Archives: Artists

  • Paula Vidal

    Paula Vidal

    Paula Vidal is GlogauAIR resident
    from April, 2022 to June, 2022

    Chile and Spain

    Meet the Artist

    Coming soon

    Statement

    Paula Vidal, an academic trained architect, is an artist who works with space as a canvas. Her large-format installations are on-site interventions that seek to launch questions that visitors must answer through their bodies, thus questioning their perception of physical and mental territories.

    She works with pneumatic structures they allow her to generate changing spaces, which are always different and sensitive to the presence of the spectator. Spaces that are more democratic because they involver multiple sources of authorship. Throught the visitor activation, the artpiece will generate a new reality that is not only spatial, but also emotional, because architecture has that power: the power to modify people’s mood and state of mind.

    Vidal’s work seeks to question established realities, always through play and individual experience. The concept Homo-Ludens is part of her seminal thinking, whose purpose is to stimulate and alter emotions. Play and knowledge, like play and reality, dialogue as conceptual opposites, united by the same crisis and necessity.

    Paula Vidal

    GlogauAIR Project

    At GlogauAIR Paula Vidal will present her new project Out of Season Shelters (OSS), an art installation that investigates and questions the terms “beauty”, applied to priscine nature, and “ugliness”, to humanized nature, in order to critize values implicit in the concept of ecology.

    OSS reinterprets the agrarian architecture of the greenhouses of Almería, Spain. Criticized by national/international media, this sea of plastic extends over 360 km2, area slightly larger than Munich and is the world’s largest concentration intensive agriculture. The fruits and vegetables grow in closed spaces that make visible the true ugliness: the careless consumption of out of season products from northern European countries, especially Germany.

    OSS, ironically, transforms the image of greenhouses into an idealized scenography. Seeing beautiful what seemed horrible allows us to ask ourselves: What is more important aesthetics or ecology? What is ugly? The greenhouses? The symbol of consumption without limits, this endless sea of plastic? The anti-ecological burden of plastic? Or are they serviced because of the humans, impact on the landscape and the anthropocene.

    By removing the burden of ugliness from plastic architecture, the aim is not to affirm or defend it, but to disarm the critique of aesthetics so that the real questions that allow for social change can emerge.

    Architecture and Installation.

    CV Summary

    Education

    • Architecture. San Pablo CEU University. End of studies July 2017. Final degree Project Outstanding.
    • Exchange student. Universidad de la República, Uruguay 2014-2015.
    • Art History. Universidad Autónoma de Madrid. 2005-2009.

    Exhibitions and Awards

    • 2021 Monopol, Berlin, Germany. Collective Exhibition, Chilean Conexion IV
    • 2020 Kastanien Projektraum, Berlin, DE. Solo Exhibition
    • 2020 Kastanien Projektraum Berlin, Germany. Collective Exhibition, Chilean Conexion III
    • 2019 GlogauAIR, Berlin, Germany. Collective Exhibition, Chilean Conexion II
    • 2018 Venice Biennale. Collective Exhibition, Becoming Edition
    • 2017 Küzefest Festival_ Video Mapping. Museo de Arte Contemporáneo. Chile
    • 2016 S.Pablo CEU University. Winner Shortcut Category, Creative Contest. “Gene Transfer”
    • 2015 F. Banco Santander. Second Price. Contest Videotalentos. “Gene Transfer”
    • 2014 Yofi Fest Film Festival. Display. NY. “Paco Peralta, Back to Start”
    • 2014 S.Pablo CEU University. Winner Shortcut Category, Creative Contest. “Materia Mater”
    • 2013 Europan 12. Honorable Mention. Assen, The Netherlands.
    • 2013 S.Pablo CEU University. Winner Shortcut Category, Creative Contest. “Obsession”
    • 2013 F. Banco Santander. Finalist. Videotalentos. “Yves Klein. Obsesión”
    • 2012 COAM. Exhibition “Plazas de Toros Desmontables” and Plaza las Ventas. Curators Picado y de Blas Studio

    Publications

    • YA NO NOS IMPORTA_ 2018 Exhibition Catalogue
    • ATLAS. AQUELLOS QUE ESPERAN_2018 Exhibition Catalogue
    • PLAZAS DESMONTABLES_2012 Exhibition Catalogue

    Gallery

  • María León

    María León

    María León is GlogauAIR resident
    from October, 2023 to December, 2023

    María León (b. 1984, Mérida) is a Spanish multidisciplinary artist who lives and works in Berlin, and is currently taking part of the GlogauAir’s program as our Berlin Guest Artist. 

    María León uses objects and materials of different historical and cultural values to explore a new order of relationship between them, and to create new possible narratives. She creates installations of “expanded objects”, where objects are meticulously chosen based on an irresistible attraction, relying on one another for meaning and purpose. Through interventions, decontextualizations and deconstructions, these objects are liberated from their original functions, reborn as autonomous aesthetic entities.

    Meet the Artist

    Good evening María, thank you for having us in your studio today. We are surrounded by sculptures made of leather and bread, and various objects developed through your research and experimentations. How did your artistic journey begin?

    I started drawing when I was a child. It was a way for me to relate to the world around me. I’ve always thought through images. When I was younger I wasn’t comfortable talking, but I could express myself through drawings, or other visual elements that I created.

    Did you study art later?

    In Spain you can do high-school specialising in art, so that’s what I did. Then, I went to the Fine Arts University in Madrid, where I did one year as an Erasmus student in Athens. I also did what is now called a Master of advanced studies in Art, and then I joined the Goldrausch program, which is a postgraduate professional training program for female artists. Lastly, I participated in another coaching program in a museum in Majorca, called “Las Clinicas”. 

    How would you describe your practice as an artist, and what are your inspirations? 

    I describe my practice as an artist as working with different mediums, but always following the same process. The process I follow always involves three dimensions, so it’s mainly installation art. I’ve been reflecting on my practice, and I can say now that I work on what I call “expanded objects”. This idea comes from an essay from Rosalind Krauss, who wrote about expanded fields in architecture, and from the old concept of expanded painting. What I mean by that, is that even if I work with video, or with photography, my work is always a reflection on how we deal with objects nowadays. Objects and materialities are very present in my work. I couldn’t find a proper term to describe this idea, I think I made the term “expanded objects” up, and I feel comfortable with it. If I were to say “I work with many different mediums”, it would be imprecise, while talking about “expanded objects” is already a statement about the physical things that belong to our world. 

    Can you elaborate on your process? 

    In my process I use interventions, I intervene on the object or material through different processes; decontextualisation, sometimes it’s just about changing the context; or deconstruction, removing the object from its original function to create a new possible meaning.

    You’re talking about expanded objects, and I know that’s part of what you would like to present during your show at GlogauAIR for the open studios. What motivated you to apply to be the Guest Artist at GlogauAIR? 

    I applied to GlogauAIR because I felt that after the covid crises, and after having my daughter, that there was a moment of inactivity in my career. I wanted to feel like I was “doing something” again. I saw the opportunity and I thought it was exactly what I needed, and it was easy. I live in Berlin so I don’t have to move cities, I needed to reactivate my practice, and I can get to know the artists at GlogauAIR and make new connections. As a mother and a teacher in an art school, I don’t have a lot of flexibility these days. I think being a Guest Artist in GlogauAIR is a nice opportunity to work on an exhibition proposal, and to get new people like you, like Suzy Royal [GlogauAIR’s On-Site Curator], like other artists in Berlin…

    Can you tell me a little more about what you would like to present at GlogauAIR? 

    When I think of an exhibition, I like to think of a feeling, of an experience. I want the viewer to have a full experience in the exhibition space. I want them to experience the feeling of “relief”. I want to present works that interpellate each other, and interpellate the spectators, and offer you alternatives and other ways of thinking about the concepts of resistance and support, applied to materials. Once I had a friend come to visit my studio and he didn’t understand the work. He asked me to explain it to him, and I answered with one sentence: “This work is about dramatical love relationships”. This is a love relationship between materials, and there is some drama there. I want to convey the feelings of loss, and recovering. The title is “Hold my hand”. When you ask someone to hold your hand, it’s either to ask or offer help. I want to convey this feeling too.

    Statement

    In my current artistic work, I use objects and materials of different historical and cultural values to explore a new order of relationship between them, creating new possible narratives. I understand my artistic research as a process that overflows the object itself to extend to other aesthetic languages such as video, drawing or photography, being therefore the idea of expanded object the one I feel most comfortable with when describing my artistic practice.

    My way of working is characterised by being an open and intuitive process. I collect objects or materials for which I feel an irresistible attraction and it is during living together with them in the studio when I intervene them by means of different processes. These processes attempt to generate tension or propitiate encounters between them and are often the result of trial and error. They include intervention, decontextualisation or deconstruction of the object, removing it from its original function to create autonomous aesthetic pieces.

    I work with materials of different temporalities, coming from the field of architecture or domestic spheres, as well as with others of unstable narratives. Especially the temporality of the materials is very present in my work, where the fourth dimension time is as important as the specific relationship with the exhibition space. This is manifested in the constant reference to the fragment, the rest or the trace, sometimes as a consequence of a performative process with the objects.

    In my installations of expanded objects, the elements depend on each other for meaning. Gas hoses that twist in the exhibition space like the snake of the Laooconte, fragile structures with pieces of candelabra, dismembered wax elements that remind one of votive offerings, a mobile that functions as a hinge, are some of my latest works that seem to activate in a system of fragile relationships held only in the constant flow of their possibilities of interpellation and interpretation.

    Title

    GlogauAIR Project

    The proposal Hold My Hand explores the notion of support. Support receives something that exerts force or pressure on it, without changing or suffering any damage, allowing an apparent balance of power through resistance. Understanding resistance as a duality that can be interpreted both as a mechanism of protection against a traumatic experience, or as a form of creative empowerment, here the objects interpellate each other and interpellate the viewer in the exhibition space as an emotional place, not only seeking mutual support or perhaps relief, but new ways of relating to each other.

    Installation and Object.

    CV Summary

    María León (Mérida, 1984) holds a degree and a diploma of Advance Studies in Fine Arts from the Complutense University of Madrid. Since 2010 she lives and works in Berlin, where she has furthered he artistic education through her participation in the Goldrausch Künstlerinnenprojekt in 2017. Her work has been exhibited both nationally and internationally, including at venues such as Künstquartier Bethanien (Berlin), TEA Tenerife Espacio de las Artes (Spain), XVIII Bienal Internacional de Arte de Cerveira (Portugal), and the National Museum of Art M. K. Ciurlionis (Lithuania). In 2019, she participated in the International Residency Program at the Centro de Arte La Regenta (Las Palmas de Gran Canaria, Spain), and in 2016, she received the Bilbaoarte Foundation Art Project Residence Grant (Spain). Her work has been recognized with awards from the XVI Certamen de Artes Plásticas El Brocense (Spain) and the Call for Exhibition Proposals by the Spanish Embassy in Berlin, among others. She is also a co-founder of the project space Urlaub Projects.

    Gallery

  • Miriam Poletti

    Miriam Poletti

    Miriam Poletti is GlogauAIR resident
    from January, 2024 to March, 2024

    Italy

    Meet the Artist

    Coming soon

    Statement

    My artistic practice is interdisciplinary and includes photography, textile sculpture, video and creative writing. My work develops as an exploration of the sense of touch, tenderness, fragility and the symbiotic threads that bind us, both individually and collectively. The work process itself serves as an embodied methodology to create new models of social interaction: through collaborations and workshops, my aim is to make the work the result of a collective effort encouraging a sense of shared ownership.

    My main subject is the body, investigated in its slightest alterations. I explore its soft, weak, porous nature, easily moulded or even bruised by the proximity of others. The public is invited to interact physically and viscerally with the works, squeezing or gently touching them, leaving their own temporary imprint on them, drinking and consuming them, wearing them, making them their own. The skin becomes a site of possibility where the nature of the encounter is established through the performative process of touching.

    Miriam Poletti

    GlogauAIR Project

    The project presented at GlogauAIR aims to explore, through the medium of textiles, the importance of community engagement in the creation of a collective body.

    The exhibition presents an installation consisting of soft sculptures depicting photographic images of skin details. These sculptures act as tactile representations and invite visitors to freely explore and interact with them.

    The collaborative aspect extends to the artists in residence, who are invited to participate in sewing sessions with the artist, to actively contribute at the creation of the installation. This working approach encourages the creation of connections, and challenges the traditional idea of artwork authorship. The body is understood as a collective entity that we can construct, deconstruct and reconstruct together.

    Installation.

    CV Summary

    • Miriam Poletti holds a master’s degree in Fine Arts from Brera Academy in Milan and has attended courses at the University of Utrecht and EA School of Art in Murcia.
    • They have been living and working in Berlin since 2019.
    • Their work has been exhibited in galleries and cultural spaces nationally and internationally such as Myymälä2 (Helsinki), Kogo Gallery (Estonia), SomoS (Berlin) Careof (Milan), MO.CO. La Panacée (Montpellier), ACMI Australian Centre for the Moving Image (Melbourne).
    • In 2023, they received a residency stipend from the Goethe-Institut.
    • Their poems and fictional works have been published in collaboration with the independent publishing houses Freigeist Verlag, SOFT EIS Presse and SHIFT BOOKS.

    Gallery

  • Greg Kappes

    Greg Kappes

    Greg Kappes is GlogauAIR resident
    from July, 2018 to September, 2018 and from October, 2018 to December, 2018

    United States

    Meet the Artist

    Coming soon

    Statement

    His works explore data, mediation, and the posthuman in an effort to better understand the feedback loops that (in)form our being. Born/e out of the binary soup, his time-based works interact with and act on the audience/performer by amassing a variety of interfaces which highlight our relationships with technology and with each other. Through his work, he hopes to situate technology not as a weapon of greed, but instead as an integral part of the (post)human, inseparable from and invaluable to our survival. He has constructed complex software instruments for improvisation, choreographed networks of sound-emitting cellphones, and interactive, expressive (and mostly functional) AI’s. He works largely with electronics, custom software, the prepared piano and improvisation.

    Greg has had works performed at the FEASt FEST, the Center for New Music in San Francisco, and the California Electronic Music Exchange Concerts at UCSB, UCSC, Stanford and Mills College. He has also exhibited installation works at Slide Space 123 at Mills College and at the Signal Flow Festival. He holds a BA in Music from the University of Pennsylvania and received his MFA in Electronic Music and Recording Media from Mills College. He has studied with Roscoe Mitchell, Maggi Payne, Zeena Parkins, James Fei, John Bischoff, Chris Brown, and Anna Weesner.

    Greg Kappes

    GlogauAIR Project

    I am currently working on building an immersive, communal experience using cell phones as sound sources and instruments. The piece comes out of a desire to lower the barrier to entry for “high-tech” performances which often require extensive institutional support as well as advanced equipment; the piece uses no technologies other than the audience’s smartphones to make sound.

    With the aid of two projectors, the audience will be guided through a choreography which determines the spatialization of the sound source. The piece will make use of game design ideas such as affordances and learning curves to help the audience learn complex behaviors throughout the work, encouraging collaboration and a sense of authorship. Simple sound sources such as sine waves and short impulses will be used to create complex effects difficult to replicate even using large speaker arrays and advanced software. Audiences will be immersed in dense harmonic landscapes and fields of polyrhythm which change subtly with every movement; all with minimal setup and using everyday tech.

    The interplay between various levels of control and between various audience roles has always been an interest of mine especially as I’ve worked to undermine dichotomies such as performer/audience or composer/performer (bit x bit). As I’ve moved towards installation and multimedia work, my materials have always been decidedly low-tech (cheap speakers, webcams, my personal laptop) as I believe this is a way to keep my work accessible to all audiences. I have also been interested in crafting new relationships with technology, stressing the need for a positive collaborative relationship in contrast to an oppositional one popularized in many turn-of-the-century works. The proposed project is a progression of these ideas.

    The goal of the residency would be to expand and refine each element of the experience so as to incorporate a wider range of interactions in order to emphasize the goals of the piece. I want to utilize the full capabilities of the smartphone. For example, using the power of streaming technologies to split a voice across not only the frequency spectrum, but spatially across a mass of smartphone speakers in real-time. Moves like this would highlight the macro/micro relationships inherent in the work as well as the macro/micro nature of our dispersed virtual identities as posthumans. I also want to expand the audience’s repertoire of actions and shift the user between cooperative and competitive modes of interaction throughout. Some examples of this would be breaking participants into various teams at points or having a shared experience between two people, but on one device. This would require extensive experimentation. As of yet, these elements are absent or not central to the work.

    CV Summary

    EDUCATION

    • 2016-2018 MFA in Electronic Music and Recording Media, Mills College
    • 2012-2016 BA in Music, University of Pennsylvania, Magna Cum Laude

    SELECTED WORKS, PERFORMANCES, AND EXHBITIONS

    • 2017
      • findnewfriends.exe Interactive three-channel audiovisual installation. Slide Space 123, Mills College, December 7-11, 2017. I installed a three screen interactive multimedia piece as a solo show.
      • Schattende Performance, electroacoustic improvisation. Littlefield Concert Hall, Mills College, November 30, 2017. Presented as part of the final concert for Roscoe Mitchell’s Improv Workshop. Performers: Soo Yeon Lyuh, Naomi Harrison-Clay, Tim Russell, and Seiyoung Jang.
      • bit x bit Performance, six-player audiovisual game. Littlefield Concert Hall, Mills College, May 3, 2017. Presented as part of the concert for Chris Brown’s Electronic Music Seminar.
      • //trnslation Interactive two-channel installation. _.world show at Slide Space 123, Mills College, April 2017.
      • light(rain) Performance, music. California Electronic Music Exchange Concerts, April 5, 2017. Selected to perform at the University of Santa Barbara and Mills College.
    • 2016
      • Fanfare in C Fixed media, music. FEASt FEST, November 5, 2016. Selected as one of five works to be played at the FEASt FEST at the Florida International University School of Music,

    PROFESSIONAL EXPERIENCE

    • 2016-2018
      • Center for Contemporary Music, Mills College, Oakland, CA, USA | Worked as a technical assistant. Helped students with recording equipment and taught how to use various creative software including Pro Tools, Max/MSP, and Supercollider
    • 2016
      • Mills College, Oakland, CA, USA | Worked as a chemistry tutor. Made lesson plans and guided students through homework and problem-solving strategies
    • 2014
      • University of Pennsylvania, Philadelphia, PA, USA | Worked as a chemistry tutor. Made lesson plans and guided students through homework and problem-solving strategies

    ADDITIONAL SKILLS AND TRAINING

    • 2017 Colt Steele’s Web Developer Bootcamp
    • 2016 Android Developer Nanodegree

    Gallery

  • Yusuke Wakata

    Yusuke Wakata

    Yusuke Wakata is GlogauAIR resident
    from October, 2018 to January, 2019

    Japan

    Meet the Artist

    Coming soon

    Statement

    Yusuke Wakata was born in 1995 in Ehime, graduated from Musashino Art University in 2017, and enrolled at the Graduate School of Design at the Tokyo University of the Arts.While focusing on the space and the objects in our daily lives, Wakata has produced works which alter fixed idea derived from our unconscious. In order to link the alteration with the daily lives of people , Wakata tries to merge the disciplines of design and fine arts, and aims to produce works that make use of those characteristics.

    Yusuke Wakata

    GlogauAIR Project

    Explore the esthetics from the existing space. Then trying to extract the elements of the place and transform them. I would like to create works inspired by the atelier, surrounding environment, history, and so on. For example, we will search some objects in the atelier the characteristics of the town unique to Berlin and convey a new idea by sublimating them as a spatial exhibition. In particular, the atmosphere and the environment of Berlin is extremely different from Japan. I would like to create a work that can only be inspired by Berlin. Also in this work, if there is a possibility to find anything in common between the work and myself, as a Japanese, or Japanese characteristics. That would be magnificent.

    Using printed films of people and photos of landscapes to conspicuous the features of the land. I cut these images taken in Berlin and folded it into a petal shape to create a new work. I think that various conceptual expressions could be possibly associated with such as sticking them onto an object, making it a spatial exhibition, and so on. I will be trying producing works inspired by colors and people of Berlin.

    CV Summary

    Exhibition

    • 2014 Tokyo Designer’s Week School Exhibition (Tokyo/Meijijingu Gaien)
    • Base point exhibition (Tokyo/Musashino Art University)
    • 2016 Living Art in OHYAMA (Toyama/Ohyama Community Center)
    • National Showa Memorial Park Winter Vista Illumination (Tokyo/Showa Kinen Park)
    • 2017 Musashino Art University Graduation Work Exhibition (Tokyo/Musashino Art University)
    • IAG AWARDS 2017 (Tokyo/National Theatre of Japan)
    • Independent TOKYO 2017 (Tokyo/HULIC HALL)
    • KENZAN 2017 (Tokyo/Arena Hall Tamagawa)
    • SMART ILLUMINATION in YOKOHAMA 2017 (Yokohama/ZOU-NO-HANA Park)
    • Independent New York (New York/Ashok jain Gallery)
    • 2018 SHIBUYA Arts Affair of GEIDAI (Tokyo/SEIBU SHIBUYA)
    • Cool and beautiful people in Japan (Tokyo/ISETAN SINJUKU)
    • IAG ARTISTS SELECTION (Tokyo/National Theatre of Japan)
    • “Forsakig Pop”Group show curated by Kyoko Sato (New York/WhiteBox)
    • ALL ART＋ (New York/Vander Plas Gallery)

    Solo Exhibition

    • 2018 “FOLD” (New York/Cafe Grumpy)
    • Tender Cities (NewYork/WhiteBox)

    Award

    • 2014 Tokyo Designer’s Week School Exhibition Asia Award Semi Grand Prix
    • 2017 Musashino Art University Graduation work Excellence Award
    • IAG AWARDS 2017 Winning
    • KENZAN 2017 Lower Akihabara Prize / IID Gallery Prize
    • HAKUHODO Workshop Grand-Prix

    Commission

    • 2018 White Box Web History (NewYork/WhiteBox)

    Gallery

  • Jia Hong Liu

    Jia Hong Liu

    Jia Hong Liu is GlogauAIR resident
    from November, 2018 to December, 2018

    China

    Meet the Artist

    Coming soon

    Statement

    Most of Liu Jiahong’s works start from the point of view of collective human experience, probing into gender equality, the evolution of life, people’s living environment and political situation.

    Her work also shows an understanding and expression of space. The form of her works is mainly in video, installation, photos. In newly produced work here in Berlin, she explores the historical and rational city and observations of similarities to her home country of China, noting also the distinct cultural markers that differentiate them as well.

    Title

    GlogauAIR Project

    In the next two months of Glogauair’s work, I want to continue to focus on the creative context of the previous works, and the vehicle mostly video. In China, I have conducted a monument project, which is a series of behavioral images.This series will continue in this project. In addition, I also want to do some works on the subject of life, identity, and rights.

    CV Summary

    Exhibitions

    • 2018 Frontier of visionary arts . Trajectory of the factory Mofeimo Gallery, Qingdao, China .
    • 2017 Poetic of digit 1905 RE－Creative Space , Shenyang , China .
    • 2017 Recreate Sculpture Art Invitational Exhibition For Li Xiang Qun (experimental video part) La Rive Gauche Art Gallery JIashan , China
    • 2017 Nest Planning Zero Art Center , Beijing , China .
    • 2016 “Youth Plus” itinerant exhibition (German station) Chinesisches Kulturzentrum Berlin , Berlin , Germany.
    • 2016 City Vs Phenomenon Li Xiang Qun ’ s Art Exhibition( experimental video part ) Garden of Established Happiness in Forbidden City , Beijing , China .
    • 2016 Exhibition for Nominated Young Artist In Asia Today Art Museum , Bejing , China .
    • 2015 The 6th new star art festival Xi ’ AN Art Museum , Xi ’ AN , China .
    • 2015 The 6th “ Journey of a Thousand Miles “ exhibition of outstanding works by graduates from key art institutions of higher education in china . The Art Museum of Sichuan Fine Arts Institute ，Chongqing , China .
    • 2015 “Youth Plus” Young Artists Promotion Project Exhibition MOCA Beijing ，China.
    • 2015 “The whole is greater than the sum of the parts”——Department of photography outstanding graduate work exhibition Zero Art Center , Beijing , China .
    • 2015 the 10th Kaiser Art Annual Nominated Exhibition Today Art Museum , Beijing , China .
    • 2015 Luxun Academy of Fine Arts undergraduate work exhibition The Art Museum of LuXun Academy of Fine Arts ，Shenyang , China .
    • 2015 Changjiang River International Image Biennale. Changjiang Museum Of Contemporary Art , Chongqing , China .
    • 2015 ” Regression ” Photography Exhibition Shenyang Lotte Gallery , Shenyang ,China .
    • 2014 The second “College Cup” of Luxun Academy of Fine Arts Exhibition The Art Museum of LuXun Academy of Fine Arts，Shenyang , China .

    Awards

    • 2017 SAYA Embrace Project Wining Artist — Artist ‘s Residency Abroad Program . China
    • 2015 The 6th new star art festival — Experiment of the year award — The Second Prize : winning works “degradation” seriesXi ’ AN Art Museum , Xi ’ AN , China .
    • 2015 The 10th Kaiser Art Annual Nominated Exhibition—The annual star of the year ：Best Production Award : winning works” degradation of 2 – cycle ” . Today Art Museum ，Beijing , China .
    • 2015 The 4th Golden Post Shuanmazhuang student Image Art Festival — Silver Medal : winning works “degradation” series .Xi ’ AN Art Museum , Xi ’ AN , China .
    • 2014 The second “College Cup” of Luxun Academy of Fine Arts—Outstanding Works Award : award winning work ” armpit ” .The Art Museum of LuXun Academy of Fine Arts ，Shenyang , China .

    Collection / Other

    • 2015 Degradation series collection by “Aperture” Magazine as academic materials in America.
    • 2015 Degradation series collection by LuXun Academy of Fine Arts
    • 2014 Armpit series part of the Photography Department of Luxun Academy of Fine Arts collection

    Gallery

  • Jin Wang

    Jin Wang

    Jin Wang is GlogauAIR resident
    from October, 2018 to December, 2018

    The independence of individuals not only comes from the behavioral norms but also the habits of minds. When we face the mature of the society, we always want to integrate into and give up our independence. In a seemingly same world, we often feel boring, and hope to project ourselves. Meanwhile, the independence looks ridiculous and dangerous as weightless points.

    If the independent mind is worn away, the single individual will become the same. And the collective unconsciousness brings everyone into a real big family. Afterwards, everyone will fall asleep and follow the trend, and even became a cute kewpie doll. If the burr is rent, all of us will walk with the veil, following the time in a fog.

    Meet the Artist

    Statement

    b. 1983 Longchang, Sichuan, China. Working in Chengdu.

    The independence of individuals not only comes from the behavioral norms but also the habits of minds. When we face the mature of the society, we always want to integrate into and give up our independence. In a seemingly same world, we often feel boring, and hope to project ourselves. Meanwhile, the independence looks ridiculous and dangerous as weightless points.

    If the independent mind is worn away, the single individual will become the same. And the collective unconsciousness brings everyone into a real big family. Afterwards, everyone will fall asleep and follow the trend, and even became a cute kewpie doll. If the burr is rent, all of us will walk with the veil, following the time in a fog.

    GlogauAIR Project

    Her current work was shot in the “load-bearing body” in Papestrasse, Berlin and centers around the imaginary city of “Germania,” which Hitler had once envisioned for Berlin as a grand capital of his empire. He built the giant concrete cylinder to test the load-bearing ability of Berlin’s soil in order to later construct a monumental arch on the site. Ultimately, the soft foundation gave way under the enormous pressure, tilting the cylinder askew. Wang sees the cylynder as representative of Hitler’s ambition, and ultimate failure. With this in mind, she takes the figure of Winne the Pooh, a beloved childhood character which also represents Chinese leader Xi Jinping, making a triangle placed beside Hitler’s load-bearing body, which is continuously knocked down, unable to stand by itself. in fact, the term “winnie the pooh” is illegal in China. If people search for the word “winnie the pooh” on the Internet, it will be blocked, so playing with these figures and metaphors represents a kind of freedom of speech for the artist to display such a work.

    CV Summary

    Exhibitions

    • 2018 “ New Species” Mixed Media Art Invitation Exhibition
    • 2017 《Venice impression 》Yun Art Exhibition
      The Youth Edition of the horizon
    • 2016 Young artists exhibition – TangHu gallery
      In spring line — young artists
      Art Lizard – a youth artist Nomination Exhibition
      Third edition of the artist Nomination Exhibition of Sichuan
      Art Nanjing International Art Fair
      Hangzhou Art Fair
      Scuola Internazionale engraving studio,Venice
    • 2015 “Bloom – Exhibition of First 100 Contemporary FemaleArtists.
      Sichuan Print Exhibition
      “Remittance” oil painting exhibition
    • 2014 Print Exhibition of Sichuan;
      “Never Been”, Exhibition of Young Artist, Art InternationalGallery
      “Years in Shu”, Museum of Sichuan;
      Exhibition of Asian Young Artist 798 Museum of Beijing;
    • 2012 Exhibition of Art International Gallery;
    • 2011 Oil painting “Northwest wind in the Night”, “Scorpio”,“Sagittarius”, “Gemini”, “Thirty-year-old’, Invitation Exhibition ofYoung Artist of Chengdu Gallery; Oil painting “White Night”, “Spiritual life”, South Asian Exhibition of Kunming Park;
    • 2010 Oil painting “The Sky over Lotus Pond”, “Shield”,Caochangdi Gallery of Art in Beijing and Art Salon ofCarrousel duLouvre in Paris in 2010;
    • 2005 “Wisteria”, Zitong International Arts Exhibition
    • 2004 “Vine”, Print Exhibition of Sichuan

    Gallery

  • Sara Agudo Millàn

    Sara Agudo Millàn

    Sara Agudo Millàn is GlogauAIR resident
    from November, 2018 to December, 2018

    Spain

    Meet the Artist

    Coming soon

    Statement

    Interested in perception and its limits, she addresses questions from close-up. It is the chiasm, the intertwining between what occurs and our view that captures it, an opening of possibilities, that runs through her praxis –from research to production– located at the intersection between art, literature and philosophy. Based on minimal interventions in space, drawings and texts, her actions are records of everyday life as a way to open a dialogue with a certain phenomenon. She works also with performance in order to expand her texts and publications to fold them.

    ‘The Resistance of the Imperceptible’ is the name of the work she has been developing since 2014, leading to her Master’s dissertation in 2017. Her new project, ‘The Future’ emerges from the ideas generated by this process, and has received the support of the Guasch Coranty Foundation Grant. If the purpose of the first project was the perceptual limits of space, in ‘The Future’ it’s the perceptive limits of time. This project is based on the importance of paying attention to possible future realities that are already latent but still unnoticed.

    Sara Agudo Millàn

    GlogauAIR Project

    Empty Space is a site specific proposal based on the selection of a space where she will begin some research and speculative attempts related to its emptiness. She understands vacuum as a field full of possibilities, instead of a limitation, as a beginning, not as an end. By paying attention to the space, it unfolds as a condition of possibility to be transformed into place in order to experience it. During the process, she will generate a textual material and other records to make an edition later of the score for a performance.

    This project follows the line of a performance she did last year in which she chose the empty white room – one that all art schools use to show students work in an apparently neutral context. The main concept underlying her text was that precisely these spaces are a collective artwork shaped by all the traces of each previously exhibited project. On another occasion she made a publication about an old and new building concerning on its potential. Now she proposes to choose a space within Glogauair to write about its perceptible and imperceptible traces, the potentiality of that emptiness spreading over a temporal semantic.

    CV Summary

    b. 1991 Spain

    Education

    • 2016-2017 Master’s Degree. Production and Artistic Research. Fine Arts University – UB.
    • 2009-2014 Barcelona University Degree. Art and Design. Escola Massana – UAB. Barcelona

    Exhibitions

    • 2018 La Tèrmica Lab. Festival Panoràmic. Granollers.
    • 2018 La Gran Màquina V. Festival Embarrat. Tàrrega.
    • 2017 Título. ATI Prodart. Galeria Àngels Barcelona.
    • 2017 Invisibles. Galeria Catascopio. Festival Seco Barcelona.
    • 2016 Nodes. Mofuta Studio. Barcelona.
    • 2016 Apertus 01: the ass between two chairs. Galeria Àngels Barcelona.
    • 2016 Apertus 01: Han Nefkens Foundation Workshop presentation. Escola Massana.
    • 2014 Instants quotidians. Fnac. Barcelona.
    • 2014 Punt i Coma. Editorial Comanegra. Barcelona.
    • 2014 Y Punto. Sala Busquets. Escola Massana.
    • 2012 Art i Ciutat. Sala Blava. Escola Massana.

    Performances

    • 2017 Individual performance. Recital Aula Miró – Espacio vacío. Fine Arts University.
    • 2017 Collective reading. H by Oriol Vilanova directed by Xavier Albertí. Fundació Antonti Tàpies.

    Awards

    • 2018 Internationalization Grant. La Escocesa – GlogauAir Program Berlin.
    • 2017-2018 Creation Grant. Guasch Coranty Foundation.
    • 2016 Apertus 01. Han Nekfens Foundation.

    Other Professional experiences

    • 2018 Coordination Institutional stand. Arts Libris Fair. April 2018 Assistant of the artist Giuliana Racco.
    • 2018 Assistant of the artist Mireia C. Saladrigues.
    • 2017 BAR project coordinator.
    • 2017 Receptionist and team leader. Fundació Antoni Tàpies.
    • 2017 Coordination Escola Massana stand. Arts Libris Fair. Arts Santa Mònica.
    • 2016 Workshop: Regen. El Puig School. Esparreguera.
    • 2016 Cooking in Maximum Security by Matteo Guidi.
    • 2015-2016 Production and research assistant. The Artist and the Stone project.

    Gallery

  • Michael Reiley McDermott

    Michael Reiley McDermott

    Michael Reiley McDermott is GlogauAIR residentfrom October, 2018 to January, 2019

    United States

    Meet the Artist

    Coming soon

    Statement

    I am a composer, musician, coder and sound designer working with soundscapes, Deep Listening and auditory consciousness. Through meditative states, deep time and humanity’s personal connection through listening, I hope to explore the timeless dimension of sound and the ephemerality of listening.

    Michael Reiley McDermott

    GlogauAIR Project

    I’ll be working on a sonic project attempting to reconstruct the sounds of extinct animals and their habitats. The project will include taking existing animals sounds and using sound design to create approximations of their extinct relative ancestors calls and habitats. The project will involve creating audible soundscapes where people can hear the reimagined worlds of these extinct creatures. The soundscapes will include elements of fields recording, synthesized vocalizations and reconstructed habitats. Through creative sound design practices people will be able to listen through time to their forgotten worlds and imagine what our world might sound like if some of these special still existed today. With the alarming extinction rate currently underway in this “Sixth Extinction”, I feel that remembering and examining what creatures we have lost through their sonic echo is vitally important to foster a sense of connection and responsibility for the web of life here on Earth today.

    CV Summary

    SELECTED PERFORMANCES / PROJECTS / COMMISSIONS

    • 2018 – Dome of Visions, Århus, DK
    • 2018 – Kvindemuseet, Åarhus, DK
    • 2018 – KoncertKirken Copenhagen, DK
    • 2018 – Spektrum, Berlin, DE
    • 2018 – MOKS, Mooste, ES
    • 2018 – MIM stuudio Tallinn, ES
    • 2018 – Skaņas Dienas Festival, Liepaja, LV
    • 2018 – BB 15, Linz, AS
    • 2018 – Rozkurz, Wroclaw, PL
    • 2018 – Osobliwy Poniedziałek, Krakow, PL
    • 2018 – Kolonia Artystów, Gdaǹks, PL
    • 2018 – Madame Claude, Berlin, DE
    • 2018 – Overnight Sleep Concert – Lake Studios Berlin, DE
    • 2018 – BHOR – Rishikesh, IN
    • 2017 – Overnight Sleep Concert – Magick City, New York City, US
    • 2017 – Landscapes – Spektrum, Berlin, DE
    • 2017 – Fidelity – XBLiebig, Berlin, DE
    • 2017 – Soundbath – Liebig12, Berlin, DE
    • 2017 – Listhus Gallery, Olafsfjordur, IS
    • 2016 – Temporal – Temple University BEEP Ensemble, Philadelphia, US
    • 2016 – Emphemeral – Nora Gibson Contemporary Ballet
    • 2016 – Liberation Through Hearing During the Intermediate State – thefidget space, Philadelphia US
    • 2015 – 257,885,161-1 – Nora Gibson Contemporary Ballet – Performance Garage, Philadelphia, US
    • 2015 – Woosh – Fred Rogers Center

    INTERACTION / INSTALLATIONS

    • 2018 – Home Court: Hartranft Revival – Philadelphia, US
    • 2018 – St. Bernard Lion – University City Arts League, Philadelphia, US
    • 2018 – Landscapes: Uttarakhand – Ramnagar, IN
    • 2017 – Life As We Knew It – Art+Science Gallery, Austin, US
    • 2014 – Capsule – Little Berlin, Philadelphia, US
    • 2013 – Edge of Nostalgia – Mobile App
    • 2013 – Antarctica – with Nora Gibson & Clifford Greer – the fidget space, Philadelphia, US
    • 2010 – Aeolus – Schuylkill Center for Environmental Art and Education, Philadelphia, US
    • 2010 – Where It Was There I Shall Be – NEXUS/Foundation for Contemporary Arts, Philadelphia, US
    • 2008 – Cochlea – Little Berlin, Philadelphia, PA

    SELECTED TEACHING / WORKSHOPS / LECTURES

    • 2018 – Sound Days Festival – Un/natural Fields Sonic Photography Workshop – Lieapaja, LV
    • 2018 – BHOR Sound Meditation Workshop – Manila, IN
    • 2017 – Village of Arts and Humanities – Soundmapping – Philadelphia, US
    • 2017 – Mixes from the Field workshops in Philadelphia, US, Berlin, DE and Arnhem, NL
    • 2017 – Dharma of John Cage (lecture and workshop) – Springboard Studio – Philadelphia, US
    • 2016, 2017, 2018 – Dharma Talk / Insight Meditation – Springboard Studio – Philadelphia, US
    • 2016 – Sonic Photography – Temple Univerisity – Philadelphia, US
    • 2016 – Deep Listening Study Group – Philadelphia, US
    • 2016 – Iron Works – ATTUNE (movement & listening workshop) – Philadelphia, US
    • 2015 – University of Pennsylvania, electronic music class, concert and talk – Philadelphia, US
    • 2014 – Philadelphia Community College, concert and talk – Philadelphia, US
    • 2011 – Marlboro College – Neuroaesthetics/Improvisation: Embodied Learning Symposium – Marlborough, VT
    • 2010 – SHARE Philadelphia, electronic music community and workshop gathering / improvisation series (various venues) – Philadelphia, US

    RESIDENCIES

    • 2018 – Glogauair – Berlin, DE
    • 2018 – Serde – Azbute, LV
    • 2018 – PECAH – Uttarakhand, IN
    • 2018 – Com Peung – Chiang Mai, TL
    • 2017 – Listhus – Olasfjordur, IS
    • 2017 – Casa Na Ilha – Ilhabela, BR
    • 2017 – Village of the Art and Humanities – Philadelphia, US
    • 2016 – Temple University BEEP Ensemble – Philadelphia, US
    • 2016 – Ayatana Artist Research – Ottawa, CA
    • 2016 – thefidget space – Philadelphia, US

    Gallery

  • Guillermo Moreno Mirallas

    Guillermo Moreno Mirallas

    Guillermo Moreno Mirallas is GlogauAIR resident from June, 2018 to December, 2018

    Spain

    Meet the Artist

    Coming soon

    Statement

    The heart of the multidisciplinary artist Guillermo Moreno Mirallas’ practice lies in the critical exploration of the relationship between object and subject, matter and consciousness through the physical experiences.

    In his production, he subordinates the technique to the concepts that he is analysing and building. He is currently mainly working with contact microphones, analog synthesizers, audio production software as well as 3D scans and prints and 3D modelling software. All combined with projections, photographs, paintings or drawings to generate as a result a constellation of artefacts, interactive pieces and installations.

    The poetic idea of alchemy surrounds all his investigations (converting sound into light or matter into digital information), translating the original apprehension of transcendence to a communicable state, a new form that is in fact ancestral because it claims metaphorical transmutation instead of mimesis.

    It is all about a deep understanding of the laws of nature and, ultimately, of time. It is, at last, about something much more internal than it might at first seem: merging oneself with the world.

    Guillermo Moreno Mirallas

    GlogauAIR Project

    Moreno Mirallas starts by researching his direct environment, finding poetic details through which he catalyses and articulates his reflections. For this reason, his production is always intuitive and the technique is subordinate to the concepts that he is analysing and building. Generating as a result, a constellation of artefacts, interactive pieces and installations.

    During his two months residency at GlogauAIR, he is internalising and re-imagining the city through researching a recurring street element within the topography of Berlin. Namely, the cobble stones or in German named ‘Kopfsteinpflaster’. Associating with those that have come loose from the sidewalk, as if driven out by the city itself. They can be seen as a record of urban idiosyncratic activity. This work refers to elements that are viewable in different areas in Berlin and together create our unconscious mental understanding of the city.

    In Kopfsteinpflaster we can experience a very individual way of how to perceive an urban landscape, a set constructed by infinite parts, which are the cause and consequence of the continual change.

    CV Summary

    EDUCATION

    • Bachelor in Fine Arts, Universitat de Barcelona. ES
    • Degree in Graphic Design Escola Superior de Arte Llotja, Barcelona ES
    • Violin & Piano Studies in Professional Music Conservatory, Zaragoza ES

    SOLO EXHIBITIONS

    • 2018 “Gray Ridges, Sounds of…” Espai M, Barcelona ES
    • 2013 “Biblioteca en Blanco” Galería Carles Taché, Barcelona ES
    • 2013 “Cara A Cara” L’Església Antiga, Ses Salines, Mallorca ES
    • 2013 “Cara A Cara” Sóller, Mallorca ES
    • 2012 “Cara A Cara” Art Nit Campos, Mallorca ES
    • 2011 “Cara A Cara” Gallery Heist, San Francisco, USA
    • 2011 “Cara A Cara” Galería L’Aché, Guadalajara, MEX
    • 2010 Galería Sa Cova, Mallorca ES

    SELECTED GROUP EXHIBITIONS

    • 2018 ArtNou (Associació de Galeries de Barcelona) ES
    • 2018 Sónar +D (artista invitado por Institut de Cultura de Barcelona) ES
    • 2018 ART i PART Sala Beckett, Barcelona ES
    • 2018 Tallers Oberts de Barcelona (Assoc. d’Artistes FAD Barcelona) ES
    • 2018 Parellas Artísticas. Barcelona ES
    • 2018 “La fábrica del comú” curated by Oriol Fontdevila, Barcelona ES
    • 2017 ArtNou (Associació de Galeries de Barcelona) ES
    • 2017 TOP Barcelona ES
    • 2017 Llindars Festival of installation and intervention in space. Barcelona ES
    • 2015 “Fire Market” (exposición colectiva) Galería Escalera de Incendios, Barcelona ES
    • 2014 “Jornadas Mutantes” (Exposición Colectiva dentro del contexto del festival) La Lokomotiva, Barcelona ES
    • 2013 “Biblioteca en Blanco” intervención en colaboración con el galerista en la biblioteca de la Galería Carles Taché, Barcelona ES
    • 2013 “Biblioteca en Blanco” intervención en la biblioteca de la Facultad de Bellas Artes, Universidad de BarcelonaES
    • 2012 Punt i Seguit (Exposición Colectiva) Convent de Sant Agustí, Barcelona ES
    • 2011 Artista invitado en “Sketch Tuesdays” at 111 Minna Gallery, San Francisco, USA
    • 2011 Fillmore Jazz Festival,(Exposición Colectiva) 1307 Filmore St. Gallery, San Francisco, USA
    • 2011 Action Painting, 1307 Fillmore St Gallery, San Francisco, USA
    • 2011 Traä, (Exposición Colectiva de fotografía) Guadalajara, México
    • 2010 “Inside” video exposició en la Fundació Joan Miró, dentro del programa del Loop Festival, Barcelona
    • 2010 6×6, (Exposición Colectiva), Untitled Gallery, Barcelona
    • 2010 Hemisferio Sur, (Exposición Colectiva),Zaragoza
    • 2009 Exposició d’Estiu, (Exposición Colectiva), Can Manresa, Santanyí, Mallorca
    • 2009 Una Poma Festival, (Exposición Colectiva), Barcelona
    • 2009 Action Painting y Violín performance con la Poeta Marta Fuembuena, Demodé, Barcelona
    • 2009 Mentira, (Exposición Colectiva), Alcoba Azul, Barcelona
    • 2009 Exposición colectiva London & Barcelona, Untitled Gallery, Barcelona

    AWARDS and GRANTS

    • 2017 Production Grant La Escocesa, Barcelona ES
    • 2017 Artist Residency La Escocesa, Barcelona ES
    • 2015 “Leña al Fuego” (WAC Project) Barcelona ES
    • 2011 Videoperformance seleccionada en “Tercera Muestra de Performance” Universidad de Guadalajara, MEX
    • 2011 Beca Santander Crue Internacional ES
    • 2010 Ganador del “Premi Fundació Fita” VAD Festival (Festival Internacional de Vídeo I Arts Digitals) Girona ES
    • 2010 Obra seleccionada al “Premi de Pintura Gaspar Camps, Premis Ciutat de Igualada”, Catalunya ES
    • 2006 Finalista y obra expuesta en los premios de diseño FAD’06, Barcelona ES

    Gallery