Symposium ThinkingJewellery

Can the arts be satisfied with a role as a supplier of consumer goods on the cultural industry market? Or is it time to focus more on the political implications of art in order to deal more proactively with contemporary social issues?

At the beginning of the 20th century, when the industrial revolution had unhinged the old world, the response of modern art was a socio-politically understood programme for the reconciliation of science, technology and society through art.

Since the 1970s, this programme has been considered a failure. The unleashed economy of the post-industrial age and globalization have brought the earth to the brink of ecological collapse and exacerbated social injustice. At the same time, the late effects of colonization and the digital revolution have posed new cultural and political challenges. More profound changes are ahead than those of the industrial revolution.

ThinkingJewellery XII gathers - with jewellery in mind - exemplary analyses and discusses perspectives for action under the aspect of political premises.

Program:

"Nur sauber gekämmt sind wir wirklich frei" - Politische Aspekte in Schmuckobjekten von B.S. im Kontext ihrer Zeit.
BERNHARD SCHOBINGER

(NOTE: Lecture of approx. 2,5 hrs in German/
HINWEIS: Vortrag von ca. 2,5 Stunden in deutscher Sprache)

“See through your life, your life is a scheme 
Pressed by TV and these magazines
I look at you and you look at me
What are you trying to be?

Dein Sacko sitzt so sackgerecht
Dein Herz passt auf den rechten Fleck
Yes, we are made in Germany
Nur sauber gekämmt sind wir wirklich frei
Nur sauber gekämmt sind wir wirklich frei 
Nur sauber gekämmt sind wir 
Wirklich frei“
^{Ausschnitt Songtext «Man of Stone», Hans-A-Plast, 1979}

Schmuck als Manifest einer Haltung ist allein im Kontext seiner Zeit zu verstehen.
In Zentren urbaner Subkulturen des Westens zeichnete sich seit den späten 1970er Jahren ein grundlegender Paradigmenwechsel ab, der sich einer völlig neuen Ästhetik als Ausdrucksmittel bediente. Einem saturierten, dekadenten und repressiven Establishment begegnete man mit einer neuen Sprache. Wütend und lustvoll, sarkastisch und zynisch erscheint sie in Bildender Kunst, Musik, Tanz, Mode und Lebensstil: Eine Revolte gegen Rassismus, Faschismus, Imperialismus und Krieg, antiautoritär, feministisch, anarchisch.

Bernhard Schobinger
geboren 1946 in Zürich, Schweiz,
1962 Kunstgewerbeschule Zürich,
1963 Goldschmiedelehre,
1968 eigene Goldschmiedewerkstatt in Richterswil,
zahlreiche Ausstellungen, Preise, Vorträge und Workshops weltweit.
www.schobinger.ch/about/bernhard-schobinger

"Jewellery - materialised traces of social interaction"
JULIA WILD M.A.

Jewellery is a social code that triggers something in the wearer as well as in the observer: it can be read, generate approval, but also cause irritation. Jewellery causes us to judge the person wearing it, to classify them in our "worldview". As social beings, we react consciously or unconsciously to these signs, enjoy them, are fascinated by them or reject them, perceive them as inappropriate. They are signs that position the wearer of jewellery as well as the viewer in a social space and are thus politically effective.

Human interaction is subject to an ongoing process of balancing, negotiating and representing positions. An important function of jewellery is to make these processes and the underlying changes visible. In this process, the two poles within this negotiation process materialise in jewellery, namely the connecting as well as the distinctive element. Jewellery makes these accessible and tangible. Through the materiality of jewellery, people can relate to its inherent connecting or distinctive value in visible symbolic acts, by wearing it, by appreciating it in others, by guarding it or by referring to it in their actions, or by changing it, destroying it, forgetting it. By using jewellery as a code, it is not only access to a transcendental world of ideas, but also a form of expression of our social and thus also political will to shape things.

Julia Wild
Born in 1970, has been a research assistant in the Department of Gemstones and Jewellery at the Trier University of Applied Sciences since 2010. She studied history and literature at the Ruprecht-Karl University Heidelberg. Her interests lies in the social functions of jewellery. In particular its role within the symbolic communication of humankind: the actors, their physical and psychological appearance, action and mutual perception as well as the context, consisting of culture, environment and space, in which an interaction with jewellery takes place. This results in her questioning the way in which social and environmental matters influence the appearance of jewellery throughout history.

"Jewellery - resources and material in the context of politics and power"
DR. CLAUDIA BANZ

Material structures society and nature in relation to one another. It is both a driver of innovation and a driver of destruction. The extraction of raw materials transforms nature into a commodity and forces the exploitation of natural resources as well as people. In parallel, the appropriation of material generates cultural phenomena such as money, tools, weapons, jewellery and objects; economic processes such as trade and commodities. Meanwhile, the exploitation of materials for mass consumption has led to the great ecological crisis. Precious and rare materials have been used to create decorative objects of all kinds that incorporate and represent social and political hierarchies such as control and domination. In the lecture, various jewelley objects from the collections of the Museum of Decorative Arts in Berlin, ranging from the Wunderkammer to the present, will be examined for the first time for their narratives in the context of the "Matrix material-power".

Claudia Banz
born 1966, is an art historian, exhibition curator and author and currently curator of design at the Kunstgewerbemuseum, Staatliche Museen zu Berlin Preussischer Kulturbesitz. Previously, she was head of the Department of Art and Design at the Museum für Kunst und Gewerbe in Hamburg. With exhibitions like Fast Fashion. The Dark Side of Fashion, Food Revolution 5.0. Design for Tomorrow's Society or Connecting Afro Futures. Fashion x Hair x Design she focuses on sustainability, resources, responsibility, consumption and decolonial design. Her new series "Design Lab" at the Kunstgewerbemuseum presents current positions in the global design discourse. Banz also researches and publishes on/at the interfaces of design, craftsmanship, fashion, art and decolonial collections.

Imagination and virtual worlds

Beyond its value of utility , noble material - gold, silver, noble stones - has a lasting existence above all because of its symbolic power. In the field of jewellery, the classic range of materials has been expanded to include many natural materials and plastics that can be recharged. In jewellery, too, art, the old master of fiction, utopian design and thus virtuality, outlasts time: Ars longa - vita brevis.

Meanwhile, it is not only physics that has long since abandoned the traditional notions of "solid" matter in dynamic cosmological models. The digital age is revolutionizing people's living conditions and, in particular, their social relations - probably to a greater extent than the invention of book printing at the beginning of the modern era.

Virtuality does not require proof of authenticity, nor real correspondence between material, form and colour. In view of these scenarios, which are also omnipresent, a longing for the authenticity of analog life, for a permanence and value grows, which materializes in the material and thus sensual presence of high-quality, identity-creating goods or in art.

Program:

Searching for unity – modern physics and its explanation of the cosmos
Dr. Sibylle Anderl, astronomer and philosopher, Institute of Planetology and Astrophysics of Grenoble, FR
Edelstein. Zur Kulturgeschichte einer Ikone (Lecture in German!)
Wilhelm Lindemann, curator, Trier University of Applied Sciences, Campus Idar-Oberstein, DE
My material
Patricia Domingues, Rudy Faulkner, Eduardo Tarin and Elvira Golombosi: Master graduates of the Trier University of Applied Sciences, Campus Idar-Oberstein, DE
Understanding light through the art. Emeralds contribution to optical knowledge
Ph.D. Marjolijn Bol, postdoctoral researcher, Max-Planck-Institute for History of Science, Berlin, DE
Goethe on colours. A vindication
Prof. Dr. Olaf Müller, professor for natural philosophy and scientific theory, Humboldt-University Berlin, DE
Digital nature. Contemporary material aesthetics in face of virtual mediality
Dr. Niklas Hebing, Hegel Archives, Ruhr University Bochum, DE
Cold shining – empty glamour. On Jeff Koon’s ‘Celebration Series’
Prof. Dr. Regine Prange, professor for art history at the Art History Institute at the Goethe University, Frankfurt/Main, DE
The art of stone cutting. The collection of the art chamber of KHM Vienna
Mag. Paulus Rainer, Deputy Director of the art chamber and treasury of the KHM - Museum of Art History, Vienna, AT
REACT REACT REACT
Silvia Weidenbach, Jewellery artist, UK

The process of globalisation in all areas of life, accompanied by the escalation of economic and ecological crises, technological innovations taking place in ever faster succession, a hardly manageable supply of information and communication have led to a growing need for leisure and contemplation on the part of many people - in addition to a feeling of being overtaxed. They are regarded by many people as a source of a regained art of living. The contemplative life design opens the senses for aesthetic experience and creativity. For some it has become the gateway to a new spirituality.

ThinkingJewellery X puts the contemplative concept of life to the test. Does it lead to a retreat into the private sphere and a rejection of social responsibility - or can it become a source of strength for creativity and worldliness in the sense of an argument for a peaceful policy based on mindfulness and sustainability?

Programm:

Aesthetic experience and the good life
Prof. Dr. Ursula Brandstätter, Musicologist, rector of the Anton Bruckner Private University Linz, AT
Philosophy – Art – Life
Prof. Dr. Julian Nida Rümelin, Professor of Philosophy at the Ludwig Maximilian University of Munich, DE, former Minister of Culture
The metaphorical ornament: philosophy and way of working
Prof. Dr. David Huycke, Jewellery artist, professor of Jewellery Design at the MAD-faculty of the University of Hasselt, BE
A vision of homo economicus to homo aestheticus
Prof. Dr. Gisela Dischner, German Studies and author, emeritus professor of Modern Literature at the University of Hannover, DE
The truth of the moment – on the relationship between attention and art
Prof. Dr. Yuka Nakamura, Psychologist, lecturer in Development and Health Psychology in the Vice President's education and research dept. of the Zurich University of Teacher Education
Bridging the divide: an exploration of collaboration through making
Sarah Rhodes, PhD researcher at Central Saint Martins, University of the Arts London, UK
Aesthetic economy – theory and applications
Prof. Gernot Böhme, Emeritus professor of Philosophy at the Technical University of Darmstadt, director of the Institute for the Practice of Philosophy (IPPh)
Worthwile
Prof. Ute Eitzenhöfer, Jewellery artist, professor of Gemstone Design, Trier University of Applied Sciences, Campus Idar-Oberstein

The need for adornment and jewellery has accompanied mankind as an anthropological constant from the very beginning. As an important cultural asset, jewellery is reinterpreted time and again in all eras. The age of postmodernism is for many an apocalyptic complex of crises: ecological crisis, financial crisis, crisis of justice. In the age of globalization and social division, politics increasingly appears to be incapable of action, despite all the conjurations of the lack of alternatives to one's own actions. At the same time - not only in fashion or advertising - a new regime of the aestheticization of everyday life is emerging, at the end of which the self-presentation of the individual in the net takes the place of real relationships. SchmuckDenken 9 gathers - under consideration of jewellery - exemplary analyses and discusses perspectives for action under the aspect of ethical premises.

Program:

„We’re like diamonds in the sky“ (Rihanna) - The addiction to luxury
Wilhelm Lindemann, Author
The currency of jewellery, gold and gemstones
Prof. Dr. Christina von Braun, Professor of Cultural Theory (with primary focus on gender and history) at the Institute of Cultural Sciences of the Humboldt University of Berlin
In the area of conflict between globalized haute couture and poverty – the ‘Sapeurs’ from the Republic of Congo
Prof. Dr. Alexandra Karentzos, Professor of Art and Cultural Studies, Institute of General and Vocational Pedagogy of the Technical University of Darmstadt, DE – Wella chair of Fashion and Aesthetics
Dieter Lorenz – Portrait of the artist
Dieter Lorenz, Gemstone Designer in conversation with Wilhelm Lindemann
Stinking rich – on conspicuous consumption,
Prof. Dr. Birger Priddat, Professor of Political Economy, Faculty of Economics at the University of Witten/Herdecke, DE
Different lives in one world – Cultural diversity or global design,
Prof. Dr. Christoph Antweiler, Professor of Southeast Asian Studies, Institute of Oriental and Asian Studies of the Rhenish Friedrich- Wilhelm University of Bonn, DE
Growth,
Dr. Marjan Unger, Art Historian and Publicist, Bussum, NL
Golden Years - From the Light of Delft to the Sparkle of the Dolomites
Robert Smit, Jewellery Artist), Amsterdam, NL

The 8th edition of ThinkingJewellery critically deals with the responsibility of art in a world that is endangered by the human being and the ideology of unlimited growth. Once again, it is focussed on the role of the jewellery artist within the society and his responsibility. Besides this ethical question it also deals with the question if art and aesthetic experi- ence will promote the process of the scientific perception and interpretation of the world and which role the traditional materials of jewellery art, gold and gemstones play or can possibly play within this context.

Programme:

Prologue
Prof. Theo Smeets, Trier University of Applied Sciences, Dept. of Gemstone and Jewellery Design, Idar-Obertein, DE
Thinking Materials – Forming Ideas
Prof. Dr. Jivan Astfalck, Director of School of Jewellery, Birmingham Institute of Arts and Design, Birmingham City University, Brimingham, UK
About the metaphor of growth – tour through an exhibition project
Dr. Holger Kube Ventura, Director of the Kunstverein Frankfurt/Main, DE
About the metaphor of growth – performance
Armin Chodzinski, Performance Artist) Hamburg, DE
The near mirror – Philosophy and Art in the 20th century
Prof. Dr. Uwe Voigt, Philosopher, Professor for Analytical Philosophy and Philosophy of Science, University Augsburg, DE
The double gold. The birth of money from the spirit of jewellery.
Dr. Pravu Mazumdar, Philosopher, Munich, DE
On the iconography of gemstones
Wilhelm Lindemann, Curator of the city of Idar-Oberstein, DE
Daniel Kruger: Vita and Work
Prof. Daniel Kruger, Professor for Jewellery Design, HdK Burg Giebichenstein, Halle, DE

The 7th ‘SchmuckDenken’ will strike a balance between the symposia to date and identify the initial contours of a theory of jewellery.

At the same time, possible parameters for strategies for action for an autonomous creative practice of applied art in the conflicting demands of craft, design and fine art will be developed. As a result, the focus this year will be on the artistic identity of jewellery creators and their social role and responsibility.

A book ‘ThinkingJewellery - A theory of jewellery’ will be published by the ARNOLDSCHE Verlagsanstalt Stuttgart to mark the 7th colloquium. The book includes a selection of articles from the years 2005-2010 and also contains around 100 illustrations of works of students and graduates which provide an appraisal of the current situation of the field of study of Precious Stone and Jewellery Design.

Programme:

Prologue, 'Thinking Jewellery 2005-2011: On the way to developing a theory of jewellery’
Wilhelm Lindemann, chairman, Idar-Oberstein, DE
The masquerades of identity – on the costume art of Leigh Bowery
Prof. Dr. Gunnar Schmidt, Professor of Theory and Practice of Intermedia Design at the Trier University of Applied Sciences, Trier,. DE
Jewellery artist in the GDR
Uta Feiler, Jewellery artist, Erfurt, DE
Jewellery in context
Dr. Marjan Unger, art historian and publicist Bussum, NL
Impact of Signs and Design Ethics
Prof. PD Dr. habil. Angelika Karger, Professor of design theory, University of applied Sciences, Schwäbisch Gmünd, DE, and assistant professor of sciences, University Stuttgart, DE
Applied uncertainty, a doubt in process
Gemma Draper, Jewellery artist, Barcelona, ES
The jewellery of beauty and the beauty of jewellery
Prof. Dr. Martin Seel, Professor of Philosophy at the Johann Wolfgang Goethe-University, Frankfurt/Main, DE.
Modern tool or ancient medicine? Thoughts on being a jeweller
Prof. Theo Smeets, Professor of Jewellery Design, Department of Gemstones and Jewellery, Trier University of Applied Sciences, Idar-Oberstein, DE

This year the 6th colloquium deals with the all-embracing tendencies
towards globalization, which operate at every level – economic, political and cultural. The focus is on the cultural and artistic global interdependencies of the past and present and also considers their effects on jewellery. In the process, the theme will be exemplified in detail, taking art in the Islamic world as an example.

Program:

Pure Decoration? Objects of Islamic art in context
Prof. Dr. Stefan Weber, Director of the Museum of Islamic Art, Berlin, DE
Many places later
Iris Eichenberg, Head of the Metalsmithing Department at Cranbrook Academy of Art, Bloomfield Hills, USA
A Big World Getting Smaller – presenting 3 projects’
Estela Saez Vilanova on: ‘Walking the Gray Area’;
Dana Hakim on: ‘I Care A Lot’;
Marieke van Diepen on: ‘Athometown’
Jewellery from the Orient
Dr. Wolf-Dieter Seiwert, ethnologist, former research associate at the Museum of Ethnology, Leipzig, DE
How the agate reached the Tuareg. A journey from three continents to a Sahara oasis’,
Prof. Dr. Gerd Spittler, Professor of ethnology at the University of Bayreuth
Modern art from an Islamic point of view or “modern Islamic art”? - A short overview
Prof. Dr. Silvia Naef, Professor of history of art in the Arab world, University of Geneva, CH, president of the European Union of Arabists and Islamicists, UEAI
duodji and globalisation
Prof. Dr. Gunvor Guttorm, Professor of Duodji (Sámi arts and crafts, traditional art, applied art) at the Sámi University in Guovdageaidnu/Kautokeino,
European gems
Prof. Dr. Gerard Unger, Professor of typography at the University of Leiden NL

‘Schmuck-Denken 2009’ places the focus on jewellery as an object. Jewellery can be many things: It definitely comes under the category of loved objects (Habermas), with which their owner develops a very personal relationship. As a personal object which is a part of the character of its wearer, it supports him or her in their self-development and the profiling of their personality, both internally and externally. Sometimes jewellery becomes a fetish, thereby even acquiring its own power to act. At all events, jewellery can be described as an attribute. Jewellery in the sense of an attribute raises the question of identification. Marjan Unger reflects the theories of Allison Lurie when she writes: ‘I don’t wish to place too much emphasis on the point that ‘jewellery’ behaves like ‘language’, but rather that it contains a language. The vocabulary would be the types of jewellery, supplemented by the symbolism of the forms, colours, motifs and any other references. The grammar would be how and when jewellery is worn and also who owns what pieces and who does not. In short: how people interact with jewellery.’

Programme:

Prologue
Wilhelm Lindemann, Chairman, Idar-Oberstein, DE
On the product-aesthetic education of human beings
Prof. Dr. Wolfgang Ullrich, professor of art history and media theory at the University of Arts and Design, Karlsruhe, DE
West African fetish cult and European fetishism’)
Prof. Dr. Karl-Heinz Kohl, professor at the Institute for Historical Ethnology, Johann Wolfgang Goethe University, Frankfurt, DE
Assignments – post from heaven
Truike Verdegaal, Jewellery Artist, Amsterdam, NL
Diamonds are a girl's best friend – on the psychology of jewellery
Prof. Dr. Tilmann Habermas, professor at the Institute for Psychology, area of study psychoanalysis, at the Johann Wolfgang Goethe University, Frankfurt/Main, DE
The magic object in modernity. An anthropological con- stant?
Dr. Viola Altrichter, cultural sociologist, Berlin, DE
Reading jewellery
Drs. Liesbeth den Besten MA, Art Historian, Chairwoman of the Françoise van den Bosch Foundation, Amsterdam, NL
Temptation“ (English)
Drs. Marjan Unger, Art Historian and Publicist, Bussum, NL

In 2008, our 4th Symposium is dedicated to the ornament. Is jewellery per se decorating? Are there contemporary ornamental means of expression? What is their social context? Scientist and artists are discussing these controversial questions about the influences of the ornament on jewellery and society.

Programme:

Prologue
Wilhelm Lindemann, Chairman, Idar-Oberstein, DE
especially bananas: the ornament according to Adolf Loos or the evolution of culture
Dr. Christina Threuter, Art Sciencist, Trier University, DE
Gijs Bakker and the ornament
Gijs Bakker, Designer, Amsterdam, NL
Beuys’ social sculptures)
Johannes Stüttgen, Artist, Düsseldorf
a critical theory on ornament
Prof. Dr. Burghard Schmidt, professor of language and aesthetics – University of Art, Offenbach, DE
“since beauty is nothing but the beginning of the terrifying“ (Rilke) – Notes on symmetry and the breaking of symmetry in cognition and aesthetics
Prof. Dr. Helmut Neunzert, em. Professor of Mathematics, Technical University Kaiserslautern, Kaiserslautern, DE, Fraunhofer ITWM, Kaiserslautern, DE
“those nice manners in fact ruin the beautiful melody“ Ornamentals and style in 18th century music
Prof. Reinhard Bahr, Professor for Ornamentation at the University of Music and Theatre Hamburg, DE
is jewellery art?)
Peter Egli, artist and author, Bern, CH
Jewellery. To be
Lin Cheung, artist, London, UK
My longing for the market of Samarkand
Marjan Unger, art historician, Sandberg-Institut, Amsterdam, NL

The 3rd colloquium “Schmuck-Denken” 2007 is still in search of a jewellery theory with the focus on the complex relationship between beauty and uniformity. As an element of pursuing acceptance, jewellery can become a tool of conformity. It also can become an instrument of non-conformity when it is used as a provocative attempt to separate oneself from society. On the other hand, it is conformist, in the case of the jewellery demonstrating an affiliation to a sub-cultural group.

Program

The mystery of beauty
Lucy Sarneel, jewellery artist, Amsterdam, NL
Against method constraint in applied arts
Bernhard Schobinger, jewellery artist, Zürich, CH
About the Usefulness and Disadvantages of Adornment in Life” or: “Vive la difference! The Psychology of Jewellery
Prof. Dr. Winfried Menninghaus, Peter Szondi-Institute for Literature and comparative Literature, FU University Berlin
pimp me up! Accessories and Jewellery in Youth Culture”
Prof. Dr. Birgit Richard & Jan Grünwald (M.A.), Department for Art Pedagogy, JWG University Frankfurt/Main, DE
Headdress – a Theory about a Theory of Jewellery]
Dr. Uwe Voigt, philosopher, University Bamberg, DE
Beauty – the last taboo in jewellery?
Manuel Vilhena, jewellery artist, London, UK
Silence
Iris Bodemer, jewellery artist, Pforzheim, DE
Love-Affair – love and fear in jewellery
Kadri Mälk, artist and head of the Jewellery Department at the Estonian Academy of Arts, Tallinn, EE

The colloquium "ThinkingJewellery 2" focuses on the artistic and art theoretical discourse on jewellery. The starting point of the debate will be contributions by conceptually working artists. Their positions will be supplemented and deepened by theoretical contributions. This is an attempt to formulate the initial question about the nature of jewellery in concrete terms and to provide exemplary answers.

Programme:

Prologue
Willi Lindemann, chairman, Idar-Oberstein. DE
An object oft beauty
Suska Mackert, artist, Amsterdam, NL, and Berlin, DE
on adornment
Manfred Nisslmüller, artist, Wien
Lifelines
Jivan Astfalck, artist, Senior Research Fellow and MA course director, School of Jewellery, Birmingham, UK
Body - Limb - Jewellery
Willi Lindemann, chairman, Idar-Oberstein. DE
Schmuck im Aufbruch: Schnittstellen in der Begegnung von Schmuck und Kunst im 20. Jahrhundert
Dr. Ellen Mauerer-Zilioli, Art historian and gallery owner, Desenzano de Garda, IT
Man and the natural environment: sociological approach to the temporalities of stone
Emmanuel Gleyze, sociologist, Université Paul Valérie, Montpellier, FR
Hinter Glas – Schmuck als musealer Gegenstand
Dr. Cornelie Holzach, Art historian and director of the Pforzheim Jewellery Museum, Pforzheim, DE

Behind the at first glance somewhat strange sounding title "ThinkingJewellery" is an attempt to reflect on what jewellery is.

What seems particularly disconcerting is the idea of trying to grasp such a sensual matter in a mental, i.e. non-sensual way.It is about an interdisciplinary approach beyond the relevant categories of craft or art, applied or free: about exploring what makes jewellery - not what it looks like.It is easy to see that the answer to this question is not easily given: neither would it be a satisfactory answer that it is the task of jewellery to decorate - this would be a mere tautology. Even though the formal language of the jewellery can be quite artistic, it is still a self-referential work of art in the true sense of the word. Perhaps jewelry should rather be described as a special kind of personal objects that have a special relationship to the bodies and personalities of the wearers of jewelry. In 2005 poses the question of the nature of jewelry - not from the perspective of jewelry designers or art history.

This year's colloquium brings together ethnologists, philosophers, artists, natural and cultural scientists for a first look at the "beloved objects", quasi from outside.

Programme:

Do we need a theory of jewellery?
Wilhelm Lindemann, Conference Director, Idar-Oberstein, DE
The belief in noble and bad stones - about the baroque bottomlessness in the photogram
Tim Otto Roth, artist and theorist, Oppenau and Cologne
Crystalline Worlds - Moments between the urge to explore and the desire to be an artist
Prof. Dr. rer. nat. Wolfgang Hofmeister, Geoscientist, Joh.-Gutenberg University Mainz
Bernd Munsteiner, gemstone artist, Stipshausen
Tim Otto Roth, artist, Oppenau and Cologne
Jewellery - Decoration or personal object - Attempt to clarify terms
Willi Lindemann, Conference Director, Idar-Oberstein
Jewellery as an index of sexuality
Elisabeth G. Sledziewski, philosopher and political scientist at the Institut d`Études politiques de Strasbourg (Université Robert-Schumann)
The power of things,
Prof. Dr. phil. Karl Heinz Kohl, ethnological historian, Johann Wolfgang Goethe-Frankfurt University
Old enemy, new friend.Old enemy, new friend. How can jewellers benefit from fashion theory?
Marjan Unger, art historian, lecturer, Sandberg-Institute/Postgraduate Academy Amsterdam
African sketches
Martina Dempf, ethnologist and jewellery designer, Berlin

Symposium ThinkingJewellery XIII (October 2025)

THEME of ThinkingJewellery XIII: Joy & Lust

History

Date, venue, fee and registration

Publications

ThinkingJewellery

ThinkingJewellery 2

Contact

Registrar's Office

Sekretariate

Head of Dept.