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Franz X. Höller

Retrospective. Glass.

Handwerksmuseum Deggendorf (DE), 20.11.2018–10.3.2019

Annelies Štrba: Ikonen

Selected works from the past 25 years

Fabian & Claude Walter Gallery, Zurich (CH),...

Vessel/Sculpture 3

German and international ceramics since 1946

GRASSI Museum, Leipzig (DE), 10.11.2018...


Bjørn Ransve

Born in Oslo, December 16th, son of Haakon and Hildur Ransve (née Eriksen). Father was a tailor.

Began studies in painting at the StatensHåndverks- og Kunstindustriskole, in the same class as Odd Nerdrum and Sidsel Westbø. Ransve benefited most from studying under Borgar Hauglid and Gert Jynge. First studio on Urtegata, where he borrowed a storeroom, 1962–1966.

Class trip to Denmark, where he saw the work of American Pop artists, including Andy Warhol and Roy Lichtenstein.

Began studies at the Statens kunstakademi. Strong focus on drawing and painting, mainly nudes and anatomical studies. Participated with other students in an anatomy course at Universitetet i Oslo (the University of Oslo) in the Avdeling for anatomi (Department of Anatomy), 1964–65. Spent many days and nights with studies there.

Took a studio on Elvegaten, where the Plaza Hotel was later built. Received Houens legat (Houen’s grant). In the autumn he travelled with the academy for three weeks in Leningrad and Moscow. Rembrandt’s paintings in the Hermitage made a strong impression. Became romantically involved with Karin Blehr (1942–2000) who was studying painting at Statens Håndverks- og Kunstindustriskole.

Painted “Dameakt” (Female Nude), which he considered his first independent picture.

Painted “Hode I–IV”(Head I–IV). Took a studio in Handelsbygningen on Drammensveien. A productive year for drawing, during which central motifs were established. Travelled to London with the academy; saw paintings by Francis Bacon, among others. Received Thomas Fearnleys minnestipend (Thomas Fearnley Memorial Stipend).

In his last semester at the academy he studied printmaking (lithography and etching) under Arne Malmedal. Extremely productive period in the studio. First solo exhibition at Johan Stray’s Galleri 27, in Oslo. Ransve debuted with drawings and lithographs (including the first of the backs).

Without a studio. Renovated a loft on Frydenlundsgaten into a studio, completed in November. Worked extensively with printmaking, created two major series of backs (colour lithography) with a view to an exhibition at Galleri 27. Received Hans og Helga Reusch’ legat (Hans og Helga Reusch’s grant). Participated in the academy’s annual exhibition in May–June. Kulturrådet (Arts Council Norway) purchased an etching.

Exhibition of the back series at Galleri 27 in January. Nasjonalgalleriet (The National Gallery) and Rolf Nesch each purchased works. Prolific period of drawing and painting, including the painting “Trehode II” (Wooden Head II). Received Dr. Ragnar Forsbergs legat (Dr. Ragnar Forsberg’s grant).

Painting debut at Kunstnerforbundet in Oslo in the autumn. Works purchased by Nasjonalgalleriet (The National Gallery), the Riksgalleriet (The National Touring Gallery), the Norsk kulturråd (Arts Council Norway) and the Oslo kommunes kunstsamlinger.

Worked on the series “Litografi ske hoder” (Lithographic Heads), which was exhibited at Galleri 27 in the autumn. In the summer he travelled with Dag Hofseth to Kassel to see Documenta. Was impressed by the American Photorealist painters (particularly Bechtle, Goings, McLean and Salt). Productive period of drawing.

Ransve and Karin Blehr built a house on property belonging to Blehr and her sister on Nesøya, a small island near Oslo. The lion became a central theme beginning in 1973. Rolf Nesch received the Heinrich Steffensprisen (Heinrich Steffen’s Prize) in the spring. The prize is awarded to a visual artist or cultural figure from one of the five Nordic countries, who can in turn designate a younger recipient. Nesch chose Ransve for the smaller prize, and he travelled to Hamburg to accept it. Afterwards, he travelled to Düsseldorf, Cologne, Kassel and Aachen. Painted “Bolusben” (Bolus Leg) in the summer. Received Statens treårige arbeidsstipend (National three-year work stipend).

Ransve and Blehr married and moved into the new house. Drew “Baccanale-scener” (Bacchanal Scenes) and created a series of lithographs of lions.

Painted “Grønn harlekin” (Green Harlequin), “Avrevet hode” (Severed Head), “Stort dobbelt ben” (Large Double Leg) and the heart series. Worked on etchings of lions in preparation for exhibition at Munch-museet (The Munch Museum) in Oslo.

“Tegninger til et tema” (Drawings for a Theme) at Munch-museet (The Munch Museum) Pål Hougen. Over 400 drawings and some graphics. The first and to date only time an individual artist has been granted such an extensive exhibition at the Munch Museum. The exhibition was considered controversial within the art world. “Hjerte og smerte” (Love and Pain), at Kunstner forbundet in Oslo, featured paintings and some 170 drawings. Nasjonalgalleriet (The National Gallery) purchased “Grønn harlekin” (Green Harlequin), “Avrevet hode” (Severed Head) and three drawings. Debate followed in the newspaper, Aftenposten, where Trygve Hegnar criticised the National Gallery’s acquisition and was of the opinion the museum should prioritise Odd Nerdrum. Karin Blehr responded in what would become known as “The Great Nerdrum Debate”. The Swedish curator Staffan Cullberg organised a Nordic group exhibition inspired by Munch’s motif “Öga mot öga” (Eye to Eye), which also was the exhibition’s title. He included Ransve after having seen his show at Munch-museet (The Munch Museum). The exhibition was held at Liljevalchs konst hall, Stockholm, and travelled to: Kunstnernes Hus (The Artists’ House) in Oslo; Bergen Kunstforening; Amos Andersons Konstmuseum (Amos Anderson Art Museum) in Helsinki; Nicolaj Kirke (Nikolaj, Copenhagen Contemporary Art Center) in Copen hagen, and Reykjavik. Focussed on printmaking towards the end of the year, producing “Stenhest” (Stone Horse) and other works.

Productive working period, many drawings. Painted “Svevende ben I–II” (Floating Leg I–II) and diverse heads. Created a number of graphics, among others “Hestekranium” (Horse Cranium) and “Kentaurtorso II” (Centaur Torso II). Travelled to Antwerp to see a Rubens exhibition mounted on the occasion of his 300th birthday. Saw an ape in a zoo which inspired him to work with this subject. The ape became an important theme during the years 1977–83.

Built studio next to the house on Nesøya. Painted “Asiatisk hode” (Asian Head). Showed lithographs and drawings in the exhibition “Forvandlinger” (Transformations) at Galleri 27.

Participated in the group exhibition “Norskt 70-tal tendenser” (Norwegian Trends in the 1970s) at Kulturhuset in Stockholm, where Ransve and Nerdrum each had their own exhibition rooms. Painted “Likben” (Corpse Leg) and “Stort hestehode” (Large Horse Head). Drawing exhibition “Harlekin” (Harlequin) at Galleri 27.

Drew much in January and painted from February onward, including “Tordenhode” (Thunder Head) and “Impresjonistisk hestehode” (Impressionistic Horse Head). “Stilleben” (Still Life) exhibition at Kunstnerforbundet, Oslo. Paintings and drawings. Nasjonalgalleriet (The National Gallery) purchased “Hode i Davids stil” (Head in the Style of David), Riksgalleriet (National Touring Exhibitions, Norway) acquired “Grønn neger” (Green Negro). Painted “Hougens harlekin” (Hougen’s Harlequin) and created two lithographic series of backs.

Prolific drawing period. Hildur Ransve died after many years of illness.

Prolific drawing period continued; also painted apes and harlequins. Attended Documenta in Kassel with Dag Hofseth. Received Oslo bys kulturstipend (City of Oslo cultural stipend). Began to move in a new direction in drawing.

Completed a painting exhibition at Kunstnerforbundet of apes and harlequins. Featured in a television portrait program on NRK TV. Highly productive drawing period. From May through June, he drew seventeen of the Indian images every night; this led to his theme cycles around Africans and Indians.

Began in earnest to paint large Indian pictures. Developed a surface-oriented and expressive style, with among others “Diagonalt lyn” (Diagonal Lightning). Productive winter. He had nearly the entire exhibition ready before he even received the invitation to be the Bergen Kunstforening’s annually featured Festspillutstiller (Festival Exhibitor). The relationship with Karin Blehr came to an end. Ransve moved into the studio in the autumn.

Festspillutstillingen (The Festival Exhibition) at Bergen Kunstforening, where he showed paintings, drawings and lithographs with the African and Native American imagery. Much discussed. Parts of the exhibition were also shown at Kunstnerforbundet, Oslo and Nordiskt Konstcentrum, Helsinki.

Rented Edvard Munch’s studio at Ekely in addition to maintaining his own. Painted, among others, “Mahognyramme I–II” (Mahogany Frame I–II), “Deformasjon” (Deformation), “Todelt gult bilde” (Two-part Yellow Picture) and “Det sjarmløse” (The Charmless) from September through July.

“Malerier 1965–1987” (Paintings 1965–1987) at Kunstnernes Hus (The Artists’ House) in Oslo. Also exhibited non-fi gurative paintings for the fi rst time. Worked with lithography on a variety of images. Drew little in the period.

Participated in “Eighty European Painters”, an exhibition under the auspices of the European Council which opened in the European Parliament’s building in Strasbourg, and subsequently travelled to fi fteen European countries (1987–88). The exhibition was a collaborative project between European newspapers during which readers joined two professional art critics to form a “jury”.

Exhibition of graphic work at Galleri 27. Began in earnest to work non-figuratively. In the spring, created the interior décor for the Riksrevisjonen (Office of the Auditor General of Norway) offices on Victoria Terrasse, seven paintings on silk.

Painted “Vekslinger” (Exchanges), as well as an 11-metre-long commission for Toppåsen skole (Toppåsen Elementary School).

A productive year. Early in the summer he painted his first pictures with white lines on a black ground. Gamle Wang Kunsthandel in Oslo, all three floors. This was his first exhibition of exclusively non-figurative works, to the public’s great surprise. Museet for samtidskunst (The Museum of Contemporary Art) purchased a large painting.

Expanded the house/studio on Nesøya.

Commissioned work for the Parken Hotell in Ålesund (the main work measuring 425 x 523 cm, two others measuring 307 x 205 cm).

A new exhibition of non-fi gurative paintings at Kunstnerforbundet, Oslo. Became romantically involved with Anne Marie Enger, doctor and dentist (later a specialist of oral and facial surgery at Ullevål University Hospital). Kjartan Fløgstad used some of Bjørn Ransve’s drawings in his book “Dikt og spelmannsmusikk 1968–1993”.

An exhibition of paintings at Galleri Riis in Oslo, in November. Øystein Ustvedt received his Master’s Degree in Art History from Universitetet i Oslo (The University of Oslo) with the dissertation “Figur og fragment – Bjørn Ransves malerier 1963–1986” (Figure and Fragment – Bjørn Ransve’s Paintings 1963–1986).

Married Anne Marie Enger, now Anne Marie Ransve. Painted “Verdensapen” (Ape of the World).

Painted commission for the new, Norwegian governmental building complex, R5. Exhibited paintings at Risør Kunstforening during the chamber music festival. Son Robin Ransve was born, July 12th. Created the portfolio of lithographs, “Z EN”, in collaboration with the art collector Erling Neby, exhibited at Galleri Riis in November.

A productive year, painted the first “Spiral” (Spiral) and various fantasy pictures. Began the large painting “Dobbeltspiral” (Double Spiral), finished January 1998.

Prolific year, drew much. Painted the “Sirkelakt” (Circle-Nude) pictures, “Dobbelt kvadrat” (Double Square) and small fractals.

Haakon Ransve and Karin Blehr seriously ill. Drew very much from the end of March to July, especially within the thematic cycle of draped female torsos and the theme of manners. Painted “Stor fraktal” (Large Fractal). Paris, visiting the Mark Rohtko exhibition at Musée de Art Modern, de la Ville de Paris, together with Anne Marie, Arne Malmedal and Kari Torjussen.

Haakon Ransve and Karin Blehr died this year. Drew a sequence of series, including fl owers in January – February and spirals. Major retrospective exhibition of paintings, as well as some drawings and graphic work at Museet for samtidskunst (The Museum of Contemporary Art) in Oslo. Paintings and drawings, Galleri s.e. in Bergen.

Anne Marie Ransve was appointed senior surgeon of the maxillofacial section of The University Hospital of Ullevål, Oslo.

Sandnes Kunstforening. The opening exhibition for Galleri A, Oslo.

Painting exhibition at Baroniet in Rosendal.

Daughter Maria Ransve was born, May 9th. Drew variations on the spiral, as well as horses in landscapes with lightning. Commissioned work for Asker Kulturhus. Painted directly on the wall (17 x 33 m).

Worked with painting, graphics and drawing. Opening exhibition of Bærum Kunstforening new location in Sandvika. Lithographs, Galleri Gann in Sandnes.

Opening exhibition in the new Galleri Trafo, Asker. Four major size paintings created to this exhibition. New prints were also created. Commission for Norsk Hydro’s new headquarters in Lysaker. Painting on canvas (1.32 x 15.08 m)
RANSVE – Drawings 1961 to 2005 (also available as Collectors Edition), a great volume showing 1400 drawings, was published by Arnoldsche Art Publishers, Stuttgart.

Created some large paintings on the old theme “changes”. Worked on the planned book of paintings, to follow up “RANSVE – Drawings 1961–2005” was started. The photographic work was planned to start during February, with the photographer Stein Jørgensen. He had shown great effort and brilliance during the work on the book of drawings. Unfortunately, at the end of May, Stein was diagnosed with cancer, leading into a dramatic time of fight against the deadly illness, unfortunately ending by his death in September. Should in june be “the Summer Exhibitior” in Kunstnerforbundet, Oslo, but because of a conflict with the exhibition place the exhibition was closed one day before opening. The incident led to some media turbulence. Sandefjord, Vandregalleriet, exhibition autumn, Lillehammer Museum of Art, participation in a major exhibition of drawings. One hall with new “flower drawings”. Four major size “black paintings” sold. Now deposited at Bergen Museum of art, the “Tower hall” for public admission. First time exhibited in June 2008. Gallery Zink, Lillehammer, a new gallery, opening exhibition. Grimstad Art Association, summer exhibition.

London visited during October, to experience the Francis Bacon exhibition at Tate Britain. A visit to the publisher in Stuttgart together with wife Anne Marie, to make preparations for the new book.

Work with the new painting book continued. New “black paintings” and some different paintings created. New Drawings of fl owers created. Several trips to Stuttgart for working with the painting book. Bærum Art Association, participation in a drawing exhibition together with among others Jan Groth. Bergen Museum of Art, exhibiting once more “the Black Paintings”, together with two “Paintings of Indians”, in the tower hall.
RANSVE – Paintings 1962 to 2009 showing more than 670 drawings, was published by Arnoldsche Art Publishers, Stuttgart.

In the Collections of:

Astrup Fearnley Museet for Moderne Kunst
(Astrup Fearnley Museum of Modern Art)
Asker Kommunes kunstsamling
Bergen Kunstmuseum
Borås Konstmuseum in Sweden
Den Norske Banks kunstsamling
Det Norske Storting (The Norwegian Parliament)
Drammens Museum for kunst- og kulturhistorie
0Erling Nebys Samling, Oslo
Gjensidige kunstsamling
Kunst på arbeidsplassen
Norsk Hydros kunstsamling
Lillehammer Kunstmuseum (Lillehammer Art Museum)
Moss Kunstforening
Museet for samtidskunst (The Museum of Contemporary Art), now Nasjonalmuseet for kunst, arkitektur og design i Oslo (The National Museum for Art, Architecture and Design, Oslo)
Nasjonalgalleriet (The National Gallery), now Nasjonalmuseet for kunst, arkitektur og design i Oslo (The National Museum for Art, Architecture and Design, Oslo)
Norsk kulturråd (Arts Council Norway)
Oslo kommunes kunstsamlinger
Rana Kunstforening
Riksgalleriet (The National Touring Gallery), now Riksutstillinger (National Touring Exhibitions, Norway)
Riksutställningar Stockholm (Swedish Travelling Exhibitions)
Stavanger Faste Galleri
Storebrand Kunstsamling
Trøndelag kunstgalleri, now Trondheim Kunstmuseum (Trondheim Art Museum)
Universitetet i Oslo (University of Oslo)
Aalesunds Kunstforening

Adelheid Rasche

Photo: Martin Gosewisch

born in Salzburg, Austria, in 1963. She studied art history and French at Paris-Lodron University in Salzburg. In 1988 she took her doctorate, for which she had been the recipient of a research grant from the French government, with distinction.

Since 1990 she has been head curator of the Fashion Image Collection at the Lipperheidesche Costume Library (Staatliche Museen zu Berlin), the world’s largest prints collection and specialist library dealing with the cultural history of clothing and fashion. As an art historian specialising in fashion, Adelheid Rasche has curated numerous exhibitions and is the author of books and essays in the field. She has often sat on specialist juries and serves as a consultant on fashion history and fashion as cultural heritage.


Editor of our publications:



Jens Reese

Reese, Jens, born 1935 in Flensburg.
Studies of metall technology and metall design in Solingen. Degree in 1958.
1959 graphic/design internship in Düsseldorf.
1960 – 1965 Car design at Ford Motor AG in Cologne and Daimler-Benz AG in Stuttgart.
Since 1965 industrial designer at Siemens AG in Munich: responsible for the area consumer goods (white goods) and the area office communication.
Head of the department for investment goods design for industry and medical products in Erlangen.

Awards, lectures and publications: Representative for design and education, manager for design fundamentals / guidelines and corporate design. Lecturer at FH Munich.
Projects around the topic design at several national and international universities as well as several publications in international design magazines.
Consultant to the Design Center Munich during the organisation of the Aspen Design conference 1996.
Member of the Peer-group evaluating the subject Industrial Design at the universities of Lowersaxony 1998/99.
Several iF- and Bundes awards, designteam of the year 1995.
Since 2000 project oriented lectures at the university Paderborn, the university to Cologne and at the art university Linz.


Co-Author of our publication: VISUAL PERMUTATIONS

Birgit Richard

has been lecturing theoretical and practical New Media at the Goethe University Frankfurt am Main since 1997.

Her field of research and teaching is in image cultures (youth-art-gender), especially in social networks of Web 2.0 (YouTube, flickr, MySpace, Facebook), material and visual cultures, media and net cultures and intersectional visual gender studies (visual construction of gender), aesthetics of current youth cultures (the Youth Culture Archive, among others, with the fashion of youth cultures at the Goethe University, Frankfurt am Main). Jugendkulturarchiv (research project on games and Youth Culture Archive) and (inter-cool 3.0. Youth Image Media. An exhibition was held in the Dortmund U, Ruhr 2010).


Co-author of our publication: THINKINGJEWELLERY

Nel Romano

Born in Alexandria, Nel Romano is a film-maker, writer, and musician specializing in early, baroque, and classical music.

As well as directing her own ensemble, The Baroque Concertante, she was a founder-member of the Praetorius Consort.

She formed the Duo Vinaccia with Kevin Coates, subsequently recording and giving concerts and broadcasts in Britain and abroad.

Whilst working at the BBC, she produced and directed "Jackanory", "Mozart in London", "Top Score", and "Classic Café", collaborating with such notable artists as Luciano Pavarotti, Karita Mattila, Sir Simon Rattle, Kim Brandstrup, Janet McTeer, and Ted Hughes.

She has written poetry, TV scripts, reviews, articles and editorials for books including ARNOLDSCHE’s monograph of the artist "Kevin Coates – A Hidden Alchemy", is an ARAM, a Freeman of the City of London, and has won several awards both for music, and film-making, including the RTS Award for Best Children’s Documentary, and the 2007 IVCA Award for the documentary "...a place for me" made for the Royal Opera House, Covent Garden.


Co-Author of our publication: KEVIN COATES. A HIDDEN ALCHEMY

Päivi Ruutiainen

MA, Doctor of Arts (Art and Design) from the University of Lapland, lives in Lahti, Finland. Thesis: ‘Is a Phone Booth Jewellery? Contemporary Jewellery in the Field of Art’ (Rovaniemi 2012).
Lecturer at HUMAK University of Applied Sciences in Kauniainen since 1999 and has written art critiques since 1992, with critiques and articles in Finnish newspapers, magazines and publications. Has curated two contemporary jewellery exhibitions: Ash and Diamonds (Helsinki, Stockholm, Lahti, Lapperanta) and Water and Earth (Espoo and Reyjkavik).

Co-Author of our publication: FROM THE COOLEST CORNER

Peter Schmitt

Peter Schmitt MA, born 1939, was deputy director of the Badische Landesmuseum Karlsruhe until 2004 and was responsible for the collection “Applied Arts from 1900”. He has curated numerous exhibitions in this field and contributed to catalogues and journals.


(Co-)Author of our publications:




Bernhard Schobinger

Biography and lectureships

1946 Born in Zürich
1962-63 Attended Kunstgewerbeschule Zurich (preliminary course Johannes Itten)
1963 Failed entrance examination to the specialist course taught by Max Fröhlich
1963 – 67 Goldsmith’s apprenticeship at a leading Zurich bijouterie, specialist instructor Kurt Aeppli
1968 Opened a workship and gallery; began work on a self-exployed basis 1994 Visiting lecturer at the Royal College of Art, London
1996, 1998, 2003 Visiting lecturer at the Hiko Mizuno College of Jewelry, Tokio
1996 Visiting lecturer at the Gerrit-Rietveld Akademie, Amsterdam
Visiting lecturer at the Karel de Grote-Hogeschool, Antwerp
1997 Workshop and Symposium „Der Kreislauf der Dinge“ [The Circle of Being and Becoming], Braunwald (Switzerland)
Workshop and Symposium „Design-Workshop“, Braunwald (Switzerland)
1999, 2000 und 2001 Taught at the Rhode Island School of Design, Providence/RI, USA
2000 Colloquium „Grenzwelten“ [Border Worlds]Hochschule für Gestaltung und Kunst, Zurich
2000-2001 Visiting lecturer at the Haute École d’Arts Appliqués, Genève
2000-2001 Symposium Haldenhof „Welche Farbe hat Schmuck“ [What colour is Jewellery], Adult Education lectures, Zurich University
2002 10th and last jewellery symposium, Erfurt

Lives and works in Richterswil on the Lake of Zurich/Silver Coast (Switzerland)

Solo exhibitions (a selection)

1973, 1974 Galleria Arte Arena, Düsseldorf
1975, 1976 Galerie Müller-Brockmann, Rapperswil
1981 Aargauer Kunsthaus, Aarau
1982 Electrum Gallery, London
1985, 1987 Galerie Peter Noser, Zurich
1988, 1992, 1995 Louise Smit Gallery, Amsterdam
1990 Galerie Renée Ziegler, Zurich
1991 Grassi Museum, Leipzig (with Annelies Štrba)
1995 Kunsthaus Glarus (with Annelies Štrba)
1996 Museum und Galerie Baviera, Zurich
1998 The Douglas Hyde Gallery, Trinity College, Dublin
1999 Museum Boijmans Van Beuningen, Rotterdam
2000 Sonderschau der 52. I.H.M. – Internationale Handwerksmesse München
2001 Museum und Galerie Baviera, Zurich
2002 Galerie Sofie Lachaert, Tielrode, Belgium
2003 Museum Bellerive, Zurich


1970, 1971, 1972 Eidgenössisches Stipendium für angewandte Kunst
1971 Diamonds-International Award, New York
1972 Deutscher Schmuck- und Edelsteinpreis
1994 Werkbeitrag des Kantons und der Stadt Luzern
1998 Preis der Stiftung Françoise von den Bosch (Niederlande)

You can find the artist in our following publications:




Hadi Seif

was born in Shiraz, Iran, in 1948. He is currently a senior researcher of Iranian arts. He also teaches several Iranian popular art courses to post-graduate and doctoral students at The Academy of Arts in Teheran. Over the years, he has published over forty books, mainly related to Persian popular arts, and has also produced several television documentaries on this subject.


Wolf-Dieter Seiwert

studied Arabic and economics at the Leipzig University Oriental Studies Institute and took his doctorate in ethnology at Moscow University. For many years he was curator of the North African collection at the Museum für Völkerkunde in Leipzig. Research and study have taken him on journeys to Mauretania, the Western Sahara and the Caucasus, Libya, Tunisia and Iran, the Central Asian countries and the Balkans. With his wife Inge Seiwert he has designed several ethnographic exhibitions. While doing so, he made the acquaintance of Ümit Bir, whose extraordinary jewellery collection he has became familiar with and greatly admires.

The author is particularly fascinated by the regional breadth of the Bir Collection. This is what makes it easy for viewers to recognise the enigmatic language of jewellery and gain some idea of its cultural and historical context. As Wolf-Dieter Seiwert sees it, jewellery is a source of inspiration and knowledge that never dries up and refl ects constantly changing world-views.


Author of our publication: JEWELLERY FROM THE ORIENT

Rita Selvaggio

Born 1961 in Brindisi, Italy
Art historian.

Master’s degree in Art History, University of Florence, 1985

Further studies in Contemporary Art, University of Bologna, 1986-92, and University of Paris 1 Panthéon-Sorbonne, 1990-94.

Director of the contemporary art space “Casa Masaccio”, San Giovanni Valdano-Arezzo, Italy, 1996-99.

Freelance curator and art consultant for art galleries, art fairs, and public and private collections since 1988.

She is based between London and Milan.

Co-Author of our publications: BJØRN RANSVE. PAINTINGS 1962 – 2009  

Elisabeth G. Sledziewski

teaches political science, moral philosophy and bioethics at Paris-Est Créteil University, France.

She has specialised in an anthropological approach of Western modernity, focused on the construction of the individual and collective subject in its social and gendered dimension.

She has devoted many works to gender issues (concept of parity, women’s rights and citizenship, motherhood, gender ethics, female body image, female tobacco addiction, etc).

She belongs to the research department of the Ethical Space of Public Assistance – Paris Hospitals.

Co-author of our publication: THINKINGJEWELLERY

Robert Slifkin

is Assistant Professor of Fine Arts at the Institute of Fine Arts, New York Uni-
versity. He is the author of 'Out of Time: Philip Guston and the Refiguration of Postwar Art', which was awarded the Phillips Book Prize, and his essays have appeared in such journals as 'October', 'American Art', 'Oxford Art Journal', and
the 'Art Bulletin'.

He has been the recipient of fellowships from the Getty Research Institute, the Stanford Humanities Center, and the Henry Moore Foundation.

Contributor to our publication: PAUL EVANS

Konrad Spindler

completed his doctoral studies in prehistoric and protohistoric archaeology in Freiburg im Breisgau in 1970.

From 1971 to 1974 he headed the DFG project Ausgrabung Magdalenenberg [Excavation Magdalenenberg].

From 1974 to 1977 he held the position of assistant professorship for prehistoric and protohistoric archaeology at the University of Regensburg.

After passing his qualification enabling him to teach in higher education, he became academic advisor at the Universität Erlangen-Nürnberg [University of Erlangen-Nuremberg] and from 1980 was appointed professor for prehistoric and protohistoric archaeology.

In 1988 he became fully tenured as a professor at the Institut für Ur- und Frühgeschichte sowie Mittelalter- und Neuzeitarchäologie der Universität Innsbruck [Institute of Prehistoric and Protohistoric Archeaology and Medieval and Postmedieval Archaeology at the University of Innsbruck].

Since 1991 he has coordinated the archaeological and archaeological-scientific investigations on the ‘Ötzi the Iceman’.

He has published 35 monographs and over 150 essays on archaeological subjects from the Neolithic period to the European Modern Age.

Co-Author of our publication: BUNZLAU CERAMICS

Peter Stohler

born 1967 in Belp (Switzerland). Studies in art- and film science at the Universities of Zurich, Amsterdam and London. Specialism in contemporary art history at Sotheby’s Institute (MA 1998). From 2000 to 2004 research assistant, exhibition organiser and temporary head of the museum Bellerive, Zurich (including ‘Body Extensions’).

From 2000 to 2002 further education to become cultural head at the University of Basel.
From 2005 to 2006 head curator at the Haus für Kunst Uri, Altdorf (Switzerland), including the group exhibition and publication Reiz und Risiko / Risk and Allure.
Initiator of the media art series Digitaler Dachstock.

Since 2007 has been lecturer for cultural projects for the canton of Basel-Stadt, responsible for the project promotion of art, film/media art and music.
In addition freelance publicist specialising in contemporary art and design (including Swiss Federal Design Awards 2010, 2006, 2005; Tomograph – Interviews with artists, 2009). Bpard member for the Verband der Museum der Schweiz (VMS/AMS).


Co-Author of our publications:





Annelies Štrba

1947 born in Zug/Switzerland. lives in Richterswil at Zürichsee
1971/73 Federal Scolarship for Applied Arts
1984/85 Journey to Silesia (Poland )
1991 stay at studio, El Cabrito La Gomera, Canarian Islands
1994 Journey through Japan
1995 Journey throung Japan
1995 Journey to Eastwood and Harworth
1996 stay at studio, Landis & Gyr, London; travelling through England and Scotland
1997 stay at studio in Paris (Cité des Art)

Single Exhibitions

*(K) Exhibition Catalogue

Gallery Jason McCoy New York, USA
icons, Gallery Eigen und Art, Berlin

my life dreams: Annelies Štrba
Kinderbuchmuseum Burg Wissem, Troisdorf, DE
Gallery Anton Meier Genf

The bronte parsonage museum, Haworth, GB (K)
Douglas Hyde Gallery, Dublin, Ireland
Gallery Anton Meyer, Geneva, Switzerland

Jason McCoy New York, USA
Galleria Carla Sozzani, Milano, Italia

Frameprojects, Vienna, Austria
Konrad-Adenauer-Stiftung, Berlin
Kunstverein Ulm
Gallery Anton Meier, Geneva, Switzerland (K)
Gallery Alain Le Gaillard, Paris, France
Museum Valchava, Switzerland
Scalo/Guye Gallery, Los Angeles, USA

„Annelies Strba” Gallery Rudolfinum, Prague
Gallery Reckermann, Cologne
Frances and the Elves, Frith Street Gallery, London
Frances and the Elves, Fabian & Claude Walter Gallery, Zurich

Gemeente Museum, Den Haag
Gallery Almine Rech, Paris
Gallery Anton Meier, Geneva Switzerland (K)

Annelies Strba. Shades of Time, La Filature, Mulhouse (with Claude Batho, Léa Crespi)
NYIMA, Autostadt Volkswagen, Wolfsburg
NYIMA, Helmhaus Zurich (Monograph)

New York I, Autostadt Volkswagen, Wolfsburg
Galley EIGEN + ART, Berlin
Nadine Gandi, Prague
“Les cathédrales de monnaie“, Fabian & Claude Walter, Basel

Raffaella Cortese, Milano
Annelies Strba: An 1-An11, Kunsthaus Zug, Switzerland (K)
Douglas Hyde Gallery, Dublin, Ireland
Gallery Almine Rech, Paris, France
Paris – New York, Galerie 13 Quai Voltaire, Paris, France (K)
"Shades of Time", Centre national de la photographie, Paris, France
Centre pour l'image contemporaine St. Gervais, Geneva, Switzerland

Frith Street Gallery, London GB
Gandy Gallery, Prague
Gallery EIGEN + ART, Berlin ,
Gallery Hubert Winter, Vienna, Austria
Gallery Bill Maynes, New York

Eçoles des Beaux Arts, Nantes, France
Museum of Contemporary Art, Chicago, USA
Douglas Hyde Gallery, Dublin, Ireland
Gallery Fabian & Claude Walter, Basel , Switzerland
Gallery Ars Futura, Zurich, Switzerland
Gallery Anton Meier, Geneva, Switzerland
Tate Gallery, Liverpool, GB
Gallery Karin Lovegroove, Los Angeles, USA
"Lost Garden", semina rerum – Irène Preiswerk, Zurich, Switzerland

Gallery EIGEN+ART, Leipzig, D
Gimpel Fils, London, GB
School of Visual Arts, Milwaukee,USA
Europäisches Fotomuseum Paris,France
FRAC, Basse-Normandie, Caen, France
Bill Maynes Gallery, New York, USA
Douglas Hyde Gallery, Dublin, Ireland
Photographer’s Gallery, London, GB
Thread Waxing Space, New York, USA

Gallery Almine Rech, Paris, France
Gallery EIGEN + ART, Berlin, D
Gallery Ars Futura, Zurich, Switzerland
Aargauer Kunsthaus, Aarau, Switzerland (K)
Gallery semina rerum- Irène Preiswerk, Zurich, Switzerland

Gallery EIGEN + ART, Berlin, D
Kunstverein Düsseldorf, D
Kunstverein Weimar, D

"Photographien", Staatliche Galerie Moritzburg Halle, D
Kunsthaus Glarus (with Bernhard Schobinger), Switzerland
Gallery Bob van Orsouw, Zurich, Switzerland
Museum Moritzburg, D

Albers Museum, Bottrop, D
Gallery Rodolphe Janssen, Brussel, B
"Mythos Leben" ( with Jörg Herold), Kloster Unser Lieben Frauen, Magdeburg,D (K)
Gallery Meile, Luzern, Switzerland (K)
Gallery EIGEN + ART, Berlin, D

Gallery Bob van Orsow, Zurich, Switzerland
Gallery Susanna Kulli, St. Gallen, Switzerland

Gallery EIGEN + ART, Leipzig, D
Bananenhalle El Cabrito la Gomera, Canarian Islands, Spain
Gallery Weisser Elefant, Berlin, D
Gallery EIGEN + ART, Berlin, D (K)
Gallery van Krimpen, Rotterdam. Holland

Friedrichshof, Zurndorf near Vienna, Austria
Centre d'art contemporain, Martigny

Kunsthalle, "Aschewiese" Zurich, Switzerland(K)


Centre pompidou, Paris
FRAC Basse-Normandie, Caen
Centre National des Arts Plastiques, Paris
Collection de la caisse des dZ¹p™ts et consignations, Paris
Fondation NSM VIE, Paris
Maison EuropZ¹enne de la Photographie, Paris
FRAC Champagne-Ardenne, Reims
FRAC Haute-Normandie, Sotteville-Les-Rouen
Collection Première Heure, St. Cloud

Great Britain
Celebrity Cruises, London
Leeds City Art Gallery, England
Scottish National Gallery of Modern Art, Edinburgh

Hamburger Kunsthalle
Pinakothek der Moderne, Die Neue Sammlung, Munich
Sammlung HVB Group

Sammlung Bosshard
Kunstmuseum Bern
Fotomuseum Winterthur
Kunsthaus Zug
Kunsthaus Zurich
Schweizerisches Landesmuseum
Zurich Kantonalbank
ZKB Private Banking, Zurich USA
Weisman Foundation, Los Angeles

Photographer of our publications:




Eva Ströber

Read Chinese Studies, East Asian art history, philosophy and comparative religion in Germany and Taiwan and received her PhD on late Qing Buddhism.

After years teaching and travelling she worked as curator for East Asian porcelain at the Porcelain Collection in Dresden, Germany.

She is currently the curator of Asian ceramics at the Keramiekmuseum Princessehof in Leeuwarden, the Netherlands.

Ströber has written numerous articles, books and exhibition catalogues on East Asian art, some together with Lukas Krämer.

The range of publications include the catalogue of the Dresden porcelain collection "'La Maladie de porcelain...' East Asian Porcelain in the Collection of Augustus the Strong" (Leipzig 2001) and "Ostasiatika. Sammlungskataloge des Herzog Anton Ulrich Museums Braunschweig" (Braunschweig 2002).

Author of our publications:


Winfried Stürzl

Photo: André Noll

born 1967 in Esslingen am Neckar, lives and works in Stuttgart.

Studies in art history and Romance Studies at the University of Tübingen.

1993/4 German assistant at the Lycée Monchapet, Dijon/France.

1998 master of arts degree with dissertation on the new construction of the 1920s and 1930s.

1999/2000 collaborator for the exhibition at the Museum Ludwig in Cologne and in the Cologne Kunstverein as well as collaborator in museum education at the Staatliche Kunsthalle Karlsruhe.

2000-2006 editor and project manager at ARNOLDSCHE Art Publishers, Stuttgart.

Since 2006 freelance art agent as well as press spokesperson for ARNOLDSCHE Art Publishers.

2008/09 initiator and commissioner of Tresor – Raum für flüchtige Kunst, Stuttgart. Artistic advisor for Fotosommer Stuttgart, Festival für Fotografie.

Co-Author or editor of our publications:




Davira S. Taragin

Formerly curator at The Detroit Institute of Arts (1978 – 90), the Toledo Museum of Art (1990 – 2002) and director of exhibitions and programs at the Racine Art Museum (2002 – 2008), Davira S. Taragin is an independent curator specializing in placing works in contemporary craft media within the context of late twentieth- and twenty-first – century art. Linda MacNeil: Jewels of Glass is one of over forty exhibitions that she has organized over her career. A prolific writer, she authored in 2009 – 10 a series of ten mini-books on the work of Dale Chihuly that, along with two additional essays, appeared in 2013 in the first monograph in French on the artist. Since 2011, Taragin has worked with Ball State University, Muncie, Indiana. She began by assessing the decorative arts and design collection of the David Owsley Museum of Art and prepared for its reinstallation in September 2013. In addition, she has organized two traveling exhibitions, one of which was featured in the 2015 Cheongju International Craft Biennale. She is now serving as consultative curator to its School of Art.

Co-Author of our publication: Linda MacNeil: Jewels of Glass

Dr. Elena Tsareva

Was born in Leningrad. Graduated from the Oriental Faculty of the State Leningrad’s University. Over 30 years worked in the Russian Ethnographic Museum as curator of Central Asian collections, later as curator of Carpet, Felt and Weapons’ Chambers. Specialized on ethnographic textiles of the people of Central Asia, Turkmen carpet weaving in particular. Defended dissertation entitled «Traditional Carpetweaving of the Turkmen as a Historical Source». In 2002 moved to the named after Peter the Great Museum of Anthropology and Ethnography of the Russian Academy of Sciences (MAE). Now is a leading research specialist of the Department of Southern and South West Asia of the MAE; head of the MAE monthly Textile Seminar; curator of the Near Eastern Exhibition and photo collections. For years studies archaeological textiles of Eurasia, with emphasis on the origin and development of knotted carpet weaving and history of costume.

Participant of the International Conferences on Oriental Carpets (ICOC) since 1976, also member and organizer of other numerous conferences on textiles and costume. Member of the International OC of the ICOC since 1978, now also of the Academic Committee. Since 1984 compiling editor of the HALI magazine on Carpet, Textile and Islamic Art (London). Author of over a hundred publications, also lectures on the history of textiles, exhibitions on the culture of the people of Eurasia; organizer and participant of archaeological and ethnographic expeditions to Central Asia, Southern and Western Siberia, and Eastern Europe.

Author of our publication: TURKMEN CARPETS

Axel Thallemer

born 08/08/1959 in Munich-Schwabing / Upper Bavaria.

Studied Theory of Science, Logic and Theoretical Linguistics at the Ludwig-Maximilians-University at Munich, achieved the degree „Diplom-Ingenieur“ in Civil Engineering at the Academy of Fine Arts, Munich. Received a German Academic Exchange Service postgraduate scholarship in Business, Public Relations and Psychology at NYSID, New York City / Manhattan, USA. Since 1999 professorship for Computer Aided Design and Marketing as well as Corporate Design at the Munich University of Applied Sciences. As of 2003 professorship for Technical Design at Academy of Fine Arts, Hamburg. From 2004 on, Dean and Chair of Industrial Design at Linz, Austria, repositioning under the brand “scionic®”. Axel Thallemer is a visiting professor at the following universities: University of Houston, Texas, USA; Academies of Fine Arts & Design Guangzhou, PRC; Tsinghua University, Beijing, PRC; Shih-Chien University, Taipei, Taiwan, ROC; Nanyang Technological University, Singapore; National University of Singapore; Southern Taiwan University, Tainan, ROC; Istanbul Technical University, Turkey; Musashino Art University, Tokyo, Japan; Hunan University, Changsha, PRC; DeTao Masters Academy, Shanghai, PRC.

First appointment in a brand identity agency at Hamburg, working then for five years as Design Engineer in the styling studio at the Research and Development Center of Porsche AG, Stuttgart, initiating the introduction of the Computer Aided Styling process. 1994 founder and Head of Festo Corporate Design for long-lasting capital goods and components of industrial automation; – since 2004 self-employed under the motto “... innovation input by team Airena®!”

Participation in numerous group exhibitions and his designs are included in permanent collections of eight museums around the world. Since 2002 appointed Fellow of The Royal Society of Arts, London, founded in 1754.

The many other honors received by Professor Thallemer include the following: Federal Awards of German Product Design 1998, 2000 (twofold) and 2002 from the Federal Ministry for Economics and Technology; Silver and Gold Industrial Design Excellence Awards USA, from the Industrial Designers Society of America; Good Design Awards from The Chicago Athenaeum; Excellence for Material Development and Best of Show at the Material ConneXion, New York City; Best of Category, ID Annual Design Review for ID Magazine, New York City; Contender, 5th in the world, of Core77 International Heavyweight Design Championship; The Animago 3D Award, Los Angeles; Merit and Distinctive Merit Awards from the Art Directors Club of New York, USA; Design Week Award from the London Design Week; Singapore Design Award; Internationaler Designpreis Baden-Wurttemberg; The Saarlandischer Staatspreis Produktdesign; The Fraunhofer Office 21 Award; The Busse Longlife Design Award; The World Technology Network Award for Design. Federal Innovation Award of the German Printing Industry 2009, 1. Prize in the category “books”. Excellent Award at 15th International Bicycle Design Competition, Taipei Cycle 2011, Taiwan.

"I want to prove that there is design beyond fashion and styling, a reason for a product’s being, not for the mere sake of functionality or utilitarianism."
(Prof. Axel Thallemer)

The author Axel Thallemer was juror at the international product design prize "red dot award" 2011. Mid-May, a jury of all together 17 experts had the important task of shortlisting the most creative and innovative, yet manufacturable, ideas and prototypes in the field "design concept."

Take a look at the interview with Axel Thallemer and learn more about his attitude towards design concepts.

(Co-) Author of our publications:





Dr. Olaf Thormann

born 1962 in Limbach-Oberfrohna in Saxony. Studies in art history. 1992 PhD at the University of Leipzig with thesis on the painter and illustrator O. Th. W. Stein. Since 1993 deputy director/head of the academic area of the GRASSI Museum of Applied Arts Leipzig Exhibitions and publications above all in art of the 20th and 21st centuries and in museum history.


Author of our publication: VESSEL. SCULPTURE

Harpa Þórsdóttir

Director of the Museum of Design and Applied Art, Reykjavík, Iceland, and former head of exhibitions at the National Gallery of Iceland. Has curated numerous exhibitions in Iceland on arts, crafts and design. Publications include Ólafur Kvaran (ed.), Íslensk listasaga, 5. bindi [Icelandic Art History, vol. 5]; ‘Gjörningar, tímatengd verk og myndbandslist’ [Performance Art: time-based art and videos] (2011); Jólaskeiðin, íslensk hönnun og smíði 1946–2008 [The Icelandic Christmas Silver Spoon, from 1946–2008] (Hönnunarsafn Íslands 2008); Vefur lands og lita, Júlíana Sveinsdóttir; and ‘Ofið úr íslenskri ull Júlíana Sveinsdóttir’ [Weaving with Icelandic wool, Juliana Sveinsdottir] (Listasafn Íslands 2003).

Co-Author of our publication: FROM THE COOLEST CORNER

Christina Threuter

is a post-doctoral habilitated graduate of Art Science specialising in the history of architecture and eighteenth- to twenty-first-century art.

Since 1995 she has held research and teaching posts at the Universities of Trier, Gießen, Saarbrücken, Cologne, and the Technical University Munich, in addition to curatorial and academic work with art projects in museums, cultural centres and exhibitions.

Last publication: "Westwall. Bild und Mythos" 2009.

Co-author of our publication: THINKINGJEWELLERY