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Project Space Exhibition

Ash Land Berry Farm

VCU Arts Summer Program

Opening 18:00 Friday 28th July 2017
@ GlogauAIR

Facebook event

Join us 28 July for an exhibition of works at GlogauAIR. Here on Ash Land Berry Farm we consider issues of place, material, and histories both shared and not. FRESH new ideas and FRUITFUL work that is RIPE for the PICKING by you, our friends.

The Virginia Commonwealth University presents the result of one month of work at GlogauAIR's Project Space.

Featured artists:

Zac Hayes // Kiel Posner // Meera Brown // Jenna Smith // Mark Peyton // Carolyn Todd // Brock Saunders // Calvin Moriarty // Hannah Antons // Hannah Edmonston // Anthony Sudol

You’ll only find JUICY content here. ;~)

Organized by


Parametric Design with Cardboard in VVVV

Kalma Lab
Arístides García

03.08.2017 - 05.08.2017
@ GlogauAIR

Facebook event

This workshop is focused on the development of parametric-generative design tools inspired by architecture and product design techniques and how to fabricate three dimensional modular pieces.
It is suitable for anyone interested in geometric patterns, packaging, architecture, product design, scenography, 3D mapping.

Software we use:
VVVV - Hybrid visual/textual live-programming environment for easy prototyping and development.
ParaLib Pack - Library for algorithmic modelling and mesh unroll in VL and VVVV.

When: 3th - 5th August from 17:00 to 21:00
Where: GlogaguAIR (Glogauer Str. 16. 10999 Berlin – Germany)
Price: 195 € (regular price) / 170 € ( if registered in the Vjing and Mapping Techniques Workshop)
Number of participants: 4 - 12
Public performance date: August 11th at 20:00 (together with the Vjing and Mapping Techniques Workshop)
Contact us at

VVVV is Windows only, Mac possible with Bootcamp.
Some VVVV skills are welcome, but it would be possible to get results without any programming knowledge.
Vector graphics software capable to load svg files. (Preferable Adobe Illustrator)

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Day 1 and 2
-- Introduction to “Parametric design with cardboard, concepts & inspiration”
-- Parametric Library overview.
Presenting the datatypes: polyline, polygon, surface, box.
-- Object modelling using diverse techniques:
+ Creating object arrays,
+ Surface modelling based on B-Splines,
+ 2D Patterns,
+ Surface Panelization,
+ Polygon Extrusion,
+ Surface & Polygon Triangulation...

-- OBJ export, to be used on other software.
-- 3D objects unfold.
-- SVG blueprints export, cutting sheets preparation.
-- Cardboard models cutting and mounting.


VJing and 3D Mapping Techniques

Kalma Lab

08.08.2017 - 11.08.2017
@ GlogauAIR

Facebook event

This laboratory intends to be a wide introduction to Vjing and projection mapping with the aim to explore the possibilities of live video projections and visual scenography using real time rendering and video mapping.
During the 4 days workshop, the participants will be introduced to the live performance possibilities of softwares such as Madmapper, VDMX, Syphon and Modul8. Also will give some tools to experiment as live video cameras and sound interaction to expand the audiovisual experience.

The aim is that the assistants can defend themselves in a real environment. And to reach this, the last hours of the workshop, we ́ll organize an open doors session to show our creations the last hours of the laboratory.
For this occasion, we have the support of Garagecube and VDMX. Garage cube will supply us with a full license of the Madmapper and Modul8 and Vidvox one of VDMX software for every student that will run for one month without restrictions.

- Computer: Mac (recommended Intel Mac running Mac OS X 10.8 or newer) or PC computer (MadMapper 3.0 will support windows system from windows 8.1 )
- Video adapter into VGA or HDMI.
- Optional: MIDI controllers, beamer and webcams.

The workshop holder
Kalma is a visual performer that used real time processes to create light installations, interactive sculptures, mappings and vj sets with unique atmospheres and unrepeatable experiences and new adventures from one moment to the next.
Her unique approach to the visual experience is intimately linked with her background of working with audio. KALMA intertwines both realms creating unrepeatable experiences

Kalma combines her work as visual artist with her passion for teaching. Since 2010 she has been hosting and organising workshops around the topics of mapping and video in real time. Her creative pedagogic and practical approach generate the best ground for people willing to immerse in this endless possibilities field.

She has performed since a decade at art festivals and played in clubs and events around Europe including Contemporary Performing Arts of Glastonbury (UK), Lummix Light Festival (Bulgaria), Laptoprus (Madrid), Transmediale Vorspiel, Perspective Festival, Kasseler Dokfest (Germany), Fiesta is Madrid (Amsterdam), Weekend, Suicide Circus, Ohm (Berlin), Fabrik, Mondo, Goa electronic parties (Madrid)...

Kalma Lab
Vj workshops in Berlin:
female pressure visualpulse:


One of the last workshop:

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Time: 17:00 - 21:00
Number of participants: 4 - 12
Price: 180€ (regular price) / 155€ ( if registered also in the Parametric design with cardboard in VVVV workshop)
Public performance date: August 11th at 20:00


Meet the artist - María Santí

Maria Santi

María Santí's art focuses on the fusion between different representations of nature and on exploring an instictive "sixth sense", a quality which she considers Purity and Beauty in the natural world steam from.

Your work has been mainly focused on the natural world. You seem to be on a permanent quest for some essential primeval qualities inherent to life itself, such as purity and instinct. How is it that you got interested in that topic and came to explore it?

I´ve always lived in a village, surronded by nature. My practice emerge from my personal experiences, my perception of nature and my lifestyle.
My works are constructed out of the deep emotions that I feel when I am in nature.
I am interested in the fusion of different representations of it; exploring an instictive "sixth sense". I think this is an intrinsical quality of the natural world, which makes purity and beauty its primordial elements and which I feel closely connected to the intuitive process present in my painting.
I create a structure that interweaves the strength of the material with the visible, my personal experiences and the experiences of those whom my work challenges.

You have stated that you consider that “the matter is alive". Could you please further expand on that idea? In which way are you inspired by the aliveness of the matter and how do you integrate that in your work?

I make mine Andrei Tarkowsky´s words "The material came to life and the elements, parts of the film engaged in mutual functional relationships and to form a unified, organic precise system".
My practice is deeply rooted in matter. The materials, their qualities, their strengh, their possibilities became and built the projects themselves. Everytime I begin a new project I start off by searching and exploring materials. This is the starting point to develop the idea. With this process I show an underlying premise: that the matter is alive. This is why I consider it an active component of my practice.

In some of your works such as in El Último Día del Verano (2015/2016), you used artificial material on top of natural elements, by painting on the leaves of a plant. How would you say that the materials you use reflect on the concept behind your work?

El Último Día del Verano is part of a series of performative works in which I act on nature through a pictorial gesture. By using biodegradable material, such as goauche painting, I paint each leaf, each stem, each branch , in an attempt to activating , giving energy, with the goal that nature runs its course. During this time, I interact with the environment, experimenting with the resistance coming from both physical and emotional body; while experiencing narrative from its core, living the landscape from an intimate perspective. In turn, revaluing the gesture represented by the brushstroke, this task makes it possible to have a sensible thought about the concept of the body: from its structure and its motor skills, and a will to act. The body becomes giver of meaning to the pictorial practice. Thus, the painting is a transforming action of nature: how mutating its appearance without disturbing the identity.
In response to a current state of the landscape -modified by degrators responsible for a set of irresponsible human actions of its consequences, largely irreversibles- have sought to isolate a section of my garden to tend, care for and paint it because of its regenatory potential. If the landscape was one of the main pictorial genres in Art History, today it has become something more than simply perception of the place around us.

Would you please let us know how your artistic process usually works?

I always begin with painting. While I am painting I can think. Even if the outcome is not in a form of painting, I still need to start of with painting.
I attempt to break down and analyse the process I go through in making a painting… dealing with the anatomy of painting… so that I can continue to develop a visual language; my own language with a strong vocabulary, which will hopefully keep my painting´s voice going on for years to come.
From this point on, I am able to analize and research the ambiguity of images that emerge from my instinct. I can approach them by registering the phisical and emotional sphere. Images I had in mind -usually coming from nature – work as a guideline to manifest that energy. Furthermore, turning the workspace into a laboratory where testing new situations in relation to the drawing, the materials , the brushsrokes, within the new context. And how they challenge us about the uncertanty, the unknown and the unncany in our lives

Tell us all about the projects that you have been working on while in GlogauAir.

These works are mixed media, from painting to video, through installation and drawing.
Considering my interests, this project will be an installation , in which I will experiment with light, paint, color , bodies, materials giving priority finding out material issues, features, structures in order to expose contemporary problems, whether around us, or inherent to us.
By highlighting the gesture, the color, the movement, I link them to nature, the city context, time and it´s flow.. Playing with the boundaries of painting, attempting an expantion of its effects and through this process I reveal aspects of my practice and my investigations about body , nature and landscape.
The power of the materials, is very important in creating a dialogue between the painted image, the handmade mark and the object / support chosen.
The underlying premise of my artistic process is that matter is alive and active in the language and transformation of my practice.
Experimenting with the medium, using objects found in everyday life, in this particular case gives the work a certain simplicity and crudeness, occupying the space and accentuating the transition between the finished and unfinished.
In this series of works I question painting itself by working concepts of space (both real and pictorial) and the categories of movement, light, emptiness and placement. That together with the gesture and the footprint are necessary subjects in my practice. Painting is thinking.

The topics you focus on seem to always work on the basis of dichotomy, like man-made vs. nature, outdoors vs. indoors, public vs. private. Your art seems to be a representation of a utopia. Does this mean that you are asking the viewer consider a possible future dystopia?

No, I feel that hopefully the human being will live in peace and will take care of the world. And I am sure that contemporary art is helping to make mankind aware of this circunstance

You have referred in your artistic statement that you believe that your “art practice has the capacity to repair and take care of this world”. How do you come about doing that?

Since landscape has been modified by manmade degrading actions, with irreversible consequences, I believe that my art practice has the capacity to repair and take care of this world. Landscape has always been one of the most prominent genres, nowadays it has become something more than the perception of the place around us. In the contemporary scene, it is the undisputed protagonist which tells us that life without seas and skies, in a world without life or colour, is meaningless.
I aspire that my artwork can communicate this message to everyone. It’s our genetic imprint, it’s about being human, about being alive in the world, that I wish to dive into. My projects are about being human, and the act of creativity. They are about contemplation, they have to be sensed as well as experienced, they are physical paintings. The 'spiritual' response and purpose is central.

You work primarily with essential natural structures; time, forms and colors. However, the rhythm and the landscape of Berlin are mainly man-made. How did these surroundings influence you and your art practice?

When I arrived at GlogauAir in Berlin I was overwhelmed. I have never lived in a big, multicultural and cosmopolitan city, so for me. this experience is extremly intense.
While I was thinking about my project, I realized that it began to change itself. I feel very inspired by people. The multicultural enviroment, the languages, the skin colors… so I decided I had to paint this spectrum and its transition of colours just to symbolize the melting pot I found in Berlin. That was my first work.
The starting point for experimentation during the residency was the concept of transitional space; a configuration that can at the same time define and dissolve boundaries among different places. Without transitions our contemporary understanding of spatial dualities like intimate-public or inside-outside might have been impossible. By creating, connecting, overlapping and dispersing images that grow inside me and within the actual space, I let those enter into a “conversation“ with each other and with the actual environment.
I began painting on large canvases, in the back side, in an effort to explore the behaviour of the material while hanged. These paintings are a different transition from stretched canvas in order to further explore the materiality of the painted surface and the experience of painting as both image and material object. Also it plays with the usefulness and uselessness of objects that come from everyday life.
The context and landscape play an essential role in my practice. I particulary question the limits of representation, painting, the artistic process, as well as the borders between the physical, the imaginary and the represented space. My art practice focuses on the fragile borders that separate reality and fiction, presence and absence, materiality and evocation.


Anna Pistacchio

Spektrum July 2017

July 2017 @ GlogauAIR's showcase

More Showcase Projects

Summer Course


01.07.2017 - 31.07.2017
@ GlogauAIR

The Global Education Office and the VCU School of the Arts are pleased to offer an innovative summer study abroad program in Berlin, Germany. Berlin is the premier destination for international visual artists. Its blend of culture, support for the arts, education, space, community activism, and openness to new ideas create an ideal environment for young artists.

Students will work and live in an active studio space with individual 24-hour secured studio access, in addition to working with local artists and gallerists to improve their practice, leading towards a group exhibition in Berlin. Artists visited in the previous year’s program include Bettina Krieg, Lorenzo Sandoval, Ethan Hayes-Chute, Christopher Kline, Mirak Jamal, Melanye Garland, and Dafna Maimon.

Course description
Over four weeks, students will be immersed in the diverse, vibrant and essential art community found in Berlin, Germany. Students will share a large studio space in which to explore visual ideas and gain valuable critique from their colleagues and visiting artists living in Berlin. Days will be split between studio time and exploring the city both as a group and independently. Visiting museums, galleries, and artist studios will enhance the dynamism of the contemporary art scene in Berlin. Local artists will be brought in on a biweekly basis both for lectures and to provide critique to the students work in the studio. Along with the work created in the studio, students will maintain a record of their experience as a working artist in Berlin, of which photographic documentation of the city will play a crucial component. Although a digital camera will be required for the course as an exploratory tool in the City, any medium is acceptable in the studio. Students will gain the knowledge and experience of maintaining a rigorous practice in a thriving contemporary art community.

Program director
Matthew Warren currently works and teaches in the Department of Photography and Film at VCU. Previous to that he ran the Center for Digital Print Media in the department of Painting and Printmaking. Recipient of the 2013 Virginia Museum of Fine Arts Professional Fellowship, he has exhibited nationally in Seattle, Washington and North Adams, Massachusetts as well as locally in several galleries around Richmond, Virginia. He received his BFA in Film and Electronic Arts from Bard College and his MFA from VCU.

More info at VCU-FL-Summer: Berlin | City and Studio

Organized by


GlogauAIR Artists in Residence Program:


July 31st, 2017

For the residencies starting in January 2018

October 31st, 2017

For the residencies starting in May 2018

The Application deadline has been extended until July 31st




GlogauAIR Resident Artists

Project Space Exhibition

23 - 24 June 2017
@ GlogauAIR

GlogauAIR Resident Artists

Alice Biletska // Brittany Brush // Sean Fader // Jerôme Havre // Jorge Julve // Louise Manifold //
Anna Pistacchio // Noara Quintana // María Santí // M. E. Sparks // Chen Wei

Besides hosting Dear Home, an interactive exhibition reflecting on migration, the event will also allow the public to get directly and intimately in touch with the art-production process, while warmly integrating the visitors into the rich creative and multicultural atmosphere nurtured by GlogauAIR’s 11 current resident artists.

Open Studios June 2017 will showcase the audio-visual works of Brittany Brush, which plunge into the intimate depths and subtleties of the subconscious, bringing them to light. Exposing human internal mechanisms of perception is also a focal point to M.E. Sparks’ paintings. Through methods of representational painting, Sparks questions how the experience of looking can move beyond an experience of knowing, naming and classifying.

On the other hand, the new piece presented by Louise Manifold manages to capture a contemporary societal state of mind, by recovering the peculiar anxious aesthetics of German’s Expressionist cinema. Equally focusing on collective consciousness, Anna Pistacchio’s video piece articulates old damaged photographs taken from family albums in order to re-tell History during the Cold War period from a domestic perspective. At the same time, the documentary film by Alice Biletska critically reflects on how recent terrorist events have undermined the peaceful co-existence people with different cultural backgrounds in Berlin.

Similarly alluding to current political and socio-cultural tensions around the world, the installation artist Noara Quintana presents a work based on the delicate auscultation of the materials in use to symbolically articulate how democracy has increasingly been threatened. Also paying close attention to the inherent qualities of different materials and their metamorphic potential when acted upon them, María Santi questions and tests the essence of painting itself, while the artist Chen Wei presents a peculiar project that merges architectural installations and philosophical speculation.

Whilst Jérome Havre has been delving into the topic of identity construction within a given territorial context, Sean Fader uses social media tools as a method to observe how identities are being negotiated within the immaterial, ubiquitous and ever-changing cybernetic sphere. Curiously and somewhat ironically, Jorge Julve juxtaposes modernity and tradition, by applying online content and digital tools to painting, linking two apparently distant environments.

Project Space Exhibition

You have to decide where your home is

Alexander Bratt // Agnieszka Bułacik // Samantha Hookway // Szymon Keller //
Elliot Silva // Agnieszka Wojciechowicz // M.E. Sparks // Ilyn Wong // Marta Lodola & Valerio Ambiveri // Asaf Oren // Silvina der Meguerditchian

In the Dear Home collective, we see ourselves and other migrants as members of the huge tribe of people connected with similar experiences. We all are living in a world of shifting homes and while we do so, we carry with these movements feelings of insecurity and homesickness, a need to change, an urge to grow, and even the ability to adapt to our new surroundings. All these can shed light or cloud our very perception of what it feels to be at ‘home’.
This is why we want to forge and deepen the conversation and redefine the identity of what it means to ‘feel home’. By providing experiences where one can become aware of one’s individual position within all the diverse narratives of others, we believe that we are able to realise there are many more realities that we often acknowledge. Hence, we created an interactive art exhibition, where people cannot only listen to the stories of migrants, but as well reflect on their own notions of home in a playful yet deep and engaging way. The project includes photographs, illustration, videos, an audio piece and set of interactive stations based on the input that we have gathered through our work the last months. We believe that art is as much of an experience as an object. By fostering it, we will be able to create deep and meaningful connections that will contribute to a more migration friendly world.

Dear Home formed in 2015 during BalticLab 4.0, a program organised by the Swedish Institute and the Council of Baltic Sea States.

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Friday, June 23rd // 19:00 - 24:00
19:00 - 21:00 // Marta Lodola & Valerio Ambiveri // Being in this World - Performance
21:00 // Willis Anne // Live

Saturday, June 24th // 15:00 - 20:00
16:30 // Look me in the I. Art as an act of transference of the self // Artist’s Talk //
Hanneke van der Werf - Matthew Lloyd
18:00 - 20:00 // Marta Lodola & Valerio Ambiveri // Being in this World - Performance

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jpeg .png

Look me in the I

Matthew Lloyd
{ I } & Black
Oil and Mixed Media on Wall
Berlin Studio, 2014

Artist Talk

Look me in the I

Art as an act of transference of the self
Matthew Lloyd & Hanneke van der Werf

16:30 @ GlogauAIR

Facebook event

In frame of the Open Studios June 2017
Humans are both paradoxically and inherently self-isolated and social beings. Bringing to mind the philosopher R.G.Collingwood’s considerations, art can work as a communication tool acting as a mediation process between an intimate secluded self (the expressing I) and the other Is (the viewers)

Every self is a particular construction on its own and of its own. A quantity of elements organized in a peculiar order by which they are governed. And each one of those organizational methods is a characteristic filter through which the exterior world is perceived and according to which the self acts upon its surroundings.

Each human is a capsule, a self contained element. Each human is a self. Each human is an I.

The essential nature of the I seems in fact to be one of isolation with no possible escape, for this is the only possible way of existing in a physical domain. This intricate loneliness everybody is inevitably tight to is a barrier that disconnects. Disconnects and distanciates the existent immense sea of Is from each other. In this way, the self can easily become impenetrable, unreachable, confusing, easily leading to distorted views.

However, at the same time, humans are paradoxically and inherently social beings, quality that leads them to build bridges through communicating, which is the interchange of the expression of different selves, of different Is. It is this act of an attempt to connect, to building bridges that makes them question, that makes them feel a necessity of understanding, of considering, of analyzing, of clarifying. The structure of the I needs deconstruction, needs to be broken down.

Many times art is used as a resource of deconstruction of the self, reminding the 20th century philosopher R.G. Collingwood’s conception of art as an imaginative expression, a creative projection of the self into the social sphere. The secret universe becomes thus exposed; bluntly, honestly. Open to considerations, open to questionings.

Art becomes then a mediation process between the intimate secluded self and the other Is constituted by the viewers. The communication between the intimacy of the artist and the public is made by means of empathy. A transference of individual experiences makes the viewer temporarily inhabit another Self, thus creating a sense of human universality, a common ground, which in the end contributes to a better understanding of an alterity, igniting a process of questioning and deconstruction of the architecture of the I of the spectator.

Matthew Lloyd Lloyd’s method of antithesis’s between art and life when released as an extreme form, act as a main attraction for his work. The approach of this binomial concept is to reveal spectrums whose fundamental role is to become subject of a re-identification of and within themselves. The artists’ works is seen arguably not to exist solely as a material object, but as a vehicle with which to articulate a conceptual idea.

Hanneke van der Werf Hanneke explores the experience of the emerging wholeness of life and how communicate it. She wishes to report, to share a sense of a fluid universe.With everything she has and is, she looks around her. The constant flow of information makes an amalgation with everything she had and was. She builds images from this fluid point, so she can share how touching and beautiful, huge, painful, entertaining, packed and silence she experiences life. For her, expanding observation goes equally with the expanding of freedom


Touchdesigner and Projection Mapping Techniques

Petko Tanchev + Kalma Lab

@ GlogauAIR

Facebook event

Introduction to TouchDesigner - a visual programming software for interactive design, live music visuals, media systems and prototypes. Practical skill on projection mapping and individually created projects with the program.

First part of the workshop will be focused on the interface and the structure, work with operators, parameters and Python scripting. The workshop will also cover some of the concepts for developing artistic projects – operator families, converted data, time dependency, work with video source, 2D and 3D interactive art.

The second part will be devoted to how to use TouchDesigner in order to create specific architectural projection mapping. The instructor will discuss some of the workflows that he has been developing in his own projects. At the end of the day the participants will create their own mapping content for projection on provided 3D surface.

• 11:00–11:30 - Introduction to TouchDesigner
• 11:30-13:00 - Interface and structure: work with operators, export parameters, write expressions and scripts in Python.
• 13:00-14:00 – Lunch break
• 14:00-15:30 - Artistic concepts: more about operator families, how to convert data between different operator types, use time dependency, create custom motion data, work with video files, generate 2D images, model 3D geometry, add visual effects and post-processing, compositing, build complex networks
• 15:30-17:00 - Projection mapping techniques: demonstration of specific techniques and workflows, walk-through a projection mapping example, overview how to prepare our network
• 17:00-19:00 - Create art with TouchDesigner: practical work for a projection mapping installation on 3D object, the instructor will help to the participants to create and use their own content


CAPACITY: 15 people

COST: 70 Euro

All participants should bring a personal laptop, PC or Mac with the latest version of TouchDesigner 088 or 099 installed. In case you don't have it please download it from:

Petko Tanchev is a visual artist and scenographer based in Plovdiv, Bulgaria. In 2008, he graduated from National Academy of Art, Sofia with a bachelor’s in Scenography and continued with a master’s in Original Visual Performance Design. He has worked as a stage designer, with a keen focus on incorporating video installations in live theatrical performances. He also did numerous art projects that have been featured in festivals and museums both nationals and internationally.

In 2013, Petko co-founded Melformator, a creative collective specializing in event management, interactive design, and audiovisual performances. In 2016, he became the curator of Creative Media Lab, the digital arts department for The Night of Museums and Galleries in Plovdiv. Petko nurtures the talents of rising artists as a lecturer of Tools for Visual Programming for the MA Digital Arts programme at the National Academy of Art, Sofia.

Petko’s current work focuses on the creation of real-time media content for projection mapping and interactive installations by combining hardware devices and visual programming software. He often develops site-specific projects, drawing inspiration from and revealing a location’s context. He creates virtual worlds, which challenge our accepted perceptions of a physical reality we think we know. With an experimental approach, Petko welcomes exploring new tools and the ever-changing technologies in order to develop cutting-edge creations.

Video archive:

In collaboration with


Brittany Brush

Lost In Translation: Invisible Fragments. Digital Stills. 2017.

June 2017 @ GlogauAIR's showcase

More Showcase Projects

Drawing sessions


Body and Habitat

Facebook event

Glogauakt is also in Summer mode! As a continuation of our weekly drawing gatherings, Body and Habitat is a four-module open-air figure drawing session, happening in GlogauAIR's garden all June long!

In Body and Habitat we will explore the human body when surrounded by different settings, so to challenge our usual way of seeing and spark creativity.

June's drawing sessions will be divided in two segments:

Everyday objects and Nature - 1st and 3rd sessions

You are invited to contribute to the final design of our figure drawing field by bringing different objects. Together we are going to create a thematic scenography-like setting for the human body. Our goal will be to explore the relation of shapes, composition and body in context, in search of harmony in eclecticism. The topics are Everyday objects and Nature.

Movement and Light - 2nd and 4th sessions

We will be exploring volume, gesture and proportion in fast changing poses, tracking movement with fast sketches. We will also investigate change of shapes with the change of light, stressing on detail, with longer poses to work from.

The workshop is moderated and suitable for both beginners and advanced artists.

We kindly ask you to bring your own drawing materials.
Drawing boards, ice tea and biscuits will be provided for you.

There is no tutoring, but in case you need some, we are glad to provide directions, help and to give some feedback. Each session will always end with a group discussion and analysis.

We would ask you to confirm your participation at least one day before each session to .
At least 8 participants are required to run the sessions.

Each session: 9 / 7 euro (student discount)
4 sessions: 30 / 25 euro


Meet the artist - Roxanne Nesbitt

Roxanne Nesbitt

MEET THE ARTIST is a series of short interviews given by GlogauAIRs resident artists. The aim is to provide the public with the opportunity of getting to know the artist behind the art as well as to get a glimpse of the creation process that can rarely be seen.

This time we are presenting Roxanne Nesbitt. Her work is inspired by the subtlety and specificity of timbre, attempting to balance blunt and obvious cues to listen, with ambiguous and ineffable shifts. The investigations are deliberately acoustic, tactile and tangible, focused on exploring the sonic potentials of both materials and detailing.

You are both a musician and trained as an architect. Your artistic work is very much based on
the intersection of these two apparently very different fields. When and how did you first
become aware of the possibility of overlapping them?

I started to think about space and its relationship to sound during my music undergrad. I remember
starting to listen for the way my voice changed in different rooms. I studied in this massive concrete
building. It was visually heavy and oppressive but allowed the body to be heard in interesting ways. I
have some really naïve early drawings of instruments that are a whole room. This came out of a
intensive study that I did of the design of traditional string instruments and starting to think about
how it would feel to be inside a string instrument. I got to test some ideas about large scale spatial
instruments at the Banf centre during a residency in 2009. I suspend a viola in this reverberate
stairwell in a way that facilitated playing both the instrument and the surrounding enclosure. That's
where the idea of studying architecture started to germinate for me.

At GlogauAIR you have been focusing on creating instruments for the pedestrian body. Can
you brief describe the project?

I have been working on a series of tuned concrete tiles that make up an installation called
Augmented 5th. They are supported similarly to traditional idiophone instruments ie. Xylophone,
marimba and resonate when stepped on. You experience a huge range of sound and vibration based
on the gesture of your step, where it's placed on the tile and what kind of shoe you are wearing. I'm
really interested in those subtle changes and the idea that your sonic impact on a space could be so
different based on these factors. I started developing the tuned tile design during my architecture
thesis. I was exploring strategies the body could create and experience sound in public space, and
ways that spaces to be designed to encourage listening.

What is your usual creative and working process?

I have different processes for different types of work. I also write a lot of music and make videos,
the processes are all constantly evolving. For the project at glogauAIR, I started with drawing, trying
to anticipate and solve as many problems as possible. I then looked for materials and did some
testing at full scale with recording. I focused on the sound for a while at this point writing phrases of
notes for specific paths on the tiles. I used the phrases to construct a platform and then a full-scale
mock-up of the Installation.

Sight is probably the most dominant of our five senses in our time. However, when we talk
about sound the word soundscape is often used. This concept implies the possibility of
mapping a space by only recurring to the existing sounds in that same place. How visual do
you think sound can be? Or does sound give us a whole different way of perceiving the

For me, sound is so powerful because it takes us beyond the eye. It bleeds and surrounds in a way
that sight can't. Our other senses can be more powerful in many ways because they aren't targeted
as aggressively by marketing and spectacle. I rarely remember the images I see in the u-bahn
stations but if I hear or smell something different, it stays with me.

Every space has its own soundscape, like a sonorous identity. They have been naturally
changing depending on historical periods. How would you describe our time’s soundscape?
And how would you describe Berlin’s soundscape?

Soundscapes are really different from place to place. There is also a sameness between the
ones I've experienced. The similarities are in some ways as interesting as the differences.
The cars in Berlin are really similar to the ones driven in Canada so in many ways the traft
sounds the same, unless the cars are driving on cobble stone and then it sounds totally
different. I wonder about how globalization effects the soundscape, with the availability of
similar products and music globally -do we lose a bit of our sonic identity?
I'm staying in a apartment with a courtyard right now, so I have this beautiful moment every
time I enter the building where I totally leave the street behind and experience this quiet
that is hard to find in Canadian urban environments. Because I don't know much German,
the hum of people talking transforms from language to sound field. It's so different from
building to building and neighborhood to neighborhood, I don't know if I can summarize
Berlin, I can only say what I heard here.

As it has been mentioned before, you are a trained orchestral musician. This means that you
used to work with music, which one can say that are sounds produced by a regular
instrument, ordered in a very specific, classical manner. However, you are working with
sounds which you cannot really fully control. Do you tend to order them or you just accept
their roughness and randomness? How do you manage these two very different

I like surprises and I like mistakes, so in general I embrace the chaos. I use a organized logic to design
my work, like ordering the tiles in my Augmented 5th installation based on musical phrases. In the
piece itself so little of that logic comes through. That's interesting to me, that there might be a 10%
chance that anyone hears what I wrote into the piece. Other interesting things happened as well,
like once I was working with dancers the tiles started to break. They never broke when I had been
testing them on my own. For me it added an extra level of excitement, it wasn't a failure, just a
different outcome. I was happy to let go of the rigidity of the classical practice. I appreciate amount
of concentration and discipline that goes into traditional music but that's not what I have to offer to
the world. Most of the classical music that is performed today is historical. There is a place for that.
I'm more interested in new music and new instruments for a current context. It's important for me
to question why you play a specific instrument or piece of music and not just do something because
that's the standard for someone somewhere else. Music as an industry and practice is still saturated
in misogyny. I'm interested in making new instruments as an exploration of timbre and ways of
generating sound but I'm also interested in breaking from this really male dominated practice, and
making something divorced from that tradition.

Probably your background in architecture made you particularly conscious about all the
different peculiarities and details necessary to dealing with different materials. You have
been designing and creating your own instruments. We can see some of them in your
performative installations Tuned Concrete Tiles (2017) , Mutual Instruments for Movement and Sound (2016-ongoing) and in Self and Self-Portraits (2013). At the same time it seems that you have been distancing yourself from what can be traditionally called ‘instruments’, which were still strongly present in your first works Score Sketch B (2009) , Distaf Sketch B(2010) and Solo viola and the behave well (2009). How would you interpret this shift in your artistic practice?

The new works are from after and during my study of architecture. Before I studied architecture, I
was modifying instruments, adding strings to them, changing them slightly. After I studied
architecture I had more skills to make and draw other ways to create sound. I also did a directed
study about acoustics and sound art in 2013 that really opened-up my idea of what an instrument
could be because I understood how sound worked on a much deeper level.

You have been a resident artist at GlogauAIR for three months. In which way do you
consider that Berlin has influenced or contributed to your work?

The different materials that I was able to find here definitely influenced what I made. For example, I
used aerated concrete tiles in my installation which are not readily available in Canada. The lifestyle
is different than Vancouver. It seems that more artists are working full-time on there craft, so if you
want to collaborate with someone, everything can come together quickly. I also met so many people
who are making instruments here, it feels for me that the practice is really alive and well here, which
is inspiring, for me.

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