Arnoldsche – förlag

Alongside artistically experimental aspects of education, the ThinkingJewellery 'trademark' stands as a contextual leitmotif throughout the gemstones and jewellery study programme at Trier University/Idar-Oberstein campus. The aims of ThinkingJewellery comprise scientifically oriented research as well as discourse on the historical and societal interconnection of jewellery. Highlights are the ThinkingJewellery symposia, which are now accompanied by a series of periodicals. The new series discusses contributions to a contemporary theory of jewellery beyond disciplinary boundaries or typical categories. The texts envisioned for ThinkingJewellery 2 include 'On the Cultural History of the Gemstone', 'Goethe on Colour' and 'Cold Shine - Empty Glamour, on Jeff Koons's Celebration Series', which are based on lectures from the 2017 symposium.

The Vienna-based lawyer and attorney Karl Bollmann (1943–2022) was a passionate enthusiast and well-respected connoisseur of international auteur jewellery, which he collected with his wife, Heidi, from 1970 to 2022. Today the Bollmann Collection is one of the most important private collections of artistic jewellery in the world, comprising 1,747 one-off pieces by the international avant-garde.The cornerstone of the collection features the most significant artists of early art jewellery from the second half of the 20th century, such as Max Fröhlich, Bruno Martinazzi, Peter Skubic, Yasuki Hiramatsu, Thomas Gentille, and Hermann Jünger, accompanied by representatives of the generation that followed, including Annamaria Zanella, Manfred Bischoff, Georg Dobler, Tanel Veenre, and Mari Ishikawa. Over the years, the collector couple also set their sights on artists from the United States, Australia, and Asia and in so doing mapped the auteur jewellery community scattered across the globe. This publication is the first to present the collection in its entirety.Text in English and German.

The tubular steel design of furniture designer Marcel Breuer (1902–1981) is considered an outstanding design style of the 20th-century. Yet widely unknown is the development of the first tubular steel prototype to its early series production. Breuer’s fellow compatriot Kálmán Lengyel (1900–1945), to whom this comprehensive publication is dedicated, played a significant role in this. In 1927, they founded the company Standard Möbel together, in order to organise the series production and distribution of tubular steel furniture. The development of the company and the work of Breuer, Lengyel, and the later director Anton Lorenz are depicted here in-depth with previously unpublished archive material. As a prominent furniture designer and architect, Lengyel also founded his own furniture brand, Ka-Le-Möbel, and worked as an interior designer in Paris, as well as constructed buildings in Berlin, Szeged, and Budapest. This publication expands our knowledge about the early models and highlights the life and work of the protagonists of the tubular steel revolution!Text in German.

The 21st Silver Triennial International 2025 publication presents striking silver objects that create a stimulating contrast between utilitarian items and artistic works. Exceptionally designed utensils stand alongside surprising objects that arouse curiosity and illustrate the diversity to be had when working in silver. What they share is a deliberate integration of form, surface design, and intention, creating pieces of strong character and high quality. Renowned designers and up-and-coming artists submitted their works to the competition. The 67 exhibits by 59 silversmiths from 15 countries include the prize-winners Yeunhee Ryu, Yong-il Jeon, Jieun Park, Yegyu Shin, Siqiu Zhang, Jae Hui Jeong, Carl Kankowsky, and Rebecca Bierbrodt, who receive special mention.Text in English and German.

Warwick Freeman (b. 1953) is regarded as one of the world’s most influential contemporary jewellery artists. His works tell of his life, culture, and history, as well as the history of Aotearoa New Zealand and the country’s unique materials from millimetre thick mother-of-pearl from the pearl shell to the iridescent inner membrane of the pāua (a rainbow abalone).In the 1980s Freeman co-revolutionised the world of New Zealand jewellery, which led to the creation of a unique artistic language. Initially influenced by western jewellery traditions, and later impacted by a growing awareness of Māori and Pacific adornment practices, Freeman has built a language of emblematic forms across five decades. Through jewellery making he discovers symbols that connect us – from Hook to Hand to Heart to Star.Text in English and German.

James Wilson Morrice: Paintings and Drawings of Venice is the first comprehensive overview of the artist’s images of Venice, Italy. Living in Paris for most of his life, Morrice (1865–1924) was the first Canadian painter to make regular trips to Venice from the mid 1890s to about 1908. This book situates Morrice within the history of Venice and Venetian art in the late 19th and early 20th centuries by looking carefully at his more than 100 modernist paintings and numerous drawings of “La Serenissima.” During his lifetime, Morrice’s Venetian pictures appeared in art exhibitions in Paris, London and other European countries, as well as in Montreal and the United States. Constantly cited in exhibition reviews, Morrice was praised for his modernity, and his Venice works have ensured his fame and importance for years to come.

During his world trip in 1906, the Norwegian Eivind Eckbo spent three months in Japan. There, he visited Shinto sanctuaries, photographed everyday life, and developed a deep fascination with Japanese culture. This took place within the context of the Japonism movement, which developed in Europe at the end of the 19th century. His fascination became a lifelong passion that is evident in his numerous photographs and a collection of Japanese art objects, including several ukiyo-e, Japanese woodblock prints from the 17th to the 19th century. The publication not only highlights the great connection between Eivind Eckbo — who founded the Eckbo Foundation with his wife, Alice Mary Higford, in 1923 — and Japanese art and culture, but also uses this previously unpublished collection to illustrate the heyday of extraordinary Japanese art objects during the Meiji period.

Christian Dell (1893–1974), silversmith, Bauhaus master craftsman, and head of the metal workshop of the Frankfurter Kunstschule [Frankfurt Art School], is one of the lesser-known designers of the 20th century. Yet his diverse oeuvre and his impact on design—from the 1930s to the present—deserves to be reappraised. This publication provides a first comprehensive overview of Dell’s work and career, including his training in Hanau, teaching in Weimar and Frankfurt am Main, and contacts to the lighting industry. One of Dell’s iconic lamp designs is the KAISER idell™, an office lamp which is back in production today. Moreover, he was an inspiration to numerous students, whose works are introduced here in more detail. Conceptual sketches, series products, and exquisite individual objects in a wide range of materials are also presented—for Dell’s early work with new types of plastic would go on to inform consumer tastes for decades to come. An exciting monograph on a significant, visionary, and hitherto unrecognised designer of the 20th century.Text in German.

This book represents the first monograph on modern Norwegian photography from the 1970s to the present. It traces recent developments taking place in the four movements in photography: Subjectivism, Abstraction, Post-Modernism and Photorealism. Subjectivism reigned supreme in Norwegian photography until well into the 1980s. It was rooted in the principles that a photograph could not lie and had to reproduce reality. The early 1990s ushered in the dawn of Post-Modernism in Norwegian art. Photographs were no longer viewed as mirroring reality but rather as works whose meaning was context-related. The result of this shift in focus was an array of new possibilities for expression and new themes. The present book also shows the influences Norwegian artists and photographers from other countries exerted on each other, a tendency that also shows up in the many Norwegian photographers active internationally. After being overshadowed for decades by other art forms, photography now plays a major role on the international art scene (galleries, art fairs, public institutions, collectors).

The unique cultural landscape of southern Africa (Nambia, Zimbabwe, Botswana, Mozambique and South Africa) is a highly dynamic and complex area where old traditions are confronted by explosive social and political upheavals. The resulting contradictions and conflicts stimulate a directions as well as ancient roots. The collection of highly varied essays by knowledgeable experts on Africa ranges from historical and political problems to questions of artistic production and of how to deal with culture and nature in the face of industrialisation and globalisation. Art is one of the major subjects, and the contemporary artistic activities, including photography. The publication presents a picture of a vigorously alive southern Africa, contradicting common western Cliches which regard the region as having no art and solely being riddled with problems of post-apartheid, crime and AIDS.

Lotte Reimers' joining forces with Jakob Wilhelm Hinder and the extensive ceramics exhibition with which he was touring West German cities in 1951 marks the onset of her passion for this craft. Committed to making the public aware of ceramics as art, Hinder and Reimers ended their tour at Deidesheim in 1961. Lotte Reimers' creative approach to managing the Deidesheim ceramics museum and gallery has received critical and popular acclaim both at home and abroad. Acquired by the state in 1993, the Deidesheim museum collection is now known as the Hinder/Reimers Collection of the State of Rhineland-Palatinate. Lotte Reimers embarked on a career of her own as an art ceramist in 1965. While running the museum and gallery, she has been adding to her impressive uvre for nearly forty years.

This publication draws on sales catalogues and advertising brochures documenting the entire range of Ikora metalwork produced by WMF (Württembergische Metallwarenfabrik AG, Geislingen) from the early 1920s until the 1960s. Even during the first world war, Hugo Debach, who would later become director-general of WMF, took the initiative in having experiments conducted in chemical and thermal tinting of metals. Shortly before 1927 he founded the Neue Kunstgewerbliche Abteilung (NKA: New Division for the Applied Arts) at WMF for upgrading metals. The brilliant colours and the boundless possibilities for design arising from this new technique met with resounding success at the time. Now pieces of Ikora metalwork by WMF are coveted as valuable collectors' items. The name Ikora, borrowed from a plant with brilliantly-hued flowers endemic to South-east Asia and sacred to the goddess Ixora, was designed to express the costly and exclusive quality of this line in metal products. Text in English and German

Pressure exerted by America in 1854 caused Japan to open its doors after 260 years of isolation. Wide receptiveness to everything Western was the driving force behind the modernization of Japan initiated by the Meiji government, yet it also induced a rapid rediscovery of indigenous cultural values. At early Paris and London international exhibitions, the Japanese decorative and applied arts sparked off the Western fascination with all things Japanese japonisme. In Japan, on the other hand, new technologies were eagerly adopted the government realized that increasing production for export would be an excellent means of promoting Japanese economic growth and thus enhancing Japan's status worldwide.Meiji Ceramics represents the first in-depth study of the development of Japanese export porcelain against a highly charged background of political, economic and cultural factors. Includes 180 artists's signatures.

Goldscheider, a Viennese factory (est. 1885), soon sped to the top of European ceramics makers. Figures and vessels of faience and terracotta as well as bronze and alabaster, all of top quality in respect of form and workmanship, were created in the Historicist, Jugendstil and Art Deco period styles. A crucial factor was collaboration with distinguished sculptors and ceramicists of the day - including Demetre Chiparus, Walter Bosse and Josef Lorenzl - who were responsible for a great many of the Goldscheider designs. This success story was quashed by National Socialist aryanisation in 1938: the Goldscheider family was forced to emigrate, the firm was sold and the new proprietor was unable to sustain the high aesthetic quality standard. The Goldscheider brothers did manage to open new ceramics businesses while in exile in the US and England and Walter Goldscheider even returned to Vienna after the Second World War to resume his post as managing director of his old firm; however, in the 1950s the great ceramics tradition of this venerable Viennese business ended when it was sold to the German Carstens company. Text in English and German.

Helfried Kodré is a pioneering Austrian exponent of contemporary art jewellery. He learnt goldsmithing in the 1960s while studying art history and worked at first with Elisabeth Defner, to whom he was married at the time. From the mid-1970s Kodré abandoned goldsmithing for a while but after a rather lengthy break, in which he taught at university, he re-emerged in the early 1990s as a jewellery artist. At the outset of his career, his formal bent was towards natural symbolism and organic allusions. Since the early 1990s an entirely different aesthetic informs his work: articulation that is anything but ambivalent, precision of design and formal language. In the work Kodré has produced in the past fifteen years, on which this publication focuses, the play of volumes and their exciting relationships predominates in a rhythm of expansion, opening and overlapping. A new publication in our Art Jewellery Series, the book centres on the second phase of Kodré's career from 1990. It also traces his development as an artist from the 1960s. Featuring numerous colour illustrations and essays written by experts in the field. Text in English and German.

Gabriela Koschatzky-Elias writes absorbingly on the life and work of Fritz Maierhofer, one of the most important contemporary Austrian jewellery artists, whose international career took off in late-1960s London. Under the sway of that throbbing city, he had arrived at a conception of jewellery and a language of forms that were distinctively his own. Maierhofer places jewellery on an equal footing with painting, sculpture and architecture. What is crucial to him is the artistic intention rather than the market value of the materials used. Maierhofer keeps coming up with new statements - using acrylic glass and precious metals in the 1970s, pewter and gold in the 1980s and, in the 1990s, aluminium, steel and computer technology while his most recent work features the new material CORIAN®. A new publication in our Art Jewellery Series, this is the first comprehensive monograph surveying Fritz Maierhofer's work from the 1960s to the present. With superlative colour illustrations and texts by a group of distinguished specialists in the field (including Ralph Turner and Graziella Folchini Grassetto). Text in German and English.

For decades the American artist Marjorie Schick has been a pioneering exponent of avant-garde jewellery. Her dynamic objects, charged with energy, are rooted in the revolutionary late 1960s European conception of jewellery and transgress the conventional boundaries of form, material and colour. The artist regards the human body as 'living sculpture' and constructs works of sculpture in a wide variety of materials to extend the body. Her works are often on an excitingly grand scale: a brooch that stretches far across the wearer's shoulder to occupy the surrounding space; a neckpiece so large that it creates its own physical environment; an object that is worn on the shoulders yet envelops the entire head. Marjorie Schick's jewellery relates to 20th-century abstract art, especially Constructivism. Here, body sculpture is created that must be classified as abstract art. Text in English and German.

Using new techniques and new materials, Bernhard Huber creates abstract paintings in glass in large formats that shift on multiple planes between transparency, reflection and opacity. His colours are vibrant and clear. Rarely does he indulge in an opulent riot of colour but instead mainly produces stringent creations notable for their cool colour tones. The effects achieved are precisely calculated yet never overwhelmingly so. In this respect, Huber's affinities with Concrete art, with which he also shares some of the formal qualities of his works, are revealed. Glass is for Huber a pivotal working material yet is not his sole medium. He has made the light-forming properties of glass the core of his artistic agenda, which goes beyond glass as a medium to encompass working in the fields of painting, sculpture and architecture. Colour and light have become his media of choice, with which he forms surfaces and spaces. He reacts sensitively to available architectural situations; his works are 'site-specific' to the utmost yet also stunningly configure the space surrounding them. He never simply makes stained-glass windows - he always forms several visual planes so that the 'window principle' is always extended into the interior space. Thus the glass surface becomes light sculpture and this in turn forms light space.Text in English and German.

Training in design in Germany is multifaceted and unique, unparalleled in Europe for breadth of range. The Goldsmithing and Watch-making School in Pforzheim provides a three-year college course in design, jewellery-making and tableware, which, since the school was founded in 1988, has earned it a deserved reputation as being state-of-the-art in training future makers of jewellery and tableware. Graduates are full-fledged designers examined by the state. The aim of the college is to teach assurance in handling material and form. The holistic approach to training here enables graduates to be equally successful in professions other than jewellery-making and tableware, indeed all professions in which, besides craftsmanship and technical skills, creativity and professionalism in dealing with form and design are required. Here a highly creative pool of young, internationally oriented jewellery-designers is created, unleashing a potential which is bound to be much talked of in future. Mastery of traditional techniques, unself-conscious perspectives on prevailing styles and bold exploration of new possibilities for design are the hallmarks of tomorrow's jewellery and tableware. Twenty years of professional college training represent a welcome occasion for taking stock and looking back. Many successful designers have been "forged in this crucible"; their activities are shaping how we perceive a wide range of design-related fields. Text in English and German.

Attesting to the high standard attained by the Polytechnic, the new yearbook for 2008 presents a cross-section of the top end-of-year performances in the following design-related disciplines: photography, the graphic arts, object and space design as well as camera training. Reflektor 01 is structured to elucidate student degree and diploma work in conceptual texts and talks with the students themselves to reveal the objectives and content of the projects. A selection of accompanying texts deals with design, assignments and aims as well as the trend towards interdisciplinary approaches. A chapter entitled "Looking back" is about intramural activities at the Polytechnic: events, exhibitions and symposiums. Essays by designers and art historians provide more glimpses into the exciting field of design theory and practice. Readers are treated to a vibrant presentation of the design department and its activities at Dortmund Polytechnic in this cross-section of the events organised by teams of students.

As used in German, the French word "collier" denotes a particularly valuable form of neck jewellery - it represents a promise and betokens dignity to the woman wearing it. This is the sense in which Dorothea Prühl lays claim to the term for her jewellery. Spaciously gestural, Dorothea Prühl takes full advantage of the powers of persuasion inherent in what is only seemingly a simple form. Her feeling for form, schooled as it is on the Classic moderns, is based on a sculptural idea and takes proportion and scale into account. Concentration on essentials, empathy in the extreme and vigorous plasticity are the distinguishing features of her works. They are the critically reflected expression of an entirely subjective artistic agenda. More or less recognisable, the object visualised contains no subliminal messages: hence it permits no interpretations containing extrinsic references. These are works that are exactly what they purport to be. They are not ambivalent. There is no narration, none at all. Text in English & German.

This new publication from the Swiss art theorist Peter Stohler unites solo and group interviews with five women artists, who for various reasons no longer live and work in their native countries. With questions relating to the importance of their origins, their migrant status, their role as women working in art and the effect of their (in some cases traditional) training in art on their work, Peter Stohler proceeds like "tomography", exposing section by section layers, which - viewed as a whole - reveal what is special about each artist's work as well as the links between them. Peter Stohler has discovered what they all have in common: a refusal to be distracted by the trend towards working on an individual oeuvre, an approach which might, in the positive sense of the term, be called "anachronistic" in the context of the contemporary art scene. Photographs by Judith Schönenberger (b. 1977 in Zurich, lives in Bern), who took them during the interviews, complete the book.Interviewed artists: Katja Loher (Video, b. 1978 in Schaffhausen, CH, lives in New York), Joulia Strauss (Conceptual artist, b. 1974 in St Petersburg, lives in Berlin), Jung-Yeun Jang (painter, b. 1968 in Seoul, lives in Basel), Nicole Ottiger (painting/drawing, b. 1968 in Cliftonville, UK, lives in Lucerne and Zurich), Irina Polin (photography, b. 1975 in Moscow, lives in Berne). Text in English & German.Also available:Radar - Texts on Contemporary Art; Essays and Interviews by Peter Stohler 9783897902787

Bjørn Ransve (b. in 1944) is one of the most important contemporary Norwegian artists. Since the onset of late Modernism, he has played a crucial role in shaping painting in Scandinavia and today his works are represented in all important museums there. In the rest of Europe and the US, he is regarded as an insider tip for collectors.A particularly striking aspect of Ransve's work is the constant shift between the representational and abstraction - often in parallel. In addition, he is a consummate master of traditional oil-painting techniques - working the medium in anything from small formats to canvases 15 metres across. His 1960s fragmented bodies, his searching studies of animal cadavers, the motifs he has borrowed from the history of art and his enigmatically demonic visions often look aggressive and distorted yet are sensitively executed - an ambivalence that informs Ransve's oeuvre and is perhaps most radically expressed in works in which the representational clashes with abstraction. This book provides a survey of Ransve's impressive painterly oeuvre. The accompanying text investigates the changing and recurrent groups of motifs and places the works in their art historical context. Since each page of the book has been designed individually in close collaboration between Ransve and the graphic artist and book designer Silke Nalbach, Bjørn Ransve's development as an artist can be traced in a way that is particularly illuminating. Text in English with German translations.

From the latter half of the nineteenth century, Idar-Oberstein developed into an important centre of costume jewellery production. Numerous factories, large and small, produced costume jewellery for the world into the 1980s although today this trade has virtually lost its former significance. During that long time span, Idar-Oberstein was one of the four major German jewellery centres along with Pforzheim, Schwäbisch Gmünd and Hanau. Idar-Oberstein costume jewellery reflects each of the prevailing fashions in turn: Historicism, Jugendstil/Art Nouveau, Art Déco - to 1960s and 1970s Informel and Zero. Innovative handling of simple (inexpensive) materials soon led to an aesthetic that stood on its own merits, independently of "real" jewellery. Here the Bengel company - with its sophisticated Art Déco jewellery - exemplifies innovative models and business policy. The author was able to study many early documents and photographs in Idar-Oberstein archives as well as pieces of jewellery that, taken together, are highly instructive on the history of costume jewellery. A vivid image of twelve jewellery manufacturers is evoked; proprietors and employees, production conditions, models policy, pieces of jewellery in each period style and worldwide marketing and distribution. Costume jewellery from Idar-Oberstein was not usually marked (stamped) because it was sold through wholesalers; this is what makes attribution to specific makers quite difficult today. Text in English & German.Also available:Bengel Art Deco Jewellery 9783897902718

Kokon is the term Doerthe Fuchs uses to define a group of pieces of jewellery which are complete in themselves yet surprisingly draw the viewer's eye inwards. Exquisitely subtle and delicate, they nonetheless achieve holistic stability. The "cocoon" form is constantly present and recognisable. With her project Kokon Doerthe Fuchs succeeds in uniting opposite extremes. The outcome is amazement. Even the materials she uses effortlessly overcome all sources of potential friction: coarse stone is linked with fine configurations of silver; mundane objects are veiled in the elegance of gold. This seeming incongruence is not unattractive, however; on the contrary, it is the linking factor of the "cocoon". It encloses what otherwise would not belong together to create a new unity. A text by Frenec Jádi introduces the book, capturing in words the astonishing events taking place when these objects are seen. Numerous colour illustrations showcase this group of works in all its beauty. Text in English & German.

Since the beginning of his creative work in 1980, Georg Dobler, the jewellery artist and lecturer at the University of Applied Arts and Science in Hildesheim, has engaged in working with geometrical forms. Also in the mid 1980s, when he first drew on naturalistic elements, provoking an outcry in the jewellery world, his work was still bound by geometrical dimensions. It was exactly because naturalism was viewed as outmoded, however, that Dobler was viewed as a pioneer by the next generation of auteur jewellery designers.The artist complements his casts from nature (exotic plants and beetles) - Dobler sees himself as a collector of structures and forms - with large, facetted stones as an artistic addition. Yellow to orange-glowing lemon citrine and tender lilac amethysts combine with the metal surfaces to create a shimmering play of colours. Pure silver is seldom found in Dobler's work; his trademark is rather black chromium or oxidized silver surfaces that shine in iridescent black.Georg Dobler is not only a pioneer, he also finds inspiration among the great artists of early modern art. Thus in the mid 1990s he drew on the abstract paintings of a Piet Mondrian, Wassily Kandinsky or Kazimir Malevich, who ignited his fantasy and inspired his compositions. Text in English & German.Exhibition in the Museum für Kunst und Gewerbe, Hamburg, November/December 2010 and further venues in Pforzheim, Hanau, Bielefeld and Berlin in 2011.

Perhaps Norman Weber - as a native of Schwäbisch Gmünd - was born with a love of jewellery. Following a traditional training as a gold and silversmith in Kaufbeuren-Neugablonz, where he teaches today at the State Vocational College for Glass and Jewellery, he studied with professors Hermann Jünger, Otto Künzli and Horst Sauerbruch at the Academy of Fine Arts in Munich. Here the then 25-year-old began his search, together with his colleagues Karl Fritsch, Peter Bauhuis and Karen Pontoppidan, for new paths and definitions in contemporary jewellery. Today Norman Weber is the storyteller in the contemporary studio jewellery scene. For example with the brooches from his series "Portraits", which investigates clichés such as Barbie dolls. Focusing on a particular area of interest - popular images, comics and populist icons - the artist enmeshes the images in perfectly executed constructions - Weber is after all a goldsmith through and through - thereby giving them a new home. At times the critical jewellery artist places these figures in a completely new context. In this way jewellery is moved in the direction of pop and takes on the character of shrill fashion emblems. Precious stones made of velour in jewellery conjure up a smile on the lips of a viewer before he even begins to reflect on the meaning of the spurious stones. But Norman Weber not only tells stories. Other pieces are shaped by underlying constructivist elements - convincing jewellery because their mechanical elements are infused with an exciting dynamic. This monograph provides a first survey of the oeuvre of this talented jewellery master. Exhibition in the Deutsches Goldschmiedehaus Hanau from 2nd September 2010 and further venues thereafter, in Munich and Schwäbisch Gmünd. Text in English & German.

Istanbul - city of contrasts, mediator between orient and occident, former grandiose seat of power of the Sultan in the Ottoman Empire, today a bubbling cultural metropolis on the Bosphorus, European City of Culture in 2010, twin town of Cologne since 1997. In the hip quarters of Tesvikiye und Nisantasi, which are the preferred districts of artists and designers, the range of artistic approaches and attitudes is ever-present. The new Turkish art and design scene has been shaped by the innovative breakthrough of the twenty-first century like almost no other city in Europe. Whether in art, design, music or literature, Istanbul is the creative heart of the Turkish avant-garde. The creations of Istanbul's fashion designers are always astonishing, unconventional and modern. They move between history and modernity, tradition and innovation, between humanism and the cosmopolitan, philosophy and religion - poles which, for the Turkish designers, definitely do not oppose one another. To all of them Istanbul is an inexhaustible source of impressions, stimuli, ideas and images. Features works from Arzu Kaprol, Bahar Korçan| Dilek Hanif, Gamze Saraçoglu, Hakan Yildirim, Hatice Gökçe, Idil Tarzi, Mehtap Elaidi, Özlem Süer, Selim Baklaci, Simay Bülbül and Zeynep Tosun. Text in English, German & Turkish.

A key, a safety pin, a balloon, a propeller, a voltmeter - these unexpected objects in art jewellery rewrite the world of the Norwegian "jewellery engineer" Sigurd Bronger. He carries over his fascination for machines and instruments in humorously constructed jewellery pieces, and transforms natural materials and everyday objects into meticulously executed, complex and ingenious constructions. In his Oslo "Laboratorium Mechanum", Bronger works on his witty "carrying devices" - brooches, pendants, and rings with balloons, sponges, eggs, even his mother's gallstones, or with medical equipment, which have a greater positive effect on the mind than on the physical well-being.An established feature of his work, which symbolically marks the entrance into Bronger's world, is the key. This current publication offers such a key; a review of over thirty years of his creative work: from Bronger's experiments with materials and constructions in the struggle with the avant-garde Dutch art jewellery to his attempts in fathoming out states of expansion and emptiness in jewellery. He revolutionised contemporary creative jewellery work in such a way, not just in Norway, where to this day he still finds new forms of expression at the interface of jewellery, art, design and engineering.With works from the 1980s to the present day, this book will carry you off into the humorous world of the decorative engineering art of Sigurd Bronger, one of the most significant Norwegian jewellery artists today. Text in English, German & Norwegian.