22.04.14 – 17.05.14



The magical transformation of gold into jewels is akin to the process of making a house from a tree. Using something natural and malleable to fashion bespoke jewels has been integral to Belmacz from the beginning.


Without Gold there couldn’t be Belmacz jewellery. The metal being used in a multitude of ways and techniques radiates and reflects and dazzles. Gold is quintessentially a cultural talisman and has been a key signifier throughout all the ages of man, with most epochs having a strong affinity with this precious commodity.


A common trait in the civilisations and defining cultures have been jewels, objects, tokens and masks made from Gold. Unsurprisingly this highly sought after substance has been culturally significant for millennia. Its peculiarity is historical, eternal and legendary. Its glamour transforms and happily plays a lead role due to its character within the jewels at Belmacz. With real gold flecks dispersed through our decorative cosmetics, Belmacz beauty is also benefitting from it’s warm, elusive and gleaming Alchemic qualities.


As gold has been celebrated in extraordinary ways: Egyptian royal treasure to signify divinity, shown in the opening of the Tutankhamun exhibition at the British Museum in 1972, the legend of Eldorado which attracted conquistadores to search for the mythical gold dust in the last century in South America. The 19th century Gold Rush that turned into the Californian dream attracting prospective gold seekers and finally colonising the whole of northern America. Even the bible makes reference of a gift of Gold to the infant Christ.


This exhibition is the perfect platform to illustrate and showcase the use of this material in a modern context, examples of which are the: Tevas Bangle, Zeppelin Ring and the Bauhaus Studs as well as Belmacz Blitz eye colour. Gold embodies the best & worst in human nature conjuring up images of desire & greed, a comic book signifier of treasure: a symbol of plenty. And yet it can also be as pure as Love and thus be used in wedding bands or a lover’s token. The show aims to captivate and inspire as well as give insight into the wonders of Belmacz jewellery.

For more information please contact Rebekah Standing at Belmacz: rebekah@belmacz.com or call +44 (0)20 7629 7863

19.05.14 – 12.07.14

Bar for the Future


The utopia and dystopia of modern architecture makes us think about the realities of its creation, upheaval, confusion and disorder. This in mind, Belmacz new collective exhibition explores the cross-pollination of architectural possibilities; works and concepts from the last century to the present day.


Julia Muggenburg of Belmacz found a book of poetry written in Cape Cod between 1974 – 1990 by the late Serge Chermayeff, the Russian architect renowned for his radical modernist buildings like De La Warr Pavilion, Bexhill-on-Sea constructed in 1935 and Cohen House, London. This became the inspiration for Belmacz to invite artists of various backgrounds into the Mayfair space to find points of intersection between late and contemporary architects and artists working with various media.


The Artists:

Alan Boutwell

Alison Crawshaw

Ashley Simone

Eduardo Kac

Guilherme Dable

Heywood & Condie

Jason Oddy

John Wallbank

June-14 Meyer-Grohbrügge & Chermayeff

Serge Chermayeff

Stephen Jones

Tom Humphreys


Striking millinery created by Stephen Jones to Eduardo Kac's Transgenic Art: the engineered “Plantamel” ‘Edunia’, a plant that contains Kac's own DNA are on show.


Tom Humphreys' ceramic plates reference urban passers by, operating in a ‘realm of flux’. For this show, as a counterpoint, John Wallbank, presents sculptures that border on megalomania and echo architectural large scale models.



In her ‘Politics of Bricolage, Rome’, Alison Crawshaw examines architectural references of Dystopian suburbia. This particular project was shown at the 13th annual Venice Architecture Biennale in 2012 and Belmacz is proud to present Crawshaw's work in London for the first time.


At an undisclosed time, the architectural model of the Dag Hammarsjkold tower in New York will explode, is the concept behind Heywood & Condie’s piece ‘321’.  The fallout is a disintegration and dispersal of plant seeds into the ground below. Another new sculptural work by the artist's provides visual dimension to endangered and extinct British wild flowers.


Their work is addressed in the visions of Alan Boutwell on which he worked with Mike Mitchell titled‘Continuous city for 1.000.000 human. Beings’. In: Domus 470, Milan, 1969.


Jason Oddy’s unimaginable photographs of Silicon Valley sit opposite Ashley Simone’s photographs of the reconstructed Barcelona Pavilion in 1986 of Mies van der Rohe juxtaposed with Ashley’s own New York studio/condominium.


Guilherme Dable’s site specific piece is based on a ‘Cobogó', or ceramic sun shade, originally made of cement, a kind of brise-soleil, in 1929 by three Brazilian architects in Recife.


June-14 Meyer-Grohbrügge & Chermayeff will contribute a statement in the form of a furniture model in order to complete the picture. 


“Importantly, it is about meeting and the
importance of equality in luxury, a simple
idea that suggests that sharing begets more
not less”

— Sam Chermayeff, 2014



For more information please contact Rebekah Standing at Belmacz: rebekah@belmacz.com or call +44 (0)20 7629 7863