Curated by Stefano Micelli

Fabbrica del Vapore, Via Procaccini 4, Milano

02.04 – 12.09

XXI Triennale International Exhibition

2016-07-12 16.17.22

Entrance to the exhibition at Fabbrica del Vapore. Photo by Federica Sala

 The Milano Triennale International Exhibition is back after 20 years with a challenging program of exhibitions, special events and lectures that are happening all around the city since early Spring inside museums, universities and important cultural spaces. The aim of this project is to try to analyze from different perspectives the world of design in its contemporaneity.

New Craft is an exhibition that belongs to this intense and very ambitious program and takes place at the Fabbrica del Vapore, a former industrial building today devoted to contemporary culture, nearby the Monumentale graveyard of Milan. The aim of this endeavor is to share with the audience a reflection about one of the biggest and at the same time most exciting challenges design is facing nowadays: innovation through craftsmanship. In fact, if on the one hand we are facing the never ending opportunities offered by new technologies, on the other being a relevant designer today seems to mean also to go back to craftsmanship. Here, what becomes clear is that the unique essence of craft has finally been reconsidered (hurrah!) as something more meaningful and more valuable  than what can be achieved via mass production. Being able to produce new products using old techniques seems to be the objective many designers are trying to achieve. Thus the big challenge for a new generation of designers is creating a new type of technology to produce new forms of craft. The purpose of using old machines and studying traditional techniques is to give birth to new industrial/craft projects in which the speed and precision of the machines is combined with the uniqueness and customization of handmade piecesMany design theorists are raising attention on these new aspects of the discipline, trying to understand the how and the why of what is better known as a “self-production phenomena”, “fab-lab” and “makers”. At the same time, it’s important not to forget the industries that have invested into the design & engineering field, trying to merge mass production, with the high quality of the final outcomes and technical research towards innovation.

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New Craft – central hall exhibition at Fabbrica del Vapore. Photo © Inexhibit

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A large x-shaped concrete table located in the middle of the great hall. Photo © Inexhibit

2016-07-12 16.15.15

Photo by Federica Sala

 New Craft tries to didactically organize and narrate all the manifold aspects that are part and parcel of this research field today, showing products as diverse as bicycles and clothes, pots, cars, site-specific installations, processes of production (3D printing, 3D cutting, new typography machines) and (Yes!) jewelry piecesThe audience is able to interact with different tools, creating objects that become part of the exhibition too. 

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Artifacts made during the exhibitionPhoto © Inexhibit

 If the general aim of this event is pretty clear and well organized through a very defined path, sometimes the choice of the objects is too much. What I mean here is that the selection of pieces seems to be presenting too often objects belonging to the same collections, designers or brands rather than trying to really show the different possible outcomes the use of new craft techniques can lead to by involving a wider range of practitioners. Furthermore the amount of objects is overwhelming, so for me the famous “less is more” would have worked better on the overall, giving to the different pieces more space to breath but also more importance. 

 The jewellery section featured the work of Stefano Marchetti, Monica Castiglioni, Paola Volpi and Stefania Lucchetta.  While the first represents the highest form of goldsmithing skills rethought into more contemporary forms, the others base their work on the use of new technologies such as synterization and 3D printing together with a deep experimentation with new materials. I perfectly know and understand that each of the products presented in the exhibition is no more than a hint to a bigger world, but also in this case, the selection and the variety of the jewellery pieces could have been better shown and presented: Marchetti’s pieces are detached from the others and in the case of Lucchetta and Volpi the display seems to refer to a shop window rather than to an exhibition space. This means the the particularities and values of each piece are not highlighted, making it very hard for an audience to really appreciate the nuances of each piece.

2016-07-12 16.11.04

Exhibition view of the jewellery section. Photo by Federica Sala

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Exhibition view of the jewelry section. Photo by Federica Sala

2016-07-12 16.10.43

Stefano Marchetti’s pieces. Photo by Federica Sala

For instance Lucchetta’s work is the result of complicated 3D sketches and repeated patterns that could be nice to show close to one of the pieces. This is because the material choices she makes are relevant, and a consequence of the production process in relation to the visual final effects she wants to achieve. I know this as a professional in the field, but who else?

Anyhow, looking at the jewellery presentations from a distance, the contraposition of these images gives a strong feeling, especially looking at Marchetti’s work whose presence in this exhibition is remarkable and important for all of us: contemporary jewellery exists here and could also be like this!

Federica Sala is a jewelry artist based in Milan. In 2015 she graduated from Alchimia’s MFA program and recently won the Marzee Price 2016.

Mid August has passed, and you are probably trying to enjoy the few days left of this summer….so while you hurry to the beach or to that beautiful path into the mountains, or leisure in the luxurious greens of some not-so-hot spot, here we share with you what some of our students have been doing, because in the end vacation can get boring, too. At least for Alchimists.


In Amsterdam, guided by their MFA tutor Lucy Sarneel, the students of our second year MFA program have been presenting a pop-up exhibition titled “Moments of Perspective”, introducing to a diverse cultural crowd their two-years long research and a number of statements around it. In essence this was a moment to try-out ideas regarding the difficult task of thinking in and through space their jewelry pieces, while also having to mediate them to an audience. Their texts were the product of a three-days workshop with AJF editor in chief Benjamin Lignel, who worked with them on creative writing, meaning analyzing and experimenting with the many ways in which a work can exist and be described through words, thinking of language as a powerful form of craft, part and parcel of the students’ collections.

This activity is part of a pedagogical process that supports students in going public, addressing holistically the many aspects that constitute the profession of a contemporary jewelry maker.

Enjoy images (and the rest of the holidays), and more soon.



Gallery front

Chumeng Weng

6 Chu's work3


5 Chu's work-nest4 Chu's work-during setup13.Chu w-work

Marissa Ryan Racht

my work-photosMarissa's drawingsMarissa-pieces2me & my work

Lumy Nouguez

14 Lu-talking to Lisbet

12 Lu-photos-pieces


Carla Movia

Carla w- work

image21. Carla's work det12. Carla's work-det2l

Lilian Mattuschka

Lili-rules1 b&wLili-rules8 b&w9 Lili-video display10 Lili-w pieces311 lili's work1

Francesco Coda

Fra's work-view

Fra's work2

Fra's work4-1

7 Fra's work1

8 Fra's work7

  • all photos by Chumeng Weng and Marissa Ryan Racht

Unveiled was an exhibition organized by the second year BFA students of Alchimia. The end result of this endeavour was very Alchimish, a term that has grown to describe the multicultural environment the institution is so distinctly famous for. In essence, you could see the personal development of each student branching out from the Alchimia tree, a strong correlation between their practices, like interlocking roots underneath the rainforest. The students categorized themselves into 4 sections based on material research, social commentary, narrative and emotional voyage. This illustrated the many creative possibilities contemporary jewellery offers, and how individuality can shine through a community.


Ziji Zhang, Do You Feel the Power?, brooches, 2016, wood, silver, steel. Photo by Diana Pantea

Upon entering the visitors were greeted by Zac Zhang’s countless blue and red wooden brooches puzzling together in a squared frame. The combination of these two colors reminded me of the two extremities of a magnet. The forces of repulsion and attraction between the magnetic poles were strong enough to cause all the color blocks to jiggle in a chaotic yet rhythmic way. Zac dressed himself in a black skin-tight costume while pinning the brooches on one side of his suit. Like one of those American superheroes coming alive from comic books, his powers didn’t allow him to be placed alongside the common beings. Hence he had to stand alone, with freedom and solitude.

After passing through this one-man show, visitors were flanked by two rows of artists’ statements on the corridor wall. I wonder if the other students could have borrowed some of Zac’s superpowers given they seemed to be almost afraid of misunderstanding, as they decided to release long explanations about their work before presenting it. I think that it would have been more intriguing if the students wrote shorter introductory texts, since most people, including myself, are usually eager to see the real thing first (and of course to get their wine, positioned only at the far end of the exhibition space).

I felt a surge of quietness flowing into me while walking through the white fabrics that fell freely over the many benches-turned-tables. My eyes could follow the curves of the white valleys converging into each series of work. It was as if I was walking through an archive room that only opens once in a while. Somehow the setting established an oppressed and remote atmosphere that resonated with most of the works presented, giving the visitors some clues of what to expect next.

Ziwei Yi created a bag of secrets to be filled by visitors, an interactive tool that became a way to speak about the core aspect of her work, dealing with hidden personal stories. In an accompanying book, Yi showed respect to the many people that trusted her with their secrets by binding the page containing content inward, making it readable only through an active gesture of incision. It was a beautiful symbolic act, inviting people to take a distance from their personal traumas, naughty memories and whatsoever. To her right, Margaret Muncheimer presented a series of miniature Wunderkammer filled with found objects stripped from their primal functions and meanings. With the same respect Yi has given to people, Muncheimer created a moment of recognition for the many objects that we often overlook.


Ziwei Yi, The Memoir of Tata, pendants and interactive bag for secrets, 2016, mixed materials. Photo by Chumeng Weng

 On the other side of the white drapery hill was Vanessa Karla and her research on dyed rice paper. She was the only student revealing the secret of her ingredients by displaying some pieces in progress, forming a never ending circle of experimentation and evolution. To the left of her pieces one could detect another kind of devotion, one very different from Karla’s. Eleonora Natali realized pieces entirely focused on only one form and its many meanings, that of the labyrinth. There was not much variation, both material and style wise. I tried to follow the paths of her labyrinths visually, which led me to nowhere since reaching a valid exit is not the point of her works. Her pieces favour no one, nor herself. They exist for no answer, nor question. The rigid lines that formed the paths through the maze continuously reminded me of how much she struggled in a journey of her own. But she persisted to walk through, maybe circling around but never stopping, and I felt a huge respect for her extremely focused approach and discipline.

Vanessa Karla, (Un)controlled, material experiment, 2016, rice paper, sepia ink. Photo by Chumeng Weng

Proceeding to the mid section of the exhibition, here three collections with great simplicity were topped off with Clara Nguyen’s complex reinterpretation of the wilderness. All collections in this section were producing a sound, name it a whisper or just noise. They also shared a kind of nostalgia towards interaction. Bonnie Hsu utilized the softness of cotton cloth and the brittleness of maple wood to play a childhood melody. The smooth wires of Anna Hui seemed to be so effortlessly bended with the fingers of God, they were evoking a longing for intimacy in human relationships. Similarly, Lina Gorbach used pictures that highlighted the function and the purpose of each piece in relation to the other. I particularly appreciated the quietness of the pictures and the slight hint of humor in her accompanying book. Without the images, the pieces would have been so minimal and out of context that they might have only resembled well designed objects. However, I would have loved to see the pieces coming out of their beautifully executed box as it was too intimidating to pick them up and try them on.

 Lina Gorbach, The Space between the Two, Objects, 2016, mixed material. Photo by Kawin Leenutaphong

Amongst many weighty topics, Marisa Leenutaphong managed to break through by juxtaposing her seriousness in craftsmanship with the absurdity in combining recognizable human forms with other creatures. Her work evoked in me a curiosity that I hadn’t felt since childhood, yet if I were a child I would definitely not have understood her sarcastic charm that only stings the so called grown-ups.


Marisa Leenutaphong, Snake snake fish fish, pendant and brooch, 2016, silver, ribbon, toy doll parts. Photo by Kawin Leenutaphong

 In a total pastel pink setting that evoked the stereotypical female characteristics, Daria Olejniczak reflected on the idea of the female body perfection. Her seemingly aynonmous fashion-magazine-styled book achieved a strong criticality by posing sharp rhetorical questions. However, there was something missing in her pieces, the bitterness was lost in their beautiful appearence, with too smooth edges and soft elements. Differently, Irene Belfi took on a rather neutral standpoint by exploring the purity of materials and the sensory reactions corresponding to them. Her work proofed the importance of collaboration amongst different disciplines. I admire the flexibility of her approach and would love to be as courageous as she is when approaching others.

Irene Belfi, Con-tatto, bracelet, 2016, mixed materials. Photo by Kawin Leenutaphong

Finally, at the far end of the exhibition space, a row of iron plates and compressed copper bracelets strangely showed how a man can endure to be cut and torn without crying out loud. The sensibility behind Yanis Turcarelli’s pieces has a strong feminine touch that many great male jewellers possess, think for example of Ruudt Peters, Alexander Blank, or Kiko Gianocca. It seemed to be a fit choice to have him concluding the exhibition since his work is extremely emotional and personal, which guided the visitor’s back to the exhibition’s beginning and general thematic framework. Turcarelli has certainly put a plug into a bathtub full of whatever emotion the visitors have been accumulating thus far, leaving it floating and then sinking into the bottom of their hearts.


Yanis Turcarelli, Chrysalis, bracelet, 2016, copper. Photo by Chumeng Weng

As a whole all the works were carefully thought through and well executed. As a student myself, I feel for them, struggling between technique and conceptual development, while being in a process of learning to master both aspects. Like all effective antidotes, the distinctive Alchimish language brought to the experience its own side effects. Most of the works were very solemn, sometimes even emotionally too heavy. Fortunately those pieces were counteracted by some lighter or less melodramatic moods. All in all, the show was conceptually rigorous, its own title acting as a real keyword through it. The process of unveiling, whatever the motivation and the subject being undressed, and whether or not one liked this nudeness, was an honest presentation of their two years experience.

In a separate room, the first year BFA students were showcasing their body of works created in homage to other artists. Their exhibition, titled Echo, was a fairly standard set up where students laid out their creations on one side and accompanying books on another. These students are still quite new with jewellery making, but you could notice their enthusiasm and professionalism in the metal working, their love and care for details, despite tiny mistakes.


Echo, exhibition view.  Photo by Chumeng Weng

Chumeng Weng lived and studied in Shenyang, China for 18 years before studying fine art in Canada. Still looking for a better self, she spent one year in technical jewellery making until attending Alchimia where not only her perception of jewellery has been altered greatly but also her philosophy towards ways of living has been reinterpreted.



On an undefined moment in time in early June of this year Sana Khalil, a graduate student of Alchimia’s MFA program, realized her final exhibition as a performative and multi-media event for a rather accidental audience. An impromptu jewelry intervention into the real world one could say, with no text nor official invitation released. All we got, and here we stands for her Alchimia tutors, was a chaotic account in retrospect, along with images and two carefully packaged texts addressing her work, her motivation and wider references.

What we do know is that a sit-in the street was forced by police and the weather to take place in a small private space in Via San Jacopo, in Florence. Wooden balls, a projector, a computer, hammers and candles where the main components of the event. A sound and video recording violence, bombing and cutting acted as a scenography for the scene. A few people heard, watched and were forced to hammer the wooden balls as a group. As Sana Khalil wrote “nothing changed not the shape of the balls, nor nothing else in the world. Except they realized that they are part of this big game. I didn’t show my jewellery pieces I just wanted it to be an affirmation of the fact that we are all vulnerable in front of such big events and I wanted people to understand that this is what I am trying to say.

Her unconventional and modest presentation was no real surprise, Khalil’s way of operating into the jewelry field seems like an ongoing attempt to challenge its very premises and norms.

Below, just like us, in a fictional act of imagination backwards, you can build your own narrative through the few traces and clues Khalil has decided to share with you.


An Introduction. By Lynn Darwish

Sana Khalil was born in 1985 in Beirut, Lebanon, where she lived, studied, and worked until 2011, at which point she went to Italy to pursue her studies at the contemporary jewellery school, Alchimia. Her body of work draws on intersections of power, war trauma, and vulnerability. Khalil began exploring her artwork with natural materials, such as wood and iron, by way of cutting and carving. Always with sophisticated care, she made wooden half-spheres, or rather domes, representing religious, political and economic powers, as well representing fear and death. Looking more closely, it is almost as if Sana Khalil’s domes are subjected to shock treatments. They are etched, hammered, and burnt with a violence that could have only emerged through the harsh realities of war and conflict in Lebanon, but also from Khalil’s experiences of alienation and judgment in Europe. A sense of frustration and apathy often permeates her artistic process. After all, it could take hours of hammering before minor deformations begin to show. Cracks close back in on themselves. Domes, it seems, are difficult, if not impossible, to break. Could this be a confirmation of our solitary feelings of futility in facing the greater religious and economic powers? Perhaps. One thing we can be sure of, is that these intimate wounds, now exposed to the world, become affirmations of our feeling of helplessness, of our pain, and our defeat. And in this midst of all this, who knows, we may also find some strength.


IN CONFLICT. Moments of Strike. By Nina Altrove Vasconcelos

“The Polemos is the father of all things”: written in a fragment by Heraclitus about two thousand five hundred years ago.

Polemos (Πόλεμος), in Greek mythology, was the demon of war, his daughter Alala was the personification of a battle cry.

In the history of man, war is the common denominator of all ages. In every country in the world reality is plural and contradictory, multiple and conflicting – which implies that a solution is never simple, and certainly not unified.

Every achievement of man, for better or for worse – beyond good and evil – has always been the result of a polemos, therefore conditioned by it.

In psychology, psychic conflict is a state of tension and imbalance in which the individual finds ones self when subjected to the pressure of trends, needs, and contrary motivations.
This type of internal conflict, does not necessarily have a ‘negative implication”: it can be beneficial when measuring means within ones self or among each other. It allows them to know their limits with others, and a curiosity for that which is different or a form of imbalance that can generate growth, maybe coming to balance through the knowledge of the extremes.

When a conflict instead degenerates, it is said that it explodes into war: the differences are no longer subject of discussion, but are the affront.
In this kind of war there are no winners, only losers.

Sana Khalil comes from Lebanon, a country that is often found in a vicious cycle of conflict and war to the point of generating a paradox that lives off of its own political and religious differences, including homogenization, contradictions, tensions, and permanent negotiation.

To express this sense of frustration and hopeless inability to positively affect a type of society folded in on itself perpetrating the use of violence as a mechanism jammed, Sana Khalil uses a natural material such as wood, in the form of a dome for what the dome represents: power, both religious and economic.

The half spheres and wooden beads are subjected to shock treatments: etched, carved, hammered, burnt, with violence and always with sophisticated care, only to be left there, exposed to the world.

Other than self, and at the same time the most intimate part of ones self, the wounded part is exposed to become a symbol of helplessness, an affirmation of pain, and of defeat.


All photos by Deema Murad.



Schermata 2016-07-11 alle 09.47.30Alchimia Contemporary Jewellery School invites you to the final exhibition of its first year BFA titled ECHO, opening on Friday July 15, 2016 at 19:30. On Saturday July 16 and Sunday July 17 the exhibition will be open from 17:00 to 20:00.

Echo: that which vibrates from one point to another, from one person to another. Mentored by an artist of our choice, the 1st year BFA program develops a collection that showcases how an artist’s work can echo through the world and time to reach us as a source of inspiration.

Participants are: Elisa Cazzaniga, (b. in 1995 in Italy), Roberta Consalvo (b. in 1966 in Italy), Lisiane Hilario (b. 1965 in Brazil),  Weng Ian Lai (b. 1989 in China),  Kristin Knoll (b. in 1987 in USA), Maria Luisa Quartín (b. in 1997 in Portugal), Ginevra Montoschi (b. in 1992 in Italy), Ying Chu Shih (b. in 1993 in Taiwan), Sophia Taul (b. in 1994 in Denmark)  and Fu-Yu Tsai (b. in 1989 in Taiwan).

During the opening night, there will be music, drinks and food to celebrate the end of our exciting first year.


We admit it, we are slightly sad about the difficulty to receive critical (written) assessment on a jewellery exhibition in Florence. Of course we know that when exhibitions have such a short life span (three days) it is nearly impossible to manage to get a critic in, let him pause on the show and share his reflections after. And then again, how many jewellery critics are there in Florence or Italy anyway? How wide would our readership be? And importantly, how much is a critic or writer paid in the jewellery context to make worth the effort and to validate his/her role as work and as labour and not just as passionate intellectual endeavor pursued for enthusiasm and believe in a discipline?

Anyway, this was not supposed to be the subject of this post. Here, our interest is in sharing with you some beautiful moments of an exhibition. One that tried to create a network of intentional and accidental associations between art jewellery pieces, 45 wooden balls and a collection of original and copies of (mostly) white marble sculptures, starring in a church converted into an artists’ studio two centuries ago.

We had multiple intentions with this curatorial gesture: to have the body present, physically and mentally, vis-à-vis the pieces; to call attention to the hybrid nature of contemporary jewelry for a non professionalized audience: its simultaneous existence as a piece to be worn and to be exhibited in a gallery context; to shed light on something that these six jewelry artists, all recent graduates of Alchimia, shared: an educational experience in a context, a city, a country, overwhelmed by a heavy and magnificent past, difficult to overcome, in thought as much as visually; to metaphorically speak of the interstitial and liminal space contemporary culture inhabits in the city. But what we also aimed for in the more sensual and straight-forward way possible was to romantically create magic human moments of encounter between artifacts of different nature, intention and time.

In 1829 Lorenzo Bartolini, an important Tuscan sculptor working in between the XVIII and XIX century, turned a previous church into his own studio. After his death, his favorite pupil Pasquale Romanelli, adopted the space: since then five generations of Italian male artists have worked and exhibited into this site, initiating a collection that speaks to the last two centuries of Italian classical sculpture with an important presence of Fascist examples.

On June 17, 2016 a group of six female jewelry artists coming from Russia, Lebanon, Chile and Italy took over the space and the collection enacting a hormonal clash of powers and dimensions, reshuffling hierarchies between disciplines and genders. Here, choreography was key – their pieces wanted tell you stories of fleshy thrills and conceptual affairs.

Please remember to take care: there is so much meaning in the details!


Daria Borovkova, Being and Belonging, 2016

The research of Daria Borovkova (born in Moscow in 1984) focuses on socio-cultural aspects that define contemporary human identity: the need for mobility and its implications, such as the impossibility to create long-term and rooted relations with a territory and its cultural fabric, but also the more hybrid and less nationalistic identity that emerges out of this equation. Through her jewels Borovkova experiments with unconventional alloys and a very personal artistic process in which several and variously precious metals are first melted, then rolled in very thin layers and finally shaped until they become rings or bracelets, each with very unique proportions, nuances and forms, yet part of a manifestly homogeneous crowd. Metaphor of the construction of the subject both as an individual and as part of a community, Being and Belonging speaks of how the formation of an identity is a manufactured process in continuous, and partly unpredictable, transformation.

Sana Khalil, In Conflict. Moments of Strike, 2014-2016

The practice of Sana Khalil (born in Beirut in 1985) emerges from existential questions relating to the feeling of static helplessness of the individual in relation to the wider political and social context that surrounds him. Her work is strongly influenced by the history of her country, Lebanon, and her role as an artist and as a citizen within contexts of war and on-going unrest. The series In Conflict. Moments of Strike consists of a collection of brooches and wooden spheres that Khalil has hammered and tried to scratch for many months, without being able to produce any major difference to their structure, while visibly defiling their surface. The continuous and programmatic repetition of the same gestures are deemed to fail as they have no agency on infrastructures, while only influencing surfaces. Differently, her brooches are semi-spherical elements that appear as a battered matter, which yet results as sadistically seductive. An omen to the double nature of beauty, and its controversial meanings and, more importantly, as in Khalil’s words, the representation of fear, pain and vulnerability.

Lavinia Rossetti , Madeleine, 2016

Lavinia Rossetti (born in Pisa in 1985) deals with the whirlwind of feelings and emotions that characterize the human psyche and physicality. Madeleine is a series of highly poetic and nostalgic works, referring to the famous French dessert that Marcel Proust uses as a metaphor for the notion of involuntary memory in À la recherche du temps perdu. Brooches and necklaces are characterized by the recurrence of the oval shape, direct reference to the traditional technique of inlaid wood and to the pendants containing images of beloved ones in vogue since the XVIII century. Within a strong and wide sense of openness of meanings and subjective takes to the pieces, Madeleine becomes a metaphor of the layered and impermanent substance of our memory and how this is shaped through the proximity to the body, the mind and the heart.


Federica Sala, True Lies. A Collection of Oxymorons, 2015-2016

The practice of Federica Sala (born in Milan in 1986) is based on the analysis of the physical properties of different materials to experiment new and unpredictable formal possibilities. Her works have a particularly complex formal outcome, where sophisticated techniques are associated with a substantial theoretical research, and the physical and chemical characteristics of the materials are lined to existential questions on the human nature. In the series True Lies. A Collection of Oxymorons, glass and stones come together in an innovative dialogue result of a long research developed on the island of Murano, with a strong relationship to local crafters. These works encourage a reflection on the inextricable co-dependence between opposite forces and forms, and on the limits of our visual and intellectual perception. Seemingly impossible structures that emphasize how much what we intuitively call reality is a fragile, hybrid and complex system, despite the appearances.

Giulia Savino , 1 : 20,000, 2015 – 2016

Precariousness and mobility are two of the main stereotypical aspects that affect the lives of the new Western generations, often characterized by uncertainty, the knowledge of different languages, the ability to have a light luggage and to be a fast and multi-tasking person. With the series 1:20,000 Giulia Savino (born in Vercelli in 1987), a traveller and adventurer herself, with an important working experience in Egypt, has created necklaces and earrings that respond to these very contemporary needs: seducing and light objects, bearing a featherweight, taking up very little space and adaptable to different contexts . These works represent personal interpretations of cities from above or known only through maps: Amsterdam, Florence, Paris , Barcelona and her native Vercelli . They become cities to own, wear, appropriate and interpret.

Maria Ignacia Walker, Trascendieron, 2015

The work by Maria Ignacia Walker (born in Santiago de Chile in 1984) follows an obsession with the human body and its past and present rituals that define and outline daily actions, even when involuntarily. Her jewels are performative works, where the observer or the wearer is called to perform an action, to use them in order to understand them. Trascendieron is conceived as a tribute to the silent and trivial losses that we inadvertently witness every day. Some hair got caught in forms of gold and porcelain within a collection that encourages a reflection on the human impulse to collect and preserve, bringing both of these aspects to their extreme. They are counted, measured, analyzed and meticulously preserved as if they were rare and precious materials, in an ironic and poetic act that questions the parameters used to quantify the value of things.

All images are by Martino Margheri.

The exhibition was curated by Antonia Alampi and Riccardo Lami.

Lina Gorbach, The space between two, object, 2016, plexiglass, Abiona Esther Ojo

Lina Gorbach- The space between two, object, plexiglass, 2016, photo by Abiona Esther Ojo


Opening Friday July 15, from 7:30 – 10pm

July 16 and 17 open from 6-8pm

Alchimia Contemporary Jewellery School

Piazza Piattellina 3r


An exhibition with jewellery by: Irene Belfi, Lina Gorbach, Bonnie Hsu, Anna Hui, Vanessa Karla, Marisa Leenutaphong, Margaret Munchheimer, Eleonora Natali, Clara Nguyen, Daria Olejniczak, Yanis Turcarelli, Ziwei Yi and Ziji Zhang


Alchimia Contemporary Jewelry School is happy to present Unveiled, a group exhibition opening at its premises on Friday July 15, 2016.

In a dramatic yet playful setting, draping the school’s characteristic renaissance features into a muted white cube space, the exhibition showcases the work of 13 international graduates of Alchimia’s 2nd year BFA program.

The artistic endeavors presented here are extremely varied in technique and form, yet certain conceptual threads can be found. Narratives dealing with memory, secrets and storytelling speak in the work of Bonnie Hsu, Marisa Leenutaphong, Margaret Munchheimer, Ziwei Yi, and Zhang Ziji; while Clara Nguyen and Daria Olejniczak weave in reflections on societal issues; whereas Anna Hui, Eleonora Natali, and Yanis Turcarelli attempt to manifest records of emotional events.

An inquiry into the interaction of form and the sensory experience constitute the basis of work by Irene Belfi and Lina Gorbach, while Vanessa Karla conducts experiments in materiality, with food as her primary element.

During the opening night food, drinks and music will be served, in cathartic celebration of the end of a successful and passionate year.


Marisa Leenutaphong , Untitled, 2016, 18kt gold, 9 kt gold, 925 silver, plastic

Margaret Munchheimer, support group, 2016, necklace, brooches, steel, silver, cement, resin, leather, sound

Margaret Munchheimer, Support group, 2016, Necklace, brooches, steel, silver, cement, resin, leather, sound

Eleonora_Natali 1

Eleonora Natali, Trapped, 2016, Necklace, Iron, plexiglass, silver


Daria Olejniczak, from series Bodies, 2016, Pendant, magazine paper, silver, cotton ribbon. Photo by Prisca Tozzi


Irene Belfi, Con-tatto 8, 2016, Object / bracelet, pumice stone, cherry wood


Clara Nguyen, Squawk squawk!, 2016, body piece, potato chip bags, thread. Photo by Prisca Tozzi


Bonnie Hsu, Rustic dance of breeze, 2016, brooch, maple wood, cotton fabric, thread, brass. Photo by Federico Cavicchioli


Yanis Turcarelli, Chrysalis, 2016, bracelets, copper


Anna Hui, No.16, Neck Piece, from π,  brass


Ziwei Yi, The Memoir of Tata, 2016, Necklace, steel, iron,18k gold, linen, cotton, thread. Photo by Federico Cavicchioli


Ziji Zhang, Do you feel power?, 2016, Brooch, wood,silver,steel, photo by Diana Pantea


Vanessa Karla, (Un)controlled, 2016, Collar, rice paper, sepia ink, iron, fabric, photo by Vanessa Karla