape cut from the fabric that then gets painted, elaborated upon, sewn and hardened with resin. I am truly fascinated by the wonder behind the material; its lightness, its chromatic processing, and at times its unpleasant aesthetics.

Japan

Mineri Matsuura was born in Tokyo in 1973 and graduated in the metal craft department of Musashino Art University in 1998. Since graduation she set up her own studio and has had numerous exhibitions in her home country and abroad. In 2019 she was selected for Gioielli in Fermento, an international contemporary jewellery contest and she was awarded "AGC Special Mention", "Klimt02 Special Mention". Also in the same year she was awarded TECHNIQUE prize in the ALLIAGES Lagacy Award 2019 in France. She is surprised and humbled by the reception of her work in Europe. So it gives her more incentive to create new and more challenging pieces in her medium.

As a Japanese her inspiration comes from her countries architecture, art, nature and the influence of Zen Buddhism on its culture. The process that evolves with this medium that she works in is actually quite simple as in the end result the cut plate pieces emerges as if mysteriously into a three-dimensional form. It seems so natural like a metamorphosis of nature similar to a caterpillar that turns into a butterfly. Everytime it gives her a fresh perspective and she is amazed to see the new various forms that are created and so she feels it is like a Zen-like feeling of reawakening (Nirvana) into a new existence that flows from such a simple process to the finished piece.

Museo di Storia Naturale del Mediterraneo

We are glad to invite You to the opening in Livorno - Museo di Storia Naturale del Mediterraneo

Tuesday June 4th at 6pm
via Roma 234, Livorno, Italy

La mostra prosegue fino al 9 giugno
exhibition until June 9th
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Opere in concorso di | Selected works by

Miki Asai Sara Barbanti Maura Biamonti Michela Boschetto Elisabetta Carozzi
Sébastien Carré Lluís Comín Mariantonietta Davoli Corrado De Meo Ylenia Deriu
Nahoko Fujimoto Fabiana Gadano Juanjo García Martín Nataša Grandovec
Susanne Hammer Ildikó Juhász-Dora Yasuko Kanno Ji Young Kim Vanessa Kubach
Mia Kwon Julie Lake Ariel Lavian Ria Lins Ioli Livada Chiara Lucato Lieta Marziali
Mineri Matsuura Francesca Mo Olivia Monti Arduini Viktoria Münzker Sogand Nobahar
Martina Obid Mlakar Liana Pattihis Mabel Pena Rosanna Raljević Ceglar
Stefano Rossi Sara Shahak Gian Luca Staffolani Laura Stefani & Eva Franceschini
Claudia Steiner Yoko Takirai & Pietro Pellitteri Eva Tesarik Deniz Turan
Barbara Uderzo Eriko Unno Federico Vianello Yiota Vogli Qiana Wang Laura Zecchini

Categoria Studenti
Cristina Crescenzio (LA P.Selvatico) Ognyana Teneva (RAFA Anversa B) Lina Al-Dzhazzar Francesca Michelini (IED Milano) Shuang Liang Delia Perna Ruggiero (IED Torino) Emanuele Casale Silvia Martino (TADS Caserta) Federica Vecchi (SOA Milano)

Artisti Ospiti e Master Collection
Alba Polenghi Lisca, Mariarosa Franzin, Nicoletta Frigerio, Gigi Mariani, Fumiki Taguchi, Fabrizio Tridenti
Ryunjae Jung (Award 2018), Silvia Beccaria, Luisa Chiandotto, Clara Del Papa, Joo Hyung Park, Gianni Riva

Yasuko Kanno JP, Shape of the moment, spilla/brooch, silver, steel – Premio Gioielli in Fermento 2019 Allied Award

Sara Shahak IL, Sometimes purple, spilla/brooch, iron, enamel, lacquer, rubber paint, velvet powder, glass paint, miniature glass balls, stainless steel, Premio Gioielli in Fermento 2019 #gallery

Mineri Matsuura JP, Metamorphosis, spilla/brooch, oxidized silver, stainless steel, paint, Gioielli in Fermento 2019 AGC Special Mention, Klimt02 Special Mention

Corrado de Meo IT, Il Terroir, spilla/brooch, silver, wood, papier maché, acrylic paint, oxides, nitro paint, Gioielli in Fermento 2019 Jury Honourable Mention

Mariantonietta Davoli IT, C2H5OH, collana/necklace, gros-grain ribbon, waxed cotton cord, polyester, Gioielli in Fermento 2019 Putti Art Gallery Special Mention

Grecia

In my work I embrace both traditional as well as modern techniques and find great inspiration in the ensuing dialogues that my art reflects love transforming simple objects into art and the surprise caused by the unexpected charge objects and surfaces with human personalities and traits generate new materials with a child’s curiosity, weighed down by time melancholy.
The outcome is contradictory, personal and political, a cry for freedom.
I don’t always see limits between different disciplines as I restlessly experiment on new art practices try to push the limits of how jewelry is still produced and perceived as an "object" and how it is connected to a limited understanding of beauty.

I am the outcome of my story:
Since childhood I have had the passion of collecting and observing, fueling my creativity.
Texture, colors, volume, reflections, smell, taste, were some of my criteria to keep or toss my findings.
I used to create new objects using the ones I found and I never outgrew that characteristic.
My studies were in History, Archaeology & History of Art (BA, National Kapodistrian University of Athens) and they have shaped my knowledge on human and material history. At the same time, I have had, design, classic and contemporary jewelry seminars as I needed to understand my creative process and become technically skilled in order to transform my artifacts into quality pieces.
I have been awarded with the Bronze A’ Design Award as a member of the Urban Fiction design team as well as a Special Mention from the Italian association of contemporary jewelry (AGC) at the competition Jewels in Ferment 2016. Recently, I have won a scholarship from Krama Institute of Contemporary Jewelry.

Pubblicazioni

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