Archives: Artists

  • Sofía Briales

    Sofía Briales

    Artist main image

    Sofía Briales is GlogauAIR resident from April 2025 to June 2025.
    Q2

    Sofía’s body of work encompasses an undisciplined, appropriationist, and Conceptual practice. Briales seeks to explore the intersection between the pictorial and the digital. Addressing themes such as the transcendence of pictorial connotative codes, the Internet, and the problematic pictorial references we have inherited in the category of “geniuses”. Through different media, Sofía seeks to free the spectator and invites them to reflect, whilst emphasising that everything concerning her practice originates from the pictorial.

    Meet the Artist

    Can you tell us a bit about your background and the project you’re working on during this three-month residency at GlogauAIR?

    My practice begins with painting, but from the very start it’s been driven by an interest in how images circulate, how they’re produced, and how they become distorted. Living in the time I live in — and carrying the weight of everything that’s historically been defined as “art” — I can’t help but try to create something that speaks to the present, without forgetting everything that came before. For me, all of my work is archive, because it’s rooted in historical material. And it’s all pictorial, because it all starts with painting.

    That research inevitably led me to question what images really are, how we consume them, and what effects they have on us. My last exhibition, FAKETORIES, dealt with all of this in relation to cultural spaces, the factory, the history of images — and more specifically, the first moving images by the Lumière brothers. In the video I made in collaboration with Dolorcica, we revisited texts by Hito Steyerl and Harun Farocki, asking ourselves where the exit might be from this regime of image-consumption we live under — where we’re slaves to the screen, and the only thing we’re offered is the chance to consume ourselves.

    Eventually, I understood that this “exit” doesn’t exist yet — and I’m not even sure it ever will. So I proposed something else: to open a window and install a slide. It’s not an escape, but it’s an alternative. And honestly, beyond all the layers of theory, I just wanted to create something that wouldn’t add more suffering to this 2025. A fun, absurd little moment for the people who came to the open studio. Of course, you can find meaning in the act of sliding down, the speed, the impact… but right now, I’m more interested in something lighter, more mundane. There’s space for that too.

    At the moment, I’m working around the concept of the slide—not necessarily as a functional object, since I currently lack the means to produce a usable one, but rather as a conceptual entry point into a project that is deliberately open-ended. The slide becomes a placeholder, a speculative interface for thinking through trajectories, descents, and failures of structure. As such, what you’ll encounter in the open studio might be anything—or nothing at all.

    So, you said that your work starts with painting but also connects with the digital and the conceptual. So how is this mix reflected in this new project for GlogauAIR?

    When I say my work starts with painting, I mean it in a deeper, almost primal sense. For me, painting was the first innate symptom of being human — the impulse to express, to communicate, to create something. I think of Altamira, of those first marks on stone. Sadly, that symptom has ended up confined under the label of “art,” but I see it more as the act of creating images as a form of language.

    I don’t really believe there’s a strict separation between the pictorial, the digital, and the conceptual. It’s not about connecting them — they’re all part of the same continuous story. One is the development of the other. Virtual images are not separate from painted ones; they are their evolution. Also I believe that, intentional or not, all contemporary art is conceptual in its structure

    Honestly, I don’t know if all of this is reflected in the project I’m working on right now — and I’m not particularly worried about it either. I’m more interested in inhabiting the question than trying to answer it.

    You have mentioned before, Hito Steyerl, Altamira Caves. What artists, works, or texts have been fundamental in the development of your past works, and how do they relate to the project you’re working on now at GlogauAIR?

    As I had already mentioned, artists like Hito Steyerl, Harun Farocki, and Walid Raad have been essential in helping me think of the archive as a fictional and political construction. From Steyerl, The Wretched of the Screen and her video How Not to Be Seen have been particularly influential. They’ve helped me understand how invisibility, fragmentation, and oversaturation function as strategies within the contemporary image ecosystem. Steyerl doesn’t just critique the dominant visual regime — she also proposes tactics to resist it through artistic practice.

    In Harun Farocki’s case, his book Distrust of Images was a revelation. It taught me to be skeptical not just of what images show, but of the structures and mechanisms that produce and circulate them. That critical stance deeply influences how I work with found footage, screenshots, archival material, and optical devices. Both artists have pushed me to rethink the systems of image connectivity and consumption we’re embedded in, and to better understand the current state of art and visual culture in this post-human, algorithmic era — a time when images operate not only for human viewers but also between machines, independent of us.

    Equally fundamental to my practice are the writings of Paul Virilio and Jacques Derrida. From Virilio, I draw on the idea of speed as a form of power and violence. From Derrida, the concept of the archive as something always incomplete, contested, and unstable. These ideas permeate my work and are at the core of the project I’m developing at GlogauAIR: a visual investigation that seeks to open cracks in the polished surface of contemporary imagery — proposing zones of interference, suspicion, and fiction.

    You describe your practice as undisciplined and appropriationist. Can you expand on these characteristics, on how these characteristics manifest in your work and what you aim to transform through them?

    I use the word “undisciplined” ironically. In my context, when someone calls you undisciplined, it’s in a very pejorative way — “what an undisciplined little girl!”— and I found it funny to reclaim that term instead of saying I’m multidisciplinary, interdisciplinary, or transdisciplinary — terms I find very confusing for a non-specialized audience to understand.

    It’s true, I don’t have an exact discipline, and I don’t want one. I’m not looking for a discipline. For me, “Undisciplined” feels messier, freer, harder to categorize — and that suits my practice better.

    Appropriation appears in my work both as a method and as an attitude: I rewrite images, quote without permission, turn found fragments into part of a personal narrative. It’s not just about using what already exists — it’s about intervening in the way images circulate, hacking the authority of the original. Often, there’s no need to add much more, because, as I already said, everything has already been done. What changes is how we look at it, how we shift it, how we make it speak differently.

    Interview conducted by Sofia Briales and Dolorcica

    • Statement
    • GlogauAIR Project
    • CV
    • Gallery
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    Statement

    My body of work encompasses an undisciplined, appropriationist, and Conceptual practice. Examining the blind spots of a sector that promotes progressive values yet remains subjected to market dynamics, I seek to explore the intersection between the pictorial and the digital.

    My artistic practice addresses themes such as the transcendence of pictorial connotative codes, the instability of meaning in language, permanent connectivity regimes, speed, the “crashed” society, the Internet, the role of new generations who are more uninformed than ever despite having more access to information, and the problematic pictorial references we have inherited in the category of “geniuses”.

    Through different media, I seek to free the spectator from the duty-free zone and the romanticized vision of the artist, inviting them to a reflective contemplation — without a supplement of dignity. In this process, I use error, interference, and discontinuity as strategies of resistance against the inertia of visual language.

    Despite everything mentioned, I would like to emphasize that everything concerning my practice originates from the pictorial. For me, painting is neither a device of mimesis nor of technical virtuosity. It is the residue of a language prior to its semantic domestication, a system of signs in which the possibility of meaning is always on the verge of disappearance.

    It is not bound to established codes or the need for explanation; it is an autonomous language that resists categorization. As Jacques Derrida said,”Language never says exactly what we want it to say”, but painting does.

    GlogauAIR Project

    “COMO NO HEMOS ENCONTRADO LA SALIDA, HE HABILITADO UNA VENTANA” (SINCE WE HAVEN’T FOUND THE EXIT, I SET UP A WINDOW)

    During my stay at GlogauAIR, my intention is to continue the line of research I developed in my last exhibition, FAKETORIES, particularly with the video collaboration with Dolorcica, titled “La Última Película del Mundo” (The Last Movie on Earth), and to further explore the concept of THINKING ABOUT THE EXIT. I propose the installation of a slide emerging from the building’s window. This project would serve as a starting point for exploring connectivity systems, drawing analogies between the conduit and the slide, and addressing ambivalences such as the perception of ‘play’ versus ‘work.’ The meanings that emerge will undoubtedly be endless, exploring the image of the slide as a playful conduit and the space of play as an extension of artistic experience and reflection. (I would like to emphasize that these are the first strokes of a work that may transform and adapt).

    CV

    Education

    • 2018 — 2023 University of Castilla-La Mancha (UCLM), Cuenca, ES — BA in Fine Arts.
    • 2018 Central Saint Martins, University of the Arts (UAL), London, UK — Fashion Folio Foundation (Stage 1).

    Extracurricular Courses

    • 2024 Museo Nacional Centro de Arte Reina Sofía, Madrid, ES — Course: Artists’ Figures. From Bohemia to Stardom.
    • 2022 MACBA Artists’ Lab, Barcelona, ES — Between Action and Object.

    Exhibitions

    • 2025
      • Hybria, collective show, curated by Motherlode collective, Zurich, CH
    • 2024
      • Montones de Mantequilla, Duo show with Adela Angulo Portugal, Madrid, ES
      • FAKETORIES, Solo show, Chaiz Studio curated by Arturo Fernández, Madrid, ES
    • 2023
      • Performance by the 1/4 collective at the inauguration of the XIX Artists Meeting of the Amelia Moreno Foundation. El Dorado Art Space curated by David Cohn. Toledo, ES
      • Solo show of the Final Thesis ARTA DEL ARTE, UCLM, Cuenca, ES
      • Untitled (Something that doesn’t allow itself to be seen), Solo show, UCLM, Cuenca, ES
    • 2022
      • Sala de Despiece, solo show, UCLM, Cuenca, ES
      • Upload it to TikTok, collective show curated by Antolín Murcia at UCLM, Cuenca.
      • Cubículo, collective show, Madrid, ES
      • Alqvimia, collective show, Espacio Naranjo, Madrid, ES
    • 2021
      • Emerging Emergency, collective show, in collaboration with Phase Collective, Madrid, ES
      • Collective show at Casa Balandra curated by Mercedes Kerch & Gabriela Caulonga, Mallorca, ES
      • Sofía Briales, Alex Eiffel, Sofía López Briales y Adela Angulo Portugal, collective show, UCLM, Cuenca, ES
      • And you, how do you feel?, collective show, curated by Maya Alarcón Watson, UCLM, Cuenca, ES
    • 2020
      • Horror Vacui, collective show, Espacio Kanoko, Cuenca, ES

    Relevant Experience

    • 2023 Gallery Assistant — Gratin Gallery, New York, NY

    Practice description

    • Sofía Briales’s GlogauAIR artist page adds a short practice statement describing her work as “undisciplined,” appropriationist, and conceptual, focused on the intersection between the pictorial and the digital, error, interference, and discontinuity as strategies, and painting as an autonomous language.

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  • Iñaki Beaskoa

    Iñaki Beaskoa

    Artist main image

    Iñaki Beaskoa is GlogauAIR resident from October 2025 to December 2025.
    Q4

    Hailing from Barcelona and currently based in Berlin, Iñaki is a multidisciplinary artist who draws inspiration from processes of transformation and the influence of memories on people and spaces. Working across painting, sculpture, and tattooing, he embraces spontaneity within his process, allowing materials or individuals to influence the final outcome.

    Meet the Artist

    Can you tell me a bit about your background?

    When I was young I used to paint murals, and I come from a graffiti background. Then I studied at a comic school, which involved illustration, narrative, and some traditional animation. After that, I began tattooing around fourteen years ago. I finished my studies in drawing, and a lot of my surrounding people and friends were already tattooing. The mural and graffiti scene was really mixed with tattooing somehow. I grew up in a town just outside Barcelona. People surrounding me were from an underground and alternative movement that really moved me. I tried to tattoo a friend of mine, and I became fascinated because I found there was so much to learn. So I thought, I’ll try again.

    Suddenly I was really deep into tattooing. It permits me to travel, make exchanges, and also work with different people. I really enjoy this kind of learning through sharing. Also visiting other artist’s studios all over the world. It’s a nice way to learn.

     

    What are you planning to do for your three months here?

    I intend to continue my research into reviewing and questioning the link between memory and emotion. Lately I’ve been working on ceramics and drawings. My idea is to keep this dialogue going between the two-dimensional and the three-dimensional. When I change the technique, I also change and adapt the forms, figures, shapes.

    At the beginning of the year, I started learning meditation, and I am using some of the thoughts and memories that made me lose focus during this practice as inspiration.

     

    Tattoos are a forever piece of art, how does this theme of permanence play into your work when you’re talking about memory?

    Throughout history, tattoos have served various purposes, including fostering a sense of community, serving cultural and spiritual purposes, and facilitating physical and personal transformation. The fact that they are permanent is a feature that accompanies all these purposes.

    When someone contacts me to receive a tattoo, it is because they are attracted to my style,  which allows me to start working from a common point. Because it is permanent, I usually feel pressure and a great sense of responsibility at the beginning of the process, especially when I am asked to capture a memory or something that is important to someone emotionally. I feel fortunate to be trusted to interpret their experiences and emotions, and this motivates me to create a piece from my perspective. If the person is open to suggestions, I allow myself to take risks with the design.

    When it comes to my experiments with paintings and ceramics, I don’t feel under pressure because I’m working with my own memories and ideas. This gives me the freedom to take more risks when making decisions than I do with tattooing. In any medium I work with, I am aware of the importance of making definitive choices and accepting them. The acceptance that comes with the process while representing these memories also feels very healing.

     

     

    I see that you lean towards representational figures with tattooing, and your work becomes more abstract in your sculptures and drawings. What inspires you to take a representational route versus an abstract one?

    I come from a figurative background, and have an understanding of anatomy. It was hard for me to break these kinds of rules, and get far away from this learning that I felt was limiting me to a certain point. Tattooing requires precision and, because of the expansion of ink into skin, the technique requires creating clear figures that can age clearly on a body. Having more time for experimenting and playing with other techniques, such as ceramics and body movement practices, permits my emotions to be expressed in another way. I am getting away from a commission and getting closer to what I need to express.

     

    Can you tell me more about your thought process for your sculptures, because I  know that’s a new medium for you.

    Not knowing certain limitations of the medium makes me play in an intuitive way and push the limits of the technique. As I said before, I am learning to meditate, and after every session I draw with my left hand, even though I’m right-handed. I feel this way I don’t judge my skills and it’s an honest drawing, which I really enjoy.

    I use those sketches as images of reference for my sculptures and, since most of them are linked to a memory, I intend to visualize the recall before I start molding. The resemblance between the reference and the piece is different, sometimes by a lot. Some of the last memories I worked with were from a period where I was bullied during my adolescence, and seeing the clay pieces I came up with makes me think about the memory from another perspective. There’s a different feeling.

     

    Interview Shay Rutkowski (@sruutrut)

    Photos Yasemin Erguvan (@yaseminerguvan)

    • Statement
    • GlogauAIR Project
    • CV
    • Gallery
    • More

    Statement

    Iñaki Beaskoa is a multidisciplinary artist from Barcelona who now lives in Berlin, Germany. Inspired by the transformative processes he observes in his surroundings and within himself, he examines how forms evolve from the different phases of these lived experiences and observations. His monochromatic, organic work has gravitational qualities that convey a sense of solidity and weight, as well as fluidity. He uses light very intentionally to influence and define the forms and contrasts he creates.

    His creative mediums include tattooing, painting and, more recently, sculpture. He tends to use painting and ceramics for abstract and spontaneous expression, and tattooing and drawing for more premeditated and figurative representations. Throughout his creative processes, he meticulously explores the limitations of each technique and the changes that occur when transitioning between them.

    GlogauAIR Project

    During his three-month residency at GlogauAIR, he has continued to explore the relationship between memory and emotion. Some of the memories dated back a long time, while others related to when he moved to Berlin at the start of the year. To do this, he created a dialogue between sculptural representations of memories and the influence of light on the works. Through this process, he sought to create new shadow forms and perspectives that distorted the original concept of the memory.

    CV

    Education:

    • Master’s degree in Graphic Art from the Joso School in Barcelona (2006–2010).

    Group exhibitions:

    • VERME, a mixed-media exhibition in collaboration with Ignacio Lassalle, Noor Datis and Victoire Daras, held at the Oneroom Gallery in London in 2023.

    Guest tattoo artist:

    • Carborundum Studio, Mexico City, 2017.
    • Seventh Son Studio, San Francisco, USA, 2019.
    • Saved Studio, Los Angeles, USA, 2019.
    • Happy Pets Studio, 2019, Lausanne, Switzerland.
    • Red Point Tattoo, regular guest artist, 2019–2025, London, UK.
    • AKA Studio and Gallery, 2024–2025, Berlin, Germany.

    Collaborations:

    • Ceramic working artist’s studio, proposed by Luis Ortega, Ceramic Kingdom, February–June 2025, Berlin.
    • Mural painting with the participation of the ‘El Mil.lenari’ social centre, Promunsa and Sant Just Desvern city council, Barcelona, Spain, 2023.
    • Ceramics and art direction for the short film OM, Hard Craft Co., Barcelona, Spain, 2021.
    • Illustration and branding design for Can Kai Taro, Begur, Spain, 2020.
    • Artistic direction for the short film Love Taro, Girona, Spain, 2020.

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  • So & So Studio

    So & So Studio

    So & So Studio is GlogauAIR resident
    from December, 2019 to March, 2020.

    So & So Studio is an anonymous design practice based in Berlin. The natural convergence of their artistic and architectural languages is evident within their growing body of works, between the Europe and the USA. Blurring the lines between intuition and refinement through each of their creative interventions, they continue to critique and question the built and unbuilt environment around them. Their work is playful in nature with a process that is fun, iterative and at times inappropriate.

    Statement

    So & So Studio is an anonymous design practice which has surfaced as a natural response to calls for observation, research and understanding, proposition, and smart solutions to design challenges considered unique. The work of So & So Studio ranges in scale and focus from architectural design through urban discourse, product design and art installations. No matter the scale or focus of each work, they desire and demand to connect today’s relevance in architectural thinking to the people that are occupying our spaces.

    So & So Studio

    GlogauAIR Project

    In their current body of work, Ripped Off, So & So explores the excavation and reduction of space using residual materials: found and ripped off the streets of Berlin, Germany.

    Jorge Luis Borges, in 1985, claims: “Space, according to the idealists, does not exist in and of itself: it is a mental phenomenon, like pain, fear, and vision, and being part of consciousness, it may in no way be said that consciousness is situated in space.”

    This proposal explores the studios use of collage as an intuitive exploration to each project, whether the result is built architectural space, eventually realized, or just the visualisation of perceived space. Within the recording of time, space, as it is recognized in consciousness, is the artifact and evidence of moments which exist in the present. As architects, it is our responsibility to realize space in every facet of the word.

    Through collage, So & So continuously utilizes the instantaneous results of perceived space. It is within this result where the So & So consciousness of space becomes the viewer’s perceived time. Posters from the past are taken from the streets to feed an intuitive spatial creation and understanding of the architectural future. The viewer will experience a current reality, that is a present state of a layered past. A past that was once advertising for the future, but now draws the viewer into the a new spatial dimension of a hopeful future.

    So & So Studio proposes to bring the collage alive, expanding it to an interactive scale, throughout the three rooms of the GlogauAIR studio space. Here, the collage becomes a model for spatial communication, striving to join the three separate rooms into one larger gesture, while simultaneously dividing the space with overlaps and in-between space.

    CV Summary

    • Casa MAC
    • Teaching a blind client how to read her new home
    • So & So Studio UG
    • Client | Private
    • Status | Completed May 2018
    • Thiene, Italy, 2018

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  • Kovács/O’Doherty

    Kovács/O’Doherty

    Kovács/O’Doherty is GlogauAIR resident
    from April, 2020 to June, 2020

    Hungary and Ireland

    Meet the Artist

    Coming soon

    Statement

    Kata Kovács and Tom O’Doherty have worked as a collaborative duo since 2011. Their work combines elements of durational and time-based art, minimalist movement, and electroacoustic music and sound. They are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this material can be transformed through repetition, patterning, layering, and archiving.

    They have exhibited and presented work at Los Angeles County Museum of Art, California; Serralves Museum, Porto; National Museum of Contemporary Art (Chiado), Lisbon; Kunstquartier Bethanien, Berlin; Kunstkraftwerk, Leipzig; and Digital in Berlin’s Kiezsalonseries, Berlin, among others. They have been recipients of the LACMA Art + Technology Lab Award, and of the Tanzstipendium award of the Berlin Senatsverwaltung für Kultur und Europa. They live and work in Berlin, Germany.

    Kovács/O’Doherty

    GlogauAIR Project

    In their time at GlogauAIR, Kata and Tom have been researching and re-tracing the routes of abandoned railway lines in Berlin and Brandenburg — sites of infrastructural absence, of geographical traces, and of historical memory. The work combines investigation of these locations with parallel research into audio machine-learning models. The project will thus pair algorithmically generated audio of non-existent trains with physical locations of disappeared and non-existent train routes.

    Installation, New media, and Sound Art.

    CV Summary

    Kata Kovács

    • Education: Diploma, Contemporary/Modern Dance, Budapest Contemporary Dance School (2002-2007); Spanish Language and Literature, Eötvös Loránd University (2000-2002)
    • Born: 1981, Kecskemét, Hungary

    Tom O’Doherty

    • Education: M.Sc., Multimedia, Dublin City University (2000-2001); B.A., English, Greek and Roman Civilization, University College Dublin (1997-2000)
    • Born: 1978, Dublin, Ireland

    Selected grants and awards

    • Jun, 2017: Grant recipient, International travel grant, Berliner Senat, Berlin, Germany
    • May, 2016: Awardee and grant recipient, LACMA Art + Technology Awards 2016, Los Angeles County Museum of Art, Los Angeles, USA
    • May, 2013: Grant recipient, Tanzstipendium, Berliner Senat, Berlin, Germany

    Ongoing work

    • Jan, 2016–present: Minute/Year. Multi-year automated durational installation in annual iterations. Automated, multi-year durational work, ongoing since 1. January 2016, in which sound is automatically layered in a resonant space, for one minute each day, and published online, as audio and accompanying spectrogram image. Presented in annually-altered locations, and currently in its fifth annual iteration (since 1. Jan., 2020) at bb15, Linz, Austria.

    Selected past exhibitions and events

    • 13.–15. Nov, 2019: Minute/Year (2016-2018). Video installation, talk, PARSE Research Conference, Gothenburg, Sweden. Presenting Minute/Year (Archive, 2016–2018), a three-channel video with sound, derived from the daily data generated by Minute/Year, and accompanying talk, presented at the third biennial PARSE Research Conference.
    • 5.-25. Oct, 2019: Carried Bells. Solo exhibition | Hošek Contemporary, Berlin. Presenting the process-based accumulating installation work Carried Bells, over the course of twenty consecutive days.
    • 13. Aug, 2019: KvT. Dual exhibition | bb15, Linz, Austria. Presenting KvT, a minimalist electroacoustic sound and photographic performance work, alongside work by Julian Day.
    • 9. Dec, 2018: Nearness — New Sound and Performance Works. Performance | Ausland Berlin, Berlin, Germany. Presenting 1-100, a process-based performance, as part of the Place Rhythm. Pulse series, curated by Gretchen Blegen, along with work by plan b performance.
    • 3., 9. Oct, 2018: KvT. Group exhibition | Bludny kamen Gallery, Opava, Czech Republic; Savremena Galerija Subotica, Subotica, Serbia. Presenting KvT, a minimalist electroacoustic sound and photographic performance work, alongside work by Agente Costura and Stephen Doyle.
    • 21.–24. Sep, 2017: Signal Tide. Sound and extraterrestrial radio installation | LACMA Art + Technology Lab, Los Angeles County Museum of Art, Los Angeles, USA. Presenting the sound and extraterrestrial radio installation Signal Tide. Incorporating music and sound created collaboratively with David Bryant (Godspeed You! Black Emperor). Facilitated by Joel Ferree (Program Director, LACMA Art + Technology Lab) and Amy Heibel (Adjunct Curator, LACMA Art + Technology Lab; Vice President, LACMA).
    • 12.–13. Apr, 2017: P!. Exhibition, conference, and festival | Chiado Museum (Museu Nacional de Arte Contemporânea), São Luiz Teatro Municipal, and other locations, Lisbon, Portugal. Presenting the durational installation Increments, at Chiado Museum (Museu Nacional de Arte Contemporânea), Lisbon, as part of the exhibition, conference, and festival P!, curated by Pedro Rocha and Ana Pais.
    • 8.–9. Oct, 2016: Afterglow. Installation | Musikbrauerei, Berlin, Germany. Sound installation presented as part of the closing event of the 2016 Kiezsalon series of events, presented by Digital in Berlin.
    • 1.–24. Apr, 2016: Restructuring the Axis. Group exhibition | Kunstkraftwerk, Leipzig, Germany. Presenting the durational installation Increments – as a five-hour-long event on April 2. and 3., and thereafter as a photo series and daily audio remnant. Group exhibition, together with David Augusto Rios Alomia and Takahiro Ueda. Curated by Candace Goodrich.
    • 19.–20. Sep, 2015: The Museum as Performance. Group exhibition | Serralves Museum of Contemporary Art, Porto, Portugal. Presenting the durational installation Increments, as part of the exhibition The Museum as Performance, curated by Pedro Rocha, Cristina Grande, and Ricardo Nicolau. With Alex Cecchetti, Anastasia Ax & Lars Siltberg, Isabel Carvalho, Loreto Martínez Troncoso, Maria Hassabi, Musa Paradisiaca, New Noveta, and Vivo.

    Lectures, talks, residencies

    • 8. Jun, 2017: Scope Sessions #66. Artist’s talk | Panke, Berlin, Germany. Presenting the talk ‘Self-surveillance and Pervasive Data’.
    • Apr, 2017: Artist residency, Queens Collective, Marrakesh, Morocco
    • 28. Sep, 2014: NAH DRAN: Tanzstipendiaten. Artist’s talk | ada Studio Berlin, Berlin, Germany. Presenting the talk ‘Sound, Movement, and Silence’.
    • Dec, 2011–present: Ice. Ongoing research process | Berlin, Germany. Research process related to the durational video work Ice.

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  • Gloria Jurado

    Gloria Jurado

    Gloria Jurado is GlogauAIR resident
    from July, 2020 to September, 2020

    Gloria Jurado was the Berlin Guest Resident for the Summer program of 2020. She is a Spanish architect and artist based in Berlin. Her work combines photography, sculpture and art installations with which she aims to raise awareness of the uncertain future of Berlin.

    Meet the Artist

    In her project Berlin Umbau Gloria selects identity buildings in Berlin which are planned to be torn down. She takes pictures of those buildings using 35mm analogic film. Each building has it’s own film which she saves undeveloped. After a while (weeks, months, or years…) she goes back to the space and takes new pictures using that same film. The result is a series of double exposure analogue photografies in which she represents the change and lost of identity that the city of Berlin is experiencing as a result of the gentrification process the city is immersed in right now. For her exhibition in GlogauAIR’s Project Space she also presented pieces of the materials those building were made of, such as pipes and stones, combining like that both photography and sculpture.

    Statement

    Berlin Umbau is a project in which the Spanish architect Gloria Jurado has been immersed for the last two years. In order to accomplish the role as interpreter, the artist devotes herself to the changing reality that surrounds her, sharing a deep sensitivity stimulated by the city’s transformation. Her work combines photographs, sculpture and art installations, through which the artist does not only want the observer to focus on the beauty of the shapes but also to rise awareness about the uncertain future of Berlin.

    Gloria Jurado

    GlogauAIR Project

    Starting from the urgency to incorporate a greater awareness of the uncertain future of Berlin and following a strategy based on time, I will intervene through analog photography, where the 35mm film will act as a “time capsule”, recording the transformation of the city through the double exposure technique. The intervention will also be composed with recycled building elements, allowing an approach to the different deconstructions that are being developed in the city. Thus promoting a reflection that invites the individual to use their capacity for transformation in the environment.

    Architecture.

    CV Summary

    Education

    • 2008-2015 | Seville, Spain
      Master’s Degree
      Dipl. Ing. Architect
    • 2012-2013 | Florianopolis, Brazil
      Internship

    Exhibition and Events

    • March 06, 2020 – STILL RUNNING
      Exhibition| Berlin, Germany
      Solo Analog Photography Exhibition | Aufbau Haus
    • November 21, 2019
      Installation | Berlin, Germany
      Passage Installation | Tacheles
    • November 10, 2019
      Installation| Berlin, Germany
      Scaffolding Installation | Haus der Statistik
    • September 19, 2019
      Competition| Seville, Spain
      Selected by “Arquitectura a Contrapelo” to participate in the VII Edition Arquia/Próxima of Fundation Arquia “Inflexion point: Radical positions for a changing world”.
    • June 20, 2019
      Exhibition | Berlin Germany
      Solo Analog Photography Exhibition | Fundbüro

    Gallery

  • Mariona Berenguer

    Mariona Berenguer

    Mariona Berenguer is GlogauAIR resident
    from January, 2021 to March, 2021.

    Spain

    Meet the Artist

    Coming soon

    Statement

    Trained at Massana School in Barcelona in the speciality of sculpture, she concludes this stage with an honourable mention in the project “La Grieta. Espai Entre” which will be exhibited later in a solo show (Mutuo Gallery, Barcelona). She then teaches sculpture, drawing and moulds in different art centres and graduates in Fine Arts from the University of Barcelona. She takes part in group exhibitions at LafuturA gallery (Barcelona), Fine Arts Academy (Sabadell), History Museum (Sant Feliu de Guíxols), TEDxBarcelonaWomen, San Salvador Monastery (Burgos), Maristany Art Centre and Es-Fiera 72 (Sant Cugat). In 2018, his work is selected for the XXI Biennial of Catalan Contemporary Art, where he presents Metástasi(s), an audiovisual installation with a performative extension in the company of the pianist Lucía Fumero. In 2019 she takes part in the Loop festival in Barcelona with an audiovisual installation in collaboration with the sound artist Juan Segura and a group exhibition in Kunsthaus Bethanien, the historical centre of art in Berlin. This last year she has been selected for the Felicia Fuster Foundation grants with the interactive installation About desire, a project with which she starts in the field of robotics and which she has exhibited in Monopol during this year’s BerlinArtweek and which is on show at the catalan foundation until February next year.

    Instagram

    GlogauAIR Project

    THE EMPTY NEST

    The project presented at GlogauAIR is part of an ongoing investigation into the subject of desire. Following this continuing line of development, the exhibition is comprised of a series of works that explore the notions of need and longing, and the complex emotional, philosophical, and conceptual positions surrounding these topics. In many ways, the works consider this theme from various perspectives, from the quietly personal to the ostensibly physically detached, allowing for an examination that encompasses or takes into account both our inner and outer environments. Buying flowers in the Berlin underground to bring “life” inside your home, simulating natural sunlight, or observing flocks of animals in the countryside through the use of a drone are some of the various actions that activate and inform the works included.

    Taking into account a diversity of positions, the presence of both natural and technological elements act as a conductive thread throughout the exhibition. The use of animals or plants is presented as a symbolic resource to address the most basic needs—emotions and instincts in it’s most essential state, with no other pretension other than survival. Technology, on the other hand, appears as a substitute tool that forces processes, creates rhythms and palliates impossibility. Animals, plants and technology are all elements that are part of us, but can appear as extreme otherness. This challenges us in terms of what we identify with most, and that which begins to define us. Nature and artifice lose strength as dual elements, but they create duality in our own position. This classically understood or intrinsic tension between these “worlds” provides a foundation or framework in which the viewer can reflect on their own perspectives of need and longing, and how we as cultures or individuals understand and rationalize that which brings about these feelings. But in the end, and returning to the first impulse, this becomes an intimate reflection on life in the city, of strategies for solitude and the inherent melancholy connected to lack of light.

    Installation and Sculpture.

    CV Summary

    Education

    • 2015 – 2020. Grade on Fine Arts. Autonomous Univerity of Barcelona (UAB).
    • 2012 – 2015. Graduated in el Higher Cycle in Applied Arts in Sculpture. Massana School. Honorable mention in the final project “The Crack. Space Between“
    • 2010 – 2011. Anathomical drawing course. EASC School (Sant Cugat’s school of Arts)
    • 2008 – 2010 High School of Art. Massana School.

    Artistic residences

    • 2017, August. Artistic residence of drawing and sculpture. Can Murtera, Ibiza.
    • 2014, Artistic residence of sculpture, Contemporary Art Center of Ifitry, Morocco

    Individual Exhibitions

    • 2019, November. Western Loop. Installation for Loop (Videoart festival of Barcelona). Center Grau-Garriga of contemporary textil Art. Sant Cugat del Vallès.
    • 2016, April – May. Individual Exhibition of Sculpture, “The Crack. Space Between”. Mutuo Gallery. Barcelona.
    • 2012, September – Genuary. Individual Exhibition of drawing and painting. Factory of creation of live Arts. Sabadell.

    Collective exhibitions

    • 2020, December – February. Poètiques del desig i la memòria. Felícia Fuster Foundation. Barcelona
    • 2020, December. Sense títol 2020. University of Fine Arts. Barcelona.
    • 2020, September. Site Unseen. Berlin Art Week. Monopol, Berlin.
    • 2019, October. CHIMERA. Kaleidoscopic Journey, curated for Semra Sevin.Kunstquartier Bethanien. Kreuzberg, Berlin.
    • 2019, February. “The Internet of Animals”.Mutuo Gallery. Barcelona.
    • 2019, February. “Fake Paradise”, curated by Nathalie Rey. És-Fera72 Gallery. Sant Cugat del Vallès.
    • 2018, Sept. – 2019, Dic. “XXI Biennial of Catalan Contemporàni Art”. Itinerant by: Centre d’Art Maristany (Sant Cugat del Vallès), Biblioteca pública de Lleida (Lleida), Espai Eat Art de la Fundació Lluís Coromina (Banyoles), Tinglado 1 Port de Tarragona (Tarragona), Centre de Lectura – Sala Fortuny (Reus), Centre d’Art Contemporani LA SALA (Vilanova i la Geltrú), Aula de Cultura Fòrum Berger Balaguer (Vilafranca del Penedès).
    • 2018, July – 2019, February. Installation “Opus II”. Contemporary Art Exhibit. Benedictine Gardens of the monastery of San Salvador. Burgos.
    • 2017, November. “The Brave You”. TEDxBarcelonaWomen. Mazda Space, Barcelona.
    • 2017, June. Oppening exhibition. Gallery És-Fera72. Sant Cugat del Vallès.
    • 2017, December – February. Collective eshibition AES. Sabadell Academy of Fine Arts.
    • 2016, August. “Women’s Visions”. (Barcelona gallery weekend) Mutuo Gallery. Barcelona
    • 2015, March. “Endogen/ Exogen”. lafuturA Gallery. Barcelona.
    • 2014, July. Collective exhibition of black ceramic. History Museum of Sant Feliu de Guíxols.
    • 2014, June – July. “Instints”. Limited Editions Gallery. Barcelona.
    • 2013, October – December. “Techné, la mà que pensa” Escola Massana.

    Prizes and grants

    • 2019. Selected for the VI Edition of the Felicia Fuster Visual Arts Young Creation Grants.
    • 2018. Selected for the XXI Bienal d’Art Contemporàni Català. Canals Gallery. Sant Cugat del Vallès. Barcelona.
    • 2017. Finalist II Sample of AES. Academy of Fine Arts. Sabadell.
    • 2015. Honorable mention in the final project “La Grieta. Space Between “. Massana School. Barcelona.
    • 2014 – 2015. Responsable of the casting and molding workshop. Massana School.

    Assistance in artistic production workshops

    • 2018, Sept. – Acc. Head of production for the artist Michael Sailstorfer. Studio Sailstorfer. Weissensee, Berlín.
    • 2017, June – 2018, July. Workshop assistant for the artist Gerard Mas. Workshop of the artist. La Floresta, Barcelona.
    • 2014 – 2015. Scholarship of the artistic casting and molding workshop. Massana School. Barcelona.

    Teaching

    • 2018, January June. Classes of artistic enamelling. “Initiation to the moulds” and “Moulds II: Obtaining bronze pieces”. Casa Aymat. Sant Cugat del Vallès.
    • 2017, November. Masterclass “Object and metaphor in sculpture”. December. Masterclass “Introduction to moulds” Casa Aymat. Sant Cugat del Vallès.
    • 2017, January. Masterclass of experimental drawing with live model. Centre d’art Maristany. Sant Cugat del Vallès.
    • 2016, November – 2017, July. Classes of experimental drawing with live model. Dterra Gallery. Sant Cugat del Vallès

    Publications

    • 2017, December. “presència-executor-absència” Lithography, series of 20 copies. Work in public collections: Fine Arts Library. University of Barcelona.
    • 2014, April. Transfer of photo of own work. Calendar of the 100th anniversary of C.I.B. Italian Chamber of Commerce of Barcelona.

    Others

    • 2018, December. Performance “Blind Birds”. Rummels Klubnacht, Berlin.
    • 2018, September. Performance “Metastasis” with the piano Lucia Fumero. On the occasion of the Biennal. Center d’Art Maristany
    • 2017. Realization of the prototype for the project “IAgotchi”. Art and technology company PulsoPulso. Paris
    • 2016, October – May 2017. Graphic designer in fashion publicity. MAAMUUT. Barcelona
    • 2013, April. Design and montage for the stand of Ediciones La Cúpula; “El Vivora”. 31st International Comic Fair in Barcelona. Montjuïc

    Gallery

  • Marcos Nacar

    Marcos Nacar

    Marcos Nacar is GlogauAIR resident
    from October, 2021 to December, 2021.

    Spain

    Meet the Artist

    Coming soon

    Statement

    Marcos Nacar is a performer/dancer/maker. His works take the form of dance, words, installations, videos, and interventions. He starts from de quotidian and uses physical, written, and visual devices to generate changes of perspective.

    His work deals with the landscape, memory, and illegality as main topics. He is currently busy with an archive of a deceased woman; with a short film about the lost years and exploring the relations between violence and sexual desire in the socialization process of male-identifying bodies.

    He founded in 2019, together with Matilde Bassetti, the collective Nomellores. Dealing specifically with the digital and the territory. They’ve performed and intervened in different spaces such as Sicily, Catalonia, Berlin, and online, producing mostly site-specific work.

    Marcos Nacar
    Instagram

    GlogauAIR Project

    “I don’t know Carmen” is an artistic research based on the personal archive of Carmen. In June 2018 when I was living in Barcelona I found hundreds of photographs, letters, and postcards from her. Someone had emptied her flat after her death. I have developed an almost dangerous attraction to melancholy. Since the death of my father when I was six, photographs, diaries and personal objects have been the only way to get to know him.

    Carmen was born in 1935, one year before the Spanish Civil war started. We don’t have records of her until the ’50s, where she starts to archive herself. Every August she made a trip to a European Capital. Almost no men appear in her pictures. She is always with her female friends. They traveled following their religious interests and it feels like they created a feminist catholic community, where men would be excluded.

    I want to reflect on the practice of creating personal archives as a way to portrait oneself. I would like to stage this self-portrait to underline the performativity of this action and give value to one of the last generations that have archived themselves in analog. The only trace from her on the digital world is her obituary: published on a webpage that also offers services to erase social profiles of people that passed away; Support to collect live insurances; and online wills.

    Installation and Performance.

    CV Summary

    • Born in Barcelona, in 1993, is a dancer, performer and maker based in Berlin.
    • In 2021 he received the special initial grant from Akademie der Künste to support his artistic research.
    • In 2019 founded the collective Nomellores, creating the pieces WISH YOU WERE HERE (2019) online performance; Sotto il ponte che pugnale la Sicilia (2020), a gathering organized for the youth of the city of Alcamo, Sicily, hosted by the collective Landescape ; Tierra Trazada (2020), a collective walk with the inhabitant of Alzina, Catalogna, hosted by the festival Natures20’
    • In 2018 he created his first solo “MENU”, and presented it in Tanzfabrik.
    • He is a founder member and writer in “Zinecolectivo”. Magazine and artists collective.
    • From 2014 until 2018 he worked as a performer for the social theatre company, Impactat teatre, following the work of Augusto Boalt, theatre of the oppressed.
    • He studied the programs Danceintensive at Tanzfabrik, Berlin; Inside movement at Tragant dansa, Barcelona. And he also completed a bachelor in law at University of Barcelona.

    Gallery

  • Fadi Al-Hamwi

    Fadi Al-Hamwi

    Fadi Al-Hamwi is GlogauAIR resident
    from January, 2022 to March, 2022

    Syria

    Meet the Artist

    Coming soon

    Statement

    Fadi al-Hamwi (b.1986, Damascus) lives and works in Berlin. He studied oil and mural painting at the Damascus Academy of Fine Arts (2010-2006). Al-Hamwi concerns himself with lending physical shape to the human experience of war, His practice began investigating the latent violence in societal constructs and evolved as actual violence began to take place around him in Damascus in 2011. He explores the relationship between dormant and actualised expressions of violence and desire, as well as the dialogue between construction and destruction and revealing a deeply personal/social process of reckoning.

    Fadi Al-Hamwi

    GlogauAIR Project

    Human mistake is a performance installation project based on a solo performer deals with 3 main objects: Glass, metal basin and vibration motors.

    It is an investigation to consider the rituals of mistakes: from activating the memory of the body, acknowledging the history of it, paying tribute of its own mistakes, to translate and embody the chances of repairing what has been broken or accepting and honouring the damages.

    The layers within the movements trying to study and explore the possibilities that cause a human mistake (consciously and subconsciously) accidentally or intentionally and the actions/reactions beneath it.cription.

    Perfomance and Sculpture.

    CV Summary

    Selected exhibitions

    • 2020
      bis hierher und nicht weiter, Galerie Nord | Kunstverein Tiergarten, Berlin, Germany.
      Sugar Forever Performance installation, 48 Stunden Neukölln, Alfred-Scholz-Platz, Berlin, Germany
    • 2019
      Lost in translation, De Warande Expo, Turnhout, Belgium
      While You Were Sleeping II, CAP Kuwait, Kuwait.
    • 2018
      The Others Fair, Solo booth with East of Elsewhere, Turin, Italy
      Behind the lines at “The Reach Gallery Museum” , BC, Canada.
    • 2017
      Journey of Belonging , CAA Berlin, Positions Gallery, Berlin, Germany
      L’Art en Mouvement , Nice Solidair du Monde, Nice, France.
      100 Masterpieces of Modern and Contemporary Arab Art, Institut du Monde Arabe and Barjeel Art Foundation, Paris, France.

    Artist talk

    • 2017 – European Forum Alpbach, Alpbach, Austria.
    • 2016 – Bucharest art week, Bucharest, Romania.
    • 2015 – CPH:DOX, Copenhagen documentary film festival, Denmark.

    Gallery

  • Samuel Perea-Díaz

    Samuel Perea-Díaz

    Samuel Perea-Díaz is GlogauAIR resident
    from October, 2022 to December, 2022

    Spain

    Meet the Artist

    Coming soon

    Statement

    I am interested in the possibilities of engaging, expanding, and mapping different geographies of sound. As an artist and spatial designer based in Berlin, my practice incorporates academic research, exhibition scenography and curating. I hold a degree in Architecture from the University of Seville and a MA in Sound Studies and Sonic Arts from the Berlin University of the Arts. Based on collaborations with other artists and re-exhibiting sound, my artwork blends, and moves between sonic activism and immersive virtual landscape. My sound-focused sculptures and installations explore art and technology by generating sonic spaces of mixed realities, which engage with sonification, relocation of sound, field recording, and virtual reality.

    Samuel Perea-Díaz

    GlogauAIR Project

    Acoustic terrains render the dimension of the social space through vibrations. It creates space for discussion and time-reflection in humans’ relations and behaviors. The project at GlogauAIR engages with re-exhibiting sonic interstices in a multimedia art installation as the result of an artistic research on architecture and sound. My art residency takes place in two parts: the first is an analytical approach to space by actively embodying and listening to the environment and the building. The second part focuses on the realization of a specific sound installation, which presents sound-in-objects and field recordings in a multichannel set-up.

    Architecture, Installation, and Sound Art.

    CV Summary

    Education

    • 2018 – 2022. Berlin University of the Arts – UdK | MA, Sound Studies and Sonic Arts, DE.
    • 2006 – 2013. Universidad de Sevilla | Arquitecto, Escuela Técnica Superior de Arquitectura, SP.

    Selected artworks

    • 2022, Willowalks. A Sound Exploration | Soundwalk for Stretching Sensing School, TaT, Berlin, DE.
    • 2022, UNAIDS_FactSheet_en.pdf | Installation at CHB, Berlin, DE.
    • 2022, Transitory Sonic Bodies | Installation at The REED, Berlin, DE.
    • 2022, Transitory Sonic Bodies | Installation at Sounds.About, Zwitschermaschine, Berlin, DE.
    • 2022, Antennae | Installation at TaT, Berlin, DE.
    • 2021, Untitled (Topoanalysis) | Installation at SoundsAbout, Zwitschermaschine, Berlin, DE.
    • 2021, Mortalidad_por_VIH2019_DEF.PDF | Installation at Rundgang – Berlin University of the Arts, Berlin, DE.
    • 2021, Rhythmic Encounters | Soundwalk for ‘Wild Frictions. The Politics and Poetics of Interruptions’, Kunstraum Bethanien, Berlin, DE.
    • 2021, In-between Breaths | Installation at TOP e.V, Neukölln 48 Stunden Festival, Berlin, DE.
    • 2021, Sonic Violence | Installation at TOP e.V, Neukölln 48 Stunden Festival, Berlin, DE.
    • 2020, The wonderful everyday is coming | Installation at Sounds.About, Zwitschermaschine, Berlin, DE.
    • 2020, 030/XXX/YY | Installation at CLB – Berlin, DE.
    • 2019, Encounters |Installation for Kontakte´19 Biennial for Electroacoustic Music and Sound Art, Akademie der Künste Berlin, DE.
    • 2019, Rhythmic Encounters | Soundwalk for FoWe, Critical Geography Conferences. Berlin, DE.
    • 2019, Rhythmic Encounters | Soundwalk for *C*A*R*E: International Urban Studies Conference. TU-Wien, Vienna, AT.

    Grants and awards

    • 2021, A Secas. Artistas Andaluces de Ahora |CAAC – Andalusian Center For Contemporary Art, SP.
    • 2019, Beca Investigación Nueva York (awarded mention) | Fundación ARQUIA & Real Academia de las Bellas Artes de San Fernando, SP.

    Publications

    Talks

    • 2022, Artist talk at Schwules Museum part of Queer Art and Activism, DE.
    • 2021, Artist talk at Andalusian Center For Contemporary Art, Sevilla, SP.
    • 2020, Artist Talk at Architecture [discussion] FUND, Vilnius, LT.

    Teaching

    • 2021 – 2023, ‘Mapping Berlin, Geography of Sound’ at Humboldt Universität zu Berlin, DE.
    • 2019 – 2021, ‘Berlin Sonic. Auditory Collective Explorations’, co-teached with Banu Çiçek Tülü at Humboldt Universität zu Berlin, DE.

    Curatorial Work

    • 2022, ‘Ocaña. Der Engel, der in der Qual singt’, co-curated with Pepe Sánchez-Molero at Schwules Museum, Berlin, DE.
    • 2021, ‘Listening to Listening’, co-curated with Tuçe Erel at TOP e.V., 48 Stunden Neukölln, Berlin, DE.

    Gallery

  • brustudio

    brustudio

    brustudio is GlogauAIR resident
    from January, 2023 to March, 2023

    “The aim of our project is to explore the possibilities of the spatial context and transform it into a safe-participatory act. We want to develop an immersive moment in an exposed room, through playful design and inception of sensitive/sensorial experiences. The focus of our project is on identity, belonging, subjectivity – offering the possibility of unfolding, gaining a pocket of personal reality: a temporary setup.” brustudio

    Meet the Artist

    What’s your name and where you come from?

    brustudio is formed by: Ane Crisan from Romania, Covadonga Cueto-Felgueroso Junquera and Sandra Palau Palacio from Spain.

    How did your artist journey begin?

    We started as an architecture studio and in the past year we discovered the joy of expressing our creative ideas through art. They are still very connected to the practicality of the architecture world but we focus more on topics such as belonging, feminism taking the shape of spatial art in urban structures. 

    Do you find inspiration in real-life situations and moments you experienced? 

    We find inspiration in the space between the people we meet, the buildings we pass and the thoughts we discuss together as a group. We respond to challenges in a bold and playful way, imagining new possibilities of living in a city like Berlin. 

    What is your process? What are your overarching themes in your artwork?

    We begin working on projects with the intent of combining social and economic solutions with playful design to overcome challenges of everyday life. We focus on expressing and developing bold concepts with identity and belonging.  

    Our work transitions across scales and mediums. Through installations and cultural interventions, we experiment with space perception and new materials. Within the built environment, we aim to resolve controversies of the contemporary way of living.

    Do you think your art has evolved being in a different environment E.g. Do you think GlogauAIR / being in Berlin has influenced your work?

    GlogauAIR gives us an opportunity to connect with a new platform of artists, learn from their practice and, on the other hand, we challenge ourselves for the first time to present a project in a closed space-room.

    Statement

    The aim of our project is to explore the possibilities of the spatial context and transform it into a safe-participatory act. We want to develop an immersive moment in an exposed room, through playful design and inception of sensitive/sensorial experiences. The focus of our project is on identity, belonging, subjectivity – offering the possibility of unfolding, gaining a pocket of personal reality: a temporary setup.

    We bring dynamism in an unmoving room by letting the participants develop an individual womb-space for themselves. They become the language between the statuary room and the artpiece. The social element is brought by also observing that one still-space can be perceived in many different ways, depending on how and who interacts with it. We work with large/medium-size interactive installations/structures, made mostly of wood and textile. A demonstration of a similar purpose can be seen in our previous work – placed in the urban structure.

    brustudio

    GlogauAIR Project

    Our body of work focuses on spatial art and architecture. We dare to shape existing realities into playful, interactive contextual installations or objects. Our aim is to discover new ways of understanding, perceiving and consuming the spaces around us through sustainable materials.

    CV Summary

    brustudio is formed by

    • Ane Crisan based in Berlin since 2015, operating between the fields of architecture and spatial art, takes interest in developing ideas that initiate new interactions between spaces and participants. Her visual and conceptual intentions mix construction elements, fragments of architecture as rational geometrical forms with a touch of motion.
    • Sandra Palau Palacio born in Barcelona, Spain, in 1990. Based in Berlin since 2016. Sandra has developed a broad and multi-faceted design approach, and today her work ranges from architecture to product design, with a strong implementation of visual communication. She graduated in 2016 from the University of Alicante, Spain and had the opportunity to study in Germany (Beuth Hochschule für Technik, Berlin) and Mexico (UNAM, Universidad Nacional Autónoma de Mexico).
    • Covadonga Cueto-Felgueroso Junquera born in Asturias, Spain, in 1988. Covadonga graduated in 2014 from the University of Valladolid including academic training at the Fachhochschule Potsdam, Germany. Her work since then has ranged from small to large scale, from furniture and installation to residential and office building. Her work approach is based on topics such as: community life, participation, gender equality and sustainability.

    Exhibitions

    • 16th Biennale di Venezia – Spanish Pavilion – Vortex Project – Venice, Italy The exhibition, curated by the architect Atxu Amann, occupied the building “tattooing” its interior walls through 52 relevant concepts to our discipline today.
    • 48 Stunden Neukölln – Womb – Berlin, Germany The festival presents and promotes art that contributes to current social issues and reflects them. Discursive, participatory and interdisciplinary approaches are therefore in the foreground.

    Awards & Publications

    • Al-Tiba9 – Art Magazine – Issue 12, 2023
    • Womb – Selected Project – Bee Breeders, Architecture Competitions, 2022
    • From Earthscape to Playscape – Honorable Mention – Archstorming, International Competitions, 2022
    • Nest – 3rd Prize – Opengap – Open Gate to Architects and Projects, 2020

    Gallery