Curatorship: Paula Crespo.
– Opening hours: Tuesdays and Thursdays, 11am — 7pm.
Wednesday and Fridays, 2pm — 7pm.
Saturdays and Mondays by appointment.
Created in 1998 with Paula Crespo curatorship, the gallery’s Permanent Collection assembles a catalogue in continuous update, whose main purpose is to disclose the most representative work from both the Portuguese and the international contemporary jewelry scene.
The gallery, which represents about 60 artists, actively intervenes curating and producing projects in cooperation with artists from different areas, as well as parallel events, questioning concepts and sponsoring new approaches and thereby accomplishing it’s main purpose of being, more than a catalogue, a creative hub.
Aline Berdichevsky, Ana Margarida Carvalho, Ana Maria Ramírez Moure, Asako Takahashi, Attai Chen, Aurea Praga, Barbara Schrobenhauser, Beru Inou, Carina Shoshtary, Catarina Silva, Cocosung, Cristina Marti Mato, Danni Schwaag, Diederick Van Hovell, Eva Burton, Felix Llorente Zuazu, Gabriela Baca Soto, Gloria Gastaldi, Grego Garcia Y Pedrin Garcia, Hiroko Miyamoto, Ignasi Cavaller, Iris Bodemer, Jeemin Jamie Chung, Jiye Yun, Jorge Castañon, Judy Mccaig, Junwon Jung, Katharina Dettar, Katja Prins, Kira Fritsch, Laura Leyt, Luísa Quartin, Manon Van Kouswijk, Mar Sanchez, Marilia Maria Mira, Marta Costa Reis, Marta Roca, Martina Pont, Mia Kwon, Paul McClure, Philip Sajet, Pilar Cotter, Ramon Puig, Sabine Hauss, Sandra Llusá, Silvia Walz, Sara Leme, Tasso Mattar, Teresa Milheiro, Violeta Adomaityté, Volker Atrops. –
Curatorship: Grego Garcia and Pedrín Garcia
Opening: 21 February, Friday, 18h – 20h.
25 February – 20 March 2020 Press Release
Gogoisme is a movement that emerged, as well as its definition, in 2016 by the art director Pedrín García and the jeweler Grego García, imitating the avant-gardes that were created in the early twentieth century as Dadaism, Surrealism, Expressionism. Movements that currently no longer occur, due to the individualism of art. The idea arose as a result of a joint work that was presented in Amaranth Joies; that same year. The work, from the beginning, was considered as a game and for it the figures of a children’s game called GOGOS were used.
These were the common thread to create a series of pieces between the two, based on the amusement. It is a work where all the materials, colors and techniques used are a tool to provoke and transmit a fresh and playful feeling.
Starting from this idea Grego Garcia and Pedrín Garcia have invited 47 artists to reinterpret the Gogoisme, whose result could be seen last year in “Amaranto Joies”, Barcelona.
Galeria Reverso thanks to Grego Garcia the opportunity to presente this exhibition in Lisbon. We are very happy with this partnership, and also invited seven portuguese artists to join this international group.
The theoretical consideration of several topics is important for me and it helps to bring structure to my thoughts and the observation of daily life. Then i am searching for a way to translate the notions into material. This process is a never ending experimental field where new paths appear. Usually i work parallel on different directions without knowing their connection. In my graduation project i am circling the topic with 6 groups of metalworks to highlight different aspects of my research. Bio
Genius loci is a Latin term referring to the “spirit of the place”, to the genie of the place inhabited and visited by man and that was an object of object in the Roman religion.
In Thailand it is common to be placed at the entrance of a newly built house, a spirit house, because it is believed that the spirits already inhabiting the place must be granted shelter before the arrival of the new owner. According to this belief, these can cause problems if the owner does not own one.
Playing with the idea of the genie’s place, the protective spirit, of the mysterious and the video surveillance, I created a collection entitled “Genius Lab”, composed by 6 necklaces. They are made up with fluorescent, metallized Plexiglas test tubes, silhouettes and compositions with images, some of them already eaten by bibliophile insects, which were taken from a German catalogue of optical mechanisms and instruments from the 1900 international exhibition in Paris, which I found in an abandoned house. Bio
Opening: 22 November, Friday, 18h – 20h.
26 November – 18 December 2019 Press Release | Bio
Danse Macabre Dancing Bodies
Dancing Bodies brings back into the present and future the artistic-literary allegory ‘Danse Macabre’, which expresses the universality of death. Celebrating passages is at the core of what makes us human, especially rituals of passage such as birth and death. In a digital, secularized age, how do we deal with and physically experience a dead body?
In this series I invite the wearer to carry an illustrated dead body in its initial flexible stage (a collapse), and its final stage (a skeleton), using clashing materials such as rubber and bone. I create self-mourning jewellery innovating the ‘Memento Mori’ tradition that celebrates the future decay of our bodies, with the intention of opening a discussion and confrontation on death, mourning, transformation, and remembrance.
Anja Bachmann, Constanze Chrosch, Anna van Eck, Jantje Fleischhut, Tegshtuya Gandugar, Karin Heimberg, Esther Heite, Herman Hermsen, Alessa Joosten, Sally Kiss, Karin Maisch, Lena Meyer, Laura Prahl, Konstanze Prechtl, Sarah Regensburger, Eva Sänger, Lisa Scherebnenko, Ja-Young Yun, Jochen Zäh, Mansuo Zhu. –
curatorship: Herman Hermsen
Opening: 22 November, Friday, 18h – 20h.
26 November – 18 December 2019 Press Release
NCOD in LIS is an attractive and inspiring exhibition in Gallery Reverso in Lisbon. Curated by Herman Hermsen, this exhibition shows designs by recently graduates, students, alumni and teachers of the New Craft Object Design (NCOD) from the Peter Behrens School of Arts (PBSA) at the University of Applied Sciences Düsseldorf.
The exhibited pieces concern a divers view on jewellery based and made in a wide variety of technics and materials; from analogue handmade work at the bench to computer-controlled an 3D- digital printing techniques. Conceptual from development processes and research are at the base of the exhibited objects.
Alejandra Ferrer, Ana Margarida Carvalho, Carlos Silva, Carolina Quintela, Filomeno Pereira de Sousa, Inês Nunes, Leonor Hipólito, Manuel Vilhena, Marta Costa Reis, Patrícia Domingues, Paula Crespo, Pedro Sequeira, Sara Leme, Tamia Dellinger, Teresa Garrett, Teresa Milheiro. –
curated by: Carolina Quintela and Paula Crespo
Opening: 26 September, Thursday, 18h – 20h.
27 september – 18 October 2019 Press Release
We know that contemporary jewellery promotes the use of any typology of materials and not necessarily precious containing not only monetary interests, but also aesthetic, symbolic and conceptual. Recently, much has happened and much has been said about the legal issues that prevent jewelers in Portugal from manipulating and selling precious metals without being subject to the same rules as industrialists.
Galeria Reverso’s new exhibition brings together a set of pieces by Portuguese jewelers (with the exception of one of the artists) and the intention to make known or remember their individual creative discourse and their path, in a selection of pieces that exist beyond these limitations ranging from the 1990s to 2019.
In this sense Até aqui unites time and space. Até inserts us in an extended time, through the retrospective presentation of a multitude of artists and the way that, over the years, have thought about contemporary jewellery, questioning and exploring new ways of looking at jewels and their value. Aqui place us in Galeria Reverso which has 20 years of existence, hundreds of exhibitions and about 65 artists represented.
In this exhibition we can find pieces by artists who have a long path in the gallery such as Manuel Vilhena, Leonor Hipólito and Filomeno Pereira de Sousa as well as more recent representations and some debuts.
Opening: 12 May, Sunday, 17:00h – 19:00h.
14 May – 07 June 2019 Press Release | Bio
Liquid / Solid, 2014
The objects here presented are the result of a work built with 2 materials: Porcelain barbotine (liquid) and Cardboard (solid). I explored the physical and chemical reactions of these two materials, experimenting with their behavior during construction, drying and then exposing them to the action of fire. The transformation of matter was the starting point for constructing these objects in porcelain. The shape is built with the structure of cardboard boxes. Due to the fire they were exposed to in the kiln, the materials transformed – the cardboard turns to ash / dust and disappears and the porcelain solidifies and remains stable, however, the memory of the absent cardboard persists.
VERONIKA FABIAN +LAUREN KALMAN
Opening: 12 May, Sunday, 17h – 19h.
14 May – 07 June 2019 Press Release | Bios
Veronika Fabian’s work poses as a two-way mirror between contemporary society and jewellery. Her work circulates around questioning the established and conventional, stirring up the status quo. In her chain work Fabian explores the question of identity under the current sociocultural conditions. The series Rebellious Chains visualize the process of changing identity, inspired by her own artistic journey towards jewellery. The original assumption regarding chains is that they often are subservient to the main jewel. Therefore, she transforms ordinary chains, still respecting their original values but enabling them to form their own patterns and achieve jewellery status on their own. The collection Chains for an Average Woman draws connections between women’s self-identity, popular culture and mass media, exploring how identity develops against a background of economic and cultural conditions. In her latest work she investigates the complex relationship of consumerism and craftsmanship, colliding the mass produced and the unique.
Lauren Kalman: Icons of the Flesh. Embodiers
Icons of the Flesh. Embodiers visualizes the body in ways that promote positive identification with anatomy and sexuality. The icons are signs or abstractions that point toward the body. The title Icons of the Flesh references notions of religious ideas of morality in relation to the body. These notions are contrasted by the representation of sexualized body parts and genitalia. In the Embodiers series comprised of Collars, Badges, and Buttons these sexualized body parts are simplified. With their form abstracted they can be worn in public without immediate recognition (often mistaken for other functional objects, like teapot lids, or security tags), thus serving as a public display of positive support for the body and sexuality. Rather than necklaces or brooches, they are described as badges, collars, and buttons, allusions to wearable communication devices as seen in identity building devices like military uniforms or political movements. There is also levity in their form, as they are almost naive in their simplified rendering of anatomy. These works are rendered digitally in a 3D modeling program, 3D printed, and then cast in clay. The digital fabrication adds another layer of abstraction and remove from the body. The ceramic is then set in gold-plated brass.
My own special experience is when, as a child, I used to sit at the table waiting for dinner, and I stared at the orange chandelier hanging above the table. I remember clearly the lighted orange chandelier shining on the clear glass table and the overlapped light making subtle patterns. It was a sacred ceremony for me to stare at the patterns before the meal. I have created endless stories by looking at the complex shapes. Every story begins with the observation of things. Sometimes you discover new qualities at familiar things when you look closely. Circuit, resistance, pipe. I closely connect these familiar elements to create an “algorithm”. This algorithm has no operational purpose, but, looking at the final shape, you can imagine an interesting story. Bio