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GlogauAIR Resident Artists

Where you begin and where I end
Project Space Exhibition

22 - 23 September 2017
@ GlogauAIR

GlogauAIR Resident Artists

Karine Bonneval // Brittany Brush // Anahita Ghazanfari // Marie Jeanne Hoffner // Eunhee Hong //
Dawei Li & Lin Mi // Louise Manifold // Mint Park // Ben Reilly // Fermín Sales // Chen Siyu

As the tradition goes, GlogauAIR will be organizing its September edition of Open studios on the 22nd and 23rd of the same month. Here, Berlin art lovers will have the opportunity to get involved in the artistic process of 10 international artists by having a look inside their studios. Furthermore, GlogauAIR will be hosting the selected Open Call for curatorial projects launched last Spring. Where you begin and where I end, will question our perception of boundaries within a communal space. The artist talk Sensitive Geometry will be tackling the subject of space as a set of tangible variables defined by individual experience.
Friday night would be submerged under the beats of the resident artist Mint Park who will be presenting Night of the In-Betweens, a project developed by her, Rodrigo Seña and Anders Bach.

Open Studios September 2017 will be showcasing the never-before-seen projects that the 10 resident artists have been working on these past few months. The artist duo Dawei Lin and Lin Mi will be evoking the collective memory of Germany and China, while Ben Reilly uses essentially old materials to bring back that sensuous oldness that is not the past but time itself. In her audiovisual installation, Brittany Brush constructs an experiential subconscious mental space, activating internal psychological impulses that connect the body and mind.
At the same time, the painter Anahita Ghazanfari embarks on a journey into the living and breathing pages of history, to reach the long-lost symbiosis between the rhythm of nature and that of Men. The Irish artist Louise Manifold has been working on destabilizing traditional symbolism of what we call “home”, in order to reflect upon the contemporary existential crisis, whilst Fermin Sales highlights the intergenerational and cultural gap existent between urban and rural societies, through manipulation of old cinematographic footage.
In her installation Eunhee Hong explores the stereotypical viewpoints and perspectives that many of us carry around unwittingly, while Chen Syui reflects on the problems of contemporary society by creating an unreal world made out of light and mirrors. On the other hand, Karine Bonneval focuses her work on the growing environmental problem by examining the surface on which humans are anchored and the territory on which they live, whereas Marie-Jeanne Hoffner examines our relationship to reconstructed architecture and the utopian ideas behind modernist architecture.

Where you begin and where I end
Project Space Exhibition

Selected Open Call for curatorial projects

Zaida Guerrero Casado // Susanna Hanna // Regina Magdalena Sebald

How does our surrounding space determines us? How do we determine the space around us? Space experienced as a concrete physical as well as a psychological construct. Boundaries are set from ourselves or from outside? How is our social interaction? Are we protagonists, observers or do we isolate ourselves? These are the main questions the three artists Zaida Guerrero Casado, Susanna Hanna and Regina Magdalena Sebald elaborate in their actual art work.
Zaida’s installation deals with the self-defined, personal and arranged limits. The visitor is forced to react, if he wants to move from one room to the others. In her performance Regina puts herself at the mercy of the visitor’s reaction by giving the mandate to others to decide about the handling of her own person. Susanna’s video installation seems to offer a beautiful shelter, where we can hide. However, this is just an apparent and very fragile refuge. The agitated outside world intrudes into the inside of the shelter.
Where you begin and where I end will take place at GlogauAIR (Glogauer Str. 16, 10999 Berlin) on 22 and 23 September.

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Friday 22 September // 19:00 - 24:00

19:00// Regina Magdalena Sebald // Angst // Durational performance

20:30 // Night of the In-Betweens // Live Music // Mint Park - Rodrigo Seña - Anders Bach

Saturday 23 September // 16:00 - 21:00

17:00 // Sensitive Geometry // Artist’s Talk // Zaida Guerrero Casado - Marie-Jeanne Hoffner

19:00 // Trust/Multiplication // Regina Magdalena Sebald // Durational performance

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Sensitive Geometry

Zaida Guerrero Casado, Untitled Plastic foil, vegetable protection net and caramel, 2012

Artist Talk

Sensitive Geometry

Zaida Guerrero Casado & Marie-Jeanne Hoffner

17:00 @ @GlogauAIR

Facebook event

In frame of the Open Studios September 2017
A space is in its very essence a mathematical, geometrical, concrete entity, where all physical bodies can potentially co-exist. However, every space is always more than a set of tangible variables. Frequently one can intuit it when stepping inside a space and one feels that it exhales its own presence.

A space is in its very essence a mathematical, geometrical, concrete entity, where all physical bodies can potentially co-exist. However, every space is always more than a set of tangible variables. Frequently one can intuit it when stepping inside a space and one feels that it exhales its own presence.

Indeed space is seldom a random agglomeration of formal elements. Its order is frequently determined by innumerable and varied underlying vectors, which spring from metaspaces, such as the social-political context and the intimate and personal realm of human mind and emotions.

Thus, space is more complex than what first meets the eye. It is indeed an entity with its own identity, composed by an interweaving of inner spaces, of silent tensions and emotions, of unspoken negotiations, of unseen compromises and conventions, a projection of memories and states of mind.

Space and human lend continuously characteristics to each other. We change it but it can also affect us, we inhabit a place but it can also inhabit us. Experiencing a place is in this way always a symbiotic individual experience. No one ever experiences or reads the same place in the same way, for no place affects everybody in the same way.

The geometry of space is only truly activated by the way that it is inhabited, by how humans participate in it. It is only in this way that it truly gains a meaning. A place is then a multidimensional sphere – simultaneously tangible and intangible, physical and physiological, universal and individual, external and internal, rational and unconscious, an entity and a reflection.

Forms are after all only half concrete: geometry is sensitized matter.

Invited Artists:
Marie-Jeanne Hoffner - Her work reflects upon the place one’s lives in or/and the place where the work itself is shown, questioning how they are inhabiting us. They reflect a perception of space as map, a living space and place for the body, with a translation of space which is both physical and metaphysical. Responding to places, Marie-Jeanne tries to build works that could relate to a sensitive architecture, involving the notions of displacement, memory and place, deconstruction and reconstruction, so that the audience can practice and experiment those spaces in various ways. Marie-Jeanne is based in France and currently residing at GlogauAIR, thanks to la mire’s program A Roof Above your Head.

Zaida Guerrero Casado – Zaida’s installations are site specific works, which directly and physically challenge the public. Zaida looks at space not as just as a container but as a body in itself with its own identity. This means that this body has a form or even a use as well as a very own physical, emotional, social, signifying and relational dimension too. Barriers and consequently communication, contact and introspection have been some of her main topics of research. Zaida is currently based in Leipzig, Germany.


Meet the Artist

Brittany Brush

The new Meet the Artist interview is out and this time we are glad to present Brittany Brush. Brittany's work is a bridge linking external time and space to internal thoughts and feelings. "Each work created draws from my curiosity to understand something deeper about society’s epistemology, ultimately fueling an innate desire to transform those feelings into sublime experiences."

You have a background in Psychology, and that is quite noticeable in your work. You focus mainly on ephemeral subjects such as memory, thoughts, feelings, and sensations which you make tangible through audio-visual language. In the June Open Studios catalog you quoted André Breton, the author of the Surrealist manifesto. In which way do you consider your work to be inspired by this movement?

Before I began as an artist, I had studied both Biology and Psychology extensively for several years. So quite naturally, these subjects began to materialize within my work, and have since become increasingly influential in how I translate ideas and establish connections.

Specifically because of my academic background in Psychology, I was initially inspired by the writings of Breton, along with the works of Man Ray, and Roberto Matta—all of which fascinated my interests, bridging my transition from psychology into art. In a broader sense now, I believe there has been a suppression of internalized emotion and intuition amid the rise of rationalism—and there are many significant parallels within today's contemporary society and that of the original surrealists. I construct and juxtapose internal and external realities, and focus on making psychosomatic connections between the body and mind. So for me, I think it is important to make work with a historical context in mind—so there is some influence of Surrealism in how I am making work in a contemporary sense within a society that is so technologically driven and often times emotionally detached.

I also see a relationship to ideas of Surrealism both with respect to the content of my work, and also how I approach my process—especially in my impulse to bridge subconscious connections that relate to memory, the dream-like, internal thoughts, and sensations. Additionally, I place a focus on spontaneity and emphasizing the abstract in order to free the imagination. Given the connections within my work to the ephemeral, this approach provides flexibility in order to probe deeper connections and relationships to both psychology and the psychoanalytical. One of the other reoccurring parallels is the linking of audio and visual abstractions to generate subconscious associations, which I see as a way of accentuating a more irrational way of thinking. So this emphasis on the irrational is a space that I am working in as I am interested in how the exposure to the irrational shapes our perception of reality. These ideas of the subconscious and the irrational also had an impact on my transition into sound and video. I find sound and video to be very fluid mediums, especially when working with ephemeral subject matter . When considering some of my initial inspirations, Emak Bakia & L'Étoile de Mer by Man Ray, I realized the necessity of having the freedom to adjust and manipulate variables real-time in way that allows me to intuitively respond to the ideas and what they need at certain moments.

You have stated that your art is “a bridge linking external time and space to internal thoughts and feelings”. How do you choose the imagery to embody these immaterial subjects? And how do you think that the potential of the audio – visual language can help in creating collective imagery?

With respect to the statement about this bridge within my work—I often loosely define my overall artistic practice as a means of fusing internal and external realities. I frequently look towards the external: physical environments, landscapes, and experiences—and merge them with the internal: thoughts, feelings, and emotions.

I am constantly scanning my archival backlog of audio and video recordings — intuitively looking for things within this merge of the internal and external that are ephemeral, and often quite invisible if approached from a logical point of view. There is no a clear formula for associating specific imagery to a certain idea, but there are certain patterns of auditory, visual, & emotive stimuli I look for both when collecting footage and in the editing process that reveal subtle truths within these transitory moments in time.

These emotional and auditory modes of communication are quite remarkable in their universality to transcend language barriers. Because of this, I am continually looking for ways to communicate emotively. As much as intuition places a critical role in my imagery, I am looking to create complex systems that provide access for viewers to connect with these non-verbal languages, allowing for the ability to experience other states of consciousness that perhaps the viewer would not experience otherwise.

According to your artistic statement, your goal is to “understand society’s epistemology, ultimately fueling an innate desire to transform those feelings into sublime experiences“. How much of your work is autobiographical? And to what extent do you believe that people can relate to your experiences?

As people, our brains have the capacity to store vast quantities of highly complex information, even unknowingly so. And throughout our lives, this information is cyclical, repeating itself with experience, overtime becoming embedded within us. Often this information isn’t readily understood within ourselves—at least, not until the conscious mind becomes aware of it’s existence, and begins to grapple with the meaning.

Within each work I create, I am looking to collective memory as a means to break down these complex pieces of stored information. In my work, I focus on putting these collective experiences on display to be universally experienced and individually understood. Self- transcendence and empathy are two ideas that are always pressing in the back on my mind during the creation of my work. When considering your own epistemology, inherently the focus transitions to something beyond yourself. There is this strain of commonality in our existence as people that is stronger than the distinctions we see externally. So in my work, I am continually in a state of thinking more about the viewer than about myself, specifically to consider the viewer's ongoing search for a deeper version of their internal selves and how I can create an environment for that to occur.

How does your artistic process usually work?

My process begins as a natural response to my external environment—it is why I travel and expose myself to new realities so frequently. I am constantly perceiving the everyday— filming, recording, and seeking moments of daily life that are unique, inspire me, or make me feel something internally. I believe art should awaken something inside you, so I start my process seeking something that awakens me—whether that is a finding a connection with what I am filming, a moment while editing that resonates with me, or using physical materials to activate my thought process.

My process is also built around maintaining an equilibrium—staying in the studio vs. going out in the world, editing on the laptop vs. losing myself in a sketchbook, defining structure vs. releasing control. When I set out with a particular project in mind, I always make a rough storyboard, yet allow room for chance and spontaneity to influence the course and/or outcome. So I never necessarily start with one particular step, but instead allow intuition to guide my decision making. I organize complex systems of associations and connections; yet I rely on intuition to determine how I operate within that framework. Since my work takes into consideration an emphasis on bridging subconscious connections, I work in a continual state of push and pull against my logical self, in order to fully create tangible moments that are more experiential than rational. Allowing for my process to be intuitive and ‘in tune’, almost like a form of meditation with my own presence, allows me to discover deeper connections with my own subconscious and create works that are genuinely authentic.

Several philosophers, such as Friedrich Nietzsche, tackle the question of the eternal return – the concept that the universe and all existence and energy has been recurring, and will continue to recur, in a self-similar form. The loop is a recurrent effect in your work. In your artistic language, is it an allegory of the eternal repetition of life and death?

I think the reference you make is valid, but what I would say is that I don’t see the loop as only one translation in my work. We all exist within complex systems that demonstrate patterns of repetition over time, and the cyclical nature of life and death is one of those translations that does exist within my work. At the same time, I see the idea of the reoccurring as more of a lens into empathy and a means of amplifying awareness of the underlying reality. I am looking to put emotion out in the world: to reveal it, project it, show it, reflect on it, and have others experience it. In this sense, the repetitive nature of my work is an allegory of bringing to the surface deeper emotions that give more meaning and context to our existence—meaning that often times remains dormant within us. We are often deterred by the very nature of daily life to acknowledge our emotions, and even less allow them to influence how we interact with one another. The average smart phone user touches their phone more than 2600 times per day—just consider that number. Beyond that, think of the amount of time everyday we distract ourselves from our own uninterrupted thoughts just to simply acknowledge how we feel.

The loop also creates an access point into the idea of collective memory that can be relived, activating different layers of internal emotions at different times. It is this iterative nature of emotion that feeds my work into irrationality as well—the flow of absence and presence of internal emotional awareness. I detest the idea that in order to exist in the world, there is a need to logically and rationally understand it in order to exist. So to me, the idea of the loop allows for chance to reiterate this idea of irrational experience through repetition.

In your work PARACUSIA, 2015 (a state of auditory hallucination) and PARAMNESIA 1, 2016, (a distortion of memory in which fact and fantasy are confused) you are exploring the subject of mental disorder. How do you consider that those conceptions of reality which are considered out of the norm, could help expand our understanding of what reality really is?

I am fascinated by the depths in variation of the human psyche. We as a society are so quick to label what we do not know as unstable or as a disorder, simply because we lack the capacity to understand it fully. Coming from a family that has documented cases of anxiety, epilepsy, autism, and dementia, this background has driven me to consider what we perceive as reality even if we are not the ones directly experiencing its phenomena.

My artistic language is often looking to the irrational as a way for you to understand the underlying emotion and as a means of translating the underlying truth. Emotions themselves are inherently irrational—they often do not make logical sense, yet they reveal something fundamentally true. What we perceive as reality or what is disseminated to society as reality, is a reality that many times has been constructed, void of authenticity and truth. From the news that we consume, to the "reality" of reality television, the "reality" of what we portray of ourselves through social media, all of these realities supposedly are real, but in many cases are merely fabrications and manipulations. Emotions are raw and primal—they conceal an imperceptible truth that is overlooked or even disregarded in the rational world. Through the exploration of psychological disorders and exploring induced states of hyperreality, I'm looking to blur the lines of what we consider reality and what we consider nonsensical. Is reality based in what we are told is rational, logical, and what makes sense? Or can true reality be found more in the illogical and irrational? And are those states of mind undervalued in a world of data, analytics, and technology? I hope my works challenge these conventional pre-conceived notions that reality may be in actually closer to what we don't understand, rather than what we do.

You have worked as a resident artist at GlogauAIR for 5 months. How do you feel that living and working in Berlin has influenced your work?

When traveling, my interest is genuinely in the desire to understand the people, culture, and environment in which I am residing. Berlin possesses a unique feel as compared to many European cities as it is vibrantly filled with contemporary art and multiculturalism. I continue to make day trips to various areas of the city and my curiosity is driven by the unknown.

Because I do not yet speak or read the language here, I have gone about my time within the city being ‘hyperaware’ of my surroundings and environment. Whenever I go somewhere in Berlin for the first time, I have a natural anxiety about this ‘unknown place’, because I have never been there and I don’t know what I’m going to experience. Due to this, I go about my days here with a heightened state of awareness, in continual anticipation of what I am going to experience. My travels lead me out my door for one reason, but I typically come back with something entirely unexpected. So being in Berlin has actually been a very positive experience for me and my work, allowing me the ability to be more in tune with my surroundings and the visual and auditory nuances of new spaces.


Louise Manifold

Starless in The Brocken

September 2017 @ GlogauAIR's showcase

More Showcase Projects


GlogauAIR Artists in Residence Program:


October 31st, 2017
Deadline for the residencies beginning in April and July 2018.

Attention: New Fees from May 2018!




Voice of Doxa

Zona Dynamic

18:00-23:00 @ GlogauAIR

Facebook event

ZONA DYNAMIC invites you to VOICE OF DOXA - a radiant one-night happening presenting an exhibition of non-tangible art matter joined with a performance art program at GlogauAIR Project Space as part of the Berlin Art Week.

Under the premise of the existence of a common belief system lies the concept of VOICE OF DOXA. DOXA has been given and taken the right to be perceived one with reasoning and, instead, fell into the realms of the belief. Tones of religious power, meditative states, motivational speeches. Here now, it became a sound, a spoken word on the verge of trance, the singing, the rhythm - voices to empower cells and matter.

Artists: Yan Gi Cheng and Yuko Amano, Vincent Chomaz, Gil Delindro, Eiliyas, Eliza Goldox, Natacha Mankowski and Resi Bender, B.P. Schuett, Fellipe Vergani, Sara Zaltash


Arttraffic vol. 1: Dazwischen

analog cadavers and digital lives
Arttraffic collective

08.09.2017 - 09.09.2017
Opening 19:00 Friday 8th September 2017
Facebook event

DAZWISCHEN brings together multimedia artists to investigate the ontology and metaphysics of gaps, transitions, and fissures —of the spaces in between. The performance and exhibition project DAZWISCHEN is the first of an event series organized by the art collective ART TRAFFIC.

Curated by
Valentina Ramona de Jesús

I'm living the future so the present is my past.
My presence is the present, kiss my ass.


We have arrived to the future as prophesied by the Mayans and Asimov alike. The World Wide Web has shown us the new faces of the empire. In this age, here, now, in the future, matter is no longer the precondition of existence. At the other side of the screen, bodies made up entirely of binary code, live full lives. They dance and discuss, fuck and forget without having muscles to exhaust or a nervous system to tire. In this age, here, now, in the future, presence does no longer constitute reality and attendance is no
longer mandatory to certify assistance. And yet, today, in the future, one asks the more insistently: What is then this ‘I’ that sits here writing? Where is the artist? What or who is then this body that here waits and withers? What role does the artist play in production?

DAZWISCHEN brings together multimedia artists to investigate the ontology and metaphysics of gaps, transitions, and fissures —of the spaces in between. The project can be understood as an interplay of visual and media art, photography, poetry, and performance as a means to examine the space that divides the realm of the digital and the analogue and that separates just as it bridges the geography of the ghostly and the unfathomable on one hand, and the material and the perishable on the other.

Artists: Kimbo Kheradmandi | Stephania Flores Castán | Alicja Wisniewska | Leonie Brandner | Miguel Canal | Kim Jae Kyung | Francisco MeCe | Moisés Horta Valenzuela

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Friday 8th of September

19:00: Doors open to public
19:30: ‘Fragments’: Interactive installation performance by Stephania Castan with dancer Nicolette Michalla
(Every 45 minutes)
21:00: Dj Set by Craig Dortkamp

Saturday 9th of September

19:00: Doors open to public
19:00 – 19:30: ‘Datos Duros / Hard Data’ by ℌEXOℜℭℑSMOS
19:30 – 20:00: Film screening ‘Umzug’ (2017: DCP, Blu-ray 9’53’’) directed by Francisco MeCe
20:00 – 20:30: Interactive installation performance ‘Fragments’ by Stephania Castan
21:00 – 22:00: Experimental Set by Machine woman and drinks by Michelberger's Fountain of Youth


Anahita Ghazanfari

People of Seremban

August 2017 @ GlogauAIR's showcase

More Showcase Projects



25.08.2017 - 02.09.2017
@ GlogauAIR

Facebook event

The Kino Loop Kabaret is an annual film festival that is unlike the regular ones – films are not just shown, but created on the spot. In the course of 8 days, film creators of various artistic backgrounds and expertise come together to plan, shoot, cut and present their films.

The Kabaret is separated into Rounds of two to three days, with a Production Meet at the beginning and a Screening at the conclusion of a Round.

In the Production Meet, filmmakers introduce their ideas and find their crew. In the screening, tired but elated, makers present their work to an audience of both participants of the Kabaret and friends.

You can film virtually anywhere – all over the city of Berlin, in its tranquil greens or busy streets, indoor, outdoor, just keep the equipment provided by Kino Loop safe and dry. Your imagination and capabilities are your only limits.

Our KinoLab, the creative heart of the Kabaret, is open to access 24/7 and it’s where the magic happens. It’s the place where you will see people viciously editing, animating, writing, discussing and rejoicing over a film well done, all the while a few zombies, a policewoman and a man with a parrot head are drinking coffee and discussing the scenes they are about to shoot in the corner next to you. It’s like being on ten sets at once – never still, perpetually in motion.

Everybody, from beginner to full professional, is welcome to join our Kabaret!
There will be three rounds of film-making: 1x48h and 2x72h

Finish your film in 48 or 72 hours. What happens in between is entirely up to you.
There are no restrictions or guidelines in terms of genre, content, style or team building.

We got your interest tingling? Join our Kino Loop Kabaret 2017!

August 25th to September 2nd, Berlin, Germany
1st Round: 48h // 26-27.08 = 20€
2nd Round: 72h // 28-30.08 = 25€
3rd Round: 72h // 31.08-02.09 = 25€

Max. 70 people, so Register now!


Meet the artist

David Gonçalves

David´s art is focused on things that deal with space, time and its relation to Man.
He considers himself a nomad focusing on the essential, that travels in different speeds, whom is aware of the change of rhythms, cycles, of all the lines of time itself in space.

The majority of your works are made of very light and common materials, such as paper. In GlogauAIR’s March Open Studios 2017 you have exhibited two works: Book, 2017 and Untitled Backpack, 2017.  Both of them suggest a simultaneous gesture of keeping and an act of movement, of bringing something kept from a previous place to a new one. There seems to be a connection between a lifestyle and means of expression (between the materials and the formats above mentioned). When and how did you find that connection? How did one influence the other?

One always carries something from the past to the present moment, it is part of our nature. Memories, gestures, ideas, habits are what makes you who you are right now. You cannot avoid it even if you try to leave everything behind and start with a blank page. 
In these last years I was moving a lot, from house to house and also from studio to studio. These changes had a lot of influence in the way I thought about my work and the way I looked at life in general. Somehow when you change surroundings your work changes, it´s inevitable - you also change. Your ride to the studio is different and even just that means you are already experiencing new things. Despite all the changes, there is a line of thought in my work that has started a long time ago. 
This moment is linked to my childhood. To be more precise, to the moment when I started organising my school backpacks. Every time these were moments of making choices, selecting what I needed and wanted to carry depending on the space I had and the amount of weight I was willing to carry. This is something you have to deal with also when you are moving from a place to another. A book inside a backpack is much lighter to transport than something your body cannot support.

You seem to be particularly aware of a specific intrinsic rhythm to natural beings. There is a consciousness of natural Time, of the constant process of transience and of continuity that everything in the world is a part of. This could be seen in the work Mineral/Vegetal/Animal, 2017 that you have exhibited in GlogauAIR’s showcase, where three natural elements are represented all in the same rolled up sheet of paper that unfolds so slowly that the movement – even though present – can hardly be noticed. Is your usage of natural materials/elements an attempt to make your own works be part of that cycle? 

Everything has a rhythm, duration and a different way of responding to a cycle. Some transformations are clear to us, Human beings, depending on the speed that they occur. Others we know about only based on knowledge, even though invisible to the naked eye.
In this specific work I was thinking about the materials I´ve been using lately - paper and graphite. The first comes from the vegetal world… from trees, while graphite derives from the mineral one. In both these worlds time is experienced in a different way, especially if you compare it to our own, the animal - human. We think in decades while trees can think in centuries and rocks in millennia. Thinking about this makes me wonder about the amount of knowledge and memories these beings have by standing here for such a long time. They´ve witnessed so much. How can we learn from this?  How beneficial can it be for us to relate to a different time?
The exhibiting space was also taken in consideration. The window is at human eye level, facing a main street. Everyday there is a constant flow of people, some walking, others or inside their cars. It is a street, people are going from one point to another, it´s a passageway.
I thought I could work with people´s perception of time, especially for those who walk pass by it every day and would noticed that the drawing was different every day, changing due to the used materials. There was an idea put into practice, but then the transformation of the work was completely uncontrolled. The paper was unfolding due to gravity and the colour used was also changing due to its natural pigments. 

You have once mentioned that before your works used to be very colourful. However, your approach is now mainly a monochromatic, a minimalistic one. Can you explain what pushed you to this shift of expression?

You change, the work changes and you cannot stick to what was in the past otherwise you get stuck in nostalgia - you don't progress. This is a question I also ask myself sometimes and can´t come up with a straight answer. When you are working with one colour you don't have to think about all the others, and this means focusing on the idea, on one thing. I don't see it as being a minimalistic approach but rather a choice to be more direct. To use “less words”. My practice is more connected to Drawing than to Painting.

How does your artistic process usually look like?

This process is changing. There isn´t a formula. I like to spend my days in the studio as much as I like to go for walks, visiting new places or visiting the same ones but at different times of the day, night or seasons. I always carry sketch books- they are indispensible.

As it was mentioned before, you use quite frequently a book, or a notebook, as an object in your work. However, there is nothing neither written nor drawn inside the pages. There are only traces of a human physical interaction with the object (the book) by means of the act of folding/unfolding and cut-outs. A book is usually used as a means of conveying knowledge. What do books mean in the contexts of your art practice? Are the folding/unfolding and cut-outs a way of coding information?

These books are filled with information, full of drawings! I don’t agree when you say they are not written nor drawn. Every page is distinct and working in relation to the ones before and after. They make sense as a whole - as a book. There is always a thought put into each page and rhythms are created throughout them. It´s like reading a story book: you will only understand the plot if you go through it until the end. For the reader there will be a lot of surprises in the story but they will be revealed depending on his ability to stay focused. 
The act of manipulating these pages is a way of connecting to the present moment. They are full of repetitive moves which help me concentrate… They are a way to concentrate; to be with myself.

How do you consider being in Berlin and in GlogauAIR influenced your work?

I am sure that it has influenced my work, I feel it but it is too soon to observe and explain where and in what direction. Being in a different surrounding, in a different city, meeting people from other backgrounds and sharing creative processes are undoubtedly a positive thing to the continuous process of my work development.
I must thank you one more time for this opportunity.

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