Griddle Incense Ass—or—Lost in Translation

Some time ago, when studying the menu in a restaurant in China, I stumbled over the dish “Griddle Incense Ass.” Having been living in China for two years by now, I know that Chinese and Western tastes differ quite a bit. Nevertheless, I also know that nobody here eats anybody’s ass. Hence, something obviously had been lost in translation. With the rise of Chinese contemporary jewelry, Western audiences may want to be cautious about how they tend to interpret some of the pieces shown in international exhibitions.

Helen Britton: Unheimlich

Part of the reason for this exhibition was to give space and concentration to make work that explored the theme and to see what happened, what came out. Another part of this exhibition was, as in answer to the last question, to build a complete work that encompassed all facets of the things I produce. I don’t think you can capture feeling, but perhaps you can convey something more sinister, more mysterious than usual, and as this is the first body of work in this direction, we will see what happens next.

Hans Stofer: String Theory

String is timeless, and it is totally democratic and open to creative applications. Everybody can and does use it, and when doing so, we all inevitably enter into some kind of creative and decision-making process that becomes a manifestation of our thinking.

10 Most Pertinent Displays At Schmuck 2014, Munich

Here I've asked our contributors to look for the most interesting, freshest display conventions realized at collateral Schmuck shows that really boost the work as well as the ideas behind the work and/or exhibition. Perhaps the display is an extension of the work itself or an elaboration of the show's concept that frames the pieces rather than just a quirky step up from jewelry on tabletops or hanging from the wall. There's got to be a good reason behind the kind of display implemented or built, a logic for why the pieces are shown the way they are shown.

Show and Tell: Calder Jewelry and Mobiles

Engaging with jewelry represents a challenge for artists not sensitive to its potential for embodied meaning. In this instance, it was particularly tricky to strike the right balance between whimsy and weight. The exhibition ambitiously matched relatively sober sculptures, assemblages, paintings, and photographs with Calder’s quirky modernism. Could such marriages work?

Carina Chitsaz-Shoshtary

I was on my way to the cafe where I was working when I first found pieces of graffiti on the ground. I was immediately drawn to their great painterly quality. I collected the colored sheets for a while and started to experiment with them, but it took me more than a year to seriously start working with the graffiti paint. The richness and beauty of the material was both a potential and a danger. You could easily take a piece, make a hole in it, add a nice string, and it could work as a piece of contemporary jewelry. But,...

10 Most Exciting Juxtapositions at Schmuck 2014, Munich

With this category, I prompted our contributors the following: This one could be quite fun as artists are beginning to really take exhibitions into their own hands by creating their own group shows. The idea is to start to think about why we pair certain work with certain work or put it in certain places, and what brings it all together for the artist and for the viewer.

Nina Sajet: Still Life

Nature has always been a big inspiration for me. Nature is the perfect designer. Every element has its function. I see beauty in each living thing, in its color, relief, and form. I like to use these forms as starting points for new creations. And besides, the love of cooking delicious Italian meals and enjoying them with my friends comes from my Italian roots!

The Stereo Leg

The thing is studded with jewels, radiant diamonds all around. It looks like an industrial, machine-age apparatus, with screws and other technical parts, while it glitters like a Cartier necklace. It is somewhere in between a futuristic weapon and an impressive ornate accessory. But this is not a weapon, or a necklace. This is a limb, wearable on the stump of an amputated leg.

Anya Kivarkis: September Issue

Through the trajectory of my work, I have appropriated material culture from historical moments of imperialism, including the Baroque, the Victorian, and our contemporary period, because they are speculated to be moments in which aesthetic cultures of excess and luxury resurge within fashion. I am interested in moments in history that generate massive amounts of desire that are coupled with a strong economic recession and a collective inability to fulfill that desire. So, I chose to focus on the amplified and excessive jewelry in this spread.

From the Forum






A Bit of Clay on the Skin


The State of Things