piirilinn

cidade fronteiriça

border city

catalogue complied and edited by Harry liivrand

co-edited by Kadri Mälk

assistendid / assistance: Kadri Mälk, eero Kangor, cristina filipe, paula crespo

exhibition design: taso Mähar

catalogue design: Jaanus Samma

photographers tanel Veenre, Sulev Keedus, Harry liivrand, c.b. aragao.

translations into estonian: dea Martinjonis

translations into english: Juta ristsoo, riina Kindlam, Kristopher rikken, eero Kangor, frederica bastide duarte

translations into portugees: tiago Marques

eSiKaanel: cristina filipe, c. b. aragão, rui chafes

taGaKaanel ...

We tHanK:

eesti Kultuurkapital, Hotell telegraaf, eesti Kunstnike liit, institute camões,

eesti Suursaatkond lissabonis

published by tallinna Kunstihoone / tallinn art Hall

printed at tallinna raamatutrükikoda

iSbn ....

tallinn 2011

exHibition “border city: tallinn - liSbon”

“arriVal”: tallinn art Hall Gallery31.08. - 18.09.2011

“departure”: tallinn city Gallery31.08. - 25.09.2011

liSbon, inStitute caMoeS6.02. - 16.03.2012

Tallinn

Katrin amos

piret Hirv

Katarina Kotsalainen

tiina Käesel

urve Küttner

leonhard lapin

laurentsius

Kristiina laurits

eve Margus-Villems

Kadri Mälk

Maarja niinemägi

Villu plink

Jaanus Samma

rait Siska − risto tali

Ketli tiitsar

tanel Veenre

lisbon

ana albuquerque

Madalena avellar

Miguel branco

Sónia brum

Miriam castro

rui chafes

paula crespo

catarina dias

cristina filipe

Hugo Madureira

João Martins

teresa Milheiro

Marilia Maria Mira

typhaine le Monnier

inês nunes

tereza Seabra

curator Harry liivrand

10 11

2011. aastal Tallinnas ja 2012. aastal Lissabonis toimuv ehtenäitus „Piirilinn“ on Eesti ja Portugali ehtekunstnike esimene ühisprojekt, mis mõtestab kujundlikult kahe Vana-Euroopa piire sümboliseerinud pealinna identiteeti. Geograafilises mõõtkavas määratlevad Tallinn ja Lissabon teineteisest ülimalt erinevat ja mentaliteedihoiakulises mõttes isegi vastandlikku äärealalist kultuuriruumi, kuid just merele avatud piirilinna staatus ja asukoha saatuslik lõppjaama kontekst on need lähtepunktid, millest käesolev projekt tõukub. Mõlemal linnal tuleb meri vastu, jääb üle kas tagasi pöörduda või seilata minema, minna üle piiri ... või vaimustuda.

1219 Tallinna vallutanud Taani kuninga Waldemar II abikaasa Berengaria oli sünnilt Portugali printsess.

Ajalooliselt on Tallinna ja Lissaboni ühendanud sool, mis oli keskaegse Tallinna üheks tähtsamaks sisseveoartikliks. Selle vahendamisel põhines suuresti linna rikkus ja õitseng, nii et võib öelda, et Tallinn on ehitatud soolale. Peamiselt imporditi soola Portugali ajaloolisest Setubali piirkonnast. Sealset valget soola nimetati ka lissaboni soolaks ja transporditi lahtiselt laevaruumis. Nii jõudis lissaboni sool Eesti hansalinna Tallinna. See soolamaiguline iidne side on inspireerinud käesoleva näituse kunstnikke.

16. sajandil rööviti Tallinnas Portugali kaupmees.

Piir ühendab ja lahutab. Piiriületamine on psühholoogiliselt alati seotud hirmu, aja ja kontekstiga. Piirilinn seostub võimaluse ja võimatuga, lahkumise ja naasmisega, ootusärevuse ja meeleheitega. Sadamalinnade intensiivses tähendustekkelises alas kujunevad kergesti tuhanded mereäärsed lood, mida kohalikud hoiavad nagu püha saladust. Need lood moodustavad piirilinna alateadvuse, mis on ühtaegu paradoksaalne ja maagiline. Piirilinnades kuhjuv korratu ürgjõuline materjal muundatakse kultuuriliseks. Ehteseppade maagilises pajas antakse sellele juveliirne – metatähenduses amuletilik - kuju.

Eerik Haamer maalis 1960.aastal Portugali reisimuljete põhjal suuri dekoratiivseid kompositsioone.

Piirilinnadest lähtuvad avastusretked. 15. sajandil purjetasid Lissabonist merele karavellid prints Henrique Meresõitja ja Vasco da Gama juhtimisel uut maailma avastama - Tallinn piirdus siis koduse Soome lahe isanda positsiooniga. Olukord muutus, kui 19. sajandil alustasid Tallinnast maadeavastaja karjääri Adam Johann von Krusenstern ja Fabian Gottlieb von Bellingshausen. Kui piirilinn kaob silmapiiri taha, jääb tahavaatajale vaid nostalgiline mälestus, mida tundelisema iseloomu puhul niisutavad soolased pisarad. Kuid ka mahajääja nukrutseb … Piir on kakskeelne mehhanism, mis tõlgib välisteateid ja uut infot sisekeelde. Sellepärast on loov konflikt ja harmoonia piirilinna sisse kodeeritud.

...

Vastavalt kontseptsioonile toimub Tallinnas näitus samaaegselt kahes galeriis, ühes alateemaga “Saabumine”, teises “Lahkumine”. Siin osaleb kummastki linnast 17 kunstnikku, kellest enamus on juveliirid ja oma maa ehtekunsti rahvusvahelised suursaadikud. Mul on ütlemata hea meel, et nad otsustasid projektis osaleda. Nad ühendavad soola ja kulla, hõbeda ja toorteemandid, raudpleki ja soolakristallid, soola ja kudumi ... Nad tunnetavad ehte maagilist väge, objektikunsti kodeeritud tähendusi, materjalide müstilist mõju, sümbolismi suurust. Tulemine piirilinnast annab neile lisajõudu ja enesekindlust. Lisaks interpreteerivad teemat veel paar Lissaboni ja Tallinna kujutavat kunstnikku, kes samuti suurepäraselt valitsevad piiriloleku kummastava tunde ilu, meediumiks lõuend, akrüül, lehtkuld, foto ja pronks.

Ütlen Kadri, mõtlen Cristina, ütlen Laurentsius, mõtlen Rui, ütlen Tanel, mõtlen Hugo, ütlen Katarina, mõtlen Paula ...

Aitäh!Obrigado!

NäiTuS„PiiriLiNN: TALLiNN – LiSSABON”

Harry Liivrand

12 13

“Celani teostes on luuletuse ruum ehitatud Lävelt lävele... Ja Celani jaoks ongi teekond lävelt lävele see, mis luuletuse loob, žestis, mis saab alguse sellest, mida kunagi öeldud sai ja mida tuleb uuesti öelda – et see eksisteerida saaks – ja mis liigub kellegi teiseni, kes kuulab, et see, mida luuletajal on öelda, saaks ühel päeval uuesti öeldud, võimaldades seeläbi elementaarsed eksiteerimise tingimused ja ellujäämisvõimaluse.”2

Kunstnike teosed, nagu Celanigi omad, on üles ehitatud “poeetiliselt, nagu ühe suhte ruum, või võimaliku kohtumise ruum, või katse dialoogi pidada.”3

Kuidas saab kunstniku, kes elab geograafiliselt kauges põhjas ja/või lõunas asuvas linnas, teos paljastada fakti, et ta elab kartograafilise joone lähedal, mis asetab ta ühe kontinendi servale ja terve ookeani, mida ujuda, äärde?

Harry Liivrand esitab meile selle dilemma. Olles teadlikud sellest, kes me oleme, kohas, kuhu me oleme sündinud. Kohas, kus me elame.

Aga kas me oleme lahkumas või saabumas?

Kas me saabume sinna, kust lahkusime või lahkume sealt, kuhu saabusime?

Saabumine ja lahkumine sulanduvad üheks. õrn joon, mis neid eristab, on piir, mis meid poolitab. Kuid kas me võime jaguneda kahe väga omanäolise koha vahel? Kas me teame, kust tuleme ja kuhu läheme?

Palverännak viib meid pühapaikadesse, kus me otsime valgust ja pühadust. Kaitset. See viib

meid palvepaikadesse, kus me juurdume. Tihti ongi see eesmärk, see otsing mis meid ühest kohast teise viib.

Juured, mis meid mõne kohaga seovad, on olulised mõistmaks Ajalugu, Teoseid, Sõna.

Puu olla tähendab, et me püsime kohas, kuhu me kuulume. Ajamaks alla juured. Ning asumaks paralleelselt Jõega, mis voolab Ookeani.

Siin saab Juveelist kood, Kehast sõiduk, Skulptuurist olend, Maalist maastik. iga Teos tõlgendab oma arusaama Sõnast. Ent siiski, nagu Celani luules “see ei vii meid uute radadeni, vaid pelgalt lakub haavu, mis ei parane iial.”

Celan on piiri-poeet – läve ja limiidi-poeet. Ja, nagu tedagi, huvitab meid “maailma puhtuse, tõe ja muutumatuse tasandini tõstmine.”

Sa loed, ütleb luuletus. Et lugeda nii nagu Tummas raamatus: lege, lege, relege...Hoolikast, kannatlikust meditatsioonist tuleb Kivi, teeraja märk. Või tuleb päästev päeva Sõna. Või siis vaikus.””4

“Koos Paul Celaniga majutame me vaikuse. Aja vaikuse, sõnadevahelise ruumi vaikuse. Teadlikult valitud (elatud) sõnad ei soovi väljendada, vaid pigem tagasi tõmbuda (või läheneda) rääkimatu piirist, universumi kujutisest ja inimesest, keda on raputatud tema juurte juurest: ehk Verbi pulsist, mis armastuse nimel, avanes manifestatsioonis.”5

Nagu Celan “haarame me valus radade järele, lahtiste haavade ajal”6

“See, kes enam ei räägi, räägib kõigiga, ta räägib, sest keegi ei kuula, keegi ega Keegi”7

Kuid “kohtumise müsteerium” püsib siiski (Der Meridia / The Meridian, 1960) soov jõuda teiseni ja see õõvastav vaikus. “8

iga teos, nagu Celani luule, “võib olla merre visatud pudel, mis on hüljatud lootuse – mis vaieldamatult on tihtipeale õhkõrn – meelevalda, et see ühel päeval mõnel rannalt üles korjataks, võimalik, et südamerannalt, “ Celan ütleb siiski “Ses mõttes on ka luuletused teekond: nad viivad sihtpunktini(...), avatud Kohani, puutumatu sinuni... “9

Ja meie autorid, kes meie oleme?

Maasoolaks olemise vastutus motiveerib kõiki meie liigutusi ja otsuseid. Mida me teeme ja kuidas me seda teeme. See õigustab kõike, mida esitletakse neis kahes näitusepaigas nimega “Saabumine” ja “Lahkumine”.

...”aga mis siis, kui sool oleks mage, millega me siis soolaksime?”10

Cristina FilipeLissabon, Juuni 2011

KUULSIN RääGITAVATKuulsin räägitavat, et kusagil vees on kivi ja ringja veepinnal üks sõnamis ringi ümber kivi laotab.

Nägin oma paplit veeni kummardumasNägin ta käsivart põhja puudutamasNägin ta juuri taevalt ööd palumas.

Ma ei jooksnud ta järel,Haarasin vaid maast purumil tema silmade kuju ja noobel olekVõtsin vanasõnadest kee su kaelastja palistasin sellega laua, millel puru nüüd lebab.Ega enam kunagi näinud ma oma paplit.

Paul Celan1

1 Tõlkinud Dea Martinjonis 2 CArDOZO, Maurício Mendonça, “Kaasaegse poeesia praktika ja ruum”, uFPr - Paraná Föderaalülikool– Kaasaegsete võõrkeelte osakond–, Curitiba, Brasiilia, lk.149, 2008.3 ibidem, lk.152.

LäVELT LäVELE

Cristina Filipe

4 ibidem5 ibidem, XXV.6 BArrENTO, João, Paul Celan: Verb ja Sõna, Seitse roosi Hiljem, Luuleantoloogia, Cotovia, lk. XXX, 1993.7 BArrENTO, João, Paul Celan: Verb ja Sõna, Seitse roosi Hiljem, Luuleantoloogia, Cotovia, p. XXXi, 1993.8 BArrENTO, João, Paul Celan: Verb ja Sõna, Seitse roosi Hiljem, Luuleantoloogia, Cotovia, p. XXXi, 1993.9 BArrENTO, João, Paul Celan: Verb ja Sõna, Seitse roosi Hiljem, Luuleantoloogia, , Cotovia, p. XXXi, 1993.10 Matteus 5.13, Matteuse Evangeelium.

14 15

See juhtus trammis. Varahommikuses trammis. Pole tähtis, millises piirilinnas. Sisenes üks tumedat verd naine, silmanähtavalt unine. Tema näos oli mägilase uhket üksiolekut ja mingit äärmuslike abinõude janu. rasked silmalaud värahtasid. Neil oli vaevuaimatav veresoonte võrgustik. Võpatasin äratundmisest. Tundsin, et need silmalaud, nende soontevõrgustik ja naise juuste ebamaine eebenipuu puudutasid mind kui magnetiga. Sõitsime samas suunas ja kui saabus lõppjaam, väljusime. Tutvusime? Cristina.

•

Kuidas keegi kusagil tegelikkust mõtestab, sõltub suuresti ruumist tema ümber, kultuuriruumist. Eri kultuurides, eri kohtades on see erinev.isegi materiaalse maailma mõisted, abstraktsetest kõnelemata, kajastuvad eri paigus erinevalt, sõltuvalt sellest, kuidas üks või teine rahvas neid teadvustab.Kuid mõtestamisel on ka universaalseid, üldinimlikke jooni.

Minek üle piirilinna semantilise välja piiri ei toimu kunagi ega kusagil niisama.Selline piiriületamine on igal juhul tahteakt, tahtlik tegu. Teo sooritamine tähendab alati, et ületatakse mõtteline piir tegemise ja mittetegemise vahel. isegi kui piirilinn on mentaalne, mitte geograafiline mõiste.Kui defineerime seda füüsiliselt, geograafiliselt, satume millelegi küllalt imelikule, nimelt et kusagil on linn, kust enam edasi ei pääse, piir on ees. Mis on piiri taga?Kuid isegi seda kujundlikult käsitades võime sattuda arusaamatule maastikule, vastandlike tunnete meelevalda. Oht ja veetlus. Ootus ja pagemine. Vasakule või paremale? Otse ju ei saa!

Piirsituatsioon on terav elamus, sool ja pipar!Tema hurm, hirm ja võlu on vastupandamatu. Piiril juhtub. Või vähemalt jääb lootus, et juhtuks. Ja hirm, et seal võib juhtuda... Ent piir võib kinkida meile ka lubatähe – loa seisatada, taanduda. Kahelda.Piirilinna puhul ei eruta meid temas peituvad enneolematused, vaid vastus, mille ta annab meie küsimisele. Taju, et see ülim linn, piirilinn on inimeses eneses, inimese veres.See äratundmine võib olla nagu elektrisähvak, nagu elektrikarjus loomale, võib olla magnetiline nagu seismograaf, mis ka pisemaid värelusi registreerib..... Kõik võib olla. Pole vaja teada, mis on seal taga. Seal taga on saladus.

•

Mööduvad aastad. isegi sajand, aastatuhatki võib vahetuda. Tramm ei peatu enam seal, kus varem. Kuid miski on püsiv. Mälestus veresoonte võrgustikust silmalaul. Võrgustik laieneb. Heade tuttavate võrgustikust võib tekkida justkui isiklik ilmakaart.Ja kui selline emotsionaalsete suhete võrgustik toimib kunstnike vahel, on see palju enamat kui isiklik kaart, kui linnakaart. See on lausa ajalookaart, kus sõprus pole mitte ainult emotsionaalne, vaid lausa sotsioloogiline ja kunstiajalooline kategooria. Enamgi veel – see on kaardistatud piiripealne tajufenomen, milles inimlik empaatia, kohtumine ja hüvastijätt toimivad kui magnetnõela võnkumine, kui piiririkkuja.

Piir JA LiNNJA ASJADE SALADuS

Kadri Mälk

Alates rahvusriigi asutamisest 12.sajandil arenes Portugali dekoratiivne kunst – metallikunst ja ehtekunst seal hulgas – nagu kogu ülejäänud kunsti tootmine erakordse säraga. Käsikäes arhitektuuri, linnaplaneeringu ja maalikunsti arengutega, mida kannustas tugevalt maadeavastuste periood 15.sajandil ning sellele järgnenud ülemere- ja koloniaalimpeeriumi loomine 16.sajandi algul, mis ulatus Brasiiliast india ja Jaapanini, jättis Portugal kustumatu jälje maailma kultuuripärandisse.Portugali perifeerne asukoht Euroopa keskuste suhtes ei osutunud sellele erakordsele pärandile takistuseks, ega ole seda ka täna, hoolimata riigi praegusest kehvast poliitilis-majanduslikust olukorrast.Kaasaegne portugali ehtekunst puhkes taas õitsele alates 1977.aastast, mil uSA-st ja inglismaalt naasid ehtekunstnikud Teresa Seabra ja Alexandra de Serpa Pimentel, ning sai uue hoo sisse tänu nende ja Cristina Filipe õppetööle Ar.Co-s (Kunsti- ja Kommunikatsioonikeskus), arenedes erakordse teostuse ja kontseptuaalse kvaliteedini, mis võimaldavad seda võrrelda hetkel tunnustatuima kaasaegse ehtekunstiga, eriti Saksa ja Hollandi omaga. Täna, kus Portugali perifeerne staatus on järjest enam võimendumas, ühes erakordselt raske finantsolukorra ning poliitilise keskpärasusega, pulbitseb siin samaaegselt haruldane loovus, mida tunnustatakse rahvusvaheliselt: arhitektuur (kaks Pritzker Prize´i), linnaplaneering, kinokunst, kirjandus, disain, visuaalsed kunstid ja ehtekunst on selle põhjapanevad osad, ning eriti viimatinimetatu, järgivad diskursusi, mis peegeldavad Portugali minevikupärandit, ning käivad sellega ümber täie vabadusega – ühendades ehtekunsti fotograafia, land art´i ja videokunstiga (Cristina Filipe), arendades seda läbi isikliku poeesia või tarbimisühiskonna ning maailmas valitseva kriisi kriitika, mida järgib Portugali kaasaegsete ehtekunstnike väga aktiivne kolmas põlvkond. Ja alles hiljuti avati Mouras, Alentejos (Portugali üks vaesemaid ja põua käes kannatavaid regioone, kuid mida on õnnistatud rikkaliku ajaloo- ja kultuuripärandiga) üllatav Alberto Gordillo-nimeline modernse ja kaasaegse ehtekunsti muuseum. Alberto Gordillo oli Portugali autoriehtekunsti pioneer, alustades sellega 1959.aastal, ja tema nimeline muuseum on üks väheseid ehtekunsti muuseume maailmas ning ühtlasi suurepäraseks peegelduseks kultuuri vitaalsusest riigis, mida ohverdatakse järjest enam neo-liberaalsetele majandushuvidele. On väga tähenduslik, et riigid nagu Eesti, uus-Meremaa või Austraalia on samuti esirinnas kaasaegse ehtekunsti valdamises – tõestades seeläbi, et perifeeriline geograafiline asukoht ei ole takistuseks selle jälgejätva kunstivormi arenguks – ja et ehtekunst on universaalne keel, mis ühendab ja tugevdab riikidevahelisi suhteid aina enam ja enam.

KAASAEGSE EHTEKuNSTi VäLJAKuTSE POrTuGALiS

rui Afonso Santos

Berengaria

18 19

EXPOSiçãO “BOrDEr CiTy: TALLiNN-LiSBON”

Harry Liivrand

A exposição de joalharia “Border City”, que estará patente em Tallinn em 2011 e em Lisboa em 2012, é o primeiro projecto realizado em conjunto entre joalheiros estónios e portugueses. Esta exposição transmite um significado baseado no design á identidade de duas capitais que simbo-lizaram as fronteiras da Velha Europa. Na sua dimensão geográfica, Tallinn e Lisboa definem espaços culturais de periferia totalmente opostos e mesmo de cariz contraditório quando vistos a partir de um prisma psicológico. No entanto, o estatuto de uma cidade fronteiriça aberta para o mar e a sua localização contextual como ponto final de chegada são os pontos de partida que motivaram este projecto. Ambas são visitadas pelo mar; não existe outra possibilidade – apenas o regresso ou a partida mar adentro, o atravessar da fronteira...ser inspirado.

A Rainha Berengária, mulher do Rei dinamarquês Valdemar II que conquistou Tallinn em 1219, era uma Princesa portuguesa.

Tallinn e Lisboa estão historicamente ligadas pelo sal, que era na Tallinn medieval um dos seus mais importantes artigos de importação. uma larga parte da riqueza e prosperidade da cidade foi alcançada a partir do comércio do sal, como se a partir deste tivesse sido construída. O sal era importado sobretudo a partir da região histórica de Setúbal, em Portugal. Este sal branco era tam-bém conhecido como o sal de Lisboa, transportado em barcos abertos, e assim chegava à cidade Hanseática de Tallinn. Esta ligação ao sal inspirou os artistas que participam nesta exposição.

Um mercador português foi raptado em Tallinn no século XVI.

As fronteiras unem e separam. No campo psicológico, atravessar uma fronteira está sempre re-lacionado com o medo, o tempo e o contexto. As cidades fronteiriças falam-nos de possibilidades e impossibilidades, partidas e regressos, antecipação e desespero. As cidades portuárias de vida intensa, que produzem significados, são férteis no desenvolvimento de milhares de histórias do mar que os seus habitantes protegem quais segredos sagrados. São estas histórias que formam o subconsciente das cidades fronteiriças, simultaneamente mágicas e paradoxais. Os materiais caóticos e proto-dinâmicos que se acumulam nas cidades fronteiriças são transformados em algo cultural. Nos caldeirões mágicos dos joalheiros estes materiais ganham uma forma de jóia – no seu meta-sentido, uma forma de amuleto.

Em 1960, e baseado nas suas experiências de viagem em Portugal, o artista estónio Eerik Haamer pintou uma extensa composição decorativa.

As aventuras das descobertas partem de cidades de fronteira. As caravelas do infante D. Henri-que, o Navegador, e de Vasco da Gama partiram de Lisboa para a descoberta do Novo Mundo – O domínio dos mares a partir de Tallinn não passava, nesta época, do Golfo da Finlândia. A situação mudou no século XiX quando Adam Johann von Krusenstern e Fabian Gottlieb von Bellingshausen iniciaram as suas carreiras como exploradores a partir de Tallinn. Quando uma cidade fronteiriça desaparece no horizonte, aqueles que se voltam para olhá-la ficam apenas com

a nostalgia das memórias, o que no caso de pessoas mais sensíveis leva ao aparecimento de lágri-mas salgadas. Os que ficam para trás transmitem a melancolia … As fronteiras são mecanimos bilingues, que interpretam e absorvem as notícias vindas de fora e novas informações na língua local. É por isso que a harmonia e os conflitos de creatividade estão codificados nas cidades de fronteira.Baseado neste contexto, a exposição em Tallinn tem lugar simultaneamente em duas galerias – numa o subtópico é a Chegada, e na outra a Partida. Dezassete artistas de cada uma das cidades participa neste evento, sendo a maioria joalheiros e representantes internacionais da arte da joa-lharia do seu país, e estou muito feliz que decidiram participar neste projecto. Misturaram sal e ouro, prata e diamantes em bruto, sheet iron e cristais de sal, sal e tecido… interpretam o poder mágico da joalharia, o significado codificado num objecto de arte, o impacto místico dos materiais e a grandiosidade do simbolismo. Viajar até uma cidade fronteiriça dá-lhes mais poder e auto-confiança. Estarão ainda presentes alguns artistas figurativos de Lisboa e Tallinn para interpretar e pensar este conceito. Possuem também o domínio daquele fantástico sentimento de se encontrar na fronteira – os materiais incluem tela, acrílico, folha de ouro, fotografia e bronze.

Digo Kadri, quero dizer Cristina; Chamo Laurentsius, e digo Rui; Chamo Tanel, e aparece Hugo; Digo Katarina, e tenho Paula

Aitäh!Obrigado!Thanks!

20 21

DE LiMiAr EM LiMiAr

Cristina Filipe

Ouvi Dizer

Ouvi dizer que haviaNa água uma pedra e um círculoE sobre a água uma palavraQue dispõe o círculo à volta da pedra.

Vi o meu choupo descer para a Água,Vi o seu braço mergulhar no fundo,Via as suas raízes suplicar noite voltadas para o céu.

Não corri atrás dele,Limitei-me a apanhar do chão a migalhaQue dos teus olhos tem a forma e a nobreza,Tirei-te do pescoço o colar daquelas falasE debruei com ele a mesa onde agora estava a migalha.

E deixei de ver o meu choupo.

Paul Celan

“Na obra de Celan, o espaço do poema constrói-se De limiar em limiar… E, para Celan, é na passagem de um limiar ao outro que se constrói o próprio poema, num gesto que parte do que um dia foi dito e que precisa ser redito – para que exista – e se movimenta em direção a um outro que o oiça, de modo que também o que o poeta tem a dizer possa ser redito algum dia, tornando possível, assim, uma condição mínima de existência e uma possibilidade de sobrevivência.”1

As obras dos artistas tal como a de Celan constróem-se, “poeticamente, como um espaço de relação, um espaço de possibilidade de encontro, da tentativa de um diálogo.”2

Como é que a obra do artista, residente numa cidade geograficamente mais a Norte e/ou mais a Sul, poderá transparecer o facto de se viver junto a uma linha cartográfica que o coloca na periferia de um continente e na fronteira com um oceano inteiro para nadar.

Harry Liivrand coloca-nos perante esse dilema. Conscientes de sermos quem somos no lugar onde nascemos. Onde vivemos.

Mas será que partimos ou chegamos?

Será que chegamos de onde partimos ou partimos de onde chegamos?

Chegar e partir confundem-se. A linha ténue que os distingue é a fronteira que nos divide. Mas será que podemos estar divididos entre dois lugares distintos? Será que sabemos de onde somos e para onde vamos?

1 CArDOZO, Maurício Mendonça, Prática e espaço da poesia Contemporânea, uFPr -universidade Federal do Paraná – Setor de Ciências Humanas Letras e Artes – Departamento de Letras Estrangeiras Modernas, Curitiba, Brasil., p.149, 2008.2 ibidem, p.152.

A peregrinação conduz-nos a lugares sagrados onde buscamos a luz e a santidade. A Protecção. Conduz-nos a lugares de culto onde nos enraizamos. E é tantas vezes esta meta, procura, que nos move de um lugar para outro.

A raiz que nos liga a um lugar é necessária para entendermos a História, a Obra, a Palavra.

Sermos Árvore implica permanecermos num sitio e a ele pertencermos. Criar raiz. E, permanecermos paralelos ao rio que desagua no Oceano.

Aqui a Jóia serve como um código, o Corpo como um veículo, a Escultura como um ser, a Pintura como uma paisagem. Cada obra traduz como entende a Palavra. No entanto tal como a poesia de Celan “não aponta caminhos, apenas lambe feridas que não cicatrizam nunca mais.”

Celan, é um poeta de fronteira - do limiar, do limite. E, tal como a ele preocupa-nos “elevar o mundo à pureza, à verdade ao imutável”3

“Tu lês, diz o poema. Ler, como no Livro Mudo: lege, lege, relege...Da meditação cuidadosa, paciente, sairá a Pedra, a marca do caminho. Ou sairá a Palavra redentora do dia. Ou então o silêncio.”4

“Com Paul Celan habitamos o silêncio. O silêncio do tempo, o silêncio do espaço entre as palavras. As palavras, escolhidas (vividas) demoradamente não pretendem exprimir mas fazer recuar (ou avançar) até ao limite do indizível a imagem de um universo e de um homem abalados na sua própria raiz: a do pulsar do Verbo que, por amor, se desdobrou na manifestação.”5

Tal como Celan “tacteamos caminhos, dolorosamente, num tempo de feridas abertas”6

“Quem fala, não fala para ninguém, fala porque ninguém o ouve, ninguém e Ninguém”7

Mas existe sempre “o mistério do encontro”(Der Meridiam / O Merediano, 1960) o desejo de chegar ao outro e o terrível silêncio”.8

Cada obra tal como a poesia de Celan “pode ser uma garrafa lançada ao mar, abandonada à esperança – decerto muitas vezes ténue – de poder um dia ser recolhida numa qualquer praia, talvez na praia do coração” e Celan diz ainda “Também neste sentido os poemas são um caminho: encaminham-se para um destino(...), para um Lugar aberto, para um tu intocável...”9

E nós os autores, o que somos?

A responsabilidade de sermos o sal da terra motiva todos os nossos gestos e decisões. O que fazemos e como fazemos. Justifica tudo o que está a ser apresentado nestes dois lugares expositivos denominados por “Chegada” e “Partida”.

…”e se o sal for insípido, com que se há de salgar?”10

Lisboa, Junho 2011

3 CENTENO, y.K., Paul Celan: o Sentido e o Tempo, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXiii, 1993.4 ibidem5 ibidem, XXV6 BArrENTO, João, Paul Celan: o Verbo e a Morte”, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXX, 1993.7 CELAN, Paul, BArrENTO, João, Paul Celan: o Verbo e a Morte”, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXXi, 1993.8 BArrENTO, João, Paul Celan: o Verbo e a Morte”, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXXi, 1993.9 CELAN Paul, BArrENTO, João, Paul Celan: o Verbo e a Morte”, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXXi, 1993.10 Mt 5,13, Evangelho S.Mateus.

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Aconteceu num eléctrico. Num eléctrico de madrugada. Não importa em que cidade fronteiriça em particular teve lugar. Entrou uma mulher morena, cheia de sono. A sua cara irradiava a grandeza solitária de alguém que procura emoções fortes. As suas pálpebras tremeram, deixando antever uma discreta rede de vasos sanguíneos. Sobressaltei-me num reconhecimento súbito. Senti como se aquelas pálpebras, a rede de vasos sanguíneos e o seu cabelo escuro e revolto me tivessem tocado, atraído como um ímane. Seguíamos na mesma direcção e quando chegámos à última paragem, saímos. Será que nos apre-sentámos? Cristina.

•

A percepção da realidade de uma pessoa depende largamente do espaço que a rodeia, do seu es-paço cultural. Mesmo os conceitos do mundo material, para não falar do abstracto, são reflectidos em diferentes lugares de maneiras diferentes, dependendo de como um povo ou uma cultura os vêem.Mas este processo intelectual também possui características humanas e universais.

Atravessar a fronteira do campo semântico de uma cidade fronteiriça não é algo que aconteça por si só. Esse atravessar é um acto de vontade, intencional.Envolve sempre atravessar a fronteira conceptual entre acção e apatia, mesmo que a cidade fron-teiriça esteja nas nossas mentes e não seja um conceito geográfico.Se o definimos de uma forma física, geográfica, deparamo-nos com algo bastante estranho; des-cobrimos que existe uma cidade algures, uma cidade que está no fim da linha porque se encontra na linha. O que é que está do outro lado dessa linha de fronteira?Mas mesmo no campo simbólico, podemos dar connosco numa área de incompreensão, à mercê das emoções. Perigo e atracção. Expectativa e fuga.Esquerda ou direita? Não existe um caminho que vá sempre em frente!

•

uma situação de limite, na fonteira, é uma experiência emocionante, é o sal da vida!O seu poder de atracção, terror e charme são irresístiveis. Na fronteira, as coisas simplesmente acontecem. Ou pelo menos temos a esperança que possam acontecer. E tememos que as coisas aconteçam…Mas a fronteira também pode ser promissora – a possibilidade de parar, dar um passo atrás. He-sitação. A cidade na fronteira emociona-nos não porque contenha o desconhecido, mas pela res-posta que dá às nossas perguntas. Sentir que a cidade longínqua, na fronteira, está dentro de nós, no nosso sangue.Este reconhecimento pode surgir como um choque eléctrico, pode ser magnético como o sismó-grafo que regista o mais pequeno abalo…Tudo é possível.Não podemos saber o que está por detrás. É apenas mistério.

•

Os anos passam. Mesmo um século; um milénio pode acabar quando outro tem início. O eléctrico já não pára onde o fazia anteriormente. Mas existe algo que permanece. A recordação, da rede de vasos sanguíneos na pálpebra. Esta rede expande-se. uma rede de conhecidos pode transformar-se num mapa-mundo pessoal.E se uma rede de relações emocionais se desenvolve entre artistas é muito mais do que um mapa pessoal, ou de uma cidade. É um mapa de história(s), onde a amizade não é apenas um estado emocional mas uma categoria sociológica, de história de arte.Mas não é apenas isso – é um fenómeno de limite/fronteira da percepção devidamente cartografa-do, onde a empatia humana, encontro e despedida, são como oscilações de uma agulha magnética, como o atravessar da linha.

FrONTEirA, CiDADEE O SEGrEDO DAS COiSAS

Kadri Mälk

Desde a fundação da Nacionalidade no Século Xii, as Artes Decorativas – ourivesaria e joalha-ria incluídas - acompanharam com brilho excepcional a produção artística portuguesa. Em sin-tonia com os desenvolvimentos na Arquitectura, urbanismo e Pintura, hiper-reforçados com a eclosão dos Descobrimentos no Século XV e a fundação de um império marítimo e colonial nos começos do Século XVi, do Brasil à Índia e ao Japão, Portugal marcou indelevelmente o legado cultural da Humanidade. A situação periférica do País relativamente aos centros europeus não foi, naturalmente obstá-culo a este legado excepcional, nem o é nos dias de hoje, apesar da actual debilidade económica e política do País. Com efeito, a Joalharia Contemporânea Portuguesa – eclodida, desde 1977, com o regresso das joalheiras Teresa Seabra e Alexandra de Serpa Pimentel respectivamente dos EuA e inglaterra, e reforçada pela docência destas e de Cristina Filipe no Ar.Co (Centro de Arte e Comunicação), enveredou por caminhos excepcionais de execução e de qualidade conceptual, que afinam esta produção com a mais destacada produção contemporânea, nome-adamente alemã e holandesa. Actualmente, com a sua situação periférica cada vez mais acentuada, sua dificílima situação fi-nanceira e mediocridade política, Portugal conhece um período excepcional de criatividade, in-ternacionalmente reconhecida: a Arquitectura (dois Pritzker Prizes), o urbanismo, o Cinema, A Literatura, o Design, as Artes Visuais e a Joalharia são componentes fundamentais desta pro-dução que, no caso desta última modalidade, assumem discursos que reflectem sobre o imenso legado específico do passado, canibalizando-o livremente, aliando-se à Fotografia, à Land Art e à Vídeo Art (Cristina Filipe), desenvolvendo-o em poéticas pessoais ou vertentes críticas da sociedade de consumo ou da crise mundial que uma activíssima Terceira Geração de Joalheiros Contemporâneos Portugueses prossegue – e, recentemente, inaugurou-se em Moura, no Alen-tejo (uma das mais desertificadas e pobres regiões portuguesas, dotada porém de imenso legado histórico e cultural), o surpreendente Museu de Joalharia Moderna e Contemporânea Alberto Gordillo (pioneiro, desde 1959, da Joalharia de Autor em Portugal), um dos raríssimos Museus de Joalharia existentes no Mundo e excelente retrato da vitalidade cultural de um País que os interesses da ordem económica neo-liberal sacrificam cada vez mais.Pensando que Países como a Estónia, a Nova-Zelândia ou a Austrália dão igualmente cartas no domínio da Joalharia Contemporânea é significativo – provando que a situação geográfica periférica não é obstáculo ao desenvolvimento desta marcante expressão artística – e a Joalharia é linguagem universal que cada vez mais aproxima e reforça os laços entre estes Países.

O DESAFiO DA JOALHAriA CONTEMPOrÂNEA EM POrTuGAL

rui Afonso Santos

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EXHiBiTiON “BOrDEr CiTy: TALLiNN-LiSBON”

Harry Liivrand

The jewellery exhibition titled Border City, which will be on display in Tallinn in 2011 and in Lisbon in 2012, is the first joint project between Estonian and Portuguese jewellery artists. The exhibition gives a design-based meaning to the identity of two capitals that have symbolised the borders of Old Europe. in the geographic dimension, Tallinn and Lisbon define totally different and, in the context of mental attitudes, even contradictory peripheral cultural spaces. However, the status of a border city that is open to the sea and the location’s context as a fateful end terminal are the points of departure that have motivated this project. Both cities are met by the sea; there is no other possibility – one must turn back or sail away, to cross the border … or to be inspired.

Queen Berengaria, the wife of Danish King Valdemar II, who conquered Tallinn in 1219, was a Portuguese princess.

Historically Tallinn and Lisbon have been connected by salt, which was one of medieval Tallinn’s most important import articles. A large part of the city’s wealth and prosperity was based on the trading of salt, thus one could say that Tallinn was built on salt. The salt was imported primarily from Portugal’s historic Setubal region. The white salt from this area was also called Lisbon salt and was transported in open ships. in this way, Lisbon salt arrived in the Estonian Hanseatic City of Tallinn. This ancient salty connection has inspired the artists participating in this exhibition.

In the 16th century a Portuguese merchant was kidnapped in Tallinn.

Borders unite and divide. Psychologically, crossing a border is always related to fear, time and context. Border cities are related to possibilities and impossibilities, to departing and returning, to anticipation and desperation. intensive port cities, which produce meaning, are fertile ground for the development thousands of seaside stories that the locals protect like holy secrets. These stories form the subconscious of border cities, which are simultaneously paradoxical and magical. The chaotic, proto-dynamic material that accumulates in border cities is transformed into something cultural. in the magical cauldrons of jewellery smiths, this is given a jewellery-like – in the meta-meaning, an amulet-like – form.

In 1960, based on his impressions from travel to Portugal, Eerik Haamer painted a large decorative composition.

Journeys of discovery are based on border cities. in the 15th century the caravels of Prince Henry the Navigator and Vasco de Gama set sail from Lisbon to discover the New World – at that time, Tallinn’s role was limited to being master of the Gulf of Finland. The situation changed in the 19th century when Adam Johann von Krusenstern and Fabian Gottlieb von Bellingshausen started their careers as explorers in Tallinn. When a border city sinks behind the horizon, those who are looking back are left with only nostalgic memories, which, in

the case of more sensitive people, are moistened with salty tears. Those who are left behind are also melancholy … Borders are bilingual mechanisms, which interpret foreign news and new information into the local language. Therefore, creative conflict and harmony in encoded into border cities.

...

Based on the concept, the exhibition in Tallinn is occurring simultaneously in two galleries – in one the sub-topic is Arrival and in the other Departure. Seventeen artists from each city are participating, of whom the majority are jewellers and international representatives of their country’s jewellery art. i am extremely happy that they have decided to participate in the project. They have combined salt and gold, silver and raw diamonds, sheet iron and salt crystals, salt and fabric… They perceive the magical power of jewellery, the meaning encoded in object art, the mystical impact of materials, and the greatness of symbolism. Coming to a border city gives them additional power and self-confidence. in addition, a few figurative artists from Lisbon and Tallinn are interpreting the topic. They also have an excellent mastery of the fantastic feeling of being on border –the materials include canvas, acrylic, gold leaf, photo and bronze. .

I say Kadri, I mean Cristina; I say Laurentsius, I mean Rui; I say Tanel, I mean Hugo; I say Katarina, I mean Paula…

Thanks!Aitäh!Obrigado!

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FrOM THrESHOLDTO THrESHOLD

Cristina Filipe

I HEARD IT SAIDI heard it said there was a stone in the water and a circle and above the water a word that lays the circle around the stone.

I saw my poplar go down to the water,I saw her arm reach down into the depth,I saw her roots beg skyward for night.

I did not run after her, I only picked up from the ground the crumb that has your eye’s shape and nobility, I took the chain of proverbs off your neck and with it hemmed the table where the crumb now lays. And no longer saw my poplar. Paul Celan1

1 Translated by Pierre Joris.2 CArDOZO, Maurício Mendonça, “Prática e espaço da poesia Contemporânea”, uFPr -universidade Federal do Paraná – Department of Modern Foreign Letras – Departamento de Letras Estrangeiras Modernas, Curitiba, Brazil, p.149, 2008.3 ibidem, p.152.

4 CENTENO, yK, Paul Celan: o Sentido eo Tempo, Sete rosas Mais Tarde, Antologia Poética, Cotovia, P. XXiii, 1993.5 ibidem6 ibidem, XXV.7 BArrENTO, João, Paul Celan: o Verbo e a Palavra, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXX, 1993.8 BArrENTO, João, Paul Celan: o Verbo e a Palavra, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXXi, 1993.9 BArrENTO, João, Paul Celan: o Verbo e a Palavra, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXXi, 1993.10 BArrENTO, João, Paul Celan: o Verbo e a Palavra, Sete rosas Mais Tarde, Antologia Poética, Cotovia, p. XXXi, 1993.11 Matthew 5.13, Matthew Gospel.

“in the work of Celan, the space of the poem is constructed From threshold to threshold... And, for Celan, it is the passage from one threshold to the other that builds the poem itself, in a gesture that parts from what was once said and that needs to be said again - so it may exist - and moves toward another who shall listen, so that what the poet has to say can be also be said again someday, thus making a minimum condition of existence and a chance of survival possible. “2

The works of artists, like the work of Celan, are built “poetically, as a space of a relationship, a space of the possibility of a meeting, the attempt of a dialogue.”3

How does the work of an artist, who lives in a city geographically further north and / or further south, disclose the fact that he lives close to a cartographical line that places him on the edge of a continent and on the border of an entire ocean to swim?

Harry Liivrand places us with this dilemma. Conscious of being who we are in the place where we are born. Where we live.

But are we departing or arriving?

Do we arrive where we departed from or do we depart from where we arrived?

Arrival and departure merge. The tenuous line that distinguishes them is the boundary that divides us. But can we be divided between two distinct places? Do we know where we come from and where we are going?

Pilgrimage takes us to sacred places where we seek light and holiness. Protection. it leads us to places of worship where we root ourselves. it is often this goal, this quest, which moves us from one place to another.

The roots that tie us to a place is necessary to understand History, the Works, the Word.

Being a Tree means we remain in one place to which we belong. To create roots. And to remain parallel to the river that flows into the Ocean.

Here the Jewel becomes a code, the Body a vehicle, Sculpture a being, Painting a landscape. Each Work translates its understanding of the Word. However, as in the poetry of Celan “it does not point us toward new routes, it only licks wounds that will never heal.”

Celan is a poet of the border - of the threshold, the limit. And, like him, we are concerned about “elevating the world to purity, to truth, the immutable”4

“you read, the poem says. To read, as in the Mute Book: lege, lege, relege ... From careful, patient meditation shall come the Stone, the sign of the path. Or shall come the redeeming Word of the day. Or then the silence. “5

“With Paul Celan we inhabit silence. The silence of time, the silence of the space between words. The conscientiously chosen (lived), words, do not intend to express, but rather to withdraw from (or approach) the limit of the unspeakable, the image of a universe and of a man shaken in its very root: that of the pulse of the Verb which, for love, unfolded in manifestation. “6

As Celan “we grope for paths, painfully, in a time of open wounds”7

“He who speaks no longer speaks to anyone, he speaks because no one listens, no one and No one”8

But there is always “the mystery of the encounter” (Der Meridia / The Meridian, 1960) the desire to get to the other and the terrible silence. “9

Each work, as the poetry of Celan, “can be a bottle thrown at sea, abandoned to hope - undoubtedly often tenuous - to be collected one day on some beach, possibly on the beach of the heart”, Celan still says “Also in this sense poems are a path: they lead to a destination (...), to an open Place, to an untouchable you... “10

And we the authors, what are we?

The responsibility of being the salt of the earth motivates all our gestures and decisions. What we do and how we do it. it justifies all that is being presented in these two exhibition spaces named “Arrival” and “Departure.”

... “and if the salt is bland, what can we salt with?” 11

Lisbon, June 2011Translation of the poem: Pierre Joris

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it happened in a tram. in an early-morning tram. The particular border city in which it happened doesn’t matter. A dark-complexioned woman entered, clearly sleepy. Her face radiated the solitary grandeur of a mountain dweller and some sort of craving for extreme measures. Her eyelids trembled, betraying a barely perceptible network of blood vessels. A sudden recognition gave me a start. i felt that those eyelids, that network of blood vessels and the unearthly ebony of the woman’s hair had touched me, drawn me as with a magnet. We were going in the same direction and when the final station came, we got off. Did we introduce each other? Cristina.

•

A person’s perception of reality depends largely on the space surrounding them, on their cultural space. Even concepts from the material world, to say nothing about the abstract, are reflected in different places in different ways, depending on how a given people or culture sees them.But this intellectual process also has universal, human characteristics.

Going across the boundary of a border city’s semantic field is never something that just happens by itself.Such a crossing is in any case an act of will, an intentional act.it always involves the crossing of the conceptual boundary between action and inaction, even if the border city is in our minds, and not a geographic concept.if we define it physically, geographically, we come across something quite strange; we find that there is a city somewhere, a city that is the end of the line because it is on a line. What is on the other side of that boundary line?But even if we see it symbolically, we can find ourselves on incomprehensible terrain, at the whim of emotions. Danger and attraction. Expectation and flight. Left or right? After all, there is no way straight ahead!

A borderline situation is a thrilling experience, it is the salt of life!its appeal, terror and charm are irresistible. On the border, things simply happen. Or at least there is the hope that things could happen. And fear that things might happen…But the border could also give us a promissory note – permission to stop, take a step back. Hesitation.A border city is exciting to us not because it contains the unprecedented, but because of the answer it provides to our questions. To sense that the ultimate city, the border city lies within us, in our blood.This recognition can come like an electric shock, from an electric cattle prod, it could be magnetic like a seismograph that registers even the slightest tremors..... Everything is possible. There is no way of knowing what is behind it. Behind it is mystery.

•

years go by. A century, even; one millennium might end as another one begins. The tram no longer stops where it once did. But there is something that is permanent. A memory, of the network of spidery veins on the eyelid. The network expands. A network of good acquaintances can evolve into something akin to a personal world map.And if such a network of emotional relationships develops between artists, it is much more than a personal map, or a city map. it is a history map, where friendship is not merely an emotional state but a sociological, art-history category. Not only that – it is a mapped borderline phenomenon of perception, in which human empathy, meeting and farewell are like oscillations of a magnetic needle, like crossing a line.

BOrDEr, CiTy ANDTHE SECrET OF THiNGS

Kadri Mälk

Beginning with its founding as a nation state in the 12th century, Portugal’s decorative art – including metal and jewellery art – developed in a brilliant way, as did the production of all of its art. Keeping pace with the development of architecture, city planning and painting, which were spurred on by the period of exploration in the 15th century, as well as the founding of the overseas and colonial empire in the 16th century, which extended from Brazil to india and Japan, Portugal left an indelible mark in the legacy of world culture.

Portugal’s peripheral location, as opposed to other European centres did not pose a threat to this extraordinary legacy, nor is it so today, regardless of the state’s current political and economic situation.

Contemporary Portuguese jewellery art blossomed once again beginning in 1977, when jewellery artists Teresa Seabra and Alexandra de Serpa Pimentel returned from the uS and Britain and was revitalised thanks to their (and Cristina Filipe’s) teaching at Ar.Co (Art and Communication Centre). Work rose to a level of exceptional execution and conceptual quality, allowing it to be compared to the most renown contemporary jewellery art, including that of Germany and Holland.

Today, when Portugal’s peripheral status is constantly growing, along with an extremely difficult financial situation and political mediocrity, a unique, internationally recognised creativity is bubbling here as well: architecture (2 Prizker Prizes), city planning, cinema art, literature, design, visual art and jewellery art are its cornerstones. Especially the latter follows the discourse which reflects Portugal’s historic legacy and handles it with complete freedom – uniting jewellery art with photography, land art and video art (Cristina Filipe), developing it through personal poetry, consumer society and criticism of the current world crisis, which is being observed by the third, very active generation of Portugal’s contemporary jewellery artists. Just recently the surprising Alberto Gordillo Modern and Contemporary Jewellery Museum was opened in Mouras, Alentejos. This area is one of Portugal’s poorest drought-suffering regions, which has been blessed with a rich historic and cultural legacy.

Alberto Gordillo was a pioneer of jewellery art, starting in the field in 1959 and the museum that bears his name is one of the few jewellery museums in the world. it is simultaneously a spectacular reflection of the vitality of culture in a country which is being sacrificed more and more in the name of neo-liberal economic interests.

it says a lot that countries such as Estonia, New Zealand and Australia are also in the forefront in the mastery of contemporary jewellery art – thereby proving that a peripheral geographical location is not a hindrance in the development of this art form – and that jewellery art is a universal language which unites and strengthens relations between countries more and more.

THE CHALLENGE PrESENTED By CONTEMPOrAry JEWELLEry ArT iN

POrTuGALrui Afonso Santos

S a a b u M i n e

urve Küttnerborder city – arriVal is dedicated to the brave mariners who brought “lisbon salt” to estonia. Salt has also added colour to our sheet-iron works of art, but eroded the material. border city, border crossing, metaphysical polarity, mysterious will-o’-the-wisps.

“the most beautiful experience we can have is the Mysterious.”albert einstein

Hat / silver, gold / 1997bag / silver, sapphire / 1997the works are displayed in a plexiglas frame

Katarina Kotsalainenarrival. clean. White cloud. lightness.

arrival / Horn, silver, stainless steel / 2011

tiina KäeselRing with a stone / granite, silver, gold / H- 34 cm; weight 5,2 kg / 1994

the salt

When we think about salt, we think in spices or we think whit another connotation more transcendent, to protect too bad-eye, or have a bath with salt.it was the fear to poisoning that caused the practice to touch food with the help of objects that were nominated tasters. the proves were talisman/amulets, to witch they attributed the property of changing color when they were touched with a toxic-product. the nerval tooth, the tongue of a serpent and the coral were set in gold or silver. they could be kept on the inside of the neefs or in the salt-cellars or to collect or hang up in pieces of jewellery conceived for that purpose the “languier”. the unicorn horn, which was thought could bleed in the presence of impure substance, was one of the favorites, the gate was more common because was easier to obtain, the jasper heart shaped was used to stanch-blood; after this research i decided to make a “languier” not only to show to people this fantastic object that was used in the past but also to show how the mentality evolution is responsible of the disappearance of objects and humanity stories. the coral branch was used to keep away the bad-eye…

Madalena avellar the Saltthe preciousthe jewels/talismanthe profanethe sea/travelthe sky/earthlife/dead the salt When we think about salt, we think in spices or we think whit another connotation more transcendent, the protection against bad-eye, or have a bath with salt. When reading the introductory text for the border city project, i was immediately sent to the historic past and the objects related to the salt, salt-cellars and shelters used on the table arts. When turning over the leaves of a book speaking about banquets i found an extraordinary object of jewelry used on the Middle ages designated “languier” and i start searching for it. We do not give almost any value to the salt nowadays but in the past was considered a rarity and its value was similar to gold. the salt-cellar were very important for the preciosity they kept as well as its great symbolism. the nef or shelters were used to keep the salt or the spices, always related to the sea or mythology scenes. they were also used to keep proves or against poisons. it was the fear to poisoning that caused the practice to touch food with the help of objects that were nominated

tasters. the proves were talisman/amulets, to witch they attributed the property of changing color when they were touched with a toxic-product. the nerval tooth, the tongue of a serpent and the coral were set in gold or silver. they could be kept on the inside of the neefs or in the salt-cellars or to collect or hang up in pieces of jewellery conceived for that purpose the “languier”. the unicorn horn, which was thought could bleed in the presence of impure substance, was one of the favorites, the gate was more common because was easier to obtain, the jasper heart shaped was used to stanch-blood; the coral branch was used to keep away the bad-eye… the salt was tested with the tongue of the serpent, knowed nowadays with the name of shark tooth fossilized. one of the highest moments of the meal ceremony was the take of the salver, tasting everything to be served to the master/sir.When the dishes arrived to the table one of the waiters had to make prove the of the anti venom touching the aliments with one of the stones and was believed that any poison would be removed from them. by the end of the Middle age the protection against poisons took such a big importance that the table set had to be organized according to these new measures. after this research i decided to make a “languier” not only to show to people this fantastic object that was used in the past but also to show how the mentality evolution is responsible of the disappearance of objects and humanity stories. 2nd idea thinking about the route between Sétubal and tallinn by sea to trade or buy the precious salt in the Middle age i came across the idea of getting an ancient map and make a chain with several amulets connecting the two cities that were used as boarders/frontiers against any spell or travel illnesses 3rd idea to create some silver purses that contains salt inside them and also a gem to protect against bad-eye. these pieces of jewelry have a double function they can either be used as a pendent or as a pin.by the middle age the gem stones were kept in bags made out of skin and normally used close to the human body not only by the intimate secrecy that this gems meant but as well as to make them easier to carry.the color had a fundamental role in gem attributes – red ones were meant to cure inflammation diseases or blood extortion. – yellow ones for gall and liver diseases. – Green ones would correct any eye dysfunction and finally the blue ones - would made evil fade and would magnetize the light

Madalena avellar

languier / silver, shark tooth, glass, cork, salt, metal / 2011

leonhard lapin“a border city is located between two peoples, countries, but also between two natural phenomena – the sea and the land. it can also be between the land and the sky, a place where towers reach into the sky. Mariners are beckoned home by these towers and etched into the memories of travellers upon their departure. a border can also exist between the spiritual and earthly, which a temple can help to traverse. i have presented these temples in my works.“

Temple iii / ready-made, metal, gold, aluminium, wood, stain / 2011Temple i / ready-made, silver, silver leaf, nickel, wood, steel, stain / 2010

risto tali / rait Siskado you believe that they are coming?

they are coming from the skies above and bringing you good tidings. an eternal attitude. “those iron men will not refrain from attacking the village; they will come for sure! if they are not friendly, they will be wicked, but they will come soon.” that’s what ancient estonians might have thought.

there is a question for which border city residents have an answer. it is, “do you believe that they are coming back?” but who are “they”? and where are they coming from? are “they” the same for the residents of lisbon and tallinn”?What is sure is that if they come, they will not easily depart.or vice versa?

but the people ate and proclaimed that we in estonia eat just as well as they do. What?

The text was compiled by adviser Aivo Vaske based on Risto Tali’s substrate.

Do You believe That They are Coming?a military scrap, which may just as well have come from a ufo. the military scrap is readymade. it needs additional processing (turning, milling, polishing) aluminiumH 35 cm. / 2011

eve-Margus Villems“...we have been on the way for a long time; for a long time i have not been able to say which is a reverberation, and which is an echo of that reverberation in the air…. “tõnu Õnnepalu “Ithaka”

the nose causes a rift in the water and a firm footing has not yet been achieved. We leave only imperceptible traces, which gradually retreat into the depths.

arrival. Departure / objects (2 pieces) / Marble / 2011

Sónia brumborderline

“two different situations, the paradox ofunity and separationarriving and departingthe old and the contemporarylife and deathfrom real to fictiondeconstruct to construct

i started with a personal object (a ceramic beaded necklace)which i destroyed, fragmented, and when testing its physical limit there were just some fragments of white ceramic pieces remaining.the interpretations and studies achieved from those fragmented objects and from the textures research, gave place to a new necklace with a new reality.”

brooch / textile / 2011

inês nunesSalt,the identity of two cities, tallinn and lisbon.Medieval History in the salt was transported in the holds of ships that came from Setúbal and arrived to tallinn. today salt is transported in the body as jewelry.

Stone chipsSalt is the third divine substance in alchemy and represents the ultimate expression of refined stone hardened with epoxy resin crystalsalt is the symbol of the indestructible union in the mixture with sodium chloride formed when Sodium metal reacts with chlorine gasthe arrest of a gold pin formerly Salt was so scarce and precious that came to be negotiated at the same price of gold is constructed by a pin.

Three pins / Salt, gold and crystal resin / 2011

ana albuquerqueMy proposal is a piece of jewellery accompanied by four pictures.it is a ring that consists of two parts, one to be displayed in the departure exhibit and the other to be displayed in the arrival exhibit.each part of the ring is accompanied by two photographs, one showing the complete ring and one showing the part of the ring that is missing. both parts can be screwed into one another, drawing attention to the circular or spiral motion/border. these two pieces symbolise the path we can take.

“every day we get up, we eat, we go about our business and we continue to exist. Why? to learn, to have fun, to work, to love, to have children, to help others. or simply because we are healthy. do we really need to know what we live for? for some, life, with its richness and its mystery, is answer enough. for others, this question must be asked in order for life to make sense …(…) a question may stand on its own, simply because it is a beautiful question, or because it poses a beautiful problem loaded with significance and value. in this way, life, love, beauty and goodness shall forever be big questions.” oscar brenifier “What is Life?”

Ring / gold, ribbon / 2011

typhaine le MonnierarrivalWhat used to have splendor, is breaking under the weight of time, it is just the mirror of a memory, made of mineral dust. an oversized salt stone sated on a ring where the nature may stay still forever.

salt ring / salt bloc, brass / 20 x 10 cm / weight 2 kg / 2011

“Reliquiae ii” / photograph printed on cotton paper in a wood and glass frame. 50 x 50 x 4 cm. (Sculpture by rui chafes: du biSt Mir iMMer nocH So friScH iM blut. iron. 2009). / 2011

cristina filipe / c.b.aragão“Reliquiae i” / photograph printed on cotton paper in a wood and glass frame. 50 x 50 x 4 cm. (Sculpture by rui chafes: your body iS aSleep, don’t you WaKe it up too Soon. Steel. 2008). / 2011

Kadri MälkGuilty / brooch: jet from Siberia, white gold, black rhodium bathed, spinels / 2010

Very Guilty / brooch: jet from Siberia, white gold, black rhodium bathed, a spinel, tourmalines / 2010

Jaanus Sammathis compilation consisting of photos and a gobelin image tells a story about dirty glamour which is often grounded in the periphery. places have memory and in this case it is bodified in a nostalgic flashback.

series of fragments i / gobelin / silk / 2011series of fragments ii / photo / 2011

paula crespoSubstância divina em alquimia, elemento de purificação, símbolo do conhecimento e da sabedoria, o sal é uma parte do mar e é bálsamo que o corpo produz para se proteger da decomposição.

a minha viagem em torno das duas border cities fez-se por mar - mar de aventura e de desconhecido, mar de ulisses e de adamastor, mar de segredos, de sonhos e de partilha.

por esse mar transportei o sal: em pequenos contentores, oferenda para a divina tallinn

•

divine substance in alchemy, element of purification, symbol of knowledge and wisdom, salt is a part of the sea and is the balsam the body produces to protect itself from decomposition.

My journey around the two border cities was made by sea ñ sea of adventure and unknown, sea of ulisses and adamastor, sea of secrets, dreams and share. through that sea did i carry the salt: in small containers, offer to the divine tallinn.

salt Container i / necklace / cork, glass, silver, cork / 2011salt Container ii / salt shaker / wood, glass, silver, cork / 2011

catarina diasMeeting first by commercial exchange and secondly by cultural.two materials in traffic between two port cities and time, limiting economic borders.if salt was sold at the price of gold, today reach opposite extremes, an example, 100 grams of gold alloy is around 2,600.00€ and salt 0,14€.could we predict this changes? can we deal with them?

a brief look at the social, economic and cultural dimensions.

Gold salt / gold, salt /2011

Katrin amosWhen leaving somewhere, someone or something, one must close this ìdoorî wisely and conclusively, and

croSS a border,

in order to be open to everything new.

lock the door when you leave / digiprint on plywood / 2011

João Martinssaltcellar / table jewel “carrying the salt to the city”,executed in root, silver, box tree wood, gold, pearl, glass and saltHeight 30 mm; length 85 mm; width 60 mm

Hugo Madureirainserted identity bounces within in us, experience users. Heuristic methods are use to speed up the process of judgement, to present an orientation-point for development, for travel, for “bordering”. the “ideal city” is not given as something to be pursued; rather, it shows how things would have to be connected, and how one thing would lead to another.Seawater characteristic taste to salt, salt to strategy.

Untitled (portuguese cote of arms) / bronze, polyfiber twine, aluminium / 2008

Marília Maria Miracentral subject:natural geographic border – the ocean

a alive body of salty water, huge liquid mass evaporated give us the Salt.preservative and murderer, fertilizer of taste, vital necessity for our existence, neither less either much, we cry salty, most fertile we are more salt we need, a cook in love do salty food, they say and make me smile, the boundaries of the salt in our existence.

a long time ago, in a period of time, salt broke free of rocks, we didn’t know the word Sea. from the sea, in the sea, to the sea, from sea and sea, we reached the ocean, for ever and ever.

a drop in the ocean / necklace / fabric (organza), silver, salt, thread / 2011

Kristiina lauritsthere is salt, salt, salt, salt. departing lisbon to arrive in tallinn.

Cuff “M” / salt, iron, silver, fabric, lace / 2011

Villu plinki am in a city that is totally black. i have always wanted to be in a city that is totally white. at least in my imagination, i can afford myself this absence.

There / object / iron, steel / 2011(arriVal at the gallery)

l a H K u M i n e

d e pa r t u r e

urve KüttnerEternity / sheet iron, acrylic, salt / 2010-2011

Katarina Kotsalainen parting.lots of wine and laughter.Salt on the tablecloth. a good party.

Departure / Horn, silver, stainless steel, red wine, sea salt; riveting, boiling, covering with salt / 2011

Miriam castroborder

1. a part that forms the outer edge of something.2. a decorative strip around the edge of something, such as fabric.3. a strip of ground, as at the edge of a garden or walk, in which ornamental plants or shrubs are planted.4. the line or frontier area separating political divisions or geographic regions; a boundary.v. bor·dered, bor·der·ing, bor·ders v.tr.1. to put a border on.2. to lie along or adjacent to the border ofv.intr.1. to lie adjacent to another2. to be almost like another in character: an act that borders on heroism.

the american Heritage® dictionary of the english language, fourth edition copyright ©2000 by Houghton Mifflin company.

My work is mainly about the border between being Human and Human being.this primordial duel between Man and animal.as thinking animals,we have developed an intricate system that we call civilization.a border between the wild and self-preservation.and even though we have no idea how this gain of consciousness, that led us to our present existence came to be, we carry on playing at being human.“anything that we are aware of at a given moment forms part of our consciousness, making conscious experience at once the most familiar and most mysterious aspect of our lives.”—Schneider and Velmans, 2007in the literal sense, “conscientia” means knowledge-with, that is, shared knowledge.the origin of the modern concept of consciousness is often attributed to John locke.He defined consciousness as “the perception of what passes in a man’s own mind.”“a part that forms the outer edge of something”,consciousness, awareness, the ability to experience feeling, having joint or common knowledge with another, the understanding of the concept “self” : our most precious border.i work mainly with found objectsi rescue things that, mostly, belong to my own cultural environment.these objects that i collect are somehow a reflection of my own human and cultural condition. i then play with these objects, experimenting with them (material wise) and reflecting upon them (content wise). i work with these human familiar things putting them in a new context, altering the perception we may have of the same. reinventing and transforming these objects to serve my own purposes and giving them a second life. a border between trash and treasure.

The Fool / copper / 2011The Extraordinary / plastic, copper / 2011

Piret Hirv

piret HirvSome places only feel like a setting out. there are no arrivals or ports, destinations or arranged arrivals. only departures and shipwrecks. rising and ebbing tides. Storms or calm. Such places are often located in the periphery. in a changeable and constant, well-directed and unguided borderland. in the human soul.

after the storm / object/ silver / 2011

laurentsiusMy father was born in narva – a border city.Some time later, the russians bombed the ancient city into ruins.

b. F. R. - V / oil on canvas, mixed media / 2011 (left)b. F. R. - iii / oil on canvas, mixed media / 2011 (above)

tanel Veenrein estonian there is a metaphor – “departing from oneself” (i.e. losing control). can we actually “depart from ourselves”, become a perception without prospects? lose the limitations of space, so that departure and arrival become one. experience ourselves outside of our bodies. Moments from the shadowy border areas of being. ecstasy, euphoria, bliss. narcotic, dreamlike, religious.

Euphoria / mixed media / 2011

ana albuquerqueWhat if, in life, your starting point is your destination?concentric movements: circle / spiral Material: Gold 800½ ring dimensions: 22mmphoto dimensions: 50cmx25cm2011

What if, in art, your destination is your starting point?concentric movements: spiral / circle Material: Gold 800½ ring dimensions: 22mmphoto dimensions: 50cmx25cm2011

Kadri Mälkthere is something inaccessible or lost in distance.taking off - landing - arriving - giving up does the limit ahead lie within oneself?

salty Tears / solitary Days ear jewellery on photo: silver, jet, black raw diamonds ear jewellery replication: mixed media / 1993 - 2011

rui chafesMeetings and farewells are the most important things in our lives.

Du bist Mir immer noch so frisch im blut / steel / 62 x 22 x 51,5 cm / 2009

tiina Käesel“the border between physical being become clear when borders disappeared. We were dependent on actual borders, on the fencing we wanted to look over and pass through. the border was disruptive, limiting, uncomfortable. and we did not know how to think ourselves through it. now borders tend to be more imaginary; things we create ourselves in order to protect our privacy, spiritual and material territory, independence but also comfort and intolerance, our position. i now think that in my youth i was angry and recently i tend to prefer borders – borders make life exciting. and i am sorry that i have not crossed any borders illegally.”

Ring with a stone / granite, siver, gold / H - 35 cm, weight 5,2 kg / 2011

Sónia brumnecklace / textile / 2011

Jaanus Sammaseries of fragments iV / photo / 2011

Hugo Madureirauntitled (sphere) / bronze, polyfiber twine, steel / 2008

Maarja niinemägithe pieces of jewellery titled Moths and Sky are inspired by the flights of moths blinded by light into an illuminated electrical bulb. this quite hackneyed image seems appropriate for describing tallinn and lisbon – the possibilities and impossibilities of border cities.a kind of stagnation is characteristic of peripheral areas. it’s as if the moth that flies into the light in the dark has no other opportunity than to fly into the light again and again until its strength fades. any other path seems to be cut off.Self-repetition does not need to mean stagnation and the backlash caused by running into a wall may sometimes open up a expansive direction. although not always, of course.

Moths / brooch / ebony, black oak, iron, silver / 2011sky / brooch / constructed turquoise, silver, gold / 2011

Miguel brancothe crossing and expanding of ‘borders’ and ‘limits’ are structural aspects to any contemporary art work. in my work, i am mostly concerned with Metamorphosis and Strangeness. the phrase from Jean-luc Godard “il faut faire des images claires, des ideés vagues”, stands for some of my essential concerns.

a-Untitled, (after Georg Stubbs) / mixed media on paper / 2010F-Untitled, (pillow-map) / fimo clay, wood and wire / 2007

Ketli tiitsaarWhen leaving a foreign city, people often want leave some item behind or leave some trace o themselves in another way. it is believed that this will bring them back and ease the pain of departing.

traces / fibre board, sterling silver, ebony, sapphire, paint / 2011

Katrin amosopen the window when you arrive / digiprint on plywood / 2011

tereza Seabra“rite of passage”in departures and arrivals there is always a state os mind of anxiety and expectation before the unknow.there is a call for protection, a need for a rite of passage.

“insígnia Habeas corpus”this insígnia is intentionally made without any connection material; the act of displaying the elements that shape the insígnia is, in itself, a ritual. loose, the body is free arrival.

Rite of passage / black coral, silver / 2011

abbakadabra / black ribbon, silver / 2011

teresa MilheiroWhen i come across those sentences “ last stop on the line”, “ crossing the line” and the meaning of “ boundaries” the idea that immediately comes to my mind is the limit and border between reality and virtuality , mental sanity and mental insanity.on this perspective the works “ Killing jewel” and “ anti-existence device”they fit perfectly well in the paradox between the reality and the fiction and on the desire that the human being has more and more, to be alienated from the reality , transforming the artificial and the virtual in real.those pieces are related also with the psychological fear of dealing with reality, time, aging, passage, mortality and fillings, emotions in the end with the life.

The killing jewelthe killing jewel is an analogy between the obsession with drugs; in this case Heroin-witch is the more precious thing for a drug addict, and the gold as a material with obsessive value for some people. this drug allows a person to live a parallel reality till the death.

The anti-existence devicethe anti-existence device is an object, to use in the back o neck, which manages several substances that obstruct the contact with the reality. it symbolizes the apassage to another reality, the virtual one. nothing is what it seems.

botox for eternal youthimage changer physical pain anestheticdenial fluid for emotional absence pain

The anti-existence device / glass, silver / 2011The killing jewel / glass syringe, metal nails / 2011

Villu plinkHere / object / iron, steel / 2011(departure from the gallery)

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Katrin amos (1953)1972 -1977 estonian State art institute, Metal art and designSince 1996 works at Gallery 2 in tallinnexhibits since 1976Solo exhibitions in estonia, Swedenrecognition from estonia, france, Japan, latviaWorks in public collections in estonia, finland, france, Hungary, russiawww.galeriikaks.ee

piret Hirv (1969)1993 -1997 bachelor studies at department of Metal art, tallinn art university, prof Kadri Mälk1997 - 2000 Ma studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri Mälk1998 - 1999 École Supérieure des arts appliqués, prof esther brinkmann, Geneva, Switzerland1999 - 2002 assistant to the Head of department of Metal art, estonian academy of arts2003 - 2008 teacher at department of Jewellery and blacksmithing, estonian academy of artsSince 2008 associate professor at department of Jewellery and blacksmithing, estonian academy of arts exhibits since 1996Works in public collections in estonia, france, Germanypiret.hirv@artun.ee

Katarina Kotsalainen (1982)2001 - 2002 studies at art department, Västra-nylands folkhögskolan, finland2002 - 2006 ba studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri MälkSince 2010 Ma studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri MälkSince 2005 works at a-gallery in tallinn, estoniaexhibits since 2002katarina.kotsalainen@gmail.com

tiina Käesel (1943)1972 graduated from estonian State art institute1980 - 1993 art editor at cultural weekly “Sirp ja Vasar”Since 1996 works at Gallery 2 in tallinnexhibits since 1972Works in public collections in estonia www.galeriikaks.ee

urve Küttner (1941)1967 graduated from estonian State art institute1967 - 1976 designer at tallinn Jewellery factorySince 1976 lecturer at estonian academy of arts exhibits since 1992Solo exhibitions in estonia, finlandrecognition from estoniaWorks in public collections in estonia, Germany, russiarein.kyttner@ttu.ee

leonhard lapin (1947)1966 - 1971 estonian State art institute, architecture1990 - 1995 teacher at tallinn art universitySince 1995 professor at estonian academy of artsHas lectured as visiting professor in finlandexhibits since 1969 Solo exhibitions in estonia, australia, belgium, finland, france, Germany, latvia, lithuania, Sweden, uSarecognition from estonia, Japan, russia, SloveniaWorks in public collections in estonia, finlandauthor and publisher of books and texts on architecture and artleolapin@hot.ee

Kristiina laurits (1975)1993 - 1997 ba studies at department of Jewellery and blacksmithing, tallinn art university, prof Kadri Mälk1997 - 2003 Ma studies at department of interdisciplinary art, estonian academy of arts2000 studies at department of Jewellery, escola Massana, Spain, prof ramón puig cuyàscurrently freelance artistexhibits since 1995exhibitions in estonia, belgium, china, denmark, finland, france, Germany, Hungary, italy, the netherlands, norway, poland, portugal, russia, Spain, uK, uSarecognition from polandWorks in public collections in estonia, the netherlandsKristiina.laurits@gmail.com

Kadri Mälk (1958)1981-1986 studies at department of Metal art, estonian State art institute, prof leili KuldkeppSince 1996 professor at department of Jewellery and blacksmithing, estonian academy of artsorganized exhibitions in contemporary jewellery art since the 1990sHas lectured as visiting professor in belgium, finland, Germany, the netherlands, portugal, Spain, Sweden, Switzerland, uKexhibits since 1985Solo exhibitions in estonia, belgium, finland, Germany, portugal, Sweden, Switzerlandrecognition from estonia, belgium, finland, Germany, Japan, the netherlands, portugalWorks in public collections in estonia, Germany, france, russia, Switzerland, uK, uSaauthor and publisher of books and texts on jewellery art: including the personal collection Kadri Mälk (2001), and a volume accompanying the international jewellery exhibition Just Must (2008)kadrimaelk@hot.ee

Maarja niinemägi (1979)1997 - 1999 studies at painting department, university of tartu1999 - 2004 ba studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri Mälk2005 - 2008 Ma studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri Mälk2007 fachhochschule trier, idar-oberstein, Germany, gemstone design 2010 Gemstone design and engriving, fachhochschule trier, idar-oberstein, Germanyexhibits since 1997exhibited in estonia, finland, Germany, italy, the netherlands, portugal, russia maarjale@gmail.com / www.gram.ee

Villu plink (1977)1997 - 2002 ba studies at department of Metal art, tallinn art university, prof Kadri Mälk2003 - 2006 Ma studies at department of interdisciplinary art, estonian academy of arts2000 - 2001 assistant in ilja Kabakov’s studio, new yorkSince 2006 Head of the exhibition installation department, art Museum of estoniaexhibits since 1996Since 2002 art projects with Silja SaarepuuSolo exhibitions in estonia, Germanyrecognition from the netherlandsWorks in public collections in estonia, the netherlandsplink@live.com

Jaanus Samma (1982)2001 - 2005 ba studies at estonian academy of arts, graphic arts2005 - 2009 Ma studies at estonian academy of artsexhibits since 2005Solo exhibitions in estoniaWorks in public collections in estoniajsamma@gmail.com

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lauri Sillak (laurentsius) (1969)1987 - 1990 university of tartu, estonia, physical culture1990 - 1996 tallinn art university, paintingcurrently freelance artistexhibits since 1993Solo exhibitions in estonia, austria, finlandrecognition from estoniaWorks in public collections in estonia, finlandlaurentsius@hotmail.com

rait Siska (1976)2008 Ma studies at estonian academy of artsSince 2002 3d animator, in produktsioonigruppSince 2008 teacher at department of Jewellery and blacksmithing, estonian academy of artsexhibits since 2003exhibitions in estonia, finland, italyrait.siska@artun.ee

risto tali (1981)2000 - 2004 ba studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri MälkSince 2006 Ma studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri MälkSince 2003 Workshop Manager at department of Jewellery and blacksmithing, estonian academy of artsexhibits since 2003exhibitions in estonia, finland, italyristo.tali@artun.ee

Ketli tiitsar (1972)1991 - 1995 ba studies at department of Metal art, tallinna art university1995 - 1999 Ma Studies at department of Metal art, estonian academy of arts1996 department of Metal, art and design college, norway1997 Jewellery department, Gerrit rietveld academie, the netherlandsWorks as a member of art group f. f. f. f.exhibits since 1994recognition from estoniaWorks in public collections in estonia, lithuania, norwayketli@ketlitiitsar.com / www.ketlitiitsar.com

tanel Veenre (1977)1995 - 2001 ba studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri Mälk2001 - 2005 Ma studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri Mälk1996 - 1997 Jewellery department, Gerrit rietveld academie, the netherlands, prof ruudt petersSince 2005 teacher at department of Jewellery and blacksmithing, estonian academy of artscultural editor for daily newspaper eesti päevaleht and freelance photographerexhibits since 1994Solo exhibitions in estonia, Germany, lithuania, portugal, Sweden, uSaHas lectured in finland, Germany, portugal, Spain, uKrecognition at fashion and photography competitions 1994–2005 in, awards from estonia, lithuaniaWorks in public collections in estonia, france, uSaauthor of published texts and books: the personal collections ehe. Jewel (2009) and dust, universe and queen (2010)tanel.Veenre@gmail.com / www.tanelveenre.com

eve Margus-Villems (1972)1993 - 1997 ba studies at tallinn art university, department of Jewellery and blacksmithing, prof Kadri Mälk 1998 - 2002 Ma studies at department of Jewellery and blacksmithing, estonian academy of arts, prof Kadri Mälk1996 - 2000 and since 2003 assistant to the Head of department of Jewellery and blacksmithing, estonian academy of arts2007 post-graduate work at trier university, precious stone and jewellery design line in idar-oberstein, Germanyexhibits since 1995exhibitions in estonia, belgium, china, finland, Germany, italy, Sweden, uSa. Works in public collections estonia, Switzerlandemv@artun.ee

ana albuquerque (1964)1989 contacto directo Jewellery School, lisbon1992 ba degree in Sculpture, faculty of fine arts, lisboncurrently teacher at ar.co - centre for art and Visual communication, lisbon2003 founded the jewellery brand “meetjewellery”Since 2007 Vice-president of pin - prtuguese association for contemporary Jewelleryexhibits since 2003 in portugal, brazil, Germany, italy, Mexico, Spainana.albuquerque@meetjewellery.com / www.meetjewellery.com

Madalena avellar (1963)1983 - 1989 Jewellery course, ar.co - centre for art and Visual communication, lisbon1988 - 1989 Massana School with ramon puig cuyas, barcelona, Spain1994 - 2007 Jewellery teacher at antónio arroio Secondary School, lisbonSince 1998 works with the diocese de bejaSince 2002 works with the fundacao ricardo espirito Santo Silva, lisbonexhibits since 1985 in portugal and abroadSolo exhbitions since 1998 in portugal and abroadmana.avellar@gmail.com

Miguel branco (1963)studied painting at lisbon School of fine artsSince 1989 painting teacher at ar.co - centre for art and Visual communication, lisbonexhbits since 1984 in portugal and abroadSolo exhibitions since 1988 in portugal, france, uK, uSaWorks in collections in portugal, luxembourg

Sónia brum (1974)1993-1996 Jewellery course at antónio arroio Secondary School, lisbon1997-1998 Jewellery course at Massana School, barcelona, Spain2007-2010 Jewellery course at ar.co - centre for art and Visual communication, lisbonSince 1995 internships for costume departments in theatres and jewellery manufacturing companies exhibits since 2008

Miriam castro (1977)1999-2003 Jewellery course, ar.co - centre for art and Visual communication, lisbon2003-2005 advanced course in plastic arts, ar.co - centre for art and Visual communication, lisbonexhibits since 1999 in portugal, Germany, Marocco, the netherlands, Sweden

rui chafes (1966)1980s Sculpture at university of lisbon1990 - 1992 düsseldorf Kunstakademi, Germanyexhibits since 1980s in portugal and abroadrepresentation of portugal at Venice biennale in 1995 and at Sao paulo biennale in 2004Works in public collections in portugal, belgium, brazil, denmark, Germany, italy, the netherlands, Spain.

paula crespo (1947)1982 - 1986 Jewellery course at ar.co - centre for art and Visual communication, lisbonundergraduate degree in anglo-american studies, classical university of lisbon.1987 - 1989 teacher at ar.co - centre for art and Visual communication, lisbon1989 - 1990 teacher at university of oporto1987 - 1998 co-owner of gallery/workshop artefacto 3, lisbon1998 opened her gallery reverso and organizes exhibitionsexhibits since 1985 in portugal and abroadWorks in public collections in portugalmail@reversodasbernardas.com / www.reversodasbernardas.com

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catarina dias (1980)1995 -1998 Gold and Metals course at antónio arroio Secondary School, lisbon2005 - 2008 jewellery designer with the collections of lara torressince 2011 works at Jewellery department studio at ar.co - centre for art and Visual communicationexhibits since 2008 in portugalrecognition from portugal

cristina filipe (1965)1983 - 1995 Jewellery course at ar.co - centre for art and Visual communication, lisbon1987 - 1988 Jewellery department, Gerrit rietveld academie, the netherlands, prof onno boekhout2000 - 2001 Ma in design at Surrey institute of art and design, uK2001 - 2007 teacher at eSad - Superior School of arts and design, oportoSince 1988 teacher at ar.co - centre for art and Visual communication, lisbonSince 2003 Head of Jewellery department at ar.co - centre for art and Visual communication, lisbonSince 2010 phd student in artistic Studies at the universidade católica portuguesaVisiting teacher in belgium, brazil, estonia, uKexhibits since 1986 in portugal and abroadrecognition from portugal

typhaine le Monnier (1980, france)lives and works in lisbon2007 - 2011 Jewellery course at ar.co - centre for art and Visual communication, lisbon2010 - 2011 teaching assistant at ar.co - centre for art and Visual communication, lisbonexhibits in portugal and abroadmtlemonnier@gmail.com

Hugo Madureira (1982)2007 graduated advanced course in plastic arts, ar.co - centre for art and Visual communication, lisbonWorks in colectivo caofuso’s workshopexhibits since 2007 in portugalobservatoriohm@gmail.com

João Martins (1972)1991 - 1997 Jewellery course, ar.co - centre for art and Visual communication, lisbonWorks in his own workshopexhibits since 1996 in portugal, brazil, estonia, Germany, italy, Spainjoaojoalheiro@hotmail.com

teresa Milheiro (1969)antónio arroio Secondary School, lisbonJewellery course at ar.co - centre for art and Visual communication, lisbonManager of her own workshop articula Gallery - jewellery and objectsexhibits since 1992 in portugal and abroadteresamilheiro@hotmail.com

Marilia Maria Mira (1962)1982 - 1986 Jewellery course, ar.co - centre for art and Visual communication, lisbon1987 - 1991 Massana School, barcelona, Spain1986 - 2002 teacher at ar.co - centre for art and Visual communication, lisbonSince 1992 teacher at antónio arroio Secondary School, lisbon2004 co-founder of pin - portuguese association for contempo