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Matylda Krzykowski, Current Obsession: FAKE IS REAL

A small box, velvet inside and out – rarely red, sometimes black, most of the time blue. A jewellery case is a highly anticipated object, promising its contents to be valuable and precious. We hold it tight in our hands, as it clicks and allows us to slowly lift the cover and sneak a peek inside…

In this respect, the exhibition at DEPOT BASEL incorporates three levels of content in one jewellery exhibition: The first level suggests a reflection of reality on screen, but it remains ambiguous whether this image is real or faked.  ‘[T]echnical reproduction’, says Walter Benjamin, ‘can put the copy of the original into situations which would be out of reach for the original itself’. This level is visible for the public outside, passing by the windows of the exhibition space. The monitor shows recorded images of a surveillance camera, documenting how visitors enter a large abstraction of a jewellery box in the centre of the room. The passersby thus observe the observers while they observe.

The show continues its second level inside the accessible jewellery box: Several commissioned jewellery pieces by twelve international designers are on display. Here, the designers’ visions and their ideologies are represented. Each object counts as an individual opinion on contemporary jewellery, specifically as a statement on fakeness. Exhibited inside the large jewellery box, the pieces are – quite adequately – surrounded by soft, blue velvet. The velvet, it seems, cares for each piece. Blue velvet is a symbol. While it evokes an illusionary world of spotlights and glamour, it recalls the lyrics from a 1950s song by The Clovers: ‘She wore blue velvet. Bluer than velvet was the night. Softer than satin was the light. From the stars.’

Contrary, the third level liberates jewellery from the body and from its function to decorate and to adorn. Here, outside the jewellery box the so-called ‘reference pieces’ challenge a situation, in which the original is no longer distinguishable from the copy and thus question all forms of visible jewellery. Instead, they offer new perspectives that are not defined by classic descriptions.

As collaboration between Current Obsession and Depot Basel, the common intention of CRAFT & BLING BLING – FAKE was to combine our strengths, as to create a haptic and a printed exhibition. We are both self-initiated projects, accentuating the need for a regular discussion on contemporary design culture. Depot Basel intends to find alternative ways of exhibition-making while Current Obsession aims to find different ways to showcase jewellery.

By Matylda Krzykowski

Pictures: Thomas Albdorf / Craft and Bling Bling by Current Obsession













Jestem influencerką i strateżką marek biżuterii oraz autorką Pierwszego Polskiego Serwisu o Biżuterii BLINGSIS (dawniej Pica Pica), który po 4 latach uzyskał miano 2. najlepszego blogu o biżuterii według International Jewellery London (IJL).