Jewelry is also an intellectual discipline. This is a typical statement by Austrian jewelry
rebel Peter Skubic, whose oeuvre should be seen in the context of the Austrian art
world from the late 1960s onwards. Recalcitrant refusal, radical to the point of
physical injury – just two of his key design principles. He considers jewelry-making an
adventure, a sculptural or performative statement, cutting across borders, body
action, and creative act of liberation. From the 1970s onwards Skubic was
celebrated internationally as one of those who were breathing new ideas into the
field. Thanks to a lectureship in Cologne and countless guest professorships, Skubic
has significantly influenced the younger generation of designers, not least with his
refusal to duck the question: What is jewelry?
The exhibition covers selected items of jewelry from all the phases of his oeuvre,
including many that are privately owned and have in part never been on public
display. The range extends from early ring sculptures via tension brooches, balance
and mirror objects, or works with “invisible jewelry” through to reliquary-like relics of
performances and large sculptures. Aspects of aggressions play just as much a role
here as do sensuousness and eroticism, secrecy and deep linguistic wit. It is striking
that Skubic prefers steel as a material, creates designs that are hard-edged and have
no frills, is interested in the phenomena of tension and (unstable) balance, scale and
proportion.
Jewelry is also an intellectual discipline. This is a typical statement by Austrian jewelryrebel Peter Skubic, whose oeuvre should be seen in the context of the Austrian artworld from the late 1960s onwards. Recalcitrant refusal, radical to the point ofphysical injury – just two of his key design principles. He considers jewelry-making anadventure, a sculptural or performative statement, cutting across borders, bodyaction, and creative act of liberation. From the 1970s onwards Skubic wascelebrated internationally as one of those who were breathing new ideas into thefield. Thanks to a lectureship in Cologne and countless guest professorships, Skubichas significantly influenced the younger generation of designers, not least with hisrefusal to duck the question: What is jewelry?The exhibition covers selected items of jewelry from all the phases of his oeuvre,including many that are privately owned and have in part never been on publicdisplay. The range extends from early ring sculptures via tension brooches, balanceand mirror objects, or works with “invisible jewelry” through to reliquary-like relics ofperformances and large sculptures. Aspects of aggressions play just as much a rolehere as do sensuousness and eroticism, secrecy and deep linguistic wit. It is strikingthat Skubic prefers steel as a material, creates designs that are hard-edged and haveno frills, is interested in the phenomena of tension and (unstable) balance, scale andสัดส่วนการ
การแปล กรุณารอสักครู่..