Jewelry as an art piece and beyond

In this exhibition, the powerful installations that make up the venue not only provide a stage, but also transform the way Cartier jewelry is viewed. ``Since the venue is a national art museum, we will eliminate background and commercial elements and create a space that allows people to view the exhibition purely as a work of art,'' says Shinsoken's Sakakida. Along with the mystery clock in the ``Time Room,'' there are corners where Hiroshi Sugimoto displays ``treasure pieces'' combined with Japanese antique art. One of the highlights is how Cartier's contemporary jewelry resonates with each other, and the effect brought about by the comprehensive art of ``preparation''.

Now, after the prologue comes Chapter 1, ``Transformation of Colors and Materials.'' You can look at jewelry the same way you would look at a painting. Here, you will be amazed by not only the platinum and diamond white jewelry that immortalized Cartier's name, but also the innovative combination of rare gold and stainless steel materials and the richness of the materials. This is also where you can enjoy organic kingfisher feather work and craftsmanship. However, the easiest thing to understand is the color balance. From the boldness of the noble color combination of contrasting blue and green known as Cartier's colors, the balance of the mix in contemporary jewelry has changed to become more sophisticated. Furthermore, delicate coloring and subtle nuances were added, giving rise to the use of enamel with similar color gradations (kamaille). We are lucky to have the unique opportunity to compare Cartier's archival masterpieces with contemporary high jewellery. In fact, modern high jewelry is only available to a limited number of customers, so it is delivered from the workshop to the customer in the shortest possible distance. It is not open to the public at all. For this reason, it is really interesting to see the evolution of Cartier's creations in this exhibition, juxtaposing his archived pieces with contemporary works. Breaking away from traditional exhibitions that follow history in chronological order, this new attempt moves jewelry from the category of ornaments to a broader art object.

Chapter 20, ``Form and Design,'' which is of interest not only to jewelry lovers but also to art lovers, explains that Cartier has been using geometry extensively in jewelry since the early XNUMXth century, and that innovativeness has become even bolder in contemporary works. You can see it being transformed into a crisp, clear form. What does abstracting and showing the design with clear beauty lead to? Transforming shine into a moving design, giving new visual stimulation. Although it has a well-organized shape, you can clearly feel that its beauty has changed in line with the sensibilities of the times.

Finally, we reach the final chapter, ``Universal Curiosity.'' For the first time, we get to know the whole picture of Cartier. This is because many of the motifs that form the basis of Cartier's creations are found in Egypt, Africa, the Middle East, and Asia, where they have absorbed the cultures of India, China, and Japan, and have been replaced by Cartier's style. Just as the Impressionists were inspired by ukiyo-e prints, Cartier's jewelry cleverly borrowed from other cultures. Cartier's most forward-thinking spirit stems from the world travels of Louis Cartier, who laid the foundation for modern-day Cartier. You can get a glimpse of the adventurer's profile from his archived photos. This kind of setup is so much fun. And last but not least, there is the Cartier Zoo. Animals, including the famous panther, birds, insects, reptiles, and tigers, have become reliefs and patterns in jewelry and have continued to change, reflecting the times in their facial expressions and shapes. There is.

After visiting Geneva, where the Cartier collection is located, and Paris, where the high jewelry workshop is located, Shinsoken's Sakakida said, ``I realized the value of a work of art.The power of the real thing and the outstanding craftsmanship are a must-visit place.'' Creating high jewelry that connects with each other was more than I could have imagined." This craft-like world created by people's hands is in line with the goals of Shinsoken. “Everything has become homogenized through rationalization, and this has brought about negative effects. Too much has been lost because we are not interacting with things. Feel the texture and think about what lies beyond. I hope people can feel this."

Jewelry that is not lost to history continues to exist beyond a person's lifetime. In other words, the owner is only a temporary owner. If we were to know the secret behind the continued value and beauty of Cartier's jewelry, it would be equivalent to knowing what is the crystallization of time, a view of the world that transcends objects.

"Cartier, Crystal of Time"
Date: October 2019, 10 (Wednesday) - December 2, 12 (Monday)
Closed: Every Tuesday (open on October 10nd (Tuesday/holiday) and closed on October 22rd (Wednesday))
Opening hours: 10:18 to 20:30 (until XNUMX:XNUMX p.m. every Friday and Saturday. Entry is until XNUMX minutes before closing)
Venue: The National Art Center, Tokyo Special Exhibition Room 2E
Admission fee (on the day): General 1,600 yen, University students 1,200 yen, High school students 800 yen *Free for junior high school students and younger and those with a disability certificate (including one accompanying person).
https://Cartier2019.exhn.jp

→Click here for Cartier's new creation (Part 1)