From Hand to Hand: passing on skill and know-how in European contemporary jewellery
through Oct.5, 2008 at MUDAC
Special events:
Lecture by Karl Fritsch
Karl Fritsch, jewellery-maker, talks about his work. Sept.23, 2008 at HEAD / Boulevard James-Fazy 15, 1201 Geneva, free entrance.
Lecture by Karen Pontoppidan
A lecturer at Ädellab, Konstfack, Stockholm, Karen Pontoppidan talks about the transmission of knowledge. Oct.3, 2008 at MUDAC
Via a selection of jewellery by European creators, the exhibition “from hand to hand” seeks to define the bonds that are created between teachers and pupils and what is involved in passing on a skill or knowledge. European jewellers whose influence in the contemporary jewellery world is clearly established and recognised were therefore chosen, not just because they are eminent teachers but also because they are outstanding creators of their period. What influences have they had on their pupils? What do they hope to pass on? What have their pupils retained of this? And do the latter, some of whom have become teachers in their turn, have the feeling they are continuing a link in the chain?
Contemporary jewellery
In our Western societies, technical virtuosity acquired in a traditional manner in workshops or professional schools allows the making of jewellery that unites prestige with market value. Nevertheless, since the 1970s, the world of contemporary jewellery creation has questioned these values. So does this knowledge still have any meaning? Is it not the idea transmitted via the object that is of prime importance? In observing the selected pieces, made by the creators themselves, one realises that both these factors co-exist: manual skill remains very evident in as much as these pieces of jewellery testify to the attention paid to ensuring they are well made, a judicious choice of materials, a genuine pleasure in producing a beautiful object. But this manual skill is placed at the service of the expression of each individual’s private questionings. It is this combination that makes contemporary jewellery so fascinating. One can allow oneself to feast one’s eyes while enjoying a pleasant sensation of intellectual titillation. Benjamin Lignel, jeweller and art historian, has set out a number of common characteristics of contemporary jewellery. He underlines “notions of individuality, craftmanship, and its troubled relationship to the production mainstream.” And adds the following elements: “the human body as a general working area; an open attitude to methods and material that echoes art’s own agenda, complicated by the notion of wearability; […] and an emancipation from consumer goods’ vocation to ‘just’ satisfy consumer desires.” [In Metalsmith Magazine, autumn 2006]. These are a few of the facets which allow one to define better the preoccupations of contemporary jewellery creators.
Europe
Apart from a few isolated examples, it would be difficult in Europe to find a school that is characterised by its territorial roots. The majority of European jewellery schools and colleges have developed an international style, based rather more on the identity of the creator than on his or her origin. Ever since the 1980s–1990s, Europe has represented a crucible for the creation of contemporary jewellery. Students still come from all over the world to undergo training here. Creators who have passed through European schools are consequently right in the centre of the reflections that prevail in the contemporary jewellery field.
Ties and links
To define more closely the relationships that exist between the exhibition’s participants, the latter responded to a questionnaire regarding the transmission of skills and knowledge. Their answers echo their creations in the exhibition as well as in the catalogue. Thus, all the jewellers relate their experiences during their years of training; their relationship with their teacher(s); who pushed them, who supported or discouraged them; who they still remember several years later; how there was a certain amount of connivance. Some pupils, having become masters in their turn, are continuing an artistic process that was developed under the influence of their teachers. Fabrice Schaefer, who teaches at the Haute école d’art et de design in Geneva, says: “‘Transforming a material’ was at the heart of Esther [Brinkmann]’s teaching; I still work along those lines”. Others, on the contrary, claim to have broken with them completely: “I think that I have never been faithful to my teacher. We have completely different ways of facing our craft and making jewellery.” (Marc Monzó, Spain, 1973).
The exhibition
The exhibition brings together works by 58 jewellery-makers of 3 generations (12 masters, 39 pupils, 7 pupils of pupils) who have emerged from 10 schools in various countries: Germany, Spain, Finland, France, Great Britain, Italy, Netherlands, Portugal and Switzerland. It is organised around the first-generation teachers, with the addition of their pupils and, in some cases, the pupils of their pupils. The tradition that the Swiss are great travellers is confirmed here: of the 17 Swiss jewellers included, 5 of whom currently teach abroad, 5 pursued complementary training outside Switzerland before returning home.
The choice of pieces was carried out in agreement with the creators. The majority of the works date from the last five years. In a few cases they are older because they are emblematic of the work of particular teachers. Each creator has the same module at his/her disposal, without any sort of hierarchy: a trolley on wheels offering a presentation area of around 1m2. This display option conveys the very great mobility of jewellery creators: both the teachers who move around giving workshops and the pupils who follow the teacher of their choice.
Despite every effort on the scenographer’s part, a piece of jewellery presented in a display case is nothing but a miniature sculpture. It lacks its natural support, the body. To compensate for this absence from the exhibition, some of the jewellery pieces are also shown being worn by means of black-and-white photographs taken by students of the Ecole de Photographie in Vevey (CEPV).
The exhibition’s organisation and scenography were undertaken by Carole Guinard, jewellerymaker and scenographer at the MUDAC.
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