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Noovo Editions

Noovo Editions is an independent editorial project with online and paper editions. First of its kind in Spain from an unique and contemporary perspective on the international panorama,
Noovo seeks not only to be an aesthetic arbiter but also a cultural mediator at the juncture between Fashion, Photography & Jewellery.
A platform to show the highest level of creativity from around the world

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Bucks ‘N Barter is an experimental exhibition project initiated by Beatrice Brovia, Nicolas Cheng, Friederike Daumiller and Katrin Spranger.

The project, part exhibition and part eperience, gathers works from international artists active in the fields of jewelry, art, craft, product and experience design, with site specific installations and a selection of thought- provoking pieces, all together investigating a complex and multifaceted topic, that of the human tendency to trade and exchange and how this has shaped not only the society we live in but also the way we perceive and relate to things and materials.

The exhibition’s themes represent a guideline to explore ideas connected to value, communication, exchange in terms of economics, symbols, knowledge and cultures. The relationship between the market and the applied arts, between physical and virtual.

A special publication on the project, with contributions by author Benjamin Lignel and by art historian Christina Zetterlund, was released on the opening day in Amsterdam.

Artists
Beatrice Brovia - Nicolas Cheng - Hilde De Decker - Richard Elenbaas - Tzu Ling Lee - Kajsa Lindberg - Katrin Spranger

Scenography
Friederike Daumiller

   
Exonumia; machine embroidery on plastics, silver, 14k gold, metal, resin, silicone; various dimensions; 2013

BEATRICE BROVIA

"Exonumia" is my cabinet of medals. An oblong space within which an array of objects - my personal take on the typology of the token - is kept. I am lately very interested in economics, particularly in its earliest, most archaic forms (truck/barter, gift economies etc.) Even more so, I’m interested in those forms of economy that are not based on necessity but rather have a ritual, illogical value added to it. Luxury, arts, games, sports, entertainment: these forms of economy are unproductive efforts since they all entail an excessive loss, sacrifice or expense. A commitment of the agonist type. Almost a folly.
I am tracing, with this work and the one that came before, a connection between the process of art-making (in my case jewelry/object-making) and the whole idea and celebration of sports. Sports, just like art, require a galvanizing type of engagement and an extraordinary expenditure that is all but conventionally economical. Sports, just like arts, are unproductive expenses.
I surely am no athlete, but I question the actual value of the things I do very often. What is this symbolical effort that I delve into all about? Surely it is not based on necessity and there is no economical return, not in the conventional sense, at least. What I do is rather a glorious consumption of time and material. Becoming obsessed with the pieces, the shapes, the way materials react with one an other, carrying a story and heritage with them. Becoming obsessed with something as unnecessarily necessary as jewelry.
Taking reference from early 20th century brands’ typefaces and graphics, I have been designing fictional sports-logos, inbetween branding and decoration. The logotypes are then machine embroideried on plastic-like, artificial materials, shiny and iridescent in finish.
Liners; white marble macaron, former French colonies banknotes; hand fabrication; 2013

NICOLAS CHENG

"Liners" is a direct interpretation of the exhibition theme: Bucks (currency) and Barter (trade).
It addresses the relationship between the two.
Money is something as abstract as the idea of value itself. An inked piece of paper on which the history and destiny of nations is recorded and inscribed. What happens when I start to erase the identity of currency? What does the materiality of a banknote tell me?
In the past trade was based on a tangible transaction: actual goods, with a quantifiable weight and volume, were exchanged. Many yards of silk from the far East in exchange of one kilo of gold, for example. Today this interaction relies on something as light - and yet politically charged - as paper money. When not on an infinite series of cyphers on a monitor.
I have been collecting paper money from former French colonies in Africa. The banknotes were in the currency of the ruling country and yet the finely drawn images showed exotic sceneries of daily life, luscious fruits and nature. I hand erased the original identity of the currency and let it be just - partly blank - paper. Only a handful of details in pastel colors remain visible at the bottom of the carefully fabricated pastry liners. These fragile, delicate liners become containers of empty space, suspended on marble white macarons.
Through a history of ruled countries and rulers, goods and habits have been exchanged becaming ultimately familiar. The exotic sceneries printed on the banknotes are the counter alter to this small pastry, the macaron, quite exotic in its own appearance and yet ubiquitous in bars and cafes across the countries.
Fruitbowl; bowl, fruitlabels, dried fruit; 2010
Photo credit: Rikard Westman

HILDE DE DECKER

To show the real value of everyday things, in my work I like to remove all the excess – I always try to delete the unnecessary, so that a bare nakedness remains. In general, this is how I try to reduce an image to the essentials. This bare and naked essence is precious to me because I believe that everyday objects invoke “compassion”. Compassion, not in a negative way, but rather in the sense of a “tender feeling”.

Nr.9 - 24K gold - 5 x 5 x 5mm; 2012


RICHARD ELENBAAS

I am interested in how value is created, I add ideas to objects to create something valuable... but what is value these days in a time where most value is virtual? My work is based on topics that trouble all of us: newspapers filled with articles about the ‘crisis’ and the degradation of the Euro. As a jeweller I use these themes to create work about ‘value’. I try to entice people with the seduction of interac- tion; they become part of the work and create value.

The Lightness of Life; monthly receipts from different people; 2011-2013


TZU-LING LEE

What a collection of personal receipts could tell? That would be a narrative story. Trade and barter; we pay and get. The energy between these transactions pushes the wheel of life moving forward. Within the context of a consuming society, most people pay money to keep their life going. The wheel of life leaves a track, which is a piece of thin paper called a receipt. Therefore I would presume that a collection of personal receipts may document people’s life in a somewhat more honest way than their diaries do. I come from Taiwan, a country where we have national receipt lottery (on the 25th of every odd month, with a prize up to US$342,000). As a result, our people tend to have a more comprehensive collection of personal receipts than those in other countries do. Each stone-like object presented here was made from one person’s collection of personal receipts within one month.
What can a collection of personal receipts in one month tell?
It may reveal how this person moves from one place to another in one month.
It may reveal the very moment this person stops by at a particular place.
It may reveal how much money this person spends. It may reveal the taste of this person.
It may reveal the life pattern of this person. It may reveal the gender of this person.
Just as stones document the history of the earth, receipts document the history of a person in the modern society. A stone is a symbol of the eternity while paper represents such a short life and how easy it can be destroyed. I tried to craft stones out of these personal receipts, preserving every trivial detail of life.
Solid as it may seem, the stones of receipts are in reality paper-like weightless.
How about an assemblage of collections of personal receipts? What can it tell? It may show the weight of life in your hand.
1000 SEK Gustav Vasa, necklace; MDF, Acrylic on canvas, screen-print, 320 x 170 x 9mm; 2011
Photo credit: Johan Söderling

KAJSA LINDBERG

Everyone in Sweden knows our bills. We wear them just like jewellery. I have collected all the swedish banknotes. On each note is a famous Swedish person depicted in half figure. Every person on the bills are all wearing a piece of jewellery, I wanted to take that jewellery from the bill and processing through the material to a piece of jewellery in proportion to my own body. A replica interpreted as by a color copier. Flat jewellery, just like banknotes.
I search among the items that we surround ourselves with every day. Items with a symbolic dimension I pick up and put into my purse. I take them home with me, introducing them into my home. It is important to carry both objects and thoughts with one. I select, pick up, collect, absorb, reflect on, transform, mix together, copy, organize and place. Controlling their authenticity.
How much is it all worth?
What do you want in exchange?
Try to understand the agreement. Wonder where the rules are, how they came into force and how we adapt to them. An exact and fixed value is often perceived differently by different people, depending on their different situations. From one to another in small and large trajectories. And all part of a pattern in which language, time and money are invented systems that we are obliged to relate to.

 
CCD #1: Barter; dehydrated honey, goldleaf, food packaging; 2013

KATRIN SPRANGER

An ongoing alarming bee colony collapse disorder questions the value of honey which could transform into a precious jewellery material like that of gold. Staging a future, in which no more honey is produced, we had to live with the supply from the past. The time-based work will open up for a self-dialogue to barter in the moment before you start to eat: will you keep it, as you do with a precious piece of jewellery or will you trade off because its food?
CCD #1: Barter assesses that honey is not merely honey which occupies a shelf in the supermarket but a ‘pollination’ that is responsible for more than half of the general food supply.
The interactive installation will yield a seamless experience from innocence to realisation. Strangely enough, the piece draws a connection between our rightful indulgence and the consequences for a threatened food chain.
More info: http://www.bucksnbarter.com ------ bucksnbarter@gmail.com







 
   

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