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NEWS

open_studios



OPEN STUDIOS
GlogauAIR Resident Artists



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



15 - 16 December 2017
@ GlogauAIR


OPEN STUDIOS
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// Curated by Hyein Park

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.


✴   ✴   ✴

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

20:00 // Ephemories // Performance // Mateo Argerich

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

21:30 // The Other // Performance // Marko Ivic


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

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

19:00 // Canvas Instrument II // Performance //
// Jazoo Yang - Haku Sungho

21:00 // The Other // Performance // Marko Ivic


✴   ✴   ✴





Artist Talk

What Borders in a global world

Fuentesal & Arenillas & Marta Lodola

16.12.2017
17:00 @ GlogauAIR

In frame of the Open Studios December 2017
The incessant amount of omnipresent flux at a global scale made deterritorialization and reterritorialization the two most essential movements of our era. The constant acts of leaving and adapting have become an unquestionable norm.

In the 90s, developments in the communication and transports’ sectors shrunk the immense globe into what Marshall McLuhan called a ‘global village’. The before perceived as distant and exotic, suddenly became incredibly reachable and familiar, allowing an unprecedented constant flow of complex exchanges of people, ideas, technology, capital and information at a global scale.
As Arjun Appadurai pointed out, the daily life of the contemporary human is not anymore restricted to a hermetic local dimension; it has completely surpassed national borders, becoming a volatile, unpredictable system of and in itself that nobody has fully control of.

The incessant amount of omnipresent flux at a global scale, made deterritorialization and reterritorialization (Guattari & Deleuze) the two most essential movements of our era. The constant acts of leaving and adapting have become an unquestionable norm.
Globalization seems to have reshaped the world’s reality as an on-going, unending process of complex interrelated negotiations. Contemporary human societies and individuals seem to be the very materialization of Nietzsche’s concept of ‘becoming’: something unsteady, always unfinished, always under-construction, ephemeral, always hybrid, opened to an eternal redefinition of themselves.

However, this utopian promise of a more homogeneous, united world did not come without a cost and several political, cultural, economic and identitarian tensions arised between local and global spheres. A hyperconnected globe altered our perception of place, space, time and identity and thus of the self and of the otherness. Thus we ask: in a borderless, continuously changing hybrid world, how are these constant renegotiations of physical and physiological borders being handled?

Fuentesal & Arenillas - From expanded sketches and through deterritorialization, the Spanish duo has been is interested in the ideas of adaptation, deterritorialization and holism. Working with drawing materials that have been deprived of their original function and then given a new concept Fuentesal & Arenillas create a playful tension with the concept of identity by conserving the reminiscences of the material’s former context in the new territory where it was integrated.

Marta Lodola – Marta is a visual artist specialized in performance art. Her artistic research points to study the relationships created amongst the body and Its surrounding context. She is mainly interested in the female body and its relationships within contemporary society. Her work is mainly based on discrimination, gender violence, social relationships and any kind of problems undermining the freedom of the individual. Currently Marta Lodola is working on ‘Actions agains borders’, a long-term ongoing project which aims to investigate the present meaning of “borders” as physical and psychological limit.



Interview

Meet the Artist

Jenny Lewis

Jenny Lewis mainly works with photography, moving image, performance and installation. The protagonist of her practise is her body, which she uses through performance to camera and live performance, creating sculptural compositions choreographing body and object in reaction to space.

You have a sculpture and photography background and you are working with a lot of different mediums, but in all of these you use yourself as the protagonist. How is it that you came to work in the performative arts?

Using myself within the work to start off with was a practical tool as I was always there when I was photographing. Using self-timers or cable release to set off the camera enabled me to be expressive with my body within the photographs and take away an element of control. Through my need to explore the work away from the wall-based practice of a photograph led a natural progression into sculpture, moving imagery and the performative aspect of using myself.


In your performances the body seems to be deprived of an identity, and reduced to the state of an object/form. How do you feel bodies and objects interact with the space surrounding them? How do they influence each other?

In the earlier works the titles of the photographs were of the object I was either imitating or interacting with. Taking the importance away of myself and in doing so depersonalizing the body. This was also part of the process of the image making as the images were composed to be a picture without me in them, which is similar to the way I construct the work now, creating a space for me to then place myself into.


How do you deal with the process of depersonalization that your body, apparently, goes through, in order to become an object in your performances?

In the performances the body takes on the shapes of objects generally through costume or contortion. Repeating patterns and shapes as the figure plays out the constraints of this. In this way the body becomes an object or a means to create movement.


Oscar Schlemmer , the head of the theater workshop at Bauhaus, worked on the relationship between the body and the surroundings, often transforming bodies into geometrical shapes. His costumes for Slat Dance and Treppenwitz literary transformed the performers into living sculptures, interacting with the set design itself. At first sight, your work can be strongly connected to the Bauhaus aesthetics. In which way do you believe Schlemmer´s approach resembles yours?

I did in fact come to Berlin with the intention of finding out more about Oscar Schlemmer. There are definite cross overs in the work and his use of the human body as an artistic medium. Much of the performances I do use simples gestures to activate the costume and/or surroundings, as do the costumes themselves and choice of objects.

Rorschach believed that from a psychological point of view asymmetricity is rejected by most humans whereas symmetry supplies the necessary information for a stronger interpretation of different scenes and pictures. This opposition also appears clearly in your work. Why is it so significant to you to play with this contradiction?

With the installation “Roschach” the symmetrical images made up of body and object are composed to create sculptural forms of symmetry as photographs. Using the photographic images as the key, the film records the performance using simple gestures to move between poses of the photographic images.

How does your artistic process usually work?
My work is generally site specific, responding to a space, constructing an environment much like that of composing a photograph. The process influenced through research and continual investigation of my own practice.


What is the project you have been working on here at GlogauAir and how do you believe Berlin influenced your work?

During my time in Glogauair I have been concentrated on striping my practice back. From the interaction between body object and the significance of this, towards its most minimal point, allowing the forms or gestures of the body to be that in their own right. Revisiting old imager to understand and breakdown my understanding of compostion or the way in which I compose to reconstruct space and deconstruct the poses. The time in Berlin has allowed me to research art and in particular dance both as viewer and participant, with this knowledge to progress with into my next body of work.

SHOWCASE PROJECT

Fuentesal & Arenillas

Adaptation 3

December 2017 @ GlogauAIR's showcase

More Showcase Projects

Workshop

Vjing and 3D Mapping Techniques

Kalma Lab

30.01.2018 - 02.02.2018
@ 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.

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

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: sketchthemoment.berlin@gmail.com



RECENT

artist talk

Nevertheless they move

Sculpture and the fourth dimension
Kap Hoorn with Alejandra Rudoff & Dr. Nikolaus Nowak

07.12.2017
19:00 - 20:00 @ @GlogauAIR
The Tertulias are held in Spanish

Facebook event




It has already been proven that in sculpture and modeling the coexistence of different temporal dimensions is possible. But how does the infinite works?
The artist and the journalist present us with a brief interdisciplinary analysis that takes us into the thoughts an reflections that allow us to approach, unveil or decode a formal language that is present in literature.

Alejandra Rudoff

Studied sculpture at the University of Chile and graduated in 1985. In 1993 she acquired a post-graduate diploma of the Munich Academy of Fine Arts. Special exhibitions of her three-dimensional works were staged at the National Museum of Fine Arts in Santiago de Chile and in the Tai Miao Temple in the Forbidden City of Beijing in 2003. The artist has developed large-format projects meant to be shown in public places. Peace, Friendship and Time's Space (2001) in Changchun was erected in its local sculpture park. Forward (1997) was unveiled in Potsdam in 2002 and in 2010 the DAAD commissioned her to sculpt Forward II which is now displayed in front of its headquarters at Bonn. She has been living as a freelance artist in Berlin since 2009.

Nikolaus Nowak

Studied german literature, philosophy and political science at the University of Bonn (Germany). Has worked as political editor, correspondent and chief editor as a journalist with contributions on political and cultural issues. Published amongst others in "Die Welt", "Die Presse" and the political magazine "Cicero”.



About Kap Hoorn's Tertulias

The Tertulias, happen once a month and introduces 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.

The “Tertulias” organised by the Latinamerican platform of contemporary artists, Kap Hoorn, was founded last year, with a specific focus: the constitution of a Latin-American scene of professional artists based in Berlin.
Our Tertulias are opened for others to attend. We search for an open debate of ideas regarding the role of art in contemporary times, having always in mind our origen, Latin-American, and our location of displacement, Berlin.



Kap Hoorn (Cape Horn) is a platform formed by visual artists and curators of a Latin American origin living in Berlin. We seek to develop artistic work and research around our creative pursuits, nexuses and diversities, product of our origin and exodus. In this way we can create individual or group exhibitions, symposia, editions and talks. Projects with specific deadlines with the aim of projecting our work and increasing visibility both in Berlin and elsewhere, presenting ourselves as a coherent group of artists and actors in the art world. We are also a platform for seeking financing, development and implementation of projects, linking according to each need the different actors of a creative process.

Exhibition

Take me somewhere nice

an exhibition of collaborative works by emerging artists of Armenia, Azerbaijan, Georgia, Germany, and beyond
TRANSCULTURAL ART LAB

01.12.2017 - 05.12.2017
Opening 18:00 Friday 1st December 2017
@ GlogauAIR

Facebook event

Imagine an aftermath to the story of Adam and Eve: already the apple has been consumed, already the two first humans are expelled from Eden. They have lost their innocence and their perfect garden, and neither knows anything of the what is to come. Imagine that, in such a moment, Adam shrugged his shoulders, turned to Eve, and said, “take me somewhere nice.”

The eternal search for utopia is both a consequence and a criticism of the fact that we live in an imperfect world. After all, utopia is a word meaning both ‘good place’ and ‘no place,’ and utopia can therefore be considered as the good place that is nowhere or as the goodness of something non-existent. It is a recurring source of creative inspiration and political ambition across cultures, even if those utopias which have actually been attempted never exactly turned out as planned.

This exhibition presents what happens when we poke utopia with a stick, when we pick it up and put it on our heads, when we roll it down a sand dune just to see if it will reach the sea.
These artworks stand as a record of a particularly ephemeral event of meeting and collaboration that will never be repeated.

About the project

The TRANSCULTURAL ART LAB is a space for exploring the limits and potentials of human existence. Organized by a group of international artists, it provides a framework for transcultural dialogue, divergent thinking and creative exploration.

The second Art Lab took place in October 2017, over a two-week period on the remote German island of Juist. Fifty artists from Armenia, Azerbaijan, Georgia and Germany, as well as the regions of Abkhazia and South Ossetia, formed a temporary community to investigate ideas about utopia – the unreachable good place – and develop collaborative projects that ponder questions of identity, perfection and the future.

Under the broad theme ‘Design Your Utopia’, the Art Lab not only speaks to the subject matter of utopia, but to the lived experiment of utopian community temporarily fostered by the artists in their time spent on the island.

Silent Tales

Vincenet Chomaz. Installation view of Untitled (Ndiya kuthanda), 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

30.11.2017
18:30 @ GlogauAIR

Facebook event

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.

Exhibition

Bodies Not Apart

Francesca Beltran
Katica Puga
Caterina Gobbi

04.11.2017
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.



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