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Wednesday, 23 October 2019 10:04

Connessioni | Connections

Le Associazioni per il gioiello contemporaneo ACJ (Regno Unito) e AGC (Italia) collaborano per una mostra che seguirà un itinerario nei due paesi a partire da Novembre 2019 e nel corso del 2020/21. Il progetto si intitola Connessioni | Connections e verrà esposto in diverse sedi per ciascun paese.
UK: a Londra al Goldsmith Centre Scotland e Lighthouse a Glasgow
Italia: a Livorno al Museo del Mediterraneo ed a Padova all’ Oratorio di S. Rocco
Questa notevole opportunità è frutto della collaborazione paritetica delle due organizzazioni.
Il tema: Connessioni / Connections propone la realizzazione di un gioiello che possa rappresentare: relazione, contatto, reciprocità, network.
La Selezione dei 25 soci AGC è avvenuta attraverso un panel di persone autorevoli nel campo, referenti di ACJ.
Mirella Cisotto Nalon, già Capo Settore Attività Culturali del Comune di Padova, ha selezionato le opere dei soci ACJ, utilizzando gli stessi criteri e condizioni per assicurare la stessa qualità dei progetti e delle realizzazioni.
Gli autori hanno realizzato le loro opere con i materiali rappresentativi il proprio lavoro: dai metalli nobili, alla stampa su seta, all’organza e la porcellana, al ferro ed alle resine, alle tecniche proprie dell’oreficeria, all’uso del niello e del mokume gane, i colori dei pigmenti e gli acrilici, papier-maché e polystirene.
Si è realizzato il catalogo che illustra tutte le opere, i testi di presentazione e le sedi d’esposizione.
L’inaugurazione della mostra si svolgerà a Londra, nella sede del Goldsmith’s Center il giorno 11 novembre 2019; seguirà il prossimo 2020 il 19 febbraio alla Lighthouse di Glasgow, il 6 giugno al Museo della Scienza del Mediterraneo di Livorno ed in ottobre a San Rocco di Padova.

Wednesday, 02 October 2019 09:50




Mostra collettiva del "Premio Incinque Jewels - Il gioiello si racconta" che intende promuovere la cultura del Gioiello Contemporaneo sul territorio di Roma

Curato da Monica Cecchini e da Emanuele Leonardi

Esposizione 10-13 ottobre 2019, Roma

promosso dall’Associazione Culturale Incinque Open Art Monti,

presso la Galleria Incinque Open Art Monti, Roma

Il “Premio Incinque” vuole favorire una riflessione sul tema della “COMUNICAZIONE” in senso ampio e includente, creare un dialogo tra colui che realizza l’opera e chi la osserva. Vuole indagare sulla funzione del Gioiello come oggetto simbolico, non solo dalla valenza artistica, ma come portatore di un messaggio dal valore sociale, che trasmetta una storia sottolineandone le origini e la volontà di trasmetterle con nuove interpretazioni.Così da unire mondi trasversali e culture differenti.

Ha chiesto ai partecipanti di pensare e progettare un Gioiello che valorizzi le antiche arti ed al tempo stesso crei un legame con l’Arte Contemporanea, ne è così nata l'esposizione, che è una collettiva di 30 artisti, selezionati da una giuria di esperti del settore.

Inaugurazione aperta a tutti giovedì 10 ottobre 2019 alle ore 18.30

Chiusura 13 ottobre 2019 ore 21

L’evento è all’interno della storica manifestazione Ottobrata Monticiana.

Media Partner: Nouvelle Factory
Sponsor: Vinus - Vignaioli tuscolani

Galleria Incinque Open Art Monti Via della Madonna dei Monti, 69 - 00184 Roma
telefono: 39 349 2618428 mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

sito web:
UFFICIO STAMPA: Francesca Telleschi telefono: 39 3391449042 mail: This email address is being protected from spambots. You need JavaScript enabled to view it.







Wednesday, 04 September 2019 13:09

Lieta Marziali


My work spans jewellery to writing, researching and curating, and mentoring and teaching. Importantly, they are for me just different manifestations of making, equally central to my personal and spiritual growth and the process of making me in an art practice that is, in the same way Italian writer Italo Calvino referred to literature, " an existential function, ... a search for knowledge"*. This "wisodm as practice"**, as defined by the contemporary German philosopher Peter Sloterdijk, is then by default slow and mindful, not only of the provenance, destination and context of each project, but also of my natural cycles of thinking, making and, most crucially, reflection. My practice is both a platform and a method for reflection and philosophical enquiry: a personal space in which to ask myself questions, test answers and reactions, and understand how I think and why. It is how I raise my awareness of myself and of how I navigate in the cosmos. In the Socratic spirit that knowledge is virtue, I am driven by the desire to always become a better person. Deeply rooted in mindfulness, my practice is where I learn to exist as an integral, rather than dominant, part of all that surrounds me, resulting in a radical ethical approach. The need to investigate, uncover, say, comment or express creates the narrative that fills most of my work. This story-telling takes the form of jewellery pieces which are, at the same time, a means to and an expression of my questioning, reflection and growth, and an invitation to the viewers and wearers to also question, reflect and grow by, quite literally, embracing them close to their bodies.

A new piece will first manifest itself sometimes from simply holding a found object, sometimes from a recurring word or phrase (often already a title!) echoing in my head, or more often from a situation, a moment of clarity, or the need to understand something or to share a line of personal enquiry. Materials, with no hierarchy of value, are included simply according to how they fit this process. Any hesitation as to their choice is a vital clue to me that my question or answer is not sufficiently clear and a piece is not ready to be made, and I cannot and must not force it into material existence. When the moment is right, assembling is normally fast and instinctive, and my design process is dictated by an innate make-do attitude: as with everything else in life, I thrive on applying my knowledge to constructive problem solving and finding low-tech workable solutions from available resources and basic staples.

Most of my jewellery work then comes to be embodied in a one-off piece or small ensemble. Very rarely, I have happened upon questions that have worked at an even slower pace but the need to externalise them has been stronger, in the path of understanding them, than the importance to find clear answers. And this is where my occasional series are born, never knowingly finite but projects that need to remain open to reflection and enquiry, to be re-examined and re-explored until that time when they might feel resolved.

Words and language are for me another material which accompanies me through the making process, and their manipulation is just as essential a factor in determining how the work will finally manifest itself. As a result, titles are never just a necessity or an afterthought and instead, whether at the origin of its concept, or as a final reflection, they form an integral part of each piece.

Most important of all, I have learnt that the "studio" for me is far from being confined to the walls of my physical workshop and it extends to wherever I happen to be at any particular moment, processing information, asking new questions, reflecting. Over the years, I have learnt to listen to the rhythms of my thinking and to let them guide me: be it the workshop, the keyboard, the pen, the classroom, a book or a museum, my workstation stays fluid. And whereas I used to be daunted by not making enough, I have come to understand that "making" does not necessarily equate to a new jewellery piece. And so I now confidently reach for the bench only when it calls. And, when it is time, it always does.




Are We There Yet: On Recurrence, Recollection and the Resilience of Material Existence (Necklace, 2018)
Hardcore rubble from local and international dirt tracks, new and reclaimed copper, vintage bead necklace, recycled silver
Blue Rinse with a Chance of Mischief: On the Sweet Perils of Growing Older (Necklace-Brooch, 2018)
Jar lid, rusted drinking can top, plastic sweet wrappers, reclaimed faux pearl, vintage bead necklace, vintage button, copper foil, iron, recycled silver, stainless steel
Does My Brooch Look Bob In This? (Brooch, 2018)
Copper, steel, chocolate foil, reused pearls, nail varnish, recycled silver
Girotondo (Ring, 2012) / Tutti Giù Per Terra (Ring, 2015)
Jar lid, vintage tin, silver charm, copper sheet and adhesive, paper, glue, fabric, steel wire / Jar lid, old kettle whistle, silver charm, vintage tin, copper, stainless steel wire, glue, plastic bead
Noli Me Tangere (Brooch, 2019)
Golden cardboard, pebble, 18k gold wire, oxidised copper, paint, 18k gold pin wire
Norfolk Fields: On the Alchemy of Before, Between and Beyond (Brooch, 2018)
Sheep's wool, shotgun cartridge case, wood, rusty wire, 18ct gold, iron wire, stainless steel
Phoney (Necklace, 2018)
Fake pearls, fake phone, fake shoe, fake gold beads, fake gold chain, recycled silver
Predator (Brooch, 2019)
Found plastic objects and toy cowboy, copper, recycled silver, stainless steel, tie pins
Round The Bend (Brooch, 2013)
Zinc-cast toy car, aerosol can top, jar lid, copper, base metal stud earring, brass, stainless steel
Veda (Necklace, 2019)
Sheep bone, ceramic fragment, reclaimed lapislazuli bead, reclaimed copper wire
Tuesday, 23 July 2019 10:23

Lucilla Giovanninetti


Il mio interesse per il gioiello risale all’università, quando inizio a studiarlo dal punto di vista storico e iconografico. In seguito approfondisco le mie conoscenze sul piano stilistico e formale. Negli anni insegno storia del gioiello in alcune scuole di design, ma mi piace anche seguirne la progettazione da parte degli studenti. E poi apprendo come lavorare con i metalli, con la cera, con gli smalti. Da qualche anno la mia ricerca si è orientata verso un possibile connubio fra metallo e tessuto, ma ultimamente il tessuto è diventato protagonista, indurito con resine, per ottenere volumi importanti, organici, ma leggerissimi.

Mi interessa la progettualità, partendo dalla forma piana ritagliata nel tessuto, che viene dipinto, elaborato, cucito, indurito con resine. Mi affascina lo stupore davanti alla materia, la sua leggerezza, l’elaborazione cromatica, a volte la non-piacevolezza estetica.


My interest in jewelry goes back to my years at the university when I began to study it from a historical and iconographic point of view. As a I deepened my knowledge both on a stylistic and formal level. Over the years I have taught history of jewelry in several design schools but I have also enjoyed following the design of the students. I have learned how to work with materials such as metals, wax and glaze.

For several years now my research has been oriented towards a possible bond between metal and fabric, but lately the fabric has become the key player, hardened by resin, to obtain large volumes which are consistent but very light.

My interest lies with the design process, starting from the flat shape cut from the fabric that then gets painted, elaborated upon, sewn and hardened with resin. I am truly fascinated by the wonder behind the material; its lightness, its chromatic processing, and at times its unpleasant aesthetics.



Numero 5
Tuesday, 18 June 2019 15:40

Mineri Matsuura


Mineri Matsuura was born in Tokyo in 1973 and graduated in the metal craft department of Musashino Art University in 1998. Since graduation she set up her own studio and has had numerous exhibitions in her home country and abroad. In 2019 she was selected for Gioielli in Fermento, an international contemporary jewellery contest and she was awarded "AGC Special Mention", "Klimt02 Special Mention". Also in the same year she was awarded TECHNIQUE prize in the ALLIAGES Lagacy Award 2019 in France. She is surprised and humbled by the reception of her work in Europe. So it gives her more incentive to create new and more challenging pieces in her medium.

As a Japanese her inspiration comes from her countries architecture, art, nature and the influence of Zen Buddhism on its culture. The process that evolves with this medium that she works in is actually quite simple as in the end result the cut plate pieces emerges as if mysteriously into a three-dimensional form. It seems so natural like a metamorphosis of nature similar to a caterpillar that turns into a butterfly. Everytime it gives her a fresh perspective and she is amazed to see the new various forms that are created and so she feels it is like a Zen-like feeling of reawakening (Nirvana) into a new existence that flows from such a simple process to the finished piece.



brooch | |2018 | oxidized silver, stainless steel, paint | Gioielli in Fermento 2019 - AGC special mention, klimt02 special mention
brooch-backside | 2018 | oxidized silver, stainless steel, paint | Gioielli in Fermento 2019 - AGC special mention, klimt02 special mention
brooch | 2018 | oxidized silver, stainless steel, paint | Alliages Legacy Award 2019 - TECHNIQUE prize
The sense of encounter
brooch / pendant | 2018 | oxidized silver, stainless steel, paint | 2018 Cominelli Foundation Award – special mention
brooch | 2018 | oxidized silver, stainless steel, paint
brooch |2018 | oxidized silver, stainless steel, paint
pin |2018 | oxidized silver, stainless steel, paint
silver 925, stainless steel
ring | 2004 | silver,24k
Pendant, 2004, silver,24k, stainless steel
Monday, 03 June 2019 10:02

Gioielli in Fermento 2019

Museo di Storia Naturale del Mediterraneo

We are glad to invite You to the opening in Livorno - Museo di Storia Naturale del Mediterraneo

Tuesday June 4th at 6pm
via Roma 234, Livorno, Italy

La mostra prosegue fino al 9 giugno
exhibition until June 9th
This email address is being protected from spambots. You need JavaScript enabled to view it.

Opere in concorso di | Selected works by

Miki Asai Sara Barbanti Maura Biamonti Michela Boschetto Elisabetta Carozzi
Sébastien Carré Lluís Comín Mariantonietta Davoli Corrado De Meo Ylenia Deriu
Nahoko Fujimoto Fabiana Gadano Juanjo García Martín Nataša Grandovec
Susanne Hammer Ildikó Juhász-Dora Yasuko Kanno Ji Young Kim Vanessa Kubach
Mia Kwon Julie Lake Ariel Lavian Ria Lins Ioli Livada Chiara Lucato Lieta Marziali
Mineri Matsuura Francesca Mo Olivia Monti Arduini Viktoria Münzker Sogand Nobahar
Martina Obid Mlakar Liana Pattihis Mabel Pena Rosanna Raljević Ceglar
Stefano Rossi Sara Shahak Gian Luca Staffolani Laura Stefani & Eva Franceschini
Claudia Steiner Yoko Takirai & Pietro Pellitteri Eva Tesarik Deniz Turan
Barbara Uderzo Eriko Unno Federico Vianello Yiota Vogli Qiana Wang Laura Zecchini

Categoria Studenti
Cristina Crescenzio (LA P.Selvatico) Ognyana Teneva (RAFA Anversa B) Lina Al-Dzhazzar Francesca Michelini (IED Milano) Shuang Liang Delia Perna Ruggiero (IED Torino) Emanuele Casale Silvia Martino (TADS Caserta) Federica Vecchi (SOA Milano)

Artisti Ospiti e Master Collection
Alba Polenghi Lisca, Mariarosa Franzin, Nicoletta Frigerio, Gigi Mariani, Fumiki Taguchi, Fabrizio Tridenti
Ryunjae Jung (Award 2018), Silvia Beccaria, Luisa Chiandotto, Clara Del Papa, Joo Hyung Park, Gianni Riva


Yasuko Kanno JP, Shape of the moment, spilla/brooch, silver, steel – Premio Gioielli in Fermento 2019 Allied Award

Sara Shahak IL, Sometimes purple, spilla/brooch, iron, enamel, lacquer, rubber paint, velvet powder, glass paint, miniature glass balls, stainless steel, Premio Gioielli in Fermento 2019 #gallery


Mineri Matsuura JP, Metamorphosis, spilla/brooch, oxidized silver, stainless steel, paint, Gioielli in Fermento 2019 AGC Special Mention, Klimt02 Special Mention


Corrado de Meo IT, Il Terroir, spilla/brooch, silver, wood, papier maché, acrylic paint, oxides, nitro paint, Gioielli in Fermento 2019 Jury Honourable Mention


Mariantonietta Davoli IT, C2H5OH, collana/necklace, gros-grain ribbon, waxed cotton cord, polyester, Gioielli in Fermento 2019 Putti Art Gallery Special Mention

Thursday, 23 May 2019 10:53

Marjorie Schick

Marjorie Schick - USA

Ricerca Estetica | Aesthetic Research

Le opere di Marjorie Schick si sono sempre discostate dal convenzionale linguaggio del gioiello, fin dagli anni 60, apportando al mondo dell’ornamento personale una nuova concezione spaziale e una nuova estetica. L'amore dell'artista per i materiali alternativi l’ha condotta a creare opere scultoree per il corpo, usando la figura umana come ambiente di ricerca e luogo espositivo. L'artista ha sperimentato una vasta gamma di materiali non preziosi, come la cartapesta, tasselli in legno, gomma, corda e tela. Materiali leggeri che le hanno dato la libertà di esplorare dimensioni altrimenti non raggiungibili con quelli comunemente utilizzati nella tradizione orafa, permettendole così, di allontanarsi da quei canoni formali imposti da una certa visione del gioiello. La sua sperimentazione però è andata oltre l’oggetto, si è estesa al corpo, manipolandolo, costringendolo ad interagire con esso, limitandone il movimento e producendo così un'esperienza fisica totale.

The works of Marjorie Schick invariably distanced themselves from the conventional language of jewellery and, from the 1960s, brought a new spatial concept and aesthetics to the world of personal adornment. The artist's fascination for alternative materials led her to create sculptural body ornaments, using the human figure as a setting for her research and as an exhibition space. The artist experimented with a wide range of non-precious materials, such as paper maché, wooden dowels, rubber, rope and canvas. Lightweight materials that gave her the freedom to explore dimensions otherwise not achievable with those commonly used in jewellery making, thus allowing her to move away from the conventions of tradition. Her experimentation, however, went beyond the object, extending to the body, manipulating it, forcing it to interact with the object, limiting its movement and thus producing a complete physical experience.

Tuesday, 21 May 2019 09:13

Jeemin Jamie Chung


Jeemin Jamie’s work expresses her poetic vision by revealing the moments of her life. She has been focusing on showing the movements by giving colors and flow of the form as if the non-existent forms have been translated itself into the artwork. She likes to express her emotions through her artworks and to visualize the unseen forms. The core idea of her work is to think about the variety of contrasts around us that are forgotten in our lives. Her recent series: “Two Separate Ways” is continuously talking about the concept of the invisibleness by creating the artworks in different emotional state. The works are emphasized with black by reducing colors to show the isolation from her previous works. It is expressed with different emotions from her previous collections by capturing the moments of her life. She uses metal as her main material in creating her unique organic pieces.





Summer Flakes BSV5 | | 2017 | Brass, Pigment
Summer Flakes BSV1 | | 2017 | Brass, Pigment
Breeze '18 | 2018 | Brass, Pigment
Subtle Breeze No.4 | 2018 | Brass, Pigment, 25k Gold
Subtle Breeze No.5 | 2018 | Silver, Brass, Pigment, 25k Gold
Two Separate Ways No.7 | 2019 | Brass, Pigment, 25k Gold



Friday, 10 May 2019 14:19

Elisabetta Carozzi


Mi piace pensare a me come a un terreno, un campo e al mio lavoro come a una coltivazione, un raccolto. La qualità della terra è data dalle origini, genitori, famiglia, incontri: tutte le esperienze si sono sedimentate e hanno dato nutrimento. Lavoro alle mie collane come a un progetto, una raccolta. Come tale si può guardare da diversi punti di vista, episodi distinti di un'unica storia, un racconto. Una ricerca del bello come antidoto alla pesantezza del quotidiano. Ho iniziato con la misura. Il mio punto di vista per esprimere eleganza pulizia leggerezza. La trasparenza, il neutro come punto di forza, collane da portare, sempre. Sono attratta da altre forme e dal colore, non voglio precludermi altre possibilità, altri toni, mi sento libera di sperimentare.

I like to think of myself as a land, a field and my work as a cultivation, a harvest. The quality of the land is given by the origins, parents, family, meetings: all the experiences have settled and have given nourishment. I work on my necklaces like a project, a collection. As such it can be viewed from different points of view, distinct episodes of a single story, a tale. A search for beauty as an antidote to the heaviness of everyday life. I started with measure. My point of view to express elegance cleanliness lightness. Transparency, the neutral as a strong point, necklaces to wear, always. I am attracted to other shapes and colors, I don't want to preclude other possibilities, other tones, I feel free to experiment.



ICONICA tribute to Banana Yoshimoto.
Borosilicate glass, stainless steel necklace
ICONICA tribute to Carla Maggi.
Borosilicate glass and silicone necklace
ICONICA tribute to Frida Kahlo
Borosilicate glass and stainless steel necklace.
ICONICA tribute to Joséphine Baker.
Borosilicate glass, stainless steel necklace
ICONICA tribute to Lakshmi.
Borosilicate glass, stainless steel necklace



Saturday, 04 May 2019 10:34

Anna Retico


Affascinata dalle innumerevoli forme della natura, della chimica e della geometria, appassionata e instancabile ricercatrice di materiali inusuali e accattivanti cerco di riproporre nei miei gioielli le emozioni e gli stati d’animo che tutto ciò mi suggerisce quotidianamente. Usando leggerezza e ironia propongo oggetti indossabili realizzati con tecniche tradizionali o con tecniche del tutto nuove, dove la manualità rimane comunque l’elemento principale. Ne risultano prodotti a sorpresa, particolari, con un’anima mista e in evoluzione, mai scontata, mai seriale.







Anelli | Materiale di recupero da packaging e ottone
Anello | Argento e ricamo in filo di seta
Collana, 2020 | Bustine del tè usate, perle di Maiorca e argento
Meno 21 grammi - il peso dell'anima
Collana, 2021 | Nylon sinterizzato al laser (SLS), argento ossidato,foglia oro, pietra sintetica, magnete
Demolens Black
Orecchini | Lenti di occhiali di recupero in metacrilato
Bracciale, 2022 | Ottone, elettroformatura in rame
Collana - Liberty
Anelli. Nylon sinterizzato.
Anello. Vetrofusione, argento 925.
Tre Dì
Collana. Filo elastico, gomma siliconica.




Pubblicazioni /Publications 





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