We cross the threshold and find ourselves enveloped in rosy-hued fabric. As we move through the intimate space, where the passage of time is marked only by the tolling of the Frauenkirche cathedral bell, we begin to encounter objects that, despite the toughness of their material, appear remarkably delicate. Openings in the fabric, in which they nestle, create a personal space for each of them. It is as though they allow us a glimpse into their homes, where they sleep peacefully, while we tread softly so as not to wake them.

These are the first impressions that accompany me in Munich as I visit Un/bound body, an exhibition by the Studio of Concept – Object – Meaning (K.O.V.) presented as part of Munich Jewellery Week 2026. For one week each spring, the city is threaded through with contemporary jewellery.

As preparations at UMPRUM reach their final stages, the students work continuously in small groups across several workshops at once. The busiest are the metal and textile workshops—these are precisely the materials that define the final installation and determine the character of the exhibition.

Cutting, bending, welding. The roar of machinery in the metal workshop gives rise to the stands forming a structure around the perimeter of the room, allowing it to be enveloped in 150 cubits of fabric.

The original space is transformed into a world shared by all the works, which do not present themselves to us in the center, illuminated from all sides. On the contrary, they invite us to come closer.

The works of the studio of K.O.V. respond to the body in a way that makes us perceive it as an autonomous space, and the students approached the exhibition space in much the same way.

They feel feminine, welcoming, corporeal. They compel the viewer to approach, look behind the curtain, and establish an uninterrupted one-to-one relationship with the work.

The gallery and the space in front of it fill with a mixture of languages as exhibitors from different corners of the world visit one another. It is not unusual to revisit a favourite exhibition several times during the week, creating opportunities for personal encounters with works and artists previously known only from the virtual realm.

The exhibition Un/bounded body is also unified by the graphic design of Terezie Puršlová, which underscores the professional approach of the entire exhibition. The visual identity references individual works, depicting highlighted parts of the body to which they respond. Invitations, an exhibition catalogue, and stickers were produced, which visitors take home as souvenirs.

The theme of the adaptability of the female body recurs in different contexts and, for me personally, is one of the exhibition’s central pillars. Kristýna Hnídková created a wearable structure that does not serve to shape the body, but instead adapts itself to it.

It is striking to watch the atmosphere of the gallery change as the sun sets. The daylight, softened by the gentle sheen of the flowing fabric, gradually fades, while the intensity of the spotlights emerging from behind the curtain begins to grow.

The official opening ceremony is punctuated by a matter-of-fact speech in English delivered by Jitka Šosová. Thanks are extended to the students, head of the studio Tadeáš Podracký, and assistant Kateřina Jirsová.

As part of Munich Jewellery Week, the first International Summit of Jewellery Classes is held, attended by four UMPRUM graduates. It takes place at the Pinakothek der Moderne in Munich. The grand rotunda comes alive, with many participants incorporating elements of performance into their presentations, transforming the gallery into both an auditorium and a stage.

The official opening does not keep us waiting long, and the organisers ceremoniously wheel in a two-metre relief. An appointed person arrives with a knife and spatula and begins cutting into the relief, handing individual pieces to those watching. It is a cake!

Both at the opening and at the Summit, the studio is visited in support by former head of the Studio of K.O.V. Eva Eisler. I sense that her presence is important to the students and lends these moments additional weight.

Flour, eggs, milk, in an artistically hammered aluminium bowl. Lucie Kramářová gradually fits extensions onto her gloved fingers, using them to work the dough before the eyes of the audience, referencing the phenomenon of the “tradwife.”

Between the whole and the detail, there is no dead space; the individual elements function at every intermediate scale. The aluminium bowl is hammered into a shape that follows the contours of the thighs and abdomen, sitting firmly on Lucie’s lap as she mixes the dough.

A friendly atmosphere prevails in the gallery, with participants appreciating the opportunity to be part of a gathering of this scale. The works represent a selection of the best produced by the students, demonstrating that they can hold their own in an international context.

By assembling and separating fabric forms in the shape of the letter C, Katarína Nábilková opens up new contexts by placing the shape within the material itself. The metal “C” forms refer to historical objects, representing a collective dimension of memory, while the fabric ones offer the artist’s personal interpretation.

The graduates attract considerable interest, with a crowd gathering around them, engaged in discussion. For many, their performances are a source of inspiration, prompting dozens of captivated onlookers to pull out their phones to capture short videos and quick photographs. The Summit was originally scheduled to last two hours, but the enthusiasm continued, and everyone stayed for another two hours to savour the unrepeatable atmosphere.

These are the first impressions that accompany me in Munich as I visit Un/bound body, an exhibition by the Studio of Concept – Object – Meaning (K.O.V.) presented as part of Munich Jewellery Week 2026. For one week each spring, the city is threaded through with contemporary jewellery.