Vivi Touloumidi

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	<title>Vivi Touloumidi</title>
	<link>https://vivitouloumidi.com</link>
	<description>Vivi Touloumidi</description>
	<pubDate>Wed, 18 Feb 2026 21:04:57 +0000</pubDate>
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		<title>Home-Bckgrnd</title>
				
		<link>https://vivitouloumidi.com/Home-Bckgrnd</link>

		<pubDate>Wed, 16 Oct 2019 21:39:19 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

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		<title>Harealds</title>
				
		<link>https://vivitouloumidi.com/Harealds-1</link>

		<pubDate>Wed, 18 Feb 2026 21:04:57 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

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Harealds
2026 - ongoingtextile 50/50 wool/polyester, hand-embroidery with cotton threads

	
&#60;img width="4094" height="3071" width_o="4094" height_o="3071" data-src="https://freight.cargo.site/t/original/i/cba631c0e3548cc47e9e94a441a9b1fae8aadc7bef53a9177faabaabdbac5c3c/Harealds_2026_Vivi_Touloumidi_web72pxl.jpg" data-mid="245051438" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/cba631c0e3548cc47e9e94a441a9b1fae8aadc7bef53a9177faabaabdbac5c3c/Harealds_2026_Vivi_Touloumidi_web72pxl.jpg" /&#62;
	The series was triggered by gallery MARZEE’s invitation to contribute to the exhibition HARES. 
The first piece was shown at FRAME_Schmuck 26’ in Munich, 4-8 March 2026

In Greek, the folk proverb «λαγοί με πετραχήλια»&#38;nbsp; (hares with petrachilia*) describes extravagant promises&#38;nbsp;and persuasive language that deceives. It alerts about cunning offers too grand and ornate to be real. “Hares dressed in vestments” declare miracles, cultivate delusions, and dissolve like mist into thin air.


The work’s title merges hare and herald to form the invented name “Harealds”. 
A hybrid of mirage and messenger, a figure that announces wonders and false reassurances, over-embellished and impossible to fulfil. It speaks loudly yet delivers little, generating spectacle at the expense of substance. The omen heralds distortions of salvation and excess.  Through this lens, the work comments on the contemporary sociopolitical climate, where rhetoric often prioritises performative appearances and overshadows meaningful action. By highlighting the allure of hyperbolic overstatements, it invites critical reflection on passive public trust, coupled with a paralysing mindset that enables exaggerated claims and misleading narratives to shape collective perception today.
*&#38;nbsp;περταχήλι / petrachili:&#38;nbsp;originally a body-length vestment worn 
by Orthodox priests and bishops, 
equivalent to a stole. &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;2026 / Vivi Touloumidi&#60;img width="1600" height="1945" width_o="1600" height_o="1945" data-src="https://freight.cargo.site/t/original/i/390359130ec8229ede43e66430857b1c4307aa05d52a0c6da8d424bca4c8f6d8/Vivi_Touloumidi-MH_DSF6673_Michiel_whitebackg.jpg" data-mid="245122774" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/390359130ec8229ede43e66430857b1c4307aa05d52a0c6da8d424bca4c8f6d8/Vivi_Touloumidi-MH_DSF6673_Michiel_whitebackg.jpg" /&#62;image: Michiel Heffels

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		<title>Hannah Hoch</title>
				
		<link>https://vivitouloumidi.com/Hannah-Hoch</link>

		<pubDate>Sun, 15 Feb 2026 22:03:41 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

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Hommage to Hannah Höch2023, object-assemblagehand-blown glass, bronze, copper, 
brass, patina, stainless steel &#38;nbsp;


Curator and gallerist, Ellen Maurer Zilioli, invited me to take part in her curatorial project &#38;nbsp;
Gone Astray / Auf Abwegen – jewelry and utensils on the frindge of reason.

The exhibition presented a survey of positions on how wearable art, sculptural objects, 
and functional tools can confront — and at times satirize — established aesthetic norms, 
classical canons, craft traditions as also everyday clichés.
The exhibition travelled to Schmuckmuseum Pforzheim (DE) in 2023 and to CODA Museum (NL) in 2024.

_&#38;nbsp;catalogue by Arnoldsche Art Publishers


&#60;img width="2390" height="2008" width_o="2390" height_o="2008" data-src="https://freight.cargo.site/t/original/i/2e7e723751b9b18b1774ca78b9e6af5c6fb41119e32360bc9c2fa5b9f0aa7d8c/IMG_0257.JPG" data-mid="245041578" border="0"  src="https://freight.cargo.site/w/1000/i/2e7e723751b9b18b1774ca78b9e6af5c6fb41119e32360bc9c2fa5b9f0aa7d8c/IMG_0257.JPG" /&#62;

In response to this challenge, I created a work in dialogue with the painting 
“Die Braut” (oder Pandora) from 1924/27 by Hannah Höch and the way the 
artist positioned herself&#38;nbsp; in confrontation with the society of her time.


Drawing on my recent artistic research into self-determination and the emancipation of the female body, the piece deconstructs the image of the painting, reducing it to a head, an abstract white body, and an enlarged funnel.


inside view, funnel&#38;nbsp;&#60;img width="2619" height="3168" width_o="2619" height_o="3168" data-src="https://freight.cargo.site/t/original/i/ad3a24fcf8c0889e74ba703f77d131ae27dc30a0611a48fbb133910610bd2c8e/IMG_2945_FUNNEL.jpg" data-mid="245049352" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/ad3a24fcf8c0889e74ba703f77d131ae27dc30a0611a48fbb133910610bd2c8e/IMG_2945_FUNNEL.jpg" /&#62;
	
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As in Höch’s painting, societal expectations and preconceptions—hovering almost invisibly in the air—are channeled through the funnel into the female vessel of head and body. The glass head itself is movable, secured within the white body by a stainless steel spiral, allowing it to rotate slightly left ︎︎︎︎︎︎ right, as if contemplating, resisting, or negotiating the pressures imposed upon it.2023&#38;nbsp;/ Vivi Touloumidi

&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/46c1c230ce167782ba7fdea83f2ab82c62d684476a315ecb912e5bba87169635/IMG_0242.JPG" data-mid="245041801" border="0"  src="https://freight.cargo.site/w/1000/i/46c1c230ce167782ba7fdea83f2ab82c62d684476a315ecb912e5bba87169635/IMG_0242.JPG" /&#62;exhibition view, Schmuckmuseum Pforzheim, 2023 


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		<title>sanctionary badge</title>
				
		<link>https://vivitouloumidi.com/sanctionary-badge-1</link>

		<pubDate>Thu, 09 Mar 2023 21:21:58 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

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		<description>
sanctionary badge2023


 A sequel, DIY project, following the previous work “vom Abzeichen zum Auszeichnen”&#38;nbsp;

For a deeper insight, please read my peer reviewed essay “The World-Shifting Qualities of Adornment”
for The Vessel magazine of Norwegian Crafts - issue 5, “The Outermost Layer“, 2023


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		<title>vom Abzeichen zum Auszeichnen</title>
				
		<link>https://vivitouloumidi.com/vom-Abzeichen-zum-Auszeichnen</link>

		<pubDate>Mon, 14 Dec 2020 18:18:31 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

		<guid isPermaLink="true">https://vivitouloumidi.com/vom-Abzeichen-zum-Auszeichnen</guid>

		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	

vom Abzeichen zum Auszeichnen &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;2020-2022,&#38;nbsp;badges
series #1: black anodized &#38;amp; coated aluminum, stainless steel
series #2: casted aluminum, stainless steel&#38;nbsp;


For the PhD enquiry&#38;nbsp;“Pharmakos”, 
 research was conducted at historical archives, where
cases of social injustice and oppression had been documented. The investigation
looked into the design evolution of wearable signs, worn as indicators to
systematize and marginalize human bodies during the WWII. 


The work draws its title from
administration letters of the time and it appropriates and subverts the black
triangle ; 


a
sign which was assigned to any prisoner classified as “asocial”. 


 Thus, the work attempts to reverse it into
an honouring distinction.


Historically, the pink triangle is a well-known protest emblem used by LGBTQ+ movements. That too, was invented by the Nazis as a derogating sign against homosexuals. A lesser-known aspect though, is that the pink triangle was assigned to men only. When homosexual female bodies had to be classified, then they were indexed into the “asocial” group. A grouping which targeted numerous sub-identities that spanned from homeless to non-conformist women to any behaviour that transgressed the top-down guidelines.
The black triangle is considered historically the most feminized category of the WWII. 


Following common strategies of
socio-political dissent, such as appropriation and subversion, and while
acknowledging similar locations of thought emerging globally today, the work
proposes statement-pieces that speak of resilience, emancipation and
self-determination of the female body and the social body.2020 / Vivi Touloumidi

The badge of series #1 was the artwork for the&#38;nbsp;

PAUL PANDA FARNANA PRIZE 2023-2024&#38;nbsp;


In response to the first series of badges in black anodized aluminum, series#2 was created to be set in dialogue with. Though they belong both to the same project and share the same title, the pieces of series #2 were created in casted aluminum, drawn intuitively by the use of flame. Stripped by the use of color, they are still making links back to plain metal tags used during WWII. Their organic and bodily references reflect the content of the project, while they are complementing the industrial mechanic aesthetic of series#1. &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 2022 / Vivi Touloumidi


For a deeper insight into the project, please read the articles on FORUM+ and The Vessel magazine of Norwegian Crafts&#38;nbsp;


artist book&#38;nbsp;
“PHARMAKOS, ADORNMENT AS A SOCIAL TOOL” 

2022, Track Report series, limited edition 300 copies


&#38;nbsp;solo exhibitionsMARZEE&#38;nbsp; gallery10. April - 15. June 2022


M HKA museum, INBOX 9. December 2022 - 8. January 2023


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public collection:• Schmuckmuseum Pforzheim, DE, 2022

publications:• Madrugada, biennale catalogue, MUDE - Museu do Design, Lisbon, PT, 2024• KORU 7, International Contemporary Jewellery, exhibition catalogue, Lappeenranta, FI, 2021
• 350 Words for Jewellery, B.Schmidt, book, Munich, DE, 2022• Die Mysterien der Zeichen, Arnoldsche Art Publishers, DE, 2022• HART magazine, “Method in the Madness” by Vincent Van&#38;nbsp; Meenen, No. 221, p.67, BE, 2022


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&#60;img width="3046" height="2115" width_o="3046" height_o="2115" data-src="https://freight.cargo.site/t/original/i/dccac3a29913b78b50a0cf760be485c5e5c100fd8835548c380306da37c6ef0a/15_Vivi_Touloumidi_vomAbzeichenzumAuszeichnen_2021-2022_casts.jpg" data-mid="143755567" border="0"  src="https://freight.cargo.site/w/1000/i/dccac3a29913b78b50a0cf760be485c5e5c100fd8835548c380306da37c6ef0a/15_Vivi_Touloumidi_vomAbzeichenzumAuszeichnen_2021-2022_casts.jpg" /&#62;
&#60;img width="3840" height="2773" width_o="3840" height_o="2773" data-src="https://freight.cargo.site/t/original/i/0eebe387c46d066a913a1302d44b2d8041d6776f5a590e5d3aa25680f65973f2/02_Touloumidi_vomAbzeichenzumAuszeichnen_website.jpg" data-mid="171017177" border="0"  src="https://freight.cargo.site/w/1000/i/0eebe387c46d066a913a1302d44b2d8041d6776f5a590e5d3aa25680f65973f2/02_Touloumidi_vomAbzeichenzumAuszeichnen_website.jpg" /&#62;

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	<item>
		<title>Parerga</title>
				
		<link>https://vivitouloumidi.com/Parerga</link>

		<pubDate>Sun, 24 Mar 2019 20:38:57 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

		<guid isPermaLink="true">https://vivitouloumidi.com/Parerga</guid>

		<description>

&#60;img width="5472" height="3078" width_o="5472" height_o="3078" data-src="https://freight.cargo.site/t/original/i/6d4c6ef62c2478ab1aa76fdb8cecdacd98ece2af5e94d283bc3c591d01fbe05c/06_Vivi_Touloumidi_Parerga.jpg" data-mid="52585441" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6d4c6ef62c2478ab1aa76fdb8cecdacd98ece2af5e94d283bc3c591d01fbe05c/06_Vivi_Touloumidi_Parerga.jpg" /&#62;Parerga
2017-2019, broochesre-purposed casting sprues in
bronze and nickel silver, stainless steel
&#38;gt;&#38;gt; In my jewellery series “Parerga”, I re-purposed casting sprues of sculptures into wearable pieces for the body.
As the title implies, the project comments on the discipline devision between the fine and the applied arts as also the hierarchies imposed on them. 


Parergo derives from the Greek language and refers to the element that stands next (par) to the main work (-ergo).The word can describe a subordinate activity in addition to the original vocation, but it can also depict an accessory supplementing a larger and greater work.

In art history often the embellishment next to the central subject of an art piece has been called a parergo. The term has been coined by Kant in “Critique of Practical Reason” to discuss the ornamentation (Zieraten) around the main work, using as an example the gold gilded frame that surrounds the prime artwork, the painting. &#38;gt;&#38;gt;


&#60;img width="5313" height="3543" width_o="5313" height_o="3543" data-src="https://freight.cargo.site/t/original/i/d011a5ee5a4ecbc89589f5216e0ef6b55a07695fdb9fea9556d51be413c24672/01_Vivi_Touloumidi_Parerga.jpg" data-mid="52585434" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/d011a5ee5a4ecbc89589f5216e0ef6b55a07695fdb9fea9556d51be413c24672/01_Vivi_Touloumidi_Parerga.jpg" /&#62;

In parallel to my main art jewellery practice I freelanced at a sculpture foundry in Berlin, casting large scale artworks in bronze, nickel silver and aluminum for the international art market. Involved in the production of Fine Art works for the worldwide art arena I observed how the art industry structures are build&#38;nbsp; and I reflected on the separation among the art and craft practices.


The craft of casting large artworks employs a complex sprue system through which the liquid metal is channelled into the mould of the sculpture’s main body. The irregular structures grown on the surface of the sprues are random errors, generated during this casting process. These sprues are the last supporting elements to be detached from the final art pieces. I repurposed them further into wearable art pieces for the body by forging them into shapes that resemble gilded frames, linking them back the idea of a “parergo”.


Derrida deconstructed the term further in “The Truth in Painting”, where he investigated the relationship between the work of art, its frame, and its milieu in the visual arts. 
He interpreted the frame literally, as the physical boundary between the painting and its surroundings, but also metaphorically, drawing attention to the work’s cultural context. &#38;gt;&#38;gt;


&#60;img width="4551" height="3078" width_o="4551" height_o="3078" data-src="https://freight.cargo.site/t/original/i/5cda7759acebc18da5ede3278132b519b74af75f7ab0c696cf4ed778ad292214/00_Vivi_Touloumidi_Parerga_brooch_2018_body.jpg" data-mid="52585183" border="0"  src="https://freight.cargo.site/w/1000/i/5cda7759acebc18da5ede3278132b519b74af75f7ab0c696cf4ed778ad292214/00_Vivi_Touloumidi_Parerga_brooch_2018_body.jpg" /&#62;


The parergo puts the work in perspective, it is an action of reflective thought through isolation.Its function is to contextualise what is being framed, to make meaning.&#38;nbsp;A frame is simultaneously the limit to a beginning and to an end, it protects its content and exposes it at the same time.


Craft is embedded within art creation, it is its core component. 


Recent craft theory has engaged with the idea of the parergo due to its decorative function. But if it is the frame that puts the work in context and supports its meaning, then as Derrida argues, a painting needs its frame as much as a frame needs its painting.


The sprues are transformed into wearable art pieces for the body by forging them into frames of an empty content. And what a frame is to a work of art, this is what jewellery becomes for the body. It signifies context.


2017 / Vivi Touloumidi

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


&#60;img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/368197cdca42c8507a76aa2151f4db68074b82319dc98cf9d57b0f7d80071290/Vivi_Touloumidi_Installation_Ellen_Maurer.jpg" data-mid="39561119" border="0"  src="https://freight.cargo.site/w/1000/i/368197cdca42c8507a76aa2151f4db68074b82319dc98cf9d57b0f7d80071290/Vivi_Touloumidi_Installation_Ellen_Maurer.jpg" /&#62;&#60;img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/42b6049792355015167d02537476fe4eb087c792b8254564ab145afd19e50232/Vivi_Touloumidi_Installation_Ellen_Maurer_close_up.jpg" data-mid="39561118" border="0"  src="https://freight.cargo.site/w/1000/i/42b6049792355015167d02537476fe4eb087c792b8254564ab145afd19e50232/Vivi_Touloumidi_Installation_Ellen_Maurer_close_up.jpg" /&#62;installation view,&#38;nbsp; Maurer Zilioli Contemporary Arts gallery,&#38;nbsp; 
in room 2, Schmuck 19’, Munich, DE
&#60;img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/1ae9e3ec8cf4b184288a67ef99d1cc9fc2124a682f6edd5865d85c1f1376be8a/IMG_9766smaller_web.jpg" data-mid="39561121" border="0"  src="https://freight.cargo.site/w/1000/i/1ae9e3ec8cf4b184288a67ef99d1cc9fc2124a682f6edd5865d85c1f1376be8a/IMG_9766smaller_web.jpg" /&#62;
	

public collections:• The Marzee Collection, NL, 2019
• Schmuckmuseum Pforzheim, DE, 2018
selected publications:• SCHMUCKISMUS, Die Neue Sammlung, &#38;nbsp; &#38;nbsp;Pinakothek der Moderne, catalogue, Munich, DE, 2019• KORU 6, International Contemporary Jewellery, 
catalogue, Imatra, FI, 2018sponsored by&#38;nbsp;Skulpturengießerei Knaak, Berlin, DE

	&#60;img width="8400" height="6300" width_o="8400" height_o="6300" data-src="https://freight.cargo.site/t/original/i/bd0762df40d067b397202384248e6f6ccb2d8a93d42aadb49c4157461505fba7/02_Vivi_Touloumidi_Parerga_2017.jpg" data-mid="52585212" border="0" data-scale="86" src="https://freight.cargo.site/w/1000/i/bd0762df40d067b397202384248e6f6ccb2d8a93d42aadb49c4157461505fba7/02_Vivi_Touloumidi_Parerga_2017.jpg" /&#62;&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/965124a68da5332cd4b5e031158cafb9c48384ee101f855c51bcd888f86687ed/04_Vivi_Touloumidi_Parerga_2017_o.jpg" data-mid="39561098" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/965124a68da5332cd4b5e031158cafb9c48384ee101f855c51bcd888f86687ed/04_Vivi_Touloumidi_Parerga_2017_o.jpg" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="8099" height="5803" width_o="8099" height_o="5803" data-src="https://freight.cargo.site/t/original/i/480ed959a4093ffac0c983c657264e17470492335495105a69ece4e71f6c3eee/01_Vivi_Touloumidi_Parerga_2017-copy.jpg" data-mid="53540837" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/480ed959a4093ffac0c983c657264e17470492335495105a69ece4e71f6c3eee/01_Vivi_Touloumidi_Parerga_2017-copy.jpg" /&#62;&#60;img width="3007" height="2394" width_o="3007" height_o="2394" data-src="https://freight.cargo.site/t/original/i/f2a8b103648b8c6f19a8d068154cdff90a6ac77a3e5d1b764823680f0a6138ef/02_Vivi_Touloumidi_Parerga.jpg" data-mid="52585437" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/f2a8b103648b8c6f19a8d068154cdff90a6ac77a3e5d1b764823680f0a6138ef/02_Vivi_Touloumidi_Parerga.jpg" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="2257" height="1810" width_o="2257" height_o="1810" data-src="https://freight.cargo.site/t/original/i/7a332a678c83b0f16ffc8b7f420775a7780e647e6aedca410cb302e9146e3b50/Vivi_Touloumidi_gefura_mprosta_smaller.jpg" data-mid="39561105" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/7a332a678c83b0f16ffc8b7f420775a7780e647e6aedca410cb302e9146e3b50/Vivi_Touloumidi_gefura_mprosta_smaller.jpg" /&#62;
&#60;img width="3393" height="2329" width_o="3393" height_o="2329" data-src="https://freight.cargo.site/t/original/i/bc0295cdb37aa364d0d3ffe2421ba60e970808659005d3d4ecf543eab9fe2d75/IMG_8766.jpg" data-mid="52585063" border="0"  src="https://freight.cargo.site/w/1000/i/bc0295cdb37aa364d0d3ffe2421ba60e970808659005d3d4ecf543eab9fe2d75/IMG_8766.jpg" /&#62;
&#60;img width="3941" height="3042" width_o="3941" height_o="3042" data-src="https://freight.cargo.site/t/original/i/9633f4122b449967165934e147bbeeeb86e23f4e4acc248320fe51422255e37e/IMG_8840_afterraw.jpg" data-mid="52585156" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/9633f4122b449967165934e147bbeeeb86e23f4e4acc248320fe51422255e37e/IMG_8840_afterraw.jpg" /&#62;


&#60;img width="3768" height="2362" width_o="3768" height_o="2362" data-src="https://freight.cargo.site/t/original/i/e3816e7e632289141a239d2a73443de11964fdc4aacafceb4c97354f1d9f60e0/05_Vivi_Touloumidi_Parerga.jpg" data-mid="52585440" border="0"  src="https://freight.cargo.site/w/1000/i/e3816e7e632289141a239d2a73443de11964fdc4aacafceb4c97354f1d9f60e0/05_Vivi_Touloumidi_Parerga.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/730bb7c9e68d2eb7ca13b29dcd74dc3b7345fea5c9718e43b9ac5a42cb5af814/07_Vivi_Touloumidi_Parergo_2017_o.jpg" data-mid="39561101" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/730bb7c9e68d2eb7ca13b29dcd74dc3b7345fea5c9718e43b9ac5a42cb5af814/07_Vivi_Touloumidi_Parergo_2017_o.jpg" /&#62;&#60;img width="7820" height="5944" width_o="7820" height_o="5944" data-src="https://freight.cargo.site/t/original/i/2bafccc64419b9eb31ab9dad5106f6ea3a7124b29a0b7accce8b2b45d0ba21a4/06_Vivi_Touloumidi_Parergo_2017-copy.jpg" data-mid="53541174" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/2bafccc64419b9eb31ab9dad5106f6ea3a7124b29a0b7accce8b2b45d0ba21a4/06_Vivi_Touloumidi_Parergo_2017-copy.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Omicron</title>
				
		<link>https://vivitouloumidi.com/Omicron</link>

		<pubDate>Sun, 13 Oct 2019 14:23:16 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

		<guid isPermaLink="true">https://vivitouloumidi.com/Omicron</guid>

		<description>
&#60;img width="5179" height="3584" width_o="5179" height_o="3584" data-src="https://freight.cargo.site/t/original/i/f1c9c60a1060d6ea7091e1b58127051bc8fb704bba3b89aefb931dad361147bc/IMG_8865.jpg" data-mid="52571796" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/f1c9c60a1060d6ea7091e1b58127051bc8fb704bba3b89aefb931dad361147bc/IMG_8865.jpg" /&#62;Omicron2018
copper, stainless steel
The work “Omicron” was created in respose to the invintaion of curator Ruudt Peters to participate in the exhibition “21 Grams”, 
which travelled to China, Crafts Museum CAA&#38;nbsp;__ Germany, Galerie Handwerk __&#38;nbsp;Poland, Gallery of Art de Legnica  __

Belgium,&#38;nbsp;BeCraft - World Crafts Council (WCC-BF) and the Netherlands, CODA Museum.

The title of the show originates from the scientific experiment, published in 1907 by Duncan MacDougall, 
a physician from Massachusetts, who hypothesized that the soul has physical weight. Thus of 21grs.&#38;nbsp;
&#38;nbsp;“Omicron” was inspired by the notion of pseudoscience and the ancient cult of pythagoreanism, which believed that numbers were the basis of the entire cosmos, 
structured according to significant mathematical relationships in order to achieve harmony. 
 Using the letters of the greek alphabet as numerical signs and by following an additive principle, they claimed to be capable of explaining the mysteries of life and death ... 
The numeric values of each letter of a word were recursively added together to form an arithmetical sum. Words could be then linked back to their cosmic order.&#38;nbsp;
I.e. the word ΨΥΧΗ (psyche=soul) gives the sum of 7, (Ψ=700, Y=400, X=60, H=8)

The piece does weight 21grs.
&#38;nbsp;
&#60;img width="5076" height="3543" width_o="5076" height_o="3543" data-src="https://freight.cargo.site/t/original/i/4ca87750accbb80b496e043e840343e769583ba2d5614181d90210ffdd327292/Vivi_Touloumidi_Omicron_black.jpg" data-mid="52571797" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/4ca87750accbb80b496e043e840343e769583ba2d5614181d90210ffdd327292/Vivi_Touloumidi_Omicron_black.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>What will kosmos say?</title>
				
		<link>https://vivitouloumidi.com/What-will-kosmos-say</link>

		<pubDate>Sun, 24 Mar 2019 20:38:58 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

		<guid isPermaLink="true">https://vivitouloumidi.com/What-will-kosmos-say</guid>

		<description>

	
What will kosmos say?
2013-2015 volcanic pumice stones, stainless steelgroup of ≈ 100 brooches, exhibited complete or partly in several occasions

&#60;img width="1795" height="1954" width_o="1795" height_o="1954" data-src="https://freight.cargo.site/t/original/i/c1e80583cc4a276cd95a2ae129a407f5eabb482e62895b8c78c838e04e668890/01b_Vivi_Touloumidi_KOSMOS.jpg" data-mid="53501175" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/c1e80583cc4a276cd95a2ae129a407f5eabb482e62895b8c78c838e04e668890/01b_Vivi_Touloumidi_KOSMOS.jpg" /&#62;
public collections:• Schmuckmuseum Pforzheim, DE, 2015• Cominelli Foundation Permanent Collection, IT, 2015• Ilias Lalaounis Jewelry Museum, GR, 2016

selected publications &#38;amp; press:• SCHMUCKISMUS, Die Neue Sammlung, &#38;nbsp; &#38;nbsp;Pinakothek der Moderne, Munich, DE, 2019• SCHMUCK 2017, official IHM catalogue, DE, 2017• ART AUREA  preview SCHMUCK 2017, issue #1-2017• ITAMI International Craft Exhibition, catalogue &#38;nbsp; The Museum of Arts &#38;amp; Crafts ITAMI, JP, 2017• Athens Jewelry Week, catalogue, GR, 2016• Beijing International Jewelry Art Exhibition "Boundless", catalogue, CHN, 2015• Edizioni Fondazione Cominelli, permanent collection catalogue, IT, 2015• ART AUREA  article, issue #2-2015• GRASSIMESSE  Leipzig, museum press release, 22.7.2014
&#60;img width="2847" height="4059" width_o="2847" height_o="4059" data-src="https://freight.cargo.site/t/original/i/9e8b9cf41c4ac060be134e201cbb8b632c2e04536f31f19108e05dd468cb0edf/Kosmos_Vivi_02.JPG" data-mid="52548297" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/9e8b9cf41c4ac060be134e201cbb8b632c2e04536f31f19108e05dd468cb0edf/Kosmos_Vivi_02.JPG" /&#62;installation view during Schmuck 14’, Munich, DE• AJF 10-Best Stand-Alone Pieces at Schmuck-Munich• AJF 10-Most Exciting Juxtapositions at Schmuck-Munich


&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/27181ae742e6d5367f3e596af168e8b87e15aa3c6cf494445d50dcd1054e1d04/Berlin_2016.JPG" data-mid="52548284" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/27181ae742e6d5367f3e596af168e8b87e15aa3c6cf494445d50dcd1054e1d04/Berlin_2016.JPG" /&#62;installation view, Atelier Martina Dempf, Berlin, DE, 2016

&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/2736012b19e84d0c06569ec3cc066988066f9c7abcb3639f881ca9c929bb8553/IMG_0235.jpg" data-mid="52583900" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/2736012b19e84d0c06569ec3cc066988066f9c7abcb3639f881ca9c929bb8553/IMG_0235.jpg" /&#62;
exhibition view at SCHMUCKISMUSPinakothek der Moderne, Munich, DE, 2019&#38;nbsp; 

&#60;img width="2887" height="2756" width_o="2887" height_o="2756" data-src="https://freight.cargo.site/t/original/i/b454d91d63223d3d2a691d1bd19c95b2a16e416a4805e68a1211d7da949d6334/Schmcukismus_Touloumidi_2019_cut.jpg" data-mid="52583792" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/b454d91d63223d3d2a691d1bd19c95b2a16e416a4805e68a1211d7da949d6334/Schmcukismus_Touloumidi_2019_cut.jpg" /&#62;


	&#60;img width="4089" height="2726" width_o="4089" height_o="2726" data-src="https://freight.cargo.site/t/original/i/6cb2796a43e51d4a3c4c55e943a1e1d532e712eac7a7ca58084e96aab9d9ecc7/Touloumidi_MG.9407_web_o.jpg" data-mid="39561130" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/6cb2796a43e51d4a3c4c55e943a1e1d532e712eac7a7ca58084e96aab9d9ecc7/Touloumidi_MG.9407_web_o.jpg" /&#62;

The current social/political struggles emphasize the need to rethink and rebuild ways of operating within the society. 
Only with theparticipation of the individuals and their active interaction caneventually occur a change within the collective.
This work talks about the position of jewellery in times like these.~•~

kosmos = the world = jewellery = the people
Kosmos has diverse definitions beyond the profound that relates tonotions of the universe or the world. In the Greek language (κόσμος) it has the meaning of order, harmony or beauty. In old Greek it stands also for jewellery and in neo-Greek usually means “the people”.
By reloading these meanings to the question, its impact changes.It can evolve to “What will people say?” or “What will jewellery say?”The title implies several interpretations and sets a bridge betweenadornment, self-exposure and engagement in the public domain.~•~
The brooches are made out of volcanic pumice rocks.Pumice stones are super-heated, highly pressurized rocks, violentlyejected from a volcano millions of years ago. In 2013 the artist tooka special permission to visit the quarry on the island Yali/Greece,where she collected the rocks one by one.
She sculpted and textured the surface of the stones by hand and then hollowed out and assembled them according to their unique measurements and proportions.
The most widely spread function of this mineral is the beautificationand cleaning of the human body.&#38;nbsp;
This custom denotes 
the notion of“catharsis”.
Depending on context, catharsis (κάθαρση) can have a literalconnotation, as well as a metaphorical one. The latter can mean“the purification or purgation of the emotions” primarily throughart, as used by Aristotle in the Poetics.
~•~
The brooches look up to that notion of catharsis.But catharsis is most of all a condition.Not a given answer.It’s a process.

A process based on the idea that social and cultural reform canoccur through individual acts of resistance.This work is inspired by the notion of the smaller parts working independently, but also together, in order to reinforce a change within the whole.Same as in the essence of the kosmos,where the dependence of the whole upon the minisculeis undeniable.~•~
Jewellery is a powerful medium, because it demands involvementand through this circular function it holds and transmits a statement.Therefore jewellery is an active broadcaster within the public realm.

Jewellery as tool.
Creating a new kosmos by being this new kosmos in practice.Making this choice everyday is essential.An invitation to negotiate reality.Thinking of jewellery not as an add-on, but as a put-out


2013 / Vivi Touloumidi


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</description>
		
	</item>
		
		
	<item>
		<title>One</title>
				
		<link>https://vivitouloumidi.com/One</link>

		<pubDate>Sun, 24 Mar 2019 20:38:59 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

		<guid isPermaLink="true">https://vivitouloumidi.com/One</guid>

		<description>

	&#60;img width="2048" height="1229" width_o="2048" height_o="1229" data-src="https://freight.cargo.site/t/original/i/6b480d8ae5c3e6b1dff779fa35a94973440d9487c112e3de8519e8b8f3084c2b/bracelet_o.jpg" data-mid="39561145" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/6b480d8ae5c3e6b1dff779fa35a94973440d9487c112e3de8519e8b8f3084c2b/bracelet_o.jpg" /&#62;
One
2012
cherry wood, iron nails, stainless steel

A group of 5 jewellery pieces, all substacted from one single block of cherry wood.


A making process resticted in one material of limited volume.
 Every piece evolved from the remains of its former.Each entity is the excess matter of the previous one.


&#60;img width="2048" height="1361" width_o="2048" height_o="1361" data-src="https://freight.cargo.site/t/original/i/7e692a54935a928439762b400d4dccaa7370e08da7c469571be707152f02a75a/bracelet_block_o.jpg" data-mid="39561144" border="0"  src="https://freight.cargo.site/w/1000/i/7e692a54935a928439762b400d4dccaa7370e08da7c469571be707152f02a75a/bracelet_block_o.jpg" /&#62;
&#60;img width="2048" height="1361" width_o="2048" height_o="1361" data-src="https://freight.cargo.site/t/original/i/4620ba90f79aa35b31e86f7320e8c9ae9550d9a49ac4a2bf1d091e08f2eaa405/amulet_o.jpg" data-mid="39561143" border="0"  src="https://freight.cargo.site/w/1000/i/4620ba90f79aa35b31e86f7320e8c9ae9550d9a49ac4a2bf1d091e08f2eaa405/amulet_o.jpg" /&#62;
&#60;img width="2390" height="2067" width_o="2390" height_o="2067" data-src="https://freight.cargo.site/t/original/i/c33cbb05722f285c07afb0516e6436fb3cafadd8ac2cec9eef7e28e5c9cafd3c/ONE_Touloumidi_No7.jpg" data-mid="53517104" border="0"  src="https://freight.cargo.site/w/1000/i/c33cbb05722f285c07afb0516e6436fb3cafadd8ac2cec9eef7e28e5c9cafd3c/ONE_Touloumidi_No7.jpg" /&#62;
&#60;img width="2048" height="1257" width_o="2048" height_o="1257" data-src="https://freight.cargo.site/t/original/i/c6b40e978ef868d5c88becbc1d19c8df88f086687ec8a7c945af05a212fc1ce0/ring_o.jpg" data-mid="39561147" border="0"  src="https://freight.cargo.site/w/1000/i/c6b40e978ef868d5c88becbc1d19c8df88f086687ec8a7c945af05a212fc1ce0/ring_o.jpg" /&#62;
&#60;img width="1772" height="1178" width_o="1772" height_o="1178" data-src="https://freight.cargo.site/t/original/i/b45d8761312176a011794f45f9b4a67269df95359b918fc753a49fb67a3ac569/ring_block_smaller_dim_o.jpg" data-mid="39561148" border="0"  src="https://freight.cargo.site/w/1000/i/b45d8761312176a011794f45f9b4a67269df95359b918fc753a49fb67a3ac569/ring_block_smaller_dim_o.jpg" /&#62;
&#60;img width="2048" height="1361" width_o="2048" height_o="1361" data-src="https://freight.cargo.site/t/original/i/6671c62e17c340861de5c22d90c85b654fc62b17ad410472856fb8a07edc2a42/brooch_back_o.jpg" data-mid="39561146" border="0"  src="https://freight.cargo.site/w/1000/i/6671c62e17c340861de5c22d90c85b654fc62b17ad410472856fb8a07edc2a42/brooch_back_o.jpg" /&#62;
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&#60;img width="2921" height="2008" width_o="2921" height_o="2008" data-src="https://freight.cargo.site/t/original/i/026814f37dde80eab862a12251b06f21b63c4e12ebd6394dff98e42722ecf4c9/010dust_photo-copy.jpg" data-mid="39561153" border="0"  src="https://freight.cargo.site/w/1000/i/026814f37dde80eab862a12251b06f21b63c4e12ebd6394dff98e42722ecf4c9/010dust_photo-copy.jpg" /&#62;

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; shown at “NATURE MORTE" traveling exhibition (2017): &#38;nbsp; __ Vilnius Academy of Arts Gallery, Telsiai, LI &#38;nbsp; __ Amber Forum, Kaliningra, RU&#38;nbsp; __Ramybė gallery, Palanga, LI&#38;nbsp; __Legnica Jewellery Festival, Copper Museum, Legnica, PO                    

</description>
		
	</item>
		
		
	<item>
		<title>Medousas</title>
				
		<link>https://vivitouloumidi.com/Medousas</link>

		<pubDate>Fri, 04 Jan 2019 22:51:19 +0000</pubDate>

		<dc:creator>Vivi Touloumidi</dc:creator>

		<guid isPermaLink="true">https://vivitouloumidi.com/Medousas</guid>

		<description>
	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#60;img width="2048" height="2117" width_o="2048" height_o="2117" data-src="https://freight.cargo.site/t/original/i/06c4e20dad78978f69058a32ba91e78d99b5ef2a83df8eb6f8714198ad0c6769/MEDOUSA_2_web_o.jpg" data-mid="39561156" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/06c4e20dad78978f69058a32ba91e78d99b5ef2a83df8eb6f8714198ad0c6769/MEDOUSA_2_web_o.jpg" /&#62;
	Medousas
2010-2012fine silver, enamel, stainless steel• in public collection of Schmuckmuseum Pforzheim, 2012, DE • selected finalist Friedrich Becker Prize, 2011, DE•&#38;nbsp;exhibtion catalogue: „Serpentina” Snake Jewellery from around the World,&#38;nbsp; &#38;nbsp;Arnoldsche Art Publishers, Stuttgart, 2011
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


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&#60;img width="2048" height="1406" width_o="2048" height_o="1406" data-src="https://freight.cargo.site/t/original/i/50b10dfe2969adcf989f9cdf1432b51a169e2481b93a8e269fbce21d3c7575c5/white_nights_website_o.jpg" data-mid="53611401" border="0"  src="https://freight.cargo.site/w/1000/i/50b10dfe2969adcf989f9cdf1432b51a169e2481b93a8e269fbce21d3c7575c5/white_nights_website_o.jpg" /&#62;
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