participating artists

參展藝術家

Silvia Bonardi, YuChun Chen, Francesco Coda, Elisa Deval, YuFang Hu, Meiri Ishida, Sayaka Ito, Anastasia Kandaraki, Sanaa Khalil, Marisa Leenutaphong, JunChang Lu, Lucia Massei, Carla Movia, Deema Murad, Evert Nijland, Sarah Ordóñez, Alessia Prati, Enrica Prazzoli, Yara Diaz Salles, Lucy Sarneel, Yanis Turcarelli, Gabi Veit, Robean Visschers, Shuang Yue


Silvia Bonardi

(IT 義大利) 

Hat帽 | iron wire, crochet / 鐵線編織

'無形-有形'

時刻,影像,語詞,疑問,出現在我眼前,而周圍的現實停止了,隨著脈動的節奏,它們出現又消失。

我不禁顫慄;時刻,影像,語詞,疑問...重複循環,在現實與虛幻之間,我不禁懷疑起自己。有什麼可以阻止這種想法?編織成了我的救贖,我的庇護所,透過行動,一步一步,離開思想和妄想症的漩渦,新的感受,新的平靜。鐵絲帶著味道,它讓我的手染上顏色,並且割傷了我的手指,我感到痛苦,這是過程的一部分,它艱難,緩慢且不斷重複。我是在尋找希望嗎?還是一種療癒的方法?

輕盈而空虛,粗糙而尖銳,沉默而寄生,有形與無形。


'Invisible-tangible'

Moments, images, words, and questions showing up in front of my eyes, the reality surrounding it stopped; with the pulsating rhythm, they appeared and disappeared.

A shiver goes down my back; moments, images, words, questions, moments, images, words, questions, moments, images, words, questions.. Doubts of myself are growing. Reality and unreality. Which is the method to stop this mechanism of thinking? Knitting is my answer, my mantra, my shelter. Vortex of thoughts and paranoia transformed by action, step by step, new feelings, new calm. The Iron wire smells, colours my hands and cuts my fingers. I feel pain and it's part of the process; it's hard, slow and constantly in repetition. Is it hope, what I'm looking for? A way for healing?

Lightness and emptiness, rough and sharp, silent and parasite. Visible and invisible. 


YuFang Hu 胡毓芳

(TW台灣) 

Necklace項鍊|silver, 18k gold / readymade, paper, silk, velvet, brass/ 銀,18k金 / 現成物,紙,絲綢,天鵝絨,黃銅

'Dear___'

旨在回應當代對於珠寶首飾的想像,寶石刻意的缺席所產生的「空間」,企圖引發觀者思考曾經存 在於那個空間的事物為何; 透過觀者的參與,寶石實以其缺席之姿重申其存在的事實,與觀者共同 完成了一條寶石項鍊。


As a response to a conception of precious jewellery, the recessed facets deliberately form a space between the diamond and its absence, which allows viewers to contemplate what used to be there. Through its non-presence the existence is reiterated; just as every jewellery created, a piece of jewellery reminds us of a thought, story or a loved one by their very absence. 

Sayaka Ito

(JP日本)

1. 'Umegasane 梅重' 

2. 'Canary 金糸雀色'

Necklace項鍊|hand dyed silk, silk thread, iron wire, resin /  手染絲,絲線,鐵線,樹脂

重複與反覆的動作不是我個人喜歡做的事,我寧願尋找新地方、新事物,但我漸漸開始意識到它們也有其美感。正如許多人所說,一切都會改變,即使去同一個地方,經驗會不同,即使重複製作相同的作品,結果也永遠不會一樣。這樣的意識讓我的創作自由了,接受了重複,打開了新的大門。縫紉和編織是反覆的動作,幾乎如冥想一樣,尋找新的材料,再回到我最喜愛的絲綢,這些作品的整個過程都是關於回歸和重複,表達了我的生活現狀,也意識到創作正在講述我的人生故事。


Returning, repeating, are not the things I personally prefer to do, I rather look for new places, new things, but I have started to realize returning and repeating have their beauty in them, and there are matters I do like in these two acts. As many people say, everything change, even if I do return to the same place, it is not the same, even if I do repeat making same pieces, they are never the same. Realizing that, feeling that with my own experience has freed my mind, acceptance to returning and repeating has opened a new door. Sewing and knitting are acts of repetition, almost like meditation. Searching for new materials, but returning to my favorite, silk, the whole process for these pieces was about returning and repeating, which I feel that expresses my state of life today. It made me realize my creation is telling a story of my life.

Anastasia Kandaraki

(GR 希臘)

1. "Symbiosis 共生 #4"|Object-brooch物件-別針

maple wood, steel, color / 楓木,鋼,色料

2. "Symbiosis 共生 #6"|Object-neckpiece物件-項鍊

maple wood, steel, color / 楓木,鋼,色料

'共生'

鋼鐵和木頭,壽命和死亡,強度和敏感性,硬度和可塑性:這些對比定義了我們的生活和與城市環境關係的矛盾,通過作品的材料和形式,體現於人體或空間的首飾物件。

共生是指相互依存,耦合,與相互作用,指的是兩種不同生物為生存而嘗試相互"支持"。鋼鐵的幾何形式會抑制木材的有機性質?還是可以支撐木材的脆弱?它能保護木材免受損害或只是產生限制?

這些作品像是詩的隱喻,如羅馬神話中的雙面門神雅努斯(Janus)代表對立的組合:老年與青年,太陽與月亮,戰爭與和平。體現了宇宙間相互依存的關係,通過對比、衝突和脆弱而啟動。


'SYMBIOSIS'

Steel and wood, duration and mortality, strength and sensitivity, rigidness and plasticity: the contradictions defining our life and relation to the urban environment are manifested through the materials and forms of this collection of jewelry and objects made for body and space.

Symbiosis means interdependence, coupling, interaction. It refers to the attempt of two different organisms to "support" one another for survival. The geometric aspect of the steel compositions suppresses the organic nature of wood? Or does steel, maybe, support wood's weakness? Does it protect wood from its disorderly self or set its limits?

These jewelry pieces are like poetic metaphors that like the god Janus stands for the combination of opposites: old age and youth, the sun and the moon, war and peace. They embody the interdependent relationships of a universe full of connections, where everything is activated through contrasts, conflict and fragile resolutions. 

JunChang Lu 陸俊昌  

(CN中國)

1.Brooch別針|bottle glass, sterling silver, stainless steel wire / 酒瓶玻璃,銀,不銹鋼線

2. Ring戒指|bottle glass, sterling silver / 酒瓶玻璃,銀

'琢 /zhuo/'

琢,本意特指玉石的雕刻,拋光等加工過程,也經常隱喻為將普通的事物經過加工,琢磨使其變得特別,貴重和有意義。

我的作品主要是探尋首飾的價值與其材料價值之間的關係。以往作為商業珠寶設計師的工作經歷讓我意識到,首飾的材料價值總是在很大程度上決定了它的全部價值,人們往往忽略了材料之外的價值。然而這些被忽略的價值,在我看來才是首飾真正的意義所在。這也是我開始當代首飾旅程的動機所在。

我選擇了玻璃酒瓶這一日常生活中隨處可見且並不昂貴的材料作為主要的研究對象。因為它在某個瞬間的形態能帶給我玉石一般的視覺感受。我試圖通過材料實驗將這種型態定格,並將這種感受通過我的首飾作品傳達給外界。

實驗的過程中,有挑戰,有驚喜,有期待也有風險,而這也更加充實了作品自身的那份價值。相比於付出的時間和努力,那份對於未知的期待更讓我沉迷。我希望這分專注的能量能吸引更多的人去關注我的首飾,去觸摸、配戴、感受、進而思考,首飾對自己來說究竟意味著什麼?


琢 /zhuo/ is a Chinese word especially used for describing the process of jade carving and polishing, it also has a metaphorical meaning of transforming something common to something special and precious.

My work is mainly about the transformation from non-precious to precious in the metaphysical sense. As a former industrial jewelry designer, I made the turnaround to my contemporary jewelry journey. I have dedicated myself to bottle glass, a common material that gives me a strong visual feeling of jade, my cultural origin.

During the process of transformation, I put love, care, time, effort and also risk into my piece.

I hope this kind of concentrated energy can attract people to touch it, to wear it, to feel it, wondering "what is jewelry for me?"

Deema Murad

(JO 約旦)

Sculpture necklace項鍊雕塑 |iron nails / 鐵釘

'我願意接受,打開胸膛,呼吸,感受幸福'

平靜: 一種寧靜的心理狀態。在過去的兩年中,我嘗試使用釘子,釘書針和螺絲釘之類的扣件,來轉換為可穿戴的首飾。鏈條的使用可以追溯到公元前4世紀,是戰爭中的有效防禦機制。在我的作品中,它們象徵著保護及力量。

通過有節奏的重複性工作練就決心和耐心,使用堅硬的材質和近乎冥想的動作營造出控制感和滿足感。這些扣件象徵著感覺和思維的單元連結,連接一個釘子,兩個,然後三個,直到兩千一百三十三個以建構一件作品。女性與男性的特質交織在作品中,反映了平衡在我們生活中的重要性,無論是好與壞,積極與消極,軟弱與堅強,愛與恨或生與死。

人們都渴望擁有控制權,希望實現完美,能擁有改變事件的能力與預測未來。但我們永遠無法完全控制一切,要學會接受生命的缺陷並保持內心平靜,更重要的是,能夠在所有缺陷中找到美麗。


'I am willing to accept, freeing my chest, I am breathing, I am blessed'

Equanimity: A calm mental state. During the last two years, I've been developing the use of fasteners, e.g. nails, staples, and screws to transform into chains and wearable ornaments. Chains date back to the 4th century BC as defense mechanisms in wars. In my work, they symbolize protection and demonstrate power.

Determination and patience are gained through repetitive work. The sturdy material and meditative movements create a sense of control and satisfaction. Connecting the nails one by one till 2133 nails to create one piece. Both feminine and masculine qualities are intertwined, reflecting the importance of balance in lives.

We crave to have control, to achieve perfection, to be able to alter the present and predict the future. But we will never have full control over everything. Learning to accept the flaws of life and be at peace with ourselves, we find beauty in all imperfections. 

Yara Diaz Salles 

(PR 波多黎各)

1. 'The Weight of Imperialism帝國主義的重量'

Object物件|gold plated brass / 黃銅鍍金

2. 'inoculation 接種'

Brooch別針|silver and rhodium plated brass, lead, rubber /黃銅鍍銀/銠,鉛,橡膠

大規模殺傷性武器

一個世紀的沉默戰爭麻木了我們的自由

歷史已被執政者編寫,改寫和刪除

我們只是社會力量崩潰的歷史記憶,利潤的來源,市場價值

虛假信息假借民主被正常化轟炸的政治格局

文化壓迫的專制法律認可的公開的論述

破敗的改革教導我們順從,但鎮靜劑未能蒙蔽我們雙眼

新語言的集體抵抗成為反對專制的武器

而教育資產不再對道德破產的私人利益做出回應

在法律的另一面,我們正等待自己的重建,不跟隨不盲從

我們將拿起書本,拿起筆,寫下自己的未來,成為變革的新參數。


Weapons of Mass Destruction

A century of a silenced war has numbed our freedom.Our history has been written, rewritten and deleted as often as superior duty has required. We are the collapsed historical memory of social power, a source of profit, a market value. A political landscape bombarded by normalized democratization of disinformation. A published narrative endorsed by authoritarian laws of cultural oppression. Reforms of broken models had taught us to conform, but sedation has failed to blind us. A collective resistance with a new language becomes the weapon of choice against authoritarian disciplines. And our educational wealth no longer responds to private interests of ethical bankruptcy. On the other side of the law, our own re-constitution awaits. We will not follow, we will not obey. We will pick up our books, pick up our pens, write our own future and be the new parameters of change.

Lucy Sarneel

(NL 尼德蘭)

1. 'Blueprint #2 藍圖 #2'

Necklace項鍊|zinc, permanent marker ink, varnish / 鋅,永久性墨水,清漆

2. 'Private Territory #4私人領域 #4'

Brooch別針|zinc, microwood, gourd, epoxy / 鋅,薄木貼面,葫蘆,環氧樹脂

*藍圖#2

藍圖是細節的設計圖。樹枝知道如何以特定的形狀和結構生長。每個人的生命都是獨一無二的;我們有既定的命運嗎?還是我們可以自己掌握?有時我們需要更關注,而其他時候或許不需要。

*私人領域#4

關於創作者與觀看者/佩戴者的私人和公共領域之間的互動。

首飾作為領土,屬於某人的特定區域,以個人元素做標記。

* +#1

方向相反的兩條線平衡地相遇。

* 掛上

"hang on"一詞的意思是"稍等片刻"或"堅持下去",同時也指實際掛上東西。人們的生活並非沒有苦難,從搖籃到墳墓,我們會遇到不幸,例如情傷,疾病,戰爭和哀悼。這些首飾旨在鼓勵人們永不放棄,堅持下去。


* Blueprint #2

A blueprint is a detailed design of a plan. A branch knows exactly how to grow in a specific shape and structure. Everyone's life is unique; do we have an inevitable destiny? or are we in charge of our own life? Sometimes we need some extra eyes and other times we can do without.

* Private Territory #4

is about the interaction between private and public for both creator and viewer/ wearer.

A jewel as a territory, a certain area belonging to someone, marked by personal elements.

* + #1

Two lines in opposite direction meet in balance.

* Hangonhanger

The words "hang on" mean "wait a minute" or "keep up" and at the same time literally to hang something on. People's lives are not without suffering. From the cradle to the grave we encounter misfortune such as lover's grief, illness, war and mourning. These jewels are meant to encourage to not give up, to Hang On. 

Robean Visschers  

(NL 尼德蘭)

Object物件|silver, plexiglass / 銀,壓克力

'想像的別針'

從一開始我就很喜歡這個展覽主題。「想像」帶著我們遠離現實或解決問題,或當我們戀愛時,想像著與那愛人享用浪漫晚餐,想像帶著我們進入一個比現實更美好的世界。

我飛翔在自己的想像中,這是我做了一隻蒼蠅的原因*。這蒼蠅是別針,由金屬線和翅膀製成,但它缺少了可以配戴的胸針背針,因此你只能在自己的想像中配戴它。

現在請想像你戴上這個別針而成為了蒼蠅,飛到了你最想去的地方,當再次回到現實中,你完成了一次美麗的想像之旅。這個旅程是想像的,但回憶,是真實的。

*英文中「飛翔」與「蒼蠅」都是同個字'fly'


'Imaginary brooch'

From the start, I really liked the exhibition title 'Immagina.' To imagine is something we do when we like to escape reality or to solve problem or when we are in love, we imagine this fancy dinner with this love that is not there (yet). We enter a better world than in reality.

I am flying through my imagination and that's the reason I made a fly. The fly is a brooch. Made out of just wire and wings. Only one thing is missing. The brooching system, so you can only wear the piece in imagination.

Please imagine you wear the fly and become the fly. You fly to the best place you can imagine. When you come back into reality again you have made a beautiful Imaginary journey. The journey was imagination, the remembrance though, is real.