Archives: Artists

  • Marie Hendriks

    Marie Hendriks

    Marie Hendriks is GlogauAIR resident
    from July, 2019 to September, 2019

    Netherlands

    Meet the Artist

    Coming soon

    Statement

    I’ve always been telling stories. This habit comes from a family tradition. My ancestors liked to make children believe in the extraordinary. Born in the Netherlands in 1981, I grew up in the French countryside from the age of 10. My family education stayed in Dutch, my mother tongue, whilst my intellectual learning would be in French.

    My work as a visual storytelling artist circles around the central themes of false appearances, the house and the sensation of constraint, childhood wonder and fears. Often articulated around the use of video my works flourishes in many other mediums like sculpture, drawing or photography reunited in architectural installation. My work questions in particular the process of a narrative construction that emerges from playful and fictionalized associations of memories and family anecdotes. The intimate and banal statue of these stories is overruled through the staging and the physical and emotional impact procured by the installation. The action is redeployed to an environment with a spectacular scale, required for the uncanny and marvelous. I transmit my stories and play out their effective tensions within the exhibition space.

    I’m interested in architecture and interior spaces that have a theatrical aspect, or that show a sense of accumulation and excess. Throughout the last couple of years I’ve been interested in recreational architecture: pavilions, follies, grottos, kiosks, and seaside second houses… These constructions are discharged of the representation function and the seriousness of the permanent house. They have the particularity off showing the more fanciful aspect of the architect and the owner’s mind. Here the confusion and strangeness off shapes, colors and textures and the unlimited use of artifice are accepted. Like Les Esseintes’s house in Huysmans’s A Rebours novel, these constructions allow to forget everyday life routine and own a space that’s at the same time a home and an elsewhere.

    GlogauAIR Project

    Extra Ape

    Extra Ape focuses around three elements from the Chinese Pavillon of the Sanssouci park: the golden roof figure, the wise, musical monkeys, and the ornamental statues. A golden figure dressed in a kimono is sitting cross-legged under an oriental umbrella on the Chinese pavilion’s roof. He’s watching over the park, ruling over the pavilion like sitting on a throne. With his long beard and his imposing statue he could be a representation inspired by Confucius. One of Confucius’ learnings says: “Look not at what is contrary to propriety; listen not to what is contrary to propriety; speak not what is contrary to propriety; make no movement which is contrary to propriety”. This saying is often symbolized in the shape of the three wise monkeys. The Chinese pavilion shows numerous musical monkeys in its frescos and door decorations, following the XVIII century’s singerie trend. These playful and silly monkeys can be seen like funny satires of human vanity. And finally the real life size ornamental statues’ striking presence caught my attention. On the contrary of caryatids these sculptures aren’t integrated in the architectural supporting structure, as if they use the building like a pedestal.

    CV Summary

    • Marie Hendriks was born in 1981 in the Netherlands.
    • She studied at the Fine arts school of Bourges and later gained a film post degree at Studio Le Fresnoy.
    • She held solo exhibition at Musée Sandelin Saint Omer (2016), le château des Adhémar, Montélimar (2013); La Maison rouge, Paris (2010).
    • She participated in collective exhibitions and projections at CAN Neuchatel, MACRO Rome, the Fine art Museum in Calais, Fes- tival du documentaire Bruxelles, Festival Banditmages Bourges.

    Gallery

  • Paula Elion

    Paula Elion

    Paula Elion is GlogauAIR resident
    from July, 2019 to September, 2019

    Argentina

    Meet the Artist

    Coming soon

    Statement

    To whisper. Not shout. To suggest. Not determine. To ask – without expecting finite answers. To paint images which the viewer can relate to from their personal, ever-changing point of view. All this drives me when I am creating. The topics that arise in my art are related to the daily actions we take in society, which in turn, dictates its rules upon us. It begins with family relationships and dives into the female image in patriarchal society, identity and gender perception. Things which are swept down the carpet of the family dinner, reappear in my works on the table itself. My inspiration often comes from films, children’s stories, costume catalogs, old photos, social media posts, and more. I work with diverse surfaces such as canvas, cloth, cardboard, tablecloths, old books and plastics applying oil paints, acrylic, charcoal, colored markers and varnish.

    Being an immigrant artist and a child who kept travelling back and forth between Argentina and Israel, I feel that in order to read and interpret my work, one has to think of the term ‘translation’. When we use a certain term or reference in different languages, it takes on new baggage and connotations. I see the act of painting as an act of meta-lingual translation. An act that transmits a variety of cultural contexts through the same ‘word’ – or in my case – the same image.

    When I approach the painting of a family scene, for instance, I create it with contexts of different patterns that are not dichotomies but rather – fluid. The same goes for the way I refer in my works to the topic of gender. In the same image, I try to encompass a rainbow of identities and meanings, not reducing it to one single sense. My visual vocabulary also incorporates a process of abstraction and converses with both figurative and expressive painting. In addition, although my work carries an ongoing dialog with forms of representation & painting which are common to each of the cultures that I am part of – I remain a spectating outsider.

    GlogauAIR Project

    Family Snapshots

    Family snapshots– a project about a family during a tempestuous period in history

    My current project explores the “truths” about the historic figure of Magda Ritschel-Friedländer Goebbels, and the vast gap between her public image and her personal story. I perceive her as an exemplar of the tangled, complex relationship between people – and ideologies.

    Ideologies create sets of rules that must be totally believed and absolutely obeyed at all times. However, from a historic point of view, ideologies tend to come and go: what is considered the “ideal” in a certain time and place, may become the complete opposite once this ideology loses its grip.

    During the Nazi regime, Magda Gebbels embodied perfect Arian beauty, loyalty, and motherhood as a partner of one of the most powerful men in Nazi regime. Notwithstanding, today, this image appears in a different light, as the ideology she represented with her own body is despised by most of the liberal world. Her story is one of painful obedience – to her own husband, as well as to Third Reich’s set of rules. Disobedience was probably not an option for her, when she decided to murder her own six children and commit suicide in the Fuhrer’s bunker in Berlin once the Third Reich was defeated.

    My perspective of the image of Magda changed as I read her biography two years ago. As a Jewish child born and raised in Argentina, I was highly aware of the horrible deeds of WW2 and have always pictured the Nazis as inhuman monsters. Somehow, Magda’s story evoked different kinds of feelings within me, such as compassion and confusion. I’ve learned that Magda used to be an enthusiastic Zionist who was involved with Haim Arlozoroff and could have ended up in a Kibbutz in Palestine. Once she was engaged with Joseph Goebbels, her life took a different route as she became an emblem of Arian values. Suddenly, I felt that the narratives we are used to accepting as absolute truths can be challenged and can acquire different shades of meaning and interpretation.

    The personal and the national intertwined. History and memory collided. I started to draw Magda and her children from snapshots that documented the Goebbels’ family happy moments, captured in Nazi propaganda. By doing so, I started to wonder whether Magda was really in control of her own life when she chose to live by an ideology that dictated who can live and who should die.

    I addressed the question of choice through everyday material. I turned to Nazi posters and recreated them on cardboard, tablecloths and disposable plates – simple, conventional substances that can be found in every family home.

    I now wish to take my ongoing project forward by creating the next works in Berlin, where it all happened, where the origin of the ideology is. I intend to explore the city’s open markets, and second-hand, memorabilia shops and to use actual materials that Berlin has to offer. I plan to acquire used tablecloths, plates, old books and other materials that are both meaningful and original. In my eyes these objects hold actual memories within them: they belonged to someone, and were part of their household for many years. By using them in my work I can give them new life and add new layers of meaning.

    I also wish to attend Berlin’s archives, libraries and museums to search for letters, old photographs and documents, personal diaries and papers from those days. I’m moved by the idea of looking at these pieces of history first hand, and their contribution to my understating and practice is priceless.

    Creating the next works in this vast project in Berlin is highly meaningful to me. It is the ultimate location for me to explore the question I’m focusing on, regarding free choice, social norms and expectations and the nature of the fine line between people and nation. In my opinion, Magda’s story, as well as Berlin’s local history, carries a great political, historical and humanistic importance – as the ultimate materialization of the suspended tension between the personal and public.

    CV Summary

    EDUCATION

    • 2005-2009 Artist Diploma, “Hamidrasha”, Beit-Berl Art College
    • 1995-1998 B.A. in English Literature & Linguistics, Tel Aviv University

    SOLO EXHIBITIONS

    • 2018 “Fun Fair” , 4 Floretine Art Space, Tel Aviv, Israel. Curator: Jennifer Bloch
    • 2017 “Passe Partout – painted conversations”, Ruben&Carla project space, Berlin, Germany. Curators: Silvia Spacchetti and Gianluca Quaranta (“The Context”)
    • 2013 “Controversial”. Chlenov 3 Gallery, Tel Aviv, Israel. Curator: Gali Timen
    • 2012 “Secrets and Lies”. The Zaritsky Artists’ House, Tel Aviv. Curator: Arie Berkowitz
    • 2012 “Every mother needs a girl”. Zadik Gallery, Jaffa. Curator: Hana Coman

    SELECTED GROUP EXHIBITIONS

    • 2018 “Not a word”, Rishon Lezion Artist House, Curator: Jennifer Bloch & Ruth Orenbach
    • 2018 “Motion”, Cuckoo’s nest, Tel Aviv, Israel. Curators: Beenee Sarid and Udi Itzhayek – Zooza Gallery
    • 2017 “Another Space”, Takt Kunstprojektraum, Takt A.I.R, Berlin, Germany. Curator: David Kantounas
    • 2017 “Paula Elion / Yun Nam¨(joint exhibition), Rasch Gallery, Kassel, Germany. Curator: Tobias Rasch
    • 2016 “Iran, Iran”, Kaye Academic College of Education Gallery, Beer Sheva, Israel. Curators: Nir Harmat and Israel Ravinovich
    • 2015 “On the face”, Zadik Gallery, Jaffa, Israel. Curator: Hana Coman
    • 2012, 2013, 2014 “Bread & Roses”, exhibition for the rights of Arabic women workers in Israel. Tel Aviv, Israel
    • 2014 “Money”, Zadik Gallery, Jaffa, Israel. Curator: Hana Coman
    • 2014 “Paper Whispers”, drawing exhibition, Muza Plus Gallery, Jaffa, Israel. Curator: Liliana Orbach
    • 2014 Third International Watercolor Biennale, Belgrade, Serbia. Curator: Pedja Asimovic
    • 2013 “Your body is a battleground”. International group exhibition. Pristine Gallery, Monterrey, Mexico. Curator: Raul Zamudio
    • 2012 “The Lunch Box Project”. Group exhibition at the Water Institute, Givataim, Israel. Curator: Gali Timen
    • 2012 “On a small scale”. Zadik Gallery, Jaffa. Curator: Hana Koman
    • 2012 Second International Watercolor Biennale, Belgrade, Serbia. Curator: Pedja Asimovic
    • 2012 Exhibition for Gesher Theatre. ST-Art Gallery, Jaffa, Israel
    • 2011 “Nisuy Kelim Festival No.8”, Tel Aviv. Curator: Arie Berkowitz
    • 2011 “Taboo”, “The Independent Salon”, at the former central bus station, Tel Aviv, Israel. Curator: Yael Ben Shalom
    • 2010 ” Memory tricks” (joint exhibition with Vered Aharonovich) Haddasa Gallery, Jerusalem, Israel. Curator: Ofra Zucker
    • 2010 First International Watercolor Biennale, Belgrade, Serbia. Curator: Pedja Simovic
    • 2010 “Tree of Knowledge”, Haddasa Gallery, Jerusalem, Israel. Curator: Ofra Zucker
    • 2010 “Freedom”, on line exhibition. Curator: Dorit Pokatz
    • 2010 The Heder Contemporary Art, Tel Aviv, Israel. Curator: Neta Gal-Atzmon
    • 2010 “Salon des Refusés”, Jaffa, Israel. Curators: Yael Ben-Shalom, Michal Rivlin
    • 2010 “Artists for Amutat Tamar”, Herzlilinblum Museum, Tel Aviv, Israel. Curator: Anat Ahuvi
    • 2010 “Ex-Territory”, Urban Gallery, Tel Aviv, Israel. Curator: Sigal Kashkash
    • 2009 Secret Art 4, Bank Leumi. Curators – Esti Drori, Doron Polak – Artura
    • 2009 “Agalogia” – ecology and women in modern society, Kfar Saba Art Gallery. Israel. Curator: Aya Bernhard
    • 2007 “Family Ties”, Zionist of America House. Tel Aviv, Israel. Curator: Doron Polack
    • 2006 “Apropos les Damsels”, Petach Tikva Art Museum . Petach Tikva, Israel. Curator: Gilad Meltzer

    SELECTED ACQUISITIONS

    • 2012 Private collection ST-ART exhibition (for Gesher Theatre)
    • 2011 Private collectors (Hanina’s and “Bread and Roses” exhibitions)
    • 2010 Urban Gallery, Tel Aviv
    • 2009 Bank Leumi Collection
    • 2009 ST-ART Collection, Serge Tiroche

    Gallery

  • Yang Inhee

    Yang Inhee

    Yang Inhee is GlogauAIR resident
    from July, 2019 to September, 2019

    South Korea

    Meet the Artist

    Coming soon

    Statement

    The ATTACHING & DETACHING project consists of three parts: Beijing (RED GATE RESIDENCY), Shanghai (STUDIO GALLERY), and Berlin. I live and work in China as a South Korean citizen. I studied at Tsinghua University and worked at Huan-tie and Hei-qiao studios in Beijing from 2006 to 2012, and have lived in Shanghai since 2012. I currently live in Shanghai and Seoul. I have a map of my diary documenting my daily life and work in China over 12 years, including time spent in Frankfurt, Germany in 2006. Using this diary, I aim to create a map of my past. I also explore the tension of time, change, and my relationship with my neighbors and myself, particularly recalling the deep cold sensibility of Germany (outside Berlin). I aim to connect my present self with my past self, hence the title “Attaching and Detaching.” Ultimately, this project expresses my fears and vulnerabilities, and I hope to connect with new neighbors in Germany.

    Yang Inhee

    GlogauAIR Project

    paralysis – The 《paralysis _麻痹》(Beijing, 2012) is based on my experience with physical paralysis; it marked the beginning of my ‘Main from the body, not from the spirit’ theme. Recently, I’ve experimented with attaching and detaching painting materials from the brush, using various dispensing methods to create shapes, prioritizing physical experience over visual contact. During my 40-day Shanghai residency in 2018, explored differences in texture, surface, mass, and weight using simple found materials. Many pieces retain a raw, imperfect quality, which I find compelling. focuses the viewer on the process of appreciation – the ‘act of visual reading’ – rather than the final result, connecting external formal experiments with internal subject matter. In Berlin, I will continue exploring ‘the act of visual reading’ through ‘placement’ and ‘composition’ over six months.

    CV Summary

    EDUCATION

    • 2004 B.F.A in Fine Art, Kyung-Hee University, Seoul, South Korea
    • 2010 M.F.A in Fine Art, Tsinghua University, Beijing, China

    SOLO SHOWS AND PROJECTS

    • 2018 ‘corner: Art-Residence-Project’, Studio Gallery, Shanghai, China
    • 2015 ‘The back studio’, Mustard Seed Space, Shanghai, China
    • 2013 ‘Paralysis_ reflection’, Gallery Lamer, Seoul, South Korea
    • 2012 ‘mabi_paralysis’, Jing Gallery, Beijing, China

    GROUP SHOWS

    • 2018 ‘The meaning of things’, 798 Fang yuan Museum. Beijing, China
    • 2017 ‘Xin qiao: Creativity’,Xin qiao Museum, Shanghai, China
    • 2016 ‘Tremors of Mentality: BTW II’, Korea Cultural Center, Shanghai, China
      ‘Gestalt and Function’, Australia China Art Foundation, Shanghai, China
    • 2015 ‘Between Two Waves’, Korea Cultural Center, Shanghai, China
      ‘Zeng Art: Oil Painting Exhibition’, Dayuntang Art Museum, Beijing, China
    • 2013 ‘Past and Post’, Chang Gallery, Shanghai, China
    • 2011 ‘Red-land’, 1th Jiangxi Art Festival, Jiangxi Art Center, Jingxi, China
    • 2010 ‘36.5_Charity’, Korea Cultural Center, Beijing, China
    • 2009 ‘Playing with Art: Korea and China Young Artist Exchange’, Korea Cultural Center, Beijing, China
      ‘Cuve: 1th Exhibition’, 798 Space-DA Gallery, Beijing, China
      ‘Moxi: Korea and China Young Artist Exchange’, Korea Cultural Center, Beijing, China

    AWARDS

    • 2015 10th archive, SOMA Drawing Center, Seoul, Korea
    • 2013 ‘Storage space: The other memories’, Mac Art Museum, Ansan, South Korea
      ‘New Generation’,Able Fine Art NY Gallery seoul, Seoul, South Korea
      ‘Fearless’, Able Fine Art NY Gallery seoul, New York, USA
      ‘New Thinking, New Art’ Lee Seoul Gallery, Seoul, South Korea
    • 2012 ‘Zoom Gallery: Prizewinner Exhibition’, Zoom Gallery, South Seoul, Korea

    RESIDENCE PROGRAMS

    • 2018 Art-Residence-project, Studio Gallery, Shanghai, China
    • 2011 The 5th term of Artists-in-Residence, Beijing Kyung-Hee studio, Beijing, China

    COLLECTION

    • 2018 ‘corner_3’, Studio Gallery, Shanghai, China

    Gallery

  • James Perley

    James Perley

    James Perley is GlogauAIR resident from April, 2018 to June, 2018 and from July, 2018 to September, 2018

    United States

    Meet the Artist

    Coming soon

    Statement

    James Perley is an American composer and interactive media artist who lives and works in San Francisco, CA and Portland, OR. He received his BA in Audio Arts and Acoustics from Columbia College Chicago and his first MFA in Design and Technology from San Francisco Art Institute. He continued his graduate education at Mills College in Oakland, CA where he also completed a second MFA in Electronic Music and Recording Media.

    He has studied and collaborated with several distinguished artists and composers including Maggi Payne, Kate Short, Les Stuck, Roscoe Mitchell, John Bischoff and Maya Smira (participant in EMPIRE II, VENIZA BIENNIAL 2017). From 2013 to 2015 James was awarded an independent study with Pauline Oliveros and worked on several projects and collaborations including Lead Program Director at the 2014 WHITNEY BIENNIAL. James has also scored various independent films for directors including Eliane Lima (Esquizo Filma) and George Kuchar.

    James is currently completing his first solo electronic vinyl titled “CITY HAS NO STARS” and is investigating music residencies globally in music technology. James also works professionally in audio/visual post production, multimedia technology direction, graphic design and web design while operating The RendezVU, an electronic music recording studio and post production facility.

    James Perley

    GlogauAIR Project

    MIHI (Musical Instrument for the Hearing Impaired) Custom Instrument/Installation/Performance (2018)

    Concept: What if video was audio and audio was video? What if we could control what people see by what we hear and vice versa? MIHI (Music Interface for the Hearing Impaired) aims to be a step in the direction that converges movement of sight with the movement of sound. Originally conceived and inspired while working with Pauline Oliveros in 2015 and while doing music technology research at Mills College in California, MIHI tracks video movement via the camera eye, which, in turn, triggers sound. Then the sound is reinterpreted and changed back into vibration.

    During my residency at GlogauAIR, I will aim to extend this idea by implementing haptic feedback to the user and audience, utilizing vibration technology that mimics and simulates sound. This extension will enable persons with hearing loss to not only perceive music, but also to participate as a composer/performer. Using vibration methods, similar to the way we receive “silent” notifications on our smart phones and mobile devices, this project proposes a new modality for the hearing impaired to appreciate and understand music and sound, translating music theory and acoustic sensation to an individual with hearing loss.

    There are many areas of the human body that respond to SPL (sound pressure level) and vibration similar to the ear. The chest, arms, legs, abdomen and jaw respond to various vibrations in tandem with sounds. The cochlea in the inner ear is part of a major sensory system that enables us to hear sounds the way we do, but other sensory systems of the body also are stimulated and respond to acoustic vibrations that can help us experience sound, navigate music, and have visceral experiences through alternative sensory and biofeedback processes.

    CV Summary

    EDUCATION

    • 2015 MFA Electronic Music Composition and Recording Media, Mills College, Oakland CA
    • 2012 MFA Design and Technology, San Francisco Art Institute, San Francisco CA
    • 2005 BA Audio Arts and Acoustics in Recording, Columbia College Chicago, Chicago IL

    WORKS, PERFORMANCES, EXHIBITION

    • 2017 CITY HAS NO STARS: SLIVR DREAMS , The RendezVU, 2017
    • 2017 Solo electronic performance, “CITY HAS NO STARS,” Analog Theater, Portland OR
    • 2017 Film Screening and Film Score “Sherry” Direct by Eliana Lima, Roxie Theater, San Francisco CA
    • 2017 Solo electronic compilation, “CITY HAS NO STARS”
    • 2017 Music direction and film score, “Sherry,” Directed by Eliana Lima, CalArts
    • 2016 Solo electronic music performance, Analog Cafe, Portland OR
    • 2015 Solo interactive music and video performance of “VANISH” Signal Flow MFA concert, Mills College, Oakland CA
    • 2015 Guest performer with John Driscoll, (David Tudor Composer-In-Residence), Mills College, Oakland CA
    • 2015 Solo Performance, Life Changing Ministry, Oakland CA
    • 2014 Album design, art direction and publication Deep Listening Band “Dunrobin Sonic Gems”, Ottawa, Ontario, Canada
    • 2014 Guest Performer with Pauline Oliveros and Thingamajigs at Berkeley Arts Museum, Berkeley CA
    • 2014 Solo Performance using custom built electronic instrument “Rattle” at the Center for New Music, San Francisco CA
    • 2014 Solo Performance with FM Transmitter Glass Harmonica at Rensselaer Polytechnic Institute, Troy New York
    • 2014 Production Coordinator and documentation for Pauline Oliveros’ “Deep Listening Room,” Whitney Biennial, Whitney Museum of Contemporary Art, New York NY
    • 2013 Duet Performance with Joshua Marshall “CESS/POOL” at the Northern California Performance Platform, San Francisco Art Institute, San Francisco CA
    • 2013 Performance California Electronic Music Exchange Concerts Performance, “CONJURE”, Mills College, Oakland CA
    • 2013 Collaborative performance in Kate Short’s “Oculus” installation, Mills College, Oakland CA
    • 2012 Studio performance of “A Bell In View”, The Hill Studio, San Francisco CA
    • 2012 Music direction and film score, “Leonora,” Directed by Eliane Lima
    • 2012 Installation and Interactive Performance, “Laid” Design and Technology Salon, San Francisco Art Institute, San Francisco, CA
    • 2012 Video and sound installation featured in ArtPad San Francisco “HASNT HAPPENED SINCE”, San Francisco, CA
    • 2011 Phantasmagoria, Swell Gallery, San Francisco Art Institute, San Francisco CA

    Gallery

  • Hyerim Ha

    Hyerim Ha

    Hyerim Ha is GlogauAIR resident
    from November, 2017 to January, 2018

    South Korea

    Meet the Artist

    Coming soon

    Statement

    I believe personally a beauty of architecture is the best among the other art genres. As it is essentially different between excitement from 3-dimensional spaces to be obtained through movement of our bodies and heads and excitement from 2-dimensional paintings.

    However, sometimes architecture would be burdened by something apart from the artistry of space. For instance, architectural structures and equipment come under this disturbing category.

    Also, in an area of architecture, as the final decision-maker would be a client not an architect, the creation-right would be restricted deeply by clients. Sometimes an architect who could build the PANTHEON would make a BARN eventually. So I want to be a client of my architecture.

    I’m desperate to explore a possibility of ‘architectural sculpture’ in an area of freedom; art. From now on I want to call it ‘sculpitecture’ as a compound word sculpture and architecture. It is not an existing sculpture to be appreciated from a distance but a sculpture could be appreciated for audiences to enter a sculpture like architecture.

    In conclusion, to approach architecture just in a view of pure formative arts without those restrictions is the essence of my work.

    Issuu

    GlogauAIR Project

    It is a quite different experience between making digital works personally and doing actual exhibitions to the public. So what I seek most in the residency is to make physical artworks instead of digital works and to hold several exhibitions.

    When I divide 3 months residency period into 3 parts, in the first month I will produce and exhibit two artworks which I made just in digital images. These would be attached images no. 1~2 and no. 6~9.

    What I anticipate from participating in the residency is to make ideas just in my head to be real and to learn how to exhibit them effectively. Actually as I didn’t graduate from an art college, I want to experience various exhibitions by myself. So in the early phase of the residency I’ll concentrate on making the existing (but not realized physically) works instead of producing totally new one.

    In the second and last month, I have a plan to treat a new main project. To deal with an aesthetic of architecture in an area of sculpture, human~scale is needed necessarily. So how to make a sculpture like architecture, but not like real architecture, is a big issue of sculpitecture.

    Proposing some solutions about the issue is an essential key of sculpitecture I am seeking.

    At this moment, I have concluded two ways to solve it. The first way is to use optical illusion of perspective with just small models. And I could make a photograph to look like a real architecture. The second way is to make a sculpture in a gallery by using actual human~scale. The latter is more challenging than the former and it would be a main work during the residency.

    And I want to talk about not just a project for this year but for the next 5 years.

    There is a common misconception about me. That is, I’ll quit architecture for sculpture. But this is totally misunderstanding about my life~plan. I have a plan to make a positive interaction between architecture and sculpture.

    CV Summary

    Education

    • Hanyang University School of Architecture

    Prize

    • The grand prix of graduation exhibition in a university, 2016

    Professional experience

    • A winter internship of interior design, December 2012~February 2013
    • Internship of yi architecture and interior design lab, July~August 2013
    • A field work of cafe interior, December 2013 ~ January 2014
    • A part time job of anp architecture, February 2017 ~April 2017

    Extra activity

    • A interviewee of essay magazine “EUREKA”

    Gallery

  • Xingyu Chen

    Xingyu Chen

    Xingyu Chen is GlogauAIR resident
    from June, 2015 to September, 2015

    China

    Meet the Artist

    Coming soon

    Statement

    For my work, I think of a word to describe this world, this world chooses to present in front of us is absolutely not our naked eye can see, the truth hidden in the skin we can see, for understanding the world needs to rely on our analysis, rely on feeling, eyes are too accurate, I think the real thing is not to be able to grasp the language and some of the links.

    We can see the image too accurate, so that the formation of this error, we can not accurately grasp the world I often wondered what it was, I guess they are like a dream, some funny, funny or even unreasonable, I want to seize half awaken them, but they always choose to decamp, perhaps this is true there, I see is different from the moment, perhaps the human subconscious is and the world belong to the same structure, we do not belong to the naked eye can see the real, it is very close to the chaotic way, maybe we eye the most unlikely things through the most rigorous logic as a support there. So my painting hopes to show some of the things that no logic, so that all kinds of strange combination of things, perhaps by chance that the real world is the most recent expression, the most logical expression.

    My paintings are fuzzy, this picture sense like see potential world the moment of truth for an instant the surprise, also has only a vague is the chaos the real explanation. I like the expression heart explain nothing in this world, the naked eye can only peep epidermal, this is a big surprise, even consciousness into this unexpected world as real has been in we do not know about the operation mode, there is no basis.

    Xingyu Chen

    Gallery

  • Bruna Mayer

    Bruna Mayer

    Bruna Mayer is GlogauAIR resident from March, 2018 to May, 2018 and from June, 2018 to September, 2018

    Brazil

    Meet the Artist

    Coming soon

    Statement

    Within my artist practice, I develop my work through video, installation and currently, with living micro-organisms to explore the hidden and untamed facets of the self, that consolidate one’s existence. A pursue to connect with the most intimate parts of the being – through the body’s biological and non-physical dimensions. A search for underlying aspects, that might have been neglected or put aside, due to their unsettling characteristics, but that when denied, grow stronger, infiltrating and expanding under the surface. I use the notion of the body to reflect upon opposing topics such as internal and external, the visible and the obscure, desire and repulse.

    Bruna Mayer

    GlogauAIR Project

    Through a visual, temporal and spatial construction, Bruna creates an ambiguous encounter between the secluded and the unknown within, finding beauty in the most unexpected of places. Currently exploring and experimenting with living micro-organisms and the invisible ecosystem within the body – its undermined, natural and untamed existence, that makes up an essential part of life. Within enclosed containers, these invisible living creatures can grow and proliferate freely, while forming their own unique and uncontrollable patterns, as they spread and thus becoming visible to the viewer. Likewise, our innermost aspects – our impulses and primitive desires – also need to be nurtured and cultivated in a safe territory in order to exist freely, without neglect or fear, but rather, acceptance and assimilation with one’s self as they are our most dominant source of potency, creativity and strength. The work invites viewers to connect with their most intimate self and perhaps access neglected inner states.

    CV Summary

    b. 1986, Brazil

    EDUCATION

    • 2015 Bachelor of Fine Arts, Centro Universitario Belas Artes de Sao Paulo, BR.
    • 2005 – 2009 Art Center College of Design – Illustration, Pasadena, USA.
    • 2002 – 2005 Miami Dade College, Dual Enrollment in Visual Arts, Miami, USA.

    GROUP EXHIBITIONS

    • 2017 “Mostra Escola Entropica”, Instituto Tomie Ohtake, Sao Paulo, BR.
    • 2017 “3a. Mostra B.A.” – Espaco Di Grado, Sao Paulo, BR.
    • 2017 “Metanoia”, Coletiva AIREZ 2017, Airez Galery, Curitiba, BR.
    • 2017 “(In)Possibilidades”, Incubadora de Artistas, Atibaia, BR.
    • 2017 Arte Londrina 5 – “As Coisas se Escoram Tortas”, curated by Ricardo Basbaum e Danillo Villa, Divisao de artes Plasticas da Casa de Cultura/ UEL, Londrina, BR.
    • 2017 “Mostra Escola Entropica”, Instituto Tomie Ohtake, Sao Paulo, BR.
    • 2017 “Bienal Arte Print Brasil”, Incubadora de Artistas, Atibaia, BR.
    • 2017 “Presenca Permeavel” – video installation and performance at Praca das Artes Fundacao Theatro Municipal de Sao Paulo, BR.
    • 2017 “Salao Colecao de Verao”, Casa Da Xiclet, Sao Paulo, BR.
    • 2017 Novas Poeticas, Virtual Gallery, Eixo Arte, BR.
    • 2016 “Mostra Escola Entropica”, Instituto Tomie Ohtake, Sao Paulo, BR.
    • 2016 Novas Poeticas, curated by Germano Dusha, Guilherme Gutman e Pollyana Quintella at Fundacao Museu do Futuro Curitiba, BR.
    • 2016 “Tempo Suspenso”, curated by Luciano Mariussi e Leandro Roman, Galeria 13, Sao Paulo, BR.
    • 2016 “Processos Criativos”, Wesley Duke Lee Art Institute, Sao Paulo, BR.
    • 2015 Arte Londrina 4 – “Alguns Desvios do Corpo”, curated by Danillo Villa and Caue Alves, Casa de Cultura UEL, Londrina, BR.
    • 2015 “Fragmentos da Memoria”, Galeria 13, Sao Paulo, BR.
    • 2015 “Permissoes: Ruidos Poeticos”, Galeria 13, Sao Paulo, BR.
    • 2015 “Olhar Grafico”, curated by Helena Freddi and Katia Salvany, MUBA Museu Belas Artes de Sao Paulo, BR.
    • 2009 “Art and Dance show”, Complete Actor’s Place. Los Angeles, USA.
    • 2009 November Group Show, The Hive Gallery, Los Angeles, USA.
    • 2008 “The Women’s Show 3”, Cactus Gallery, California, USA.
    • 2007 Exhibition organized by Instituto Paranaense de Arte, Centro Cultural Gilberto Mayer, Cascavel, BR.
    • 2005 “Rising Stars”, NWSA Art Exhibition, Miami, USA.

    JURY

    • Juri Member of Novas Poeticas, Galeria Canizares, Salvador, BR. – 2017

    GRANTS AND AWARDS

    • 2015 Prize for Best Short-Film, Virgins Produced by Bruna Mayer and Victor Ribeiro, Los Angeles Brazilian Film Festival, USA.

    FILM FESTIVALS

    • 2015 Los Angeles Brazilian Film Festival, Los Angeles, USA.
    • 2015 3a Mostra Cultura de Cinema Brasileiro, Fortaleza, BR.
    • 2015 WHAT The Festival, Oregon, USA.

    Gallery

  • Aaron Daem

    Aaron Daem

    Aaron Daem is GlogauAIR resident
    from October, 2018 to December, 2018

    Belgium

    Meet the Artist

    Coming soon

    Statement

    There is a strong idea of homogeneity between the different works of Aaron Daem, this counts not only for the paintings but also for his drawings he makes. The seemingly childlike images like a boat, a sun and waves are painted with great accuracy, the under layers that are visible through the image refer to an intense painterly and substantive search. The sensitivity that those simple images receive creates a contrasting result. The use of his balanced colorite tells us something about the painting in the past but undeniably from his contemporary position. You can experience the works with a great amusement but on the other side there is a critical point of view towards the medium itself. (A jury report)

    Aaron Daem

    GlogauAIR Project

    During the GlogauAIR residency, I want to focus on the limits and values of an image. To discover how an image can maneuver in a contemporary landscape, especially in the case of the painting. The painting which has, since the early 80’s, started with the following question: can you still paint? Therefore I want to develop a research from multiple points of view, to put different components and contexts together in hopes of creating autonomous images. The result of this will be decided by the environment and his side effects. With this residency I will have the space to confront myself with the developments and results who will evolve during the residency.

    CV Summary

    b. 1993 Belgium

    Education

    • 2013-2017 Bachelor Fine Arts, Luca School of Arts Ghent.
    • 2018-2019 Master Fine Arts, Luca School of Arts Ghent.

    Exhibitions

    • 2018
      • All You Need Is The Lavatory: Food Matters. Croxhapox, Ghent.
      • Yügen#16 Art Group Exhibition, Yügen, Ghent.
    • 2017
      • Lux, Luca Showcase. Nest, Ghent.
      • V36, Work Place P.U.L.S. Toneelhuis, Antwerpen.
      • Werf, Duo Exhibition with Evelyn Vanoverbeke, Ghent.
      • Gradution Show, Luca School of Arts, Ghent.
      • Huisnummer 59, Duo Exhibition with Eline Vansteenkiste, Ghent.
    • 2016
      • Temporary Art Centrum, Eindhoven.
      • The Law Of The Cupola, Apprentice Master Project by Kunstpodium T, Group Exhibition
      • Sex Met Verf, Group Exhibition. Croxhapox, Ghent.
      • Het Eenzame Paard, Group Exhibition. Croxhapox, Ghent.
      • Arture #4, Group Exhibition. St-Mauritsplein, Herzele.
      • Desukkelsvandesokkel, Group Exhibition. Beeldentuin Luca School of Arts, Ghent.
      • Wuow, Group Exhibition. Luca School of Arts Ghent. Nucleo, Ghent.

    Awards

    • 2017
      • Jury Prize, Luca School of Arts Ghent.
      • Selecetion, Ronse Drawing Prize.
    • 2016
      • Resendency Apprecentice Master project, Kunstpodium T. Eindhoven, Netherlands.

    External Projects

    • De Zwarte Zusters: A Large group with different musicians with various backgrounds formed on Luca Ghent.
    Website
    Video 1
    Video 2

    Gallery

  • Yurika Sunada

    Yurika Sunada

    Yurika Sunada is GlogauAIR resident
    from April, 2018 to June, 2018

    Japan

    Meet the Artist

    Coming soon

    Statement

    We are always surrounded by the concept of time. We recognize the exact time by looking at the clock and then deciding what to do. However, we wonder if “that time” is actually correct. For seeking the answer to endless questions, we have visualized our “time concept” and created a device to reconsider it. We always try to represent “the time” by overlaying the lights, shadows, sounds, and air that are created by that device. We take particular note of “ticking” in the major theme “time”. Using power makes the art piece alive, and also allows us to present “ticking” objectively and clearly. We have broken down, destroyed “the time,” then restructured it. Even after we released our art pieces, the embedded power continues to form the time. Our art pieces truly become complete after having the additional time formation.

    Yurika Sunada

    GlogauAIR Project

    When I face the moment of feeling excited or fulfilled, I always think I would like to memorise everything, including the air, at that moment. Opening my eyes and lending my ears, I always attempt to gain information from all five senses. However, that moment will soon become a memory, which although was once clear, will fade out and become ambiguous. Although I intend to save the memory perfectly, it becomes blurred or faded when I recall the memory at another time. The memories I’ve accumulated so far mix, and the information obtained from conversations with others twists and bends those memories that should have been complete. I never want to record my memories visually, such as in a picture, but I want to keep the memory of the moment.

    – Distortion of memory –

    First of all, I tried to visualise and express distorted memories that are reproduced in the brain, in order to verify the memory distortion.

    CV Summary

    • 2009〜2012 Musashino Art University
    • 2016 group exhibition “The Research Associate Exhibition 2016″Musashino Art University,Japan
    • 2015 group exhibition “TOKYO artcrossing BERLIN” Haus Schwarzenberg neurotitan,Berlin Germany
    • group exhibition “The Research Associate Exhibition 2015″Musashino Art University,Japan
    • 2014 group exhibition “JART4TH” WAH Center,New York USA
    • group exhibition “The Research Associate Exhibition 2014″Musashino Art University,Japan
    • 2013 group exhibition “SICF14″Aoyama Spiral,Japan
    • group exhibition “The Research Associate Exhibition 2013″Musashino Art University,Japan
    • 2012 received the incentive award of Final Graduation Project exhibition graduation from Musashino Art University
    • artcross project 2012 winter exhibition “Creative snow in GINZA”
    • 2009 founded ritmico
    • 2008 entered Musashino Art University department of Scenography

    Gallery

  • Alejandro Urrutia Lorenzini

    Alejandro Urrutia Lorenzini

    Alejandro Urrutia Lorenzini is GlogauAIR resident from October, 2019 to December, 2019

    Chile

    Meet the Artist

    Coming soon

    Statement

    Alejandro Urrutia works with the synergies between architectural and sculptural principles. After ten years as an architect he now uses the medium of sculpture to play with how architectural rules can be reinterpreted and transgressed.

    He draws on the rich relationship between his two disciplines to generate new perspectives within the forms he creates and to consider how a piece relates within its physical and social context.

    Alejandro Urrutia Lorenzini

    GlogauAIR Project

    Production of ‘complementary opposites’: a series of sculptures that represents the existence of cycles in life, cycles formed by the interplay of interdependent opposite, mutually constituted and moving spirally. Sol y Luna was the first piece of the series. El Sol, denoted as masculine in the Spanish language and La Luna, denoted as feminine, also imply other complementary opposites in life flowing harmoniously such as day and night, North and South, Summer and Winter.

    CV Summary

    EDUCATION

    • 2000-2006 Architecture | Pontificia Universidad Católica de Chile.
    • 1998-2000 Science Bachelor | Pontificia Universidad Católica de Chile.

    ART RESIDENCY / WORKSHOPS

    • 2019 GlogauAIR Residency | glogauair, Berlin, Germany.
    • 2017 London Sculpture Workshop | London Sculpture Workshop, London U.K.
    • 2016 Workshop on Work Analysis and Criticism, Eugenio Dittborn | Santiago, Chile.

    PROFESSIONAL EXPERIENCE

    • 2018-2019 Betafactory architect/sculptor | Betafactory, Metal and wood workshop, Copenhague, Denmark.
    • 2008-2016 Founder architect UNarquitectura | UNarquitectura, Santiago, Chile.
    • 2016 Project Architect “Preservation of Pukara and Chullpas of Nama” | Tarapaca Region, Chile”, financed by “Archaeological Institute of America Site Grant”.
    • 2008-2009 Project Architect FONDART Nº 63389-2008 “Plan de Manejo de los Petroglifos de Rosario” | Arica Region- Parinacota, Chile.
    • 2007-2008 Architect DuqueMotta | DuqueMotta, Santiago, Chile.

    EXHIBITIONS

    • 2019 Uncharted | Sirin Gallery Copenhague, Dinamarca. Oct-
      Chart Fair | Den Frie Copenhague, Denmark. September.
      Form/ Function Be One | Sirin Gallery, Copenhague, Denmark. March- April.
      YICCA 2018 International Contest Contemporary Art | HDLU museum, Zagreb, Croatia. Curator: Leila Topić Zagreb’s Museum of Contemporary Art. Jan-Feb.
    • 2018 Balance Solo Show | Nac Gallery, Santiago, Chile. Jan.

    PUBLICATIONS

    • 2019 Future Now 2019 100 Contemporary Artists from the Aesthetica Art Prize
    • 2018 Art Maze Magazine Nº9 publication | curator: Kim Savage, Founder and Director of FOLD Gallery, London.
      Latinoamerica Circuitos del Arte | Curator Daniel G. Alfonso.
      YICCA 2018 | International Contest Contemporary Art Catalogue, curator Leila Topić.
      Arte Al Límite Magazine | Edition 91, Jul –Aug, curator Elisa Massadro.

    AWARDS

    • 2019 Art residency award YICCA International Contest Contemporary Art | HDLU museum, Zagreb, Croatia. Curator: Leila Topić Zagreb’s
      Short listed Artist Aesthetica Art Prize.
    • 2015 2nd prize Public contest Mineduc Punitaqui School | Punitaqui, Coquimbo Region, Chile.
    • 2014 3rd prize Public contest Juan Pablo II Park Swimming Pool | Las Condes Municipality, Santiago, Chile

    Gallery