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NEWS

Exhibition

I call you this you call me that

A solo exhibition by Soohyun Choi
Curated by Joan Lee

19.01.2018 - 25.01.2018
Opening 19.01.2018 19:00 - 22:00 Friday 19th January 2018
@ @GlogauAIR
Visits from 20th-25th from 10:00am - 8:00 pm

Facebook event

I call you this you call me that places the failure of language to be inclusive within the context of Korean society, where people use a variety of honorific titles to refer to each other, depending on age, gender and social status.

In her first solo exhibition, Soohyun Choi addresses the performative role of language used within personal and broader relationships. Choi demonstrates how in both English and Korean culture, identities and personalities are constructed and controlled by language, particularly in respect to gender norms and white European hegemony.

I call you this you call me that places the failure of language to be inclusive within the context of Korean society, where people use a variety of honorific titles to refer to each other, depending on age, gender and social status.

Drawing upon media tropes used in K-Pop culture and the binary casting of heterosexual romance, Choi’s work investigates the social codes embedded in language and how it is used as a tool for love, manipulation, exclusion and belonging. She thus approaches issues of power and control, but also posits the question of whether the possibility exists for transcending language’s historical purpose and making room for new functions.

Text by Joan Lee

Soohyun Choi (b. 1989, Seoul) lives and works in London. She completed her MFA in 2016 from Goldsmiths College in London. Past group exhibitions include Songs, Balloons, and Broken Tablets for the Snehta Residency Group Exhibition, Athens (2017); the 13th Athens Digital Arts Festival, Athens (2017); Romanticism: The 2k17 Edition for isthisit?, online; and CACOTOPIA, Annka Kultys Gallery, London (2017).

Workshop

Vjing & 3D mapping techniques

Kalma Lab

30.01.2018 - 02.02.2018
@ GlogauAIR

Facebook event

A wide introduction to Vjing and projection mapping with the aim to explore the possibilities of live video 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 and Syphon Recorder. Also we´ll explore and experiment with live video cameras, Kinect 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.

Requirements

+ Computer: Mac (recommended Intel Mac running Mac OS X 10.8 or newer) MadMapper 3.0 support windows system from windows 8.1 (not VDMX)
+ Video adapter into VGA or HDMI.
+ Optional: MIDI controllers, beamer and webcams.

Software description

Madmapper 3.0 is a simple but advanced tool for video mapping projections and light mapping. It was created to spend more time to focus on creating your content, and making the experience of mapping textures to physical objects in real time, than solving technical issues.
Madmapper 3.0 includes the possibility of adding shaders, materials and generators to each surface. This open a huge door for real time mapping.

VDMX is one of the most powerful and flexible software system for real time video. Based on a modular configuration, it allows to create your own user interface depending on your necessities. So nothing will be needless in your patch.
Also, a built-in audio analyzer translates any sound into light and movement with intelligent selectivity for volume, frequency, instrument and dynamic response.
Support many media types including QuickTime Movies, Hap encoded files, ISF / GLSL, Flash, HTML…

Syphon is an open source Mac OS X technology that allows applications to share frames - full frame rate video or stills - with one another in real-time. That give us the possibility of connecting several applications to suit your needs (Madmapper with VDMX, Modul8, Resolume…; Quartz Composer, MaxMSP, openFrameworks with MadMapper or VDMX; Madmapper with After Effects and many many more…)


Date: 30th January - 2nd February 2018
Location: GlogauAIR (Glogauer Str. 16. 10999 Berlin – Germany)
Time: 17:00 - 21:00
Price:
General: 180 €
Number of participants: 4 - 11
Public performance date: 2nd February at 20:00

REGISTRATION PAGE

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For more information please contact: kalmavj@gmail.com

Workshop

Object America

Observational Practices and the Everyday
Pascal Glissmann

06.02.2018
10:00 - 14:00 @ GlogauAIR
with lunch break

The Observational Practices Lab’s mission is to create dialogue about observational practices across disciplinary boundaries. We are focused on the questions of how observational practices work, what different disciplines might learn from another’s approaches to observation and which methods are best suited to initiate a new view of our everyday reality. Can observation itself create new communities? The lab is co-directed by Pascal Glissmann and Selena Kimball; situated at Parsons School of Design in New York.www.observationalpractices.org

The multi-phase project and investigation, OBJECT AMERICA, explores the idea of “America” through everyday objects as a response to an administration trying to “Make America Great Again”. The aim is to use comparative research and observational methods—which may range from the scientific to the absurd—to expose unseen histories and speculate about the future of the country as a concept.

www.objectamerica.org


This is the lab’s first workshop situated outside of the US. As an experimental Berlin-based satellite, it serves a platform to discuss and share observational practices in order to find out hidden narratives about “America” — but also to shift perception within one's own creative process. After an introduction to the project, participants will explore, apply and create observational methods within the thematic clusters of Senses, Specialized Instruments and Speculation.


Participants are expected to bring:

- One object from the everyday that they believe represents the concept “America” — or one aspect of it;
- One instrument to explore objects. This can range from simple physical tools like a measuring tape or a magnifying glass to complex digital applications;
-A mobile phone or laptop to access online digital archives (not required);
-Interest in actively participating and shaping the day.

Pascal Glissmann is a designer, media-artist, educator and founder of the studio subcologne. He is currently Assistant Professor of Communication Design at Parsons, New York. He has been Visiting Assistant Professor at the Lebanese-American University, Beirut, Assistant Professor at the Academy of Visual Arts, Hong Kong, and researcher/lecturer at the Academy of Media Arts Cologne. Pascal holds an MFA in Media Arts/Media Design from the Academy of Media Arts Cologne.

www.subcologne.com

Interview

Meet the Artist

Jia-Jen Lin

Jia-Jen Lin creates images of the human body and its surroundings as a reflection of our psyche. Drawing from personal experience and observations, Lin uses sculpture integrated with photography, video, and performance to portray the ongoing negotiation between our latent desires and the manipulated realities in which we find ourselves.

You were born in Taiwan, but are based in the USA for quite some time now. How do you believe that has helped your artistic practice? Is your fascination with hybrid cultures and shifting identities due to this cultural exchange?

I had quite a traditional education in Taiwan, culminating in a Western Painting and Art Education undergraduate degree. After a year as an art teacher in high school, I then attended a master’s degree at the School of the Museum of Fine Arts at Tufts University in Boston. As a result of the school’s liberal and inspiring academic approaches, I discovered a new language of creation, learning how to integrate different media and express my subjects from more critical perspectives.

My works are often related to my personal and life experiences, with particular focus on culture shock and shifting identities. Since moving to New York, I’ve gained a better understanding of the possibilities of an artist’s role and learnt that art can both empower human experience and reflect social phenomena.


Unlike other artists you don’t necessarily focus on one specific topic at a time, but work on several different ones at once. Why do you feel the need to change what you are working on so often? How do you normally come to choose the subjects of your works?

My works are mainly about process—the process of making, of experiencing, and of becoming. I have several subjects that I have been exploring over the past 12 years, such as human experience, body imagery, cultural differences, artificial nature, and the relationship between manufacturing and art making. Now I usually develop a main concept for at least one or two years.

While looking at the art I have produced over a short period of time, it might seem that I work on two or three different topics simultaneously, or frequently switch between them, but they are actually connected and just appear under different titles or in different media. For example, the action of making and questions about society appear in my sculptures in the Manufracture Series but also in the performance collaboration titled Yǐ shǔ yí shù yí shú yí shū yī shù yǐshū yì shù, in which a performer sewed a long roll of fabric while reading a poem querrying our social values and systems.

How does your artistic process usually work?

Drawing on personal experience, I employ my body and mind as a platform to process the information. I start by research on relative subjects and the materials or objects that I might use. In general, my main stimulation comes from displacement and alienation, our synthetic selves and behaviors, and humanity’s experience. It’s like an ongoing investigation into the relationship between “the self” and “otherness,” rather than the self-obsession some may attribute to artists.

Instead of always working in the same way, I prefer to find new means of presenting and enhancing my ideas. It has always been challenging to transform abstract ideas into visual presentations and written words for the audience to see, read, and re-experience. But I enjoy working through experience, process, struggle, resolve, and sharing.

You have recently stated that you use “sculpture integrated with photography, video, and performance to portray the ongoing negotiation between our latent desires and the manipulated realities in which we find ourselves”, could you please further explain your statement?

I like to explore the concept of sculpture with a broader range of media. I mostly employ sculptures, photographs of sculptures, video documentation of the process, and performance collaborations and integrate them together into the final presentation. I often try to grasp the glimpse between our everyday norms and our psychological selves beneath this. Because we are living in an environment where most choices and algorithms are preset our ongoing negotiations with society’s systems become inevitable. It then only becomes possible to achieve happiness through feeling we have control in these systems, or through abandoning them and their accompanying social values.

The inspiration for the project you have been developing during your stay at GlogauAIR - Funes’ Broken Mirror - comes from Jorge Luis Borges’ short story Funes the Memorious – the tale of Ireneo Funes, who, after a bad head injury, acquired the amazing talent—or curse—of remembering absolutely everything. In what way would you connect that to your practice and through what kind of media would you express the connection?

“Funes’ Broken Mirror” explores the process of searching for and reconfiguring memories. It conveys how we can modify, override, and remap memories into new terms and terrains through a variety of physical and visual experiences.

In this series of modular works, I re-edit sculptures, found objects, videos, photographs, and sound elements that I have collected from different times and spaces. By combining new and old elements, I modify and juxtapose them in a new environment structured with mirror-finished stainless-steel sheets and rods. The reflections of the objects and images resonate with themselves and also with other elements in the space. Through interaction with each other in an isolated space, new associations can be generated.

This project is inspired by Jorge Luis Borges’ "Funes the Memorious" novella, in which he depicts Funes as a man who remembers everything and thus is incapable of thinking. Everything is forever imprinted in his mind as a vast mirror of the world, and his most distant memories are as vivid as those of a moment before. I began to imagine how the world might look from his perspective and if we can break this vast mirror and recompose the fragments into what we would like to see.

When I was struggling to find a conduit for my abstract idea and the method of creation for this project, I found inspiration from reading The Brain That Changes Itself by Norman Doidge, more specifically the chapter Turning Our Ghosts into Ancestors. This explains how our experiences are linked despite differences in time and space. Memories are actually different every time we recall them, but with consciousness they can gradually be modified and turned into permanent long-term memories, after a certain number of reoccurrences of new events.

I see each object as carrying its own memories, which are actually projections of our personal histories. Therefore, we create associations between objects and the meanings of objects that reflect our own memories, which also change from time to time. Although here I am using my personal process of memories to experiment with this idea, I have had feedback from people whose experiences mirror my descriptions. I think this is the most important aspect I would like to provide those viewing my art—to share common but likely forgotten human experiences.

Resulting from my residency at the International Studio & Curatorial Program (ISCP), New York, and continued exploration at GlogauAIR and gr_und, Berlin, “Funes’ Broken Mirror” will be presented at the Rubber Factory in New York in April 2018.

In your recent works like “The Manufacture series” and “The Factory Series” you have been exploring the relationship between manufacturing and art-making. One can’t help but notice the connection to movements such as Dadaism and Pop Art where the use of manufactured goods was a common practice in order to convey a certain idea. Could you explain how your approach differs from that of artists from that era? What exactly provoked your interest in bringing these two, quite often conflicting, practices together?

My work is not really related to Pop Art, but people might associate some of my work with Dadaism since I often use found objects and sometimes create performance collaborations with different elements, such as visual art, performance, poems, and sound art. When I started to employ a lot of found objects in my work from 2010, I looked at some visual results of Dadaists’ activities, their creation processes, the way they decoded the meaning of objects, and their randomness as well as improvisation, so, yes, there is some influence from Dadaism in my sculptures and installations. However, I don’t see my idea of creation as really aligned with Dada’s main concept—anti-art activities from social and political perspectives (although, of course, Dadaism is more sophisticated than this loose definition suggests).
Instead, I have been inspired by works from Arte Povera artists, with their emphasis on life as art and the return to simple objects and messages, and the Fluxus, which is more focused on attitude (rather than style, or a movement like Dadaism) and often intersects with different media.


How do you believe your stay here at GlogauAIR and Berlin has influenced your work?

My stay at GlogauAIR provided me with time and space to continue my projects. I was able to experiment with video installation at the studio and later present the results at gr_und. Being in Berlin also gave me a brief insight into the art spaces, underground music scene, and artists’ communities of Germany’s capital.

Exhibition

Loop Barcelona

Discover award 2017
Loop Barcelona

16.02.2018 - 23.02.2018
Opening 16.02.2018 19:00 - 23:00 Friday 16th February 2018
@ @ GlogauAIR
Visits from 19th-23rd from 10:00 am - 3:00 pm

Loop is an independent platform dedicated to the fostering of video art, artists’ films and moving image practices. In 2015 launched LOOP Discover Award as an art video/film competition that aims to support and recognise new work by international artists. The competition solicits entries through a free open call to the artistic community and this LOOP Barcelona initiative is supported by Estrella Damm.

Founded in 2003, LOOP has, since its inception, been a pioneering, experimental space. It is open to innovative attitudes and approaches that can offer specialised audiences a curated selection of video-related content from challenging perspectives. Following a founding principle of casting light on the current trends in video art and presenting these to the general public, LOOP continues to focus on the advancement of aspiring young artists, while also presenting some more established modes of video art.

Every year, LOOP hosts LOOP Barcelona, the main meeting point and highlight for the international video art community. Through its three sections – Fair, Festival and Studies – it brings together a relevant selection of contemporary video artworks. It premieres new productions, features exhibitions, supports specific projects and screenings, and displays a large programme of talks dealing with current issues and opinions pertaining to video art.


✴   ✴   ✴

LOOP Discover Award 2017 is proud to present the following program at GlogauAir in Berlin:

1st Award:
Edouard Decam (France, 1978)
Volva, 2014

Honourable Mention:
Nina Fischer & Maroan el Sani (Germany, 1965/66)
A Momentary Flight, 2017

Winner of the online voting channel:

Forever Blowing Bubbles (Spain, 1985/87)
Guanyar-se les garrofes, 2016

Nominees:

Claudia Joskowicz (Bolivia, 1968)
Los rastreadores, 2014

Giuliana Racco (Canada, 1976)
Mezomaro, 2016

Hyeongsuk Kim (South Korea, 1983)
A fundamental Principle, 2016

Salomé Lamas (Portugal, 1987)
The tower, 2015

Elsa Brès (France, 1985)
STELLA 50.4N1.5E , 2016

Mauricio Sáenz (Mexico, 1977)
El origen de las piedras, 2016

Rosana Antolí (Spain 1981)
WALKATIVE: From Mile End to the City. A Choreography of Resistance, 2015

Gabrielle Le Bayon (France, 1981)
The Scale of Signs, 2016

OPEN CALL

GlogauAIR Artists in Residence Program:

NEXT APPLICATION DEADLINE

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

Attention: New Fees from May 2018!

Application

Exhibition

Reflective//piano//improvisation

Marko Ivic

17.01.2018
20:00 - 22:00 @ GlogauAIR

Facebook event

An evening with improvised piano music. A moment to stop, to think, to contemplate. Or not. Lay down, sit, stand, meditate, move, sleep, write, draw… Do as you feel, as long as silent. I’d like to share with you this moment and encourage you to make it yours.

Wednesday 17th of January at 20:00 at Glogauerstrasse 16.

After a brief introduction we'll have two sessions of around 40 minutes with a tea break in between.

Entrance is free, donations are welcome.
There are a few pillows and yoga mats, but not so many, please bring your own if you can. Maybe you'd like to bring a notebook or so for writing or drawing. Wear comfortable clothes and feel free to bring a blanket if you like.

In order to make the space as comfortable as possible, please let me know if you will join by RSVP-ing to the event.

https://soundcloud.com/marko-ivic

ABOUT ME

I’m a pianist, physical performer and maker. After studying classical piano I started working with electro-acoustic sounds and also interdisciplinary performance. My music is inspired by involving soundscapes, meditativeness and improvisation.



RECENT

artist talk

Berliner Hefte zu Geschichte und Gegenwart der Stadt*

*Berliner booklets – over the city’s history and present
Kap Hoorn with Florian Würst and Valeria Fahrenkrog



04.01.2018
19:00 - 20:00 @ @GlogauAIR
The Tertulias are held in Spanish
Please confirm your attendance on the facebook event

Facebook event

The Berliner Hefte zu Geschichte und Gegenwart der Stadt (Berliner booklets – over the city’s history and present) are a series of publications that unite artistic practices, essays and activism. The issues thematize on social, cultural and economic changes in Berlin and other cities.

The Berliner Hefte zu Geschichte und Gegenwart der Stadt (Berliner booklets – over the city’s history and present) are a series of publications that unite artistic practices, essays and activism. The issues thematize on social, cultural and economic changes in Berlin and other cities. Through this, they intervene in urban-political debates offering an historic and reflective point of view that is informative too. The Berliner Hefte can also be understood as a productive nexus, open to different authors and editors, that include analog and digital publications, expositive formats and political-cultural activities.

Florian Würst
Is an artist, cinema curator and editor. He lives and works in Berlin. In his work, he engages in post war European history as well as analyzing the progress and socioeconomic and technical changes of modernity. Wüst writes, speaks and teaches over subjects related to cinema and society. Since 2016 he is the video curator of Transmediale. Together with Valeria Fahrenkrog, Joerg Franzbecker, Erik Göngrich, Heimo Lattner, Katja Reichard and Ines Schaber he founded the Berliner Hefte zu Geschichte und Gegenwart der Stadt.


Valeria Fahrenkrog
Is an artist and editor. She lives and works in Berlin, has an art degree form the Universidad Católica de Chile, a postgraduate degree in audiovisual media from the Kölner Kunsthochschule für Medien and an “Art in Context” Masters degree from the Universität der Künste focusing on artistic work in public spaces. Since 2004 she has been involved in numerous exhibitions and projects. Together with Florian Wüst, Joerg Franzbecker, Erik Göngrich, Heimo Lattner, Katja Reichard and Ines Schaber she founded the Berliner Hefte zu Geschichte und Gegenwart der Stadt.




About Kap Hoorn's Tertulias

The Tertulias happen once a month and introducing a specific curator, artist, writer or member of an art institution that brings a specific topic into discussion. A topic widely presented and then opened to all attendants for a rich conversation. We search by no means to have a single way of approaching the arts, in contrary, we believe we are in constant search and we will never achieve a definition or common goal: discussion is the objective.



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