Benjamin Lignel. brooch “Manifest (thank god)“, 2008. Photo: Enrico Bartolucci, Paris


Carla Castiajo. Brooch from the series “Martyrs – Heroes in Paradise“, 2006. Photo: Jon Hertov


Carolina Gimeno. Brooch “Portable pleasure, when intimacy become public. Nr.11“, 2014. Photo: Carolina Gimeno


Dana Hakim. Neckpiece untitled, 2012. Photo: Yosef Bercovich


Dovile Bernadisiute. Necklace “Traces of a Floor“, 2015. Photo: Karin Olanders


Eunmi Chun. Bbrooch “panda“, 2015. Photo: Christine Graf


Gisbert Stach. brooch “DE-Schnitzel“, 2015. Die Neue Sammlung – permanent loan from Danner-Stiftung, Munich, Photo: Gisbert Stach


Göran Kling. Bracelet “Replica One“, 2010. Photo: Göran Kling


Hanna Hedman. Necklace from the series “While they await extinction“, 2011. Photo: Sanna Lindberg


Hannah Joris. Pendant–brooch–object “Cura Posterior IV (Ni Dieu, ni maître)“, 2011. Photo: David Huycke


IIris Eichenberg. Necklace “years later“, 2009. Photo: Travis Rozee


Jasmin Matzakow. Necklace “Untamable“ from the series “Ecotechnomagic“, 2018. Photo: Jasmin Matzakow


Jing Yang. Nnecklace “Ich bin keine Vase“, 2017. Photo: Jing Yang


Katrin Spranger. Pendant from the series “Best Before“, 2012. Photo: Henning Spranger


Beatrice Brovia and Nicolas Cheng. brooch untitled (brooch 00) from the series “Kino“, 2014. Die Neue Sammlung – The Design Museum. Permanent Loan from the Danner Foundation, Munich. Photo: Beatrice Brovia / Nicolas Cheng


Mari Iwamoto. brooch “ungefähr Stern“, 2018. Photo: Mirei Takeuchi


Merlin Klein. Pendant “Bohrkern aus einer Treppenstufe der AdBK-München“, 2018. Photo: Karina Hagemann


Nadine Kuffner. Necklace “A jeweller´s Anarchy“, 2017. Photo: Mirei Takeuchi


Nanna Melland. Necklace “687 Years“, 2006. Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway. Photo: Mirei Takeuchi


Nicola Scholz. Necklace, 2010. Photo: Mirei Takeuchi


Petra Zimmermann. Brooch “Important Meeting”, 2003. Photo: Petra Zimmermann


Sana Khalil. Brooch “in conflict“, 2018. Photo: Federico Cavicchioli


Shachar Cohen. Brooch from the series “Rated R“, 2018. Courtesy Galerie Rob Koudijs. Photo: Mirei Takeuchi


Sophie Hanagarth. Bracelet Trap from the serie FERS – IRONS (as chains or fetters), 2009–2013. Photo: Sophie Hanagarth


Stefan Heuser. Brooch “Ein Meister Der Selbstbeherrschung Erzählt – Ein Selbstporträt“, 2011. Photo: Mirei Takeuchi


Tarja Tuupanen. Brooch from the series “Notions of skill“, 2013. Photo: Lassi Rinno


Tobias Alm. Brooch “Châtelaine no 14 – Hammer or Flashlight Holder“, 2017. Photo: Tobias Alm


Vivi Touloumidi, Brooch from the series “What will Kosmos say“, 2013 – 2015. Photo: Vivi Touloumidi


Yasar Aydin. Brooch from the series “Layers of Pink“, 2011. Photo: Tobias Alm


Exhibition: Schmuckismus
Duration: March 16 – June 16, 2019
Private view: March 15, 2019, 7 p.m.
Location: Die Neue Sammlung – The Design Museum Pinakothek der Moderne, Munich
Barerstrasse 40, 80333 Munich

In 2019, Die Neue Sammlung is inviting Karen Pontoppidan (born 1968), the renowned Danish jewelry artist and Professor of the Jewelry and Hollowware Class at Akademie der Bildenden Künste München, to curate the annual jewelry exhibition at Pinakothek der Moderne.
The exhibition titled SCHMUCKISMUS showcases works by 30 international jewelry artists under the Pinakothek’s glass dome. Included are works from recent years, as well as one piece by each artist designed and produced especially for the exhibition. All the objects on show share and stand out for their engagement with and exploration of social phenomena. Pontoppidan’s concept was born out of the deep conviction that the rigid political and religious “–isms” of our day require careful review.

“The origins of jewelry go hand in hand with the onset of the earliest civilizations. Anthropologists often describe the origins of jewelry as a marker for belonging to a specific group as against other possible communities, and at the same time as something that identifies an individual position within membership of a particular social group. In both cases, the art of adorning oneself can be described as political as it constitutes an expression of fundamental social structures.
Nowadays jewelry is often described as an individual expression of personality. Jewelry is thus ascribed to the private sphere, instead of being read as an important cultural badge. Yet at the very latest with the emergence of queer and gender theories it has become clear that the way individuals present themselves can no longer be read as an individual expression of personality. Scientists point out that in our everyday lives normative structures of thinking regulate the spectrum within which humans adorn themselves. The right to a “queer” look is then not something individual but a political issue and at least partially a hard-won one. It is precisely this discrepancy between jewelry often being perceived as private and yet its function as a social symbol that makes jewelry a wonderful form of expression for formulating critical thought. Throughout its history, jewelry has time and again served to describe social structures. This fact has conversely given rise to work that emphasizes jewelry’s potential for critical discourse.
The last 50 years in the history of studio jewelry has seen many works that formulate critical approaches, for example to specific value systems. Most of these objects are rooted in a discourse that is part of a critical study of jewelry traditions. In recent years, a further approach can be discerned in jewelry. In the contemporary works of a young generation of artists, jewelry has for the most part extricated itself from the clutches of self-reflection. Instead, it is used directly as an instrument for social discourse. Topics such as ecology, consumer society or feminism are addressed directly through the medium of jewelry. More restrained jewelry practices also exist, which nevertheless focus on topics that are no less relevant – such as questions of identity formation or the status quo of being human in the 21st century.
The latest approach that can be observed in expression through jewelry consists often of relying on the cultural significance of the materials used as the paramount quotation within the pieces. Another path lies in questioning how handcrafts are seen as well as their social value, or in challenging the suggestion that each piece must possess so-called good form.” Karen Pontoppidan


A catalogue spanning approximately 160 pages will be issued by Arnoldsche Art Publishers on the occasion of the exhibition and will include contributions by Hanne Loreck, Angelika Nollert, and Karen Pontoppidan, with a book design by Yvonne Quirmbach. Our thanks goes to the participating jewelry artists.

FURTHER INFORMATION
Karen Pontoppidan
karenpontoppidan@yahoo.de
Dr. Petra Hölscher, Die Neue Sammlung
hoelscher@die-neue-sammlung.de
T +49-(0)89-272725-0

PINAKOTHEKEN PRESS OFFICE
Tine Nehler
Leitung Presse & Kommunikation | Head of Press Department
Pinakotheken | Pinakothek der Moderne | Bayerische Staatsgemäldesammlungen
Barer Strasse 29 | 80799 Munich
T +49 (0)89 23805-122
presse@pinakothek.de
www.pinakothek.de/presse

These images may be used free of charge for editorial reporting on this exhibition, on condition that the credit is clearly and fully indicated. Download: Move Cursor on your choice and click; start download of High Resolution files with “save as” command.