Šperk Stret 2022

Medzinárodná konferencia súčasného šperku /
International Conference of Contemporary Jewellery

LIVE STREAM on Facebook at 9:30


Dear friends , we want to inform you about change of location of ŠperkStret 2022 Conference of contemporary jewellery. The main programme on Friday 23.9.2022 , 9:30 CET will take place in Pálffy palace, Panská 19, 815 35 Bratislava. Thank you for understanding. We are looking forward to you. Your ŠperkStret team

When? Kedy?

22. sep – 24. sep
Conference: 23. sep

Where? Kde?

Pálffy Palace, Bratislava
Panská 19

The topic of the Conference

„Social value of a personal object“

“Jewelry goes beyond its mere physical form; jewelry becomes an instrument, a language, prompting encounters to occur. In this context form takes on a different connotation and becomes a relationship between individuals around an object. When discussing the functions of jewelry, jewelry should not only be assessed as object. It should be considered as the relationship it establishes through these encounters.”

Jennifer Lee Hallsey

The aim of the conference is to stimulate the way of thinking that we can look at contemporary art objects that work with their own performance, timeliness, the principle of the game and other socially stimulating strategies. The potential and urgency of the topic, which we have been perceiving for a long time in connection with our own author’s work, can be the beginning of a broader interdisciplinary discussion, the common denominator of which is the search for new meanings of an art object, its physical presentation and interaction with the viewer.

What could you experience in Šperk Stret 2020


22. September

Filigree connection
Exhibition Opening

22. sep



Laurinská 19, Bratislava

International jewellery symposium Kremnica 2022 Exhibition Opening

22. sep


Gallery X

Zámočnícka 5, Bratislava

23. September

ŠperkStret 2022

23. sep


Pálffy Palace

Panská 19, Bratislava


ŠperkStret 2022 Grand Opening






Snack and cofee break


Schmuck-stammtisch Wien






Lunch break

Guided Tour

23. sep


Dizajn štúdio ÚĽUV

Dobrovičova 13, Bratislava

Portrait of a Lady
Guided Tour

Jana Machatová, Peter Machata, Kristýna Španihelová

23. sep


Pálffy Palace

Zámocká 47, Bratislava

Martin Grosman
Exhibition Opening

23. sep


Gallery Cit

Heydukova 15, Bratislava

24. September

Workshop and galleries tour

24. sep

from 12:00

Dizajn štúdio ÚĽUV

Dobrovičova 13, Bratislava

Erna Masarovičová: Monumentálna

Guided Tour

with commentary by Petra Matějovičová

24. sep


Mirbach Palace

Františkánske námestie 8, Bratislava


Gisbert Stach

Starting from jewellery and its proverbial timelessness, Gisbert Stach experiments with processes of transformation, transience, as well as revaluation: pieces of jewellery are worked into asphalt, dissolved in acid, used as targets in knife-throwing performances.

Ground amber serves as pigment to give brooches the deceptively real look of schnitzels.

In his many years of working as a silver and goldsmith, Gisbert Stach has broadened the term jewellery to other media such as photography, video and performance. (arnoldsche art publishers).

Gisbert Stach (Germany 1963) attended the University of Applied Sciences for Art and Design in Cologne under Prof. Peter Skubic before completing his studies at the Academy of Fine Arts, Munich with Prof. Otto Künzli (Diploma 1996). He is a jury member at competitions and gives workshops at art colleges and cultural institutions. His works are present in several international collections.


In my lecture I would like to look at performative aspects in some of my works. In the performances „Jewellery Hunt with Blowpipe“, for example, the viewer is essentially involved in the creation of a piece of jewellery.

In this case, the jewellery object is both a target and a shield. The social value of this piece of jewellery will therefore always be of central importance to the wearer.

Lieta Marziali

Lieta Marziali (Italy, 1973 / UK) is a jewellery artist and independent writer, researcher and mentor. Recently she has been exploring individual and collaborative curatorial projects.

Her jewellery work has been exhibited internationally. Her writings, which span articles, reviews, interviews and catalogue essays, are regularly featured in international art publications both in print and online.

She holds Bachelor’s Degrees in English Literature (Roehampton/University of Surrey, UK, 1997) and Three-Dimensional Design and Craft (Colchester School of Art, UK, 2015), and a practice-based research MA (School of Design, Art and Architecture/ex-Cass, UK, 2018). She continues to further her research and professional interests through the study of philosophy, art history and cultural studies, and anthropology.

With a varied background in publishing, hospitality and archaeology, she regards all the current facets of her practice not as separate but as integral and interdependent manifestations and extensions of creative praxis. Her research interests focus on ideas of the found and of provenance, and the intersection between search and research; reflection and reflective practice; the existentialist and phenomenological functions of art and its practice; the liminal aspects of art and its practice; the intersection between the personal, the social and the political; and theories of thinking as praxis.


Language shapes the way we think and act as much as much as we shape language. And language ends up using us as much as we use it. Language is a powerful mechanism through which we construct and express, but also through which we perpetuate worldviews. And so culture is expressed in language, but culture is also formed through language. And then there is of course the question of using a foreign, common language, such as English, to express worldviews that are perhaps not consonant with it.

While we discuss the role, the power and the value of jewellery and of art in general, how attentive are we to the seemingly simple everyday words we use in our discourse? How critical are we of the terms that we employ? Of the worldviews that lie behind them and who constructed them? And of how language so easily makes us willing accomplices in perpetuating them? And willing victims in accepting them?

Ted Noten

Ted Noten’s designs act as a critique on contemporary life and on the history of jewellery, as well as on the wider context of product design. Interestingly, his work equally relates to art and architecture. The underlying, recurring, theme of his work is to challenge convention and processes of habituation, the familiar and the unusual. 

In recent years Ted Noten has created work for private collectors, local councils, art institutions etc. A broad spectrum of galleries and museum collections now represent his oeuvre. The designer initiated some of these projects, only to be adopted later by a museum, as was the case for example with ‘Chew your own brooch’. With a little help from the chewing gum he hands out, everybody can become a jewellery designer; simply by chewing the gooey substance into a shape the craftsman then casts either in silver, bronze or gold. One of the events at which Noten manifested himself with this project was an open day at the Boijmans Museum, when hundreds of people filed through the museum, chewing their way to a design.  

His oeuvre gains in depth from his idiosyncratic response to the apparent familiarity of our daily surroundings, whether this be a market street in Amsterdam, the explosion of building construction in Shanghai, or a gang of road sweepers at work in a provincial town in Russia. By lifting symbols from their everyday surroundings and placing them in a new context, he doesn’t so much query the symbol itself as our perception of it. As with the Mercedes-project for instance, for which he cut out brooch-fragments from the bodywork of this status symbol par excellence and then offered them for sale. Or the fire weapon he cast in an acrylate handbag. Or the boxing glove to fit the hand of a baby. Or the pearl necklace for the bird sculptures of artist Tom Klaassen.

Ted Noten looks for fixed meanings in the banal and the cultivated. He debunks their essence, then reinvents them back into reality. In affecting and infecting symbolic values he actually reveals their unmistakable intangibility.

Gert Staal (DESIGN CRITIC and former deputy director of the Netherlands Design Institute)


I will show  some references in the art world but mainly my own strategies for interdisciplinairy dialogues and antidotes to see that autorenschmuck is one of the possibilities to deal with jewellery but clearly 0ne out of 50(0)

Veronika Muráriková

Veronika Muráriková is a jewelry maker working primarily around the notions of body
adornment concerning sound.

She holds a BFA from the Prague Academy of Arts Architecture &
Design, where she studied in the studio K.O.V. led by prof. Eva Eisler. And MFA from Konstfack, University of Arts, Crafts and Design in Stockholm, Sweden, where she, during her studies, co-created the limited audio series CRAFTSIGHT, exploring the power of craft.

Regularly she writes for the Amsterdam-based jewelry magazine Current Obsession. With which she’s recently
co-created a platform promoting curious transdisciplinary art/craft practices – Undisciplined.


This lecture will examine the works of a selection of contemporary jewelers who work in
cross-disciplinary and collaborative manners. Examples include, Kalkidan Hoex, matt lambert,
Anneleen Swillen to name a few. Through their practices, this lecture will highlight ongoing shifts
relating to the jewelry field, where objects/jewelry are used as tools for social engagement and participation.

Schmuck-stammtisch Wien: Katharina Schniebs

Together with Katharina Kielmann and Ariane Reither, Katharina Schniebs is one of three founders of Schmuckstammtisch Wien.

Katharina obtained a degree in cultural studies as well as communication and media studies from the University of Leipzig. At the Academy of Fine Arts Leipzig, she earned her masters degree in the graduate program Cultures of the Curatorial. Focussing on press and public relations, over the past fifteen years Katharina has worked for institutions like Grassi Museum of Applied Arts Leipzig, the Saxony-Anhalt Arts Foundation, Burg Giebichenstein University of Art and Design Halle, Vienna Secession and the Royal Society of Sculptors London.

Currently she is responsible for the press and public relations of Kunsthalle Wien. Another focus of Katharina’s work that has recently developed is the (copy-)editing of artists‘ books.

"Learning from each other. A transdisciplinary understanding of jewellery"

In our presentation we give an insight into the specific approach of  Schmuckstammtisch Wien: In each of our events we discuss a specific aspect of the contemporary jewellery scene together with two guests, some of whom are based in very opposite disciplines. This allows us to jointly discover new perspectives on jewellery as a starting point of communication and on the very social relationships that can be established through jewellery.

Our presentation uses selected topics that we have discussed since the founding of Schmuckstammtisch Wien in the summer of 2020 to show how fruitful this approach is – after all, it impressively testifies to how connectable contemporary jewellery is indeed for a variety of topics and disciplines and to what they can “learn” from the field of jewellery. 



Chief executive – Mária H. Nepšinská, chairman at AURA / +421 902 615 785

Responsive mediator and PR – Karin Šusteková / +421 948 594 206

Conference coordinator – Lucia Čarnogurská / +421 948 310 343

Conference coordinator – Dorota Sloviaková / +421 917 262 437

University delegate – Kristýna Španihelová / +420 777 784 276

Graphic / web desing – Viktor Kováč / www.viktorkovac.sk

Illustrations – Karin Šusteková / +421 948 594 206

Photo visual 2022 – Klára Valúšková

Photo / Video credits – Juraj Starovecký