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NEWS

Presentation

MATRIX CHAMBER v2.0

Mint Park

18.08.2017
18:00 @ GlogauAIR

Facebook event

Matrix Chamber is an open platform for cross-disciplinary coalition and on-going socio-cultural experiment in form of installation.

The audio-visual system is designed to highlight the endless transformational possibilities of a space through sonic, visual and moving experiences. Audiences, artists and participants are encouraged and invited to claim and redefine a space through making their own multi-media imprint in Matrix Chamber, investigating their own ephemeral yet everlasting relationship of a space, landscape, time and a self.




Workshop

KINO LOOP

25.08.2017 - 02.09.2017
@ GlogauAIR

Facebook event


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

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

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

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

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

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

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

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

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

Max. 70 people, so Register now!




SHOWCASE PROJECT

Anahita Ghazanfari

The Story Of Rooms

August 2017 @ GlogauAIR's showcase

More Showcase Projects

Interview

Meet the artist - David Goncalves

David Goncales

10.08.2017

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

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

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


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

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

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

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


How does your artistic process usually look like?

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


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

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


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

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

OPEN CALL

GlogauAIR Artists in Residence Program:

NEXT APPLICATION DEADLINE
Attention: New Fees from May 2018 on


October 31st, 2017

For the residencies starting in May 2018


January 31st, 2018

For the residencies starting in July 2018


Application



RECENT

Presentation

VJing and 3D Mapping Show

Kalma Lab

11.08.2017
21:00 - 22:30 @ GlogauAIR

Facebook event

GlogauAIR is happy to present the outcome of the 4-day
KalmaLab workshop, where the participants were introduced to the live performance possibilities of softwares such as Madmapper, VDMX, Syphon and Modul8. The students will have the opportunity to show their work and further explore the potential of the audio-visual language, given by VJing and 3D projection mapping.

Workshop

VJing and 3D Mapping Workshop

Kalma Lab

08.08.2017 - 11.08.2017
@ GlogauAIR

Facebook event



This laboratory intends to be a wide introduction to Vjing and projection mapping with the aim to explore the possibilities of live video projections 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, Syphon and Modul8. Also will give some tools to experiment as live video cameras 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.

The workshop holder
Kalma is a visual performer that used real time processes to create light installations, interactive sculptures, mappings and vj sets with unique atmospheres and unrepeatable experiences and new adventures from one moment to the next.
Her unique approach to the visual experience is intimately linked with her background of working with audio. KALMA intertwines both realms creating unrepeatable experiences

Kalma combines her work as visual artist with her passion for teaching. Since 2010 she has been hosting and organising workshops around the topics of mapping and video in real time. Her creative pedagogic and practical approach generate the best ground for people willing to immerse in this endless possibilities field.

She has performed since a decade at art festivals and played in clubs and events around Europe including Contemporary Performing Arts of Glastonbury (UK), Lummix Light Festival (Bulgaria), Laptoprus (Madrid), Transmediale Vorspiel, Perspective Festival, Kasseler Dokfest (Germany), Fiesta is Madrid (Amsterdam), Weekend, Suicide Circus, Ohm (Berlin), Fabrik, Mondo, Goa electronic parties (Madrid)...

www.kalmalab.com
Vj workshops in Berlin https://www.facebook.com/groups/465218066858220/
female pressure visualpulse: https://www.facebook.com/fpvisualpulse

MORE INFO ABOUT WORKSHOPS
http://www.kalmalab.com/WORKSHOPS

One of last workshop https://youtu.be/VeUh23UVj7s

Requirements
- Computer: Mac (recommended Intel Mac running Mac OS X 10.8 or newer) or PC computer (MadMapper 3.0 will support windows system from windows 8.1 )
- Video adapter into VGA or HDMI.
- Optional: MIDI controllers, beamer and webcams.


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Time: 17:00 - 21:00
Number of participants: 4 - 12
Price: 180€ (regular price) / 155€ ( if registered also in the Parametric design with cardboard in VVVV workshop)
https://www.facebook.com/events/1942549175984901/
Public performance date: August 11th at 20:00

INFO AND REGISTRATION
http://www.kalmalab.com/Vjing-and-3D-Mapping-Techniques

Project Space Exhibition

Ash Land Berry Farm

VCU Arts Summer Program

28.07.2017
Opening 18:00 Friday 28th July 2017
@ GlogauAIR

Facebook event



Join us 28 July for an exhibition of works at GlogauAIR. Here on Ash Land Berry Farm we consider issues of place, material, and histories both shared and not. FRESH new ideas and FRUITFUL work that is RIPE for the PICKING by you, our friends.

The Virginia Commonwealth University presents the result of one month of work at GlogauAIR's Project Space.

Featured artists:

Zac Hayes // Kiel Posner // Meera Brown // Jenna Smith // Mark Peyton // Carolyn Todd // Brock Saunders // Calvin Moriarty // Hannah Antons // Hannah Edmonston // Anthony Sudol

You’ll only find JUICY content here. ;~)


Organized by

SHOWCASE PROJECT

Anna Pistacchio

Spektrum July 2017

July 2017 @ GlogauAIR's showcase

More Showcase Projects

Summer Course

VCU SUMMER PROGRAM


01.07.2017
@ GlogauAIR

The Global Education Office and the VCU School of the Arts are pleased to offer an innovative summer study abroad program in Berlin, Germany. Berlin is the premier destination for international visual artists. Its blend of culture, support for the arts, education, space, community activism, and openness to new ideas create an ideal environment for young artists.

Students will work and live in an active studio space with individual 24-hour secured studio access, in addition to working with local artists and gallerists to improve their practice, leading towards a group exhibition in Berlin. Artists visited in the previous year’s program include Bettina Krieg, Lorenzo Sandoval, Ethan Hayes-Chute, Christopher Kline, Mirak Jamal, Melanye Garland, and Dafna Maimon.

Course description
Over four weeks, students will be immersed in the diverse, vibrant and essential art community found in Berlin, Germany. Students will share a large studio space in which to explore visual ideas and gain valuable critique from their colleagues and visiting artists living in Berlin. Days will be split between studio time and exploring the city both as a group and independently. Visiting museums, galleries, and artist studios will enhance the dynamism of the contemporary art scene in Berlin. Local artists will be brought in on a biweekly basis both for lectures and to provide critique to the students work in the studio. Along with the work created in the studio, students will maintain a record of their experience as a working artist in Berlin, of which photographic documentation of the city will play a crucial component. Although a digital camera will be required for the course as an exploratory tool in the City, any medium is acceptable in the studio. Students will gain the knowledge and experience of maintaining a rigorous practice in a thriving contemporary art community.

Program director
Matthew Warren currently works and teaches in the Department of Photography and Film at VCU. Previous to that he ran the Center for Digital Print Media in the department of Painting and Printmaking. Recipient of the 2013 Virginia Museum of Fine Arts Professional Fellowship, he has exhibited nationally in Seattle, Washington and North Adams, Massachusetts as well as locally in several galleries around Richmond, Virginia. He received his BFA in Film and Electronic Arts from Bard College and his MFA from VCU.

More info at VCU-FL-Summer: Berlin | City and Studio


Organized by

Interview

Meet the artist - María Santí

Maria Santi



María Santí's art focuses on the fusion between different representations of nature and on exploring an instictive "sixth sense", a quality which she considers Purity and Beauty in the natural world steam from.

Your work has been mainly focused on the natural world. You seem to be on a permanent quest for some essential primeval qualities inherent to life itself, such as purity and instinct. How is it that you got interested in that topic and came to explore it?

I´ve always lived in a village, surronded by nature. My practice emerge from my personal experiences, my perception of nature and my lifestyle.
My works are constructed out of the deep emotions that I feel when I am in nature.
I am interested in the fusion of different representations of it; exploring an instictive "sixth sense". I think this is an intrinsical quality of the natural world, which makes purity and beauty its primordial elements and which I feel closely connected to the intuitive process present in my painting.
I create a structure that interweaves the strength of the material with the visible, my personal experiences and the experiences of those whom my work challenges.

You have stated that you consider that “the matter is alive". Could you please further expand on that idea? In which way are you inspired by the aliveness of the matter and how do you integrate that in your work?

I make mine Andrei Tarkowsky´s words "The material came to life and the elements, parts of the film engaged in mutual functional relationships and to form a unified, organic precise system".
My practice is deeply rooted in matter. The materials, their qualities, their strengh, their possibilities became and built the projects themselves. Everytime I begin a new project I start off by searching and exploring materials. This is the starting point to develop the idea. With this process I show an underlying premise: that the matter is alive. This is why I consider it an active component of my practice.

In some of your works such as in El Último Día del Verano (2015/2016), you used artificial material on top of natural elements, by painting on the leaves of a plant. How would you say that the materials you use reflect on the concept behind your work?

El Último Día del Verano is part of a series of performative works in which I act on nature through a pictorial gesture. By using biodegradable material, such as goauche painting, I paint each leaf, each stem, each branch , in an attempt to activating , giving energy, with the goal that nature runs its course. During this time, I interact with the environment, experimenting with the resistance coming from both physical and emotional body; while experiencing narrative from its core, living the landscape from an intimate perspective. In turn, revaluing the gesture represented by the brushstroke, this task makes it possible to have a sensible thought about the concept of the body: from its structure and its motor skills, and a will to act. The body becomes giver of meaning to the pictorial practice. Thus, the painting is a transforming action of nature: how mutating its appearance without disturbing the identity.
In response to a current state of the landscape -modified by degrators responsible for a set of irresponsible human actions of its consequences, largely irreversibles- have sought to isolate a section of my garden to tend, care for and paint it because of its regenatory potential. If the landscape was one of the main pictorial genres in Art History, today it has become something more than simply perception of the place around us.

Would you please let us know how your artistic process usually works?

I always begin with painting. While I am painting I can think. Even if the outcome is not in a form of painting, I still need to start of with painting.
I attempt to break down and analyse the process I go through in making a painting… dealing with the anatomy of painting… so that I can continue to develop a visual language; my own language with a strong vocabulary, which will hopefully keep my painting´s voice going on for years to come.
From this point on, I am able to analize and research the ambiguity of images that emerge from my instinct. I can approach them by registering the phisical and emotional sphere. Images I had in mind -usually coming from nature – work as a guideline to manifest that energy. Furthermore, turning the workspace into a laboratory where testing new situations in relation to the drawing, the materials , the brushsrokes, within the new context. And how they challenge us about the uncertanty, the unknown and the unncany in our lives

Tell us all about the projects that you have been working on while in GlogauAir.

These works are mixed media, from painting to video, through installation and drawing.
Considering my interests, this project will be an installation , in which I will experiment with light, paint, color , bodies, materials giving priority finding out material issues, features, structures in order to expose contemporary problems, whether around us, or inherent to us.
By highlighting the gesture, the color, the movement, I link them to nature, the city context, time and it´s flow.. Playing with the boundaries of painting, attempting an expantion of its effects and through this process I reveal aspects of my practice and my investigations about body , nature and landscape.
The power of the materials, is very important in creating a dialogue between the painted image, the handmade mark and the object / support chosen.
The underlying premise of my artistic process is that matter is alive and active in the language and transformation of my practice.
Experimenting with the medium, using objects found in everyday life, in this particular case gives the work a certain simplicity and crudeness, occupying the space and accentuating the transition between the finished and unfinished.
In this series of works I question painting itself by working concepts of space (both real and pictorial) and the categories of movement, light, emptiness and placement. That together with the gesture and the footprint are necessary subjects in my practice. Painting is thinking.

The topics you focus on seem to always work on the basis of dichotomy, like man-made vs. nature, outdoors vs. indoors, public vs. private. Your art seems to be a representation of a utopia. Does this mean that you are asking the viewer consider a possible future dystopia?

No, I feel that hopefully the human being will live in peace and will take care of the world. And I am sure that contemporary art is helping to make mankind aware of this circunstance

You have referred in your artistic statement that you believe that your “art practice has the capacity to repair and take care of this world”. How do you come about doing that?

Since landscape has been modified by manmade degrading actions, with irreversible consequences, I believe that my art practice has the capacity to repair and take care of this world. Landscape has always been one of the most prominent genres, nowadays it has become something more than the perception of the place around us. In the contemporary scene, it is the undisputed protagonist which tells us that life without seas and skies, in a world without life or colour, is meaningless.
I aspire that my artwork can communicate this message to everyone. It’s our genetic imprint, it’s about being human, about being alive in the world, that I wish to dive into. My projects are about being human, and the act of creativity. They are about contemplation, they have to be sensed as well as experienced, they are physical paintings. The 'spiritual' response and purpose is central.


You work primarily with essential natural structures; time, forms and colors. However, the rhythm and the landscape of Berlin are mainly man-made. How did these surroundings influence you and your art practice?

When I arrived at GlogauAir in Berlin I was overwhelmed. I have never lived in a big, multicultural and cosmopolitan city, so for me. this experience is extremly intense.
While I was thinking about my project, I realized that it began to change itself. I feel very inspired by people. The multicultural enviroment, the languages, the skin colors… so I decided I had to paint this spectrum and its transition of colours just to symbolize the melting pot I found in Berlin. That was my first work.
The starting point for experimentation during the residency was the concept of transitional space; a configuration that can at the same time define and dissolve boundaries among different places. Without transitions our contemporary understanding of spatial dualities like intimate-public or inside-outside might have been impossible. By creating, connecting, overlapping and dispersing images that grow inside me and within the actual space, I let those enter into a “conversation“ with each other and with the actual environment.
I began painting on large canvases, in the back side, in an effort to explore the behaviour of the material while hanged. These paintings are a different transition from stretched canvas in order to further explore the materiality of the painted surface and the experience of painting as both image and material object. Also it plays with the usefulness and uselessness of objects that come from everyday life.
The context and landscape play an essential role in my practice. I particulary question the limits of representation, painting, the artistic process, as well as the borders between the physical, the imaginary and the represented space. My art practice focuses on the fragile borders that separate reality and fiction, presence and absence, materiality and evocation.

open_studios



OPEN STUDIOS
GlogauAIR Resident Artists



DEAR HOME
Project Space Exhibition



23 - 24 June 2017
@ GlogauAIR


OPEN STUDIOS
GlogauAIR Resident Artists

Alice Biletska // Brittany Brush // Sean Fader // Jerôme Havre // Jorge Julve // Louise Manifold //
Anna Pistacchio // Noara Quintana // María Santí // M. E. Sparks // Chen Wei

Besides hosting Dear Home, an interactive exhibition reflecting on migration, the event will also allow the public to get directly and intimately in touch with the art-production process, while warmly integrating the visitors into the rich creative and multicultural atmosphere nurtured by GlogauAIR’s 11 current resident artists.

Open Studios June 2017 will showcase the audio-visual works of Brittany Brush, which plunge into the intimate depths and subtleties of the subconscious, bringing them to light. Exposing human internal mechanisms of perception is also a focal point to M.E. Sparks’ paintings. Through methods of representational painting, Sparks questions how the experience of looking can move beyond an experience of knowing, naming and classifying.

On the other hand, the new piece presented by Louise Manifold manages to capture a contemporary societal state of mind, by recovering the peculiar anxious aesthetics of German’s Expressionist cinema. Equally focusing on collective consciousness, Anna Pistacchio’s video piece articulates old damaged photographs taken from family albums in order to re-tell History during the Cold War period from a domestic perspective. At the same time, the documentary film by Alice Biletska critically reflects on how recent terrorist events have undermined the peaceful co-existence people with different cultural backgrounds in Berlin.

Similarly alluding to current political and socio-cultural tensions around the world, the installation artist Noara Quintana presents a work based on the delicate auscultation of the materials in use to symbolically articulate how democracy has increasingly been threatened. Also paying close attention to the inherent qualities of different materials and their metamorphic potential when acted upon them, María Santi questions and tests the essence of painting itself, while the artist Chen Wei presents a peculiar project that merges architectural installations and philosophical speculation.

Whilst Jérome Havre has been delving into the topic of identity construction within a given territorial context, Sean Fader uses social media tools as a method to observe how identities are being negotiated within the immaterial, ubiquitous and ever-changing cybernetic sphere. Curiously and somewhat ironically, Jorge Julve juxtaposes modernity and tradition, by applying online content and digital tools to painting, linking two apparently distant environments.


DEAR HOME
Project Space Exhibition

You have to decide where your home is

Alexander Bratt // Agnieszka Bułacik // Samantha Hookway // Szymon Keller //
Elliot Silva // Agnieszka Wojciechowicz // M.E. Sparks // Ilyn Wong // Marta Lodola & Valerio Ambiveri // Asaf Oren // Silvina der Meguerditchian

In the Dear Home collective, we see ourselves and other migrants as members of the huge tribe of people connected with similar experiences. We all are living in a world of shifting homes and while we do so, we carry with these movements feelings of insecurity and homesickness, a need to change, an urge to grow, and even the ability to adapt to our new surroundings. All these can shed light or cloud our very perception of what it feels to be at ‘home’.
This is why we want to forge and deepen the conversation and redefine the identity of what it means to ‘feel home’. By providing experiences where one can become aware of one’s individual position within all the diverse narratives of others, we believe that we are able to realise there are many more realities that we often acknowledge. Hence, we created an interactive art exhibition, where people cannot only listen to the stories of migrants, but as well reflect on their own notions of home in a playful yet deep and engaging way. The project includes photographs, illustration, videos, an audio piece and set of interactive stations based on the input that we have gathered through our work the last months. We believe that art is as much of an experience as an object. By fostering it, we will be able to create deep and meaningful connections that will contribute to a more migration friendly world.

Dear Home formed in 2015 during BalticLab 4.0, a program organised by the Swedish Institute and the Council of Baltic Sea States.


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Friday, June 23rd // 19:00 - 24:00
19:00 - 21:00 // Marta Lodola & Valerio Ambiveri // Being in this World - Performance
21:00 // Willis Anne // Live


Saturday, June 24th // 15:00 - 20:00
16:30 // Look me in the I. Art as an act of transference of the self // Artist’s Talk //
Hanneke van der Werf - Matthew Lloyd
18:00 - 20:00 // Marta Lodola & Valerio Ambiveri // Being in this World - Performance


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jpeg .png



Look me in the I

Matthew Lloyd
{ I } & Black
Oil and Mixed Media on Wall
Berlin Studio, 2014

Artist Talk

Look me in the I

Art as an act of transference of the self
Matthew Lloyd & Hanneke van der Werf

24.06.2017
16:30 @ GlogauAIR

Facebook event

In frame of the Open Studios June 2017
Humans are both paradoxically and inherently self-isolated and social beings. Bringing to mind the philosopher R.G.Collingwood’s considerations, art can work as a communication tool acting as a mediation process between an intimate secluded self (the expressing I) and the other Is (the viewers)

Every self is a particular construction on its own and of its own. A quantity of elements organized in a peculiar order by which they are governed. And each one of those organizational methods is a characteristic filter through which the exterior world is perceived and according to which the self acts upon its surroundings.

Each human is a capsule, a self contained element. Each human is a self. Each human is an I.

The essential nature of the I seems in fact to be one of isolation with no possible escape, for this is the only possible way of existing in a physical domain. This intricate loneliness everybody is inevitably tight to is a barrier that disconnects. Disconnects and distanciates the existent immense sea of Is from each other. In this way, the self can easily become impenetrable, unreachable, confusing, easily leading to distorted views.

However, at the same time, humans are paradoxically and inherently social beings, quality that leads them to build bridges through communicating, which is the interchange of the expression of different selves, of different Is. It is this act of an attempt to connect, to building bridges that makes them question, that makes them feel a necessity of understanding, of considering, of analyzing, of clarifying. The structure of the I needs deconstruction, needs to be broken down.

Many times art is used as a resource of deconstruction of the self, reminding the 20th century philosopher R.G. Collingwood’s conception of art as an imaginative expression, a creative projection of the self into the social sphere. The secret universe becomes thus exposed; bluntly, honestly. Open to considerations, open to questionings.

Art becomes then a mediation process between the intimate secluded self and the other Is constituted by the viewers. The communication between the intimacy of the artist and the public is made by means of empathy. A transference of individual experiences makes the viewer temporarily inhabit another Self, thus creating a sense of human universality, a common ground, which in the end contributes to a better understanding of an alterity, igniting a process of questioning and deconstruction of the architecture of the I of the spectator.

Matthew Lloyd Lloyd’s method of antithesis’s between art and life when released as an extreme form, act as a main attraction for his work. The approach of this binomial concept is to reveal spectrums whose fundamental role is to become subject of a re-identification of and within themselves. The artists’ works is seen arguably not to exist solely as a material object, but as a vehicle with which to articulate a conceptual idea.

Hanneke van der Werf Hanneke explores the experience of the emerging wholeness of life and how communicate it. She wishes to report, to share a sense of a fluid universe.With everything she has and is, she looks around her. The constant flow of information makes an amalgation with everything she had and was. She builds images from this fluid point, so she can share how touching and beautiful, huge, painful, entertaining, packed and silence she experiences life. For her, expanding observation goes equally with the expanding of freedom



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