Designblog

I went to the design highlght exhibition of the Stedelijk Museum, there was a lot of design. For example, chairs, textiles, jewellery, lamps, graphics, books etc. Suddenly one small piece of jewellery made me stare for a while. It was Ted Noten’s work which was “Chew your own brooch” 1998. For me his work was visually intriguing compared to the others. Particularly as I’m interested myself in making different things. For instance, clothes that I don’t usually wear. I even collect recycled things in order to rework them. So it reminds me of my interests and that is the reason I’ve chosen his work.

Ted Noten is one of the most influential Dutch jewellery designers working in the Netherlands today [x]. He is known his solid acrylic handbags and a little mouse necklace and brooch which I’ve seen it. When I saw this brooch (chew your own brooch) I thought that it just represented a chewing gum. Unexpectedly, after I research his work, it wasn’t that what I expected. According to him “ I got fascinated by the stains on the streets made by chewing gum that has been spat out. People either look for holes in the pavement to get rid off their gum, or they approach a building and spit it out on the steps before entering. These are places where the density of stains clearly thickens. It made me consider the relevance of such observations to my work as a jewellery maker”.

I was quite impressed and shocked, how he was inspired by stains on the streets made by chewing gum and I simply thought that ideas are always close to your environment as he observed by street. Basically, the process is that he provided you with a piece [X] of gum and then you start out with a thin strip of chewing gum; you chew it into a ball and then the process of shaping and re-shaping starts until it ends.

You would chew the gum  into any shape of brooch you liked and send it back to his studio and he could cast a replica in gold, silver or bronze. The finished piece [X] would be delivered to you by post. It’s fantastic to see how the designs become a brooch and each has its own personality of the chewer. This project connects the designer’s role and the role given to the audience.

What is the chewing gum? Basically, Chewing gum is a type of gum made of chicle, a natural latex product, or synthetic rubber known as polyisobutylene. Most chewing gums are considered polymers and they have different types of tasty but after a certain time the tasty always disappears and than you rid off it from your mouth. In my perspective, the chewing gum reminds me of the disposable society and relationship situations. For example, when we need it we spend time with it and after when it no longer necessary we unsparingly abandon it. I was curious Ted Noten thinks the same way with those chewing gums. I read an article about him, which described Ted Noten’s design act as a critique on contemporary life and on the history of jewellery, as well as on the wider context of product design. An interesting part of his work is to challenge convention.

When I looked up other work which he is known for, acrylic cast featuring a little mouse, it reminds me of one of English conceptual artists Damien Hirst. He became famous with a series of artworks in which he presents dead animals. Actually I’ve seen his work in Tate modern in London.

He displayed “The Physical Impossibility of Death in the Mind of Someone Living,” a 14-foot-long glass tank with a shark preserved in formaldehyde. Also he made “spin paintings” created on a spinning circular surface, which are randomly colored circles created by his assistants. It was a slightly different approach compare to Ted Noten. Hirst’s work investigates and challenges our contemporary belief systems. Even if they differ in  approach I found that Damien Hirst and Ted Noten are interacting with the audiences and both their work has a strong symbolic statement in it.

For this research I have chosen a brooch made by Manfred Nisslmüller [x] which is currently being shown in the design exhibition at the Stedelijk Museum, and is a part of their own collection.

Here you can see it on the Stedelijk webside.

Manfred Nisslmüller studied goldsmithing but his work is maybe better suited under the category of visual art than design. Jewelry is still the main focus of his work but now he looks at it from a different view. He investigates and raises questions about the media but wearability is not one of his main considerations. For example, in this work below he uses graphite to make a brooch, ring and a bracelet. But since it is made out of this unusual material the items are way too heavy to be worn.

Let’s turn back to the brooch. What I see at first is not only a brooch like the title suggests, but a bunch of brooches. It is like looking into my own jewelry box at home, all in a mess. A fusion too complicated to untangle before going out so instead of wearing it I let it lie there for ages just to tangle up even more.
But I like the idea of wearing all of your brooches at once. Why only chose one? It seems only to occur to me to wear one piece at a time or at least only a few but never the whole pile. Am I just bragging if I wear my whole collection at once? Is it the same to actually wear the collection tidily placed side by side like an award winning officer or wear it randomly twisted together like trash in the wind. How does the value of a piece of jewelry change by it’s contact with other pieces?

I really like this question of value. This brooch is a mixture of various brooches, cheap junk you could find in a 1 euro shop along with precious metals with natural stones. Somehow, when they get mixed up in a pile like that the value becomes unimportant and not visible. I like the idea of these jewelry becoming equal and becoming one. Their value is equally divided. But does this brooch have less value than one of the fancier brooches incorporated in it, if worn on its own? Is less more or is more less?

Perhaps, in the end the effect is exactly the same.
Jewelry is something made to decorate, to adorn. That is a fact closely examined by Nisslmuller in his work. He investigates the role of jewelry and the word jewelry on it’s own. He has been dancing on the line between jewelry design and visual arts throughout his whole career, constantly becoming more conceptual as he continues to question the media of jewelry making and wearability becomes less and less important.
To him the looks of jewelry, their beauty or ugliness, doesn’t matter that much. The purpose is always the same and it is always accomplished. To him a piece of jewelry can be an object, a situation or a feeling but they all obey the same basic rules – they all adorn.

In 1984 he presented these two suggestions for pieces of jewelry that I really like:

A) Spray both ears with fluorescent lacquer and whistle a melody in intervals.

B) One hears the word “BROOCH” repeated softly from a cassette recorder worn concealed on the body.

As you can see from these two examples his definition of jewelry is very broad. I think he really brings us back to the core of this ancient tradition and keeps on investigating it and questioning it into the infinite.

Manfred Nisslmuller was born in the year 1940 in Wien where he still lives and works. He published a book about his ideas about jewelry called “Uber (und) Schmuck” In which I got my main information about his works and thoughts. This book along with a couple of other books and newspaper articles on Manfred and his work can be found at the Stedelijk Museum library.

Here you can see their website [Stedelijk Museum Amsterdam].

Ted Noten (born in 1956) is a Dutch jewellery designer and conceptual artist. His is known for his work of making acrylic handbags containing various symbolic items like stuffed mouse, guns, and fishes.

I choose Ted Noten design, “A split before imploding ” which is one of 6 “jewelry bags” together called “limited edition” from 2007, from. “A split before imploding” is a 30-kilo trolley bag made out of solid acrylic and carries only one item, a trapped perfume bottle (named Flower bomb) made by two fashion designers Viktor and Rolf.

Ted Noten wants to deconstruct our preconceptions of jewelry and wanted to show how jewelry also can be implemented, without connecting it physical to the body. Ted Noten tells us that the trolley bag is a statement of “status and showing off” ….“The Fashion and jewelry worlds are absurd this bag’s 30 kilos -it would be ridiculous to carry”. The artist Marjan Boot also comments that the piece has a commentary toward predominant rise of wealth and the fear of robbery an it being in a trolley bag, tells something about the increased safety in airports and the fear for terror.

I find Ted Noten’s “A split before imploding” interesting because of the visual design itself and the concept of the perfume bottle. This aesthetic of sealed beauty locked-in forever by impervious walls, tells a story about an idea of perfect beauty never to be introduced to the spotted and imperfect world.

Limited edition

The trolley bag is accompany by 5 others jewelry bag in the series Limited edition. They all bear the same “inaccessible” construction of an item being behind a thick layer of acrylic. (a gun, fish etc.)

In Ted Noten’s work you often find some form of rebelliousness when it comes to him and his costumes. I find in his work “Pig bracelet” he made a golden bracelet with a small pig figure wearing a necklace. Giving the nature of this, being jewelry and highly expensive. one must assume that his costumers must have a reasonably good income. Having this in mind and seeing a pig wearing a necklace could indicate an ironic commentary toward his buyers as “rich greedy old woman” who are looking for beauty in all the wrong places.

I would refer this statement also with the trolley. People buying a 30-kilo jewelry trolley with no practical means, could tell a story about the absurdity Ted Noten is trying to reveal.

It seems that Ted Noten is often trying to bring forward the ugliness of mankind and then beautifully wrapping it in cellophane. You can see it in several of his works,  like “Be nice to her, buy her a ring” a project in which clients to the red light district could buy a ring for 2.50 to give to a prostitutes and then hopefully a more respectable relationship between client and prostitute could be established.
This is also seen in “limited edition” where one of the jewelry bags is a real gun inserted in acrylic and the cast like a schoolbag.
This lethal gun represents the dark side of mankind’s destructive behavior and selfish power. But when covered in clear acrylic it distances itself from the lethal projection and becomes a symbol of raw power.

His solid acrylic bag resembles a work I did a couple of years ago. I made out of 500 kg ballistic gel, 2 square boxes containing a flower and a number of bullets shoot in from the side.

In my ballistic gel art piece. I’m trying to show the true competition that takes place during human conception. This is the competition for life. More the over 100.000 sperm fight for their ability to live on, but only one is allowed in, to fertilizer the egg.

The gel is a tissue that to some extends resembles the soft environment that this conception is surrender of, but the gel creates an unbreakable and time free zone where nothing is allowed in.

Also in Ted Noten’s work where this perfume bottles is captured in time and out of reach for anybody outside the hard visible box. I see him as an artist trying to tell a story of his surroundings either if it’s a mouse with a pearl necklace (Turbo princess 1995) or a giant bottle of perfume locked in acrylic. There is always of story about how we human most live with ugliness and beauty side by side.

[publication of graduation essay by Richard Elenbaas 2012

Richard Elenbaas is interested in how value is created. He adds ideas to objects to create something valuable, but what is value these days in a time where most of the values are virtual? In the field of jewellery the theme of value is always present. A lot of times jewellery is valuable or bears a valuable meaning.

His work is based on topics that trouble all of us: newspapers filled with articles about the “crisis” and the degrading of the “euro”. As a jewellery maker he takes these themes to create work about “value”. The aim is to create connective possibilities to this theme and make suggestions.

Interested in symbols of value like gold and money, it seems this is all that matters today. So he try to triggers people with the seduction of interaction; to make them become part of the work and create value and social relations.
 
  Download thesis: Jewellery is a State of Encounter

[images of Richard Elenbaas's graduation show

As part of the final exams and graduation show 2011, the Jewelry department of the Gerrit Rietveld Academie “Het Sieraad” published a wonderful triptych.
A successful effort to put the work of the 8 graduating students in broader perspective.

This triptych consists out of 3 layers in which the students present
1] their visual inspiration material, 2] parts of their theses in relation to the works, 3] the works itself.

The whole publication is beautifully designed by Anna Hennerdal a graduation student of Graphic Design herself. She managed in a very effective way to visualize these layers and their interrelationships. Most intriguing in this publication is the transformation of all the material through the miraculous technique of cyclo-style printing [x] causing an unique visual interpretation.

“1-2-3 Jewel”
a feel of the field / research & inspiration / final pieces

page 2 - 3 : chapter 1 / a feel of the field / index - Boris de Beijer

page 8 - 9 : chapter 2 / research & inspiration / Benedikt Fischer - Catherine Doyle

page 12 - 13 : chapter 3 / final pieces / Nhat-Vu Dang - Marina Elenskaya

 
The 40 page publiation “1-2-3 Jewel” of which 200 copies were printed can be bought for € 25 at the Jewelry department or can be downloaded as pdf below.

  download thesis: 1-2-3 Jewel” [english language]

Berlage’s secret

For the people that have a big interest in hanging clocks the reading about the Berlage clock could have been exiting, for all the other people it was three times nothing. People that are against the cut downs in art should turn their head and look the other way, because if you find out that someone that studies on a clock for a year and finally comes with nothing is probably not worth any grants.

It is wonderful that a museum gives a look inside their research department. The presentations on the Amsterdam School and the Gijs Bakker dress were interesting to listen to and even though both of the researches weren’t finished on the moment of presentation, both of the researchers could justify very well what they did. The presentation on the Berlage clock was about a failure, about a broken clock with no information to be found, about a lot of compromises with an not original and not working clock as the result. As a researcher there is a chance that you’re not much of a speaker but if you can’t prepare a presentation after a year maybe you should make the decision and keep it with only the presentation of the work itself.

[by Taro Lennaerts]

Influence of the collar!

The radical design duo Gijs Bakker and Emmy van Leersum, famous for there futuristic creations, had there most sensational show in 1967 at the stedelijkmuseum. Not much remained of there fitting mini dresses with large metal collars, only one set of collar and dress survived and is now in the Stedelijk Museum collection.

At the time Gijs and Emmy’s works were not always appreciated and even considered instruments of torture by critics. Now 40 years later this new mentality in jewellery design founded by Emmy and Gijs is part of dutch design history and till today of great influence in designers works all over.[x]

rubber and metal collar by Katja Hannula and Giulia Shah, February 2011

[by Giulia Shah]

bijoux et le minimalisme

Emmy van Leersum's and Gijs Bakker's designs can be summarized as futuristic (similar > Pierre Cardin, Andre Courrèges) and conceptually groundbreaking (the ''unisex clothing'' > similar > Jean Paul Gaultier, Claude Cahun.)
The comparance of Courrèges's and Cardin's ''Space Age'' collection (towards Bakker and van Leersum) is intriguing and i was fascinated by the experimental jewelry (extreme sizes, unwearable, minimalistic and the Avant Gardistic approach.)

conceptually it's very interesting for me [according to the idea > jewelry without it's historical ballast and just a pure essence] and the awareness of exhibiting their works in a stable conceptual way, the free spirit thinking and the idea that aesthetics are not ''the main essence'' but that a concept is nr. 1 comforted me and made me feel challenged in several ways.

Equal [according >conceptual influence]:

Jean Paul Gaultier has a very similar way of thinking [reappyling gender codes, equality between female and male etc] and the idea of creating a unisex-line is fascinating. The idea's [according to groups, minority's, majority's etc] do remind me of Deleuze and Guattari. There is a equality [according to my aesthetical approach] according to Stanley Kubrick's 2001: A Space Odyssey [Djinn Chair by Olivier Morgue], Wiliiam Klein's ''The Model Couple'' and the ballets of Hans van Manen.

All by all; this similar approach has nothing to do with ''being similar or comparable'', it just has to do with the moment and the things that seemed equal [could be through a feeling, a aesthetical view point, etc.]

[by Petros Orfanos]

Share Our Stories

”After three hours of listening to lectures about design and designobjects everybody was a bit bored. This was not because of the content, but about the way it was presented and the retorical skills of the speakers. But see it from a other point of view than only the level of entertainment. What is the importance of art/design research and making it available to the general public? In my opinion it’s a opportunity, that it is made accessible, for everyone that is interested or wants to participate in preserving/documenting history. Cause this is what we saw. Not a great story, but people asking for help to make a great story. If you think about this, there is still a lot we need to find out to complete it. After a certain amount of time information gets lost and also the possibilities of creating a clear picture about history. Today some of the stories might be boring or uninteresting. It even can stay that way, but when times goes by it can become relevant and important. It is not up to us to make that judgement, but for later generations still to come. For now we need to search, share and organize information. So everybody has the same opportunity, like us, to access our history in the best way possible.”

[by Herman Paskamp]

obsurbed by research

Quite interesting to see these curators completely absorbed by researching one subject. Information was given about the 1960′s fashion of Emmy van Leersum and Gijs Bakker, the Amsterdamse School and then there was some dribble about the restoration of an old clock. In the following text I will focus on the first of these subjects.

It was compelling to learn from Marjan Boot that styles of dressing that are now totally accepted (a woman wearing pants) or trite (a jumpsuit) were completely groundbreaking back when van Leersum and Bakker gave their (apparently legendary) fashion show. Little proof that the show ever even happened remains today, so the curator explained her challenge was to represent the fashion show’s relevance and atmosphere in an exhibition with what little information and material was left of it.

My problem with this is, it’s not really possible to translate the excitement of then into a gallery now. If you exhibit remains of a fashion show in a museum, you will always be hindered by the limited possibilities. No matter how much information and material you collect, it will still come down to some text on the wall, dressed up mannequins behind glass and maybe (how exciting!) some moving pictures and sound on a screen. I’m not saying it shouldn’t be done, just that it will surely be disappointing experience to anyone expecting something as edgy and provocative as the original fashion show.

It will probably be a nice sunday afternoon for anyone who was young and hip and probably wealthy (and probably still is, rich bastards) and really with it and happening when it was still 1967. They will be reminded of the olden days and for them, but only for them, it will come alive again. Then they will go home again and read some Gerard Reve while smoking a pipe and listening to Vivaldi or whatever, after which they will go to bed and probably die in their sleep. God why don’t all these old people and curators just die already.

Unfortunately the tape Ms. Boot located with the music of the show was not yet in her possession so we did not get to listen to the pounding beats of early electronic music, which frankly excites me more than fashion.

[by Senne Hartland]

Liza on ‘over de jurk van Gijs Bakker’

It was in 1967 that a sensational show took place in the Stedelijk Museum. In this show futuristic creations of Gijs Bakker and Emmy van Leersum were presented, among music from Karlheinz Stockhausen. Only one dress remained, still I do think they have quite a elaborated idea about what the show must have been like. Marjan Boot, the conservator leading the research, put forward that she wanted to know (even) more about the show in order to find a way to present it in this time. I don’t actually know if she’ll ever know enough to get the right ‘feeling‘ back. I know this sounds vague, but since we’re not living in the sixties there’s no way we can present the work in the same way, or in another way but grasping the same ‘spirit’, as back then. Some things are just great because they happen at a certain place in a certain time, and we can’t bring them back. It’s a bit like childhood memories; we want to re-encounter them, but we will never succeed. Maybe this quality of time in relation to ‘memories’ is what make the ‘memory’ even more valuable.
So my advice is don’t try to hard to make people re-experience a faded memory. (I don’t want to say that you shouldn’t present it, but do it in a simple way, just pictures and the dress, and don’t be disappointed to hear that people didn’t ‘feel it’ )

[by Liza Prins]

BLESS DESIGN was founded in 1997 by Ines Kaag in Berlin, and Desiree Heiss in Paris.

In ’99 and ’04 they received the ANDAM fashion award.

They’re philosophy is creative freedom, they are busy with totally innovative fashion accessories through design to art.

The Bless creative expression takes the form through numbered editions, with a permanent research of timelessness. They’re way is to create without definite perimeter.

The two designers escape from any calibrated definition of fashion, “BLESS does not promote any style – BLESS fits every style!” they kept tight they’re initial concept and idea which was to combine creations between fashion, design, art and architecture.

The objects created by Bless result from the fascination of Desiree Heiss and Ines Kaag for recycling, the diversion of the uses and the traditional techniques.

They’re accessories turn what was supposed to be regular and unquestionable into surprising.

Like, for example the shoe-socks, that is a socks boot like, with a sole under, or from the collaboration with Le Pliage®, the bag that can be folded inside it’s own circular leather handles and can be worn as a bracelet.

(more…)

We could imagine that an artist who decides to make a book to present his works, will make the choice to present it in the most realist way. The works have to be shown as clear as possible, with all the details and from the best angle in a way that the public can figure the work out as better as possible. (more…)

Weldoordacht geklad en geklieder is wat er in mijn hoofd knalde toen ik dit boek uit de schappen trok.

Gewicht, omvang als dat van een saai oud wetboek. Maar uiterlijke kenmerken die speelsheid en frisse veranderlijkheid verraadden.

Het is een boek over sieraden, hedendaagse sieraden om precies te zijn. Allemaal ontworpen door (ex) studenten van ‘Munich Academy for Applied Art’[x]. Blad voor blad ontdek ik, dat mijn kennis over sieraden nog armer blijkt te zijn dan ik dacht. Dat, terwijl ik me verbaas over de vele opties en keuzes in materiaalgebruik, vormgeving, grootte.

Wat zijn hedendaagse ofwel autonome sieraden nou eigenlijk?

Is de term ‘Autonome sieraden’ niet wat de Engelsen een oxymoron noemen?

Een stijlfiguur zoals ‘knap lelijk’ of ‘oorverdovende stilte’?

Deze term lijkt in te gaan tegen het idee dat deze sieraden een toegepaste kunstvorm zijn. Dus daarmee, geen autonome. Wat is het verschil tussen een antieke trouwring en een neonkleurige kunststof ring in de vorm van een schedel? Misschien heeft symboliek ermee te maken, misschien het verleden. Voorheen hadden de sieraden behalve een decoratieve misschien wel meer een praktische functie.

Status, afkomst, burgerlijke stand en noem zo maar op.

Voor mij is de kunst van sieraden een toegepaste kunstvorm. Het is kunst dat op het lichaam gedragen word en heeft de functie de drager te onderscheiden van anderen, Of iets toe te voegen bij hem of haar. Iets wat hij of zij niet nodig heeft, maar wat alleen geld in verband met hem of haar.

Maar dan, een kunstwerk dat ‘ toevallig’ gerelateerd is aan het lichaam en alle eigenschappen bevat van een sieraad. Is dat kunstwerk per definitie een sieraad, dus dan ook toegepast?

Nee, vind ik niet.

Just as the academical year came to an end, at the most busy moment of the year, there was again a grand expo at Gallery Ra in Amsterdam.‘
Manon van Kouswijk, ‘Hanging Around’, The Pearl Chain Principle’

[22 Mai- 19 juin 2010].

Manon van Kouswijk has been Head of the Jewelry Department of Rietveld Academy the past three years. This exhibit was like a farewell present by her, after leaving the academy for a new chapter in her life and carreer abroad.
For all who missed that show there is still the book with the same name ‘Manon van Kouswijk, ‘Hanging Around’. And what a beautifull publication it became. With the help of graphic designers NiessenendeVries [#] and photographer Uta Eisenreich [#] a new pearl was added to her neckless of exquisite publications on her work and research process. Only 500 copies so go to the Rietveld library and have a look. The book not only gives a genuine and autonomous look on her work, it also presents her associative search into the subject of pearls and chains as a subject. An inside look into her working process as we came to know from her in former publications

. . .“Within my work I focuss on the value and meaning that everyday objects represent to us.
I am interested in actions and rituals in which these objects take part, like finding, buying, collecting, receiving and giving. In the works I visualise aspects of their function, of use and wear, and of associations that are connected with them.
The archetypical object serves as a starting point in this process; the outcome and appearance of the work is diverse and ranges from jewellery, cutlery, tableware and textiles to works in paper.
The making process I view as a way of making things visible rather than designing; I stay quite close to the objects in a sense that I work with the materials and techniques that the archetypes I start from have been made with.
The multi- disciplinary approach is essential to my practice. It results in functional designs as well as limited editions of art work, that are all derived from the same sources of inspiration. [#]

. . . “My graduation project at the Rietveld academy in 1995 was based on my interest for classical pieces of jewellery, like in this case the pearl necklace. I was intrigued by its rigid and aloof character and felt very tempted to attack it in such a way that other aspects then just its perfectness became more visible.
To achieve this I used the specific characteristics of the necklace, like the severe order of the pearls and the knots that both separate them, but also hold them in place to make a series of alterations to the piece.
One of them was a transparent bar of soap, containing a strand of pearls that slowly comes out the more the soap has been used up. The necklace is born from the soap like a pearl from a shell. [#]

quotes from Manon van Kouswijk

[#] look also for her former 2007 publication Lepidoptera Domestica

I choose a book on jewelry because jewelry often has some very nice organic shapes and colors that in a way makes them not much different from paintings. The reason I picked out this book about jewelry, instead of the others was because there is a yellow dot on the book which was the first thing that got my attention. The pictorial content of the book was more or less what I expected, when reading the title ‘Twentieth Century Jewelry’.

Rietveld Academie Library No:

Ted Noten thinks these days the function of jewelry is quite not necessary in the western culture. In his opinion we have forgotten what it means. He asks himself the question; What is jewelry? And; Why do we keep it?”
He wants to make jewelry people can afford, and that’s a funny thing because his way of working is to pack things into acrylic material, so he actiully makes a distance between object and public.
And the fact that he don’t want to make art for the elite people. But - if you make jewelry that goes into the art field, it’s only the elite who can buy it.

That’s also my question; What’s the use of this ‘useless jewelry’?

on_Ted_Noten

The work of Lucy Sarneel interested me. Her work is precise and careful. She translates historic time to our own time. She also shows ideas which are derived from her personal daily life experiences.
A really interesting work of Lucy Sarneel is called ‘Stoelringen’, (Chair Rings), made in 1992. This work represents different types of personalities. To each personality, she connects a different chair. She is thus showing a personality as a chair, in a ring format.
This work caught my attention, because it shows a different interest of the artist if you compare it to her other works. In the ‘Stoelringen’ work, she focused on the relation between material and personalities instead of time and personal feelings, as in most of her works.
The small size of the jewellery remembers me of traditional games, particularly the chess game.
As a response to this work, I decided to make a chair for each personality on the chess game. Each chair, its size and shape, is related to the social difference and position of the chess piece.

Lucy Sarneel

Myrza de Muynck is a Dutch textile artist. She’s not that known and quite invisible on the Internet.

The one and only source of information about Myrza is presented by the ‘APPALACHIAN SCHOOL’.? She was part of their second big group exhibition in the summer of 2007. As a journey to the exhibition, the artists were invited to use the ‘Appalachian Review’. This is an online publication, which invites artists to submit a portfolio of work in progress, to be exhibited.

The portfolio of Myrza contains ten pieces. Like sketches and inspiration. My approach for this research will continue this. I’ll search for the background information from the people that inspired her for this exhibition and try to interpret this in her personal work. Trying to find out this person, Myrza de Muynck.

Willemijn de Greef seems to have been interested in the subject “folklore” since she was making her end exam show at the Rietveld academy in 2006. She also seems to be inspired by fishing industry and traditional craft. In her work se is designing various types of jewellery – brooches, rings, necklaces – but her main focus seems to be on the necklaces. When you se her necklaces it is remarkable that they are all very big. – In fact some of them seems impossible to wear. But what is the reason for this size? What is the inspiration for this jewellery designer? And what does she want to say through her jewellery?
Instead of only trying to get answers to my questions through the designer her self I decided also to ask them to people that is part of my personal folklore. Hereby I chose my focus to be, on one hand, at what I can learn about the jewellery of Willemijn de Greef by interviewing people that is part of my personal folklore, and on the other hand, at what I can learn by going directly to the source.

Willemijn_de_Greef

In her latest exhibition “Kutten en Lullen”, Dinie Besems shows us a collection of oddly shaped vegetables. All shapes which in some sort resemble a penis or vagina. It’s not her intention to shock us, or make us laugh, she wants to show us these weird mutations of the fruit and vegetables we eat every day. I think this project shows a lot of how Dinie Besems works. She started as a jewelry designer, at the Rietveld. But during her career she’s not afraid to cross borders, cooperate with graphic designers and other artists, and to step away from the conventional “jewelry design”.

With a bit of humor and a lot of concept she stands out among other designers. You never know which way she is going to go, but in the end it’s always something touchable, something that relates to the human body (as in jewelry).

What I noticed is that Dinie Besems often slides over into different diciplines. But in her whole oeuvre I can detect an overall interest in the communicative values of graphic design. Magazines, posters, her website and other collaborations with well known graphic designers. So where does that come from? How does she see this crossing over and are graphic design and jewelry that far apart as I thought they were?

Graphic_Juwelery

Lucy Sarneel (born 1961 in Maastricht) says; “In my jewellery various materials, as for instance zinc, textile, silver, gold, wood, appear. However the main metal I work in is zinc. Besides of the fact that its blue-grey color reminds me of the Dutch sea and sky it also represents the area between black and white, life and death. It refers to daily-life objects of the past like a washtub (in which my mother used to bath me when I was a toddler), a bucket or (still nowadays) a flower box.. Furthermore it associates with protection because of its use in for instance steel rooftops or rain-pipes to prevent them from rusting.

As a prominent participant in the “Gone With The Wind” exhibition held in the Zuiderzeemuseum (mrt-okt ’09), Lucy Sarneel was invited to speak about her participation in this project and one of the main themes in her work…”folklore“.

Enjoy the series of images in which it becomes apparent how the spirit of form and function can be translated into inspiring contemporary mixed media jewelery.

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Zuiderzeewerken I, Halssieraad Spakenburg 2009 (zilver) / Willemijn de Greef :courtesy Marzee

At the exhibition “Gone With the Wind” I saw a series of oversized necklaces made by Willemijn De Greef. The size of these necklaces made it seem like they were made for gods and I had the association of the gods in the Norse mythology. In this mythology jewelry play an important role. For example the goddess Freja owns a necklace called Brisingamen.

As a child I was very fascinated by the tales of the Norse mythology. The stories were told to me in school and it was interesting to know that the people who lived their life’s by the rules of this religion had walked the same grounds as me.

I think it’s interesting to think of the mystical beauty jewelry represents in such an old mythology. It puts the concept of jewelry in an interesting perspective, that the fascination of it is so old, and it becomes very clear that the value of jewelry is definitely not only material

The noise from the boots that hit the cold wet floor, yelling men shouting and cursing, fork lift trucks and pallets that hit the floor with a loud bang. And the ice-cold air from the freezers. This all together make you realize your in the fishing harbors of IJmuiden. Typical for this environment.

From their sixteenth age the lads in IJmuiden are ready to work in these harbors or as fishermen on sea. They get the full gear. A blue overall, yellow boots, yellow gloves, a tattoo of an anchor, ship or mermaid. And of course the golden earrings.

Atelier Ted Noten made a collection of earrings called “New identifications”. My personal connection with that work is simple. In the city IJmuiden where I was born all the men wear these earrings. These 18kt earrings will cover the costs for the funeral when fishermen die in a storm out in the open sea.

Ted Noten his series have new images/symbols from the 21^st century as Ipod’s, windmills, skateboards and so on.

In the library I found the book: ”Jewelry – concepts and technology”.
It’s about Jewelry. It’s not a small book.

I’m not really into jewelry.
- but, oh all this nice detail. I need a closer look at that book.
What kind of system is it?
All these possibilities that I didn’t know about.
How can there be so many possibilities?

A new way of understanding. A new system to see through the working process.
Extract from the book: ”A joint is a place where two or more parts are united or made to fit together.”
- is this about silver or people?
Will I, after working with this “joint”, understand the social connections between people better?

I am looking for the answer of simple, or maybe not simple, questions.
I am looking for information about other stuff than jewelry, it has to be here in the book somewhere.
It is.

cat.nr: 777.6-unt-1

keyword: connection

I am in my mothers tummy… I am playing with myself…

I am born… i am playing with my cuddle toys…

I am 3 years old… I am playing with other children…

I am 14 years old… I am playing with boys…

I am 18 years old… I am playing with men…

I am 24 years old… I am still playing with men…

I am 32 years old… I am playing with my kids…

I am 63 years old… Am i still allowed to play?

YES, I AM…

cat. nr: -cal-2

keyword: playground

I will start with a beautifull sentence that has inspired me often. ”standing still for a moment, is actually a big step forward. So I stand still the whole day”. This sentence is a complete overview of what slowness is for me. But is this in connexion to any kind of design or art? For me in some cases this standing still adds a big layer in looking at things. By looking at objects and art for more than an hour and from the same perspective, it gives a new strength. But is there a way to make other people expierence this power of standing still. What could design/art add to this?

It was an assignment that started out with body extensions, and ended in animal imitations. The best known or most visible aspect of a certain animal was picked out and preformed by one of the students. I personally thought they did it in a very funny way without turning it in to a joke. My favourite was maybe the video where Timo Rohula tried to seduce Maria Pedersen. Timo wore the best, most flashy outfit he could get his hands on, and danced like a crazy man. All to get some female attention. Like a tropical bird flaunting his feathers.

An assignment in jewelry design that was supposed to end up in an object that could roll on your body, became something else for Raz Barsatie.

The objects which could not roll on a body came to have more to do with the body, than the object she made that actually could roll on someone. When watching her objects rolling the mind directly makes a connection to the animal and human. The blue object (see photo above) makes the sound of a tiny horse, whereas the movement is more one of a rather slow, clumsy and unsteady walk of a human. It is interesting how these objects cannot roll on the body but are, instead, independent bodies themselves.
link to youtube

posted by Nadja Voorham

During ExperimentaDesign 2008, 7 jewelry designer were given a chance to work and live in the Red Light District. The project was called “Red Light Design”. RedLightDesigner Ted Noten designed red rings and sold them in the imfamous Red Light District in Amsterdam City. What caught my eye, the first time I saw Ted Noten’s display, was the way he presented his work. The rings were sold in a 24-hour vending-machine placed in a window where a former ‘working woman’ used to conduct her business.

“Be nice to a girl, buy her a ring” was his motto.

Basically he wants to add a little romance to the surrounding; the prostitutes, the men and woman that visit the area. Interesting in the way Ted presented his work is the interaction that takes place between the tourist and other people that pass this display; curiousity is aroused in almost everyone that walks by. But I started to wonder and question the work; does this designers work fullfill its purpose? Does the rings reach their intended destination? And do romance and prostitution mix? What would happen if we asked a prostitute her opinion? What would she think? So I asked a ‘lady of the night’, right around the corner to find out what she had to say.

posting by Dana Jansen

Tribal Asia.
In search for precious, body decorative objects in tribal villages of Asia.
Gesture language in communication with local craftsmen.
Looking for…,changing for…buying for…
Roughness/ Heaviness/ Roots.

Mountains.
And their hardly approachable slopes.
In need for strong ropes to keep you safe, to survive on your way of reaching peak.
The beauty of joining little threads into one strong rope.
Precision/ Color/ Pattern.

Electric store.
Materials research in building stores. Especially in electric field.
Rubber tubes, when heated connect cables and ropes.
Silver like,bendable material.
Connecting/ Material behavior/ New ways of use.

And then…

+++D.I.Y+++

The best contemporary jewellery gallery in town!
Ropes/Ropes/Ropes