More Jewellery Adventures in Munich.

Current Exhibitions/shows seen:
SCHMUCK 2011, (in English) The Gallium Treasure of Obertraun, Life's a Bench II, Finger and Hand Costume, Look, Ishikawa and Maljojoki, Rebels of Love, Ruudt Peters - Anima and Under the Clouds.

It has been an intriguing experience to witness the variety of ideas and concepts dislpayed throughout our explorations of the Jewellery society in this part of the world.

Schmuck 2011, reminded me a little of one of the pavilions you would walk into at the Easter Show (by no means is that a negative). Except up the back in its own little section was the most amazing collection of Jewellery stalls from all the current jewellery titans. Galarie Ra and Galarie Marzee seemed to reproduce the feel and look of their Galaries in the Netherlands, The overall feel was that this was a celebration of the current Jewellery practitioners and styles.

What I have noticed a lot since arriving is the individualized styles of displaying exhibitions in gallery spaces. Having been used to seeing a piece of jewellery on a plinth under a clear plastic box, it was a breath of fresh air to see such a diverse range of display techniques.

Life's a Bench II, the works were displayed in drawers from benches, piled up in a helta skelta fashion, with the jewellery pieces sitiing within them. I loved the arty feel, of it, being a practicing jewellery student the drawers were a familiar item to me. tepping back though I realized that the drawers were actually sitting on the 4 benches in which the drawers came from, which for me was the perfect scene for the Exhibition. using that which we use to produce these works to also display them.

Look was an exhibition that had mixed interpretations and responses amongst us. The jewellery was diplayed on a giant bench within a single room, with the lights off. The only form of light was actually blue/black lights, giving it a night life feel. What was intriguing was that the only way you could really explore what the works were actually made of was to take photo's with the flash on.... which i thought was distracting to the overall mood of the room. I chose to take photo's without the flash and I think the photo's almost turned out to be artworks in themselves. My interpretation of this was that i was documenting the way the artists themselves wished their work to be seen. (though i did regret not taking flash photo's as i never actually saw what the pieces were made of). a lot of people said that the lighting actually made them a bit dizzy ( though isn't that how you feel, during a night out in the lights..providing your having a good night :) ) My opinion of the success of the choice of lighting is still torn. (perhaps if i had had some wine my opinion would have been different)

Ruudt Peters - Anima Mirrors. Peters brooches were all displayed in the middle of large circular mirrors. Clare pointed out to me that the idea may be that when you stood in front of them you could position yourself, so the brooch actually sat on you where you would wear it... like a sneak peak if you ever spent the $$$$$$$ to own one. I love this idea, in a lot of places you are not able to touch or try on the jewellery pieces, though they are objects in which you are accustomed to doing so and in most cases is the actual function of the forms.. Peters allows the viewers to in a way experience this without the hands on part. Aslo creating a jewellery oriented interative installation.

The above three are the stand outs for me so far, As Louise Smit commented that "anyone now a days can have an exhibition" and i think this helps me understand that comment better, more so by the individuality of the curation of the exhibition space as well as the diversity of works. Not all exhibitions have to be in a white walled room with a series of plinths with clear boxes on top, the jewellery locked away within....