The past 15th of April 2014, Carolina Gimeno received her Master of Fine Arts in Jewellery and Corpus, from Ädellab, Konstfack, University College of Arts, Crafts and Design, in Stockholm.
Carolina Master’s Project has been awarded the Konstfack Fund Scholarship by selection of Prof. Karen Pontoppidan, Head of Ädellab, Konstfack.
The series of jewels ‘Portable Pleasures’ challenge the notions of intimacy and public realm, two aspects that are involved in the act of wearing jewellery in society.
In my master’s degree project, I investigate how jewellery, intended as an ‘apparatus’ of communication and disorientation, offer both; to the wearer and viewer to challenge social conventions in regards to the feminine and the masculine.
The act of decorating the body with these jewels, leaves the viewer with no choice but that of crossing the boundary of the wearer’s intimacy. Can this act create a new order of connectivity and communication between both the wearer of that jewellery piece and the viewer that is forced to confront it?
“Carolina Gimeno exam work investigate the relationship between jewellery and gender categorisations and by doing so, Carolina Gimeno demonstrates her extraordinary insight into the phenomenon adornment.
The pieces, created through a sensitive symbiosis of materials in combination with references to the physical female body, challenge us, the viewers, to deepened awareness.”
Professor Karen Pontoppidan.
Head of Ädellab, Konstfack
Her Master Degree Project “Portable Pleasures, when intimacy becomes public” was selected to be developed during the AiR, Artist in Residence program, hold by KKV, Konstnärernas Kollektivverstad i Nacka. Stockholm.
Carolina Gimeno was giving a presentation about her AiR and Master Project, on Thursday 5th of June at 17:30h, at the Enamel Workshop of KKV, Konstnärernas Kollektivverkstad, Planiavägen 28-30 i Nacka, Stockholm.
Read here the complete essay
20 April A.S.A.P at Konsthall C Cetrifug UNFINISHED ANALOGIES (22.4 2011—8.5 2011)
A paper tape exhibition curated by Jacquelyn Davis (with the assistance of Christine Antaya) of valeveil: a Stockholm-based curatorial node. OPENING! 23.4 2011, 2-4 pm
Nothing changes from generation to generation except
the thing seen and that makes a composition.
- Gertrude Stein, “Composition as Explanation”
In light of Sweden’s recent decision to introduce tuition and application fees for incoming non-EU/EEA/Swiss students, highlighted artists, designers, activists and writers examine and respond to how these alterations affect the atmosphere of higher education―specifically, Sweden’s art schools and government-funded creative institutions. In the EU, policy changes which pertain to accessible education opportunities are being implemented. “Unfinished Analogies” hopes to provide an entry point into how these emergent laws alter the relationship between the art school, art student and international student. It is essential to evaluate governmental correlations made between notions of quality and economic status, as well as to pinpoint the confusion between quantity and quality in relation to the culture industry.
The validity of an arts education and the methods that art schools employ deserve closer examination. Many questions arise when considering the international student’s changing role in Sweden’s art school setting, such as: When is it harmful to place collective identity above individual identity? Are collective responses to a current event more effective than separate, individual instances? When is a response to a current topic effective―when does it fall short? How does identity politics relate to art-making, and are homogeneity vs. heterogeneity linked to creativity? How will diversity change, given the reduced recruitment base for Swedish art schools? What does it mean to be educated, and is an individual’s arts education apparent when examining their creative evolution? How is talent cultivated in an art school environment―which art schools are successful at this and why? Are self-education/DIY alternatives viable for those unable to attend art school? What are the implications for Sweden as an ‘open society’?
A call-response exercise, contributors were given an opportunity to create new work as a response and/or critique, to provide solutions, navigational insight or perspectives. Works range in content and form: congruent work, winnerless games, critical texts, readings, media appropriation, rhetorical dissection, commentary and activism.
Art student is to art school as international student is to _____.
EU-student is to non-EU student as education is to _____.
Student is to education as art student is to _____.
Quality is to quantity as art is to _____.