{"id":148,"date":"2015-04-13T00:15:28","date_gmt":"2015-04-12T22:15:28","guid":{"rendered":"http:\/\/ginta.lv\/?p=148"},"modified":"2018-01-27T00:57:32","modified_gmt":"2018-01-26T22:57:32","slug":"jewellery-in-munich-2015","status":"publish","type":"post","link":"https:\/\/ginta.lv\/index.php\/2015\/04\/13\/jewellery-in-munich-2015\/","title":{"rendered":"Jewellery in Munich 2015"},"content":{"rendered":"\n\n\n\n
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Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\n<\/b>
\n<\/b>This is a review about my trip to Munich Jewellery Week 2015. This was the first time I attended the event that takes place in Munich for 50 years – so I read in Klimt02.net.<\/p>\n

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At first I had a print out program from http:\/\/klimt02.net\/events\/fairs\/schmuck-2015 and on my way to Munich as I was going by bus and had a lot of time I\u00a0googled\u00a0<\/i>all the artists and galleries from the first days so I could figure out the places I am more interested in visiting. According to the program for the first two days – 9th and 10th March it was possible to visit all the events. As I read, the “GBJ Projekt 3” was the only place opened on Monday and the owner was not planing to have many visitors in the morning, because obviously other visitors new that on Thursday Daniel Kruger’s exhibition would open just next door and it would be better to visit both exhibitions at the same time. These kind of things were pretty hard to trace from the info I could find on the Internet. Things changed on the third day when I bought the Current Obsession Paper. On 64 pages of content that I never had the time to reed I would find the complete guide to Munich Jewellery Week – so the\u00a0Current Obsession team calmed on their web page + a large city map and previews and images of each featured event that turned out to be extremely useful for someone who is visiting the week for the first time. It was those 10 eur worth.
\nI didn’t manage to go to all the exhibitions and events and somehow the feeling that it was not possible for any human being never left my mind. I visited 26 galleries, 8 exhibitions, 3 lectures and 18 other jewelery expositions fulfilled in various shapes and forms and more then 30 events events remained unvisited due to the lack of time and me having the feeling my legs may fall out of order. I remember people asking me as I enter a gallery: Are you doing the marathon as well? I guess, there were a lot of students like me, I met some of them from Lithuania and a lot of Germans of course. This was a great opportunity to see so much jewelery art at he same time and with so little expenditure. I tried to photograph as much as possible as it’s my\u00a0current obsession<\/i>. Further you will find some photos\u00a0with my comment’s.<\/p>\n\n\n\n\n
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Event map. The places I visited – green, the places I didn’t – pink. The places I liked most – green with a dark blue circle.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

One page from the event’s program with my comment’s<\/p>\n

Day 1<\/h2>\n
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Galerie Bir\u00f3 Junior zu Gast bei Galerie Jordanow
\n“GBJ Projekt 3”,\u00a0Catarina H\u00e4llzon, Heejoo Kim,\u00a0R\u00e9ka L\u00f6rincz,\u00a0Nolia Shatki, Fl\u00f3ra V\u00e1gi
\n9-21 March, Mo.-Sa. 11-18, So.11-15 h
\nZieblandstr. 19, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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“GBJ Projekt 3”\u00a0Heejoo Kim<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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“GBJ Projekt 3”\u00a0R\u00e9ka L\u00f6rincz<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“GBJ Projekt 3”\u00a0Catarina H\u00e4llzon, necklaces, silver, intestines from pig<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“GBJ Projekt 3”\u00a0The collection by\u00a0Nolia Shatki\u00a0\u201cThrow away Gold\u201d is made out of Nespresso capsules and gold.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Corner of the building of Galerie Bir\u00f3<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Day 2<\/h2>\n

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Galerie Wittenbrink<\/b><\/div>\n
“<\/b>Hermann J\u00fcnger – Zu Ehren von Hermann J\u00fcnger”\u00a0(with catalogue)<\/div>\n
10.-17.March., Di.-Sa. 10-18 h, Do. 10 -20 h.<\/div>\n
T\u00fcrkenstr. 16, 80333 Munich<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

For a great surprise the lady working at the Galerie Wittenbrink after finding out I was from Latvia turned out to be half Latvian. Her father was from:\u00a0A small village called Riga<\/i>, as she said. This sounded quite funny as Riga is the capital of Latvia and about half of the Latvian citizen live there. However she was really friendly and showed me all the exposition and advised which events are worth seeing. This was one of my favorite exhibitions because Herman\u00a0J\u00fcnger\u00a0was an artist I had learned about in jewelery art history and he is also called the father of art\u00a0jewelery.<\/p>\n\n\n\n\n
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Necklace, 2002, gold, niello (from wikipedia – a black mixture of copper, silver, and lead sulphides, used as an inlay on engraved or etched metal) , not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Brooch, around 1969, silver, gold, enamel, workshop-stamp, not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Back of a brooch, 1973, silver, gold, enamel, workshop-stamp, not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Pendants, 1996, gold, silver, niello, signed, workshop-stamp, 8.900.- for the silver ones, 10.700,- for the gold one<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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On the left – brooch, 1973, silver, gold, enamel, workshop-stamp, not for sale, on the right –\u00a0brooch, 1973, silver, gold, enamel, workshop-stamp, not for sale<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Necklace, 1979, gold, silver, enamel, not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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On the left – brooch, 1995,gold, signed, workshop-stamp, 12.500,-, on the right – brooch, 1997, gold-plated silver, signed, workshop-stamp, 11.600,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Pendants, on top – 1990, fine gold on steel and tombak, workshop-stamp, 13.400.- , on the left – 1990, fine gold on steel, workshop-stamp, 13.400.-, on the right – 1990, fine gold on tombak, signed, workshop-stamp, not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Earrings, 1996, gold, workshop-stamp 7.100,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Pendants, 1994, gold, silver, workshop-stamp, each 6.800,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Pendant, 1994, silver, workshop-stamp, 6.800,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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Pendant, 1994, gold, silver, signed, workshop-stamp, 6.800,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Brooch, 1992, silver, gold, enamel, signed, workshop-stamp, 17.850,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Pendants, 1994, gold, silver, workshop-stamp<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Necklace, 1999, silver, signed, workshop-stamp, 8.900,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Necklace, around 1962, gold, enamel,\u00a0agate<\/span>,\u00a0carnelian<\/span>, turquoise,\u00a0chalcedony<\/span>, chorals<\/span>, not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Varieties of pendents, gold, silver, enamel,\u00a0ruby,<\/span>\u00a0brick<\/span><\/span>, undated, not for sale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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Bracelets, 1958, silver, workshop-stamp, 32.100,-<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Galerie Wittenbrink<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Akademie Galerie
\n“Ich bin keine Vase”; Jing Yang
\nU-Bahn U3\/U6, Station Universit\u00e4t Zwischengeschoss
\n11.-17.March<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
Jing Yang was the\u00a0“Talente”\u00a0at the IHM (Internationale Handwerksmesse
\nMessegel\u00e4nde)\u00a01st price winner.
\nTALENTE is an international competition for young skilled craftspeople in the field of design and technology. The special exhibition is a reflection of the ideas of young people and is characterized by their experimental approach to materials and craft techniques. Info from http:\/\/www.ihm-handwerk-design.com\/en\/visitors\/highlights\/I whent to the exhibition about 50 min before opening hour that was at 18.00. All the other galleries that opened on the 11th of March except Gallerie Wittenberg had their openings at 19.00.<\/p>\n<\/div>\n
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Jing Yang was still preparing the gallery space, witch was very difficult to find because it was inside a metro station. She said that the exhibition is not opened jet but I kindly asked her, could I still take a look, because I might not have time to came back after an hour, for I would be busy visiting the rest four openings that evening. She allowed me to look, but she didn’t want to appear in the pictures, she had been working pretty hard to make the whole exhibition and hadn’t changed to the\u00a0exhibition opening clothes<\/i>. She had done a great job, the room looked really good! The only thing I missed apart from Jing in her evening outfit where some videos that were supposed to appear in the windows. I loved the way the exposition was arranged, with the white walls and nothing redundant. But the location of the so to call gallery was not the best one.<\/p>\n<\/div>\n\n\n\n\n
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“Ich bin keine Vase”; Jing Yang<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Ich bin keine Vase”; Jing Yang<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Ich bin keine Vase”; Jing Yang<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Ich bin keine Vase”,\u00a0necklace, brass, cotton cord, Jing Yang<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Ich bin keine Vase”; Jing Yang<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Kunsthaus Maximilian
\n“Zeichen der Zeit – Time perception”, Hatara-project, Annea Lounatvuori & Christine Jalio
\nMaximilianstr. 54, 80538 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Kunsthaus Maximilian was participating in the Munich Jewellery Week for the first time. They had the\u00a0Current Obsession<\/i>\u00a0made yellow sine outside their door, that helped to locate the right doors. Inside I found some Tape Art by Max Zorn. I was a bit surprised not to find any jewelery there. But after looking at the first rooms and not finding any jewelry art it turned out that there are several other rooms at the back and one of them was the place I was actually looking for. A nice guy\u00a0Janne Lounatvuori invited me inside and started talking a lot in pretty good English. I liked the enthusiasm he had and the fact that the jewelry artist, who was his girlfriend had gone to the shop for some wine. He told almost everything about the pieces. As I understood the two artists were students from Finland, Lahti and this was also their Thesis exhibition. This seemed an encouraging fact, because I’m to finish my Master’s this year as well so I realized I could participate in Munich Jewellery Week as they were.
\nThe pieces were interesting as the people I met there. The room was small and I thought that the gallery owners could have allocated a bigger space like the first room to the artists, because Munich Jewellery Week was a big event and a lot of people were visiting Munich just to see the jewelery exhibitions.<\/p>\n\n\n\n\n
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Christine Jalio work on the left. Her pieces are made from a special polymer clay or something like that,\u00a0Annea Lounatvuori is working with horse hair and Plexiglas and silver (on the right)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Christine Jalio on the left,\u00a0Annea Lounatvuori on the right<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Annea Lounatvuori http:\/\/www.ponyjewelry.com\/
\nP O N Y jewelery is a label which combines horse hair with silver in a contemporary and minimalistic way (info from http:\/\/www.munichjewelleryweek.com\/event\/zeichen-der-zeit-time-perception\/)<\/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<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Christine Jalio brooches on the left,\u00a0Annea Lounatvuori with her rings on the right<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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\u00a0<\/b><\/em>kunstarkaden Ein Kunstraum der Stadt M\u00fcnchen
\n“Schmuck\/Objekte\/Video\u201c Martin Papc\u00f9n, Merlin Klein, Pedro Sequeira, Junwon Jung
\nSparkassenstr. 3, Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This place was a bit difficult to locate but when I finally found the entrance the place left a basement kind of feeling probably because it was a basement. It reminded me of my professor J.Taurens who likes to talk about architecture and a fragment of Franz Kafka’s work with a room that has low sealing and makes the person feel clumsy. I was feeling a bit clumsy there because there were a lot of people talking to each other and I didn’t know anyone there and I could only guess which were the artists and which were the visitors.
\nI tried not to spend too much time there because I still had other places to visit, I took as much as photos as possible, to help me remember everything. Then I noticed one of the artists showing how his jewelery pieces work and that was really interesting, because you couldn’t tell from the looks that some of them were kinetic pieces.<\/p>\n\n\n\n\n
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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Merlin Klein<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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“Schmuck\/Objekte\/Video”\u00a0 Junwon Jung demonstrating his brooch<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was a brooch that had a moving needle. If you took the piece of your body an turned it up side down the needle slipped inside the square.<\/p>\n\n\n\n\n
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“Schmuck\/Objekte\/Video”\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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I like the jewelery exhibition openings because you can often see people wearing artistic jewelery pieces that you would not normally see on the street.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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“Schmuck\/Objekte\/Video\u201c\u00a0Junwon Jung<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Martin Papcun and Pedro Sequeira<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

I was a bit careless to these artists, because I was paying more attention to jewelery but I liked the small objects by Papcun. They seemed like something I could make and I feel a good relation with these kind of objects.<\/p>\n\n\n\n\n
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“Schmuck\/Objekte\/Video\u201c Martin Papc\u00f9n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0\u00a0Pedro Sequeira<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Schmuck\/Objekte\/Video\u201c\u00a0Pedro Sequeira<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

I’ m not sure of what I think about putting art right on the floor, somehow I didn’t feel the need to ask why is the work showed in this way, but maybe If I would have, it would seem like a perfectly logical way to show the work.<\/p>\n\n\n\n\n
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“Schmuck\/Objekte\/Video\u201c Martin Papc\u00f9n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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“Schmuck\/Objekte\/Video\u201c Martin Papc\u00f9n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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“Schmuck\/Objekte\/Video\u201c at the entrance<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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\u00a0<\/b>Maurer Zilioli – Contemporary Arts zu Gast bei Kunstb\u00fcro reillplast
\n“Quodlibet”, Christiane F\u00f6rster, Norman Weber
\nAmalienstr. 21, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was an extremely small gallery. It was impossible to move around or even take some pictures of the jewelry pieces, because the opening was really well attended. But as the artist’s are really good professionals that explains the good attendance.<\/p>\n\n\n\n\n
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Opening of “Quodlibet”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Quodlibet”\u00a0\u00a0Maurer Zilioli\u00a0wearing Norman Weber’s piece<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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\u00a0<\/b>Super + Centercourt Gallery\u00a0<\/b>in day time
\n“paper-plastic-metal-stone”, Emi Fukuda,\u00a0Clementine Edwards, Gillian Campbell Deery, Katie Jayne Britchford
\n9-17.March., Mo.-Fr. 12-17 h, Sa.\/So. 14-17 h
\nAdalbertstr. 44, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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\u00a0<\/b>Super + Centercourt Gallery\u00a0in the evening
\n“paper-plastic-metal-stone”, Emi Fukuda,\u00a0Clementine Edwards, Gillian Campbell Deery, Katie Jayne Britchford<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Here are two pictures of the\u00a0Super + Centercourt Gallery. One was during the day when I passed it the other one at night. This was a nice place, big windows is definitely a positive feature for a gallery. Although I might not appreciate the work of all four artists in the exhibition ” paper-plastic-metal-stone” I definitely liked the\u00a0scenography\u00a0<\/span><\/span>and the presentation of the pieces. The room was full of students drinking beer and wine. The atmosphere was really casual and maybe bohemian. I had a short conversation with\u00a0Ralf\u00a0studying painting\u00a0in Munich and he pointed out that he prefers the artist working with plastic. I guess I could agree with him on this. The feeling of carelessness just didn’t leave my mind examining the pieces.
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“paper-plastic-metal-stone” from outside through the window<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“paper-plastic-metal-stone”\u00a0Gillian Campbell Deery, woven and fused sterling silver, 2014<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“paper-plastic-metal-stone”\u00a0Clementine Edwards<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“paper-plastic-metal-stone”\u00a0Clementine Edwards<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“paper-plastic-metal-stone”\u00a0\u00a0Katie Jayne Britchford 2015, “Green” jasper, marble, cord<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“paper-plastic-metal-stone”\u00a0Emi Fukuda<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“paper-plastic-metal-stone” exposition view<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“paper-plastic-metal-stone” exposition view<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“paper-plastic-metal-stone”\u00a0scenography\u00a0<\/span><\/span>detail<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Day 3<\/h2>\n

At first when looking for information on the Internet about the\u00a0Munich Jewellery Week 2015<\/i>\u00a0and\u00a0Schmuck 2015<\/i>\u00a0I couldn’t understand the\u00a0difference and the common\u00a0between the two. But\u00a0Schmuck 2015<\/i>\u00a0is just one part of the\u00a0\u00a0<\/b>Internationale Handwerksmesse (International Trade Fair) taking place in a \u00a0big expo hall a bit outside the Munich city center.\u00a0So on the 11th of March I visited the events related to\u00a0jewelry\u00a0in\u00a0the International Trade Fair Munich.\u00a0Special Shows were located in\u00a0Pavilion B1 and they were\u00a0–\u00a0Schmuck 2015<\/i><\/b>, Talente 2015, Exempla 2015 “Forum der Meister”, Meister der Moderne 2015<\/i>\u00a0and frame with\u00a0Galerie Marzee, Platina, Ra, Rosie J\u00e4ger<\/i>\u00a0and\u00a0Chrome Yellow Book<\/i>. The entrance costed only 8 eur, that was a nice surprise. The most expensive entrance ticket I bought during my visit in Munich was 10 eur for the visit of\u00a0HAUS DER KUNST<\/i>\u00a0but\u00a0Louise Bourgeois was\u00a0definitely\u00a0worth it!<\/p>\n

<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
International\u00a0Handwerksmesse\u00a0Trade Fair in Munich\u00a0(Pavilion B1) Meisterschule f\u00fcr das Holzbildhauerhandwerk (M\u00fcnchen) showing their work in\u00a0process.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gallery Marzee<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gallery Marzee<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gallery Marzee<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Art Jewelry Forum http:\/\/www.artjewelryforum.org\/<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0Gallery Marzee<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0Gallery Ra<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gallery Ra<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gallery Ra<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Vintage Design M. M\u00fcller\u00a0<\/b>
\n“aire negro”, Alejandra Solar. Introduction by Brigitte Betz, that I missed unfortunately.
\nFraunhoferstr. 41, 80469 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
Vintage Design M. M\u00fcller was a vintage store and\u00a0of course I passed it for the first time like something that is not a gallery, but then I realized it was the right\u00a0address\u00a0and after moving through the vintage store you could find a white room, like you see in the pictures with\u00a0Alejandra Solar\u00a0jewelry\u00a0pieces.<\/div>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“aire negro” Alejandra Solar<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“aire negro” Alejandra Solar<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“aire negro” Alejandra Solar<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>WITTENBRINKFUENFHOEFE
\nDiana Dudek
\nTheatinerstr. 14, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0Diana Dudek<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
WITTENBRINKFUENFHOEFE<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Galerie P 13 bei Carl Weishaupt\u00a0<\/b>
\n\u201cFarbige Preziosen\u201c, Historischer Emailschmuck
\nPromenadeplatz 13, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The Faberge Preziosen was a wonderful exhibition. It was crowded as many other galleries at their openings. Rene Lalic was a famous artist I had herd about in my fashion history classes so it was great to see his work in real life. Interesting that you couldn’t find any students at this opening apart from me. It was older people and servants only.<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Rene Lalic<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Micheko Galerie
\n“M\u00f6bius”, Akiko Kurihara, Misato Seki
\nTheresienstr. 18, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius” exhibition view<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”\u00a0\u00a0Akiko Kurihara “beer” silver, gold, glass<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”\u00a0\u00a0Akiko Kurihara “beer” silver, gold, glass<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius” Artist showing\u00a0“alchemistic stick” to the photographer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6biu” Exhibition view with the artists<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”\u00a0Akiko Kurihara “a ball in a tube” silver, pearl<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”\u00a0Akiko Kurihara “triangle” silver<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”\u00a0\u00a0Akiko Kurihara “bomb” earrings, silver, gold<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“M\u00f6bius”\u00a0\u00a0Akiko Kurihara “alchemistic stick” gold, silver<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>GalerieGEDOKmuc\u00a0<\/b>
\n“Black Box”, Susanne Elstner, Susanne Holzinger, Christiana J\u00f6ckel, Kirsten Plank, Monika Vesely
\nSchlei\u00dfheimer Str. 61, 80797 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Tu\u0308rkenstr. 78, RGB, 1. Stock
\n“Winner Winner Vertical Dinner”, Samira G\u00f6tz, Nadine Kuffner, Janina Stu\u0308bler
\n80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Winner Winner Vertical Dinner”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Winner Winner Vertical Dinner”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Winner Winner Vertical Dinner”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Winner Winner Vertical Dinner”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Francoise Heitsch
\n\u201cThis is so contemporary \u2019\u2019, Joohee Han, Naama Bergman, Shachar Cohen
\nAmalienstr. 19, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u201cThis is so contemporary \u2019\u2019\u00a0\u00a0Naama Bergman, necklace, 2012<\/span>, intestine, rust, epoxy<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Gallery Kobeia\u00a0<\/b>
\n“Bubble Land”, Bench 886 with exploration hunts of history, present, fantasy and jewellery by ten islanders
\nLuisenstr. 49, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Bubble Land” exhibition view<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/b>Elisabethstr. 16 Rgb.
\n“HANG”, Adam Grinovich, Heejoo Kim, Hyorim Lee, Nora Rochel,\u00a0<\/b>Julia Walter
\n80796 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“HANG”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“HANG”\u00a0Julia Walter<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“HANG”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“HANG”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“HANG”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Day 4<\/h2>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gesch\u00e4ft\u00a0<\/b>
\n“Conglomerate”, Laura Deakin, Doris Betz, Mielle Harvey, Henriette Schuster
\nRothmundstr. 6, 80337 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Conglomerate” Mielle Harvey and Doris Betz<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Studio Gabi Green<\/b>
\n“SENSEability”, 14 artists
\nGollierstr. 17, 80339 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Kirsty Pearson<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Libby Ward<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\n

Elin Flognman Potato necklace on the left – “Everyday Matter”, copper, leather, gold, brass, 2013<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\n

Rachel Darbourne<\/h3>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Helena Johansson Lindell<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Viki Pearce broaches in recycled silver, scorched oak stands<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“SENSEability”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\n

Elin Flognman “Solid Gold Potato”<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\n

Elin Flognman “Artists fork”and Potato<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“SENSEability”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Libby Ward<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“SENSEability”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“SENSEability”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Schmuck in Gern Renate Scholz\u00a0<\/b>
\n“Welcome to Steinerberg”, Claudia Steiner (in the picture) + Ingrid Berg
\nKlugstr. 162, 80637 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Antiquariat Zipprich<\/b>
\n“Yesterday’s Papers” V. A. featuring Yesterdays Girl
\nZieblandstr. 2, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops talking about his work<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Volker Atrops<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Antiquariat Zipprich window from inside<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Antiquariat Zipprich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was not the first year Mr.Atrops has been exhibiting in the Antiquariat Zipprich, but maybe the last, because as he explained, the owners of the place, who are his friends are moving away from the premises. Here is a nice blog entry about one of his previous exhibitions\u00a0http:\/\/greater-than-or-equal-to.com\/2013\/11\/12\/jewelry_and_culture\/<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier von Gierke-Berr<\/b>
\n12.-15.March, Do.-So. 11-18 h
\n“Microphilia”
\nCarina Chitsaz-Shoshtary, Annamaria Leiste
\nSchraudolphstr. 16, 80799 Munich
\nTel. +49 171 3696009
\n”\u00a0Adansonia digitata”
\nArnaud Sprimont, Silke Fleischer, Carine van Landeghem, Peter Vermandere
\nSchraudolphstr. 16, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carine van Landeghem presenting the wood brooch “Caleidoscope”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carine van Landeghem<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier von Gierke-Berr<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Silke Fleischer
\nNeckpiece in the middle – “A hot plate and a bowl of soup”, 2014, glazed printed ceramic, steel, polyester strap;\u00a0white brooch on the left – “Hold on”, 2014, steel, brass, cotton;\u00a0orage piece on the left – “Put on my uniform”, 2014, Silver 925, Bandage;<\/span>\u00a0Object at the bottom – “Fruits on the table”, 2014, silver 925; Black brooch on the right at the top – “Run through the moss”, 2014, hematite, steel, epoxy, rubber; From the series:\u00a0Seven ways of going<\/i>;\u00a0<\/span>Black brooch on the right – “Cause your eyes won\u2019t see”, 2014, silver 925, brass, optyl<\/td>\n		<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/a><\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Arnaud Sprimont<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carina Chitsaz-Shoshtary<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carina Chitsaz-Shoshtary<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carina Chitsaz-Shoshtary<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carina Chitsaz-Shoshtary<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carina Chitsaz-Shoshtary<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Carina Chitsaz-Shoshtary<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier von Gierke-Berr<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier von Gierke-Berr
\nArnaud Sprimont talking about his work<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Me in the mirror<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Adalbertstr. 11
\n“Union”, Jose Bravo, Nelly van Oost
\nAdalbertstr. 11, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Union”\u00a0Nelly Van Oost jewelery<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Union”, Jose Bravo, Nelly van Oost<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Union”, Jose Bravo, Nelly van Oost<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Windfall GmbH
\nThe Postcon Project:\u00a0 Do You Speak Jewellery? Manuel Vilhena, Flora Vagi
\nAmalienstr. 81a, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Manuel Vilhena presented an interesting and dynamic presentation about a\u00a0jewelry\u00a0school\/ project\u00a0(The Postcon Project)\u00a0for young artists or teachers in the\u00a0jewelry\u00a0field. The presentation was\u00a0really interesting and also very commercial.<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Flora Vagi works with wood. She also exhibited her work in\u00a0Galerie Bir\u00f3 Junior
\n“GBJ Projekt 3” and\u00a0Windfall GmbH<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Flora Vagi<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Villa Stuck<\/b>\u00a0oppening of\u00a0\u00a0\u201cGlAmour\u201c
\n12.March “GlAmour Empfang”, Giampaolo Babetto, Robert Baines, Gabi Dziuba, Karl Fritsch, Daniel Kruger, Gerd Rothmann, Philip Sajet, Robert Smit, Lisa Walker.
\nCurated by Olga Zobel Bir\u00f3
\nPrinzregentenstr. 60, 81675 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

GlAmour with a capital \u00bbA\u00ab \u2013 putting the accent on the essential
\nand important deep feeling of love.
\nWhich happens to be part of the phenomena of glamour.
\nGlamour is not something superficial. It is something profound.
\nThat is what this show is about.<\/i><\/p>\n

– Philip Sajet<\/p>\n

Info from Villa Stuck blog.
\nThe<\/span>\u00a0exhibition was organized in<\/span>\u00a0collaboration with the<\/span>\u00a0Espace<\/span>\u00a0Solidor<\/span>\u00a0in southern France,<\/span>\u00a0where it was<\/span>\u00a0shown<\/span>\u00a0in the summer of<\/span>\u00a02014<\/span>.<\/span><\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/span>\u00a0\u00a0\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck
\nOlga Zobel giving her opening speech in German<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Giampaolo Babetto<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\n
Giampaolo Babetto\u00a0Spilla, 2014, white gold,\u00a0diamonds,\u00a0sapphires<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Giampaolo Babetto<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/span>\u00a0\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/span>\u00a0\u00a0\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
<\/i>Karl Fritsch<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Philip Sajet<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Philip Sajet<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u201cGlAmour\u201c\u00a0Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/span>\u00a0\u00a0\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/span>\u00a0\u00a0\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Karl Fritsch<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00a0<\/span>\u00a0\u00a0\u201cGlAmour\u201c\u00a0opening at\u00a0Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

In an exceptional<\/span>\u00a0arrangement<\/span>\u00a0in<\/span>\u00a0the form of a<\/span>\u00a0course (<\/span><\/span>\u00a0a continuous horizontal layer of similarly-sized building material)<\/span>,\u00a0<\/span><\/span>Villa Stuck showed<\/span>\u00a0about<\/span>\u00a0fifty<\/span>\u00a0different objects<\/span>ten<\/span>\u00a0different artists<\/span>\u00a0in<\/span>\u00a0their\u00a0historic rooms<\/span>.\u00a0The<\/span>\u00a0course<\/span>\u00a0of the<\/span>\u00a0“glamor<\/span>” was designed by<\/span>\u00a0the<\/span>\u00a0Munich architect<\/span>\u00a0Muck<\/span>\u00a0Petzet<\/span>\u00a0who was also the architect of the<\/span><\/span>\u00a0 German Pavilion in the 13th International Architecture Exhibition, La Biennale di Venezia 2012.<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gabi Dziuba<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann and\u00a0Lisa Walker in the back<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Lisa Walker,\u00a0Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Villa Stuck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Tschechisches Zentrum\u00a0<\/b>
\n“Schnitt\/Incision”, Stanislava Greben\u00ed\u010dkov\u00e1, Kate\u0159ina Mat\u011bchov\u00e1, Pavel Opo\u010densk\u00fd, Jana St\u0159\u00edlkov\u00e1, Ji\u0159\u00ed \u0160ibor,<\/b>\u00a0Karel Votipka
\nPrinzregentenstr. 7, 80538 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Schnitt\/Incision”\u00a0Karel Votipka<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Schnitt\/Incision”\u00a0Karel Votipka<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Schnitt\/Incision”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Schnitt\/Incision”\u00a0Kate\u0159ina Mat\u011bchov\u00e1<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
B\u00fcro Hermann\u00a0<\/b>
\n“Salto Mortale”, Judith Pschibl, Nicola Scholz, Barbara Schrobenhauser
\nHe\u00dfstr. 27, 80798 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was one of my favorite galleries. The big glass windows made the room look bigger then it actually was. And I loved the way the drinks and snacks table was placed outside at the doors and people were standing outside chatting and looking at the exhibition through the window.<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Judit Pschibl, Necklace, 2013, Polypropylen<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Salto Mortale”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ARTikel 3\u00a0<\/b>Galerie ARTikel 3
\n“Falling into Place”, Despo Sophocleous
\nLuisenstr. 68, 80798 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was an extremely nice place. I liked the gallery the jewelry and the way it was arranged. And the nice thing about the \u00a0jewelry pieces is that they actually fall into place.<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Falling into Place”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Falling into Place”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Galerie Bir\u00f3\u00a0<\/b>
\n\u201cSomething New and Something Old\u201d, Daniel Kruger
\nZieblandstr. 19, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger,\u00a0Brooch: Untitled, 2014 Cherry stones, silk, silver 10 x 8 x 8 cm<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger,\u00a0Untitled, 2014 Silver, acrilyc glass, pigment<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger,\u00a0Untitled, 2014 750 gold, semi-precious stone beads, silver<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Galerie Bir\u00f3\u00a0<\/b>
\n\u201cSomething New and Something Old\u201d, Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniel Kruger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
People had to stand outside\u00a0Galerie Bir\u00f3 because it was so crowded. Lucky for me I came about\u00a0 20 min before the opening, so it was possible to see the pieces.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier Sunkler
\n“Beloved Stangers”, Nicole Beck
\nNeureutherstr. 15, 80799 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nicole Beck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nicole Beck\u00a0putting\u00a0on her piece<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nicole Beck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier Sunkler<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nicole Beck<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Day 5<\/h2>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Galerie Handwerk\u00a0<\/b>
\n“Re-public Jewellery”. Seminar produced by Martina Kaufmann, Prof. Ingjerd Hanevold and Prof. Anders Ljungberg, lectures: Yuka Oyama, Liesbet Bussche, Nanna Melland, Helen Carnac
\nRegistration was required.
\nMax-Joseph-Str. 4, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was my favorite part in the Munich Jewellery Week!\u00a0“Re-public Jewellery” was the first seminar on jewellery that I have ever attended and hopefully not the last.\u00a0This project aimed to explore a more socially oriented approach to jewellery and return it to the public place where it belongs. That explains the\u00a0“Re-public”.<\/i><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Yuka Oyama,\u00a0Sofia Bj\u00f6rkman,\u00a0Nanna Melland<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Yuka Oyama,\u00a0Sofia Bj\u00f6rkman,\u00a0Nanna Melland<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Liesbet Bussche on the left<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Panel discussion: Anders Ljungberg,\u00a0Helen Carnac,\u00a0Nanna Melland,\u00a0Sigurd Bronger, Knut Astrup Bull,Yuka Oyama,\u00a0Liesbet Bussche.\u00a0Moderator: Sofia Bj\u00f6rkman<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n
<\/div>\n
<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Martina Kaufmann giving a comment about some artists from the exhibition<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Please sign here”
\nMobil Location: stunts in public space by ALLA, Emil Kristoffer Gustavsson, A 5 and Anna-Maria Saar and Nils Hint.<\/td>\n		<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
The aim of Please sign here – ALLA ft. Daniela Hedman is to create meetings between people.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Helen Carnac,\u00a0Anders Ljungberg and\u00a0Yuka Oyama at the\u00a0Galerie Handwerk<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Helen Carnac<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Galerie Handwerk\u00a0<\/b>“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Kim Buck, Solitaire-ring and pearl-earings\u00a0brooches, 2003<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniela Hedman, necklace, “Toes” 2010, wood, leather, copper, nails, 40 x 2.5 cm x 4.5 cm<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Julia Maria K\u00fcnnap<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Sigurd Bronger (?)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Sigurd Bronger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Sigurd Bronger<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Jenny Klemming<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Marta Mattsson<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Tanel Veenre<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Anette Dam: 84.5KT<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Anna Talbot<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Anna Talbot<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Agnes Larsson<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Julie Bach\u00a0, “Big Berry Bracelet”, 2010, skin med stoppning<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Daniela Hedman and\u00a0Helga Ragnhildur Mogensen at the wall<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Every Road Is Just Another Way Home<\/i>\u00a0by Lillan Eliassen, Norway<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“From the Coolest Corner – Nordic Jewellery”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Annika Pettersson<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Thorkild Th\u00f8gersen<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Beatrice<\/span>\u00a0Brovia<\/span>,\u00a0Sweden<\/span>,\u00a0necklace<\/span>\u00a0“<\/span>Binding\u00a0Works<\/span>\u00a0II<\/span>“,\u00a02010,<\/span>\u00a0Cotton thread<\/span>,\u00a0stitching<\/span>,\u00a0latex tube<\/span>,\u00a0oxidized silver<\/span>, magnets.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Josephine Winther “Ding” in the background
\n(Bell necklaces in various metal alloys)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
\u00c5sa Elmstam<\/span>,\u00a0Sweden<\/span>,\u00a0necklace<\/span>\u00a0“<\/span>Things”,\u00a02010,<\/span>\u00a0brass,<\/span>\u00a0plastic<\/span><\/span><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\n<\/a><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Atelier Diana Dudek
\n“Silber aus dem See”, Robert Kis and Diana Dudek
\nW\u00f6rthstr. 23\/I.St., 81667 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Diana Dudek<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Kis pieces in the reflection<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Steinstr. 59
\n“Blanco”, Aaron Patrick Decker, Anke Huyben, Steven Gordon Holman, Christie Schellings, Babs Zwanink
\nSteinstr. 59, 81667 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”, Anke Huyben<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”, Anke Huyben<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”\u00a0Babs Zwanink<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”\u00a0Christie Schellings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”\u00a0Steven Gordon Holman<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”\u00a0Christie Schellings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Blanco”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ATTACHMENTS<\/b>
\nAmy Peace-Buzzard, Peter William Clark, Abbie Williams, Natalia Sarrazin, Francisca Onumah, Hazel Clarrie Baker, Harriet Rose Knight, Ruth Conway, Sanna Eskola, Hayley Beckley
\nDonnersbergerstrasse 20a, Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ATTACHMENTS<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ATTACHMENTS<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ATTACHMENTS<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ATTACHMENTS<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
ATTACHMENTS<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
HUIJ
\n“Hypnostone I\u2084 O”, Yiftah Avraham, Pia Groh, Typhaine le Monnier, Stephanie Morawetz, Katja K\u00f6ditz
\nWestendstr. 49, 80339 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

In this small shop there was a room at the back that was completely dark and had a torch turning around in the middle of the room giving an impression \u00a0of a lighthouse. It was turning pretty fast making it extremely hard to observe one piece for a longer time as you usually do with jewelry. But I like artists experimenting with the exposition and scenographie. I got\u00a0lucky<\/i>\u00a0to visit the\u00a0exhibition\u00a0 just at the moment when the\u00a0batteries\u00a0had to be replaced but it took about 10 min and everything was back in place.<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Hypnostone I\u2084 O”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Hypnostone I\u2084 O”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Hypnostone I\u2084 O”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Kunstpavillon
\n“Lux is the Dealer”, Alexander Blank, Kiko Gianocca, Stefan Heuser, Melanie Isverding, Jiro Kamata,\u00a0Noon Passama
\nSophienstr. 7a, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”\u00a0Noon Passama\u00a0cleaning\u00a0the table<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”\u00a0Noon Passama<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer” Alexander Blank<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”\u00a0Jiro Kamata<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”\u00a0Noon Passama<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”\u00a0Kiko Gianocca<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer” \u00a0Kiko Gianocca<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer” \u00a0Noon Passama<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Lux is the Dealer”\u00a0Noon Passama cleening the table and Jelizaveta posing<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
M\u00fcnchner Residenz, Eins\u00e4ulensaal
\n\u201cReturning to the juwel, is a return From exile, Nr. 8\u201d, Robert Baines,\u00a0Karl Fritsch, Gerd Rothmann
\nResidenzstr. 1, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Karl Fritsch<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Karl Fritsch<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Observing Karl Fritsch rings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Observing Karl Fritsch rings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Observing Karl Fritsch rings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Robert Baines<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Gerd Rothmann<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Observing Karl Fritsch rings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
M\u00fcnchner Residenz, Eins\u00e4ulensaal<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Galerie Isabella Hund<\/b>
\nTHE NATURE OF STRUCTURE
\nJacqueline Ryan
\nFrauenplatz 13, Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Margaritifera
\n“am um in”, Studenten aus D\u00fcsseldorf, Halle, Hildesheim, M\u00fcnchen, Pforzheim and Wismar
\nMeindlstr. 4, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“am um in”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n
<\/div>\n
\n

3stations<\/p>\n

“Fault Line” Inyanim Group, Aviv Kinnel, Dana Seachuga, Deganit Stern-Schocken, Edda Vardimon-Gudnaon, Gregory Larin, Kobi Roth, Michal Oren, Rory Hooper,\u00a0Shirly Bar-Amotz
\nWelserstr. 15 UG<\/p>\n<\/div>\n

\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Work”, Students of the Academy of Fine Arts and Design Bratislava<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Work”, Students of the Academy of Fine Arts and Design Bratislava<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Work”, Students of the Academy of Fine Arts and Design Bratislava<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Work”, Students of the Academy of Fine Arts and Design Bratislava<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Oscure Sacrifice”, Jorge Manilla and Jonathan Hens, Dimitar Stankov
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Oscure Sacrifice”, Jorge Manilla and Jonathan Hens, Dimitar Stankov
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“A Touch of Steel”, Students of the Royal Academy of Fine Arts Antwerp
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“A Touch of Steel”, Students of the Royal Academy of Fine Arts Antwerp
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“A Touch of Steel”, Students of the Royal Academy of Fine Arts Antwerp
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“A Touch of Steel”, Students of the Royal Academy of Fine Arts Antwerp
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“A Touch of Steel”, Students of the Royal Academy of Fine Arts Antwerp
\nWelserstr. 11 UG, 81373 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Day 6<\/b><\/h2>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Die Neue Sammlung \u2013<\/b>The International Design Museum Munich<\/b>,
\nPinakothek der Moderne<\/b>
\n“Toni Greenbaum: MAG to SNAG: American Studio Jewelry, 1940-1970” (lecture)
\nBarerstr. 40, 80333 Munich<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Toni Greenbaum: MAG to SNAG: American Studio Jewelry, 1940-1970” (lecture)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Die Neue Sammlung \u2013The International Design Museum Munich,
\nPinakothek der Moderne
\n“Anton Cepka – Kinetischer Schmuck”
\n14.March.-7.June<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

It was not allowed to take photos in Anton Cepka exhibition, but there are a lot of them available on the Internet!<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Die Neue Sammlung \u2013The International Design Museum Munich,
\nPinakothek der Moderne”Harebutai. A grand occasion. The Hiko Mizuno College of Jewelry Tokyo zu Gast in der Neuen Sammlung, Hiko Mizuno College invited by Die Neue Sammlung”
\nthe space \u00ab\u00a0under the staircase\u00a0\u00bb
\nEunyeon Lee \u2014 Oran No \u2014 Shinobu Yamazaki \u2014 Shunkou Chou \u2014 Mizuki Toda \u2014 Hikaru Yamanouchi \u2014 Inoue Sou \u2014 Ryo Ogawa \u2014 Airi Kaneko \u2014 Mio Sato \u2014 Risa Suzuki \u2014 Mio Tokairin \u2014 Momoka Miyakawa \u2014 Ayaka Miwa \u2013\u00a0 Kim Hee Eun \u2014 Mizuno Shota \u2014 Saika Matsuda \u2014 Hiroaki Nagata \u2014 Yasuyo Hida \u2013\u00a0 Mami Fujinaga \u2014 Marin Sekine \u2014 Yukiko Kaname \u2014 Kana Nakano<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Harebutai. A grand occasion. The Hiko Mizuno College of Jewelry Tokyo zu Gast in der Neuen Sammlung, Hiko Mizuno College invited by Die Neue Sammlung”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Harebutai. A grand occasion. The Hiko Mizuno College of Jewelry Tokyo zu Gast in der Neuen Sammlung, Hiko Mizuno College invited by Die Neue Sammlung”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Harebutai. A grand occasion. The Hiko Mizuno College of Jewelry Tokyo zu Gast in der Neuen Sammlung, Hiko Mizuno College invited by Die Neue Sammlung”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Harebutai. A grand occasion. The Hiko Mizuno College of Jewelry Tokyo zu Gast in der Neuen Sammlung, Hiko Mizuno College invited by Die Neue Sammlung”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
“Harebutai. A grand occasion. The Hiko Mizuno College of Jewelry Tokyo zu Gast in der Neuen Sammlung, Hiko Mizuno College invited by Die Neue Sammlung”<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Die Neue Sammlung \u2013The International Design Museum Munich,
\nPinakothek der Moderne<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Robert Baines This is a review about my trip to Munich Jewellery Week 2015. This was the first time I attended the event that takes place in Munich for 50 years – so I read in Klimt02.net. At first I had a print out program from http:\/\/klimt02.net\/events\/fairs\/schmuck-2015 and on my way to Munich as I … <\/p>\n

Continue reading “Jewellery in Munich 2015”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-148","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/posts\/148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/comments?post=148"}],"version-history":[{"count":2,"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/posts\/148\/revisions"}],"predecessor-version":[{"id":165,"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/posts\/148\/revisions\/165"}],"wp:attachment":[{"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/media?parent=148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/categories?post=148"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ginta.lv\/index.php\/wp-json\/wp\/v2\/tags?post=148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}