Agathe Saint Girons: À Taaable!
Agathe Saint Girons: À Taaable! Read More »
France
Ocean 2050, a 2020 Exhibition at Galerie Elsa Vanier
Louis Thompson & Sophie Thomas | Marianne Anselin | Ambroise Degenève | Marine Dominiczak | Fabiana Gadano | Karen Gay | Bérénice Noël | Karin Roy Andersson | Agathe Saint Girons | Annie Sibert | Aisegul Telli | Claire Wolfstirn
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Bauhaus 100, a 2019 Exhibition at Galerie Elsa Vanier
In 1919, while naming the Bauhaus school, Walter Gropius proclaimed that his goal was “to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist.” The Bauhaus style was marked by the absence of ornamentation and by the harmony between the function of an object or
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Titanesque, a 2017 Exhibition at Galerie Elsa Vanier
For the 2nd edition of “Parcours Bijoux” in Paris, Elsa Vanier wanted to bring together new designers from all over the world and our permanent designers. Since the sale of jewelry from overseas carries numerous constraints in light of France’s very demanding regulations on precious metals, and having admired titanium jewelry in Geneva and at
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Pilosities
Pilosities brings together three artists whose works are similar in their choice and use of raw materials: Human hair, feathers, and furs. In Haptic stones, Lore Langendries wishes to arouse curiosity by displaying hairs—fine imagery and a visual illusion. Pieces look like solid rocks rounded off by the action of nature but they feel like
Shows and Tales – On Jewelry Exhibition-Making
While the question of exhibition making occupies an ever more important place in art theory, there has never been, thus far, a publication on the subject with jewelry as its focal point. This publication aims to remedy this absence, and provide an overview of jewelry exhibition history, an understanding of the challenges inherent to showing
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Cutting Edge: RAM Explores Contemporary Glass Jewelry
This text contextualizes glass jewelry through the lens of history and contemporary practice. A brief overview of contemporary usage is supported by quotes from several of the artists whose works are featured in the text. Images of several exhibited works are included as well. It is useful for an overarching look at the use of
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The exhibition as metaphor of social organisation
“Can craft curators create new spaces and contexts that are inclusive and provide opportunities for innovative strategies within the field?” Love Jönsson asked the three panelists gathered in Stockholm at the behest of IASPIS (The International Artists Studio Program) in November 2016. The question surfs on a persistent belief that craft naturally tends to encourage
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