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Have you seen the new Current Obsession Magazine yet? It’s basically the very first of its kind!!!!!!!!

CO originally existed as a blog about contemporary jewelry and then a website (promoting the field through the voices of the artists) created by the talented, Marina Elenskaya (artist and editor in chief of the magazine). And as of March 2013, CO now also exists as a bi-annual printed magazine that debuted at this year’s Schmuck. Marina and Sarah Mesritz (the creative director of the mag) launched the first issue, The Archetypein Munich, which was really exciting for me because they invited me to be a contributing writer/editor for the issue.

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Here I am at Schmuck after having my first look inside the magazine. It’s the first time i’ve been published, and in the photo above, the page is opened to my introduction and interview with Karl Fritsch. The segment shows new pieces by the artist that were also exhibited at two Schmuck exhibitions.

Click —–> here for a peak inside.

I also had the pleasure of working with Alexander Blank on another interview about his new series, also exhibited at Schmuck.

Alexander Blank, King of my Blues exhibition

The CO team also asked me to help them create a guide for all the Schmuck events this year to help visitors navigate the city. After having contacted every artist or organizer for all the collateral Schmuck exhibition (for photos and information regarding their event), we tried to create a descriptive teaser, basically CO’s Schmuck 2013 picks, highlighting various initiatives we thought were worth seeing. To see the PDF, click —-> here

from CO Facebook page

Below are some photos of Marina and Sarah giving a presentation at the Messe, where the main Schmuck show was situated.

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To learn more about the wonderful backpack and suitcase by the design team Hanemaai shown above, click —> here!

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Above, Volker Atrops giving some critical feedback to the team, which you should feel free to do also! We are always looking for comments and are eager to hear what you think.

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Marina and contributing editor/husband, Chris van der Kaap at the show, Schmuck You, presented by Galerie Biró Junior and featuring the work of Réka Lorincz and Flora Vági.

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Super babes Marina with artist and friend, Suzanne Beautyman 

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Sarah Mestriz toting around the mag and the guide at the Pinakothek der Moderne.

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Below is artist/researcher/writer, Aaron Decker, another contributing editor of the CO magazine.

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from CO Facebook page

Some team shots, below with superstar, Tanel Veenre

from CO Facebook page

CURRENT OBSESSION 
– is a new printed magazine about jewellery and its relation to different fields of art — performance, illustration, photography, etc. Apart from jewellery artists and critics, we feature material researchers, fashion designers, collagists and many more. Our goal is to create a different dimension for jewellery in printed environment. We tell inspiring stories about people and places, touching upon subjects like value, language and presentation.
Our motto is “JEWELLERY IS WHAT YOU MAKE OF IT “

check it out:  OPEN CALL FOR CONTRIBUTIONS !

“The second issue of the magazine will be about “The Youth” – students, newly graduates, alumni and up-and-coming artists, keeping in mind that being young is not about the age, but about the attitude!
Release date of the second issue – October 2013 launched in Barcelona JOYA/Amsterdam SIERAAD/Eindhoven DDW.

We have created this open call for contributions because we are searching for:

– Projects that connect jewellery to other fields of art/design/fashion: performance, photography, illustration, audiovisual, collage, sculpture, etc.)
– Research projects: material, formal and theoretical
– Great new jewellery!
– Hardworking writers!

Our goal is to show the diversity and potency of the upcoming generation, to outline their standpoint and tendencies and to address the problems and choices the young makers are subject to.

To contribute or for more information, please email to:
info@current-obsession.com with THE YOUTH as the message subject.

Deadline: beginning of June 2013 “

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Check out the CO website to order a physical copy of the first issue.

or, here is the LIST OF RETAILERS :

+Klimt02 BARCELONA
+Galerie Rob Koudijs AMSTERDAM
+Gallery Ra AMSTERDAM
+Athenaeum Nieuwscentrum AMSTERDAM
+Do You Read Me!? BERLIN
+You Are Here EINDHOVEN
+Galerie Noel Guyomarc’h MONTREAL (QUEBEC)
+ ATTA Gallery BANGKOK
+Chrome Yellow Books LONDON
+ Galley P’LACE DRESDEN

THIS IS A MUST READ!!!!!!!!

THE FOLLOWING WAS FIRST PUBLISHED IN METALSMITH MAGAZINE IN 2006 AS A RESPONSE TO A QUESTIONNAIRE SENT BY THE ACG AND WRITTEN BY ARTIST, BENJAMIN LIGNEL. 

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What does Contemporary Jewellery mean? 


Not very much, to anyone outside the profession; but the question is a helpful reminder that:

1/ in most countries, the debate will never find an audience outside the actual community that launched it;


2/ this is a simplistic label, falling short of the profession’s complex heritage and range of interests.

But it’s a tricky one, and I tried to list some of the ways one could answer it:




Contemporary Jewellery is a type of practice – understood as the contemporary offspring of a craft-based design activity that finds its origin in medieval workshops. Such a definition stresses contemporary jewellery’s historical past, and finds antecedents in the British and American Arts & Crafts movements, the renewed late XIXth century interest in manual skills (as a last stand against industrialisation), and the emergence of radical jewellery movements in the 60s: it underlines the notions of individuality, craftsmanship, and its troubled relationship to the production mainstream;

or a type of object: poised between high-street jewellery and art (the former’s glorified other, the latter’s poor relative), we know what it’s not (‘just’ manufactured artefacts for wearing), and what it wants to be (the expression of individual talent that reflects on, and sometimes influences, contemporary culture), much less what it is. 
A few distinctive characteristics, however, seem to be beyond debate: the human body as a general working area; an open attitude to methods and material that echoes art’s own agenda, complicated by the notion of wearability; the distinctiveness we associate with individual expression; and an emancipation from consumer goods’ vocation to ‘just’ satisfy consumer desires.



It could also be defined as a market (I follow here the argument that cultural artefacts are defined less by methods of production than by distribution, accessibility and ultimately, potential impact on a larger consumer base). In most countries, a limited number of galleries take care of both distribution and promotion – while the designer-maker is expected (if (s)he wants to make a living) to be represented by at least five galleries, and complement consignment sales by direct, off-the-anvil transactions. From my point of view, the Contemporary Jewellery market works in ways similar to the art market, but on a scale so small, that its lack of visibility questions its existence.

So then: most jewellers would agree that Contemporary Jewellery is a fast-evolving profession at a crossroad between craft, design, and art, currently ridged by identity concerns. However, I think that the problem, rather than one of identity, is one of image. Although the lack of an established definition has contributed to an extremely rich range of output -personal answers to a collective question- it seems that diversity stands in the way of a more cohesive front, one that would focus on explaining to people that there is a life after Cartier, Pomellato and Tiffany’s. And the unsuspecting public still lumps the practice together with its craft-based past, judges its production on a par with high-end (or any other) jewellery, and considers artistic ambition rather like a presumptuous fancy (unless one equates ‘artistic’ with ‘skilled’, ‘meaningful’ or ‘committed to self-expression’).



This happens at least for two reasons:

Firstly, there are not enough of us to rally a larger population to Contemporary Jewellery’s standards: exposure is limited by the output (there are comparatively few jewellery design programs, fewer graduates that stick to the trade, and not many pieces produced per year per jeweller). This scarcity of active jewellery makers is further complicated by our cultural antagonism with serial reproduction -and therefore, bigger distribution (1). A cynical bystander would add: this is a micro-profession, which means little appeal to the press, anaemic cultural budgets, no specific courses in the history of Contemporary Jewellery (to my knowledge), and therefore, no history. As a result, Contemporary Jewellery is always deemed a subsidiary activity, on the margin of mainstream jewellery creation. 
Secondly, designer-makers are by nature a/o trade, uncommunicative, or certainly not prone to enthusiastic pamphlet scribbling. Who’s ever heard of Contemporary Jewellery, outside its confidential network of galleries and specialised clientèle?

The situation, and this is my point, demands more than just communication: instead of shunning assertive promotion/information strategies (for fear of contamination?), we must resist inertia from within and without that confine Contemporary Jewellery to its ill-defined (but restricting) marginal position, and explore new means of proliferation.

So we should communicate more. And explain our intentions. But in the end, let us not be too intent on defining our practice as one thing only: if anything, I would even drop the ‘Contemporary’ or ‘Studio’ used to qualify this jewellery: whatever specific meaning it may have had is now superseded by a vague sense of institutionalised ‘otherness’.



Let’s be proud, and call it jewelry.

THIS TEXT IS LINKED ON THE BLOG ON THE RIGHT SIDE OF THE PAGE UNDER PRACTICAL INFO…