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Máret Ánne Sara, Pile o’ Sápmi, cast porcelain necklace made from the ash of reindeer bones, approx. 200 pieces

Every five years, the largest and supposedly most important festival of contemporary art, called Documenta, transforms the small, buttoned-down town of Kassel in the middle of Germany into the epicenter of the global art world. The 100-days long event was established in 1955 in an attempt to revive Germany’s and Europe’s art and cultural scene, both countering and washing off the taste of two decades of Nazi repression. Back then people called it the “museum of 100 days”. Over the years, the Documenta has grown into an event of mindblowing proportions. Even art professionals and frequent biennial visitors are blown away by its ever-growing size and amount of artworks and events, reaching far beyond the museum walls.

This year’s 14th edition continues to push the boundaries. For the first time in its history, Documenta is taking place in not only one but two cities, Athens and Kassel, under the controversial title “Learning from Athens”. About his decision to split up the festival between two locations Adam Szymczyk, d14 Artistic Director, said: “This one is trying to stay out of focus. It is not so much about making a point, but about showing different posibilities from so many different points of view. The logical consequence was to have it divided between two cities.”

Documenta is known for being a political exhibition, addressing contemporary issues in society head-on, and thus acting as a signpost for formal and thematic trends in the years to come. So it seems only natural that, in a year like 2017, themes related to the current global refugee crisis feature in multiple variations. Many artists deal either directly or indirectly with migration, transit and transitions, trade routes and nomadic cultures. One of the pretexts for Documenta 14 is to leave the northern European comfort zone and look at these issues from the global South, if necessary to change perspective and assume a position akin to the South as a State of Mind (which is also the title of Documenta 14’s ongoing publication series). So rather than representing other people’s struggles, we are called upon to learn from those who are struggling themselves. Naturally, that also includes minorities like the nomadic Sámi people. Even though they don’t live in the south by any means but inhabit the most northern regions of Europe, their culture and livelihood are also threatened by neoliberal politics and globalist expansion. One major threat for the Sámi comes with new legislation that prevents them from herding reindeer according to their thousand-year old tradition.

Máret Ánne Sara, born 1983 in Hammerfest, Norway, is one of many Sámi artists present in this Documenta. In a series of works, she aims to raise awareness for their struggle with state interventions that prohibit them from living the way they are used to. Her brother, Jovsset Ánte Sara, recently won an important trial against the Norwegian state and managed to defend the property rights of the Sámi against the 2007 Reindeer Herding Act, which constrains herd sizes to an unacceptable minimum.

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Máret Ánne Sara, Pile o’ Sápmi, installation

Pile o’ Sápmi draws upon spiritual, ecological, and political concerns. It references “Pile of Bones,” the Indigenous name for the place where the Cree nation stacked buffalo bones to anchor the animals’ spirits to the land, thereby ensuring their continued presence in what is today known as Western Canada. The artist also refers to the brutal colonial history of North America, when millions of bisons were killed in the 1800s and their bones ground into fertilizer or shipped overseas, where it was made into fine buffalo bone china and sold to wealthy European families. As a nod to the way that this destructive history now mimics what is taking place in regard to the reindeer culls in Norway, Sara commissioned a porcelain necklace made from ground reindeer bones. Its exaggerated size, almost absurdly proportioned relative to the human body, is deliberate. Sara notes that many city mayors and governmental leaders wear elaborate neckpieces adorned with crests as a demonstration of prestige and power. She intends her necklace to serve a similar function.

 

More: http://www.documenta14.de/en/artists/13491/maret-anne-sara

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The legend of Koi-from fish to dragon | 2016 | Necklace | Silver, bois de violet, cotton fabric, cotton threat

  1. EVERYTHING HAPPENS FOR A REASON

When I finished Alchimia I went into an Exchange program at Hiko Mizuno (Tokyo)

I really, really wanted to learn Japanese techniques in jewellery. What a surprise when I discovered that there were no Japanese techniques. I was in a mixed class: jewellery, bag and shoe makers. I was soooo sad and angry. I went so far away and I was not going to learn what I wanted.

Instead they taught me leather basic techniques. Thanks to this when I was back home (Alcoy) I decided to start my own bag and accesories company (Coba Complements), working always with fabric from the companies of Alcoy and leather, using the knowledge I acquired in Japan.

Now when looking back, I am very glad that happened; I see it was meant to be. I usually try to take things as they come, they may happen for a reason.

Learn in your own way, and once in a while stop and take a look to the past, see how you have been evolving and you will understand many things you did not at that moment.

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  1. LET THINGS FLOW AND FIGHT FOR YOUR DREAMS

When I started Coba Complements in 2013, some people thought it was a hobby and I was doing handcraft stuff without any goal.

Close friends and family supported me from the beginning, even though I was quite lost, but I knew this was going to go far.

I did not know how to manage, how to develop, how to start. I  wanted to grow fast…ERROR. Then I realized I had to grow slow, step by step. I started doing showrooms at my flat, moving around my area, but like this I was going nowhere.

One day I met a girl while climbing, and through lots of talking she explained to me she how she had just started an interior studio with a friend, and they were looking for a space where to set it up. At that moment I was looking for a space too, so we decided to share a space. We found an amazing one…we decided to do something completely different. Coworking-conceptstore-workshop (Co. Disseny Coworking): now we are open since more than one year. And guess what? Coba Complements is the article we sell the most. People come in asking for the bags, after having received one as a gift, or through a friend, etc. This gave me the strength to go forward. Currently I am working in a growth project that will take me some months to be built. As I saisd before, step by step.

If you believe and have that inner force that tells you it is going to be something big…go for it no matter what people tell you. And remember…always move step by step.

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  1. TAKE ONE OR TWO DAYS OFF A WEEK. CLEAR UP YOUR MIND.

When I started Co. Disseny Coworking, like everything at the beginning, I needed money. I was working in a factory 30 hours/week, attending the shop, and doing jewellery and bags. 7 days a week working. Nearly no free time. I was so obsessed with getting money for the company that I just was oppressing myself.

I had no motivation, zero ideas and I was always tired. One day I reconsidered the situation, I met some people and started to go climbing on the weekends.

My life changed completely. Motivation returned and with it so many ideas. I started to wake up excited to go working.

It is not more work that will bring you success. Analize the situation, like Giulia Savino said: Be aware of your way of working.

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  1. ANALIZE WHERE YOU ARE, WHAT YOU WANT, WHAT YOU CAN GET NOWADAYS AND WHAT YOU WOULD LIKE TO GET IN THE NEAR FUTURE.

When I finished Alchimia and came to Alcoy, I knew it was going to be hard to live from jewellery if I wanted to stay here.

Then I started with Coba Complements, later on I set up Co. Disseny and now, after 4 years, some people start to know about the kind of jewellery I do, and some clients finally appeared.

I stopped nearly for 3 years to do jewellery. I think it was time to reflect about everything. It was for a long time that I did not feel as motivated as now. These 3 years of break from it made me think and focus on what was my goal.

Take your time. Don’t be frustrated if there is a period of your life that is not focused on jewellery or you don’t feel motivated doing it. That ability will always be  in you, and will bloom at the right time. But you have to keep believing in it.

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Exhibition ‘Japonismo’ | Co. Disseny Coworking_Alcoy | 2/12/16-9/01/17 

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‘Tsuru’ | 2016 | Brooch | Silver, copper, leather, Japanese cotton fabric, steel

 

5. GET THE MOST OUT OF YOUR TIME IN THE SCHOOL. EXPERIMENT, MAKE MISTAKES, ENJOY THE PROCESS, TAKE RISKS.

Once in the bussiness world, you cannot do all those things as often as you would like. Everything adopts a different perspective, priorities and time consuming.

Be wild and free and let your imagination fly every single day.

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Prototypes from exchange program_2013

THANKS FOR READING, AND I HOPE SOMETHING WILL BE USEFUL FOR YOU!

ABOUT ANDREA CODERCH

perfil

Before going to Florence, I studied industrial Design degree at my hometown (Alcoy). Then I did a 3-year course at Alchimia; when I finished I realised my wish: going to Japan. Thanks to the exchange program of the school I went to Hiko Mizuno (Tokyo).

From my Alchimia days and until today I took part in exhibitions (my final project work was selected for Talente 2013), taught workshops, gave talks…always about jewellery. I need and want to be in this field, even though I focus more on my accessories company.

After that great experience in Tokyo and once being back home, my adventure with my own business was born.

Now, is the 4th year of life of Coba Complements (and it keeps growing!!) I own, sharing with Espai Nu (an interior design studio), since a bit more than one year, Co. Disseny Coworking. This is a space where to buy design products, supporting independent designers, holding exhibitions, doing workshops and preparing different activities.

Please check our social media accounts!

Andrea Coderch        www.andreacoderch.com

www.cobacomplements.com

Instagram | coba.complements

Co. Disseny                fb | Co. Disseny Coworking

Instagram | co_disseny_co

 

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Daria Olejniczak –  lighting designer with an over 10-years- long career in architectural lighting, who freshly graduated in contemporary jewelry at Alchimia, curated Light Matters, a group exhibition taking place during the Munich Jewellery Week at the Erco Showroom with works by Daria Borovkova, Maria Ignacia Walker, Lavinia Rossetti, Lena Grabher, Valentina Caprini and Daria herself.

We have asked her to look back at this experience and share it with us.

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Exhibition view, photograther: Lukas Gaechter

THE IDEA

I was in Munich in 2016, having a look at the shows of other jewellery artists. Of course as a a lighting designer I always tend to pay attention to the illumination first. Unfortunately, I had to notice that lighting was treated pretty superficially. All the designers during the jewelry week face similar challenges, as they exhibit in spaces that are often used only temporarily as galleries, so I understand that the effort to organize a professional lighting is usually just too overwhelming (or expensive). However this was exactly the moment I got struck and decided to connect my two professions in one show. From my experience, I can say that whenever I have this kind of “aha-moment” in life, sooner or later my vision comes true. More or less one year later, I was in Munich standing in a room with 5 other artists, happy to open the show LIGHT MATTERS to the public. In the exhibition light was exactly as important as the pieces, and had a leading role in the developing of the concept, the title, the displays, the choice of the pieces, the promotion and the marketing.

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Work: Series “PiGreco” by Lavinia Rossetti, Photographer: Lukas Grabher

THE PREPARATION

For me the first step was to find artists who are motivated, hard-working and whose pieces interact differently with light. Intuitively I decided to work with Daria Borovkova, Maria Ignacia Walker, Lavinia Rossetti, who I knew from the school, and two other artists Lena Grabher and Valentina Caprini, who I had never met before. I liked the variety of the textures, colours, materials we used in our works. Optic lenses, transparencies, perforations, fine-mesh-structures, organic forms all correspond in their own way with different qualities of light – as colour rendering index, beam angle, light temperature, etc.

Together we prepared a common portfolio and I decided to approach ERCO, one of the internationally known lighting fixtures manufacturer, which specializes in adjustable spotlights, commonly used in museums and galleries. I was happy that my proposal for cooperation was taken very positively. I went to Munich to see the venue of the Erco Showroom, which happened to be a beautiful spacious office in an old city house.

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Work: Series “Pink roots” by Valentina Caprini

 

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Work: Series “Bodies” by Daria Olejniczak

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Work: Series “Being and belonging” by Daria Borovkova

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Work: Series “Piel” by Maria Ignacia Walker

THE EXECUTION

I found it very important to stay focused and dot down all the tasks which had to be performed till the opening. It was a lot! Finances, displays, press release, application for the event, photos, catalogue design, printing and marketing, require a lot of time and patience. I am very grateful to my team for understanding that it was sometimes stressful for me to be in charge of all the coordination. Eventually all went well, despite many hurdles on the way, which it is good to laugh about at the end. The regularity of the meetings and the discussions allowed us to stay motivated, and to complete all of the tasks (otherwise the collective goal diffuses). We were eager to use all the latest digital means of communication, doodle, skype, dropbox, google shared files, which made it possible to share info and communicate effectively despite the distance that was between us – I live in Berlin, Lena in Vienna, and the others are based in Florence.

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Work: Series “Diplopia” by Lena Grabher

THE OPENING

LIGHT MATTERS received an overwhelming positive response, which makes me believe the reason behind it was the fresh idea of bringing together two realities of contemporary jewellery and high-tech lighting, connection which was never made before. Also the diversity of the visitors made it extra interesting – not only the contemporary jewellery community was there, but also architects, designers and ERCO customers. The opening was announced as the “highlight of the day” by Wiener Schmucktage and it happened to be on the personal galleries route of Bella Neyman (owner of the Gallery Reinstein Ross in New York) which was published in the Current Obsession Magazine.

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Exhibition opening

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Exhibition opening

THE LEARNING

I am especially happy and proud that this first show created new possibilities for the whole group, and for myself. LIGHT MATTERS was invited to the Silver Festival in Legnica in Poland, where it can be seen on May 19 and 20. It also got accepted as part of an art festival in Berlin, the 48 Std. Neukölln, where again the exhibition will be hosted by the ERCO Showroom from June 23 to 25. These results show me that it was all worth the effort. After the closure of the exhibition, when all the excitement leaves, it’s good to sit down and note all the things that went well and what could be improved. And than enjoy, enjoy that moment of pride.

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Exhibition opening

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Exhibition opening

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Exhibition opening

 

 

 

Dear jewelry friends,

it is often said that Florence has very little devoted to contemporary cultures, so on a grey Sunday like this we decided to pitch to you three shows of contemporary visual arts we believe you shouldn’t miss while here. And we believe so because all of them, although in completely different ways and rather laterally more than literally, engage with the human body and its representation. Un-doubtly food for thought for jewelry makers around the world.

[Disclaimer: two out of the three shows we recommend have been curated or organized by some of our present or past Alchimia Team members. This is to say that we are not entirely partial but also that our staff really is the best you can find around.]

We start with WOMAN POWER a solo-show by Maria Lassnig (1914 – 2014), on view until June 25 at the Andito deli Angiolini of Palazzo Pitti. A paramount austrian artist of the XX century, this exhibition features 25 of her works, spanning her career from the beginning of the Sixties and until the first decade of the XX century. The female body and its self-representation are at the core of her practice, for a path that calls for women’s emancipation.

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It’s also so beautiful to read in capital letters Woman Power in front of one of the city’s strongest symbols)

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Electronic Renaissance, a solo-show by Bill Viola at Palazzo Strozzi on view until July 23.

Viola has explored Christianity and its representation in the XV and XVI century as a tool to reflect on contemporary society and its faces and facets. With a touch of new age spiritual vibe, his works are a whirlwind of emotions and spectacularity. A reflection about life and death as felt and seen through the decay or perfection of the human body.

Whether you like this master of video-art or not, this is an exhibition that is worth seeing already for two main reasons: one is that for the first time Viola’s relation to Renaissance’s painting is brought to the fore via a direct dialogue with the original paintings he was inspired by; the second is that this is a large solo-exhibition through which you can experience and understand the artist’s practice from the seventies and until today, hence allowing for a much more nuanced understanding of his oevre as a whole (including jewels of documentation of Viola’s three years experience working as an assistant in Tuscany with the ground breaking Art/tapes/22).

Our dream art history and cultural theory professor Riccardo Lami has been a core member in the organization of this show.

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Essentially Jérôme Bel offers a different approach to dance. One in which dancers become speaking subjects and the co-authors of his works. In which professional dancers and amateurs from different cultural and social contexts have access, together, to the stage. Where the realm of the “real” and of its excluded subjects becomes the content and form of his choreographic pieces.

Also in this exhibition the body and its forms are paramount, a body that is diverse and emancipated, a body that is hard to see at the centre stage: where disabled, elderly, people with diverse cultural and ethnical backgrounds, and even children, perform a dance that moves miles away from our standard conception of beauty and movement.

The show will open on Friday the 28th without the classic on-invite-only-entrance: so get yourself together and make the effort to go to Prato where you’ll be able to see the exhibition for free and experience a number of live performances for the occasion (at 7 and at 9pm + an ongoing one). 

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Enjoy the week and go see some art.

x

Alchimia

 

A report by Lilian Mattuschka

With photos by Piero Arico

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Otto Kunzli, Quidam, from 7.03 to 14.03 2017 at Galerie Wittembrik

As every year during the jewellery week, Munich is invaded by strange characters, recognizable thanks to their unique tendency to wear ornament and decoration.

During these intense days, you will see colourful broaches, big necklaces and eye-catching rings all around the city, and if these signs are not evident enough you can identify them because of the one common object everyone holds tight in their hands: the Current Obsession map/book.

Makers, collectors, gallerists, students and just curious people (way less than the others, indeed) from different cultural backgrounds come together with a common goal: contemporary jewellery.

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Pearl Necklace, 2016, Carved freshwater pearls

As a professional myself, I want to share my favourites of this Munich jewellery week 2017:

BEATRICE BROVIA AND NICOLAS CHENG, “GOLD RUSH”

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Gold Rush, 2017, Exhibition view, Beatrice Brovia and Nicolas Cheng

One of the most interesting and complete exhibitions in this year´s schmuck thanks to a perfectly working dialog between the display and the pieces.

Visitors were encouraged to look beyond the regular ways in which highly precious materials are used in the jewellery field, and to reflect on their controversial nature.

With a series of very clean and aesthetically pleasing pieces made out of e-waste Brovia and Cheng where putting their focus on the normally invisible uses of gold.

AKIKO KURIHARA “THE CAT DID IT”

Smart and funny as every year. Always a pleasure to visit and see what new game is on the table of Akiko Kurihara.

JORGE MANILLA “ABRUPTIONS”

A mysterious and dark experience in strong contrast with the enthusiastic crowd of visitors that were literally fighting to touch the enchanting skin of these guts-like pieces.

COCO SUNG “KARMA”

Freedom was the first thing that came to my mind when I entered in CoCo Sung’s show. Refreshing and inspiring, a beautiful combination between painting and jewellery.

Sung opened up to visitors her imaginary world with courage and great ability in combining colour, shapes and material.

To know more about Alchimia jewellery school in Florence check our main website.

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Marissa Ryan Racht’s new body of work titled Farview, outcome of a two-year research developed within the MA program of Alchimia, exists on what she defines as “the fine line between fear and empathy that defines us as human beings, and the methods we use to conceal them or protect ourselves against them”. Delicate but ultimately rough, seducing in a rather uncanny way, hard to define or classify, her pieces could be read and experienced within a larger exhibitionary framework in which images, photographs and a video introduced the audience to her larger set of references, both architectural and biographical, and to a particular type of drawings she realized with closed eyes incited by the reading of stories of fear and empathy of other people.

But let’s start from the basics. The site of the show, was a space available for an affordable rent in the center of Florence that created the right environment for the pieces.

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Tables (and mind: beautiful ones taken from an antiquary) were hung from the ceiling so as to keep the jewelry pieces in the center of the exhibition format, surrounded by the other elements of the show such as the drawings.

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Did you notice the white leather chair? Quite a number were distributed through the space, to direct specific viewing positions Marissa was interested in facilitating.

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Marissa brought forward two collaborations, one for the images with Lilian Mattuschka, and one for a film with Federico Cavicchioli.

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She printed a beautiful catalogue in 60 copies, designed by Lumy Noguez, with texts by curator and writer Riccardo Lami and herself, images of the pieces and many of her drawings. The price is 15eu only for special and limited edition, so we can’t but encourage to get one at your earliest convenience.

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Last but not least: the carefully arranged food, as Marissa really takes care of every detail.

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And of course as always we recommend: don’t forget to thanks friends (and family). As far as we know Carla Movia and Bernardo Cioci were paramount in making this happen.

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Alchimia: Can you tell us what is the core of your teaching at Alchimia?

Marzia Rossi: The aspect that is most valued in the courses we propose, in my opinion, is the discovering and enhancing of the essence of the materials that are chosen each time. Trying to understand through tactile research, the weight, the very nature of the material we use, for example if it is natural or synthetic, or how it can be manipulated.

Metal, of course, is the material we use most, but even beginner students learn immediately that you can use various types of metal and each of them wants and has to be treated in a different manner. It is very important to choose the most suitable one in relation to what it is one wants to accomplish.

Daniela Boieri: The programs are tailored on the necessities and interets of the students. In the case of beginners we teach them how to familiarize with their creativity and with the tools that we use in the field. With professionals, we try to give new inputs to develop and challenge further their work.

Alchimia: What techniques or pedagogical methodologies do you adopt?

Marzia Rossi: We try to teach how many ways there are to wear a jewel; what feeling it should give, because it always is a very personal choice whether it is a more classic or completely experimental type of jewellery.

The process of “making ” a jewel in our courses is definitely practice-based, but it is indeed a creative process, where final objects are achived only via trials and experiments.

Even in the case of more technical courses it is important to understand, by talking to each student, what kind of project they want to accomplish: a series of pieces with a common theme/concept or a few unique very precious pieces require different choices.

Daniela Boieri: In the case of beginners we would start, for example, with the most simple welds, designing and building a necklace and then move on to more complex forms is the case of a box-ring …Or, if they are interested in the closure of the stones, we teach them to make a ring with cabochon cut stone, which is the first approach to this type of technique. In the process of realization of each piece we also examine aspects relating to things such as portability, weight, etc ..Typically in two weeks we get to finish at least three pieces (necklace, ring, brooch / earring).

 

Alchimia: Who are your students? Can you tell us what kind of people and professionals take part in your workshops?

Marzia Rossi: The versatility of the courses, which aims to respond to interests and needs that are different and quite unique every time, leads to a very interesting and heterogeneous type of participants, coming from all parts of the world. Most of the students that land on the benches of the Intensive Courses are looking for experiencing something new: we have people who were doing completely different jobs and have decided to now think with and through their hands; others are already working or studying as goldsmiths, but are curious to try new methods or others who arrive with many doubts and questions accumulated over time. And here, we try to answer or at least to offer our expertise to support them, and the beauty of it is that when you mix different experiences something new always comes out. This is why the dialogue between teacher and student and also between the students themselves never becomes an end in itself but rather always a good starting point.

Daniela Boieri: There are students of all types …Mostly it is women between 20 and 70 years old. There are those who approach jewellery for the first time to see if it is a type of work that they would like or not; those who already own workshops but want to specialize in some particular technique, those who want to discover and work with materials other than metal…

Daniela Boieri graduated in jewellery, costume design and fashion at the University of Florence in 2001 and specialised in contemporary jewellery in Alchimia from 2004 to 2007. She works as an independent jewellery artist, designer and teacher. She loves metal and its secrets as colourings and patinations, adding and joining, engraving and etching. Her jewellery is present internationally in various galleries and museums.

Marzia Rossi graduated in Interior Design in Milan and studied at Alchimia Contemporary School in Florence. In her work prevails a research for a transparency of materials, even when opaque. Her jewellery pieces have been presented in numerous exhibitions and they are exposed in international art and design galleries. Her work is represented by Antonella Villanova Gallery, Florence and Charon Kransen, New York. She is currently teaching at Alchimia School and she is working in her atelier in Florence.