The path of Alchimia’s MFA 2015/2016 is reaching an exciting conclusion.
A moment of critical analyses took place, where students presented their final projects in their entirety (including collection, exhibition plans, books, texts and website proposals) to their core tutors Lucy Sarneel (jewelry practice), Riccardo Lami (cultural theory), Antonia Alampi (curatorial practice) and of course Doris Maninger and Lucia Massei (course directors).
These moments are paramount in Alchimia’s pedagogical approach, training students in presenting and packaging projects before a variety of audiences, in using different performative methods, and in achieving a more independent professional practice. Furthermore the presence of tutors with not necessarily alienated positions allows for a broader discussion to happen, with a more holistic response to their presentations.
Enjoy the images of these moments, and be excited with us about their upcoming solo-shows.
Lillian Mattuschka through a performative lecture literally unveiled her collection and her exhibition ideas, that include jewelry pieces, video installations and performances. Her new research revolves around issues of social behavior and constrictions, and the invisible norms that define and direct our interactions with our urban and social environment.
Chumeng Weng in her new collection moved from a more personal and biographical representation of fear to a broader and rather humoristic reflection on what determines our psychological discomforts. Motion and sarcasm are paramount tools for her, and the question she seems to pose here might be how to neutralize fear’s paralyzing power.
Carla Movia enacted an introductory performance to speak of the stereotypes that we (often also unconsciously) apply to people, based on their appearance, cultural identity or geographical belonging. Her project is a complex reflection on notions of collectivity, mobility, anonymity and standardization.
Lumy Noguez worked on an exceptionally accurate presentation that addressed the multiple aspects that define her collection, and what her pieces want to achieve. She moved from her research process to the social, chemical, and esthetic aspects of moulds and to how her jewelry pieces recreate the fungus’ microcosms while coherently manifesting on unexpected parts of a wearer’s body.
Marissa Ryan Racht‘s presentation was composed of jewelry pieces, photographs and drawings blowing in the wind. An uncanny feeling was produced in her environment, one meant to speak of the binary oppositions that exist between a romantic and rather ordinary sense of beauty and the uncomfortable underlying traction of a certain sense of seduction. Madness and its possible domestication seemed at the core of her formal attempts.
Francesco Coda has a light and fantastical imagination. His presentation highlighted how at the core of his collection is a triangular relation: one that exists thanks to a fantasy applied to existing objects and memories of other people. A legal contract finally crowns a relation between the jewelry world of the past and that of the future.