Claude Schmitz 2026

Claude Schmitz

1972, living and working in Luxembourg.

Studies: 1995/99 Royal Academy of Fine Arts, Antwerp, 1999/01 Royal College of Art, London

Solo Exhibitions: Musée National d’Histoire et d’Art, Luxembourg 2001 - Galerie Marzee, Nijmegen 2002 -Galerie Orfèo, Luxembourg 2002/04/07/11/14/17/25 - Galeria Reverso, Lisbon 2003/06/08/12/14/18 - Galerie Slavik, Vienna 2006; Klimt02 Gallery, Barcelona 2008 - Gallery Deux Poissons, Tokyo 2008 - Galerie Isabella Hund, Munich 2009 - Galerie Rob Koudijs, Amsterdam 2018 – Villa de Bondt, Gent 2018

Selection of group exhibitions: Amsterdam, Antwerp, Barcelona, Brussels, Budapest, Chicago, Dubai, Düsseldorf, Leipzig, Lisbon, London, Luxembourg, Montreal, Munich, Nijmegen, Norwich, New York, Palo Alto, San Francisco, Sofia, The Hague, Tokyo, Vienna.

Lectures: Lisbon, Luxembourg, Porto, Tallin, Tokyo, Valencia

Collections: British Museum, London - Ministry of Culture, Luxembourg - Musée National d’Archéologie, d’Histoire et d’Art, Luxembourg - Royal College of Art, London - Royal Mint UK

Private collections: Austria, Belgium, Estonia, Luxembourg, Italy, Germany, Great Britain, Netherlands, Japan, Portugal, Spain, Switzerland, United States

Awards: 2015 Design Awards Luxembourg, Gold Award, 2018 ‘Jury Prize ’ De Mains de Maîtres, Luxembourg

With the financial support of Kultur-lx Arts Council Luxembourg

MEET CLAUDE SCHMITZ

Instagram

"Abstraction of the music compositions result in “no noise without silence - no silence without noise”.

In art, compositions lead either to harmony or disharmony.

Emptiness is needed between abundance.

Fraction is needed before assemblance.

(The caption of an acoustic moment)

“VOLCANES” Silence in the craters on Lanzarote Island. What do we hear when we hear silence or is it just a perception of silence?

“SONORITY” A visualized acoustic capture of a moment in a composition.

“SILENCED TUBES” The (empty) space of un-played notes

“DEAF TONES” Silent, unheard, deaf tones.

Since the subject matter of these composers often revolves around fragmentation, (harmonious) disquiet, (uncomfortable) harmony, etc., I abstracted from that and worked on the idea of noise and silence - neither one nor the other - but also on the presence/absence of tone, rhythms, empty spaces, harmony/disharmony, composition, and perception.

The brooches all have a 66mm base in blackened silver, illustrating silence, tonality...

The liberty of emptiness, quietitude - composition – details and/or missing details - harmony - discomfort to attrack the attention."

CLAUDE SCHMITZ