新设计，是新锐前沿的创意，
展现未来国际珠宝设计风向标；
新生代，是精英的珠宝设计师，
汇聚时代发展的声音和力量；
新理念，是创新的空间交流模式，
搭建沟通和碰撞的桥梁。
DBC国际设计师空间已入驻超过百位国际珠宝设计师和首饰艺术家，资历与创意纵贯大半个世纪，横跨30多个国家和地区。为了打破传统展览的空间限制，DBC与艺象万千国际网络展览馆全面合作，在全球超过50个合作网点和超过20家网络新闻媒体同步宣传，为会员设计师提供线上线下全面的展销服务。
“新设计、新生代、新理念”DBC国际珠宝设计师作品展由红桥市场、长流当代美术馆、纽约牧风国际珠宝股份有限公司[NOOMAD INC]联合主办，长美艺术股份有限公司、北京爱微藏科技有限公司承办，十余家海内外艺术组织协办，联动北京国际设计周、中国国际珠宝展和艺象万千国际网络展览馆。作品设计风格具有当代性、国际性和多元化的特点，促成了东西方文化的交流与对话，无疑是一场珠宝设计盛宴。
本栏目将持续推送入驻的优秀国际珠宝设计师和首饰艺术家作品，期待您的关注。
— 01 —
Pernilla Friberg
瑞典
EDUCATION
Metal and jewllery – Oslo national academy of the arts. Bachelor of arts, BA. Norway
Metal/Silversmithing – Leksands folkhögskola. Prestudy. Sweden
EXHIBITIONS（2019）
HERDET, Gallery Seilduken. Oslo, Norway
Forming and performing, Reception Gallery. Oslo, Norway Ilias Lalaounis jewlery museum. Athens jewlery week, Greece.
– Statement · 设计说明 –
I call this series of works Evolving Materials, with that I want to invite the viewers to pause for a second and reflect on what the material can tell you. Look beyond of what you know and instead see what is has evolved into.
我称这一系列作品为《进化的材料》，我想邀请参观者在此驻足，思考材料可以告诉你什么。它们会超越你所了解的，让你看到它们的进化。
The necklaces are made out of used bubble wrap. I open the back of each bubble with a scalpel and then secure different items into its pocket.
项链是用废弃的泡沫包装纸做的。我用手术刀打开每个泡沫的背面，然后把不同的物品固定到它的口袋里。
《History remains》
《历史遗存》
Material:Bubble wrap & mixed materials
材料：泡沫包装纸&混合材料
尺寸/Size:66×51.5cm
Bubble wrap is heavily associated with transport, it’s a way of protecting fragile things we want to transfer from one place to another. With each use, the wrap loses more and more of its function, the bubbles pop and it becomes useless for its original purpose but its history remains. The material develops from its practical nature to a container of stories and secrets. In its lifetime, it has seen different homes, warehouses, cities and countries.
泡沫包装常常与运输联系在一起，它是一种保护易碎品的方法。使用后的泡沫纸会破裂和漏气，失去它的功能，但它经历过的旅程仍然存在。材料从实际性质发展到故事和秘密的容器。在其有生之年，它看到了不同的家庭，仓库，城市和各国的风景。
In these necklaces I’ve inserted materials such as: used stamps, threads, instant coffee, photos, jewelry fragments and fabric. Small pieces that carry its own history, some stronger and more relatable than others. Just like people, no bubble is the same as another, each carry their own tiny universe, small glimpses into stories that will probably never be revealed.
我在这些项链中放入的材料有：用过的邮票，线头，速溶咖啡，照片，珠宝碎片和织物。这些携带自己历史的小块，承载着强壮的、亲切的记忆。这些泡沫就像人一样，没有一个泡沫是一样的，每个泡沫都带着自己微小的宇宙，在它之中可以瞥见那些可能永远不会被揭露的故事。
— 02 —
Yan Danting
闫丹婷
中国
闫丹婷，女，四川成都人。乐于探讨审美的趣味和不同材料的结合，对不同的艺术设计领域和表达媒介同样充满好奇和热情，好用感性自由且个人化的情感倾其作品。
2014年保送就读中央美术学院攻读学士学位，2018年保送攻读中央美术学院硕士研究生学位。
个人毕业创作《低俗小说 Pulp Fiction》系列获选 2018 届本科毕业生优秀作品二等奖，并在上海、宁波、荷兰鹿特丹、英国伦敦、德国慕尼黑等多地参加展览。
– Statement · 设计说明 –
作品《低俗小说》系列，灵感来自昆汀94年的同名电影。
Pulp Fiction, inspired by same named film of Quentin’s 1994
我对首饰的叙事性很感兴趣，一件首饰可以讲述多少故事是我思考的出发点。在低俗小说这部电影当中，导演打乱了时间线的叙事顺序，以拼贴蒙太奇的方式片段化地讲述了发生在几个主角身上的反转故事，并且故事结构首尾相连形成回环。我整理电影把它们拆分成了八个片段情节，并且正好每两个情节相互对应，合在一起组成一段完整的故事，按照这个叙事逻辑，对应到我创作的八件作品，也是这样两两对应的。
I am very interested in the narrative of jewelry. The starting point of my thinking is that how many stories a piece of jewelry can be told. In the Pulp Fiction，the director disarranges the narrative sequence of the time line, tells the reversal story of several protagonists in a piecemeal montage and the structure of story is linked to form the loop in end to end. I put together the movie and split it into eight episodes, each of them corresponds to the other, also every two plots exactly correspond to each other and combined to form a complete story. According to this narrative logic, it is also the same correspondent in my created eight works.
名称：《低俗小说-文森特和马沙的妻子1\2》
材质：玻璃、不锈钢、锆石、塑料、纸、铜等综合材料
尺寸：18*12*6cm
作品利用现成品进行创作，一是希望现成品的可被使用感，帮助我营造故事性的氛围和气质；另外，不相干的现成品之间的荒诞对接也和电影中的拼贴剪辑手法和突变反转的剧情相呼应。
The work uses the finished product to create, one purpose is that the finished product can be used to help me create a narrative atmosphere and temperament. In addition, the absurd connection between unrelated finished products also echoes the collage and mutation reversal in the film
关于作品的造型，我抽取那段情节中的关键物像进行创作，加入我自己的一些解读，形成电影和首饰之间的互文关系。细心的观众如果在每件作品身上停留的时间长一些，也许能发现像电影彩蛋一样的细节，比如一些文本台词，针头上的编号，打字机按钮拼成的单词等等等等。
As for the shape of the work, I selected the key images in that episode to create and added some of my own interpretations to form the intertextuality relations between the film and the jewelry. The attentive spectator may find details like movie eggs if you spend more time on each piece of work like text lines, pin numbers, typewriter buttons, etc.
名称：《低俗小说-文森特和马沙的妻子2\2》
材质：玻璃、不锈钢、铜等综合材料
尺寸：23*6*6cm
整组作品虽以电影作为出发点，但是除名字以外，并没有出现和电影直接相关的任何视觉元素，包括摄影的再创作、海报设计等虽然都极力营造一种电影感，但这又是和低俗小说那部电影完全不同的。因为“小说”的英文fiction另还有虚构，编造的含义，所以可以理解我把控这组作品和电影之间的关系更像是两个平行时空，他们二者是独立存在的，我用物件或者说道具去呈现了一个全新的故事，但她和电影又是相互关联的。在这层关系上，也反应了我尝试寻找电影叙事和整个作品之间的互文探索。
The whole group of works start with movies. Except of the name, there is no visual element which is directly related to the film, including re-creation of photography, poster design, etc., though they all try to create a sense of film. But it’s completely different from the movie Pulp Fiction. Because the English name ”fiction” of the novel also has the fictional, fabricated meaning and so it can be understood that it is more like two parallel space-time for me to control the relationship between the works and movies. Both of them exist independently, and I present a whole new story with objects or props. But she is interrelated with the file . In this relationship, it also reflects my attempts to find the intertextual exploration between the film narrative and the whole work.
— 03 —
Lorena Lazard
墨西哥
Academic History
1980-1984 – Agronomic Engineer, Universidad Metropolitana-Xochimilco, México
1986-1988 – MS in Sociology with honors, UNAM, México
1989-1992 – Art Studies, Art Department Galveston College, Texas, USA
1993-1995 – Art Studies, Art Department University of Houston. Texas, USA
1997-2018- Workshops with: Pat Flynn, Munya Aviagail, Douglas Harling, Tim McCreight, Marilyn da Silva, Diane Falkenhagen, Andy Cooperman, Tom Miur, Marjorie Simon, Shari Pierce, Christine Clark, Jorge Manilla, Tanel Veener, Michael Dale Bernard, Märta Mattsson. Daniela Malev
Exhibitions（2019-2020）
– “US-Mexico Border: Place, Imagination and Possibility” Lille 3000. France
– “Brooching: Identity and Gender” Ton Pottery gallery, Pittsburg USA
– “Colectiva Meeting 19 International Exhibition” COLLECTIVA Joalharia de Autor. Porto Portugal
– “Vecinos, Bienal de Joyería Contemporánea Latinoamericana” Museo Municipal de Arte Decorativo Firma y Odilio Estévez, Rosario Argentina
– “Stolen Sisters” Grossman Gallery, University of Wisconsin. USA
– “9 March Project” Solyanka Gallery, Moscow Rusia
– “The Limit Itself” SNAG Conference Philadelphia USA
– “Goldsmith 20 exhibition” SNAG Conference Philadelphia USA
– Statement · 设计说明 –
— In The Beginning 系列 —
The beginning does not only represent a moment in time and space, all the possibilities are concentrated within it. Like in a seed, everything, past, present and future can be found there.
开始不仅代表时间和空间的时刻，所有的可能性都集中在其中。就像种子一样，一切，过去，现在和未来都可以在那里找到。
“In the Beginning 2”
《起点》胸针2号
Constructed Broach
Soil, Iron, pure silver, polymer clay, enamel, epoxy, pigments, reflecting beads
材料：土壤，铁，纯银，聚合物粘土，釉质，环氧树脂，颜料，反射珠
尺寸/Size：9 x 11.5 x 1 cm
“In the Beginning 4”
《起点》胸针4号
Constructed Broach
Soil, Iron, epoxy, pigments, reflecting beads
材料：土壤，铁，环氧树脂，颜料，反射珠
尺寸/Size：6.7 x 9.2 x 1 cm
— 04 —
Moniek Schrijer
新西兰
Moniek Schrijer is a Contemporary Jewellery Artist from Aotearoa – New Zealand who holds a Bachelor of Applied Arts and a Post-Graduate Diploma from Whitireia NZ Facility of Art.
Moniek was awarded a Herbert Hofmann Preis during Schmuck in München (2016) and recently exhibited in Non-Stick Nostalgia at the Museum of Art and Design, New York (2019) her work is held in significant private and museum collections nationally and internationally.
Exhibitions（2019）
Surface, Millers O’Brien Gallery, Wellington
Sympathetic Resonance, The Suter Art Gallery, Nelson
Suitcase – The National at Anna Miles Gallery, Auckland
FotocopyIII, OHMYBLUE Gallery, Venice, Italy
ONE, Millers O’Brien Gallery, Wellington
NON-STICK NOSTALGIA, Museum of Art and Design, New York
Frame Galleries, The National, Munich
– Statement · 设计说明 –
— 01 – SNAIL MAIL —
SNAIL MAIL (pendant)
《蜗牛邮件》吊坠
materials: sterling silver, turbo shells, harakeke flax, cotton cord
材料：银，蜗牛壳，亚麻，棉线
尺寸/dimensions: 190x120x45mm
My pendant, snail mail speaks of growth and evolution conceptually and physically. All materials used: sterling silver, cotton cord, harakeke flax, and turbinidae shells have developed and transformed naturally or synthetically from one state to another.
作品《蜗牛邮件》吊坠探讨成长与进化的概念与身体的关系。所使用的材料都从一种自然或合成的状态被开发和转化。
Conceptually the title and format of Snail Mail explores ideas of our ever changing ways of accessing information and receiving communication, as the pendant was inspired by seeing garden snails crawling over a pile of scrunched up newspapers — an old and almost obsolete format to receive daily news.
从概念上讲，《蜗牛邮件》的标题和形式探讨了我们不断变化的获取信息和接收通信方式的想法，吊坠的灵感来自于看到花园蜗牛爬过一堆皱着东西的报纸——一种旧且几乎过时的格式来接收每日新闻。
— 02 – LEONARDO —
《LEONARDO》(necklace) 项链
materials: sterling silver, brass, aluminium studs – steel screws, patina (waxed)
材料：银，黄铜，铝螺柱 – 钢螺钉，铜绿表面擦蜡
尺寸/dimensions:
海龟/turtle: L:204xW:155xD:78 mm；
含链长/including chain：480mm
Leonardo is a turtle of mixed origin, a hybrid of heroic childhood characters he is also a protection piece.
《Leonardo》是一只混合了复合元素的海龟，致敬童年的英雄人物，表达了一种保护欲。
— 03 —
THE WEIGHT OF THE WORLD
ON OUR SHOULDERS
《THE WEIGHT OF THE WORLD ON OUR SHOULDERS》 (brooch)
《我们肩上世界的重量》胸针
materials: sterling silver, brass, pounamu (nz jade), steel wire
材料：银，黄铜，pounamu玉，钢丝
尺寸/dimensions: 120x88x30mm
Turtles and Tortoises have been depicted and revered throughout thousands of years of civilisation; from Ancient Egypt to Polynesia, thought to carry the weight of the heavens and the world on their back, they denote migration, wisdom and endurance, the present day they have become a symbol of the environment and environmentalism.
海龟在数千年的文明中被描绘和崇敬，从古埃及到波利尼西亚，人们认为海龟承载着天国和世界的重物，它们代表着迁徙、智慧和忍耐力，而今天它们已成为环境和环保主义的象征。
The Epaulettes / Brooches that I have created not only reference deity worship and historical jewellery, they also speak of the now. The mass displacement of people through conflict having to carry their worldly possessions on their shoulders; The impact modern material in a consumer-driven society is having on the environment with future generations left to shoulder the weight of current choices.
这件胸针不仅参考了图腾崇拜和考古文物，它也探讨了今天的世界。一边，人民在冲突中大规模流离失所，不得不将他们的全部财产扛在肩上；另一边，在消费驱动的社会中，不顾现代材料对环境的影响，子孙后代就要为我们当前的选择肩负重压。
— 05 —
Philipp Spillmann
瑞士
Education:
Goldsmith apprenticeship and study at School for arts and crafts, Zürich, Switzerland, 1994-98, graduated 1998
Exhibitions:（2019）
– Possibly wearable things, Sami Easter Festival, Kautokeino, Norway
– Generalforsamling, North Norwegian Art Center, Svolvær, Norway
– Villa Bazaar, Norwegian Sculptor Society, Oslo, Norway
– Juleutstillingen, Kunstnerforbundet, Oslo, Norway
Juried/ curated exhibitions:（2019）
– The 73.North Norwegian Art Exhibition, traveling exhibition, Norway
– MÅ, Temautstilling, RAM galleri, Oslo, Norway
– CONTROLS / CTRL+S, Art Jewelry Night Budapest Competition 2019, FISE gallery, Hungary
– In my opinion…, traveling exhibition, Art gallery in Legnica, Museum in Zabrze and others, Poland
– Beijing International Jewelry Art Exhibition, Beijing, China
– Itami international jewellery exhibition, The Museum of Arts&Crafts- Itami, Japan
Grants and Prizes:
-2016, Norwegian government grant for artists, diverse
-2018, The North Norwegian Art Exhibitions Jury Prize
-2019, Norwegian governments exhibition grant
-2018-2020, Norwegian government grant for artists
– Statement · 设计说明 –
“Bordbein” is a brooch carved out of the leg of an old, little wooden table (46x35x35cm). On the back side of the brooch there’s a steel needle carefully mounted with the help of two silver parts.
Bordbein是从一张小木桌的桌腿上刻下来的胸针，背面固定有一根别针。
In Norwegian language, the word “bordbein” means table leg, thus “bein” means leg but also bone. The mortal remain of a once modern table. Time is moving fast, so does society and its definition of beauty… The table with the brutally amputated leg can function as a pedestal for the brooch where it can be removed from when worn (lead placed into the opposite table leg make the table stand on the remaining three legs), thus the brooch becomes part of an installation when not worn.
在挪威语中，”bordbein”一词是指桌腿，因此”bein”是指腿，但也指骨骼。Bordbein胸针对于随时可能被弃用的小木桌来说，是一个不朽的保留方式。时光飞逝，社会及其对美的定义也一样。被“截肢”了的桌子作为胸针的基座，胸针在未佩戴时成为装置的一部分。
Thus the piece of jewellery relates both to the human body and to another object, together with the object it evolves into an installation, which relates to the room it is in. Conventionally, a piece of jewellery relates mainly to the human body and is hidden away in a box when not worn. I want the piece of jewellery to evolve/ grow into an art object which can be seen in variable contexts, relating to the body as well as the room and other objects.
由此，首饰既与人体有关，又与另一个物体相关，与它进化成装置的物体有关，与它所身的房间有关。通常，一件首饰主要与人体有关，不佩戴时会被收藏在盒子里。我希望首饰进化成一个艺术对象，可以在不同的语境中被观赏，与身体以及房间和其他物品产生联系。
— 06 —
Valentijn Vanmeirhaeghe
日本
Education
1998 – 2001-Royal Academy of Fine Arts of Antwerp, Belgium Jewelry design / Silversmithing MA.
2002 – 2013-Worked in Art Casting (artistic bronze Foundry) as patina specialist
2013 – present-Tokyo University of the Arts, Tokyo, Japan. Research student, MA, currently Phd program. Crafts department, metal casting studio.
Exhibitions（part）
2016-鋳物 Collection – 天王洲 Central Tower Art Hall – 天王洲 Isle・東京
2017 – 立体作品展 Kreator vol.3 （留学生・若手作家交流展）
The Artcomplex Center of Tokyo - 新宿・東京
-弟65回東京藝術大学卒業修了作品展 – 藝大美術館 – 上野・東京
-弟9回佐野ルネサンス鋳金展 – 佐野文化会館 – 佐野・栃木
2018-鋳物 Collection – 天王洲 Central Tower Art Hall – 天王洲Isle・東京
-桃源郷芸術祭- 天心記念五浦美術館 – 北茨城・茨城
-天空の芸術祭 – 梅野記念絵画館 – 東御・長野
2019-鋳金の幻想 – 東京芸大陳列館ギャラリー – 上野・東京
第48回伝統工芸日本金工展 – 明治神宮社・東京
– Statement · 设计说明 –
A piece of jewelry that evolves from a passive piece of silver decoration into an object that participates in an exercise in awareness, in unison with its wearer.
这是一件从被动的银色装饰物演变成一件承载佩戴者的参与和意识练习的首饰作品。
This work is part of a bigger installation focusing on awareness and curiosity both of which I try to stimulate through the juxtaposition of cultures (me being a Belgian person living in Tokyo to study traditional metal casting and patination techniques), using unusual metal colouring techniques and viewer participation. I wanted to have the people take a more attentive look at their own nearby world so I decided to create a participatory project: “Show me your Tokyo / 私にあなたの東京を見せて” in which I ask the participant to self-reflect and ponder about the city of Tokyo.
这件作品是一个专注于意识和好奇心的装置作品的一部分，利用了不同寻常的金属着色技术和观众的参与。我是一个生活在东京的比利时人，想要学习传统的金属铸造和电镀技术。我试图通过文化的并存与碰撞吸引人们细心观察自己附近的世界。于是我创建了这个参与式项目:“让我看看你的东京”，在这个项目中我要求参与者提出他们对东京这个城市的思考和自省。
The participants can purchase a postcard with a silver pin or pair of earrings with a set of short step-by-step instructions. They are first asked to contemplate about what Tokyo means to them and to then condense that into one single image.
参与者可以购买一张附有银别针的明信片或一对耳钉，附有简短的步骤说明。他们被要求思考东京对他们意味着什么，然后将其浓缩成一个图像。
This can be some beautiful scenery, a favourite spot, family and / or friends, an experience that made a big impression, food, a specific event, a certain atmosphere, etc. anything is fine. Once decided they are then to go to that place while wearing the pin / earrings. The silver face on the pin and earrings is a 3D laser scan of my own face, printed in wax and then cast in 925 silver (sterling silver). It is a way of me being present when the participant shows ‘their’ Tokyo in the sense that the moment the participant takes the photo, I, via The taken photo is then to be sent to me via e-mail. Of each submission a print on washi will be made and be presented during the PhD graduation exhibition.
这个图像可以是美丽的风景、最喜欢的地方、家人或朋友、给人留下深刻印象的经历、食物、特定的事件、特定的氛围等等，任何事物。参与者需要带着我的胸针或耳环去那个地方。别针和耳环上的银脸是我自己面部的3D激光扫描，用蜡打印，然后用925纯银铸造。当参与者展示“他们的”东京时，这是我在场的一种方式，就像参与者拍照的那一刻。他们拍下的照片将通过电子邮件发给我。每一份作品将印制在和纸（washi）上并展出。
One of the submissions for the participatory work.
其中一位参与者传回的照片
The use of washi rather than glossy photo paper again is a reference to the inspiration for this series, the historical serialized representation of a single subject via woodblock prints.
使用和纸而不是光面照相纸是这个系列的灵感来源，和纸的质感使我联想到通过木刻版画的历史连续表现单一主题。
作者的灵感来源——木刻版画
Most likely this will show different ways of seeing the very same city I am using as my inspiration for my own cabinet of curiosities. Having these alternative views may provide me with new insights as to what kind of place Tokyo is. A whole range of different personal filters through which the same subject, the megalopolis that is Tokyo, is seen. It helps me to keep a fresh look at my surroundings and how my personal impression of the city where I live in for 7 has evolved and keeps evolving.
这将展示人们看待这座城市的不同方式，而我正是用这座城市来启发自己的好奇心。有了这些不同的观点，我对东京究竟是个什么样的地方有了新的见解。通过一系列不同的个人滤镜看到同一个主题，也就是东京。它帮助我保持对周围环境的新鲜感，以及我对我居住的城市的个人印象是如何进化和不断演变的。
