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Applied arts. Arts and crafts --- gemology --- cultuurgeschiedenis --- juweelkunst --- gemmologie --- Portugal

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Sculpture --- anno 1500-1799 --- Spain

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Art, Renaissance --- Art, Flemish --- Exhibitions --- Influence --- Portugal

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The book *Cold Sweat* - the title of the 1st Lisbon Contemporary Jewellery Biennial - under the editorial coordination of Cristina Filipe, brings together the catalogue of the homonymous exhibition and the articles produced during the colloquia 'Body Fear Protection', 'Precious Crown' and the 'Closure', which took place during the Biennial.

The visual narrative of around two hundred and twenty contemporary works by seventy-two international artists from different disciplines - mostly jewellery, but also photography, sculpture, design, film and performance - presented *in situ* during the exhibition in the Gallery, Church and Museu de São Roque and in the Museu da Farmácia, in close dialogue with their respective collections and with the collections of the Historical Archive of the Santa Casa da Misericórdia de Lisboa and the Casa Ásia - Coleção Francisco Capelo, culminates in a unique set of thirteen academic texts by researchers from various disciplines - history of art and design, philosophy, theology, gemmology, anthropology - whose multiple discourses invite the reader to reflect on contemporary artistic production around issues related to the pandemic and post-pandemic period we are experiencing.

How is the body exposed to insecurity? How does fear determine our gestures? How and why do we dress? How can artist's work test the limits of the body, evoke feelings of repulsion or reflect on the different dimensions of the human being, its relationship with the other and with nature? What questions does the pandemic and post-pandemic scenario pose about the future of the body-jewel relationship? Why was the *Precious Crown* commissioned during the second World War and what is the meaning of its integration into the *Cold Sweat* exhibition? What stories are held by the projectile that the Crown houses as a relic and the materials that constitute it? In what was does the motif of the Medusa's head (or gorgoneion) and its transformation into a utilitarian objec point to fear and express a desire for protection? Why, to combat fear, do we make use of the power of amulets and of the inherent symbolism of their materials and their apotropaic forms? What do linguistics, psychology, philosophy and theology have to tell us about fear? What are the physical expressions of fear in its relation with the body and protection? How do the concepts of fear, anguish and the courage of being sharpen our gaze on the works in the exhibition *Cold Sweat*? What do the visibility and legibility of the body and protection tell us about the invisibility of fear and its forces? Are we at an epochal turning point of merely living in an epoch of unending change?

Applied arts. Arts and crafts --- juweelkunst --- jewelry designers [designers]