THE BLUE ROOM 2026

The site-specific Project for SCHMUCK 2026

Conceived as another piece in an ideal exhibition gallery where contemporary jewellery dialogues and interacts with other arts, this exhibition -considered as a third tableau of a “crossover triptych”- will be entirely devoted to the music of the XXth century, and, precisely, to the works of four major composers.

As pictures at an exhibition, this project focuses on and highlights the poetic of the creative process that started in 2016 by following the initial steps of these “artistic counterpoints” between contemporary jewellery and painting (the exhibition LES CONFLUENCES/LAS CONFLUENCIAS at the Museo del Modernisme in Barcelona in 2016) and with literature (the exhibition LE STANZE DEL POSSIBILE at Hannah Gallery Barcelona in 2019).

For the 2026 edition of Schmuck Fair in Munich, The Blue Room proposes a site-specific project entirely dedicated to the music of the XXth century and entitled “EROSIONI SOGLIE SCONFINAMENTI | Stravinsky Schönberg Cage Pärt, or the harmonic inquietude”.

The site-specific project aims to investigate how some major composers, precisely Igor Stravinsky (1882-1971), Arnold Schōnberg (1874-1951), John Cage (1912-1992) and Arvo Pärt (1935) changed radically the nature and the approach to music and sound, by revealing throughout their works the erosions, the thresholds, and the trespassings of the harmonic inquietude that characterized the last century.

The artistic approach, as well as the creative process, is an education of complexity: the whole change that both the world and the arts knew from the end of the 19th century and all over the 20th century is almost the same that jewellery knew from the late 50s and the beginning of the ’60s when the hierarchy of methods, materials, forms, and concepts was radically discussed.

In this sense, the erosions (EROSIONI), the thresholds (SOGLIE), and the trespassings (SCONFINAMENTI) of contemporary jewellery are now compared to the music of four major composers of the last century, who provided, each with his own life, thought, and oeuvre, provided new landscapes and new sconfinamenti.

The English translation of the Italian word EROSIONI is “Erosions”: a slow (or even drastic) process of subduction, fragmentation, and dissolution.

How many times in our lives do we experience erosions? Whenever they come, they act as sentinels, and I would say that a sense of erosion comes with the awareness of a hint of change. And when the understanding of change is embraced, we cross a SOGLIA, a threshold, that can be both a limit and a rebirth.

When the rebirth is completed and accepted, the SCONFINAMENTO, the trespassing, becomes a new territory of discovery, life, and thought.

What happens, then, when does the harmonic inquietude irrupt?