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GlogauAIR Resident Artists

Place, the end of one’s journey
Project Space Exhibition

15 - 16 December 2017
@ GlogauAIR

GlogauAIR Resident Artists

Alexander Bondar // Jose Caerols // Wei Fei // Nessa Finnegan // Fuentesal & Arenillas //
Yuan Gao // Kim Hyun Kyung // Marko Ivic // Jenny Lewis // Jia-Jen Lin //
Fermín Sales // Vappu Tuomisto & Matti Koskinen // Jazoo Yang & Haku Sungho

The Artist residence GlgoauAIR was born in 2006 thanks to the project by the spanish artist Chema Alvargonzález who envisioned the creation of a location where emerging international artists could find a place to work, cooperate, exchange and live new artistic experiences.
Together with our AIR program, the vibrant, experimental atmosphere of Berlin that serves as background to this unique experience, makes it a valuable opportunity to develop knowledge, research and creativity, as well as to enlarge one’s network.

As GlogauAIR has gotten the public used to, we will be wrapping up 2017 by opening its doors on the 15th and 16th of December. Besides having our artists personally welcoming the visitors into their studios, we will be hosting on the ground floor the exhibition Place, the end of one’s journey. As a result of a collaboration with Stil Vor Talent, Friday night will be submerged under the beats of the world renowned DJ Niko Schwind.
On Saturday our residents Haku Sungho and Jazoo Yang will be performing after the Artists’ Talk What borders in a global world, where the artists Fuentesal & Arenillas and Marta Lodola will expand their creative views on the phenomena of deterritorialization and reterritorialization in a globalized world.

Open Studios December 2017 will give the visitors the opportunity to dive in Alexander Bondar’s snowy post-Soviet landscapes, while juxtaposing them to Fermín Sales’ rural, raw cinematographic images of El Maestrat. Fuentesal & Arenillas pose the question of continuity through their ever-changing medium, while Yuan Gao explores the constantly transitioning relationship between the environment and humanity.

The artistic couple Jazoo Yang & Haku Sungho proposes an alternative way of understanding sound through interaction and in the meantime Jenny Lewis negotiates space transcending the two and three-dimensional realm. Jose Caerols follows the footprints of a post-industrial identity whilst Kim Hyun Kyung opposes him by exploring the emptyness and tranquility of bamboo forests. Parallel to the instrumentalist Marko Ivic, who deals with the interaction of his own body in relation to that of the piano, the interdisciplinary artist Jia-Jen Lin examines the process of searching for and reconfiguring physical and digital memories.

Using humour and tactile materials, Nessa Finnegan’s work explores a wide spectrum of established gendered roles and rules, while through their fictional screenplay The Finnish duo Vappu Tuomisto & Matti Koskinen distresses over the farmers mistreatment of animals and shrinking resources for the care of the elderly. Lastly the Chinese artist Wei Fei explores the culture and history of Berlin through different mediums such as sculpture, installation and graphic painting.

Place, the end of one’s journey
Project Space Exhibition

Selected Open Call for curatorial projects

Hagit Cohavi // Jinran Ha // Laura Ribeiro

The advance of the globalization of economic and cultural exchange have allowed people to move beyond the idea of a sense of place in a physical sense. Therefore, as a central key to have a sense of place for modern human being, the most, important step can be finding and relating to the parts of feeling and experiences which they can carry around, no matter where they are. In other words, internalizing the feelings of place inside themselves can be a primary requirement for people to expand the spectrum of a sense of place. In this sense, a sense of place doesn not lie any longer in a geographical place, but in stories built up by our daily experiences.

This exhibition congregates diverse cultural contexts and reflects intimate senses of place, by showcasing individual interpretations of the urban environment both public and private. This show is about discovering new ways of conceiveing one’s own place and balance beyond a physical realm.

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Friday 15 December // 19:00 - 24:00

20:30 // Grippin World // Live DJ Session
// Niko Schwind // Still Vor Talent

Saturday 16 December // 16:00 - 22:00

17:00 // What borders In a global world // Artist’s Talk
// Fuentesal & Arenillas - Marta Lodola

19:00 // Lost in this moment // Performance //
// Jazoo Yang - Haku Sungho

✴   ✴   ✴

Silent Tales

Installation view of Untitled (Ndiya kusthanda), part of the Infecting the City festival, 2015, Cape Town, South Africa

Artist Talk

Silent Tales

The non-verbal narrative of soundscape and music
Haku Sungho & Vincent Chomaz

18:00 @ GlogauAIR

Life on Earth cannot possibly exist without sound. Every element (whether living or inanimate) has the potential to produce noise, since it is inherent to the physical matter of their bodies and their natural interaction with their context.Therefore, sound can be understood as an underlying condition of life, an inescapable by-product of being alive.

Attending to this fact, the term soundscape was first coined in 1977 by the Canadian composer and environmentalist Murrey Schafer, referring to all of the different sounds that can be heard in any given environment. Later on, Bernard L. Krause identified three terms to define the general sources of sound that occur within a soundscape – biophony (biological sounds from microscopic to megafauna), geophony (sounds generated by non-biological natural sources such as wind or running water) and antropophony (sounds generated by humans).

Natural soundscapes are key to understanding human environment and cultural development, with regards to languages, physical expressions such as dance and most importantly - music.

Being not only a part of the very construction and interpretation of social and conceptual relationships and an important component of modern-day soundscapes, music has also always been part of the fabric of everyday life, much like soundscape.

Although the concepts of soundscape and music have been tendentially seen by academics as clearly separated, contemporary artistic and musical practices have been fostering this interconnectedness. Binding them together is not so much the technique, rather than the potential to express a given identity by means of a non-verbal narrative, offering the audience the universal opportunity to feel solely by hearing.

Vincent Chomaz is a Berlin-based interdisciplinary artist working primarily with audio, installation, and text as a base for social commentary and immersive experiments. His artistic practice ties together history, fiction, and language to explore elements of the collective and individual unconscious.

Haku Sungho practices music composition and visual art projects, and has been trying to find his proposition with others in new dimensions suggested by his ontological existence. In the process of practicing his performances in Tokyo, Yokohama, Seoul, Busan, Hong Kong, London and other cities, he has perceived his identity as a drifter and felt ambiguous station without firm emotional roots to his origin thus being distanced from the community and people he encounters.


Nessa Finnegan

When I grow up

November 2017 @ GlogauAIR's showcase

More Showcase Projects


Meet the Artist

Clark Beaumont

The australian duo Clark Beaumont investigates ideas and constructs surrounding identity, interpersonal relationships, intimacy and female subjectivity, through the mediums of video, live performance and photography. Through regular art-research, participation in exhibitions, residencies, and workshops they seek to continually develop their practice.

Drawing Sessions

Sketch The Moment

A performance for live drawings
Irene Graziadei

Monday 19:00-21:00 - Tuesday 11:00-13:00 @ GlogauAIR

Facebook event

Sketch the Moment is a life-drawing session with focus on the study of movements and gestures.
Every week different themes and music will be presented, so to always get new sources of inspiration.

The sessions are structured like this:
5x5-minute-poses + 5x3-minute-poses - short break
40 minutes of a variety of quick poses in a sequence of movements, with some toys and accessories - short break
15-20 minutes slow-motion performance, with only occasional short stops in a pose

Entrance fee: 7€ + tips

For more info contact:


GlogauAIR Artists in Residence Program:


January 31st, 2018
Deadline for the residencies beginning in July and December 2018.

Attention: New Fees from May 2018!




Conversations into a liquid state

Elsa Mencagli
Anja Nedremo
Anna Jalving
Marie Sønderskov

19:00 @ GlogauAIR

Facebook event

Sounds. Drops from ice melting. Drops hitting the paper bowls, creating a rhythm that soon is disrupted. A new one occurs. Then, other sounds. The musicians listen to the drops and respond with their instrument, finding a language. In the now, in continuous change. The light moves through the bodies of ice, and as the solid matter transforms through time into a liquid state, the exploration of sounds and rhythms unfolds.

The performance Conversations into a liquid state explores the dialogue between sounds, physical elements and space, through the interaction of three musicians with a temporary installation.

We invite each visitor to listen, to move. To discover a landscape made of subtle sounds, ice, bodies and light.

Elsa Mencagli graduated as a Bachelor at the Architect School of Aarhus, Denmark, Summer 2016. She is captivated by the continuous dialogue between the psychical body, space, and material. In her practice, she is exploring those relationships through a multi-disciplinary approach. During the Fall 2016 she was a resident at Arts, Letters and Numbers (ALN), an art-education centre located in up-state New York, where she had her first solo show. She has participated to interdisciplinary workshops at ALN and thanks to those she collaborated with visual artists, musicians, dancers and film-makers. Since 2017 she has been working and exploring individual and collaborative projects in Denmark, Norway and Germany. She now lives and works in Berlin.

Anja Nedremo was born and raised in Drammen, Norway. She started her music studies at the Young Talents Program (TUP) at the Norwegian Music School, and on the Young Talents line at Barrat Due Music Institute in Oslo. In 2008 she moved to Aarhus, Denmark, to attend the Royal Danish Academy of Music, where she both took BA and MA in classical saxophone, and is currently a student at the soloist line. Anja attended a study program at the Conservatory of Vienna and she has a postgraduate education from the Escola Superior de Música de Catalunya in Barcelona. Anja has received a number of scholarships and grants, worth mentioning is when she was awarded the prestigious Norwegian "Ticon Award" in 2013, and was one of the recipients of Leonie Sonning's music grants in 2015. As a soloist and chamber musician, Anja has won competitions at home and abroad, among which a soloist competition at the Jutland Music Conservatory. She has also been a soloist with Aalborg Symphony Orchestra and Randers Chamber Orchestra.

Anna Jalving is a young violinist, composer and performer, living in Aarhus, Denmark. She was educated at The Royal Academy of Music, Aarhus and The British Columbia Academy of Music, Vancouver. During her studies she attended courses with violinists as Saori Furukawa, Michelle Makarski, Robert Rozek and MoYi. As a soloist she transcends on the borders between classical and contemporary music and has ambitions both as a violinst, but also as a creative artist and entrepreneur. In addition to solo playing, she is a member of Ensemble PEGASUS and Duo Sakham/Jalving. Anna is also an active board member of AUT (Aarhus Young Composers), where she arranges concerts and artistic cultural events.

Marie Sønderskov is a Danish flutist with a special passion for exploring soundworlds with an artistic approach. Marie mainly performs new music. As a member of NJYD quartet she regularly premieres new pieces by Nordic composers. She has often worked with other artists in multi aesthetic projects where she performs her own compositions. In collaboration with electronic composers she has premiered pieces for flute and live computer on three different continents.
With a classical education as a foundation she has performed in famous concert halls, - as well as a car garage and a variety of places in between.
Marie holds an advanced postgraduate degree from the Royal Academy of Music in Denmark,
Aarhus. Parts of the studies were completed abroad in Helsinki and Tokyo.


Bodies Not Apart

Francesca Beltran
Katica Puga
Caterina Gobbi

18:00 @ GlogauAIR

Facebook event

Bodies Not Apart is the encounter of two artists and their personal approaches to body and dance. Francesca Beltran’s photography and Katica Puga’s sculptures oscillate between the natural and the supernatural. The tension of expected movement vibrates through both bodies of work and rushes in a sense of apprehension.

In Beltran’s photographic series Choreomania, moving bodies break apart into kaleidoscopic rays of light as phantasmagoric shapes move across the paper and melt into abstraction. Ambiguous movements allow for endless associative possibilities: ecstasy or desperation, hysteria or meditation, absolute control or complete entropy, bound only by the frame of each photograph. Loneliness and togetherness permeate the images in equal parts reflecting on the isolating effects of our contemporary culture, in which these opposites constantly collide. Individuality becomes blurred and morphs into collectivity with a shared sense of disorder and anxiety.

Puga’s undulating sculptures are a direct response to Beltran’s work meeting its surging urgency with her anthropomorphic, rhizomatous objects. With no ostensible beginning or end, the body grows and overspills from its center, independent and out of control. "Unlike the graphic arts, drawing or photography, unlike tracings, the rhizome pertains to a map that must be produced, constructed, a map that is always detachable, connectable, reversible, modifiable, and has multiple entranceways and exits and its own lines of flight." (1) The perforated surface of Puga’s sculptures sprawls along the metal rod, self-determined and independent opposing Beltran’s panoptic view of confinement.

Interlaced by the allusive sensuality in both works a slow dance between oppositional forces arises, tying the individual bodies unequivocally together. By emulating the movement of the exhibited pieces, sound and performance artist, Caterina Gobbi will perform her digitally modified music alongside the exhibition. The interaction between the three forces becomes a communal investigation of the digitization of society and its contradictory nature, inviting each visitor to join the dance and become part of the collective experience.

(1) Deleuze, Gilles, and Félix Guattari. Rhizom. Merve Verlag, Berlin 1977.

Francesca Beltran is a Mexican visual artist currently based in New York. She graduated from the Fashion Institute of Technology in New York in 2014. In 2016 Beltran participated in Belligerent Eyes | 5K Confinement, an experimental media research facility at Fondazione Prada in Venice focused on contemporary image production. Her most recent exhibitions include PERSONAL STRUCTURES - open borders (2017), a contemporary art exhibition in the context of the 57th Venice Art Biennale, hosted by the European Cultural Center in Venice, Italy; Together We Rise (2017), a short film commissioned by the Women's March on Washington, and No Name (2016), a group exhibition at the Rufino Tamayo Museum in Mexico City. Her work has also been showcased on national and international publications.

Katica Puga is a Chilean artist living in Berlin. Her formal studies are in architecture, graduating in 2016 from the Pontifical Catholic University of Chile, though dedicates professionally as an artist since 2014 exhibiting in Australia, Chile and Europe. In 2016 she was mentored by the Chilean artist Eugenio Dittborn and in 2017 moved to Berlin to carry out an art residency at the Institut für Alles Mögliche. Her recent exhibitions include Vita Tua, Vita Mea in Venice (2017) and Fieber Festival in Berlin (2017).

Caterina Gobbi is a visual artist whose work spans between performance, installation and sculpture. She is currently undertaking an MFA at the Royal College of Art in London.
She is part of the Milan based collective MADAM, the second half of musical duo TCTC, and recently exhibited at Square Gallery in London.


A Space Poem

Jurgis Bernatonis

20.10.2017 - 22.10.2017
19:00-22:00 @ GlogauAIR

Facebook event

A space poem

Installation is staged as an experience of  a space adventure. The lector carries you through the experience step by step, gradually unfolding a poem of the space journey visualized in an instructional animation guiding viewer imagination. The work was inspired by the object created along with the excitement of the space race, the Saturnas, 60’s vacuum-cleaner of the USSR, cosmic exploration propaganda, a planet-hoover.

The work intends to dive into today's desires of exploration, arising from the inherent drive at the heart of the human imagination. Installation offers an experience of letting Kärcher a vacuum cleaner to be ejected into a deep space, the mission expanding human presence beyond earth.
The hoover represents domestic fantasy state of the glorification of consuming objects and technology. 


Meet the Artist

Louise Manifold

The new Meet the Artist interview is out and we are glad to present Louise Manifold. Louise works conceptually with film, photography, sculpture and text. Fascinated by the power of stories and the creation of myth her multi-disciplinary practice reflects upon the nature and expectation of narrative as a means to explore ideas on both the self and the body in relation to the other.

You are a multidisciplinary artist. Your practice ranges from sculpture, drawing, photo, video… How do you choose with which discipline you want to work? In which different ways do these different mediums speak to you and to the public?

I don't really choose my medium, Where it is possible I really try to let my own unconscious decide the conclusions to a work. I feel that it can be very limiting to make a decision on the materials an idea can be sent through if you are still just thinking.
However, it is much easier to have this approach for an exhibition. This is not always possible, if , for example you have commission, where the outcome needs to be clear from the beginning so often in this incidence it will be lens work. I get commissioned a lot to create work particularly in the realm of public and social engaged projects, and a lot of the time the medium is film or video.
Film and video is very open to collaboration is something that is very important to my practice, and I feel lens based work really lends itself to this successfully.
All the mediums I work are deeply rooted in the traditions of cinematic Mise-en-scène, photography was one of the first mediums I felt I could really express myself through.
Sometime it is drawn from the desire to explore that materiality of cinema and memory, that become a trigger for my decisions., I really drawn to ideas that explore how sensuality and memory can be almost inscribed on film and how we imaging the surface For example Laura U. Marks theory on Haptic Visuality are really important to me in respect to this.
I Love the work of Man Ray, Diane Arbus and Francesca Woodman, when I first encountered these artists work, I was a student it marked a turning point in becoming the kind of artists I wanted to become. Woodman's influence is one that I continue to return to, alongside more contemporary artists such as Irish film maker Vivienne Dick and Finnish video artist Eija-Liisa Attila.

In which different ways do these different mediums speak to you and to the public?

Despite some of it’s slightly abstract content, My work is quite research focused, and I really like to try to find as much information as possible on my subject.
The medium comes to me through the research, it can be a lightening bolt, or a slow realisation.
I am very invested in public experience of work, so nearly all of my work is presented with particular conditions, in terms of encounter, so conceptually it lends itself well to installation
-I have always had a love of found objects, curios and material culture, my mother owns an antique shop, so I guess it is genetic. Since I was a child. I was fascinated with how objects could sit and be displayed together what kinds of stories one can create from material display.
I remember being about 11 or so and seeing a sculpture made of reclaimed material ( machine parts and wood) it must have been the late 80s in Galway Ireland. I remember being really inspired to go out and do the same with an old washing machine my parents recently threw out!
But as a result I spend a lot of time working with collections or museum archive, for example. Right now I am just back from develop working in the Musée d'art et d’histoire in Neuchâtel and have previously worked in the La Specola in Florence, Francke Foundations in Halle, Germany, and numerous archives in Ireland. I have always been drawn to ideas on collecting practices as a means rethinking ideas on self awareness and identity.

Could you please explain to us how does normally your artistic process is?

My process begins with a notion. Finding of a story or an object, this finding, be it from a historical or philosophical perspective, just resonates with me.
Something has to be found in order for the work to evolve, Even if it as a reference to another genre, a story or an encounter. I spend a lot of time researching my ideas. But there origins are quite organic and simple, For example two months ago, I had a brief conversation on cannibalism in respect to survival, and that it is still legal in Germany. It was a strange conversation as it led me to think a lot on loneliness which is the impetus for the work I am currently making. My work changes a lot through its process, and it keeps changing until a deadline is given, and sometimes even after a deadline it will change again.

Narratives, the uncanny, legends and myths seem to be cornerstones of your artistic world. How did you first started to be interested in these topics and how do you integrate them into your works?

My childhood, my family, storytelling and also my Irish identity kind of pushed me towards these topics, which I often use this to examine deeper notions on perception, imagination and feminine subjectivities. I am constantly drawn to ideas and situations that ask how we construct identities, and what happens when our sense of identity is compromised. I think much of my work comes from trying to make sense of these notions in respect to storytelling and also different cultures of myth making. Irish folklore is quite dark, even more so in its contemporary narratives, in fact most fairy stories have a great promise of violence, so in someways it is difficult to escape that tradition. Ideas on decay in particular are important to my work, and also landscape and spaces that appear desolate, such as the Connemara landscape in the West of Ireland.

There is a melancholy language that connects people to perishing and decline, and I am fascinated our emotional experience of such and how it can be represented in cinema.

Women, the devil, decay. There topics are treated in your works with great theatricality. How would you explain your fixation for exploring an overlapping of these elements?

I think it is interesting that that you highlight the topic of the devil.. I am not sure if topic in my work ( not in its religious understanding,-however as a human characteristics I think it is interesting that it can be seen like that). I see it more as kind of Gothic /Absurdist take on life.
My work comes from my a sense of detachment that has always been part of my life, a feeling of not really there, or that the internal and external sense of self awareness don't really align. Despite how outside or beyond the collective norm they may appear, it basically talks about individual struggle to inhabit a form or place.
Previously a lot of my work has come from researching dissociative mental states and there connections to mythology-I am interested in the language, actions and narratives used to convey this
Much of my work is based on impermanence and change, I am fascinated with the sublime nature of decay and the material tension it presents.Things breaking down, fading, falling apart-it all becomes like a nihilistic code for becoming other.
I think it helps me focus on the frailty of humanity in more abstract and emotional ways.

Your artistic statement refers that you generate dreamlike scenarios that suggest a sense of disconnection from the lived world in favour of a private real. You insistingly blend the boundaries between the visible/invisible, familiar/unfamiliar, collective/individual, real/unreal. Your works are frontiers, are intersection points, the middle ground. Why is this disconnection, this sort of abstraction from the real world is so important to you?

I am not sure why they become so important to me, I think I have always been interested in binaries and the in-between. I think when you blur lines and distinctions you ask your audience to think which I like to do. I also feel it comes from an uncertainty witching oneself. And reflects a personal position on emotional estrangement’ where these familiar forms of emotional response are disrupted or subverted. I am very interested in both Shklovsky ideas on “Defamiliarization” and Brechtian “Alienation effect” have been a big influences on my work and the decisions I make with my work. I have always been fascinated with ideas and approaches that invoke strangeness in order to illicit public response.

Originally, I made work because I felt like in some ways, that there is breed of people who cannot fit into the actuality of the world, maybe because they found this difficult, they invent s realities that suite them better.. This ideas of escapism through delusion, repetition or boredom is something I have been drawn to for over 16 years - well before the invention of the Internet anyhow
However I think it is actually becoming much more difficult to talk about abstraction from "the real" world today as so many people are connected to digital environments and social media.Escapism feels like a norm that is culturally insisted upon, against this we also have a huge amount of literature and practises advising us how to live in the present.It feels like society seems to be suffering a great difficulty in connecting to reality right now. I have come to consider my work as being increasingly drawn to comment upon this, as I feel that abstraction almost is the norm.

Could you please describe to us the project that you have been working on while at GlogauAIR?

My project at Glogauair is based on research of early German Expressionist cinema, particularly the lighting and set design.
I have been a huge fan of German Expressionist moments, mainly in early cinema genre such as Fritz Lang’s Metropolis, The Cabinet of Dr. Caligari and The Golem alongside the design ideas of Han Poelzig, Bruno Taut and Paul Sherbart
I am particularly interested in how this genre represents the human sentiments of it time..There is a sense of the collective crises, which I feel is repeating itself today.
I have been working a lot with creating miniature enviroments, working with dissolved plastic houses that I sourced from a second hand store here in Krutzburg. The houses look like traditional German homes, but I have put them through a very reductive process that subverts there representations.
I have really enjoyed the time on residency as a means of working with the materiality of different object, and I have really used this ,the opportunity to play with the sensory qualities of a material and emotions positions.
The symbols of the broken house is a very contentious one, particularly in respect to Ireland. And whilst it is may be considered as a commentary on real estate, it is a sense of homelessness that I have felt, and I am often under the belief that If I feel this, it must be felt by others.

Louise Manifold's residency was funded by Galway County Councils Individual Artists Bursary Awards 2017.


Dawei Li & Lin Mi

The 110 eggs of the Yellow River Mother

October 2017 @ GlogauAIR's showcase

More Showcase Projects

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