Galerie Marzee – galerie voor hedendaagse sieraden
22 november 2025 t/m 27 januari 2026
nieuwe tentoonstellingen openen op
zondag zaterdag 22 november 2025 om 16 uur
Deze nieuwe serie tentoonstellingen opent voor het eerst op een zaterdag in plaats van op zondag.
U bent van harte uitgenodigd voor de opening van vier nieuwe tentoonstellingen.
Twee solo tentoonstellingen:
- Dominik Cunningham – Theia Mania – sieraden en objecten
- Katharina Dettar – Lapis, dust and ashes – sieraden
Eén thematentoonstelling:
- Over Haas
De haas is een veel gebruikt symbool in de kunst. De haas van Albrecht Dürer uit 1502 is waarschijnlijk de meest bekende. Joseph Beuys maakte gebruik van een echte haas in zijn beroemde performance uit 1965 met de titel ‘Wie man dem toten Hasen die Bilder erklärt’. In de Marzee Collectie zitten veel sieraden met hazen en voor deze tentoonstelling hebben we opnieuw aan onze kunstenaars gevraagd om een object of sieraad rond dit thema.
Eén tentoonstelling ter herinnering aan Francesco Pavan:
- Francesco Pavan 1937-2025
- Dit jaar overleed Francesco Pavan en we willen het leven en werk van deze bijzondere Italiaanse kunstenaar niet zomaar voorbij laten gaan zonder u een aantal van diens uitzonderlijke werken te laten zien.
- In de tentoonstelling Over Haas ziet u nieuw werk dat speciaal voor deze tentoonstelling is gemaakt en een selectie van sieraden en objecten uit de Marzee Collectie. Er zal werk te zien zijn van onder meer Nicole Beck, Juliane Brandes, Antje Bräuer, Veronika Fabian, Kathleen Fink, Carmen Hauser, Margit Jäschke, Rudolf Kocéa, Winfried Krüger, Susanne Kunz, Otto Künzli, Felieke van der Leest, Christine Matthias, Chequita Nahar, Ted Noten, Dorothea Prühl, Tabea Reulecke, Lucy Sarneel, Karin Seufert, Vera Siemund en Julia Walter.
31 augustus t/m 15 november 2025
De 39ste Marzee Internationale Eindexamententoonstelling
Winnaars van de Marzee Graduate Prize:
Chun Chang, Trier University of Applied Sciences, Idar-Oberstein, Germany
Won-Young Choi, Kookmin University, Seoul, South Korea
Jeong-Min Han, Kookmin University, Seoul, South Korea
Susie Heuberger, HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany
Chidimma Omeke, Trier University of Applied Sciences, Idar-Oberstein, Germany
Marleen Wysocki, HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany
Jinjin Zhang, Royal College of Art, London, United Kingdom
klik hier voor de volledige lijst van deelnemers
We hebben een lijst samengesteld van geselecteerde werken die te zien zijn op de tentoonstelling, samen met artists-statements, beschrijvingen en prijzen van het werk die u kunt downloaden. Het geeft een goede indicatie van wat je kan verwachten als je de tentoonstelling bezoekt of als je meer informatie nodig hebt. Aarzel niet om contact met ons op te nemen als je geïnteresseerd bent in de aankoop van een specifiek werk uit de tentoonstelling.
Sieraden van de winnaars van de Marzee Eindexamenprijs
foto's van de opening van de tentoonstelling op 31 augustus 2025
foto's van het symposium voor de deelnemers op 1 september 2025
Ontmoet de deelnemers
Hannah Offermann
Hannah Offermann (BA) - Hochschule Pforzheim - wearing her ‘ARMOR and how it forges relationships’ – AR5, 2025, necklace; copper, para-aramid yarn (kevlar)
„By understanding your personal armour, you can find a balance between safety and interpersonal closeness. The aim is not to create isolation, but rather to develop protection that allows for openness with consideration and trust. This approach increases self-awareness. Through this process, you can identify when your armour is present, understand its effects, and recognise situations when it may not be necessary. In these moments, it becomes possible to set aside protective barriers and engage more openly.“
Anastasiia Riabokon
Anastasiia Riabokon - Royal College of Art, London, UK - wearing her Wholeness Ring, 2025 made out of malachite, bronze, yellow gold and sapphire
HOMO SIMULACRUM reveals being made of flowing strata, continually reshaping themselves to mirror the moulds cast by the crowd. Adorned in symbols of acceptance, they wear beauty as camouflage – a vibrant reflection of what the world wants to see. Beneath each polished surface, the true self pulses quietly, waiting to be felt, not just seen. Fear of social rejection gives rise to endless replications — echoes devoid of contour, reflection, or soul. Human uniqueness, thrown and built upon the fragile scaffolding of circumstance —birth, culture, faith, skin colour, addictions etc — is warped, splintered, and reassembled into new, grotesque configurations. Where shall we place these new contours? Which religions, which cults of modernity shall we follow now? The answers resonate in silence —It is a rebellion against accepted lines, against restraint, against the tyranny of standards. How do we shape ourselves without losing what makes us whole?
Lili Barglowska
Lili Barglowska - graduated from Central Saint Martins, London, UK - wearing her
“Reversed American Flag”2025
Petrified wood, silver and steel wire
Reversed American flag inspired by US military badges made from carved petrified wood, collected on a roadtrip through the US. Using a material indigeneous to the land, I’ve carved it to create a symbol representing how I feel about America today.
“To nie sa lzy, lecz kamienie” (“These are not tears, but stones”)
Poised between memory and materiality, nostalgia and cultural reckoning, Lili’s final collection reflects on Polish and American heritage, both political and personal. Deeply rooted in both identities, the work explores the nuances of cultural duality through an intuitive engagement with materials native to each land. Using elements such as stone, horn and horsehair that are personally sourced guided and embedded into her practice, each piece becomes a site where cultural symbolism intersects with lived experience. In this delicate exchange, Lili explores how the jewellery lends itself to an ever-changing dialogue on the complex realities of belonging.
Alexey Aghabeygi
Alexey Aghabeygi - graduated at HAWK Hildesheim, Germany - showing his:
There is no way bag, 2025
Object, nickel silver, copper electroformed, pear wood, maple wood, brass, steel, tin
252mm x 245mm x 49mm
„To follow one path means to leave all other possibilities behind.There are many moments, and while some may seem simple, they often carry an intense density. These moments become memories and some of these memories inscribe themselves into objects.However, this inscription of memory into objects is not something that can be controlled. Every souvenir and every photo becomes meaningless when the impulse to capture a beautiful photo causes the density of the moment to dilute.This bag refuses to be a bag, because it is about the moments. It holds nothing; inside it is an empty picture frame one that can be filled with every moment yet to come.“
Anna Hübner
Anna Hübner - HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany wearing her body related object ‘Anna’.
Euphoria
Through elevated patterns and detailed embroidery portraits my work shows the inner thoughts and outer feelings of female presenting people on the autism spectrum. Through such small details which talk about the involved people I communicate in clay, metal, fabric and wood. Long cords create a physical closeness with the individual pieces and the natural materials remind of deeply nostalgic feelings and familiarity towards sensoric impressions.
Euphoria wants to highlight our strenghts rather than our weaknesses.I have created a similar project a few years ago but wanted to expand the horizon by inviting two of my friends to be represented. I conducted interviews with the three of us and based the objects on our individual perspectives and experiences growing up as autistic women since there is a significant difference in how we are being treated in society and handled in the mental health- and medical field.
Avalon Palmer
Avalon Palmer - Rhode Island School of Design, Providence, RI, USA - wearing her vessel ‘Mother’, 2025, porcelain, gilt and wool.
The body meets god while becoming itself.
Vessel of God remaps and rebuilds divine creation as trans-craft-becoming through vessels on the body, who possess bodies of their own. My definition of vessel is expansive, as is my definition for God. Vessels are objects which shelter and support what is inside of them. God is what is inside. To make and to become is to align oneself with what is inside a form or a body, that spark, ember, or wildfire. As humans, as vessels, as objects, we all shelter and support these embers of God, waiting to be caught by a breeze. (Barks, 111) I work to blow life into those embers within us, and within these embodied vessels. As their craftswoman, I become a mother to my objects, I nurture them as they lay embryonic at my bench, guiding them through transmutative gestations until they’re ready to be born. These metamorphoses undertaken in birth reflect our bodies as we begin to bring ourselves closer to God, ever re-aligning towards our lived and felt truths. This mirrored path of becoming turns objects into teachers and elders. We can humbly learn from the path they’ve blazed. These bodies teach us through sensation what has made them themselves, and what might make us ourselves.
Bárbara García
Bárbara García - who graduated from Escola Massana in Barcelona, Spain - is wearing her ‘Necklace Great again?’
This piece reflects on the social, political, and cultural shifts in the United States, whose internal transformations have had global repercussions. The pectoral Great again? displays the outline of North and Central America, marking only the border of the United States, with no other internal divisions.The border is woven using thread unraveled from a secondhand shirt made by a well-known American fashion brand. Its label reads: “Nothing is more American than Levi’s.” The piece, suspended between stitching and unravelling, suggests the tension between fragmentation and resilience in a complex global context.
Catharina Mohr
Catharina Mohr - HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany - wearing her necklace ’Stoffwechsel 3’, 2025, made from clay, wool and yarn.
Beings from my familiair inner world
To understand the inner world you need to search for the conscious and unconscious parts. The boundaries between these two spheres are not clearly defined; there is a permeable transition that constantly blurs and flows into one another. They are in constant exchange, ametabolism. By examining these processes of processing and transformation, objects emerged. They are beings that filter, transform, and convey. They want nothing more than to absorb, to surrender to what is fed to them, to process it, and to spit it out again in a different form. They want to metabolize.
Dua Fatima Baig
Due Fatima Baig - Hochschule Trier - Campus Idar Oberstein, Germany - wearing her ‘The Unseen Hand’, 2024, ebony, cotton and leather.
The Theatre of Domesticity
Utilising gender as a sieve, my research sifts through the blend of space, objects and society, which function in total entanglement in our hushed choreography of daily life at home, thus side-lining critical analysis. Growing up in Pakistan, I witnessed how traditions like dowry preparation shaped a woman’s future. My work scrapes the core determinants that lay bare why women’s grounding in my culture is the way it is, embodying these insights into art to stir potential shifts in the Theatre of Domesticity.
Karel Haans
Karel Haans — ArtEZ University of the Arts, Arnhem, Netherlands — wearing his ring ‘Overstemmen’, 2025.
Through a process where I use language as a design tool and model in virtual reality, I utilise my body as both a tool and an archive, leaving space for friction and misinterpretations to occur. My work celebrates not the flawless but the deeply human: how we stumble, contradict ourselves, hide things, or reveal too much. How we live with discomfort, vulnerability, and sometimes darker truths.
Gitta Kumeling
Gitta Kumeling — ArtEZ University of the Arts, Arnhem, The Netherlands — wearing her brooch OBJKT_04: Mister Fiber Face, 2025, resin, copper.
We are surrounded by objects. We use them, discard them, forget them. But what if the everyday things we overlook reveal more about us than we realise?
OBJKT-X transforms mass-produced items like a lighter, hairbrush, or pair of glasses. Into characterful brooches. Each piece preserves traces of the original object’s form, texture, or memory, giving it a new, wearable life.
The collection challenges fast consumption’s erasure of meaning, inviting a closer look at the ordinary and showing how even the most overlooked object can carry identity, value, and story.
Isabel Honey Coles
Isabel Honey Coles - Edinburgh College of Art, UK - wearing her:
Granular Brooch 4, 2025, from the series ‘Under the Microscope’
Britannia silver, steel pin
Techniques: granulation, raising
A spherical double pin brooch that was raised from sheet silver, the bowl of the brooch lined with silvers wires fused together with granules floating amongst them.‘Under the Microscope’ was inspired by the landscape of moss that grew in the walls and cracks of the urban scenery around Edinburgh. Finding beauty in their spherical forms and detailed textures which I examined under a microscope. My use of the ancient technique granulation is an integral part of my practise adding a material value and an intimate experience for the wearer as the technique requires a deep understanding of the materials and processes.
Jonas Schwalenberg
Jonas Schwalenberg - HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany - wearing his brooch 'To Carry with You Nr. 1', 2025; walnut, fine silver, silver brooch needle.
Carry with YouAs part of my bachelor thesis, I asked myself: how can the emotional feelings of a place be transported into a piece of jewellery? Whenever I arrive at a new place, I choose a spot close to nature that empowers me. Having these spots creates a feeling of comfort and safety in an otherwise often overwhelming environment. Using the techniques of stenciling, hand carving and embossing, I transformed these places into my own interpretations of them. By constantly reacting to the material, as well as listing to my intuition, the character of the places evolved and became something new.Therefore, the brooches serve as an invitation not only to see the places described, but also to imagine your own strengthening places within them.
Kim Heesakkers
Kim Heesakkers — ArtEZ University of the Arts, Arnhem, Netherlands — wearing her brooch ’Cheeky 03’ made out of leather, textile, leaf silver, ink, acryl, paint, steel and filling.Techniques: Sewing, screen printing, laser cutting, spray painting, metal bending.
Collectic consist of three jewellery series, Cheeky, Ignition and Plantimental. Each series inspired by the items of a different collector which are translated into a visual language, turning the collections into bold, expressive jewellery pieces.
Through a process of visual exploration, personal archives are transformed into three jewellery series — Cheeky, Ignition, and Plantimental — each shaped by the world of a different collector. Through a custom working method using a flatbed scanner, visual data is compressed into fragments, textures, and layers, turning private archives into bold, public artefacts. Collectic reflects on how identity and value are shaped by what we choose to keep, collect, and cherish. The items of each collection are translated into a visual language turning the collections into wearablepieces.
Lea Sun
Lea Sun - Escola Massana, Barcelona, Spain - wearing her brooch ‘Recomposition 01“ from her Recomposition Series which are branches and elastic bands painted with acrylic paint, coated in silicone, with silver and steel pin clasps.
‘The Golden Age’ explores how desire and social discipline shape the individual. ThroughElectroforming and silicone, Lea Sun presents two series—Formation and Recomposition—thatreflect the tension between control and vulnerability. Formation uses metal-coated natural materials to symbolise societal shaping and discipline, while Recomposition employs soft, coloured silicone to express emotional fragility and reconstruction. These works critically examine identity, control, and the balance between strength and vulnerability in contemporary life.
Margarete Lux
Margarete Lux - Hochschule Düsseldorf, Germany - wearing her earrings in the ’Nettalique’ series, made of steel, enamel and silver.
‘Nettalique’ is an experimental project exploring enamel as a material in contemporary jewellery and vessels. The focus lies on using transparent enamel on stainless steel filter mesh, expanding on traditional enamelling. The work centres on light, perception, transparency, reflection and colour.
Marten Kueß
Marten Kueß - HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany - wearing his brooch ’11 Family’, anodized aluminum, copper-silver alloy and stainless steel wire.
My project is about intuition and the exploration of my inner worlds. Through drawings of recent times and more past ones, I developed jewellery-pieces in form of brooches and rings. The drawings have been translated into reliefs and etchings, held by mounts casted in silver. The journey of the making has led me through the history of my family, my own one and to a better understanding of myself and my expression.
For the philosophical part of the project, it is a window into my unconscious mind through which I can open my inner, not yet understood thoughts and stories for other people to experience. Every of the 18 Pieces represents another aspect of my personality with which the recipients can resonate and connect. For the Marzee Graduate Show 2025, I chose six pieces who have the ability to represent the missing ones until they can unite again.
Mary Wignall Strachan
Mary Wignall Strachan graduated from the Glasgow School of Art in the UK. Her collection “Rooted in Chaos” represents the complexities of human interaction and the chaos of communication.
Using a mixture of traditional silversmithing techniques and developing new ideas by experimenting with various materials, she focused on hair and enamel using the process of Raku. An instant and intuitive process.
Recognising the balance achievable between these experiments and her ideas, this collection is representative of fragility of materials and the permanence of creative designs. She was recently awarded the Emerging Maker Award by the Guild of Enamellers for innovative use of materials.
Nioosha Vaezzadeh Angoshtarsaz
Nioosha Vaezzadeh Angoshtarsaz - Hochschule Trier - Campus Idar Oberstein in Germany - is wearing her necklace “Give this embroidery to my daughter” and “The holy ring”.
Growing up in an Islamic country in the Middle East as a woman is challenging and unfair. Every day god is there in front of you with a checklist. In these series named “Shamed, Allah” I look at the life of Muslim women. At the end I need to say that the intention of this project was not to spread islamophobia or present a biased perspective of Islam. I furthermore trust that this topic can be transferred in the broader context of any human being suppressed, mistreated and without freedom to live a self-decided life.
Paula Dias Zerbes
Paula Dias Zerbes’ jewellery revolves around themes such as Freedom, Violence Against Women, and the Essence of the Self, exploring a variety of textures and materials in the creation of her pieces.
Between 2023 and 2024, she was awarded a scholarship for the Individual Contemporary Jewelry Project at ar.co — Center for Art and Visual Communication in Lisbon, Portugal where she graduated this year.
Poras Dhakan
Poras Dhakan - Hochschule Trier - Campus Idar Oberstein - wearing his ‘Give-it-Back-Knuckles’ on his left hand and his obsidian ring with the text ‘Give it back’ on his right hand.
They are ostensibly weapons, but mostly muster the courage needed to ask back for looted artefacts.
Knuckles: sand cast brass, lab grown diamonds, split into two wearable sections; when joined together, asking back for looted artefacts.
Ring: obsidian, flint knapped, drilled and laser etched writing ‘give it back’.
This work investigates how museums continue to shape narratives about India through the display of artefacts acquired during the era of various nations’ imperial conquest. Trophies taken by the British after the killing of Tipu Sultan in India 1799 still sit in glass cases across the country, seemingly celebrating Britain’s exploitive and tyrannical conquest of India. The work is a call to action to its viewers and wearers to urge museums to give back looted artefacts. Until this can happen, it asks museums and collections to put behind the strategy of glorifying Britain’s conquest of India and to stop presenting prejudicial views of India.
Punch Patcharakamol Suwannakit
Punch Patcharakamol Suwannakit - Central Saint Martins, London, UK - is wearing her ‘Pillowcase’, 2025
„Inspired by my grandmother’s crochet pillowcase, this necklace captures its delicatetexture in silver, preserving a fleeting memory in lasting form."
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"My grandparents’ home was the heart of my childhood, a place where small moments and daily rituals wove together into something deeply comforting. My work seeks to hold onto that sense of home and belonging, translating memories into tangible forms. Each piece recalls objects and textures tied to my grandparents, evoking materials and details that carry the quiet resonance of heritage. Together, they create a personal archive that retells the story of a time and place that shaped me.“
Roni Litay
Roni Litay - Bezalel Academy of Arts and Design, Jerusalem, Israël - wearing her ‘Necklace 4’ made of alginate mixture and sterling silver.
Living Alloy
Driven by a deep sense of responsibility and a desire for change, I have spent years exploring the impact of human activity on the environment. After prolonged exposure to articles, reports, and documentaries, I could no longer ignore the consequences of our actions. I chose to enter the world of fashion and jewelry—one of the three most polluting industries — not only out of a love for design, but also from a sense of purpose.
My graduation project (Living Alloy) presents a material research journey that spanned overtwo years, centered around the development of a new material derived from brown seaweed. Using techniques inspired by the culinary world, I created a diverse sheets with varying properties out from the Alginate mixture, offering a sustainable alternative to harmful materials and processes. This project is a sincere attempt to challenge industry norms and imagine a more conscious, sustainable, and responsible future. The collection includes necklaces and earrings made from the materials I developed, combined with Sterling Silver links and dried plants from my garden.
Sarah May
Sarah May - HAWK Hochschule für angewandte Wissenschaft und Kunst, Hildesheim, Germany - wearing her bracelet in the series ‘Zerkauen’ (Chewing) made out of bronze.
„The story of ugliness is a story of pain, suffering, fragility, and simultaneity. The ugliness makes us see what we would rather look away from. When something preoccupies me and I mentally drift away, it starts to chew, bite, and gnaw. The muscle power processes automatically. My teeth leave their marks on the skin. The mucous membranes regenerate quickly, faster than the head ever could. Thoughts flash thru my mind, the teeth move to the pulse in an unsteady rhythm. Inevitably, I face hatred and see its self-efficacy.“
Sarah Nicolaï
Sarah Nicolaï – PXL-MAD School of Arts – Belgium wearing her brooch/necklace ‘IN-SPANNING no. 1’ , 2025, silicone, magnet, thread, silver.
IN-SPANNING explores tension in art and design as a search for a resting point: a subtle balance that holds elements together despite opposing forces. It’s a game between balance and imbalance, culminating in the moment when everything merges into a harmonious whole. Through experimenting with materials under physical pressure, a unique material vocabulary emerged. The jewellery invites the wearer to engage with this field of tension. The paradoxical result: an invisible force becomes visible again throughintense tangibility, creating peace by finding balance within contradiction.
Sareh Zarhampour
Sareh Zarhampour — PXL-MAD, Hasselt, Belgium — wearing her:
Third Sensation: Echo, 2025
copper, enamel, thread, silver enameling, engraved by laser.
We give pain meaning through the moments we live with it.
I explore physical pain as an indisceriabale, deeply personal experience in this collection. Since language is not able to express pain. I use jewelry to reflect its unique and internal nature. I have drawn inspiration from the body as either the source and the site of pain. My works present pain not as a physical reaction ,but as an emotional, inner reality. Each piece tells part of story: the encounter of pain, the experience of pain, the trace pain it leave behind.
Sorcha Carlin
Sorcha Carlin - Glasgow School Of Art, Glasgow, Scotland, UK - wearing her ring in the series ‘Through Her Hands, Then Mine’ which explores narrative jewellery as a vessel for memory, identity and transformation.
This body of work traces the quiet imprints left by people, places and rituals - from whispered exchanges with the tooth fairy to impulsive kitchen-scissor haircuts and shared moments of getting ready. These intimate acts of care are echoed in tactile materials: impressions of teeth, nail polish, real and synthetic hair and false lashes‘Through Her Hands, Then Mine’ explores historical forms and heirlooms through the inspiration of my grandmother’s jewellery box. The box is a self-portrait, a collection of gestures and connections, and a quiet mourning of past selves.
Susie Heuberger
Susie Heuberger - Hochschule für Angewandte Kunst und Wissenschaft in Hildesheim, Germany - wearing her necklace ’Ni una mas, Ni una menas’, 2025, linen fabric, canvas fabric, felt fabric, cotton threads, white quartz points.
The female body – especially that of indigenous, poor, and racialised women – has become a battlefield where the power structures of patriarchy, the state, and capital intersect. In this works I refer to “the body of the crime,” a category that denounces and reveals how certain bodies have been historically criminalised simply for existing. The body thus becomes a witness, an archive, a home, and a trench.
YiFan Peng
YiFan Peng - Royal Academy of Fine Arts, Antwerp, Belgium - wearing her necklace and brooch from the series ‘Temporary Residence’ made with handmade paper, iron and fire.
Constant movement between cities and countries left no room for farewells, only the collection of objects as proof of existence. These ‘souvenirs of the past’ multiplied. The traditional Chinese ritual of burning paper offerings revealed release—memory honored, saying goodbye to the past.