什么是当代珠宝

What Is Contemporary Jewelry?
什么是当代珠宝？

Damian Skinner 达米安-斯金纳

Quite early on, when this book was just an idea rather than a manuscript, I had a clear idea of who it was for. I would imagine someone who had just graduated from a jewelry course, facing the inevitable questions from people about why their work didn’t look like the jewelry found in the local shopping center or in the pages of glossy magazines-in other words, facing the question of defining or explaining the term contemporary jewelry. I imagined a book that would address the kinds of objects and practices that are named by the term contemporary jewelry, explain how these objects and practices have developed in different countries around the world, and talk about some of the challenges and opportunities that contemporary jewelry has to face in the present moment.
很早以前，当这本书还只是一个想法而不是手稿的时候，我就清楚地知道这本书是为谁而写的。我会想象一个刚刚从珠宝课程毕业的人，面对人们不可避免的提问，为什么他们的作品看起来不像当地购物中心或光鲜杂志上的珠宝，换句话说，就是面对如何定义或解释当代珠宝这个词的问题。我曾设想过这样一本书，它将讨论当代珠宝这一术语所命名的各类物品和实践，解释这些物品和实践是如何在世界不同国家发展起来的，并谈论当代珠宝在当下所面临的一些挑战和机遇。

As anyone familiar with contemporary jewelry will know, it’s surprising how many kinds of objects and practices can fit under that term. Take, for example, three works by Otto Künzli, a well-known jeweler who teaches at the prestigious Akademie der Bildenden Künste München (Academy of Fine Arts, Munich). Künzli’s jewelry is a great example of the conceptual tendency that makes contemporary jewelry distinctive, in which materials and skills are placed in the service of ideas, rather than being celebrated as ends in themselves. The eminently wearable Gold Makes Blind (1980) asks us to consider the way we ascribe value to materials like gold by hiding the “precious” substance underneath a covering of “non-precious” rubber. Indeed, the buyer/wearer is initially asked to take the presence of gold on faith, since it will only become visible when the rubber wears away during regular use. (The purchase of the piece includes a guarantee to replace the rubber tube for free.) Ultimately, Künzli sets two kinds of value against each other: the value of precious materials, which underpins conventional jewelry, and the value of artistic expression and the maker’s conceptual work, which underpins the value of contemporary jewelry.
熟悉当代珠宝的人都知道，有多少种类的物品和做法可以归入当代珠宝的范畴，实在令人惊讶。以著名珠宝商奥托-昆兹利（Otto Künzli）的三件作品为例，他在著名的慕尼黑美术学院（Akademie der Bildenden Künste München）任教。Künzli 的珠宝作品充分体现了当代珠宝与众不同的概念化倾向，即材料和技艺为理念服务，而不是将其本身作为目的来赞美。极易佩戴的《黄金使人盲目》（Gold Makes Blind，1980 年）通过将 "贵重 "物质隐藏在 "非贵重 "橡胶覆盖之下，让我们思考我们赋予黄金等材料价值的方式。事实上，购买者/佩戴者一开始需要相信黄金的存在，因为只有当橡胶在正常使用过程中磨损后，黄金才会显现出来。(在购买时，我们保证免费更换橡胶管）。最终，昆兹利将两种价值对立起来：贵重材料的价值是传统珠宝的基础，而艺术表达和制作者的概念作品的价值则是当代珠宝的基础。

Gold as a marker or guarantor of value also makes an appearance in Künzli’s Beauty Gallery series (1984), which consists of Cibachrome photographs of people wearing elaborate picture frames, including one covered with gold leaf, around their necks. When a sign of preciousness is shifted from one world (fine art) into another (jewelry), a shift that also involves a kind of creative misuse in terms of function, the sign is no longer taken for granted and thus becomes visible as conventional and arbitrary rather than natural. But the Beauty Gallery series is also notable for another reason: the necklace here disappears into the photograph, into the world of images.
在昆兹利的 "美丽画廊"（Beauty Gallery）系列作品（1984 年）中，黄金作为价值的标记或保证也出现了，该系列作品由 Cibachrome 照片组成，照片中的人物脖子上都挂着精致的相框，其中一个相框还贴满了金箔。当一种珍贵的标志从一个世界（美术）转移到另一个世界（珠宝）时，这种转移也涉及到一种在功能上的创造性滥用，标志不再被视为理所当然，因而变得传统、随意而非自然。但《美丽画廊》系列还有另一个值得注意的原因：项链在这里消失在照片中，消失在图像的世界里。

Chese aren’t images of people wearing jewelry; rather, the hotograph is the work, which exists in no other form. Outside ff the image, all you have is a picture frame and a person, not piece of jewelry. The field of contemporary jewelry, as Künzli demonstrates, is open to experimentation that can leave jewelry pehind, including works that don’t have to be something you can vear or even a three-dimensional object at all.
Chese并不是佩戴珠宝的人的形象；相反，Hotograph就是作品，它以其他任何形式存在。除了图像之外，你所拥有的只是一个相框和一个人，而不是一件珠宝。正如昆兹利所展示的那样，当代珠宝领域的实验是开放的，可以将珠宝抛在脑后，包括那些不一定是你能看到的东西，甚至根本不是三维物体的作品。

The final work by Künzli I want to mention here is Cozticteocuitlatl 1995-1998 B.M. (1995-1998), a series of gold and silver pendants of various dimensions. Cozticteocuitlat! an Aztec word that translates as the yellow feces of the gods, shows that Künzli is again tackling mythic dimensions and cultural notions of value that many human cultures attach to gold. These pendants-which, like the bangle of Gold Makes Blind, are a common genre or type of jewelry-investigate the possibility of contemporary jewelry as signs, motifs and mages that are meaningful as part of the system of visual epresentation. What’s curious here, and what makes this work so dynamic, is that these particular signs aren’t easily interpreted. The title might suggest archaeological origins, as though Künzli is translating elements from Mesoamerican art into contemporary jewelry. But then the story shifts when we realize that B.M. at the end of the title stands for Before Mouse. The silhouette of some of the pendants is revealed as pointing to a very different, much more modern, magic kingdom. But even while gesturing in part to Mickey Mouse, Künzli keeps the visual references open-ended, mixing up modern popular culture and ancient art forms and celebrating the mutated, hybrid results. Contemporary jewelry shows its potential as a kind of visual art, commenting on the nature of images in our highly mediated society.
我想在此提及的库兹利的最后一件作品是 Cozticteocuitlatl 1995-1998 B.M.（1995-1998 年），这是一系列不同尺寸的金银吊坠。Cozticteocuitlat是阿兹特克语，意为众神的黄色粪便，这表明库兹利再次处理了神话层面的问题，以及许多人类文化赋予黄金的文化价值概念。这些吊坠--就像《黄金使人盲目》中的手镯一样，是一种常见的珠宝流派或类型--探讨了当代珠宝作为标志、图案和法术的可能性，它们作为视觉呈现系统的一部分，意义非凡。令人好奇的是，这些特殊的标志并不容易解释，这也是这件作品如此充满活力的原因。这个标题可能暗示着考古学的起源，就好像 Künzli 正在将中美洲艺术的元素转化为当代珠宝。但当我们意识到标题末尾的 B.M. 代表 "Before Mouse "时，故事就发生了转变。一些吊坠的轮廓被揭示出来，指向一个截然不同、更加现代的魔法王国。但是，即使在部分地指向米老鼠的同时，Künzli 仍保持了开放式的视觉参考，将现代流行文化和古老艺术形式混合在一起，并对变异的混合结果表示赞美。当代珠宝展示了其作为一种视觉艺术的潜力，对我们这个高度媒介化社会中图像的本质进行了评论。

You’ll find lots of definitions of what in this book is called contemporary jewelry, and they won’t always agree with each other. It isn’t easy dealing with ambiguity, but it’s precisely the contradictory, in-between nature of contemporary jewelry objects and practices that makes them interesting. Certainly, this is where contemporary craft theory is heading. As art historian Glenn Adamson puts it in his book Thinking Through Craft (2007), "Rather than presenting craft as a fixed set of things-pots, rather than paintings-this book will analyze it as an approach, an attitude, or a habit of action. Craft only exists in motion. It is a way of doing things, not a classification of objects, institutions, or people."1 Craft, he suggests, should be conceived as an unstable category, changing when it encounters other
在本书中，你会发现很多关于当代珠宝的定义，而这些定义并不总是相互一致的。处理模棱两可的定义并不容易，但恰恰是当代珠宝物品和实践的矛盾、夹缝性质使它们变得有趣。当然，这也是当代工艺理论的发展方向。正如艺术史学家格伦-亚当森（Glenn Adamson）在其著作《工艺思考》（Thinking Through Craft，2007 年）中所说："这本书不是把工艺作为一套固定的东西--壶，而不是绘画--而是把它作为一种方法、一种态度或一种行动习惯来分析。手工艺只存在于运动中。它是一种做事的方式，而不是对物品、机构或人的分类。"1 他建议，应将手工艺视为一个不稳定的类别，当它遇到其他类别时会发生变化。

Otto Künzli 奥托-昆兹利
Gold Makes Blind, 1980 《黄金使人盲目》，1980 年

8.3 \times 7.9 \times 1.3 cm

Rubber, gold ball 橡胶，金球

Otto Künzli 奥托-昆兹利
Susy from Beauty Gallery 来自美丽画廊的苏西
Series, 1984 系列，1984 年

75 \times 62.5 cm

Cibachrome SB
Courtesy of the artist 艺术家提供

Otto Künzli 奥托-昆兹利

Cozticteocuitlatl 1995-1998
B.M., 1995-98

Dimensions vary 尺寸各不相同
Gold, silver 金、银
Courtesy of the artist fields like fine art or design, rather than containing some kind of fixed meaning inside itself.
艺术家的领域，如美术或设计，而不是本身包含某种固定的意义。

This point of view runs counter to how craft, including contemporary jewelry, has usually been defined. As art historian Maria Elena Buszek suggests, writing about craft has drawn strength from the various functions that craft media have historically provided, and focuses on what distinguishes the applied arts from the fine arts. Most writing, she says, "not only tends to take for granted historical tendencies to associate them with a ‘crafts culture’ separate from fine arts traditions but also proudly discusses and dissects this distinction as a badge of honor."2 Increasingly, this approach has come to look like a conceptual dead-end. It certainly hasn’t resulted in the outcomes that supporters of contemporary jewelry have historically wished for-the elevation of contemporary jewelry from craft to fine art. And it has tended to result in the kind of discussions about contemporary jewelry that are all about celebration and validation. The most visible model in contemporary jewelry publications consists of beautiful monographs in which jewelers are written about by their colleagues and friends, who of course only have nice things to say. Or at least, this used to be true. A steady stream of books is proving that there are robust, exciting and conceptually rigorous discussions to be had about contemporary jewelry.
这种观点与人们通常对工艺（包括当代珠宝）的定义背道而驰。正如艺术史学家玛丽亚-埃莱娜-布斯泽克（Maria Elena Buszek）所言，有关手工艺的写作从手工艺媒体在历史上提供的各种功能中汲取力量，并将重点放在应用艺术与美术的区别上。她说，大多数写作 "不仅倾向于想当然地将其与美术传统之外的'手工艺文化'联系在一起的历史趋势，而且还自豪地讨论和剖析这种区别，将其视为一种荣誉徽章 "2。它当然没有带来当代珠宝支持者历来所希望的结果--将当代珠宝从手工艺提升为美术。而且，它往往会导致关于当代珠宝的讨论都是关于庆祝和确认的。当代珠宝出版物最明显的模式是出版精美的专著，珠宝商的同事和朋友在专著中对他们大加赞赏，当然，他们也只会说好话。至少以前是这样。不断涌现的新书证明，关于当代珠宝的讨论是活跃的、令人兴奋的、概念严谨的。

But let’s get back to the question of definitions. In doing research for this book, I came across this definition of craft by jeweler Bruce Metcalf, which I like very much.
但让我们回到定义的问题上来。在为本书做研究时，我看到了珠宝商布鲁斯-梅特卡夫对手工艺的定义，我非常喜欢这个定义。

Craft, he suggests, is multivalent, by which he means has more than one dimension or aspect. He offers five ways to identify a craft object. One, it must be an object. Two, it will usually be made by hand. Three, it will usually be made from “traditional craft material” using "traditional craft techniques"although it doesn’t have to be. Four, it will often “address traditional craft functional contexts”-Metcalf provides the examples of furniture and clothing. And five, it will usually make some kind of reference to what he calls “the vast histories of craft.” As he concludes, “the craft identity is incremental: the more of these aspects that are embodied in an object, the more craft it is. There is no simple black-and-white here, only matters of degree.”

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他认为，手工艺是多价的，即具有不止一个层面或方面。他提出了五种鉴别工艺品的方法。第一，它必须是一件物品。第二，它通常是手工制作的。第三，通常使用 "传统工艺材料 "和 "传统工艺技术 "制作，但不一定是这样。第四，它通常 "针对传统工艺的功能背景"--梅特卡夫提供了家具和服装的例子。第五，通常会在某种程度上提及他所说的 "浩瀚的手工艺历史"。正如他总结的那样，"手工艺的特性是渐进的：一件物品所体现的这些方面越多，它就越是手工艺品。这里没有简单的黑白之分，只有程度之别"。

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Metcalf’s definition is flexible, but it also describes a series of tendencies or histories that craft practices like contemporary jewelry will engage with. Most often, contemporary jewelry is an object which has been substantially made by hand, and it also
梅特卡夫的定义非常灵活，但也描述了当代珠宝等手工艺实践所涉及的一系列趋势或历史。大多数情况下，当代珠宝是一种主要由手工制造的物品，同时也是
tends to be-although it isn’t always-made from traditional craft materials, by traditional craft techniques. And lots of contemporary jewelry demonstrates an interest in history-its own history (the 70-plus years of contemporary jewelry) as well as the much larger histories of jewelry and adornment.
尽管并不总是由传统工艺材料和传统工艺技术制作而成。很多当代珠宝都表现出对历史的兴趣--自身的历史（当代珠宝 70 多年的历史），以及珠宝和装饰品更广阔的历史。

As Metcalf puts it in another essay, "craft is a series of limitations suggested by tradition."4 This phrase is important because it captures something of the backwards-looking nature of contemporary jewelry as a kind of craft, a quality that is both a gift and a curse. The point of defining contemporary jewelry is not to fix its nature, or to identify a kind of essential identity that will include or exclude certain objects, but rather to identify a series of conditions that make contemporary jewelry possible and meaningful.
正如梅特卡夫在另一篇文章中所说，"手工艺是传统提出的一系列限制 "4 。这句话很重要，因为它抓住了当代珠宝作为一种手工艺的反向性质，这种性质既是一种恩赐，也是一种诅咒。给当代珠宝下定义并不是要固定其性质，也不是要确定一种包含或排除某些物品的基本特性，而是要确定一系列使当代珠宝成为可能和有意义的条件。

At this point I would like to offer the definition that has shaped my thinking in putting this book together: Contemporary jewelry is a self-reflexive studio craft practice that is oriented to the body.

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Let me unpack what this means.
在此，我想提出一个定义，这个定义影响了我编写本书的思路：当代珠宝是一种以身体为导向的自我反思性工作室工艺实践。

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让我来解释一下这句话的含义。

Contemporary jewelry: There are many names used to refer to the objects and practices I am calling contemporary jewelry. In her book On Jewellery: A Compendium of International Contemporary Art Jewellery, art historian Liesbeth den Besten identifies six different names for the type of jewelry she’s interested in: contemporary jewelry, studio jewelry, art jewelry, research jewelry, design jewelry, and author jewelry.

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These names are complicated in terms of how they relate to each other, and how they relate to different time periods and regions. Some, for example, are chronological, and some are specific to certain countries, while some involve terms also used in the fine arts or other forms of visual culture. Names are important because they shape what we see, as much as they identify and bring into focus something that already exists. This is why den Besten spends time in her book thinking through the limitations of each term. To paraphrase her conclusions, contemporary indicates the present and “of our time,” yet describes a practice that includes 70 years of objects and some dramatic shifts in framework. The term studio places too much emphasis on where and how and thus is too limited. Art implies an acceptance by the fine art world that just isn’t true, as well as overlooking the true potential of jewelry as a specific kind of object with its own history that’s different from fine art. Research points to something interesting about the artistic process but the term is limited to Italy. Design is a term that arose as part of specific debates in the Netherlands, and the distinction between
当代珠宝：我所说的当代珠宝有很多名称。艺术史学家 Liesbeth den Besten 在她的著作《On Jewellery：A Compendium of International Contemporary Art Jewellery》一书中，艺术史学家 Liesbeth den Besten 为她感兴趣的珠宝类型确定了六个不同的名称：当代珠宝、工作室珠宝、艺术珠宝、研究珠宝、设计珠宝和作者珠宝。

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这些名称之间的关系以及它们与不同时期和地区的关系非常复杂。例如，有些名称是按时间顺序排列的，有些名称是某些国家特有的，还有些名称涉及美术或其他形式的视觉文化。名称之所以重要，是因为它们塑造了我们所看到的事物，同时也识别和聚焦了已经存在的事物。这就是为什么 Den Besten 在她的书中花时间思考每个术语的局限性。套用她的结论，"当代 "指的是当下和 "我们这个时代"，但描述的却是包含了 70 年的对象和一些戏剧性的框架变化的实践。工作室一词过于强调地点和方式，因此局限性太大。艺术 "一词意味着美术界对珠宝的认可，但事实并非如此，同时也忽略了珠宝作为一种特殊物品的真正潜力，它有自己不同于美术的历史。研究表明，艺术创作过程是有趣的，但这一术语仅限于意大利。设计 "一词是荷兰特定辩论的一部分，而 "设计 "与 "艺术 "之间的区别在于 "设计 "与 "艺术"。
concept and handwork has been theoretically dismantled, as well as not seeming like such a big issue in the present. Author invokes a sense of isolation and pride, and is also limited to the object and thus overlooks conceptual practices. Ultimately, den Besten settles on contemporary jewelry, art jewelry and author jewelry, moving between these three terms because they represent the status quo in the field.
在理论上，"概念 "和 "手工 "已经被瓦解，在当下也不再是一个大问题。作者 "给人一种与世隔绝和自豪的感觉，同时也局限于对象，从而忽略了概念性的实践。最终，den Besten 定义为当代珠宝、艺术珠宝和作者珠宝，在这三个词之间游走，因为它们代表了该领域的现状。

Names do reflect a variety of preoccupations and ideas about what these objects and practices are, and they have histories, so in using one or the other of these terms, certain characteristics will be emphasized or downplayed. Art historian Mònica Gaspar suggests that the different names of contemporary jewelry have a temporal dimension: "I traditional jewellery aspires to eternity and passing between generations, contemporary jewellery is obstinately anchored in the present, as a creation linked to the ‘here and now’ of its creator."7 And we can track this temporal dimension in the different names: avant-garde jewelry, which positions itself as radically ahead of mainstream ideas; modern or modernist jewelry, which claims to reflect the spirit of the times in which it is made; studio jewelry, which emphasizes the artist studio over the craft workshop; new jewelry, which takes an ironic stance to the past; and finally contemporary jewelry, a term that represents “a perfect balance between innovation, personal languages and recognition by an established circuit of galleries, museums and collectors.”

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I like contemporary jewelry precisely because it’s general and can refer to all of the qualities emphasized by the other names, and also because it represents the temporal desire of jewelers to be of their time. It’s also been in use since the 1970s, which gives it a certain historical weight.
名称确实反映了人们对这些物品和做法的各种关注和想法，而且它们都有历史，因此在使用这些术语中的一个或另一个时，某些特征会被强调或淡化。艺术史学家莫妮卡-加斯帕尔（Mònica Gaspar）认为，当代珠宝的不同名称具有时间维度："传统珠宝追求永恒和代代相传，而当代珠宝则坚持立足当下，是与其创作者的'此时此地'相关联的创作。"7我们可以从不同的名称中追踪到这种时间维度：前卫珠宝，将自己定位为从根本上领先于主流观念；现代或现代主义珠宝，声称反映了其制作所处的时代精神；工作室珠宝，强调艺术家工作室而非手工艺作坊；新珠宝，对过去持一种讽刺的立场；最后是当代珠宝，这个词代表了 "创新、个人语言与画廊、博物馆和收藏家的认可之间的完美平衡"。

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我喜欢 "当代珠宝"，正是因为它具有概括性，可以指代其他名称所强调的所有品质，还因为它代表了珠宝商希望与时俱进的愿望。此外，它从 20 世纪 70 年代开始使用，因此具有一定的历史厚重感。

Self-reflexive: Contemporary jewelry is a self-reflexive practice, which means that it’s concerned with reflecting on itself and the conditions in which it takes place. In general, contemporary jewelers work in a critical or conscious relationship to the history of the practice, and to the wider field of jewelry and adornment. This is what makes contemporary jewelry different from other forms of body adornment, and it isn’t found just in the way contemporary jewelry objects and practices engage with the history of jewelry, or the relationship to the body and wearing. Contemporary jewelry is shaped by a distinct awareness of the situations in which it exists, meaning that jewelers engage directly with the spaces in which their work circulates-the gallery or museum, for example, or books and catalogs. Some contemporary jewelers make work that’s
自我反思：当代珠宝是一种自我反思的实践活动，这意味着它关注对自身及其所处环境的反思。一般来说，当代珠宝商在工作中会批判性地或有意识地与珠宝实践的历史以及更广泛的珠宝和装饰领域建立联系。这就是当代珠宝与其他身体装饰形式的不同之处，而这种不同不仅仅体现在当代珠宝作品和实践与珠宝历史的关系，或与身体和佩戴的关系上。当代珠宝是在对其所处环境的独特认识中形成的，这意味着珠宝商直接参与到其作品的流通空间中--例如画廊或博物馆，或者书籍和目录。一些当代珠宝商制作的作品是
precisely about what it means for jewelry to exist in such sites, and in which an awareness of the relationship between object and location is effectively their subject. Not all contemporary jewelry is equally self-reflexive, but as a field, this is one of its notable characteristics.
在这些作品中，对对象和地点之间关系的认识实际上就是它们的主题。并非所有当代珠宝都具有同样的自我反思性，但作为一个领域，这正是其显著特点之一。

Interestingly, while contemporary jewelry as a term includes modernist jewelry (and to a lesser extent, art jewelry from the late nineteenth and early twentieth centuries), I would argue that these types of jewelry are not the same thing, precisely because modernist jewelry is not necessarily self-reflexive. Both modernist and art jewelry did begin the work of freeing jewelry from the restrictive idea that its value was tied to the precious materials from which it was made, which in turn allowed jewelry to become a form of artistic expression. Yet the avant-garde status of modernist jewelry tends to come from its adoption of modernist styles from fine art, whereas contemporary jewelry’s avant-garde status tends to relate to its investigation of jewelry’s traditions and functions, and the jewelers’ willingness to assume a critical relationship to the history within which they are working. Modernist jewelry didn’t, as a movement, call into question its own nature and history, whereas contemporary jewelry, as a movement, does. Modernist jewelry broke with its history, but didn’t treat this break as a subject.
有趣的是，虽然当代珠宝一词包括现代主义珠宝（其次是十九世纪末二十世纪初的艺术珠宝），但我认为这些类型的珠宝并不是一回事，这正是因为现代主义珠宝并不一定具有自我反思性。无论是现代主义珠宝还是艺术珠宝，都确实开始了将珠宝从 "珠宝的价值与制作珠宝的贵重材料息息相关 "的限制性观念中解放出来的工作，这反过来又使珠宝成为了一种艺术表现形式。然而，现代主义珠宝的前卫地位往往来自于它对美术中现代主义风格的采用，而当代珠宝的前卫地位则与它对珠宝传统和功能的研究有关，与珠宝商愿意承担与他们所处的历史之间的批判关系有关。作为一场运动，现代主义珠宝并没有对自身的性质和历史提出质疑，而作为一场运动，当代珠宝却提出了质疑。现代主义珠宝打破了自己的历史，但并没有将这种打破作为一个主题。

Art historian Maribel Königer offers an interesting perspective on these issues in her discussion of why contemporary jewelry is so vigorously distinguished by name from other jewelry practices. Talking about the idea of “conceptual” jewelry, which is a strong tendency within the field of contemporary jewelry, she writes: "What is usually meant by such terms is that basically an idea is inherent in a piece of jewellery, that the choice of materials, colours, forms, techniques of execution, functions and determination of a particular way to wear it can be, and are intended to be, legible."9 Contemporary jewelry is not so much being distinguished from jewelry per se; instead, this is an "attempt to detach oneself through terminology from the products of the commercial jewellery industry that reproduce clichés and are oriented towards the tastes of mass consumption, on the one hand, and, on the other, the individualistic, subjectively aestheticising designs of pure crafts."10
艺术史学家玛丽贝尔-科尼格尔（Maribel Königer）在讨论当代珠宝为何在名称上如此强烈地区别于其他珠宝实践时，对这些问题提供了一个有趣的视角。在谈到 "概念性 "珠宝这一当代珠宝领域的强烈倾向时，她写道："这类术语通常的含义是，一件珠宝作品基本上蕴含着一种理念，对材料、颜色、形式、制作工艺、功能的选择，以及对特定佩戴方式的确定，都可以是、而且旨在是清晰可辨的。"9 当代珠宝与其说是与珠宝本身的区别，不如说是 "试图通过术语将自己与商业珠宝业的产品区分开来，商业珠宝业的产品一方面再现陈词滥调，面向大众消费的口味，另一方面是纯手工艺的个性化、主观审美化的设计 "10。

Studio craft practice: While many different kinds of objects and practices belong to the term contemporary jewelry, the field has been deeply shaped by the values and history of the studio craft movement. As curator Kelly Hays L’Ecuyer writes in Jewelry by Artists in the Studio 1940-2000, studio craft is not defined by
工作室工艺实践：虽然许多不同种类的物品和做法都属于当代珠宝这一术语，但工作室工艺运动的价值观和历史却深深地影响着这一领域。正如策展人 Kelly Hays L'Ecuyer 在 Jewelry by Artists in the Studio 1940-2000 一书中写道，工作室工艺并不是由以下因素定义的
Lisa Gralnick 丽莎-格拉尼克
The Gold Standard, Part I: #11 Tiffany Ring, 2005

101.6 \times 40.6 \times 5.1 cm

Gold, acrylic
黄金标准，第一部分：#11 蒂芙尼戒指，2005 年

101.6 \times 40.6 \times 5.1 cm

金，丙烯酸树脂
Photo by Jim Escalante 摄影：吉姆-埃斯卡兰特
Collection of Rotasa Foundation
罗塔萨基金会收藏

Mah Rana

Have you ever dreamt your teeth have fallen out?, 1997 Hairbrush,

12.2 \times 2.5 \times 0.2 cm

Reworked gold:wedding ring. table, hairbrush, wallpaper Photo by artist particular artistic styles or even particular philosophies, but rather by the circumstances in which the work is produced. "Studio jewelers are independent artists who handle their chosen materials directly to make one-of-a-kind or limited-production jewelry. . . . The studio jeweler is both the designer and fabricator of each piece (although assistants or apprentices may help with technical tasks), and the work is created in a small, private studio, not a factory."11 Built on the platform of studio jewelry, contemporary jewelers favor the unique or one-off, or limited production model, and tend to shy away from the idea of the multiple or mass-production; skill and an investment in the special qualities of materials are central to the idea of the contemporary jeweler (as demonstrated by the fact that many jewelers choose to represent themselves sitting at their bench); individuality and artistic expression are the priority, for both the maker and the wearer/owner; and contemporary jewelers follow the model of the art world, rather than mainstream commercial jewelry production, in distributing their work through dealer galleries, accompanied by artist statements, catalogs, etc.

^{12}

你有没有梦见过自己的牙齿掉光了？"，1997 年《梳子》，

12.2 \times 2.5 \times 0.2 cm

《再加工的黄金：结婚戒指》。"工作室珠宝商是独立的艺术家，他们直接处理自己选择的材料，制作独一无二或限量生产的珠宝。. .工作室珠宝匠既是每件作品的设计者，也是制作者（尽管助理或学徒可能会帮助完成技术任务），作品是在小型私人工作室而非工厂中制作的。"11 在工作室珠宝的平台上，当代珠宝匠偏爱独一无二的、一次性的或限量生产的模式，倾向于回避多件或批量生产的理念；技艺和对材料特殊品质的投资是当代珠宝匠理念的核心（许多珠宝匠选择自己坐在工作台前的形象就证明了这一点）；无论是对制作者还是对佩戴者/拥有者而言，个性和艺术表现力都是优先考虑的因素；当代珠宝商遵循艺术界而非主流商业珠宝生产的模式，通过经销商画廊销售他们的作品，并附有艺术家声明、产品目录等。

^{12}

Contemporary jewelry as a kind of visual art practice keeps breaking the limits of what it can be, so studio jewelry doesn’t describe everything that’s important about the objects and practices referred to in this book. But a great deal of contemporary jewelry does share strongly the values of studio jewelry, which extend right back to the nineteenth century, and the ways in which the Arts and Crafts Movement promoted an ideal of craft, including art jewelry, as an antidote to the evils of the industrial revolution. And this is important, since studio jewelry represents a series of values and historical relationships that contemporary jewelry needs to deal with in order to embrace its potential in the present.
当代珠宝作为一种视觉艺术实践，一直在不断突破自己的极限，因此工作室珠宝并不能描述本书中提到的所有重要物品和实践。但是，大量的当代珠宝首饰确实与工作室珠宝首饰的价值有着强烈的共鸣，这种共鸣可以追溯到十九世纪，艺术与手工艺运动（Arts and Crafts Movement）将包括艺术珠宝首饰在内的手工艺理想作为工业革命罪恶的解毒剂加以推广。这一点非常重要，因为工作室珠宝代表了一系列价值观和历史关系，当代珠宝需要处理好这些关系，才能在当下发挥其潜力。

In the introduction to Extra/Ordinary: Craft and Contemporary Art, Buszek suggests that the romantic associations attached to materials such as clay, fiber, glass, wood and metal-which boil down to the idea that handicraft is an antidote to the tyrannical pressures of technology-are a real dilemma for contemporary craftspeople. The crafts world insists on maintaining this material romance as much as the art world insists on its romance with the conceptual. The craftsperson using these materials in a conceptual way gets caught in the middle-not romantic enough, or romantic by association-and belongs nowhere.
在《非凡/平凡》一书的序言中，Buszek 认为，粘土、纤维、玻璃、木材和金属等材料所带来的浪漫联想，归结起来就是手工艺是对技术的解毒剂：布塞克认为，粘土、纤维、玻璃、木材和金属等材料所附带的浪漫联想--归根结底是手工艺是对技术暴虐压力的解毒剂--是当代手工艺人面临的真正困境。手工艺界坚持要保持这种物质上的浪漫，就像艺术界坚持要保持与观念的浪漫一样。以概念方式使用这些材料的手工艺人被夹在中间--不够浪漫，或因联想而浪漫--无所归属。

The most common solution to this problem has been essentialist, which means, as Buszek puts it, "to encourage
对这一问题最常见的解决办法是本质主义，即 Buszek 所说的 "鼓励......"。
artists working in craft media to draw strength from the various functions that those media have historically provided and to focus on that which has historically differentiated the ‘applied arts’ from the ‘fine arts’ . . ."13 The problem is that this approach has been entirely inward looking. It turns away from the possibilities of craft as something embedded in everyday life, and focuses on the preciousness of materials as expressed in objects made by craftspeople in the studio. After World War II, craft entered into an unholy alliance with modernist art theory, concerning itself with concepts like honesty or truth to materials and dismissing the world in favor of autonomous objects that didn’t need to be used, or in the case of contemporary jewelry, worn.
从事手工艺媒体工作的艺术家要从这些媒体历来提供的各种功能中汲取力量，并关注历来将'应用艺术'与'美术'区分开来的东西...... "13 问题在于，这种方法完全是内向型的。13 问题在于，这种方法完全是内向型的，它忽视了手工艺作为日常生活中的嵌入式事物所具有的可能性，而专注于手工艺人在工作室中制作的物品所表现出的材料的珍贵性。第二次世界大战后，手工艺与现代主义艺术理论结成了邪恶的联盟，只关注材料的诚实或真实等概念，而忽略了世界，转而追求无需使用的自主物品，或者就当代珠宝而言，无需佩戴的物品。

At the same time this was happening, there was a shift in the wider visual arts scene, in which life and popular culturedismissed by high modernism-came flooding back into fine art. Artists began to adopt a wide palette of materials and approaches. In turn this has led, as Buszek puts it, "to a view that craft media are simply among many that may or may not serve any artist’s purpose in our contemporary art world. For artists working today media, naturally, still matter-but they are generally chosen with regard to the sociohistorical underpinnings of a medium, rather than any essential regard for or desire to plumb its unique material properties."14
与此同时，更广泛的视觉艺术领域也发生了变化，被高度现代主义所抛弃的生活和大众文化重新涌入美术领域。艺术家们开始采用各种材料和方法。反过来，正如 Buszek 所说，"在我们的当代艺术世界中，手工艺媒体只是众多媒体中的一种，可能为艺术家服务，也可能不为艺术家服务。对于今天的艺术家来说，媒介自然仍然重要--但他们通常是根据媒介的社会历史基础来选择媒介，而不是从根本上考虑或希望探究其独特的材料特性 "14。

And so you get all manner of artists working in materials of great relevance to the crafts world, but you don’t get the craft world engaging with these artists or acknowledging what they’re doing. And this is because craft writing and crafts institutions find it difficult to leave behind a focus on materials and their romantic associations-even though these block any connection with the contemporary moment. It is the legacy of studio craft that remains one of contemporary jewelry’s greatest problems, precisely because it also sustains and informs the field.
因此，你会看到各种艺术家使用与手工艺界息息相关的材料进行创作，但你却看不到手工艺界与这些艺术家接触，也不知道他们在做什么。这是因为手工艺写作和手工艺机构发现很难摆脱对材料及其浪漫联想的关注--尽管这阻碍了与当代的任何联系。工作室手工艺的遗产仍然是当代珠宝的最大问题之一，而这恰恰是因为它也支撑着这个领域并为其提供信息。

Oriented to the body: This is essentially the “jewelry” part of the term contemporary jewelry, and it’s important because most, even if not all, contemporary jewelry is designed to be worn, or can be worn. When it can’t be worn, or wearability is suspended, the body is still invoked as an important subject or limit. The wearer is often forgotten: the contemporary jewelry field spends much more energy thinking about being contemporary (e.g. a form of artistic expression, all about the ideas of the maker) than it does on the idea and possibilities of jewelry (one of the oldest forms of human creativity, which is a rich archive of object types, materials and relationships to the body and to wearers).
面向身体：这基本上是当代首饰一词中 "首饰 "的部分，它之所以重要，是因为即使不是全部，大多数当代首饰也是为佩戴或可佩戴而设计的。当珠宝不能佩戴或可佩戴性被中止时，身体仍被作为一个重要的主题或限制。佩戴者往往被遗忘：当代珠宝领域花费了更多的精力去思考 "当代性"（例如，一种艺术表现形式，与制作者的想法有关），而不是珠宝的想法和可能性（人类最古老的创造形式之一，是物品类型、材料以及与身体和佩戴者关系的丰富档案）。

Indeed, art historian Linda Sandino has argued that some contemporary jewelry has an antagonistic relationship to the body, as its claims to being a kind of fine art are grounded in modernism, "wherein attitudes to female corporeality were fundamentally controlling and repressive, or at least veiled. Moreover, the Western Enlightenment privileging of the mind created an ideology of an idealised body that shuns corporeal realities such as dirt and sex."15 But the cluster of ideas around the wearer, wearing and the body remain the key way in which the objects and practices of contemporary jewelry distinguish themselves from other kinds of craft and art practices. And jewelry is a cultural symbol that links the private and public body, allowing contemporary jewelers to engage, as Sandino writes, "with definitions and critiques of the body which reinvigorates the possibility of the applied arts as a critical practice, rather than merely a supplementary, decorative one."16
事实上，艺术史学家琳达-桑迪诺（Linda Sandino）认为，一些当代珠宝与身体的关系是对立的，因为它们声称自己是一种美术，其基础是现代主义，"在现代主义中，对女性肉体的态度从根本上说是控制和压抑的，或者至少是遮遮掩掩的。此外，西方启蒙运动对心智的推崇创造了一种理想化身体的意识形态，这种意识形态回避污垢和性等肉体现实。"15 但是，围绕佩戴者、佩戴和身体的一系列观念仍然是当代珠宝首饰的对象和实践区别于其他工艺和艺术实践的主要方式。珠宝是一种连接私人和公共身体的文化符号，让当代珠宝商能够参与其中，正如桑迪诺所写道的那样，"对身体的定义和批判重振了应用艺术作为一种批判性实践的可能性，而不仅仅是一种补充性和装饰性的实践 "16。

The term contemporary jewelry balances a number of approaches: for example, practices that emphasize the artistic agency of the maker, and place all the focus on the object as an autonomous work of art; and practices that treat contemporary jewelry as an opportunity to create interactions between people, or to intervene in contemporary life from what we might call a jewelry point of view. As a term, contemporary jewelry allows that all of these approaches belong to the field being discussed in this book, even if they contradict each other.
当代珠宝这一术语兼顾了多种方法：例如，强调制作者的艺术能动性，并将所有重点放在作为独立艺术品的物品上的做法；以及将当代珠宝视为创造人与人之间互动的机会，或从我们可以称之为珠宝的角度介入当代生活的做法。作为一个术语，当代珠宝允许所有这些方法都属于本书讨论的领域，即使它们相互矛盾。

This book is divided into three sections. Part 1 offers some ways to think about what makes contemporary jewelry a distinctive kind of visual art practice. It does this by exploring seven spaces in which contemporary jewelry circulates, and how the meanings and possibilities of contemporary jewelry change as objects and practices move from one situation to another. Part 2 provides an introduction to contemporary jewelry as an international practice that has now existed for the better part of 70 years. There are many challenges in properly accounting for contemporary jewelry in different parts of the world, and these essays are a contribution to developing a truly global history of contemporary jewelry. Finally, Part 3 offers a series of perspectives about the issues that are currently impacting the way contemporary jewelry is made, circulated and discussed. Much has changed in the way we think about the contemporary jewelry field, and new developments in related fields can inspire different ways to think about contemporary jewelry and its possibilities in the present and future.
本书分为三个部分。第一部分提供了一些思考当代珠宝如何成为一种独特的视觉艺术实践的方法。为此，本书探讨了当代首饰流通的七个空间，以及当代首饰的含义和可能性是如何随着物品和实践从一种情况转变为另一种情况而发生变化的。第二部分介绍了当代珠宝作为一种国际性的艺术实践，迄今已有 70 多年的历史。在世界不同地区对当代珠宝进行适当的描述面临着许多挑战，这些文章有助于发展一部真正的全球当代珠宝史。最后，第三部分对目前影响当代珠宝制作、流通和讨论方式的问题提出了一系列观点。我们思考当代珠宝领域的方式已经发生了很大变化，相关领域的新发展可以启发我们以不同的方式思考当代珠宝及其在现在和未来的可能性。

Notes 说明

Glenn Adamson, Thinking Through Craft. Oxford & New York: Berg, 2007, pp.3-4
Glenn Adamson, Thinking Through Craft.牛津和纽约：Berg, 2007, pp.3-4
Maria Elena Buszek, ‘Introduction: The ordinary made extra/ordinary’, in Maria Elena Buszek (ed.), Extra/ Ordinary: Craft and Contemporary Art. Durham & London: Duke University Press, 2011, p.3.
Maria Elena Buszek，"Introduction：The ordinary made extra/ordinary", in Maria Elena Buszek (ed.), Extra/ Ordinary：工艺与当代艺术》。杜伦和伦敦：杜克大学出版社，2011 年，第 3 页。
Bruce Metcalf, ‘Evolutionary biology and its implications for craft,’ in M. Anna Fariello and Paula Owen (eds.), Objects and Meaning: New Perspectives on Art and Craft. Maryland & London: The Scarecrow Press, 2004, p. 217.
布鲁斯-梅特卡夫，"生物进化及其对手工艺的影响"，载于 M. Anna Fariello 和 Paula Owen（编），《物品与意义》：艺术与手工艺的新视角》。马里兰和伦敦：马里兰和伦敦：稻草人出版社，2004 年，第 217 页。
Bruce Metcalf, ‘Replacing the myth of modernism’, in Sandra Alfoldy (ed.), NeoCraft: Modernity and the Crafts. Nova Scotia: The Press of the Nova Scotia College of Art and Design, 2007, p.6.
Bruce Metcalf, "Replacing the myth of modernism", in Sandra Alfoldy (ed.), NeoCraft：现代性与手工艺》。新斯科舍：新斯科舍：新斯科舍艺术与设计学院出版社，2007 年，第 6 页。
I’d like to acknowledge New Zealand jeweler Areta Wilkinson, who first proposed a version of this definition of contemporary jewelry in a talk she gave in 2011.
我要感谢新西兰珠宝商 Areta Wilkinson，她在 2011 年的一次演讲中首次提出了当代珠宝的定义。
Liesbeth den Besten, On Jewellery: A Compendium of International Contemporary Art Jewellery. Stuttgart: Arnoldsche, 2011, pp.9-10.
Liesbeth den Besten，《论珠宝》：斯图加特：Arnoldsche，2011 年，第 9-10 页。斯图加特：Arnoldsche，2011 年，第 9-10 页。
Mònica Gaspar. “Contemporary Jewellery in PostHistorical Times.” In Time Tales, by Maria Cristina Bergesio. Lucca, Italy: Preziosa, 2007, p. 12.
Mònica Gaspar."后历史时代的当代珠宝"。时间的故事》，玛丽亚-克里斯蒂娜-贝热西奥著。意大利卢卡：Preziosa，2007 年，第 12 页。
Gaspar, 14. 加斯帕尔，14 岁
Maribel Königer, ‘A class of its own’, in Florian Hufnagl (ed.), The Fat Booty of Madness. Stuttgart: Arnoldsche, 2008, p.32.
Maribel Königer, "A class of its own", in Florian Hufnagl (ed.), The Fat Booty of Madness.斯图加特：Arnoldsche，2008 年，第 32 页。
Königer, p. 32 . Königer, 第 32 页。
Kelly L’Ecuyer, ‘Introduction: Defining the field’, in Kelly L’Ecuyer (ed.), Jewelry by Artists in the Studio. Boston: MFA Publications, 2010, p. 17.
Kelly L'Ecuyer，"Introduction：Kelly L'Ecuyer (ed.), Jewelry by Artists in the Studio.波士顿：MFA 出版社，2010 年，第 17 页。
L’Ecuyer, pp.17-18. L'Ecuyer, 第 17-18 页。
Buszek, p.3. Buszek, 第 3 页。
Buszek, p.5. Buszek, 第 5 页。
Linda Sandino, ‘Studio jewellery: Mapping the Absent Body’, in Paul Greenhalgh (ed.), The Persistence of Craft: The Applied Arts Today. London: A&C Black, 2002, p. 108.
琳达-桑迪诺，《工作室珠宝：Mapping the Absent Body"，Paul Greenhalgh（编辑），The Persistence of Craft：当今的应用艺术》。伦敦：伦敦：A&C Black，2002 年，第 108 页。
Sandino, p.107. 桑地诺，第 107 页。

What Is Contemporary Jewelry?什么是当代珠宝？

Otto Künzli 奥托-昆兹利

Mah Rana

Notes 说明

What Is Contemporary Jewelry?
什么是当代珠宝？