Group show – Cash – 2025
Les 6-7 et 13-14 décembre 2025
Vernissage le samedi 6 décembre
Nicolas Christol (ch) – Minerva Cuevas (me) – Nora Delanoë (ch) – Robin Deriaz (ch) – Vadim Gordeev (ru) – Armin Najib (ir/uae) – Benedict Haener (ch) – Margot Jud (ch) – Jeanette Knigge (nl) – Bette Nunneley (uk) – Philip Sajet (nl) – Bernhard Schobinger (ch) – Milton Stavrou (uk) – Melane Zumbrunnen (ch)
Le Bitcoin s’affole, Trump crée un meme coin pour s’enrichir, le cash disparaît gentiment tandis que l’or atteint des nouveaux records. Les bijoux ont depuis toujours, au-delà de leurs fonctions ornementales et symboliques, servi de réserve en cas de crise. une fonction illustrée par l’emploi de monnaies et de lingots dans certaines parures. Cash est une exposition de bijoux contemporains à Vevey réunissant une quinzaine d’artistes internationaux sur le thème de l’argent.
Bitcoin is going crazy, Trump is creating a meme coin to get rich, cash is slowly disappearing, and gold is reaching new records. Beyond their ornamental and symbolic functions, jewelry has always served as a reserve in times of crisis. This function is illustrated by the use of coins and ingots in certain pieces of jewelry. Cash is an exhibition of contemporary jewelry in Vevey, bringing together some fifteen international artists on the theme of money.
Fondé en 2006, le collectif Einzweidrei fête ses vingt ans! Plus d’une trentaine d’expositions dont la première dut organisée au sein de l’ancienne prison de Vevey, alors encore dans son état d’origine. Le dernier projet du collectif, l’espace Borax, fête quand à lui ses cinq ans et près de 25 expositions déjà.
Founded in 2006, the Einzweidrei collective is celebrating its twentieth anniversary! It has organized more than thirty exhibitions, the first of which was held in the former prison in Vevey, which was still in its original condition at the time. The collective’s latest project, Espace Borax, is celebrating its fifth anniversary and has already hosted nearly 25 exhibitions.
NICOLAS CHRISTOL
Nicolas Christol est né en 1982 à Lausanne. Après avoir pratiqué la photographie l’installation et la performance, Nicolas Christol s’est tourné vers la bijouterie contemporaine qu’il explore en autodidacte depuis 2018.
www.christol.ch
MINERVA CUEVAS
Minerva Cuevas (1975, Mexico City) creates research-based projects that allow the audience an insight into the economic and political organization of the social sphere through site-specific actions and artworks. She researches the notions of value, exchange, and property inherent to the capitalist system and its social consequences to explore the latent possibility of rebellion implicit in everyday life. Her work encompasses a wide range of media—installation, video, muralism, sculpture, and public intervention to explore our familiar visual references like the ones of commercial branding to question the notions present in our political imaginary, facilitating channels of social communication.
https://www.kurimanzutto.com/en/artists/minerva-cuevas
NORA DELANOË
Après un détour par la biologie, Nora Delanoë obtient en 2014 un CFC de bijoutière, puis affine son savoir-faire au sein de divers ateliers.
Ses créations naissent de l’exploration — formes naturelles, émotions, matériaux inattendus — en se laissant guider par la matière, la texture et parfois par l’accident heureux. De ces dialogues émergent des bijoux porteurs de sens, empreints d’intimité.
L’histoire que chaque pièce raconte, et surtout celle que la personne qui la porte tisse au fil du temps est ce qui l’anime. Un bijou ne vit vraiment que dans cette relation vivante et incarnée. »
https://noradelanoe.ch
ROBIN DERIAZ
Sa pratique aborde le bijou comme un terrain d’expérimentation, mêlant attention à la matière, narration et réflexion sur le monde qui nous entoure.
Formé en Polydesign 3D à l’École d’arts appliqués de Vevey, il découvre la bijouterie auprès de Nadja Lokschin, puis en autodidacte. En 2021, il rejoint la HEAD à Genève pour un bachelor en design industriel, dont il est diplômé en 2025.
Il travaille principalement le métal sous forme de plaques et de fils, et utilise parfois la technique de la cire perdue. Chaque bijou devient pour lui un objet narratif, une manière de questionner notre rapport aux choses. Son univers visuel puise dans la nature, les structures industrielles, les textures accidentelles et les détails du quotidien. Il s’intéresse à l’usure, à l’impermanence et aux traces.
VADIM GORDEEV
My name is Vadim Gordeev. I was born in Saint Petersburg and studied engineering before discovering a passion for magic.
Combining my love for mechanics and electronics, I began creating original illusion acts.
I’ve won magic championship in Russia and Italy, and placed 5th at the 2024 European FISM championship.
About five years ago, I became interested in contemporary art and the idea of merging it with illusion and engineering.
I studied at a contemporary art school in Saint Petersburg and later moved to Barcelona.
There, I continued developing hybrid projects, some of which have been exhibited locally.
I don’t separate magic, jewelry, or performance — I seek emotional, cross-disciplinary experiences.
https://www.instagram.com/avangardeev
BENEDICT HAENER
Benedict Haener is an artist based in Luzern, Switzerland. After a classical goldsmith apprenticeship, he studied industrial design at the GBS St.Gallen and combined design and practice with the BA XS Jewelry at the HSLU Lucerne.
Benedict’s work captivates viewers with its technical finesse, playful design, and irritating associations.
Benedict Haener’s works captivate with technical sophistication, playfulness and the irritating familiarity of seemingly familiar everyday objects. The works are wearable. They are, at the same time, status symbols, pro- and anti-statements. Thematically, Haener defies familiar conventions with irony and wit. Values are questioned, and new qualities are constructed by Haener using surprising techniques and processes.
https://www.instagram.com/haenerbenedict/?hl=fr
MARGO JUD
Après une formation de créatrice de vêtements et plusieurs années passées à travailler dans ce domaine, je me tourne vers la bijouterie en autodidacte, en me réappropriant à ma façon un savoir-faire présent dans ma famille depuis neuf générations.
Je conçois mes pièces comme des éléments à part entière d’une silhouette, afin qu’elles viennent habiller le corps, s’accorder aux vêtements et se laisser investir de l’histoire ou de la valeur que celles et ceux qui les portent voudront bien leur donner. Mes bijoux se caractérisent par des lignes épurées, aux formes organiques ou ponctuées d’accents géométriques. J’aime explorer l’équilibre entre l’ampleur des volumes et la finesse du détail, en utilisant principalement de l’argent 925, souvent associé à d’autres matériaux comme le verre, la nacre ou les pierres. Les pièces uniques ou les séries limitées que je réalise sont principalement composées de bagues, de boucles d’oreilles et de colliers non genrés. Les matières utilisées proviennent de stocks existants, et l’argent 925 est majoritairement certifié OR ÉCOLOGIQUE®, respectant des critères éthiques, sociaux et écologiques. Je réalise mes pièces dans mon atelier à Lausanne, et toujours avec l’amour du fait main.
https://www.studio-omaromar.com
JEANETTE KNIGGE
After completing her goldsmith training in 1996 and graduating from the Art Academy in 2001, Jeannette Knigge (Netherlands, 1973) has successfully combined her work as a visual artist with managing her own goldsmith business under the brand name KunstGoud. In 2022, she was accepted into the prestigious two-year MASieraad programme (Master in Jewellery Design and Art, PXLMAD-Hasselt, Belgium). She graduated Summa Cum Laude in June 2024 with her collection of body-related objects titled Performing Identity. This period of intensive study and creative exploration significantly expanded her artistic vision and bestowed her practice with a powerful new momentum, leading to her work being showcased internationally.
ARMIN NAJIB
Najib was born in 1989 in Theran and lives in Dubai. His practice encompasses Sculpture, and Art jewelry. His work primarily revolves around kinetic mechanisms and magnetic fields and interactive art. With a Bachelor’s degree in Mechanical Engineering specializing in Solid Design, Najib’s background involves extensive study and research in various methodologies and design forms. His fascination with magnetism, ergonomic placement elements, and environmental sensing has led him to develop his own techniques and tools tailored to his concepts. Najib’s childhood experiences sailing with his father, a Merchant Marine Captain, instilled in him a curiosity for exploration. He views the art world as a dynamic arena where he can pose questions, seek answers, or leave them open ended. Najib initially began his career as an art/studio jeweler in 2012, an experience that deepened his understanding of the concept of the ‘Precious’ and ‘Preciousness’, He then applied this insight to his sculpture emphasizing the role of making in developing ideas.
BETTE NUNNELEY
Using my own ways of making I called ‘coin-smithing’ I transform coins into non-extractive jewellery. I free the coins and retell their story. I am interested in expressing the properties of the alloys used in minting coins, like: hardened bronze, cupronickel, nordic gold and nickel-brass. As society becomes ever-more cashless, archiving these alloys before they are lost forever is important. My work plays with the long held knowledge that jewellery is nothingness than wearable money.
After graduating from central saint martins BA jewellery design in 2024, I returned as a Graduate assistant; continuing my practice and supporting the staff. Now I have began an artist in residence at Glasgow School of art.
https://www.instagram.com/betteeee
PHILIP SAJET
Here’s a well-rounded biography of Philip Sajet, a widely respected Dutch jewellery artist whose innovative approach continues to influence contemporary jewellery design:
Early Life & Education:
Born in Amsterdam in 1953 (some sources suggest 1952), Sajet hails from a family with jewellery roots—his grandfather, Abraham Toper, was a jeweller in Paris.
Studied jewellery design at the Gerrit Rietveld Academie in Amsterdam from 1977‑1981, then deepened his skills with a postgraduate apprenticeship under Francesco Pavan in Padua, Italy in 1981
Artistic Beginnings & Philosophy:
Sajet’s career began in the late 1970s when he discovered a passion for design and sculpture—time seemed to stand still while he worked, inspiring him to pursue jewellery seriously.
He launched his early jewellery around 1986, experimenting with faux coins and eclectic forms. His first exhibition with Galerie Louise Smit marked his arrival on the scene.
Signature Style & Themes:
Sajet is known for blending precious materials (gold, gemstones) with unconventional ones (glass, raw quartz, concrete), embracing scale shifts and striking geometries. His designs often highlight imperfect raw stones alongside refined craftsmanship to explore beauty beyond monetary value.
He intentionally plays with irony and form—think oversized stones, sculptural rings, and juxtapositions that provoke reflection on tradition and ornamentation
Milestones:
Solo exhibitions span leading venues: Museum Het Kruithuis (NL), Galerie Ornamentum (NY), Villa Bengel (Germany), Scottish Gallery (Edinburgh), and more.
His work is part of major public collections worldwide: Stedelijk Museum (Amsterdam), Victoria & Albert Museum (London), The Museum of Fine Arts, Boston & Houston, LACMA (Los Angeles), Pinakothek der Moderne (Munich), Le Musée des Arts Décoratifs (Paris), and Powerhouse Museum (Sydney)
Awards & Recognition:
Noteworthy honors include the Marzee Prize (2007), Grand Prix at the International Amber Biennial in Poland (2007), and prizes at amber and jewellery design competitions.
Recognized for excellence in design and technical mastery, his unique approach continues to inspire both peers and emerging makers.
BERNHARD SCHOBINGER
Bernhard Schobinger (b. 1946, Zürich) testifies through his work to a constant experimentation that resists any hierarchisation of the arts. His reuse of ordinary, almost crude, materials shares some of the methods of Surrealism and Arte Povera, as well as display an early influence of Constructivism’s industrial, angular style. But overall, it’s a punk ethos that has permeated Schobinger’s work ever since he encountered the burgeoning subculture in the late-1970s.
From his connections with Concrete art to punk rebellion, from postmodern eclecticism to the smallest of zen-influenced touches, Schobinger’s work makes extensive use of formal and technical invention. His practice brings together opposites, transfiguring everyday objects charged with individual histories.
In the democracy of materials instituted by the artist, noble metals and precious stones sit alongside the waste of industrial civilisation. Combining unexpected materials, his practice subverts conventions of value while opening poetic and critical readings of form.
In 1998 Schobinger was the recipient of the Françoise van den Bosch Award in recognition of his influential contribution to the arts. His work has been widely published and is represented in major public collections worldwide, including the Victoria and Albert Museum (London), the Museum of Fine Arts (Boston and Houston), LACMA (Los Angeles), the Philadelphia Museum of Art, the National Museum of Australia (Canberra), the National Gallery of Victoria (Melbourne), the Stedelijk Museum (Amsterdam and ’s-Hertogenbosch), the Museum Boijmans Van Beuningen(Rotterdam), the Pinakothek der Moderne / Die Neue Sammlung, Dannerstiftung (Munich), the Musée des Arts Décoratifs (Paris), MUDAC (Lausanne), the Museum Bellerive and the Schweizerisches National Museum (Zurich), and MAKK – Museum of Applied Arts (Cologne).
MILTON STAVROU
My work reimagines the humble fish and chip shop—a fading cornerstone of working-class life—through the lens of economic struggle and resilience. As rising costs turn chips into a luxury, I elevate the ordinary, using precious materials like amber and gold to mirror the unseen value in these spaces. Now, I trace a darker thread: young men’s toxic romance with money with the rise of ‘get rich quick’ schemes, where stocks and crypto replace chips as the new comfort food. As prospects for young people get more precarious they find themselves more vulnerable to bad faith players promising the world. The pendant I’m creating for this show is a relic of this modern faith: a gilded ‘altarpiece’ of stock tickers, worn like a sacred amulet.
https://www.instagram.com/miltonstavrou
MELANE ZUMBRUNNEN
Mon travail est axé autour de la question de la trace et de la mémoire et passe par la photographie, l’installation, la peinture et désormais la bijouterie, en autodidacte depuis 2019.
My work revolves around the question of trace and memory, and involves photography, installation, painting and, since 2019, self-taught jewelry-making.