Fondazione Cominelli has been organizing the Cominelli Awards since 2010. The project is curated by Maria Rosa Franzin and Rossella Tornquist for AGC* together with Rosanna Padrini Dolcini for the Foundation. Goldsmiths artists and designers from all over the world can apply with work in any material, shape, colour and technique, the only restriction is that the measurements cannot exceed 15x15cm and the work must not be more than two years old.

IMG_0688Karin_Roy_Andersson_Catching_Big_Fish_yellow_braceletBracelet by Karin Roy Andersson, recycled plastics from shampoo- and mustard bottle, textile

 This year’s selection was made by the professor of Escola Massana in Barcelona – Ramon Puig Cuyàs. We are proud to have our own Karin Roy among the 34 artists selected for the exhibition. Out of the group, three artists were awarded with the 2014 Cominelli Prize: Silke Trekel, Jessica Turrell and Trinidad Contreras.  A special mention was given to Gabi Veit, Babette Von Dohnanyi and Flora Vagi.


All works are presented in Palazzo Cominelli, a beautiful villa offering a fantastic view of lake Garda. As if the visitors were not filled up with the jewellery and the landscape, the Fondazione Cominelli has also been cooperating with local wine and food producers and during the opening night we were served with all kinds of Italian specialties. Combined with loud jewellery discussions, laughter and and all the additional art jewellery worn by the guests at the opening, it was a pure pleasure for all senses.


The morning after the opening we attended a lecture by Graziano Visintin, since 1976 professor at the Istituto Pietro Selvatico in Padua. Graziano Visintin, born1952 is one of the teachers of the goldsmith  department  founded  by Mario Pinton during the 1960’ which in 1983 was named the Padua School.

Mario Pinton was born in 1919 and studied at Istituto Pietro Selvatico where he later became a teacher. He led the students to develop work that was individual and unique, focusing more on artistic expression than serial production. The use of gold, geometrical shapes and elaborated craft skills is one of the fundamental features of the Padua School.

Graziano Visintin has during his long career been investigating lines and pure forms. By giving them a small twist he creates astonishing pieces.

visintin 2Brooch by Graziano Visintin gold 18ct and enamel

visintin 3Necklace by Graziano Visintin, gold 18ct and enamel.Measure, equilibrium, simplicity but above all, vocation to geometry creates the quality of shape in apparently simple objects.” – Graziano Visintin

Graziano Visintin has developed special technique using niello*, a black alloy of copper, silver and lead sulphides which give the clear golden surfaces a new dimension. A raw playful expression, emphasizing the strict shapes.

visintin 1Brooch by Graziano Visintin, gold and niello

The Fondazione Cominelli is also building a permanent collection of contemporary jewellery; each edition will enrich the collection with new works, some by the competition participants and others by artists selected by the gallerist Rita Marcangelo from Alternatives The permanent collection will become a document of the Fondazione Cominelli. In this collection you can see also a piece of Sanna Svedestedt, selected for Cominelli awards in 2011.


The world of jewellery is not only fantastic pieces. Meeting with the warm and generous people in Garda showed that the Italian jewellery culture is world class also on many other levels. We returned to Sweden inspired and ready for New Adventures!

*The Fondazione Cominelli is sided by AGC – Contemporary Jewellery Association, which organises and promotes the event. AGC also promotes other projects on the national territory. One of the main objectives of AGC is drawing attention to the value of the contemporary jewellery culture and spreading

* Niello, obtained by the fusion of silver, copper, lead, sulphur and borax, is an alloy that was well known by the Egyptians. Visintin use it as a colour or to contrast the gold. He describes it as “writings on the object”.

With support by The Swedish Arts Grants Committeé