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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. 


Vjing and 3D Mapping Techniques

Kalma Lab

24.10.2017 - 27.10.2017
17:00-21:00 @ GlogauAIR

Facebook event

This laboratory is 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.


+ 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: 24th - 27th October 2017
Location: GlogauAIR (Glogauer Str. 16. 10999 Berlin – Germany)
Time: 17:00 - 21:00
General: 210 €
Freelancers / Students: 180 €
Number of participants: 4 - 11
Public performance date: 27th October at 20:00




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.

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:


Dawei Li & Lin Mi

The 110 eggs of the Yellow River Mother

October 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!




Louise Manifold

Starless in The Brocken

September 2017 @ GlogauAIR's showcase

More Showcase Projects


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 // Angst // Durational performance // Regina Magdalena Sebald

20:30 // Night of the In-Betweens // Live Music // Rodrigo Sena - Ashley Puente. Curated by Mint Park

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

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

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

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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.


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


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.


Anahita Ghazanfari

People of Seremban

August 2017 @ GlogauAIR's showcase

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25.08.2017 - 02.09.2017
@ GlogauAIR

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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!

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