NCOD in LIS (New Craft Object Design in Lisbon)

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.

Herman Hermsen (NL), 2019

Up Till Here


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.

Fabian and Kalman

Opening: 12 May, Sunday, 17h – 19h.
14 May – 07 June 2019
 Press Release  |   Bios

Veronika Fabian

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 KalmanIcons 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.

Ela and Nunes


Opening: 30 March, Saturday, 17h – 19h.
2 April – 26 April 2019
 Press Release  |   Bios

Ela Bauer

In my current work I focus on color as material. I have realized that color always bears meaning and that certain color / sequences ‘tell a story’. Color is the first given you perceive, experience before interpreting. It is a powerful vehicle of moods and atmospheres. Mostly one gives color to form. I give form to color.
Ela Bauer, 2019

Inês Nunes

This work is a Foucault’s analysis of the present, and it has an underlying need for deformation It is the expression of an aesthetic concern, which seeks to deconstruct genres and concepts.

‘There are moments in life where the question of whether one can think differently than one thinks, and perceive differently from what one sees, is indispensable to continue to look or reflect.’ Michael Foucault

It is also a disruptive attitude with the common need of classifying to validate. The author appeals to us in this work to the re-signification of the term ‘toque’.

pe.dra de to.que
| pɛdrɐdəˈtɔk(ə) |
1. dark-colored siliceous rock used to determine the purity of a metal;
2. to evaluate, pattern, reference;

With the ´touch’ of her wedding ring, the author scratches and stains the black coating on various brass slates, and creates in each piece a non-verbal language.

With the repetition and intensity of the marks, patterns are created and the physical mark becomes an emotional mark. The wedding ring wears off in this process, its classic meaning disappears and a new expression comes out of it.

The touch of the pieces does not define its value.
“Toque 2019, Inês Nunes”, Gonçalo Conde, 2019