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Source Matters

Thinking about Origin

My work will be included in a traveling exhibition curated by Benjamin Lignel – Difference and Repetition

opening June 18th in Paris!

diffandrep parisdifandrep paris 1

difandrep paris 3

DIFFERENCES & REPETITION 

Commissaires:
Benjamin Lignel, Frédéric F. Martin, Jorunn Veiteberg 

Vernissage mercredi 18 juin 2014 de 18h à 21h 
Opening reception : Wednesday June 18th, 6-9pm

Chapitre I: 18 – 21 juin
Chapitre II: 5 – 11 juillet
Chapitre III: 12 – 19 juillet 

NextLevel Galerie est heureuse de présenter Difference & repetition, une exposition carte blanche donnée à Benjamin Lignel, Frédéric F. Martin et Jorunn Veiteberg. Présentée en 3 chapitres Difference & repetition s’inscrit dans le champ conceptuel du bijou contemporain réunissant plus d’une quarantaine de pièces d’artistes nationaux et internationaux.

NextLevel Gallery is delighted to present Difference & repetition, a carte blanche exhibition giving to Benjamin Lignel, Frédéric F. Martin and Jorunn Veiteberg.
Displayed in 3 chapters Difference & repetition take place in the field of contemporary and conceptual jewelry with more than forty pieces from internationals and nationals artists.

Cette exposition est accompagnée d’un catalogue qui a reçu le soutien de l’Association Norvégienne pour les Arts et l’Artisanat et du Ministère des affaires étrangères norvégien.
This exhibition is accompanied by a catalogue which received support from the Norwegian Association for Arts and Crafts as well as the Norwegian Ministry of foreign affairs.

Artistes invités:
Anonyme, Volker Atrops, David Bielander, Alexander Blank, Louise Bourgeois, Monika Brugger, Kim Buck, Sungho Cho, Carole Deltenre, Richard Elenbaas, Benedikt  Fischer, Warwick Freeman, Gésine Hackenberg, Peter Hoogeboom, Alexandra Hopp, Lauren Kalman, Auli Laitinen, Joe Lee, Benjamin Lignel 
(représenté par la galerie), Felix Lindner, Kerianne Quick, Yoko Ono, Gisbert Stach, Felieke van der Leest, Manon van Kouswijk, Sofie Boons, Suska Mackert, Barbara Schrobenhauser, Hans Stofer, Dan Volgers, Lisa Walker, Andy Warhol

“L’artisanat contemporain, que l’indifférence agace, trouve le plus souvent dans la forme de l’oeuvre unique et singulière un échappatoire à sa destinée d’objet commun. Il se positionne toujours par rapport à son histoire longue, mais pour se démarquer de ce qu’elle a d’attendu: il innove par la rupture, et rattache ce qui est novateur en lui à la figure d’un auteur. Il souscrit alors à ce que la sociologue de l’art Nathalie Heinich appelle le régime de la singularité.

Plus rarement, l’artisanat s’appuie sur ce qu’il y a de générique dans ses formes, de répétitif dans ses gestes, de redondant dans sa production pour poser les bases d’une œuvre qui est à la fois singulière et générique: cette approche plus risquée suppose que re-faire, et re-faire encore puisse cohabiter avec le fait d’inventer.

Cette tension entre rupture et répétition traverse le bijou contemporain tout entier: elle informe le type de savoir qu’il produit, l’identité de ses praticiens et les modèles économiques entre lesquels il hésite.

Ce que nous proposons ici est donc moins une exposition qu’une démonstration, mais inversée: en présentant des objets comme autant de solutions à un problème qu’ils n’ont pas forcément posé, on espère établir que notre hypothèse de travail était juste:
Il y a donc un régime de la création qui mêle générique et singulier; le régime de l’artisanat contemporain.

On essaye?”

Texte de Benjamin Lignel

“Contemporary craft finds more often than not in the singular form of the unique piece a way out of its destiny as common object. While contemporary practice always positions itself in relationship to the long history of craft, it does so by setting itself apart from that history’s expected trajectory: it innovates through creative disruptions, and likes to hinge the novelty of its contribution on the figure of an author. By doing so, it subjects itself to what French sociologist Nathalie Heinich calls the regimen of the singular.

At times, however, craft practitioners utilize whatever is generic in craft’s inventory of forms, whatever is repetitive in its gestures, or redundant in its production to lay the foundation of an oeuvre that is both singular and generic: this riskier strategy supposes that re-doing again is compatible with the contemporary definition of what is artistic.

This tension between the singular and the generic affects the entire practice of contemporary jewelry: it informs the type of knowledge it produces, the socio-professional identity of its actors or the economical models between which they oscillate.

What we propose doing here is not so much an exhibition as a reverse demonstration: by presenting a series of objects as so many solutions to a problem they may not have formulated, we hope to establish that our working hypothesis was correct: so there a regimen of creation that combines the repetitive and the singular; so this regimen is that of contemporary craft.

Shall we try?”

Text by Benjamin Lignel

Informations complémentaires des commissaires

1. Chacun des trois commissaires associés propose une sélection d’œuvres illustrant un point de vu spécifique sur la différence et la répétition.

2. Plutôt que de montrer en même temps l’ensemble des trois sélections, nous avons préféré recomposer, à partir des sélections, trois conversations autour du sujet difference & repetition.

3. Chacune des trois conversations met en relief un aspect différent du sujet.

4. Les trois conversations auront lieu l’une après l’autre (certaines des pièces sont communes aux trois, et seront exposées pendant les trois sessions).

5. Cette méthode à pour but d’encourager les visiteurs  à passer plus de temps avec moins de pièces, et à profiter de ce qu’elles évoquent, ou du silence qu’elles créent autour d’elles.

Additional information of the curators

1. Each of the three curators has put together a selection of works illustrating their specific take on difference and repetition.

2. Rather than display at once their three selections, we preferred re-assembling them into three conversations around the subject.

2. Each conversation focuses on a different aspect of the subject.

3. The conversations will follow one another (some of the pieces will be present in all three sessions)

4. This method will hopefully encourage visitors to spend more time with less work, and enjoy the complex things they suggest, or the silence they create around them.

IT’S STILL UNDERCONSTRUCTION BUT….

here you go…

 

kerianne-quick.com

Well, I am not lucky enough to be in Milan this year, but my work is! I am honored to be part of CHP’s new collection Global Identity. 

Imonocal Detail

Imonocal Detail

 

More images of the work and installation from Italia!

lap install

Milan Furnature Fair at LAP

Milan Furnature Fair at LAP

My proposal was for a necklace made from faceted glass and stainless steel. Here’s an excerpt:

 

imonocal

imonocal

Global Identity : imonocle

Our interaction with the natural and built environment is increasingly mediated through a digitized interface.

Instead of simply enjoying a sunset, we record digital images with our smart phones. Rather than meeting in person, we video chat with colleagues and friends.

The imonocle is a faceted glass jewel that falsely pixelates our world – calling attention to our urge to enhance and capture the experience of our surroundings.

Formally referencing the 19th C. monocle eye glass or the 18th C. chatelaine with magnifying glass, the imonocle refers back to a technologically simpler but similar time – to engage the idea of functional enchantment.

Here is a video made to accompany  the display for the piece I designed. It illustrates the conceptual basis for the work.

imonical

imonocal ideation

Matthew Friday, graduate coordinator and theorist at SUNY New Paltz asked me to participate in his Craft Manifesto project. Check out the full text. We are now being interviewed by Benjamin Lignel, the new Art Jewelry Forum editor and member of the european group Think Tank!

Bauhaus Craft ED

 

I am interested in material and source, and meaning rooted in the connections between them. I investigate how materials collect their identity, beginning with geographic origins, through cultural connections and histories, ending with the objects they become. By traveling to physically gather material and information myself I create a personal connection to the source and attempt to render that bond. I account for the journey from source to viewer, acting as a liaison, intent on bringing the two worlds closer to one another. As a result of thorough research I become expert and the work becomes a vessel for discovery, communication and understanding. Through this act I hope to discover how my role as a connector of material and histories affects the form of the object and the formulation of the role of the viewer. The work’s ultimate goal is to inspire the viewer to consider a complex network of historical, economic, and geopolitical forces that bring an object into existence. Thus I intentionally collapse the notion that art or any designed object can emerge from an insular creative bubble, untouched by history, culture and economy. The specific use of material is dictated by my own inability to express what the material can express with authority. As a maker, I cannot create what the material holds within it, thus I borrow the power of material to communicate. In turn, as a maker I release a form of the materials own agency that it cannot release itself. This is a cooperative act.

for more check out my crafthaus page!
http://crafthaus.ning.com/profile/keriannequick

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