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IT'S A JEWEL - NOT A DOLL

IT'S A JEWEL - NOT A DOLL
Galeria PLATINA
Estocolmo
Inauguração 22 Abr

If you want to understand our time, it's a good idea o consider the human attributes and see what people ear on the body - or what the artists creating the jewellry would like to see there. Jewellery belongs o the human body. Humans wore jewellery before the invention of clothing, we know that even the eanderthal's were intelligent enough to use jewellery, and therefore could see the world in ymbols. Jewellery refers to human and spiritual topics, often small in size but occupy place in the reater emotional world. If we ask any given person what they would bring if ones home caught fire, we often hear - jewellery.

In the exhibition we will find jewellery that is at he borders and at same time breaking them. Artists ove across land borders, challenging conventions about what is wearable, questioning the standard of hat is called authentic and useful materials and techniques not usually associated with jewellery. We ill find advanced technical solution; materials relating to odd and historical references.?Among the orks we will find materials stretched beyond recognition: Agnes Larsson's laboratory with owdered charcoal, which she transforms into glittering slate. Rut-Malin Barklund's s necklaces, of a stone-like material yet actually omposed of lack mdf. Helena Lindholm's jewellery offers salt crystals as glittering expressions. Sofia Björkman igitizes previous work and allows 3-D printing to transform them into other scales and colors. Sara orgegård creates the architectural jewels in which the body may form a landscape foundation as well as ohanna Persson, who draws against most forms of rt, with her large neck collars of textile and glass. In the exhibition we also see work by Jenny dlund and Annika Pettersson.  

 

RutMalin Barklund / Agnes Larsson
RutMalin Barklund / Agnes Larsson
Annika Pettersson / Helena Lindholm / Jenny Edlund
Annika Pettersson / Helena Lindholm / Jenny Edlund
Sara Borgegard / Sofia Bjorkman
Sara Borgegard / Sofia Bjorkman

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 Fundação Calouste Gulbenkian Nacional apoio