Jürgen Eickhoff’s recent exhibition Netzwerke/Networks, at Galerie V&V, has barely faded from memory, yet now only his works and our recollections remain. The exhibition’s subtitle, Boundaries: top and bottom, inside and outside, now resonates as an exploration of the possible.
From chaotic wires to ordered forms
Jürgen described his work in these words: “My jewelry is characterized by a system of apparent chaos and fragile order. Free forms with a defined exterior evolved from concrete, architecture-inspired shapes. Inside, the wires intertwine, connecting and crossing one another like synapses. Various found objects—such as wire fragments, nails, reflector parts, and the like—were integrated and found a new home within the pieces. Later, I supplemented or replaced them with synthetic stones. They possess defined colors, which opens up a wide spectrum of possibilities for me. At times,” he continued, “I lacquer the silver wires, creating a contrast and interplay between the stone and the metal body. This strips the precious metal, silver, of its mystical significance, focusing attention more strongly toward the work’s actual message.”
Teaching, galleries and a lifelong partnership
After studying geology, Eickhoff entered the jewelry field in 1981, motivated by his wife Marianne Schliwinski’s encouragement. He enrolled at the Gerrit Rietveld Academie in Amsterdam, a move that also sparked a friendship with a fellow gallerist who later co-authored this account.
The pair ran Galerie Spektrum, handling artist representation, sales, and interior design for five locations across Munich and Karlsruhe. Eickhoff personally crafted catalogs for each show while simultaneously producing new jewelry, often completing pieces before his colleague finished a single thought.
His dedication extended to teaching; he held guest professorships at institutions such as HAWK in Hildesheim, RISD in Providence, and the Bezalel Academy in Jerusalem. These appointments allowed him to share his technical approach and to photograph urban infrastructure worldwide.
During a series of lectures, he amassed nearly 900 images of manhole covers and similar objects, later printing about 44 of them on 20 × 20 cm canvases.
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The photographs reveal a surprising variety of color and design, highlighting how everyday surfaces function as the hidden “nervous system of our civilization”.
While Eickhoff’s artistic output is widely documented, the personal anecdotes surrounding his life add texture to his legacy. At the Eunique (the International Fair for Applied Arts & Design 2012) in Karlsruhe, he offered a fellow exhibitor a jar of honey produced by his late father, a hobbyist beekeeper, illustrating how familial ties often intersected with professional generosity.
In recent months, Eickhoff’s Chronos exhibition traveled to Padua, then to venues in Sweden, Vienna, and Cagnes-sur-Mer, France, where it remains on view through September 20, 2026, at the Espace Solidor.
Italian studio and early series
After a coffee-filled discussion on Munich’s Türkenstraße, the artist and his partner turned their imagination toward Italy, eventually establishing a workshop with a view of Lake Garda. In that tranquil setting, the first collection of delicate brooches emerged, each composed of fine silver filaments arranged to echo the geometry of fish traps and their anchoring nets.
The resulting pieces hover between adornment and autonomous sculpture, their wirework resembling hand-drawn sketches. Observers have likened the visual language to travel illustrations of the Venetian lagoon, where line and light capture the fluidity of water and architecture alike.
Photographic investigations of urban infrastructure
Parallel to his metalwork, the creator pursued a long-term photographic project that records the hidden surfaces of city networks. Manhole covers, grates, and similar fixtures are presented as the “nervous system of our civilization”, each revealing unexpected palettes and patterns when examined up close.
