Brooch from Agita Putāne personal collection.
Brooch author: Reka Lorincz
Arriving at Munich strong wind and rain greets us. It is a bit mood killer, because running from one exhibition to other isn’t so enjoyable in this kind of weather. But it’s not worth being angry with things you can’t change.
I have decided to visit 30 exhibitions in 2 days and I have three goals:
- Find artists whose works fit into my gallery and projects
- See great exhibitions (artworks, scenography, atmosphere)
- Meet friends (artists, gallerists), in evening go to restaurant with them and chatter about this and that.
I decided to start with a visit to the MESSE MUNCHEN, where The SCHMUCK 2019 exhibition can be seen. I already had decided to report on this exhibition. I wanted to put the report on all social networks so that the public that continues to be conservative in their views, ideals and lifestyle habits could meet the contemporary jewellery challenge of SCHMUCK 2019 and the relevant contemporary galleries in the world.
I bought the ticket and went to the exhibition in good mood, began to explore, took the phone out of my purse to take pictures when two “carberi” came up to me and said I couldn’t take pictures. It was like a bolt from the blue! For a short time, it seemed that I had entered the 20th century or the Soviet times, when nothing could be done. It makes me wonder about the role of SCHMUCK in the contemporary jewellery field, in an era where technological status symbols – iphone, ipad, gadgets – have occupied quite a large area.
What’s the meaning of SCHMUCK then, if only artists, who know each other well, working in the field of jewellery are familiar with this event? Beyond the boundaries of the marked area, a narrow group of admirers know about this event. This conditional “living in its own bubble” has long been one of the biggest problems in the niche. I really do not understand why such an event is necessary if it says nothing to my gallery visitors, jewellery buyers.
However, I did not dare to shake off, so I looked at the exhibition and went to see what other galleries had exhibited.
The Gallery PLATINA (Stockholm, Sweden) did not disappoint. The gallery’s collection was great because the gallery’s collection works always hang on the border until which jewellery can retreat from previous stereotypes and can still classify as a jewellery. Great atmosphere.
I would also like to mention the exhibition – JOYA, where Paulo Ribeiro was holding great fervor. I liked the attractive design and collection of the exhibition.
Next I went to the city center to continue the most important part of the journey – MJW.
I’ll stick to the saying that “one needs to watch what likes and less criticize something that does not like”. So I’ll mark those exhibitions I just liked, provoked by dialogue and dressed up with some sort of delusion.
1.“ POPEYE LOVES OLIVE”
2. NUDA VITA THE PRACTICE OF COLLECTIVE AND POLITICAL BODY
This could be called – JEWELLERY of 2019.
Gallerist Olga Temnikova is one of the founders of the Tallinn’s art gallery “Temnikova & Kasela”. After a visit to the President of Estonia, the internet literally exploded into a discussions about her necklace. The author of the jewellery is Tanel Veenre. This piece of jewellery of MJW was in status of Mona Lisa, just a pity it was exposed by simply putting it on the windowsill.
3. OVERREACTING & “ LAND MARKS”
Jewellery Speaks Feminism and Gender
I am unable to enter the topicality of the Feminism movement today, but this exhibition addressed me very much. Both the design of the exhibition and the works and the young, attractive artists and the atmosphere in it were somewhat of hooligan impulses, but at the same time as a bridge between the intimate inner world and public space.
4. “ IODEOMATIC – JEWELLERY CONVERSATION BETWEEN FRANCE AND GERMANY’
I got a feeling that art only lives for art. An artist from France tells something very smart to an artist from Germany. As a viewer running long down the streets of Munich, frozen and dripping, there is no positive contribution from this communication. Works on the 1st floor exhibition were interesting.
5. “ CLEAR CURVES “
– students from the Applied Art and Design Department, University of Applied Sciences Dusseldorf
I wanted to highlight the arrangement of the exhibition, because the room, design details, texts must be in perfect interaction with the jewellery, because it affects our feelings.
6. “ TRAP”
An exhibition where the artists highlighted one of the top tasks of the contemporary jewellery – to highlight the carrier of the jewellery.
7. “ INFLUENCES”
We all know the feeling when you enter the exhibition and the artwork speaks to you. And the feeling is wonderful. All the works addressed me at this exhibition. And at such moments I get the feeling that I want these works to belong to me.
8. ALEXANDER BLANK
Everyone was kindly invited to this room! The purity of the thought, the purity of the ornamental language are the values that we aspire to, which we remember when nothing surprises.
-students of the Central Saint Martins BA Jewellery Design course
As every year, these exhibitions have never failed me. They are like a dot on i. These students’ jewellery are excellent self-expression tools, complementary to their “self”. I happened to go there at the moment of the exhibition opening, there was a big crowd, but everything I saw, heard and felt there, I just couldn’t stop enjoying. The jewellery was like a communication platform, a visual language tool and an endless fantasy incarnation – conditional practicality and commercial aspects were shifted to the second plan for a moment.