Catalogue Open Studios // December 2021

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INDEX Chema Alvargonzalez




Open Studios


Fall 2021


Resident Artists


Aileen Bahmanipour


Alma Sinai


Amanda McMicken


Charity Be


Cristina Santos Muniesa


Devin Chambers


Elisa García de la Huerta


Ivonne Thein


Jacqueline Forest Andrews


Lars van de Grift


Lorna Sinclair


Millie Gleeson


Nathalie Rey & Enric Maurí


Vincent Laju


Berlin Guest Resident


Marcos Nacar


Garden Guest Resident


Maria Gamsjäger


Catalogue's Cover


Chema Alvargonzalez Chema Alvargonzalez (Jerez de la Frontera, 1960 - Berlin, 2009) founded GlogauAIR in 2006. After studying Fine Arts at Escola Massana (Barcelona), he continued his studies at the HdK (Berlin) under the direction of Rebecca Horn obtaining a Master of Fine Arts and Multimedia. From that point on he worked and lived between Barcelona and Berlin. Alvargonzalez experienced the Fall of the Berlin Wall in 1989 and the exciting period which followed. He became part of the Künstlerinitiative Tacheles where he introduced and welcomed incoming artists to Berlin and its new, flourishing art scene. His experiences over these years alongside his passion for collaboration and building artist networks led him to eventually found GlogauAIR. In 2006 Alvargonzalez starts the project of GlogauAIR in the same building that still hosts the residency today. GlogauAIR was created as a meeting point between artists from all disciplines where they could collaborate and expand their practice, explore and interact with the city of Berlin. Alvargonzalez is a representative of the generation of artists whose artistic work was highly influenced by globalisation and technology. As a consequence, Chema’s pieces, as well as GlogauAIR, were set as a breakthrough beyond geographical boundaries. After Alvargonzalez’s early death, his siblings Pablo and Columna took over Chema’s heritage, founding La Memoria Artistica Chema Alvargonzalez in order to preserve his artwork, also taking over the direction of GlogauAIR. Today GlogauAIR continues Chema’s mission to host and create with international artists from all disciplines.

Memoria Artística Chema Alvargonzalez Copyright © All rights reserved 2021

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GlogauAIR GlogauAIR is nowadays a non-profit art space and residency, located in a historic building in Kreuzberg. Founded in 2006 by the Spanish artist Chema Alvargonzalez, it is supported by La Memoria Artística Chema Alvargonzalez. The word GlogauAIR comes from the phonetic combination of Glogauer Straße; the name of the street where it is located, and its purpose; an Artist in Residence program where artists can develop their own journey in the city of Berlin which is a pioneering metropolis for contemporary global culture. The Residency Program offers 13 studios to international artists from all artistic fields. During their stay they receive curatorial and technical support, as well as the possibility to take part in diverse activities such as workshops, exchanges and talks that aim to help them in their professional careers. Each artist develops an artistic work in one of the GlogauAIR studios in Berlin, which will then be showcased in our Open Studios event at the end of their stay. This past year GlogauAIR has faced many challenges, most of them originating from artists not being able to join the Residency due to COVID-19 pandemic. Far from allowing this to stop us, we have developed our On-line Residency Program which is now available for artists who cannot join us physically in Berlin. This program includes most elements of the On-site Residency Program, including our personal monitoring, activities and final Open Studios exhibition. GlogauAIR aims to continue the project originally created by Chema Alvargonzalez: an openness and receptivity to new ideas and the support of local and international contemporary art practices.

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Open Studios Every three months, at the end of the Residency Program, GlogauAIR opens its door to the public hosting an Open Studios exhibit. On-site resident artists in Berlin open up their studios and visitors are invited to approach the work the artists have been developing during their residency period. Furthermore, since establishing our on-line Residency Program, we also host a Virtual Open Studios which can be found on our website. These two complementary Open Studios allow our on-line and on-site artists to showcase their work together, and illustrate the results of their artistic dialogue from the term. Sharing the Open Studios event, the Project Space hosts an exhibition with an invited artist from Berlin - the Berlin Guest Resident - or in collaboration with Institutions -which can curate either a collective or an individual exhibition- or Curators, adding value to GlogauAIR’s project by providing artistic exchange and dialogue.

Open Studios // June 2021 Matilde Søes Rasmussen and Marie Flarup Kristensen Studio Picture by Beatrice Lezzi © GlogauAIR gGmbH 2021 All rights reserved to GlogauAIR gGmbH

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Fall 2021 So many things have happened during these past three months of residency. Some of them, like Berlin autumn leaves or the sounds surrounding us, are reflected literally on the pieces shown here, and others are hidden between the canvas and the wall, or within the endless virtual space. Performance, sound, painting, collage, installation, archives… are some of the mediums our artists have worked with during the residency program. Their pieces are scattered all over the building, but don’t let it fool you, GlogauAIR is not only its walls nor the art pieces hanging on them. GlogauAIR is its Program: The artists that joined us both in Berlin and virtually from all over the world, from whom we have learned and with whom we have shared so many experiences. GlogauAIR is its team, new faces and old ones. GlogauAIR is coffee in the morning and movie nights together. GlogauAIR is phones ringing and music playing, it is scheduled emails and open rehearsals sessions. GlogauAIR is hands and laptops, analogue and digital, rigidity and freedom, honey and confetti. GlogauAIR is taking that same picture every morning. GlogauAIR is deadlines, submissions and emails, and it also is shared meals and inside jokes. GlogauAIR is talks in the studio, and glitches on the screens. GlogauAIR is relationships with people we never knew, and getting to know people that will leave a profound mark in our lives. GlogauAIR is muddy shoes when it rains, and it is also the comfort of your home, wherever you are in the world. GlogauAIR is thirteen studios, a Project and Virtual Space and a herb garden, but it is also a home. GlogauAIR is not only a building in Berlin with an Artist in Residence Program, but an Artist Residence Program with a building in Berlin. An idea that is constantly being developed in space and time. It is a project for artists to experiment, find new ways of expressing themselves or continuing to improve and develop their work. Once more, our doors are open to the whole artist community and its supporters: Welcome.

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Resident Artists


Aileen Bahmanipour

p. 16

Canada, Iran Alma Sinai

p. 18

Iran, United States of America Amanda McMicken

p. 20

United States of America Charity Be

p. 22

United States of America Cristina Santos Muniesa

p. 24

Spain Devin Chambers

p. 26

Canada Elisa García de la Huerta

p. 28

Chile Ivonne Thein

p. 30

Germany Jacqueline Forest Andrews

p. 32

United States of America Lars van de Grift

p. 34

Netherlands Lorna Sinclair

p. 36

United Kingdom Millie Gleeson

p. 38

United Kingdom Rey & Maurí

p. 40

France, Spain Vincent Laju France

p. 42

Aileen Bahmanipour Canada, Iran

Aileen Bahmanipour is an Iranian-Canadian visual artist, currently based in unceded territories of the Coast Salish people, known as Vancouver. Bahmanipour’s art practice is defined through the medium of drawing and its performative aspects, installation, sculpture, and paper-making as a form of sculpture. Questioning if the space and place could make the artwork, her ideas are currently centred on experimental collaboration with the space and its specific and unexpected companionability. Bahmanipour challenges how she can collaborate with a place and what it can afford for that purpose. She understands visible affordances of a space, such as transparency, opacity, shadows, restricted ways of navigating, etc. as her working materials along with invisible qualities, since spaces can also be created through our interactions and relationships with one another and other things around us. Her project, for GlogauAIR Open Studios, leaks out from her studio to the inside and outside of the building, literally through visible materials and invisible information. Distance Is Required for Notification is a sound installation through which the conversations that happen in her studio, on the third floor, project through the crafted church bell, made out of cardboard, on the main floor. The roll of Diagrams For How To Ring The Bell escapes from the studio’s window, revealing itself by hanging all the way down to the street.


Diagrams for How to Invest in Iran (2019) laser-cut plexiglass 48 x 60 x 84 inch

Alma Sinai Iran, United States of America

Alma Sinai is an interdisciplinary artist using printmaking, drawing, video and installation as her primary mediums. The ideas in her works stem from an interpersonal realm, but they speak out to different individuals and communities that undergo abrupt and suspended situations in various scenarios. While navigating among different narratives, her works negotiate the uncertain status and the constant state of flux taking place in their subject’s proximate and distant surroundings. Her projects usually focus on binaries: absence & presence, indoor & outdoor, visible & invisible. At GlogauAIR she uses her environment as a means to develop her new project. There is a constant dialogue between the inside and outside area of the residency that is orchestrated through a video. The frames consist of transparent plexiglass plates with engraved drawings. Light and darkness are also activating factors in the creation of this stop-motion animation in relation to the windows of the residency and their view. The video functions as a drawing with time dimension; instead of having a sharp beginning and end it is a looped episode with no exit point. Through the repetition of the same gesture meanings get lost, added and distorted. In the same vein as her previous projects, she focuses on hovering in an uncertain moment and inbetween zone.

Untitled (2021) Engraving on plexiglass plate (video frames) 13x17.5 cm each


Amanda McMicken United States of America

Amanda McMicken (b. 1991, Houston, Texas) makes drawings, installations, and other works examining the role of presence in our lives. McMicken explores ways in which presence can take form by extending and altering our sense of time. Can presence be manufactured? What elements make up the feeling of presence? McMicken often works with repetition to allow her works to function as a meditation on a particular moment in time or subject matter. In McMicken’s current work at GlogauAIR, she has been exploring if and how the feeling of presence has changed due to our increased use of technology. Now more than ever, due to Covid-19, adoption of technologies has skyrocketed for most of us. McMicken chose to have the human hand as the focus of these explorations because hands are a key way we communicate and express ourselves both in physical and digital spaces. An ongoing question she raises in this work is: Is our digital presence fulfilling our basic human needs?

The feeling of presence (2021) Video frame crop


Charity Be United States of America

What bodies do in a space for a stretch of time is the axis of Charity Be’s contextual intermedia art practice. She is interested in how we move our bodies individually and collectively through time and space, and why we choose to do so. How do we connect, how do we encounter, what are our intentions and rhythms? With the objective to activate new sensory awareness in an audience, she uses whatever tools and approaches are appropriate to the subject and site of each individual work. Drawing heavily from philosophical texts and the cycles of nature, Be builds sensory-rich environments video, sound, textiles, performance and sculpture to situate the viewer more directly in an embodied experience, and to manifest the invisible and experience the conceptual through the body. While in residency, Charity Be has developed a set of participatory performance workshops inspired by magnetic fields and the vibrational effects on and between bodies in collaboration with former resident, Mette Sanggaard. She is currently experimenting with how to incorporate sensors and microcontrollers into her sculptural-performative environments. Charity Be has worked and exhibited internationally. She holds a BFA in Intermedia Art from Mills College in Oakland, California (2017) and is currently writing her MFA thesis. Originally from the United States, Charity is relocating to Berlin. Do you know of an available apartment?

Experiments With Technology Towards Sensing Our Bodies Differently (2021) Materials variable


Cristina Santos Muniesa Spain | @cristinasantosmuniesa

Cristina Santos Muniesa is a Spanish visual artist currently based in Berlin. She obtained her MFA in Valencia UPV and broadened her artistic practice in Mexico City UNAM. In her work she analyses our daily life relationship with image production and reception within the Internet, smartphones and social networks. Her artistic practice may use photography and video but it is deeply rooted in painting. Through her pieces, Santos Muniesa shows us the emptiness implied in the excess of image production and consumption. As the viewer is absorbed into a continuous present of visual excitement, the eyes are exhausted from looking and the image language becomes thinner, losing its meaning and leaning towards abstraction. In her studio a beamer waits on a stool, a camera on a tripod and a printer on the table. Her phone is being held in her hands. And from here on her practice begins. She creates installations where images collapse with each other and shift in different levels of definition. There are cracked screens, blurred or pixelated images that show paint drops, figures or surfaces. They all bring up the idea of touch as something present and real that can’t be reached. When the distance between reality and its representation increases, when reason and vision are insufficient, how can we tell what’s real, where can we find shape, skin, contact?

A painting was here, Print I (2021) Inkjet print and fixative spray on satin paper


Devin Chambers Canada

Devin Chambers is a Canadian new media artist and community organizer. He explores new mediums often falling in the spaces between disciplines such as video and sculpture or performance and game design. His work at GlogauAIR explores how memories and emotions exist differently in digital and physical spaces. During his time in Berlin he has been learning how to use a combination of live action and computer generated video to combine and contrast our digital and physical worlds.These works are imbued with a sense of nostalgia for the early digital age and early life.They grapple with the difficulties of constantly translating our experiences between these two different but equally real worlds.

(no title) (2021) Model from a series of 3d prints 20x20x20


Elisa García de la Huerta Chile

Elisa Garcia de la Huerta is a multidisciplinary artist from Chile. She focuses on analog photography and performance. Her work details the ways in which nature interweaves with different aspects of the modern self, our psyche and queer culture. Sprouting from intuition and the need to materialize and process emotions. Her work consideres our instinctual right to erotism and death, inherent to our human experience.With a visceral jet contemplative sense, as viewers we are thrusted into a world of color, beauty, and mysticism. She searches for uncanny simplicity; the unseen texture contained within the subtle abstract sensibility; the pictorial, tactile and poetic. Which opens our perceptions of nature, body and gender alluding to facets of transpersonal and eco-feminist discourse. She is intrigued by the Shadow of late capitalism, and how it is fed by conscious strategies of repression. Her work invokes the primal Archetype of the Goddess – Virgin, Mother, Shaman and Witch – in the belief that through a global return to the feminine in all Her aspects, we might soften our rapacious drives and erosion of human connection. In this context she portrays intimacy as a vital and unruly form of resilience and resistance, representing a form of sanctuary, which allows a place where our connection with nature – including our bodies – might be resurrected, de-commodified, and re-beautified.

Portrait of Deda, Berlin 2019, Thailand 2018 Digital collage of 35mm film photographs


Ivonne Thein Germany

Ivonne Thein is a multidisciplinary artist, based in Berlin, whose photographs, videos, sculptures and mixed media installations have been shown in galleries and museums such as Fotomuseum Winterthur, CO Berlin, ACP Sydney, Kunsthalle Karlsruhe, Lentos Linz and Amelie A. Wallace Gallery NY. She has received prizes and grants from CO Berlin, ifa, Stiftung Kunstfonds, VG Bildkunst and BBK Bundesverband. In her artistic practice, Thein focuses on our social and political perception of the human body in terms of gender, posthumanism and the traditional notion of our body image in the digital age. In her work she often refers to the increasing tendency to code the body as a mass that can be manipulated at will. We can do something with our body, shape it or manipulate it. For her current work, she is collaborating with an AI (Artificial Intelligence) to create images of the human body. She later on transforms these digital works back into physical space as mixed media installations. The installations contain silicone sculptures based on the images generated with the AI, as well as videos and large-format prints. In her multidisciplinary work, Thein questions our traditional conception of the human body. Her work thus points to the limits of the visual reinterpretation of the human body within the context of digital image techniques and technologies.

Human (2021) Mixed media installation Dimension variable


Jacqueline Forest Andrews United States of America

Jacqueline Forest Andrews is a young artist from Los Angeles, USA. She graduated with her BFA in 2021, and her work is informed by her technical studies in painting, drawing, and art history. Andrews experiments with the materiality of a variety of two-dimensional media. Her intricately layered compositions reflect on her personal relationships, memories and immediate surroundings. She draws on imagery like portraits, architectural details, and natural patterns to create visual structures on which she can fluidly explore the overlapping of images, colors, and materials. Andrews believes that critical ideas in fine art should be presented with accessibility to the general public. Therefore, she’s excited about the inclusivity and populism that’s inherent in craft projects because their usefulness and tangibility separates them from the sterilized gallery space. Recently, Andrews has been incorporating elements of crafts like quilting as well as found objects into the materiality of her paintings. She has continued her experimentation with materials at GlogauAIR. During her residency in Berlin, Andrews has been working on a collage that weaves together architectural drawings of Kreuzberg buildings to create a maplike structure that is filled in with found papers such as magazines, flyers, and programs from around the city. The work is as intricately detailed as it is massive, and reflects on Andrews’ overwhelmedness and awe as she explores Berlin.

Self-Portrait (Hands) (2021) Oil on canvas 124 x 142 cm


Lars van de Grift Netherlands

Lars van de Grift’s practice includes performance, painting, sculpture, sound and video. Central to their work is the urge to identify conflict as a means of creating, guiding them to create free play zones: a free standing reflective playing field. In their work they aim to nourish a multiple reality where directed and spontaneous reactions intersect. For GlogauAIR Open Studios, Lars van de Grift is using sound, sculpture, drawing and painting. They explore and research hidden and unhidden structures by using whatever medium they are drawn to. Lars van de Grift is experimenting with the playful possibilities of rigid structures by approaching a free use of the medium: Their works on textile (canvas) and paper, made with markers, water and sometimes paint, present rigid colour compositions but are shown in a free standing composition. Van de Grift also applies their pictorial interests to other mediums: The sound piece playing during Open Studios contains a mix between music, mechanical sounds and voices with characteristic personalized content. The soundpiece emphasizes the performative quality of the sculptures also present in the room.

The End Is New (2021) Canvas, textile, markers, acrylic, wool, metal, bricks, duck tape


Lorna Sinclair United Kingdom

Lorna Sinclair is a visual artist from Scotland, whose practice primarily involves painting and drawing. Upon graduating from Duncan of Jordanstone College of Art & Design in Dundee with a BA (Hons) in Fine Art, Lorna now works as a freelance painter in Glasgow. Lorna’s creative practice centres around the exploration of colour. The ways in which colour transforms and affects her surrounding landscape, as well as the emotional response it instils in people are of particular interest to her. Whilst at GlogauAIR, Lorna intends to explore Berlin through colour; with particular interests in the trees surrounding the canals by the Residency, bold fashion streetwear, and the faces and movement of people around her. Through expressive, gestural paintings, which combine rich, physical textures with saturated colours, Lorna aims to excite and transfer this energy to the viewer. Ultimately, Lorna wants to create a bold and energetic body of work that completely immerses the viewer- transporting them to a new, colourful and uplifting reality imagined by the artist. Lorna aims to surround her viewers at Open Studios within an installation of surreal paintings; encouraging the viewer to physically navigate around a path of rich colour imitating nature, that is carefully designed by the artist.

Cloud Trees in Green (2021) Gouache and pastels on canvas 150x85cm


Millie Gleeson United Kingdom

Millie Gleeson is an artist from the UK, with a background in film, festival and fashion. She predominantly paints large scale female portraits, in which she explores the encounter, through the self, the other and the space between. Her paintings evolve from photoshoots in which she fabricates imagined worlds through location, performance, body art and her hand-crafted costumes. Emerging through a transformative and reflective process Millie’s work is autobiographical and cyclical in its nature. Her work celebrates the realms of the feminine in all its varied and contrasting manifestations; sensual, powerful, vulnerable, devastating and glorious. Concerned with the concept of diversity, identification, self-expression and the psyche her paintings seek an emotional response. At GlogauAIR she is currently working on her project ‘Perceptions’. This series of self-portraits focus on distortion- using lenses and mirrors she creates a dimension of space in which she becomes the observer observing the observer. Aspects of self are brought to the surface to be healed and released, capturing faces and spaces in flux which transform along the journey. Taking inspiration from people, places and experiences has directed Millie to develop projects at Artist residencies around the globe. She will continue to take her project ‘Perceptions’ to various settings.

See through (2021) Acrylic on paper 19 x 28 cm


Nathalie Rey & Enric Maurí France, Spain |

Nathalie Rey is a French artist based in Barcelona, and Enric Maurí is a Catalan artist living in Cardedeu (Barcelona). They both develop individual multidisciplinary practices that sometimes collide, resulting in collaborative projects that include installations, photography, video and performance. Environmental concerns, globalization processes and their impact on natural, social and cultural ecologies, the use of autobiographical references, humor and micro stories are some of the things both artists have in common. During their collaboration of two years, the project “The conspiratorial artist” stands out , and has been one of the main research points for Rey and Maurí during their residency in GlogauAIR. This work offers a renewed look at the destabilizing role of the artist and their contribution throughout history in building a critical voice against retrograde and totalitarian thinking. For this project, their process consists of parodying a selection of works that have been - or could have been - censored. Through the construction of meta-discourses, both artists seek for a relationship between past and current languages and contexts.

Muñecao para vestir [Doll to cut and dress], 2021 print on paper 105 x 70 cm


Vincent Laju France

Vincent Laju is an artist from France based in Berlin. He has a background as a double bass player & cellist in contemporary music, and he has worked in different Nationals Centers for Music Creation GMEM, MIMI Festival 2016 or MUCEM. Laju has also organised a series of 32 performance events in Aix en Provence. He mostly works with mediums such as shakuhachi, electroacoustic, drawing and words for composition and improvisation. The full and the empty, accumulation and void are themes that he develops during the residence in relation to its context: Berlin, city with empty spaces and presence of nature, GlogauAIR building and its resonance. The approach of emptiness can be philosophical, spiritual, or poetic, as for example in the Japanese music of shakuhachi where silence is the central element. The shakuhachi - a Japanese Bamboo Flute originally from China and played exclusively by monks for meditation in the 12th and 13th century BC - becomes a fundamental part of his artistic experimentation. With this vegetable instrument he explores the realm of the infinitesimal, the possibilities of micro modulations that this opened up and the acoustic properties of bamboo. In his process, Laju works on the notion of uselessness, lack of purpose and experimentation, proposing a sound experience whose perception depends on the sensitivity of each person. Inviting Berliner artists to perform with him allows him to explore the relationship between sounds and visual shapes.

Crêtes (2021) Pen on Paper 9x13cm


Berlin Guest Resident


Berlin Guest Resident Marcos Nacar

p. 46


Marcos Nacar Spain

“I don’t know Carmen” is an artistic research based on the personal archive of Carmen Passols. In June 2018 when I was living in Barcelona I found hundreds of photographs, letters, and postcards that belonged to her. Someone had emptied her flat after her passing and left her memories on the street. This work is about the world that doesn’t exist and a melancholic disorder. I looked her up on the internet. Her only trace in the digital world is her obituary. It is published on a webpage that offers: services to erase social media profiles of deceased people; Legal support to collect life insurances; and online wills. The rest of her personal archive is analog, probably one of the last generations without digital archives. She was a really meticulous archivist. I’ve never been an archivist, but I needed the money. Now I have a relationship with Carmen. Marcos Nacar is a performer/dancer/maker. His works take the form of dance, words, installations, videos, and interventions. He takes the quotidian as a starting point and uses physical, written, and visual devices to generate changes of perspective. He plays on the edge between reality and fiction, and works to erase the border between them. The limit between his life and his pieces is less clear every day, which can be a bit confusing for him, maybe also for you.

I don't know Carmen (2021) Scan Gefördert durch die Akademie der Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen des Programms NEUSTART KULTUR.

Garden Guest Resident


Garden Guest Resident Maria Gamsjäger

p. 50


Maria Gamsjäger Austria

Maria Gamsjäger is an Austrian artist based in Berlin. On the basis of her work as a stage designer, she develops free projects that deal with site-specific themes. Silent stories are captured through mostly analogue art techniques.

herb garden The project „herb garden“ is an exploration of memory and lost knowledge through the body and the senses. A search for the skills that were not passed on. A wild herb garden is taking shape on the garden grounds of GlogauAIR. The gardening is accompanied by a physical and digital archive - a collection of ideas, objects, conversations and questions.

Chapter 2 PROCESS „The garden is a simple domestic drama, a document. No fiction. The smallest gestures.“ 16. August 1989 Derek Jarman Modern Nature

Bits and pieces (2021) Archive Cardboard cards

Catalogue's Cover Every three months GlogauAIR releases a new catalogue collecting the work and projects of the artists in residence. The catalogue in your hands not only showcases this term’s creations but also constitutes a reflection of this past term’s experiences. Our first catalogue edition was released in 2006, and it has changed a lot since then. Starting this year 2021 we are giving our resident artists the opportunity to present their work in the cover of the catalogue through an Open Call. Making this publication a canvas in which our artists in residence can intervene results in a more personal publication for every residency term. Participating in the cover of the catalogue also allows the artists to translate their work into a different medium. After carefully reviewing the proposals for this term, the jury formed by every team member of GlogauAIR selected the image submitted by Cristina Santos Muniesa, Spanish artist who has joined us in the residency for the past six months. Santos Muniesa’s practice, although rooted in painting, uses different mediums like photography or video work, to reflect around the meaning and contemporary uses of images. The image showcased in the cover is part of the piece “6 seconds of paint”, an installation that reflects on the reproducibility of the image in the digital era. By combining analogue and digital techniques, Santos Muniesa's working methodology consists in an almost production chain of images, however all of them unique. When doing so she makes us think about terms like “original piece”, which in her understanding would never apply to the video format. In her own words “A video exists because it generates its own copies every time it is played”: The essence of the video becomes infinite, but when selecting one single frame, altering its printing process and presenting it as a single image, Santos Muniesa gives the image its notion of uniqueness back.


It’s the viewer's task to question whether those terms still apply in our current society and social relationship towards the image. In the world of the re-post, the copy-paste and the endless scrolling, does it make sense to consider the “original” aspect of the images anymore?

Cristina Santos Muniesa© 6 seconds of paint (2021)

Memoria Artística Chema Alvargonzalez Founders Honorary President Studio Assistant

Columna Alvargonzález Ramos Pablo Alvargonzález Ramos Mª Pilar Ramos Angueira Mariona Benaiges Pecanins

+34 (93) 415 12 93 C/Martínez de la Rosa, 48 Bajos Barcelona 08012, Spain

GlogauAIR gGmbH Founders

Program Coordinator Program Coordinator Assistant Cultural Manager and Administration Program Curator Curator Advisor: on-line Program

Graphic, Media & Visual Communication Technical Support Internship Program


Chema Alvargonzalez Pablo Alvargonzález Ramos Columna Alvargonzález Mariona Benaiges Pecanins Anne Hübner Maria G. Latorre Laura Olea López

Beatrice Lezzi Sergei Kurek Lauryn McNamee Mynah Quéva

+ 49 (0) 30 61 222 75 Glogauer Str. 16 10999 Berlin, Germany