arnoldsche Danner-Stiftung Danner-Preis Danner Prize Dittlmann brosche magnet winner preiträgerin 2020 ausstellung Neue Sammlung Design museum

Danner Prize 2020

Die Neue Sammlung – The Design Museum, Munich (DE), 15.10.2020–11.4.2021

The Danner Prize is an award presented to distinguished artists from Bavaria. The 100th anniversary of its establishment is now cause to present the current award winners and other exceptional submissions in a large exhibition at Die Neue Sammlung – The Design Museum and with a comprehensive publication. For the very first time, contemporary works are placed alongside highlights of the foundation’s own collection, complemented by precious artefacts by the Royal Bavarian court goldsmith Karl Rothmüller, who was once a key supporter of the foundation’s inception.
The 2020 Danner Prize was awarded to jewellery designer Bettina Dittlmann. Her brooches and pendants form the most delicate of sculptures: large magnets are used as a base on which a bouquet of further elements are arranged. Ordered or chaotic, amplified or reduced, the wearers themselves decide on what best suits their mood. The finest of pigments lend the pieces an intense coloration, bringing a luminous quality to the assemblages.
The four honorary Danner awards were presented to Petra Bittl, an artist working in sculptural ceramics; Otto Baier for his forged titanium objects; Peter Bauhuis for his impressive hybrid chain sculptures; and Paul Müller for his minimalist candleholders. Thirty-four additional works from various craft disciplines – from fascinating works in glass to traditional straw wickerwork – are testament to the diversity and high quality of this year’s submissions.

arnoldsche Danner-Preis Danner-Stiftung Danner'sche Dittlmann Bittl Bauhuis 2020 Nollert Bazlen Tröger Aiwanger

Initial image: Bettina Dittlmann, Wohin (Whereto), 2019, brooch: iron, solder, pyrite, garnets, neodymium disc magnet; soldered, enamelled, set; © VG Bild-Kunst, Bonn 2021 for Bettina Dittlmann; photo: Danner-Stiftung / Eva Jünger

Aufmacherbild: Valérie Wagner, Objekt, 2018, Schiefer graviert; Foto: Cornelia Wruck


Showroom SCHÜTT, Pforzheim (DE), 5.11.2020–18.7.2021

The ROCKSTARS from the Idar-Oberstein campus take the stage of contemporary jewelry by storm!

Raise the curtain for the ROCKSTARS from the Idar-Oberstein Gemstone and Jewelry Campus in the showroom of the Schütt family business. in Pforzheim. The setlist includes fifty hits and brand-new releases by the alumni and students from the Idar-Oberstein campus: they are declarations of love, experimental snapshots or rebellious works all about gemstones.
Idar-Oberstein – world trading center for gemstones of all kinds and at the same time a place for studying in absolute seclusion – serves the students as a rehearsal room where they can break with existing structures and work experimentally. As ROCKSTARS, the students and alumni now appear with contemporary jewelry pieces that not only show the material gemstone in unexpected and unconventional ways, but at the same time redefine elements of a centuries-old gemstone aesthetic and are thus socially positioned.
arnoldsche Campus Idar-Oberstein Rockstars Edelsteine gemstones jewellery jewelry schmuck kunst art artists schütt


A publication to present all exhibited objects will appear in our program.









Initial image: Valérie Wagner, Object, 2018, engraved slate; photo: Cornelia Wruck

Arnd Hoch

Arnd Hoch


In deep sorrow.

Dirk Allgaier
and the team of arnoldsche.

arnoldsche Dimog gesamtkunstwerke Hannover Arne-Jacobsen-Foyer Hendrik Bohle

Arne Jacobsen’s Gesamtkunstwerke in Berlin

Gesamtkunstwerke – Architecture by Arne Jacobsen and Otto Weitling
The Felleshus – The Nordic Embassies, Berlin, 30.10.2020–10.1.2021

The Danish designer and architect Arne Jacobsen mastered design from the smallest fork to the monumental town hall. Less well known is that he also realized a number of projects in Germany in close partnership with the Danish architect Otto Weitling – a collaboration that set the tone for the development of modernist architectural language.

The history of these buildings and their subsequent perception reveals much about their time of origin and the ideas and visions that preceded them – but also about the close connection between architecture, city and politics.

The exhibition currently opened in the Nordic Embassies, Berlin, and the accomapanying book published in our program illuminate the work of architects in Germany. Here they have realized projects on various scales: from the bright Arne Jacobsen Foyer in Hanover to a group of residential buildings in Berlin’s Hansaviertel, the City Hall in Mainz, the Christianeum in Hamburg, the HEW high-rise in City Nord, and urban development projects such as the Forum Castrop-Rauxel or the vacation resort on the island of Fehmarn: here German-Danish architectural history becomes visible.

arnoldsche Hendrik Bohle Jan Dimog GESAMTKUNSTWERKE Architektur Arne Jacobsen Otto Weitling Deutschland  

arnoldsche Kunstnerforbundet Oslo

Bente Sætrang at Kunstnerforbundet Oslo

A Remnant of Necessity
Kunstnerforbundet, Oslo (NO), 22.10.–22.11.2020

Bente Sætrang’s textile research operates in the borderland of analysis and intuition, plan and chance, between geometric systems and logical displacements. Both as an active artist and as the first Norwegian professor of textiles, she has significantly influenced and stimulated the development of Norwegian textile art. Sætrang’s artistic practice dates back to 1974. She has become known for her draperies drawn with acrylic, car paint, sandpaper and pencils on rough tarpaulins. Her approach of letting herself be guided by the material and thereby finding new ways of thinking was to become a basic principle of her art.

Bente Sætrang once started with a special dyeing method called Indigosol. Now, 20 years later, she is reviving this technique. The color pigment is mixed with various chemicals, but the mixture must first be tested on the material before it can be enriched with sulfuric acid and thus made durable. The colored materials must be neutralized in lye, boiled and finally dried. But the result justifies the incredible effort: on the fabrics the color achieves a distinct depth and clarity.

The exhibition at the Oslo Kunstnerforbundet, Oslo, includes ten new textile works and about forty drawings in charcoal and pastel on paper. While the textiles are based on an experience-based process, the drawings document intuitive ideas, experiments and even travel advice. The interplay of textiles and drawings shows the continuity that underlies her artistic work.
 Bente Sætrang Nina M. Schjønsby arnoldsche textil art print colour  

In connection with the exhibition a monograph edited by Nina M. Schjønsby has been published in our program. Vigdis Hjorth, Tommy Olsson, Gunvor Nervold Antonsen, Ingrid Lønningdal, Maria Inez Rorigues and Jessica Hemmings have contributed to the lavishly designed publication.

Online book launch at Kunstnerforbundet, Oslo (in Norwegian):

Karl Fritsch Galerie Zink Ruby Gold Ring arnoldsche

Karl Fritsch at Galerie Zink

Ruby Gold, Galerie Zink, Seubersdorf (DE), 12.9.–18.10.2020
Opening weekend: 12.–13.9.2020, 14.30–19.00 Uhr

German artist Karl Fritsch belongs to the International avantgarde in the field of artistic jewelry. Trained as a goldsmith and studied with Otto Künzli and Hermann Jünger, he is renowned for his daring works that disregard all conventions of traditional jewelry. His treatment of materials and forms disrupt the jewelry world. He would pierce a multi-carat diamond with a laser and fix the gemstone to a gold ring using an old, rusty nail. He would build extravagant and flashy rings with common materials like aluminium and synthetic stones. He engraves “Fuck off” on an antique Byzantine ring.

Through elaborate processes, Fritsch creates jewelry and sculptures that exude a playful lightness. They often have a sense of improvisation and an almost childlike fascination of the unexpected. Karl Fritsch is the darling of the artistic jewelry scene and his works are not only worn, but also on display in many museum collections and his rings are in demand as collector’s items.

By pushing boundaries beyond what is conventionally associated with “jewelry,” the artist explores the eccentric, creating a profound expression of individuality. One of a kind, like the person wearing it!

In accompaniment with the show at Southern German Gallery Zink, the artist and the gallery have also produced an exquisite catalogue of the artist’s works that appears in our program.

From October 17 we are excited to expand the show with photographs by Amsterdam based artist Paul Kooiker, a leading figure in conceptual photography in Europe. Both shows will be held until December 20.

Enric Mestre stoneware sculpture artist art arnoldsche exhibition modern shapes antwerp minimalism

Enric Mestre in Antwerp

Modern Shapes Gallery, Antwerp (BE), 10.9.–4.10.2020
Opening: Thursday, September 10, 5 p.m.

The Antwerp Modern Shapes Gallery is happy to present the minimalist yet intimate work of Spanish artist Enric Mestre. These past years we’ve seen the artistic ceramics regain popularity and how clay has been reclaimed by contemporary artists as a means of artistic expression. This has had a liberating effect on the whole scene and increased visibility on an otherwise often marginalised mastery.  Enric Mestre is well known as one of the masters that helped pave the way to consolidate the artification of the medium.

Through dedication and commitment he pushed the technical boundaries of this demanding yet humble. As one of the important artists of the Spanish school, his name is mentioned in one breath, together with artists likes Jorge Oteiza and Eduardo Chillida.

Enric Mestre’s sculptural objects seem sober, almost austere. But appearances can be deceptive: these objects have an immense poetic force that looks right back at the beholder. His sculptures command the imaginary and forces a contemplative state.

A comprehensive publication on his work appeared just recently in our program.

Enric Mestre arnoldsche modern shapes exhibition ausstellung ceramic art Keramik Kunst Minimalismus minimalism

Image above: Stoneware sculpture, 1995, 50 x 135 x 40 cm

Gunnar Gundersen Jan Kokkin Sorlandets Kunstmuseum Ausstellung Exhibition

Exhibition Gunnar S. Gundersen

Sørlandets Kunstmuseum, Kristiansand (NO), 4.9.2020–24.1.2020
Opening: 27.9.2020

The Southern Norwegian Sørlandets Kunstmuseum presents the work of Gunnar S. Gundersen (1921–1983), one of the most important post-war artists in Norway. There, in the 1950s and 1960s, he gave significant impulses for the development of non-figurative and concrete painting. He formulated his own style in the 1960s: works with a strong coloring, for which he was inspired by science fiction novels and atomic fission. From then on, Gundersen is considered one of the few concrete artists in Scandinavia.

Gunnar S. Gundersen showed his work during his lifetime in about 20 exhibitions, partly public, partly private. Among the important stages of his career are the design of the façade of the Kunstnerforbundet, Oslo (1950), the design of the Kirkelandet Church, Kristiansund (1964), and his work for various school buildings. Like many Norwegian artists, Gundersen’s involvement with applied art and the artistic decoration of public buildings is an important part of his work.

The comprehensive monograph written by Jan Kokkin appeared recently in our programme.

arnoldsche Gunnar S. Gundersen Jan Kokkin Norwegen Norway Painting Concrete art postwar Malerei Konkrete Kunst

Image above: Gunnar S. Gundersen 1960, photo: © Kjell Sten Tollefsen / BONO 2020

Kadri Mälk arnoldsche Hunt Leib Talinn Estland Book launch August 2020

Kadri Mälk – Hunt:

Book presentation at restaurant Leib, Tallinn (EST), 30.8.2020, 6 p.m.

Kadri Mälk presents her publication HUNT: (an ambiguous term that works in English, just as it means “wolf” in Estonian), in which she focuses for the first time on her own collection of contemporary artists’ jewellery. Since jewellery is meant to be worn, not only are the pieces staged on paper, but her artist colleagues also pose in portraits next to or with the favourite pieces.
Here, the hunting wolf becomes the collector’s symbol, the objects of desire clearly appear as lifesaving prey. But as with all metaphors, care must be taken in their interpretation: For while the wolf’s successful hunt ends with the death of its prey, the transition of the jewellery in Kadri’s collection is like a transition to a new form of being. The presentation of the objects in the book, as they are worn on the bodies of friends and companions, once again brings the jewellery to life.

hunt kadri maelk mälk arnoldsche collection jewellery jewelry studio

Header image: Beata Ratsanik wears
Ruudt Peters, Hun, hong tai yang, 2013
Brooch: bluestone, silver

Young-Jae Lee Spinatschalen Schalen Teeschalen Koreanisch Korea Porzellan Glasur Steinzeug Magaretenhöhe Essen arnolsche Das Grün in den Schalen Nadine Engel Gisela Jahn

Young-Jae Lee – Spinach Bowls

Galerie Greve, Cologne (DE), 19.6.–29.8.2020
Booksigning: Friday, 21.8.2020, 5–7 p.m., Young-Jae Lee and Dr. Nadine Engel, Folkwang Museum, Essen (DE), will be present

Galerie Karsten Greve is pleased to present ceramics by Korean artist Young-Jae Lee in Cologne. On display are one hundred and sixty Spinach Bowls – dining and drinking bowls created over a period of almost twenty years. This series of works originated from her delving into the history of the tea bowl. The small, bulbous jars have their special aesthetic appeal due to their diverse glazes.

Born in Seoul in 1951, Young-Jae Lee moved to Germany in 1972, studied in Wiesbaden and ran her own workshop near Heidelberg. Since 1987, Young-Jae Lee has been head of the long-established Margaretenhöhe Ceramics Workshop in Essen. With Bauhaus principles serving as a guide, the ceramic artist is striving for perfection in the formal idiom and color range as used by her workshop in Essen. At the same time Young-Jae Lee questions the traditions and reception of Korean ceramics.

Trends in Korean ceramics influenced the development of Japanese ceramics and porcelain. In the 16th century, the golden age of Korean ceramics, Korean ceramists produced their own drinking and dining bowls exclusively as tea bowls for the Japanese market, thus supporting the development of an excellent new ceramics culture. Inspired by the masters of the Joseon dynasty (139–1897), Young-Jae Lee created her own aesthetically pleasing and simple pieces. She adopted the shape of the traditional Korean ceramic bowls and redefined it for her own drinking and dining bowl – the Spinach Bowl.

Presented by Galerie Karsten Greve in Cologne, Young-Jae Lee comes across as an artist who is a mediator between Korean and Japanese, Asian and European culture, whose works merge the ancient tradition of Korean ceramics with modern art Specifically European in character.

The publication Das Grün in den Schalen provides not only an overview over the delicately produced bowls, but also insights into the tradition of Korean ceramic making.



Young-Jae Lee Das Grün in den Schalen arnoldsche Nadine Engel Gisela Jahn Spinatschale



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