![\"\"](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/Audeladesmers\/AUSTRALIE\/KUHNEN\/J.kuhnen.%20portrait.jpeg\")
<\/h1>\n<\/h1>\nCr\u00e9ateur de bijoux<\/strong><\/p>\n 1969-73 1974-78 1981 1984 2011 SELECTED EXHIBITIONS<\/strong> 1980 1987 1988 1989 1990 1994 1996 1999 2007 2009-10 WORKS IN PUBLIC COLLECTIONS, selected<\/strong><\/p>\n Badisches Landesmuseum, Karlsruhe, Germany Museum Boymans van Beuningen, Rotterdam, Netherlands Victoria State Craft Collection, Melbourne National Gallery of Victoria, Melbourne Art Gallery of Western Australia, Perth Queen Victoria Museum and Art Gallery, Launceston, Tasmania Powerhouse Museum, Sydney New Parliament House, Canberra City of Hamilton Art Gallery, Hamilton, Victoria Staatliche Museen Preussischer Kulturbesitz, Kunstgewerbemuseum, Berlin, Germany Museum f\u00fcr Kunst und Gewerbe, Hamburg, Germany Art Gallery of South Australia, Adelaide Victoria and Albert Museum, London, UK National Gallery of Australia, Canberra Banyule City Council Art Collection, Victoria Helen Drutt-Williams Collection, Philadelphia, USA Queensland Art Gallery, Brisbane National Museum of Scotland, Edinburgh, UK Canberra Museum and Gallery, Canberra Pinakotek der Moderne, Munich, Germany Schmuckmuseum Pforzheim, Germany Museum of Fine Arts, Boston, USA.<\/p>\n Johannes Kuhnen\u00a0statement<\/strong> D\u00e9claration de Johannes Kuhnen<\/strong> Cet artiste a particip\u00e9 rue Paul Fort \u00e0 :<\/strong><\/p>\n L’exposition \u00ab\u00a0Au-del\u00e0 du pr\u00e9cieux, au-del\u00e0 des mers\u00a0\u00bb\u00a0en septembre octobre 2013<\/p>\n >\u00a0Lien vers l’exposition<\/a><\/p>\n Photos<\/strong><\/p>\n Johannes Kuhnen Cr\u00e9ateur de bijoux 1969-73 Apprenticeship as goldsmith in D\u00fcsseldorf, Germany 1974-78 Product Design, University of Applied Science, D\u00fcsseldorf, Germany 1981 Arrival in Australia 1984 Lecturer at the Canberra School of Art 2011 Associate Professor, ANU School of Art, Canberra. SELECTED EXHIBITIONS 1979 Gallery Neon, Br\u00fcssel, Belgium, with Elisabeth Holder 1980 Gallery RA, Amsterdam,…Continue reading KUHNEN Johannes \u2022<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,30,20,19],"tags":[],"class_list":["post-830","post","type-post","status-publish","format-standard","hentry","category-artistes-invites","category-createurs-de-bijoux","category-par-nom","category-par-pratique-artistique"],"_links":{"self":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts\/830","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/comments?post=830"}],"version-history":[{"count":4,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts\/830\/revisions"}],"predecessor-version":[{"id":3930,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts\/830\/revisions\/3930"}],"wp:attachment":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/media?parent=830"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/categories?post=830"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/tags?post=830"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nApprenticeship as goldsmith in D\u00fcsseldorf, Germany<\/p>\n
\nProduct Design, University of Applied Science, D\u00fcsseldorf, Germany<\/p>\n
\nArrival in Australia<\/p>\n
\nLecturer at the Canberra School of Art<\/p>\n
\nAssociate Professor, ANU School of Art, Canberra.<\/p>\n
\n1979
\nGallery Neon, Br\u00fcssel, Belgium, with Elisabeth Holder<\/p>\n
\nGallery RA, Amsterdam, Netherlands, with Elisabeth Holder<\/p>\n
\nContemporary Jewellery Gallery, Sydney, with Helen Aitken-Kuhnen<\/p>\n
\nGallery Fluxus, Dunedin, New Zealand, with Helen Aitken-Kuhnen Gallery Fingers, Auckland, New Zealand, with Helen Aitken-Kuhnen<\/p>\n
\nContemporary Jewellery Gallery, Sydney, one man show<\/p>\n
\nGallery Neon, Brussels, Belgium with H. Aitken-Kuhnen Gallery Pav\u00e8, D\u00fcsseldorf, Germany with H.Aitken-Kuhnen<\/p>\n
\nElectrum Gallery, London, Schmuckforum Z\u00fcrich, Gallery Brodhag & W\u00f6rn, Berlin and Gallery Knauth & Hagen, Bonn with Helen Aitken Kuhnen and Elisabeth Holder<\/p>\n
\nGallery Funaki, Melbourne with Helen Aitken-Kuhnen<\/p>\n
\n‘Glasses’ Quadrivium Gallery Sydney, one man show ‘Corresponding Colour-Jewellery 1999’, Funaki Gallery Melbourne, one man show<\/p>\n
\n\u2018Australian vessels and objects\u2019, Galerie RA, Amsterdam<\/p>\n
\n\u00ab\u00a0Johannes Kuhnen: a survey of innovation\u00a0\u00bb, School of Art Gallery, Australian National University, Canberra touring Queensland, Victoria and New South Wales \u2018CrossSection\u2019 Johannes Kuhnen, one man show, Workshop Bilk Queanbeya.<\/p>\n
\nMy artistic practise is based on three major workgroups, the making of wearable objects in the form of brooches, armrings and pendants and the construction of utilitarian objects such as tea and coffeepots, tray and related vessel forms and the exploration of small-scale production of spectacle frames. The material, anodised aluminium has been the focus of my work since 1975. This choice was at the time caused by the increase of the gold price and my search for wider colour options on metal. I would not have thought that it would be a dominating element in my work as well as my student\u2019s work for such a long time. I still get frustrated by the numerous inconveniences in the working with aluminium and revert back to precious metal from time to time to maintain my sanity. Aluminium cannot be fabricated like the traditional materials in goldsmithing and therefore restricts the making of small objects to industrial processes or laborious hand filing as the shaping of small objects can only be done from solid blocks of material. The additional process of anodising is also labour-intensive and very demanding in regards to finish and surface quality.The use of titanium for the structural elements of the tableware or spectacles is another attempt to escape from aluminium, bringing with it, its own technical and aesthetic considerations.<\/p>\n
\nMa pratique artistique est fond\u00e9e sur trois groupes principaux de travail : la fabrication d’objets portables sous forme de broches, d\u2019anneaux de bras et de pendentifs, la construction d’objets utilitaires comme th\u00e9i\u00e8res, cafeti\u00e8res, plateaux et toutes formes de vaisselle associ\u00e9es, et l’exploration de production \u00e0 petite \u00e9chelle de montures de lunettes. L’aluminium anodis\u00e9 a \u00e9t\u00e9 le centre de mes recherches depuis 1975. Ce choix a \u00e9t\u00e9 \u00e0 l’\u00e9poque caus\u00e9 par l’augmentation du prix de l\u2019or et ma recherche de larges palettes de couleur sur le m\u00e9tal. Je ne pensais pas que ce choix allait dominer mon travail ainsi que celui de mes \u00e9tudiants pendant si longtemps. Je suis toujours frustr\u00e9 par les nombreux inconv\u00e9nients du travail de l’aluminium et pour maintenir ma sant\u00e9 mentale je reviens au m\u00e9tal pr\u00e9cieux de temps en temps. L’aluminium ne peut pas \u00eatre utilis\u00e9 comme les mat\u00e9riaux traditionnels de l’orf\u00e8vrerie, ce qui limite la fabrication de petits objets par des proc\u00e9d\u00e9s industriels ou par un laborieux travail \u00e0 la main car le fa\u00e7onnage de petits objets ne peut \u00eatre fait qu\u2019\u00e0 partir de solides blocs de mat\u00e9riaux. S\u2019y ajoute le processus d’anodisation qui est un travail intensif, tr\u00e8s exigeant en ce qui concerne la finition et la qualit\u00e9 des surfaces. L’utilisation du titane pour les \u00e9l\u00e9ments structurels de vaisselle ou lunettes est une autre tentative d\u2019\u00e9chapper \u00e0 l’aluminium, Et, ce sont d\u2019autres consid\u00e9rations techniques et esth\u00e9tiques.<\/p>\n
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\n\n![\"Rings](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/Audeladesmers\/AUSTRALIE\/KUHNEN\/image004.jpg\" "\\"Rings")
<\/p>\nRINGS TITANIUM, PINK SAPPHIRES AND SPESSARITE GARNET, PINK AND CEYLON SAPPHIRES<\/h6>\n<\/div>\n
![\"\"](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/Audeladesmers\/AUSTRALIE\/KUHNEN\/image001.jpg\")
\n![\"\"](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/Audeladesmers\/AUSTRALIE\/KUHNEN\/image002.jpg\")
\n![\"\"](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/Audeladesmers\/AUSTRALIE\/KUHNEN\/image003.jpg\")
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