The artists’ works span a wide array of themes and mediums. 33 (Zixuan Wang) is an artist who creates paper-based works and installations through a practice of memory poetics, exploring the flows of memory and existence. Ashleigh Hobbs, known by her artist name Arnika, is a multidisciplinary artist and musician working primarily through sound and performance, expanded through self-portraiture and installation. Her practice explores femininity, bodily autonomy, and the ways internalised ideals shape the female body and psyche. Carly Ostler is a multidisciplinary artist interested in the intersections of art and psychology. Having studied trauma in the field of psychotherapy, Carly uses the same practices of embodiment, presence, curiosity, play and non-judgement in their art practice. cheyenne hendrickson is a multisensory artist exploring the human body, especially the in-between; a fluid membranous space where inside and outside remain in negotiation. Working with installation, sound, sculpture, and video, she creates immersive experiences that attune us to inner bodily dialogues, inviting others to encounter their own interior through listening, touch, empathy, and intuition. 

In developing his photographic language by self-questioning visual intelligence, Christiaan Moll mixes art, science and technology. Practically, he conducts research and eagerly experiments with light, geometric shapes, abstractions, transformations and dimensions. Chiu I-Chi  is a Taiwanese artist whose work explores the relationship between the body, nature, and trauma through fictional organisms. Drawing from personal experiences of illness, caregiving, and recovery, she creates hybrid life forms that merge human and botanical elements. Czeslawa Wojtkjowski interrogates trans and non-binary femme representation through fiber art, new media, and collage techniques. Sourcing material from sensationalized, often disposable media like tabloids, erotic ephemera, direct-to-video VHS films, they transform the subjects depicted therein into precious treasures. Jupiterfab is a multimedia artist who is community focused, mixing together art and science. He collaborates with international organizations to create social change, creating site specific exhibitions combining visual art with audio/video installations. Karl von Orb works with object-based constellations from everyday systems of use. Through subtle displacements, familiar elements enter relations that remain plausible while becoming internally unstable. Kathleen Judge, a multimedia artist from the United States, uses paint, print, film, and sound to examine moments of impact in solid objects and landscape. The work traces where force meets matter, where momentum halts, where time compresses and fractures. Lara Ordoñez incorporates heritage into discourse through the use of textile techniques, natural dyeing, and the formats she works with. Textiles invite manipulation, experimentation with materials and techniques. Siyuan Qin (Luna) is an emerging artist and visual designer from China, currently living and working in Berlin. Her practice spans AI-generated imagery, moving image, 3D, and interactive media. The artistic practice of Melissa Van Havere revolves around animals. With her work she wants to question the current relationship and dynamics between human animals and non-human animals. 

Influenced by their childhood spent in Asia, Europe, and the Middle East, Meredith Toyama is interested in exploring how we exist in relation to others and the relationship between the mind and body. Nina B is a London-based visual artist, cinematographer, and director working across photography and moving image. Her practice explores themes of memory, identity, landscape, and human presence through documentary observation and visual research. Panida Te Petchara is a Rotterdam-based artist-filmmaker who employs moving image and installation to explore the tensions of displacement and capitalism. Her relocation from Thailand to the Netherlands directly informs her study of personal memory and collective consciousness. Petr Karpov is an architect, artist, and dj from the United States whose research-based creative practice rests between visual art, performance, and spatial investigation. Zoe Ilić’s practice is an exploration of materiality and mark-making as they mirror experiences of human connection and desire. They engage with a process deliberately, seeking to understand how an image is constructed. 

The exhibition Matriamorphosis is the radical transformation of the creative process from a solitary, competitive conquest into a communal act of stewardship, recognizing that the labor of care and the friction of living are the true foundations of artistic genius.
When we look back at the old art world, the one that explicitly banned us from its academies and archives, it is easy to assume the battle has been won because the doors are now unlocked. But a door left ajar is not the same as a level playing field. In this industry, many begin the race several meters behind the starting line, weighed down by a system that views the domestic, the maternal, and the communal, as distractions rather than the bedrock of genius.
These hidden systems are brought into light through the work of five artists who refuse to separate their lives from their practice. Whether through Penny Monogiou’s reclamation of the maternal body from religious and mythological archetypes, or Maria Lukomsky’s insistence on discussing the emotional labor and vulnerability that the “intellectual” market so often dismisses, we see the body fighting back against its own erasure. This resistance continues as Nadja Verena Marcin deconstructs the performative roles women are expected to inhabit within male-authored narratives, while Shir Shoval-Simhoni uses repetitive manual labor to mimic and critique the bureaucratic structures that dictate our value. Finally, Elinor Sahm counters the clinical, patriarchal archive by channeling “old ghosts” through storytelling; her work gives presence to familial narratives and mystical spaces, proving that the personal and the fantastical are rooted in a very real, lived experience.

To center “women’s” labor is to demand a shift toward matriarchal values: a recognition that creativity is an act of stewardship rather than conquest. We have moved past the era of explicit exclusion, yet we remain trapped in an architecture designed for a person who has no one to care for but their own legacy. Once we acknowledge that this framework no longer fits the reality of who is making art today, we can stop trying to fit into these unrealistic roles and start changing the system accordingly.
Based in Berlin and active across Europe, Lihi Shmuel is a multidisciplinary creative and curator working at the intersection of contemporary art and community innovation. Their curatorial practice is rooted in a collaborative, hands-on approach. With a background in art mediation and facilitation of several initiatives, Shmuel focuses on the generative power of art, advocating for its accessibility as a tool for collective expression and institutional transformation.

Participating Artists:
Nadja Verena Marcin – nadjamarcin.com
Penny Monogiou – pennymonogiou.art
Shir Shoval Simhoni – shirshovalsimhoni.cargo.site
Elinor Sahm – elinorsahm.com
Maria Lukomsky – lukomsky.art

Lihi Shmuel is part of GlogauAIR’s recently established curatorial residency program. Curatorial residents have the opportunity to meet and engage with the artists and curators in our program, as well as develop their own projects.

Every three months, GlogauAIR releases a new catalogue, collecting the work and projects of the artists in residence. The catalogue in your hands not only showcases this term’s creations but also constitutes a reflection of this past term’s experiences.
Our first catalogue edition was released in 2006, and it has changed a lot since then. Since 2021, the catalogue cover has been decided by an open call to all of the participating artists. Making this publication a canvas in which our artists in residence can intervene results in a more personal publication every residency term. Participating in the cover of the catalogue also encourages the artists to translate their work into a different medium.
After carefully reviewing the proposals for this session, the jury selected the image submitted by Chiu I-Chi. Chiu is a Taiwanese visual artist working across painting, embroidery, soft sculpture, and installation. Her soft, colorful sculptures are organic in form and ask viewers to reflect on the connections between humans, nature, and trauma.
In her large-scale sculpture, Hello, Would you like a Piercing? Chiu created a fictional creature, which she ritualistically pierced with needles, much like the work she performed working in her parents’ piercing studio in Taoyuan, Taiwan. Elaborate, ominous needles decorate the hybrid life forms, while colorful beadwork provides a playful contrast. The work connects directly with Chiu’s personal history, as well as examining the process of healing, mutation, and decay.
GlogauAIR’s residency is a place for artists to fully concentrate on their artwork; exploring, experimenting, and exhibiting. During Chiu’s three -month residency, she delved deeper into her project and explored new techniques with the support of our curatorial team, culminating in our open studios event featuring all the resident artists.