Yiqing Cai, Fragile!, pin
that is f-utile
A project by Valentina Romen with works by Marta Boan, Yiqing Cai, Tereza Duskova, Jovana Popic and Vincent Vintage Bijoux
Opening: Wednesday 27th of November, 6 pm
Exhibition from Thursday 28th of November to Saturday 14th of December 2019 from 2 to 8 pm
via San Fermo 7 – Milan
It is not true that art is useless. Art seduces us with the importance of being useless and embodies important social, economic, aesthetic, magic and ritual functions.
Jewels in particular always had precise functions. The seal guaranteed authenticity, buttons and buckles supported the dress, the amulet attracted fortune or prevented bad luck, the spices contained in the pomander revived the senses or relieved discomfort, the châtelaine united everyday necessities on the belt, a ring could communicate loyalty to someone.
The group show Useful brings together the work of three contemporary jewellery designers, a drawing by a visual artist and a selection of historical objects from the collection of Manuel Menini (Vincent Vintage Bijoux). Each artist cultivating his own curiosity, the only real engine to understand the usefulness of the useless and the uselessness of the useful.
In occasion of the Milano Jewelry Week which is taking place from the 24th to the 27th of October, I find myself in good company as one of the special guests invited by BABS Art Gallery.
On show part of my collection Fluid Borders, where geometrical shapes delineate the body with arbitrary border lines. Unbending profiles in contrast with the sinuous contours of who wears them.
BABS, which stands for Beyond Art Before Sculpture, is the first gallery dedicated to jewelry designed by artists in the city of Milan.
BABS Art Gallery
via Maurizio Gonzaga 2 corner Piazza Diaz, Milan.
Opening hours during the MJW:
Monday to Friday, from 10am to 6pm
Saturday and Sunday, from 11am to 5pm
A further step, jewelry for the table.
Happy to announce that I am selected to exhibit at “Crossovers” by Adorno Design as a part of the Italian collection curated by Mr Lawrence . Through the best outcomes of contemporary collectible design, the exhibition aims to tell the story of 10 of today’s local design & crafts cultures. London Design Fair, September 19-22, London, UK.
Tête-à-tête old school.
Two benches to adorn your table.
Knives might rest on it, or the chop-sticks.
I like to rummage in the past to bring back objects that – despite their rough textures – exalt form over utility. So this time, taking a step outside my comfort zone, I realized an original piece of jewelry for the table. Faithful to my dna, the knife-rests are manufactured in bronze by the lost wax casting technique. One of a kind pieces, visible and on sale on adorno.design .
At the Gallery Shop of the Kunst Meran Merano Arte you find design products and craftwork by local artists from Southtyrol. From Wednesday May 15, the siblings Valentina and Marius Romen will present their creations.
39012 Merano, Italy
Jing Yang, neckpiece “I am not a vase“, 2017, photo: Valentina Romen
Jewellery Week was held in Munich last month, with exhibitions by both artisans and design students dedicated to the art.
Schmuck, jewellery in German, is the section of the International Craft Fair in Munich dedicated to contemporary jewellery and is celebrating its sixtieth anniversary this year. An exhibition, an award and the presence of some of the most important galleries in the sector have managed to create growing interest in the event.
Thanks to the Dutch initiative by Current Obsession, the last few years have seen the addition of a programme which is open to all and which extends to various districts in the city. A large number of the events are concentrated in a period of one week in mid-March, when dialogues between jewellery designers occupy ephemeral spaces and dedicated galleries.
Numerous schools are present, ranging from Central Saint Martins of London to the China Academy of Art of Hangzhou. Counting the nationalities of the students, collectors, curators, gallery-owners and curious visitors seems almost an impossible task.
For two of the most important institutions on the Munich cultural scene, March is also an annual appointment for artistic jewellery. The Danish Karen Pontoppidan (1968) is the focus of the exhibition dedicated to her work “The one-woman group exhibition” at the Villa Stuck museum.
Yes! we are open!
If you wish to have a closer look at my jewellery,
come by in via San Fermo 7, here in Milan.
But to make sure that you will find the door open, please contact me first:
by phone +39.335.7040106 or by email firstname.lastname@example.org
Pleased to communicate the presence of the little figures on the “Traverso” exhibition wall at the cabaret theatre Carambolage in Bolzano during December and January.
Especially for the theatre I imagined a new little character and experimented with coloured resin.
Until the end of January at the cabaret theatre Carambolage
Silbergasse 19, Bozen
Young Collectible is the result of a parallel research by the gallery owners focused on the development and support of young collectors: a free approach with the possibility of scouting new aesthetics, exploring a more intimate design dimension with sculptural and functional works on a small scale, self-produced by contemporary artists and designers.
Self Portait With Nose, 2010, brooch, credit: Bruno Bani – Martina Simeti Gallery
Once again I had fun putting my encounter with a jewellery artist into words for Domus.
An interview with the Swiss jewellery artist who mixes noble materials with discarded objects and relics of our disposable society.
Picking his way across a virtual minefield, the Swiss artist Bernhard Schobinger seeks equilibrium between beauty and ugliness. Born in Zurich in 1946, he has become one of the most important exponents of contemporary jewellery by inserting his craft into the current social discourse. As the same time, his items connect to the archaic origins of amulets. Schobinger reproportions the concept of jewellery as something precious and luxurious. He bypasses the hierarchy of jewellery with evident disesteem regarding its conventional categories. The mounting and modifying of objects of daily use and elementary discards open a creative space in which the functionality and background of objects and materials are called into question. The result is formal richness full of content and (sometimes invisible) meaning, full of humour, imagination, history and destiny. Schobinger has an immediate, sensual relation to materials. We can feel the joy of discovery with which he dissolves the boundaries between applied arts and visual art by combining modest, unusual materials such as shards of glass and nails with metal, gems, pearls and diamonds. Vice versa, he uses precious substances to create objects usually associated with transitoriness and uselessness.