Archives: Artists

  • Lang Zhang

    Lang Zhang

    Lang Zhang is GlogauAIR resident
    from January, 2019 to March, 2019

    China

    Meet the Artist

    Coming soon

    Statement

    In the words of Catherine Malabou: “intelligence is nothing, and at the same time it is everything. It is the pure disposition, the ability to everything without having a being. This is what a gift is.”

    I started articulating my thesis project when I got engaged in the process of making. For me an idea is not something that already exists, but the process in which my mind tunes in with the space. I let the space tell me what to do, as I discover different aspects of it that are not apparent at first glance. My time spent in the space engenders and develops the work, which becomes more specific as the making overlaps with the process of tuning. The potential of the gift/disposition lies precisely in this process.

    In traditional cinema, the narrative develops sequentially as time passes. The mind travels to distant locations, and oscillates between past, present and future, while the body of the viewer remains still. In contrast, in the exhibition space the viewer navigates the content of the work at their own freely chosen, or directed by the artist, spatial trajectory. Thus, by considering the very nature of the exhibition space, I hope to take the advantage of this nature as much as possible.

    As a traveller/artist, I try to carry as little baggage as possible, so that I can focus on observing and reflecting. As I find myself caught into the game of appearances, I try to delve into it so that I can focus on the incompleteness that can suspend and enhance my thinking. Anything that helps me apply this conceptual program could be my medium.

    Lang Zhang

    GlogauAIR Project

    The project I would like to develop during residency would be a continuation of the previous project “Gift”. It is easy to expect, of the new project, the variation on material/content/message in terms of the change on space/time, even on social/political circumstances. But still, what I will hold onto is the very potential of the idea “gift” being tuned to the thinking process.

    Here is the description of the previous project “Gift”:

    When you enter the gallery there is a huge ground floor space in front of a staircase, all the pieces of work that constitute the thesis project are embedded into every corner of this huge empty space. A video projected on the floor oscillates between different scenes, the camera slowly moving around two buildings (the old Hunter MFA building and the current Hunter MFA building). On the wall under the staircase there is a projected still black and white image of a city scene, also from under the staircase there is a constant recurring daily sound/noise (freight handling, phone ringing…). On the other side of the space, by the corner of the small window, there is a screen playing a translated poem, the reciting voice coming from the ceiling. A painting with the same image as the one projected under the stairs is leaning by the window, on a specially built shelf embedded in the architecture. One can take the shelf as a peculiar feature of the existing architecture, itself rich on odd nooks and crannies. By the side of the big window, there is a pipe hanging down from the ceiling and there is sound/song coming out of it. When standing around the pipe, looking out of the window there is a cart on the sidewalk containing a monitor that plays a video with two parts (Part 1 outside of old Hunter MFA building on West 41st Street – Part 2 inside of current Hunter MFA studio spaces); looking up at the ceiling from a point close to the pipe one can see a mirror reflecting the cart on the sidewalk. All these senses are embedded in the existing architecture and can be missed or neglected at first. Not before some process of walking, looking and listening do they become more visible and start to connect. The more time one spends in the space the more their tuning gradually happens.

    CV Summary

    b. 1989

    Education

    • 2017 M FA, Hunter College, New York
    • 2013 BA, China Central Academy of Fine Arts, Beijing
    • 2012 Exchange Program at California College of the Arts, San Francisco

    Selected Exhibitions

    • 2018 The Reconfigured Selfhood, Hunter College Project Space Gallery, New York
    • 2017 Roadside Picnic – The Zone, Chambers Fine Art, New York
    • 2017 Confluence: Uncertain Archives, 205 Hudson Gallery, New York
    • 2016 Corridor – Hunter MFA Faculty Review, Hunter College MFA, New York

    Grant

    • Kossak Travel Grant, Hunter College MFA, New York

    Gallery

  • Rory Harron

    Rory Harron

    Rory Harron is GlogauAIR resident
    from April, 2019 to June, 2019

    Ireland

    Meet the Artist

    Coming soon

    Statement

    ‘Dissonance is the truth about harmony’

    Theodor Adorno saw the contradictions and paradoxes of art as revealing something about the tensions, conflicts and possibility of beauty and harmony in life. Growing up in Derry in north west Ireland, with its precarious situation between two states has inspired my artmaking on identities and conflict. Doire or Londonderry are words that mean everything and nothing, they are very real illusions. The small city has a high suicide rate and is divided by a river and religions that few follow. Franco Berardi states that there are no longer bourgeois and proletariat in our culture but ‘winners and losers’ – the losers perhaps being the immigrant, the unemployed, the cleaner – and who are the winners? The celebrities we read about who are in reality fretting over their status or the corporations that own the wealth of nations? Or is it all an illusion, paper being passed around – a simulation as Baudrillard would contest?

    I am a writer and artist, foundry technician, curator and art tutor. I graduated with a degree in English literature and Politics from Queens University Belfast, an MFA from Manchester School of Art and a PhD from Glasgow School of Art. The research addressed the agency of art and the potential of artist exits. Titled ‘Exodus: Towards a Non-Identity Art, it concluded with the organization of a No Jury, No Prize exhibition where we had hundreads of artists exhibit – in doing so realizing Beuys call that ‘everybody is an artist.’ Today in our digital, social media age, it could however be argued that everybody must be an artist?

    In my artwork, I create parallel micro-worlds – either sculptural installations in surreal environments or bizarre films consisting of edited found footage that explore the human condition. Alienation and division are principle themes alongside oppression and the affects of new media. The darkness of such themes are however counterbalanced by humour, light and harmony.

    Rory Harron

    GlogauAIR Project

    In the theoretical physicist David Bohm’s text,Wholeness and Fragmentation,he develops his scientific analysis into the social and political realm by arguing that we are all divided by race, class, nations, occupations, sexes and so on whereas in reality humanity and nature are all one living, interdependent organism. He sees our thought process as fundamentally flawed in our evolution. While this may read as entirely utopian thinking and impractical, it is also striking in its countering of the illusions and social conditioning under which we all live. Our propensity to group together for a sense of belonging and safety usually comes at the cost of an excluded or vilified other – and this is vastly magnified on a global scale where colonialism’s legacy is ever present in differing guises – a colonialism that exists within the west and within each of us as with the historic European project.

    If successful in my application to Glogauair, my proposal will be to fuse my sculptural installations with my writing and film editing to make a stop motion animation to address alienation, divisions and the search for harmony. Inspiration will begin by observing and participating in the life of the area that I live in. Our modern technological world will play a fundamental role in the work. I am not an animator by training and do not seek to create a realistic depiction of the world around me – it will be surreal, it will deal with the unconscious and the aesthetic will be low-fi – it will resemble early silent movies or b-movie cult classics. It will be comical and tragic in parts. Protagonists inspired by the cityscape of Kreuzberg Berlin will emerge and a narrative on their lives will develop throughout the course of the residency.

    In my making I am not fully happy with either my film-making or my sculptures and intend to use the residency to engage with other artists and the team running the space to develop my ideas and thinking on art and life and further my journey into developing a media which is ideal for the differing strands of my practice. Berlin’s history and contemporary art scene will of course also inspire me alongside the influenced of German philosophy – specifically the works of Hegel, Marx, Nietzsche and Adorno. The dialectical contradictions and divisions of Berlin – between East and West, communism and capitalism, Christianity and hedonism and so on – where there is no clear good and bad and all are in flux, interconnected and change resonate with my hometown and should prove inspirational.

    CV Summary

    b. 1977 Ireland

    Education

    • 2013 PhD Forum for Critical Inquiry, Glasgow School of Art, 2013 Title: Exodus: Towards a Non-Identity Art
    • 2007 Masters in Research Glasgow School of Art
    • 2004 MFA MA Fine Art, Manchester School of Ar
    • 1999 BA (Hons) Degree English Lit & Politics, Queens University Belfast
    • 1996 A-level Art & Design, English Lit. & Ancient History, St Columb’s College, Derry

    Employment and experience

    • 2000 –2018 Artist assistant, foundry technician and administrator for public artist Maurice Harron, Burt Donegal Maurice Harron
    • 2015-2017 Substitute Lecturer, Fine Art, North Wesr Regional College, Derry
    • 2016 Wonder Wagon (mobile vintage traveller wagon) sculpture and painting tutor with over a dozen community groups in Derry
    • 2014 – 2016 Sculpture and Painting Tutor Bluebell Arts, Gasyard Centre, Derry
    • 2013 Curator and lecturer at the London Street Gallery, Derry
    • 2012 – 2014 Member of the Open Door 77 Derry art collective
    • 2005 Artist studio, Void Gallery, Derry
    • 2003 Gallery Invigilator, Cornerhouse Gallery, Manchester

    Curatorial work

    • 2014 No Jury, No Prize, Artlink, Fort Dunree
    • 2013 No Jury, No Prize, Oct/ Nov London Street Gallery
    • 2013 Emerge + See, May, London Street Gallery
    • 2010 Bealtainne, Glasgow School of Art PhD exhibition, Glue Factory, Glasgow

    Exhibitions

    • 2016 Do Androids Dream of Electric Cats?Social Gallery Derry
    • 2012 Exodus, Skypark, Glasgow School of Art
    • Group exhibitions: Beijing, Leipzig, Manchester School of Art, Salford University, Playhouse Theatre, Derry, London Street Gallery, Derry, Glasgow School of Art, Cork City of Culture, Galway Arts Festival

    Public Art Works

    • 2018 Top of the Hill Park Community artwork
    • 2017 Henry Swan bronze memorial Buncrana
    • 2016 Irish Street Community Park Steel artwork
    • 2005 8-foot-high bronze sculpture Paddy ‘the Cope’ Gallagher, Dungloe, Donegal
    • 2003 Life-size bronze sculpture Saint Bernadette, Steelstown Church, Derry

    Publications

    • 2015 – 2016 Szine, Derry based Arts zine co-edited with George Doherty
    • 2013 Towards a Non-Identity Art, Journal of Artistic Research
    • 2012 Extremity and Excess, University of Salford book

    Awards

    • 2016 Arts Council NI Funding for Wonder Wagon Sculpture Programme
    • 2013 NI Arts Council Support for the Individual Artist Programme
    • 2008 – 2011 Glasgow School of Art bursary

    Positions of responsibility

    • 2014 – 2016 Bluebell Arts Centre Art Strategy Board
    • 2013 London Street Gallery Board
    • 2010-2012 PhD student representative, Forum for Critical Inquiry, GSA

    Residencies

    • 2017 – 2018 Pilotenkueche International Art Program, Leipzig, Germany

    Gallery

  • Pilar Ramo Vizarraga

    Pilar Ramo Vizarraga

    Pilar Ramo Vizarraga is GlogauAIR resident
    from April, 2019 to June, 2019

    Spain

    Meet the Artist

    Coming soon

    Statement

    A few years ago I heard the concept of millenary inequality, and I understood that my work, consciously or unconsciously, had always gone this way. My interests as a receiver and producer of images follow this path of the peripheral, the marginal, whether physical spaces or human presences: non-places and non-existences, and how that marginality has a political and economic utility in all societies. Marginality and inequality tend to go together. But, what is the discourse of marginalized people? And what are the right ways to represent them?

    To these interests has been incorporated a personal awareness and growing in three senses: an actively feminist view, the need to speak explicitly or tangential way (or millenary) problems arising from the new geopolitics and the existence of an excess of images that end up being banalized by repetitive. At the same time, as a form of expression, I am particularly interested in the language of so-called non-fiction (between fiction and documentary, between reality and the performative), the film portrait in its multiple forms (through fragmented bodies, the close up faces, the objects, the absences) and the deconstruction of the official stories to reveal stereotypes and interests.

    I work with video and sometimes photograph. I film with a little handycam or with a more professional camera, it depends on the context and the texture that I feel that each image demands. But I really build my pieces playing in the edition with synchronization between image and sound. Capturing images of the others, so distant to me, however, it also ends up being a way of self-portrait and of knowing, recognizing and vindicating my own marginality from my origins until my present.

    Tumblr

    GlogauAIR Project

    The provisional title of my project in GlogauAIR is They are here, like those indications that there are in the bus or metro stops that indicate the exact location in the city. The intention is to carry out a reflection on migration and cities, specifically around migrant women, based on the previous study that was prepared in my city Castellón (Spain) in which I conducted in-depth interviews with some fifteen Romanian women more than 45 years old. These women who migrate to support their families in their countries of origin, are always “here”, regardless of the city we are talking about, and their social function and problems will be very similar.

    Women, migration, identity, presence, corporality, spatiality, temporality … are the concepts among which my work in Berlin will pivot, mainly attending meetings and recordings with other migrant women, either outside or inside the residence, or recording plans Generals or sustained close-ups, always taking into account the importance of the sound of the moment (their isolated voices or the soundscape of the city).

    CV Summary

    Pilar Ramo Vizárraga (1977, Castellón).

    • Licenciada en Comunicación Audiovisual (Castellón, 2014).
    • Freelance realización audiovisual.
    • Fundadora y comisaria de Sessió Contínua, una actividad de cinefórum para visibilizar el audiovisual de la región en todos sus formatos: narrativos, videoarte, no ficción, webseries, etc. La actividad se desarrola en una institución pública y desempeña una labor importante en pedagogía audiovisual de los nuevos lenguajes audiovisuales.

    Formación

    • 2018 – Seminario sobre nuevos usos del material de archivo audiovisual en Hangar, en Barcelona.
    • 2017 – Taller de cine independiente con Antoni Padrós, Tarrassa, en Barcelona.
    • 2017 – Taller de autorretrato con Andrés Duque, impartido en el Espai d’Art Contemporani de Castelló, en Castellón.
    • 2017 – Taller Estrategias colectivas de autorrepresentación, impartido por Chus Domínguez, en Valencia (10 horas).
    • 2016 – Taller Found footage: repensar las imágenes, impartido por Carolina Astudillo y Ana Pfaff , en Barcelona.
    • 2016 – Curso de montaje de documental impartido por Diana Toucedo, en Barcelona.
    • 2016 – Curso de diseño de sonido en Escuela Mastermedia, Valencia.
    • 2016 – Taller de retrato filmado (documental) impartido por Virginia García del Pino, en Barcelona.
    • 2014 – Seminario Cine de No Ficción impartido por Virginia García del Pino y Víctor Moreno, entre otros, en la Asociación de Cine Documental de Madrid.
    • 2013 – Seminario de formación en documental impartido por Patricio Guzmán, en la Asociación de Cine Documental de Madrid.
    • 2011-Curso de cine documental impartido por Isaki Lacuesta, en el Espai d’Art Contemporani de Castelló, con la codirección del cortometraje “The End”.
    • Licenciada en Comunicación Audiovisual (2013)
    • Licenciada en Administración y Dirección de Empresas (2000)

    OBRAS EXHIBIDAS

    VÍDEO FILM ENSAYO / VIDEOCREACIÓN

    • Pieza audiovisual Mindfulness, seleccionada por Cultura Film (revista de cine, arte y política en formato vídeo) y proyectada en el Centre de Cultura Contemporània de Barcelona. 2015.
    • Pieza audiovisual De carne y tiempo, seleccionada en el Festival de Teatro de Almagro. 2014.
    • Pieza audiovisual Como un hombre, integrada dentro del film colectivo El vídeo del minut: representació dels excessos, por la Mostra Internacional de Films de Dones en Barcelona y coordinado por TRAMA, coordinadora de muestras y festivales de cine, vídeo y multimedia. 2014.

    OTRAS OBRAS AUDIOVISUALES

    • El diario de Marianne. Filme ensayo. 2015.
    • La parada. Cortometraje ficción. 2014.
    • Las condesas de Sandwich. Cortometraje ficción. 2013.

    Gallery

  • Sol Jee Ahn

    Sol Jee Ahn

    Sol Jee Ahn is GlogauAIR resident
    from April, 2019 to June, 2019

    South Korea

    Meet the Artist

    Coming soon

    Statement

    Investigating what it is to be a subject or object from different social standards’ view, I explore the notion of the term ‘being foreigner’ and ‘local’ as a tool to connect the question of autonomy of cultural selfhood and owning a body. Seeking various definitions of ‘foreignness’ while different cultures collide, the platform of which these phenomena are shown discretely is one’s body. To be exact, a body as a landscape of authenticity becoming foreign matter, and on the other side of that landscape, the survival of such authenticity against foreign invasions such as viruses or medical drugs. Biological system is under constant update and evolves into each new versions, creating new features through hybridisation and re-positioning. But though on the other view, who can say that the germs, viruses and the city are just ‘new’? Those might have been anchored there for a very long time, and the foreigner’s body could be the new object for them. I would say this ping-pong is actually the matter of where to position or to be positioned. But how relative this is, I still regard ‘the foreignness’ as a singular element that have a power to deconstruct and regenerate the value of the existing system.

    As much the body of anonymous character I created within the works is important, I care about the audiences’ body to stroll around the installations as well. Their bodies are substituents of ‘someone’ who might have been there already, or perhaps the one who might hold the space. By stepping in the installations, they breath the same air, hear same sounds and exist in same place but in different time. Building up this strange co-relation with the work and the audience is to provide experience of a transitional moment, a displacement that entails both empirical level of fragmented subjectivity crisis and theoretical discourse of loss and gain.

    Sol Jee Ahn

    GlogauAIR Project

    Sed on the part fictional, part self-projecting script about female protagonist, I would like to develop the details of such narrative, herself as a foreigner in a new society. The last installation is about her private residential place, composed of ‘Aseptic Sanitising Room’ and ‘Loosened Space’ that shows her obsession of observing and sanitising her body. It was a prologue of both protagonist’s character and the outline of the script, starting from her very first step of migration and discovering how she ‘looks’ different from the locals. During my stay in GlogauAIR, it will develop further from her doubt of her body (finding hard to accept her own difference) but slowly accepting it by various illnesses and gazes of Others that she never experienced in her home country – as if updating her physicality and immune system into hybrid version after each disease and input of new drugs.

    There would not be much limits of media to describe various circumstances that the protagonist faces. But some of the first are mobile objects and sculptural installations indicating her nomadic life. Mobile object would contain her personal belongings and medications from her country, and the process of how these got destroyed and replaced with new items in the new city. Details of the shape of mobile object is undecided, but I wish to develop in GlogauAIR through discussions with other artist in the residency by interviewing them about any similar experiences and projecting myself into accustoming in Germany. Especially the first three to six months are supposed to be the golden time of settle-down, figuring out how protagonist from the fiction and artists in the residency locating themselves in between former system and new rules in new place.

    Another proposal is a publication or an artbook presumed as the protagonist’s travel documentation. This is rooted from my previous attempts of making book art works out of my travel photographs and texts, while this time it probably would be developed into proper publication merging my experience and the protagonist’s. A mixture of images during her journey, her current residence and psychological status, texts and diagrams from her sanitising and medication routines, observation of her body and the others’ gaze upon it would be the main theme of the publication.

    Lastly, a group discussion about wounds and how we take care of them would be held beforehand a workshop of learning ‘How to Sanitise properly’ at the end of the residency.

    If anyone has been aware of:

    • how blood gushes out under the skin,
    • how much it hurts when we slightly pressure the wound to stop bleeding because we think it’s abnormal (or even dangerous) to lose blood,
    • what kinds of antiseptics we use to disinfect the wound, and how this actually differs according to regions and culture,
    • how surprisingly new flesh grows every single day,
    • the pharmaceutical chemicals creating a system of self-defence and how independent you are from the pills or creams,

    then this is the moment for anyone to voice up.

    Inviting artists within the residency and some local residents, the group will talk about their any possible fear of new illness that their immune system has not experienced. Perhaps if any of them has been abroad and gone through objectification, losing any type of autonomy, or contrarily, too much fantasied by their differences, all could be a good topic to speak with. This could be a chance to consider what is the standard of categorising ‘different’ people in various countries and cultures, and how it is in mainland Europe.

    I would like to develop on a perforative workshop for the group to take part in about digesting the difference of sanitisation and disinfection, the function of it, how to do on different parts of body, and create a performance on trying the steps of sanitising on a mannequin.If anyone wishes to try on their own body, that is also recommended. Afterwards, participants can collect and make a sanitising and first-aid kit of their own among the pharmaceutical products and small objects I and the other artists made during the residency (I will ask the artists to produce any kinds of artistic pieces like drawings, instructive cards, prints, or objects that fits their own practice) to not just thank the local residents but to enhance symbolic result of the whole workshop.

    CV Summary

    b. 1990 South Korea

    Education

    • 2009-2013 BA Painting, Kookmin University, Seoul, South Korea
    • 2015-2017 MFA Fine Art, Goldsmiths University, London, UK

    Residency

    • 2017 JOYA: arte + ecología, Spain

    Exhibition

    Group exhibition

    • 2018 4482 Voices of Korean Contemporary Artists: BUTTERFLY EFFECT, Bargehouse, OXO Tower, London, UK
    • 2018 I’M NOT YOUR DREAMS OR IMAGINATION, Lewisham Arthouse, London, UK http://www.soljeeahn.com/s/poster_leaflet.jpg
    • 2017 BEYOND THE BORDERS: JOSEONJOK’S AMBIGUOUS IDENTITY, The Crypt Gallery, London, UK
    • 2016 I ALWAYS PRAY FOR STRANGERS, hARTslane Gallery, London, UK
    • 2013 CONFRONTATION, Kookmin Art Gallery, Seoul, South Korea
    • 2009 LAND RE-ADJUSTMENT TIME, Kookmin Art Gallery, Seoul, South Korea

    Gallery

  • Yaewon Yun

    Yaewon Yun

    Yaewon Yun is GlogauAIR resident
    from April, 2019 to June, 2019

    United States and South Korea

    Meet the Artist

    Coming soon

    Statement

    My personal life has been influenced by rapid environmental changes that are still co-existing with globalization and multi-cultural products in recent decades. I was born in South Korea and traveled to Europe and America at the age of three. Having lived in America for over twenty years the cultural absence of my birthplace, Korea, was filled by vague childhood memories and cultural lifestyle brought along by my parents. The fundamental question of “who am I” came to the surface when my curiosity of my identity arose. Wanting a completeness of my identity, I started my quest back to my motherland in early 2016. And for the last two years in Korea, I have worked with recreating and recording myself onto a canvas.

    An abstract assemblage of mediated layers on various materials and various attempts of combined layers is a frequently appearing strategy throughout my works. Paint functions as a guided tool, bringing me closer to particular memories and experiences. I enjoy the manipulation of formal aspects in my work, as it offers both curiosity and the want to dissect the layers. I develop this abstraction through exploring paints’ ability to be both purely material and formative, accidental yet intentional, unconscious and conscious existing together, because cogent when placed onto a canvas. I strive to retain this sense of ambiguity, leading the viewer to search for meaning in specific elements, marks and the relationships between them.

    The cycle of creating alone is appealing. The process itself holds significance in my work. My work labels no finished date – meaning I work layers upon layers consistently to produce a temporarily finalized work. My momentary emotion and reaction to the canvas becomes what it is without hesitation. Every stroke and gesture is to leave traces of my present and current state of being, so eventually with every layer applied – my future and my identity are formed.

    Instagram

    GlogauAIR Project

    The concept of identity has been extensively and constantly dealt with throughout history. For centuries, theorists and artists have expressed their personal and projected identities through the means of visual representations using vast array of mediums and techniques. My study will primarily focus on identity constructed based on personal memory and culture an individual is engaged in.

    My art making process evolves around my quest in forming my identity. I create paintings through a process of intimacy, translating personal experience and emotions into painterly and gestural reflections. As such, I am interested in the investigation of experience, feeling, color, and texture through paintings and the productions of representations. I am influenced by both my mundane and spontaneous emotions, specifically concerning notion of the unconsciousness to navigate this exploration. I have developed a language to translate the fundamental parts of my life into paintings.

    My work revolves around the desire of wanting to keep traces of my memory and cultural placements. As identity is prone to continuously change throughout one’s life, my work has grown to portray and document this process. I will continue to highlight my constructed identity with abstract methods rather than mundane objects in the area of painting, performance arts, and other means. Soaking, overlapping and stacking have become the key words in emphasizing the non-stopping progress search of personal identity. Figuratively and literally, my identity has been soaked with my diverse cultural surroundings, overlapped with my memories and stacked all together. This constructive identity involves metaphorical and symbolic representations of emotions and happenings in expressive ways. Because my identity grows upon the different locations I live in, my future projects will continue to absorb the different culture and create a new form of representation onto my work. With the opportunity given to work with other artists in Europe, I hope to work with the key words: overlap, soak, and stack. These key words will become the foundation in the various strategies I hope to explore on my canvas. Creating my compound identity by soaking cultural experiences, overlapping memories of my past while stacking on the different locations of home completes an entire self. I hope to develop the capability to discuss and analyze various perspectives with a critical point of view, and to materialize the direction of their works by gathering global experiences.

    I want my work to serve as a field for diverse cultural exchange, carrying out creative work in concert with the changes in world art trends. I believe an artist has the ability to form a conceptual market that integrates and encapsulates cultural interest in with an innovative emphasis on visual perception. And I inspire to leave cultural footprints; the sum product of an individual’s past becomes a determining factor of a future and eventually the foundation in the formation of my identity. The aim of this study is to understand the relationship between culture and identity, which is newly perceived through my experiences in cultural movement. The merging of cultures and identity become continuously changeable and create new meaning. I intend to find meaning while coexist in the cultures and define my identity as interchangeable.

    CV Summary

    EDUCATION

    • Ewha Womans University, Seoul, Republic of Korea. March 2016 – in progress (M.F.A. Master of Fine Arts, degree)
    • UCLA (University of California, Los Angeles), Los Angeles, California. Sept. 2011 – June 2015 (B.A, Bachelor of the Arts, degree)
    • Galleries Association of Korea,Seoul, Republic of Korea. June 2013 – Aug 2013 (Modern and Contemporary Art Beginner Course, Art Authentication and Analyzation Academy)

    EXHIBITIONS

    • SOAK, OVERLAP, STACK (Nov 2018) Solo exhibition, Gallery Vinci, Seoul
    • 53rd ANNUAL SHOW (Oct 2018) Group show, The Chosunilbo Museum, Seoul
    • YRA-Young Roaming Artists (March 2018) Group show, Paik Hae Young Gallery, Seoul
    • EXPERIMENT-PART ONE (July 2017) Group show, Sewoon Plaza Space 15th, Seoul
    • WORD CHAIN GAME (Dec 2016) M.F.A., Group show, Ewha Womans University Art Center, Seoul
    • PLEASE HELP (June 2015) B.A. Group show, UCLA, Los Angeles, California
    • REPRESENTATIONS (Dec 2014) Solo exhibition, Quinlan Center, Cupertino, California
    • SURFACE (Nov 2014) Solo exhibition, UCLA Little Gallery, Los Angeles, California
    • JURIED ART EXHIBITION (July 2014) Group show, Pacific Art League, Palo Alto, California
    • IN SERACH OF RELEVANCE (May 2013) Group show, UCLA Hillel’s 9th Annual Student Art Show, Los Angeles California
    • UNDERGRADUATE SCHOLARSHIP AWARD (Nov 2011) Group show, UCLA Department of Art and School of the Arts and Architecture, Los Angeles, California
    • KAYA-Korean American Young Artists (Dec 2010) Group show, Quinlan Center, Cupertino, California

    PUBLICATIONS

    • Tide Social, Journal of International Student Culture– “UNTITLED” (2014)

    AWARDS & HONORS

    • FarBeyong Gallery –Young Artist Contest Finalist(2018)
    • Gallery Vinci –Artist Contest Finalist(2018)
    • 6th Annual Young Artist Award –Korean Christian Art Association(2018)
    • The Korean Honor Scholarship –The Embassy of the Republic of Korea in Washington D.C., United States(2014)
    • Visual and Performing Arts Education Program Honors –UCLA, Los Angeles California(2013)
    • UCLA Scholarship Awards –UCLA, Los Angeles California(2011)
    • 15th Congressional District Art Competition National Award –Washington D.C. United States(2010)

    Gallery

  • Molly Must

    Molly Must

    Molly Must is GlogauAIR resident
    from April, 2019 to June, 2019

    Molly Must is a painter with a deep interest in public history. Her current work is experimental, combining found-paper collage with
    oil painting in an exploration of graphic patterning and figurative imagery. Discarded gig posters from the streets of Kreuzberg are
    base material of her current project.

    Born and raised off-grid in the Appalachian Mountains, Must was brought up to understand the importance of wild land, and the
    solace of imagination, stories and drawings. Her early career was marked by organizing community art projects and narrative
    murals, premised on significant local histories. In recent years Must has been working independently, cultivating a studio practice
    primarily rooted in representational oil painting.

    Throughout her work Must explores questions about human relationships to land. In particular, she strives to better understand
    her own relationship to her family’s land within the greater context of settler-colonialism and the paradoxes of territorial
    stewardship, ritual inheritance, and legacies of power. She is interested in the exclusivity of mainstream public memory that
    enables false notions of righteousness regarding national borders, and is often lost in ruminations about the future of land-based
    solidarities. A meandering path of academic study underlies Must’s work.

    Playing with new methodologies of paint and collage, Must is currently creating artworks that draw on cartographic symbolism and
    allegorical figuration. By repurposing imagery and patterns found in street posters, Must engages complexities of color & form in
    gleaning a visual framework of motifs that reflect her musings and anxieties about inherited geographies of everyday imperialism,
    within the larger, wilder symbioses of the natural world.

    Meet the Artist

    Statement

    Molly Must is an American artist with a long-standing interest in storytelling, collectivism, monuments and public history. She is a figurative painter and muralist, working in oil and paper on canvas, and acrylic on concrete.

    Originally from rural West Virginia, Must moved from her family’s off-grid mountain home in her late teens to Asheville, North Carolina. There she was heavily involved in mural painting and community activism for nearly ten years, working under highways, in alleys, and public parks, aiming to illuminate marginal local histories and transform uncared-for public spaces.

    Today, Must is mostly engaged in studio work, painting largely from perception and grounding her imagery in a deeper inquiry of her own lived experience. She continues to examine her own relationship to land and public space, and explore notions of responsibility versus ownership within larger narratives of national identity.

    Molly Must

    GlogauAIR Project

    I would like to paint a series of portraits of people from the neighborhood surrounding the studio in Berlin. I hope to stage a series of impromptu street interviews, and find people who would be willing to work with me through a series of sittings. The paintings will incorporate motifs from their material lives, imagery referencing their life stories and/or cultural lineage, and hopes for the future.

    CV Summary

    EDUCATION

    • The New York Studio School, 2019
    • Teaching Artist Summer Institute; Bronx Community Word Project. 2018
    • Regents Bachelor of Arts, West Virginia University 2018

    PUBLIC MURALS

    • 2019 Sid, Hero of the Mine Wars Office of Public Art, Charleston, WV
    • 2015 The Great Disruption West Virginia Civil War Sesquicentennial Commission, Pocahontas County CVB & County Commission
    • 2013 Triangle Park Mural Asheville Design Center, Just Folks Community Club
    • 2011 Gone But Not Forgotten Office of Public Art, Charleston, WV
    • 2011 The Last Forest Pocahontas County CVB & County Commission
    • 2011 The Chess Players, Interstate 240 Underpass Mural, Asheville Mural Project, North Carolina, Department of Transportation, Asheville County Commission & Office of Economic Development
    • 2010 Chicken Alley Mural Asheville Arts Council
    • 2008 Lexington Ave Gateway, Interstate 240 Underpass Mural, Asheville Mural Project, North Carolina, Department of Transportation, Asheville County Commission & Office of Economic Development

    RESIDENCIES

    • GlogauAIR, Berlin, Germany April-June 2019
    • INTERNOS, Santiago, Cuba, January 2010 and 2016

    WORKSHOPS / PUBLIC LECTURES

    • 2018 Fibonacci; Art & Math Workshop Yew Mountain Center, Hillsboro WV
    • 2014 Collage Workshop Unitarian Universalist Congregation of Asheville, NC
    • 2012 Lecture: Art in Public Space University of North Carolina at Asheville
    • 2012 Lecture: Murals as Memorials YMI Cultural Center, Asheville, NC
    • 2011 Lecture: Storytelling through Public Art Warren Wilson College, Asheville, NC
    • 2010 Mural Workshop Asheville Middle School
    • 2009 Lecture: Asheville Murals Asheville Art Museum
    • 2008 Lecture: Cooperative & Emergent Art Asheville Design Center

    AWARDS / GRANTS

    • Jane Chace Carroll Scholarship, The New York Studio School, 2019
    • Osher Scholarship, West Virginia University, 2016-18
    • Greenbrier Valley Quarterly Zenith Award, 2014
    • North Carolina Arts Council Regional Artists Project Grant, 2010
    • Undergraduate Research Grant, University of North Carolina at Asheville, 2008

    RELATED EMPLOYMENT

    • 2014-‘20 Architectural Rendering/Design Assistance/Carpentry/Carpentry, Seven Rivers Design+Build
    • 2018 Museum Educator/Teaching Artist, Cranbrook Art Museum
    • 2014 Cafe Manager/Events Coordinator, The Spring: Appalachian Advocates Community Cafe
    • 2011-’13 Community Arts Coordinator, Asheville Design Center
    • 2007-‘11 Mural Coordinator Arts2People/Asheville Mural Project

    PUBLICATIONS

    • WVU College of Education and Human Services Magazine; “Inside the Artist’s Studio; RBA Student Molly Must explores history, culture, and community through art,” by Lindsey Kudaroski; Spring 2018 Issue
    • WV Public Broadcasting; “Inside Appalachia Road Trip: Art and Murals Across Appalachia’s Backroads,” by Jessica Lilly & Roxy Todd; Jan 15, 2016
    • Greenbrier Valley Quarterly; “Art Class 2014; Molly Must,” by Josh Baldwin; Spring 2014, Vol 36.
    • WNC Magazine; “The Big Picture: Muralist Molly Must Uses Public Art to Tell Community Stories,” by Joanne O’Sullivan; May, 2014
    • Asheville Citizen Times; “Living Portrait series: Asheville’s Molly Must,” by Michael Carlebach; May 8, 2014
    • Asheville Citizen Times; “Memories Through Murals; Artist Molly Must and downtown neighbors bring The Block’s rich history to life through the Triangle Park Mural,” by Barbara Blake; Sun, May 5, 2013.
    • Bold Life Magazine; “Painting the Town,” by Ursula Gullow; August 8, 2012
    • Mountain Xpress; “History is Now,” by Paul Clark; July 3, 2012
    • Asheville Citizen Times; “New mural will draw on Asheville’s African-American history,” June 16, 2012
    • Allegheny Mountian Radio; “Molly Must Shares Her Love of History and Community Through Her Art,” interviewed by Heather Niday; Dunmore, WV. February 10, 2012.
    • Verve Magazine, “Molly Must; Asheville is Her Canvas,” Nov 2008.

    Gallery

  • Sam Hatfield & Fiona Skelton

    Sam Hatfield & Fiona Skelton

    Sam Hatfield & Fiona Skelton is GlogauAIR resident from October, 2016 to December, 2016

    Australia

    Meet the Artist

    Statement

    Since creatively partnering in 2012, Sam Hatfield and Fiona Skelton have collaboratively practiced across diverse artistic languages including video, performance, installation, spoken word, illustration and music. The overarching premise of their joint practice is to use the unexpected and the absurd to provocatively deconstruct psychological and social constructs.

    The artists are developing a video series that explores the possibility of co-existent consciousness arising out of mutual experience. If individual consciousness is merely a bundle of processes without any central point of synthesis, then joint (or collective) consciousness may become not merely a possibility but a necessary outcome of any systematic collaborative processes involving multiple selves who already qualify as conscious. The progression of a relationship is used as the narrative basis for bringing to life an existent “being”, while also making explicit the sexuality that is implicit in the synthesis of definably separate selves.

    The artists are also developing a work that uses absurdist imagery and spoken word to explore a collective sociological and economic delusion in relation to the coopting of time, provoking reflection upon the rapidly evolving global structures that are magnifying and intensifying inequality and dissatisfaction.

    Sam Hatfield & Fiona Skelton

    GlogauAIR Project

    The audio-visual work encompasses four sub-works respectively titled Birthing, Impulse, Desire and Epilogue. Based on an absurdist narrative, the works are intended to be presented as sequential video art pieces, and heavily incorporate spoken word, interactive physical performance, illustration, music and sound design. Each sub-work plays out as one or more interwoven performance sequences that visually embody the conceptual themes.

    While the work utilizes a humorous and playful aesthetic, it draws heavily from current scientific and philosophical theories relating to the nexus between mind and body. The sexuality implicit in the creation of the Entity also plays out in the manner in which it ostensibly seeks to “jealously” preserve itself.

    By participating in a well-known and highly regarded residency program that attracts a diverse range and calibre of artists, we believe that GlogauAir will allow us to draw upon our interactions with other artists and mentors, together with exposure to inter-disciplinarily practices, in order to assist us in the development of a cohesive and incisive video art work. The residency will also give us the time and space necessary to refine and complete the work by the conclusion of the program, ready for exhibition.

    By the time of the residency a large focus will be on the post-production phase, although it should be noted that the distinction between the phases is not strictly linear. Throughout the process we continue to develop and revise the overall narrative and aesthetic of the work, with new creative developments arising from consideration and discussion of what we have already produced that in turn feed back into further video and audio production.

    We also intend to use the theoretical concepts behind The Cult of Love as the basis for the development of a live/performance art piece that sits parallel to the video work. Rather than focusing on a couple, the live work explores how a ritualized group dynamic may also give rise to an independently conscious being. Our current working concept is an interactive roving performance piece. A sculptural reconstruction of the Entity will be housed in a mobile pseudo-shrine and carried through crowded spaces. People will be encouraged to participate in a ritualized activity that incorporates dance and small “offerings” to keep the Entity “alive”. As the “custodians” of the ritual, we will be wearing brightly-feathered costumes (alluding to ritualized sexual display of bird dances) to represent the sexuality implied by the experience.

    The residency program will also allow us to fully realize the workings of the live/performance art piece, particularly as the group dynamic of the residency will lend itself to this exploration of collective consciousness that arises on a broader scale rather than just between two people. We have considerable previous experience bringing these types of interactive live art.

    CV Summary

    • Sam Hatfield and Fiona Skelton are an Australian arts duo. Since creatively partnering in 2012, they have collaboratively practiced across diverse artistic languages including video, performance, interactive narratives, installation, spoken word, illustration and music.
    • Sam holds a Bachelor of Digital Arts from the College of Fine Art, University of New South Wales, as well as a Bachelor of Laws (LLB) from the University of New South Wales and is currently completing a Graduate Diploma of Psychology at the University of New England.
    • Fiona holds a Bachelor of Creative Industries (Film & Media) from Queensland University of Technology, studied acting at the National Institute of Dramatic Art in Sydney, holds a Bachelor of Business from Queensland University of Technology and has recently completed a Graduate Diploma of Psychology through the University of New England and will shortly commence an Honours Program in Psychology.
    • Sam and Fiona’s first collaborative project, titled Nakedme, examined social constructs about the naked human form in public spaces. They used their own naked bodies to conduct subversive public acts that were disseminated via online video (YouTube Link), receiving significant media coverage in Australia and the UK (Nakedme Expose).
    • They later moved the project into an interactive live art space, with a six-day performance at the Toronto Fringe Festival – Visual Arts Program (2013). By persuading more than 200 festival goers to dance in as little clothing as possible, they pushed participants to confront their bodies and the fear associated with this process, culminating in a finale that combined a video projection of footage of these dancers (Vimeo Link) with the artists’ own fully naked performance.
    • In the New York-based Art in Odd Places festival (Sydney edition 2013) Sam and Fiona addressed social expectations of gender signifiers though performances in public spaces at Manly and Dee Why. Wearing “naked suits” of the opposite sex, they persuaded members of the public to swap clothes with a stranger of the opposite sex in an expandable multi-coloured change booth. The intense public reaction and ensuing media discourse was testament to the work’s probative value (e.g. SMH Article).
    • As a result, they developed the work further for the visual arts component of the Adelaide Fringe Festival (2014) where they incorporated a video projection component (Vimeo Link). For the Melbourne Fringe Festival (2014) they created an installation space Cubacosm to house the work.
    • In 2014-15, Sam (who also moonlights as a lawyer) and Fiona (who has significant administration experience in the arts industry) spent some time away from their arts practice while they focused on running a small legal firm in Brisbane, Australia. They also both studied postgraduate psychology programs by correspondence through the University of New England.
    • In 2016, Sam and Fiona have ditched the business attire to again concentrate full-time on their artistic collaboration, and are currently embarking on an ambitious set of new videos and performance works.

    Gallery

  • Yoko Naito

    Yoko Naito

    Yoko Naito is GlogauAIR resident
    from January, 2016 to March, 2016 and     April, 2016 to June, 2016

    Japan

    Meet the Artist

    Coming soon

    Statement

    My interest is the correlations of nature, humans, animals and their artifacts in the different environment. The juxtapositions with a different defines the significance of existence between each other. I was born in a small village in Japan and grew up in Tokyo area. The experience of the gap between rural and urban life has had a significant effect on me. This experience is to be a trigger of my interest about the environment.

    CV Summary

    Yoko Naito has graduated from Nihon University College of Art with BFA in Tokyo. She was based in New York for 6 years since 2009. She received the Sony World Photography Awards 2015, 3rd Prize in ‘Travel’ and Shortlist in ‘Lifestyle’ of the Professional category. Also, she was selected by the Kiyosato Museum of Photographic Arts -Young Portfolio in 2014 & 2015, Japan. Her work has been exhibited in solo and group exhibitions in the United States, Europe and Japan.

    Education

    • 2007 BFA: Photography. Nihon University College of Art / Tokyo. Japan

    Solo exhibition

    • 2016 Unbeknown-Traveling Exhibition/ Pinkcomma gallery, Boston. Massachusetts.
    • 2016 Unbeknown/ Outside Gallery, North Adams. Massachusetts.
    • 2015 In between/ Sony Imaging Galeery, Tokyo. Japan
    • 2011 Silence of breath/ graphite Gallery, Brooklyn. NY

    Selected exhibitions & Fair

    • 2016 EWAAC- The 7th East-West Art Award Competition Exhibition/ La Galleria, London, UK
    • 2016 Sony World Photography Awards- Traveling Exhibition-/ Tonnara di Marzamemi, Sicily, Italy
    • 2016 EWAEE- East West Artists Exchange Exhibition/ SomoS gallery, Berlin, Germany
    • 2016 Young Portfolio/ Kiyosato Museum of Photographic Arts, Yamanashi, Japan
    • 2015 Sony World Photography Award 2015- Traveling Exhibitions-/ the Norma, Catania, Italy
    • 2015 Sony World Photography Award 2015/ Sony Imaging Gallery, Tokyo, Japan
    • 2015 5 different landscapes/ EPICENTRO, Berlin, Germany
    • 2015 Tokyo art crossing Berlin/ Neurotitan Gallery, Berlin, Germany
    • 2015 Opening Project/ OLYMPUS Gallery, Tokyo & Osaka, Japan
    • 2015 Montparnasse/ TOBU Art Gallery, Tokyo, Japan
    • 2015 Sony World Photography Award 2015/ Somerset House, London, UK
    • 2015 Young Portfolio/ Kiyosato Museum of Photographic Arts, Yamanashi, Japan
    • 2015 J-ART 5th/ Williamsburg Art & Historical Center, Brooklyn, NY
    • 2014 NY ART BOOK FAIR/ MOMA P.S.1 Queens NY
    • 2014 NATIVE/ SHINJUKU ISETAN Art Gallery, Tokyo, Japan
    • 2014 J-ART 4th/ Williamsburg Art & Historical Center, Brooklyn, NY
    • 2013 NY ART BOOK FAIR/ MOMA P.S.1. Queens, NY
    • 2013 Lotus Photography/ hpgrp GALLERY, Chelsea, NY
    • 2013 Montparnasse/ C-DEPOT terminal, Tokyo, Japan
    • 2013 J-ART§RD7 Williamsburg Art & Historical Center, Brooklyn, NY

    Artist in Residence

    • 2016 GlogauAIR/ Berlin
    • 2013 Dionysia/ Iceland

    Gallery

  • Laurent Trezegnies

    Laurent Trezegnies

    Laurent Trezegnies is GlogauAIR resident
    from January, 2017 to March, 2017

    Belgium

    Meet the Artist

    Coming soon

    Statement

    My pictorial practice has driven me to exploit various industrial materials. Those ordinary materials, for which the expressive capacity is usually non existent, I divert them from their primary function, to integrate them in a work with an aesthetic and plastic reach.

    I am also interested in “ordinary place to live”, these countless location which form the general scenery, anonymous, unknown and even despised by our actions, and particularly on the urban living locations.

    When I intervene on a place, the purpose is double; first of all, the idea is to define the sensitivity of places, in terms of localization, history and symbolic values of the places, in a way , carry out a “critical inventory of ordinariness”.

    On the other hand, in accordance with these elements we could call “biographic”, I integrate those used materials in the installation. Moving the eyes between the place and the novelty brought contribute to a recovery of the place by the viewer. This practice-based artistic research intend to introduce and stimulate a “public reflection” on art, it’s place in our environment, and the relation we usually have with it.

    The “physicals elements”(such as sticky tape, tube, strap, etc.) of my work are composed of an expressive range. Those elements are on artwork’s service.

    Laurent Trezegnies

    GlogauAIR Project

    During the residency, I want to illustrate by installation in-situ the expressive richness of the stroke and his interpretations. The materialized stroke in his chosen environment by contribution of fixed or moving elements propose a selection sight on the present reality of this environment and the transformation of this one, leading to new visual interpretations of the place.

    I propose to search for in what a language of drawing could be applied on environmental forms for amplify, update or increase them.

    CV Summary

    L.T.(1988, Nassogne, Belgium) lives and works in Brussels, Belgium.

    • Graduated from MA in Fine Arts in 2012, at the Académie des Beaux-Arts de Liège, (Be.)
    • Currently working at different artistic projects in relation to the public space.

    Award and Scholarships

    • 2014 Prix de la Jeune Sculpture Wallonie-Bruxelles.
    • 2011_2012 Academy of fine Arts in liège (Be.) Master in visual arts.
    • 2010_2011 Academy of fine arts in Milano (It.) Brera, (LLP prg.)
    • 2007_2010 Higher school of fine arts of Saint-Luc, Liège (Be.) Bachelor in visual arts.
    • 1998_2008 Conservatory of cello.
    • 2003_2007 Institution Saint-Roch, Marche-en-Famenne (Be.) : CESS, (visual arts).

    Solo exhibition

    • 2012: “Composition Adhésive” – Space-Collection, Liège, (Be.)

    Selected group exhibitions

    • 2016 Biennale d’art contemporain, PARKUNST, Brussels
    • 2016 « Contemporary Signs », Castello Oldofreddi, Iseo (It.)
    • 2016 « Dans Tout Ces Eclats », Centre d’Art Contemporain du Luxembourg Belge
    • 2015 Biennale d’art contemporain, 50°Nord, watch this space, Roubais (Fr.)
    • 2015 ECOMUSEO DEL PAESAGGIO, Montecarotto (It.)
    • 2015 Prix Collignon, musée d’Ansembourg, Liège, (Be.)
    • 2015 Centre Culturel de Chénée, Création Artist Festival(FACC), Belgium
    • 2015 A collaboration between the audiovisual collective TRIPOT and the visual artist Laurent Trezegnies. multidisciplinary installation that integrates video and sculpture ; Recyclart (Brussels) and iMAL (Brussels).
    • 2014 Prix du Luxembourg Belge, installation site-specific, CACLB Montauban (Be.)
    • 2014 Prix de la jeune sculpture Wallonie-Bruxelles (Laureate)
    • 2014 Art & Métaux, Biennale de sculptures, Château de Jehay (Be.)
    • 2014 Open-Site, Entre-Lacs, parcours d’oeuvres d’art urbain, Villeneuve d’Ascq, France
    • 2014 Artefatto, Trieste, Italy

    Gallery

  • Louise Manifold

    Louise Manifold

    Louise Manifold is GlogauAIR resident
    from April, 2017 to September, 2017

    Ireland

    Meet the Artist

    Coming soon

    Statement

    Louise Manifold 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. Her visually saturated work holds an aesthetics that is somewhere between curiosity cabinet and surrealist theatre: Referencing Russian formalism traditions on cinematic estrangement and theatricality, Manifold generates dreamlike scenarios that suggest a sense of disconnection from the lived world in favor of a private real. The created realities that Manifold recounts often test credibility: incidents of delusion, perceptual phenomena, or points of emotional and psychological collapse, that suggest a crossing of conceptual boundaries to unite personal experience with universal subconscious impulse. Underpinning this is a concern with the limits and potential of language to shape and fix our sense of the world, with a particular significance to the language of symptoms of psychosomatic experiences, irrational beliefs and phenomenon that blur the lines between fiction and reality. One of the distinctive elements in her work is her engagement with found materials, Manifold is drawn to objects and collections that hold particular ideologies linked to Enlightenment Rationalism, using subtle intervention that act as a point in which to echo a return to the supernatural systems they preceded. Collaboration with other disciplines has always been central to her creative process, storytellers, fiction writers and psychics have featured in her previous works, and is fascinated with overlaps between time based art, documentary and cinematic practice. Through playing on these blurry perspectives, Manifold invites her audiences to renegotiate the boundaries where fact ends and fictions begins, to consider how we fabricate what we call reality.

    Louise Manifold

    GlogauAIR Project

    My application to Glogau AIR is driven by my desire to maintain excellence and innovation in my practice. As an artist based in the West of Ireland, I recognize the importance of developing work that can be understood within an international context. I wish to make an application for residency in Berlin as I want to situate my work in the most creative environment possible, so that I may be forefront of my creative genre. For my tenure, I hope to develop new connections for my work as an artist, and also have the time to make a new body of work in film, collage and slide installation. I am particularly interested in working with expanded cinematic practices. as a means to consolidate the interdisciplinary art forms that make up my current work practice today, as a means investigate more expanded cinematic experiences. I am keen to have the time to reflect upon my own ideas on what visual narrative is and to use my studio work to research what it can be. To do this I aim to focus on the mechanisms of traditional narrative, to rethink aspects of storytelling devices such as character and plot formation against editing process that invoke suspension, rupture, and delay of narrative. I wish to move my work away from direct story telling and voice overs which has central to my previous works to finding more economic forms of narrative conveyed through environment and the body. I wish to have the time to explore how the body can be reframed within artificial space to convey inner, subjective experience through abstract gesture. I am very much inspired by early German Expressionist cinema aesthetics and techniques of this film genre and in particular the film sets theatrical composition. I would like to use the time on residency to consider how I may adopt a similar aesthetics as a means to experiment with merging particular aspects of my practice in sculptural and installation. One of the primary influences of my work has been gothic and magic realism, I wish to focus upon Expressionist manner as means to extend this interest and to open up contemporary collective anxieties which I particularly connect to femininity: such as narratives of alienation, of hermitage, and otherness. In this way I wish to have the time to develop this work as a means to to examine the tropes and realities of life as a woman in modern society as a whole. Over the course of my residency, I aim to concentrate on the production of environments for my film work in terms of scale and detail and to use my studio space to build temporary theatrical spaces in which to direct and shoot new work in 16 mm film and digital video. I wish to apply to Glogau AIR as I want to have the experience of a live in studio space, the studio space has always been at the heart of my creative inquiry: I see the studio not only as a site of work production but also an opportunity for introduction and how to develop my research in respect to the location of Berlin. I aim to also use this time as a means to connect with emerging film makers and set designers as consultancy on my project, and through forming new connections with cultural producers in Berlin through my residency, I hope to explore how the architecture and scenography can become central in the development of the future of my artistic practice. The experience of being in a new arts community will also further my curatorial knowledge, offering a burgeoning but significant part of my art practice a valuable opportunity to also connect with and be informed by the extensive arts community in Berlin. The opportunity to be situated in a dynamic new community within Berlin will also help to proactively nurture new partnerships between projects and institutions I work with in Ireland. I believe that having this opportunity for a residency GlogauAIR will mark a significant turning point for me in developing international discourse around my practice, and insuring a successful creative trajectory in 2017 and mark a notable development in my career.

    CV Summary

    Academic and professional awards

    • 2004-05 MA Fine Art, Central St Martins College. Charing Cross Rd London, England.
    • 2001-02 B.A. Fine Art (Sculpture) – Distinction, GMIT Cluain Mhuire, Galway.Ireland.
    • 1998-00 National Diploma Fine Art (Sculpture) GMIT Cluain Mhuire, Galway. Ireland

    Awards/bursaries

    • 2016 Create Artist in the Community Scheme
    • 2016 Udaras na Gealtacht Individual artist Bursary
    • 2015 Galway County Council individual artists Bursary
    • 2014 Arts Council of Ireland Project award
    • 2014 Galway County Council individual artist Bursary
    • 2014 Udaras na Gealtacht Individual artist Bursary
    • 2013 Arts Council of Ireland Travel and Training award
    • 2012 Arts Council of Ireland Travel and Training award
    • 2012 Galway County Council individual artists Bursary
    • 2012 Culture Ireland Award
    • 2011 Galway City Council Individual Artists Bursary
    • 2010 Arts Council of Ireland Bursary Award
    • 2009 AIB Art prize (short listed)
    • 2009 Culture Ireland grant award
    • 2008 Arts council of Ireland Travel and Training award
    • 2007 Galway Arts Centre Soapbox visual art award
    • 2006 Galway city Council artist in residence award
    • 2005 Galway City Council Bursary award
    • 2004 Arts Council of Ireland, Professional training and development award.
    • 2002 European League of Institutes of the Arts, Looping the loop video art awards (short-listed)

    Teaching experience

    • 2016 Galway County Council’s Artist in Schools program with St Annin’s N.S. Roscahill Co Galway,Ireland.
    • 2015 Visual art workshop facilitator, Helium Arts Trust, Dublin Ireland
    • 2016/14/12 Visual Art Facilitator Burning Bright program, Hospital Arts trust and Galway Arts Centre, Galway.Ireland
    • 2006-2013 Visual Art facilitator, West Galway Mental Health services, UCHG Galway, Ireland.
    • 2013-2014 Community foundation of Ireland and Galway Arts Centre, Commissioned artistic facilitator.
    • 2011-2012 Lead mentor, Red Bird Youth Arts Collective, Galway Arts Centre.Galway Ireland.
    • 2006-2013 Visiting lecturer,GMIT Dept of Fine Art (Sculpture) and Professional practice modules, GMIT, Galway.Ireland
    • 2006-2013 Visiting lecturer,GMIT Dept of Film and television Production design module,GMIT, Galway.Ireland.
    • 2006/07/14 Animation workshop facilitator, Galway Film Centre, Cluin Mhuire Galway, Ireland
    • 2003-2004 Art educator, Merview Active retirement society, Merview, Galway Ireland.

    Residencies

    • 2014-15/06 R.H.A. Studios Ely Place Dublin, Ireland.
    • 2013 Fundacion Botin,Taller,Tacita Dean Santander Spain.
    • 2010-11 International Studio and Curatorial Program (ISPC) Brooklyn New York.
    • 2009 Void Derry Crushenhall Curfew tower project,Derry N.Ireland.
    • 2009 Welcome to the Neighborhood Askeaton Contemporary arts Limerick, Ireland.
    • 2008 SIM The Association of Icelandic Visual Artists, Reykjavík Iceland.
    • 2008 Tyrone Gutherie Centre Annaghmakerrig Newbliss Co. Monaghan. Ireland.
    • 2006-07 Galway City Council Artist in residence, City Museum, Galway Ireland.

    Solo exhibitions

    • 2013 In Death and Fiction, Simsa Tire, Tralee, Co. Kerry, Ireland
    • 2011 Two or more distant realities, Garter Lane Arts Centre, Waterford, Ireland.
    • 2010 Unnatural Esoteric Galway Arts Centre Dominick St Galway, Ireland
    • 2008 BullsWool Signal Arts Centre Bray Co. Wicklow Ireland.
    • 2008 Snowberry One Gallery 3 Clare St Dublin, Ireland.
    • 2007 Legend Galway City museum Spanish Arch, Galway. Ireland.

    Selected group exhibitions

    • 2015 Trauma curated by Ian Brunswick The Science Gallery,Trinity Collage Dublin Ireland. Wild-Screen curated by Louise Manifold & Una Quigley, Inagh Valley Connemara Co Galway Ireland.
    • 2014 Gate of Connaught, dream of stone,curated by Maeve Mulrennan, Galerie Du Faoudic Lorient, France.
    • 2013 Taking note/The curious eye curated by Robin Jones, NUIG Gallery,Galway Ireland. Letters of peace, Curated by Ruth Lubin, 100 Years Gallery, London, UK. Resonance, Artspace studios facilitated by Aine Phillips The Shed, Galway City Ireland.
    • 2012 Tulca, Curated by Gregory McCarthy, Galway City Ireland. Hyperopia, Curated by Shelly Mac Donald, Clifden Arts Week, Clifden Ireland. Opposite Extravaganza: cheating progress, Curated by Jim Ricks, Fairgreen Galway, Ireland Proximal Distances, Curated by Cathy Mooses Storefront studio, Pilsen Chicago, USA. Spiders From Mars, Curated by Michele Horrigan, Occupy Space, Limerick, Ireland. The Hellfire Club, curated by Michele Horrigan, Askeaton, Co Limerick, Ireland.
    • 2011 Collective Consciousness, Galway Arts Centre, Dominic St Galway Ireland. 14-5=126, Galway Arts Festival, 126 Gallery, Dock St Galway City Ireland. Metropolitan Wonderland, Curated by Astrid Honold ISCP , Brooklyn New York. Interstice Artspace Studios, Supermarket Art Fair, Stockholm, Sweden.
    • 2010 Dare to Joust Gallery, Affordable Art fair Battersea Park London England Outside/insight Galway Arts Centre and Bridget’s Garden Ross Cahill Co Galway,Ireland. Artspace studios Galerie du Faouëdic, Lorient, France.
    • 2009 Außerirdisch Projekthaus Bahrenfelderstrasse Hamburg, Germany. Urban Rococo, curated by Daniel Greany, Dare to Joust Gallery, London England. In search of utopia curated by Maeve Mulrennan, Galway arts centre, Galway, Ireland. Inishlacken: the last parish curated by Maeve Mulrennan Red House Arts Centre Syracuse New York, USA.
    • 2008 In Situe, Artspace studios Galway Arts Festival Galway, Ireland. Summer Group Show, Norman Villas Gallery, Salthill Galway Ireland. Eighse Carlow Arts festival, Curated by Patrick T. Murphy, Carlow Ireland. Inishlacken: a place apart curated by Maeve Mulrennan and Rosie McGurran,Galway Arts Centre,Galway Ireland.
    • 2007 Terms and conditions curated by Aideen Barry Mermaid gallery Bray, Co. Wicklow. Ireland Nether here nor there, curated by Maeve Mulrennan, Galway Arts Centre, Galway Ireland Galway Arts Festival. Artspace 21 exhibition, GTI, Fr Griffin Rd, Galway Ireland. Cause and effect, curated by Aideen Barrry Banff Centre Alberta Canada. 6×6 for Ireland, 411 Galleries, Hangzhou Shanghai Beijing, China.
    • 2006 Tulca within and without curated by Cliodhna Shaffery and Sarah Searson,Galway City, Ireland. Concave/convex Kilkenny Arts festival Berkeley Gallery, Thomastown Kilkenny,Ireland. Galway Arts Festival Artspace studios exhibition, GTI, Galway, Ireland.
    • 2005 Tulca Festival of visual art, Curated by Aine Philips, Fisheries Tower, Galway Ireland Bodily Functions, European capital of culture Granary Theatre, Mardyke Cork. Ireland Central St Martins Symposium, Matt’s Gallery, Copperfield Rd, Hackney London, UK On the underbelly, Curated by Neva Elliot, Upstairs gallery, Clerkenwell, London. UK First book of ideas Art scene warehouse, 50 Moganshan rd. Shanghai China. Leviathan, curated by JJ Charlesworth, Candid Arts Centre, Islington, London U.K
    • 2004 From Galway to Laurent, Galway City Council exchange, Laurent, France. Horizon, collaborative project with Aideen Barry, St. Nicolas church, Galway Ireland. Tulca, Curated by Michael Dempsey, Galway Arts Centre, Galway. Ireland.
    • 2003 Tulca Season of visual art curated by Michael Dempsey Galway Arts Centre, GalwayCity, Ireland. Sculpture in context, National Botanical gardens Glasnevin, Dublin. Ireland. The village with no name The Safe House Art space, Donegall St, Belfast. N.Ireland.

    Curatorial projects

    • 2015 Wild-Screen co curated with Una Quigely Inagh Valley Connemara Co Galway Ireland.
    • 2010 Live@8 “Grounded in this phenomenal world” Galway City Ireland.
    • 2007 Tulca, “City of Strangers”, co curated with Aideen Barry, Galway City, Ireland.
    • 2005 Leviathan, curatorial/hanging team, Candid Arts Centre, Islington, London U.K

    Publications and written reviews

    • Alice Butler, review on Wild Screen Enclave review 13 October 2015
    • Maeve Mulrennan review:Louise Manifold and Kevin Barry: In Death and Fiction, Honest Ulsterman, October2015
    • ‘All mountains begin on the ground’ Publication Compiled and edited Louise Manifold and Una Quigley March/ 2015.
    • Visual artist Ireland New Sheet, Chance is the Objective” Louise Manifold“ December/2013
    • Louise Manifold; A Curious Case of The Woman Who Cried Wolf “ review by Aidan Dunne, Irish Times.March/ 2010
    • Louise Manifold: Unnatural Esoteric, at the Galway Arts Centre, review by Dr Aine Phillips, Circa on Line. March/2010
    • In search of Utopia, review by Phillipia Sun, Experimental Conversations on line Journal May /2009

    Gallery