#Jiro Kamata

[craft2eu]

Sidekicks zur SCHMUCK München 2023

Hier kommen einige ausgewählte Ereignisse aus dem umfassenden Programm der SCHMUCK München 2023: Jiro Kamata OCULUS präsentiert von Galerie Biro in der Boutwell Schabrowsky Gallery, Theresienstr. 48 – Das Licht ist sein Medium. Sein Werkmaterial die Kamera-Linsen – die Augen von alten Fotoapparaten. Sie haben vieles gesehen: Landschaften, Menschen, Ozeane. Sie nehmen unsmental mit auf eine Reise.…

[milksockets]

jiro kamata in multiple exposures: jewelry + photography - ursula ilse-neuman (2014)

[ramen-tokyo]

ラーメン 鷹の目（Taka-no-me）蒲田店「まぜそば」

✔️Store name / Menu

✔️Noodle size : 200g

✔️Topping : ショウガ、チーズ、アブラ、ガリマヨ

✔️Nearest : 蒲田駅

[hidekigogo]

Today's lunch was Ramen at Ramen JIRO JR west side Kamata branch. 700JPY. . 塩分と炭水化物補給に地元のラーメン二郎さんへ。野菜、ニンニク、唐辛子マシにていただきました。 今日は辛めシフトだったかな？ ここの一味はホント！香り良いです。 ご馳走さんでした！ . #ラーメン二郎jr西口蒲田店 #ラーメン二郎 #二郎 #麺スタグラム #lunch #ramen #noodles #olランチ #自家製麺 #jiro #kamata #蒲田 #蒲田西口 (ラーメン二郎 JR 西口蒲田店)

[amanda-haas]

JIRO KAMATA, VOICES 2019, This is a book on 20 years of creation of Jiro Kamata, a Japanese born, Munich based jewelry designer. Over 200 pages heavy, full of colour images and silvery shiny pages. This book is a gem itself.

[stephanierachaeljewellery]

Jiro Kamata

[makikoakiyama710]

掲載情報

美術ファンとコレクターのための雑誌「月刊美術」2020年6月号で「「装う」アートの最新系（ニューモード）」という特集が組まれており、そのなかで日本のコンテンポラリージュエリーが紹介されています。掲載作家は20名超。私は、嶺脇美貴子さん、鎌田治朗さん、珠数かおりさん、新里明子さん、JOJI KOJIMAさん（誌面登��順）の紹介ページを担当しています。よろしければご覧ください。執筆中は編集者の下川��郎さんにお力添えをいただきました。ありがとうございました。

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This month’s Gekkan Bijutsu, a monthly art magazine for art fans and collectors features “A New Mode of Wearable Art” in which Japanese contemporary jewelry is widely introduced through some introductory texts about the field and the works of more than twenty artists. Among them, I wrote about Mikiko Minewaki, Jiro Kamata, Kaori Juzu, Akiko Shinzato and Joji Kojima (in order of appearance). Please take a look if you have a chance. And thank you Mr. Takuro Shimokawa, the editor of the magazine for your dedicated support.

[endebar]

VMSN 19.08.31 J2-30 v KASHIWA Kashiwa Stadium

Nice Fight! * NIIGATA * 01 Koki Otani 16' 33' 42' 55' 56' 87' 88' 04 Shun Obu 58' 67' 87' 05 Michael James 10' 32' 65' 77' 81' 90+3' 06 Sachiro Toshima 36' 45+2' 57' 58' 62' 89' 90+1' 90+2' 08 Silvinho 08' 12' 27' 40' 44' 58' 09 Leonardo 12' 18' 29' 40' 44' 45+1' 52' 58' 85' 90' 90+2' 90+4' 11 Arata Watanabe 08' 10' 18' 22' 27' 44' 45+3' 62' 13 Francis 12' 18' 36' 40' 41' 57' 58' 78' 84' 85' 14 Tatsuya Tanaka 84' 90+4' 17 Caue 33' 58' 62' 67' 20 Shion Homma 82' 85' 90' 90+2' 31 Yuto HoriGomez 04' 43' 48' 60' 72' 78' 90+2' 32 Naoto Arai 10' 12' 45+1' 52' 59' 77' 78' 80' 90+2' 40 Yoshizumi Ogawa 78' 90+3' ↓－－－－－－－０１－－－－－－－↓ ↓－３２－－０５－－０４－－３１－↓ ↓－－－－－０６－－１７－－－－－↓ ↓－－１３－－－０８－－－１１－－↓ ↓－－－－－－－０９－－－－－－－↓ (73' 17->40) (79' 11->20) (82' 08->14)

* KASHIWA * 02 Jiro Kamata 40' 58' 04 Taiyo Koga 36' 45' 56' 58' 60' 61' 62' 63' 64' 71' 07 Hidekazu Otani 31' 43' 45+2' 56' 58' 63' 09 Cristiano 31' 37' 47' 51' 53' 56' 58' 63' 67' 77' 81' 85' 10 Ataru Esaka 53' 58' 63' 65' 67' 87' 15 Yuta Someya 45+3' 52' 58' 18 Yusuke Segawa 11' 49' 51' 53' 54' 56' 70' 71' 85' 88' 22 Matheus Savio 47' 54' 58' 63' 71' 81' 87' 23 Kosuke Nakamura 27' 31' 26 Olunga 11' 56' 65' 71' 88' 35 Richardson 15' 42' 51' 64' 65' 71' 80' 85' 90+4' 50 Tatsuya Yamashita 88'

↓－－－－－－－２３－－－－－－－↓ ↓－２５－－１５－－０２－－０４－↓ ↓－０９－－３５－－０７－－１８－↓ ↓－－－－－２６－－１０－－－－－↓ (45' 25->22) (61' 15->50) (86' 07->05)

[iamnaho]

bi necklace

JIRO KAMATA

[thejewelleryactivist]

#Repost @klimt02net ・・・This is not a Jiro Kamata Brooch. #jirokamata #border#9 #thisisnotart #nurtureyourthoughts #whatisreality #encourage #youarewhatyouwear #hannahgallery #hannahgalleryartist #valuable #beconscious #staytrue #breakboundaries #contemporaryjewelry #contemporaryjewellery #joyeriacontemporanea #joalheriacontemporanea #gioiellocontemporaneo #bijoucontemporain #ajfishere #klimt02 #TJA #thejewelleryactivist #jewelleryactivist

[chloehenderson]

MUNICH JEWELLERY WEEK 2018

“Munich Jewellery Week will showcase avant-garde contemporary jewellery by both established and up-and-coming designers from all over the world. This yearly gathering is by far the most significant event on contemporary jewellery’s calendar; it’s a unique phenomenon which plays a pacemaking role in the contemporary jewellery field.Hundreds of makers, students, educators and collectors come from all over the world to be inspired by MJW’s diverse programme that ranges from artist-run exhibitions, book launches and lectures, to performances, mobile presentations and parties.” [source]

There are over 100 exhibitions to visit during the week, and I visited 26 while walking all over Munchen! This blog post will be a whistle-stop tour of some of my highlights during Munich Jewellery Week!

One of the first exhibitions I visited was rather serendipitous, as we just happened to be walking by when the gallery opened!  Fiber World at the Micheko Galerie was a beautifully curated solo exhibition of Mariko Kusumoto’s naturally-inspired, ethereal material artworks. I was really enamoured with the atmospheric quality of these organza-like fabric pieces. I especially loved the pieces that looked like sea creatures; delicate sea urchins, floating jellyfish, and colourful corals appeared to me within the folds of the material. I was intrigued by the potential of this simple material to be transformed into complex sculptural works. It made me considerate of the refinement process of my own work. Silicone is a simple material, but in it’s refinement into jewellery objects I could be increasingly complex to surprise my audience with it’s transformed appearance. Throughout the later half of my current module I plan to refine my making process to create samples, and pieces that are more akin to contemporary jewellery.

On a similar note, some of the works in Biophilia/Chaos at Werkstatt-Galerie possessed an array of intriguing materials, and techniques being used in a diversity of refinements. I was especially fond of the naturally-inspired pieces by Viktoria Münzker. Her work is made from a wide variety of different materials; using her materials to convey ideas, rather than focusing on the material itself. This work style greatly appeals to me, as I find myself being drawn to materials because of what they can do for my idea, rather than devoting myself to just one material or technique. I think I was also drawn into her work because of the colour palette she uses: the cool colours! with a lovely focus on blue... all my favourites, and the palette I am using in my own work. As colour has become of greater consideration in the work I am creating now, I am beginning to realise how easily attracted I am to artworks and jewellery that contain the cooler colours... perhaps I just need to find fellow blue lovers to make up my audience!!

Speaking of colour, another enchanting example of colour drawing me in was Battle of Magenta by Jiro Kamata and Noon Passama at the Super+ Centercourt Gallery. In this instance the use of colour was all in the display. By covering the windows in red, and framing the jewellery pieces in blue neon lights the effect on the works was really enigmatic. The colourful light dancing over the smooth curves of Noon Passama’s silver jewellery, and Jiro Kamata’s geometric shell surfaces was just stunning. This display method elevated what could have been a plain exhibition of beautiful, yet fairly simplistic jewellery into something truly remarkable. It reminded me of how important display elements can be when exhibiting jewellery, and is something I always want to consider highly when regarding my own work.

Another captivating use of colour in display was that of Polyphonous: Echo at  Visuelle Kommunikation Wolfgang Gebhard. The curation style allowed for a visual story of colours: yellow, blue, and pink painted chip boards were used to display the work of the five artists exhibiting. It was a remarkably simple design solution, but made for a really effective, and visually striking display. This exhibition is another reminder about the importance of display, and I realised that display props do not need to be really complicated, expensive, or fancy to be transformed into something that is quite stunning.

While wandering around the Polyphonous exhibitions, we happened to serendipitously stumble across another alluring exhibition. In Hidden Curriculum, at Atelier Cepissakova, we experienced something that had been lacking in some of the other exhibitions we had visited so far, a bit of “customer service”! We were greeted at the door, were given a quick explanation of the exhibition, handed a beautifully made “guidebook” of the artists, and left with a smile, and told to ask questions if we wanted. It was lovely. I’m someone who dislikes being bothered while walking around exhibitions, and with my high levels of social anxiety I hate being followed, pestered, pushed into buying, or watched in galleries... but this experience was a nice break from that; brief, simple, and unpressured. I must remember this when hosting, organising, or manning my own exhibitions, as it is a really pleasant way to treat gallery-goers. That is all I really want from my artwork, on a fundamental level, I just want my audience to enjoy my art. I also really liked the way this exhibition was curated. Quite often in group shows, each artist has their own spot, and all their work is set up individually. This exhibition used a more narrative style, with works grouped by themes, and similarities. I feel like this style is more interesting, and easier to follow for the audience, especially when combined with the little “guidebook” of artist’s we were given at the start, which corresponded to numbers written next to each artwork, making it easy to identify each artist’s work. As an artist, rather than a curator, I quite often forget how important the role of curation is in an exhibition. But it can really make an impact when pulled off effectively, and similarly it’s quite obvious when it goes wrong as well. This is a role within exhibitions that I need to be more mindful of in the future.

The space you display work in is also an important factor to remember when curating an exhibition. An added challenge for Like A Rolling Stone when it was exhibited at the Museum Reich der Kristalle (The Crystal Museum). The geological themes within this collaborative project exhibition made the crystal museum a perfect venue to host these works. I was equally entranced by both the jewellery on display, and the precious stones that glinted around the room.  The venue, and space of an exhibition is such an important consideration when designing a show. Sometimes you do not have a choice of where your work is exhibited, and in those cases it is vital to ensure that you make the most of the space that you are given. But in cases such as this were you can pick out the perfect spot to show off your work, it is a real advantage to making your work memorable, and ensuring the enjoyment of your audience.

Another interesting venue was the Lovelace Hotel where Current Obsession presented a weeklong set of jewelled events, and contained within the top floor of the hotel there were two interesting jewellery exhibitions. The first was #mindMADers by the students of PXL_MAD School of Art. Their furry pink boxes contained work from their mid-way show. I could connect with the works here, as they were a representation of how I was feeling at a similar stage in my Univerisity work! I was most enthralled by the method they used to collect feedback for their work. We were given a laser-cut clipboard with instructions, a pen, and some gold paper. On the gold paper disk we drew out imaginings of jewellery designs that the students might develop their projects into. These gold doodles were then made into badges and pinned into one of the furry walls, where you also got to select and keep one of the badges already there. I really liked this interactive, unique way of engaging with the exhibition. The drawings the audience comes up with could provide useful feedback and inspiration for the development of the student’s work, and the participants get to leave with an artwork souvenir that also advertises the exhibition. It was brilliant! and something I plan on remembering when designing methods to collect thoughts from my own audience in the future.

The second exhibition at the Lovelace hotel was A Matter of Taste by students from Konstfack / Ädellab. This exhibition was a  This exhibition left me with considerations of my own future post-MA, as I am becoming more intrigued by the idea of hosting creative workshops. I might need to up my confidence levels, and work around my social anxiety, but I am really excited by the prospect of creating my own workshops, as I feel like I have a lot of ideas that would be really interesting to facilitate.  In this instance, students had objects that they had to make work out of “alternately applying layers of attraction and repulsion” with each session lasting no more than 8minutes each. In my current quest to think about the issue of refinement in my own work, I was most intrigued by this workshop experiment. I love that in a workshop such as this you can create a really interesting piece of work, almost without meaning to. They allow you to work fully in the moment, and that can often lead to really fascinating results.

The culmination of our jewellery explorations was on our final day visiting the Internationale Handwerkmesse, and its prestigious exhibitions, Schmuck, Talente, and Frame.   Throughout the whole of our visit to Munich Jewellery Week, I was quite disappointed with the lack of advertising to the general public. The event felt more like a jewellery conference, than an opportunity to fully exhibit work. While I really enjoy engaging with jewellery insiders, I think it’s much more exciting to reach out to jewellery outsiders and get everyone involved in the world of jewellery. Surely we want to be targeting a wider audience than ourselves? I was really surprise that there were no posters around Munich, no flyers, no adverts, nothing in the Tourist Information office. It was a bit odd. Hopefully they can address this issue in future years, as it is a shame how insular Munich Jewellery Week is. Still, I enjoyed by experience at this design fair, and like Collect, it was a chance to familirise myself with big-name galleries for jewellery, such as Galerie Marzee, and Galerie Biró. As well as being a chance to see some of the jeweller’s works that I admire in books, in the flesh! I really enjoyed being able to see some of Karl Fritsch’s rings, as I have been a fan of his rough, edgy style since the start of my jewellery career, and discovering the work of Benedikt Fischer was a pleasure. His shell pieces were a beautiful injection of humour into the jewellery world, and I can’t help but see a bit of a Chimera in them!

Munich Jewellery Week was a mesmeric adventure into a facet of the jewellery world. There were so many things I learned from this journey. The main thought that I came away with was the consideration of where my own work fits into all of this. I would be really curious to make it one of my aims to travel back to Munich in a year or so and exhibit my Chimera films. It would be a provocative experiment into discovering the reception my work would have from this world of jewellery insiders. However, I feel that, generally, MJW probably is not the ideal platform for my own jewelled work. I am keen to reach a wider audience, and one that most likely exists outside of the sphere of jewellers, and collectors. That being said, I did also learn about some of the opportunities open to graduates, and I am an artist who is open to exploring every avenue! I will always keep my eyes open, and traverse all the spectrums of where my work can take me....

Chloe out.

Image Credits Photography by Chloe Henderson at Munich Jewellery Week 2018

[craft2eu]

Autorenschmuck - Auktion: München am 06.12.2023

Giampaolo Babetto, Robert Baines, Peter Bauhuis, Hilde De Decker, Karl Fritsch, Peter Hoogeboom, Jiro Kamata, Takashi Kojima, Daniel Kruger, Renzo Pasquale, Gerd Rothmann, Carina Shoshtary, Ketli Tiitsar, Flóra Vági, Tanel Veenre, Manuel Vilhena, Lisa Walker, Annamaria Zanella, Dana Hakim, Frédéric Braham, Svenja John, Catarina Hällzon,  Karin Johannson, Linda Hughes, Margit Jäschke, Niklas Link,…

[milksockets]

jiro kamata in masters of new jewellery design: eclat - carlos pastor (2014)

[ramen-tokyo]

ラーメン宮郎（Miyaro）「ラーメン ミニ」

✔️Store name / Menu ✔️Topping : ヤサイ少なめ、ニンニク ✔️Nearest : 蒲田駅

[hidekigogo]

Today's lunch was Ramen at Ramen JIRO Kamata. . 今日のランチは仕事の合間にラーメン二郎JR西口蒲田店さんで、ラーメン700円税込み。 . 今日は本当は仙台で二郎を食べていた筈なんだけどなぁー、仕事になってこちらでのランチ。いつもよりみっちりとした加水低いゴワゴワーンな麺、美味かったね。トッピングは野菜にんにく唐辛子。この野菜のモッコリ具合、風味良い特級一味唐辛子も変わらず好いね。 . #ラーメン二郎jr西口蒲田店 #ラーメン二郎 #蒲田 #蒲田西口 #麺 #自家製麺 #麺リフト組合 #麺スタグラム #lunch #olランチ #ramen #ramenjiro #jiro #noodles (ラーメン二郎 JR 西口蒲田店) https://www.instagram.com/p/B2JeKxogRFj/?igshid=1hp8nk8dbt8bv

[applejiazichun-blog]

Jiro Kamata

Jiro Kamata is an artist who’s focus is how light can be worn on the body. 

Jiro Kamata’s innovative procedure is material driven. He hoists old camera lens components to the status of jewels, making jewellery pieces with a science and technology feeling and a sense of play. 

His works include simple circle shapes that form necklaces, pendants and brooches. They appear to be containers in the process of filling up and emptying, gathering light and transforming into colour. Through the glass we can see another colour world (Webb, P, 2015) and in some pieces, suggestions of images. He uses colour and reflection to represent the effect of gemstones.

 Katama builds his objects using circular forms. He says [sic] :” I deliberately made so that I ’m not doing anything as much as possible to get that the materiality strongly comes in front.”(Kamata, J, 2014). This indicates his strong focus on material rather than form and his creative ability to enhance something ordinary. As Bonnie Levine points out, “it’s a magical reinvention.” (2015)

 Kamata does not feel bound to use traditional materials and techniques. He makes the ordinary material become valuable. He always selects the materials first and then finds a relationship between the material and his own aesthetic and content, which he then develops into jewellery pieces.

His work refers to 1960s psychedelic movements - optical art (Webb, P, 2015), which focused on geometrical forms and psychedelic colour. It’s a style of abstraction to create optical illusions for the viewers.

His pieces are playful, energetic and serious at the same time. They are also delicate and beautiful. I’m engage with the work of Jiro Katama because I find his perfect surfaces and highly skilled goldsmithing fascinating. the material he use is special and helps him achieves his goal, the lens not be touched with wear’s face, but the light is stay on the wear’s face.

I always consider the content of the object before considering the materials.  Material is very important for my work, as the quality of the material represents the theme. I always use colourful, reflective and plasticity materials. Cause I think the quality of plasticity material such as acrylic, plastic, resin are attractive and modernism. Children’s toys are almost made from plastic. Candy looks similar quality as plastics. 

 Reference list:

Kamata, J 2014, ‘BI’, viewed 10 March 2017,< http://www.o-jewel.com/projects/jiro-kamata—bi/>

Kamata, J, 2015, Dark to Light to Dark, viewed 10 March 2017, <http://galleryfunaki.com.au/exhibitions/dark-to-light-to-dark/>

Levine, B 2015, ‘JIRO KAMATA: DARK TO LIGHT TO DARK

Gallery Funaki, Melbourne, Australia’， viewed 5 March 2017, <http://www.artjewelryforum.org/artists/jiro-kamata-dark-to-light-to-dark>

Webb, P, 2015, ‘Through the Looking glass, very skillfully’, viewed 1 March 2017,

<  http://www.smh.com.au/entertainment/art-and-design/japanese-jeweller-jiro-kamatas-australian-debut-at-gallery-funaki-shines-brightly-20150708-gi7xnq.html>