{"id":128,"date":"2016-03-02T23:44:32","date_gmt":"2016-03-02T21:44:32","guid":{"rendered":"http:\/\/ginta.lv\/?p=128"},"modified":"2018-01-27T00:48:08","modified_gmt":"2018-01-26T22:48:08","slug":"128","status":"publish","type":"post","link":"https:\/\/ginta.lv\/index.php\/2016\/03\/02\/128\/","title":{"rendered":"Hatara Project, Time Perception VOL.2 #28"},"content":{"rendered":"

This year Munich Jewellery Week (MJW16) started on my birthday on the February 23. I could have not imagined a better present then having my name on the exhibiting artist list. The\u00a0number #28 in the headline stands for our number in the Current Obsession\u00a0map, made exclusively for MJW16.<\/p>\n\n\n\n\n
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First Latte at the Lost Weekend<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

I was the first to visit the Hatara Project exhibition\u00a0Time Perception last year. It turned out to be a\u00a0fateful\u00a0visit for me because\u00a0thanks to that and another meeting with Annea\u00a0Lounatvuori\u00a0in Riga\u00a0I had the chance to become a part of the Hatara Project. I feel like I should explain what does\u00a0Hatara Project mean but I’m not sure I can do this\u00a0properly\u00a0because\u00a0it started as a collaboration between Annea\u00a0Lounatvuori\u00a0and Christine\u00a0Jalio\u00a0last year. I guess I could call this a\u00a0group of contemporary jewellery artists.\u00a0This year\u00a0Annea and Christine decided to invite \u00a0Helmi Lindblom (Finland), Melina Lindroos (Finland), Wiebke Pandikow (Germany\/Finland) and me – Ginta Grube (Zabarovska) (Latvia) to join them in their project. As I see it the exhibition had a wide view on \u00a0time perception in six various interpretations. We will see were this\u00a0collaboration will lead us in future.<\/p>\n\n\n\n\n
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Ginta Grube (Zabarovska)
\nMaking off
\n23\/02\/2016<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The opening night was on February 24. Me together with Christine and her mother had a long day at the gallery and Annea joined us a few hours before the opening. I was so happy to see many people visiting our exhibition especially because most of the exhibitions within MJW16 were opening at the same time.\u00a0Thank you jewellery artists\u00a0Yiumsiri Ka\u00ef Vantanapindu<\/span>\u00a0and\u00a0Marine Dominiczak for visiting. Of course\u00a0the biggest thank you\u00a0Camille who hosted me in Munich!\u00a0Was a great pleasure to meet\u00a0P\u00e4ivi Ruutiainen\u00a0PhD, art critic (FI)\u00a0who has wrote for\u00a0the book Hibernate, that got\u00a0launched\u00a0during MJW16. And a lot more (about 500) great people came to visit us on the opening night and the\u00a0following\u00a0three days.<\/p>\n\n\n\n\n
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Current Obsession magazine street sign for Time Perception vol.2<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
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From the opening of Time Perception vol.2
\nAri Niskanen with a ring by Annea Lounatvuori<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
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From the opening of Time Perception vol.2
\nAnnea Lounatvuori and Yiumsiri Vantanapindu<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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From the opening of Time Perception vol.2
\nGinta Grube (Zabarovska), Christine Jalio, Annea Lounatvuori<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

I was participating in the exhibition with two brooches from the collection “Liepajas street” (2011), a pendant from the collection “Time Zones” (2013) and three pieces from my collection “Home” (2014-2016). I chose these pieces\u00a0because\u00a0they where all in a close context to the\u00a0theme\u00a0Time Perception. I am doing an internship in Strasbourg for the moment and I feel traveling in close contact with time and the way I\u00a0perceive it.<\/p>\n

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Ginta Grube (Zabarovska) “Home”
\nMade in Alsace 2016<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The two recent pieces where made with a great help of my tutor for the time being –\u00a0Yiumsiri Vantanapindu. She is a great artist working with metal and ceramics and she\u00a0introduced\u00a0me to\u00a0porcelain. Her work was exhibited widely within MJW16 in the\u00a0Handwerk & Design\u00a0expo at the ATTA gallery display.<\/p>\n\n\n\n\n
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Ginta Grube (Zabarovska) “Home”
\nMade in Alsace (2016)
\nmodel: Marine<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The long porcelain beads remind\u00a0me of the\u00a0insect curtain we used to have in my grandparents house when I was a child. I was so fascinated by the sound they made when walked through and the\u00a0fragmented\u00a0texture I would play with holding it in my hands.\u00a0So I made a brooch without a pin, that you can\u00a0simply\u00a0hook behind your collar, and it produces the sound and the\u00a0structure\u00a0of the curtain from my grandparents house.<\/p>\n

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\n\n\n\n\n
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Ginta Grube (Zabarovska) “Liepajas street” (2011)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Ginta Grube (Zabarovska) “Time Zones” (2013)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Ginta Grube (Zabarovska) “Home”
\nMade in Alsace 2016
\nthe back of the necklace<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Ginta Grube (Zabarovska)
\nexhibition view<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
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Annea Lounatvuori “Chinatown”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Annea’s collection China Town was a lot more voluminous then her last years work. She still kept the horse hair as a\u00a0characterizing element in her work but\u00a0instead\u00a0of adding Plexiglas\u00a0and wood she used various materials one can find in a hardware store. The inspiration for the massive and brave\u00a0performance by Annea come from her trip to New\u00a0York\u00a0and her getting lost in Chinatown.\u00a0She did not hesitate to share her experience in the despair and fear she felt while being lost and crying like an abandoned child. The message is not to be afraid of being afraid – she explained.\u00a0Annea was wearing one of her necklaces as we set and eat our\u00a0schnitzels in the\u00a0Augustinerkeller “GOLDSCHMIEDETREFFEN” (that is a big dinner for all the Schmuck visitors). She\u00a0begun to acknowledge the\u00a0implementation of her idea by sensing the actual piece.<\/p>\n\n\n\n\n
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Annea Lounatvuori and Janne Lounatvuori at The Dinnerin\u00a0the\u00a0Augustinerkeller “GOLDSCHMIEDETREFFEN”
\nThank’s to Janne for helping to take down the exhibition<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
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Annea Lounatvuori “Chinatown”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Annea Lounatvuori “Chinatown”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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Annea Lounatvuori (image from the author’s personal archive)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

As Christine Jalio explains –\u00a0collection “Loss” is a continuum of her earlier “Past, Loss, Future” collection which tells the story of aging and loneliness.\u00a0The theme sounds so\u00a0Finnish\u00a0I can’t avoid mentioning our conversation with Christine were we discussed the\u00a0polar night impact on northern population. People are affected by the dark period and they actually appear sad and\u00a0contemplative.\u00a0Christine lives in a\u00a0small town Lapua and has recently lost here\u00a0father. For me her new collection tends to collapse and relates with ruins. This illustrates the theme “Loss” quite straightforward. People seem fascinated by the mild forms of silk clay that she handles so well. Some associate her pieces with candy but oddly the works speak of death.<\/p>\n

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Christine Jalio “Loss”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Pop-up store in the Galerie Vernon<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Christine Jalio<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Christine Jalio “Past, Loss, Future” (image from the author’s personal archive)
\nSpecial thanks to\u00a0Christine’s\u00a0mother (the lovely lady in the picture) she was\u00a0an indispensable assistant at the gallery<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Melina’s Lindroos “Hiding Places” seem to attract attention with their simplicity and a binding performance. Her collection consists of seven pins. In her search of forms she used avocado peel. The diversity\u00a0and genius\u00a0of\u00a0natural forms and their simplicity ceases to amaze. I never had the chance to meet Melina in person but the subtle forms and clarity of her work\u00a0generates good thoughts. “Hiding places” talks about the feeling of safety. Melina is\u00a0approaching time perception\u00a0\u00a0“through a slow meditative process” – she explains. Hiding and safety are related to the slowing down or\u00a0avoidance\u00a0of time. The viewer is about tobecome aware of time through the visual and physical senses as Melina\u00a0invites\u00a0to peek inside and hold the pieces.<\/p>\n

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Melina Lindroos “Hiding Places”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Melina Lindroos “Hiding Places” (image from the author’s personal archive)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
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Melina Lindroos “Hiding Places” (image from the author’s personal archive)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Helmi’s Lindblom’s photo-shoot of the series “Tule” (in\u00a0English\u00a0– Come) become our “front page” on the internet in portals like\u00a0munichjewelleryweek.com<\/a>\u00a0or facebook. “Come” is the best title to appear in the media as we wanted everyone to come to our exhibition. With the title\u00a0Helmi was inviting everyone to come and\u00a0and step closer or\u00a0touch her pieces, for whom she surprisingly inspired from the cactus although the pieces are perfectly non spiny. The brooches and necklaces were to leave a\u00a0playful impression which they\u00a0certainly\u00a0did, in particular,\u00a0the pieces teared with the blue color. They called an association with a clumsy accident or pranks within me. The collection is made\u00a0to awaken the child within us so Helmi is\u00a0approaching\u00a0time from a viewpoint in the past.<\/div>\n
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Helmi Lindblom “Come”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Helmi Lindblom “Come”\u00a0(image from the author’s personal archive)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

I find Wiebke Pankow’s work the most lyrical and romantic compared to all the rest from Hatara Project. Wiebke says –\u00a0what was living organisms thousands of years ago, became oil, then became plastic, now returns to forms that resemble living plants once more. It’s clear that she is talking about a\u00a0time-consuming process that she\u00a0symbolically\u00a0continues.\u00a0Wiebke has brought plastic bags to the edge by turning them into\u00a0flower and worm like images. I could describe the work by Wiebke with the words of a visitor who wrote in our guest book – the\u00a0jewelry\u00a0made of wood and plastic is very poetic and\u00a0intelligent.<\/p>\n

<\/div>\n\n\n\n\n
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Wiebke Pankow (image from the author’s personal archive)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Wiebke Pankow
\nexhibition view<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Thank you Galerie Vernon for having us!<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

This year Munich Jewellery Week (MJW16) started on my birthday on the February 23. I could have not imagined a better present then having my name on the exhibiting artist list. The\u00a0number #28 in the headline stands for our number in the Current Obsession\u00a0map, made exclusively for MJW16. First Latte at the Lost Weekend I … <\/p>\n

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