Catalogue Open Studios // December 2022

October - December 2022

INDEX

The Journey GlogauAIR Open Studios

Resident Artists

Alicia Savage Amy Evans Carlos Asensio Carrie Stubbs Daria Veshtak Dongyan Chen Ella Sinskey Emma Sarpaniemi

Gonzalo Javier Morales Leiva

Julia Edith Rigby Laura Mirarchi Mason Weiss Matilda Marina Meghan Marie Malar Miranda Holmes Natsuki Oshiro Nicole Maloof Osamu Shikichi Suzi Garner Uma Halsted Berlin Guest Artist

Samuel Perez-Díaz Catalogue's cover

The Journey

Notes about Chema Alvargonzalez

The journey is a constant process of disconnection and reconnection. Along the route, Chema Alvargonzalez sees himself as an itinerant figure and it is during this experience of "spinning around the world" that Alvargonzalez establishes points for connection with his surroundings.

As part of this journey, in 2006 Chema Alvargonzalez (b. Jerez de la Frontera, 1960 - Berlin, 2009) founded GlogauAIR. After studying Fine Arts in Barcelona, Alvargonzalez continued his studies in HdK (Berlin) under the direction of Rebecca Horn, where he obtained a Master of Fine Arts and Multimedia. From that point on he worked and lived between Barcelona and Berlin.

Alvargonzalez experienced the exciting events surrounding the Fall of the Berlin Wall in 1989 and the period that followed it. During that time, he was part of Künstlerinitiative Tacheles and dedicated a lot of his time introducing incoming artists to the city of Berlin and its art scene, something that was formalized when he conceptualized GlogauAIR.

Alvargonzalez was a representative of the generation of artists whose artwork was highly influenced by globalization and technology. As a consequence, Chema’s pieces, as well as GlogauAIR, were conceived as transcending geographical boundaries.

After Alvargonzalez’s early death, his siblings Pablo and Columna took over Chema’s heritage, founding Memoria Artistica Chema Alvargonzalez in order to preserve Chema’s artwork and taking over the direction of GlogauAIR.

Memoria Artística Chema Alvargonzalez Copyright © All rights reserved 2022

GlogauAIR

The space and the program

GlogauAIR today is a non-profit art space and residency, located in a beautiful, modernist-style building that was originally designed to be a school. The building was one of the first projects erected by architect Ludwig Hoffmann in 1896, during his time as the Building Advisor of Berlin.

Focused on the principles of exploring, creating, and exhibiting, the residency offers an on-site and on-line program for international artists of all fields.

Artists in GlogauAIR’s on-site Residency Program live and work in one of thirteen studios. They receive curatorial and technical support, as well as a diverse program that aims to help them in their professional careers; encouraging not only the development of the artist’s work but also the opportunity to share ideas and opinions with the other artists living in the building.

Through the on-line Program, the artist has the opportunity to receive curatorial support, regular group meetings, talks by experts, and workshops, from their homes or personal studios located anywhere in the world. This on-line program was set up as a result of the challenges faced in 2020. Far from letting this stop us, we expanded our program to make it available for artists who can’t join us physically in Berlin.

Above all, GlogauAIR continues the project created by Alvargonzalez, built on openness, receptivity to new ideas, and support of local and international contemporary art practices.

Open Studios

Autumn 2022

GlogauAIR’s Open Studios invites the public to witness the result of three months of intensive research and production by the artists taking part in GlogauAIR’s residency program on site in Berlin and online throughout the world. These artists join GlogauAIR to dedicate themselves to the creation of new work and to explore new processes together with an international cohort of artists.

While each of the artists prepare and produce an individual project, it is also possible to observe topics and themes that overlap among the artworks. Topics such as intimacy, belonging and self-reflection continue to be important themes. For many onsite artists, Berlin itself becomes the nexus of their work, from the found objects incorporated into new creations or the discovery of Berlin’s secret histories. Being able to observe these coincidences and influences is one of the most exciting aspects of the open studios, which offers the chance to see all-new artworks presented to the public for the very first time.

The entrance level of GlogauAIR is dedicated to exhibition proposals and local initiatives. During this term, the Project Space on the ground floor has been the studio and laboratory space of Samuel Perea-Díaz. He is a Spanish sound artist based in Berlin that has been invited to become GlogauAIR’s Berlin Guest Artist by La Memoria Chema Alvargonzalez.

Open Studios is the culmination of a program of activities in different formats such as curatorial visits, tours within the city of Berlin, talks and workshops that have provided resources, inspiration, and understanding to enhance their artistic work and create a platform for their career. This time and as always, GlogauAIR keeps finding opportunities to develop, exchange and invite conversation on contemporary art and multidisciplinary culture.

Open Studios // September 2022 Noah Gokul

Picture by Beatrice Lezzi

© GlogauAIR gGmbH 2022 All rights reserved to GlogauAIR gGmbH

14

Alicia Savage (USA) Amy Evans (AU) 16 Carlos Asensio (ES) 18

Carrie Stubbs (USA, CH) 20 Dongyan Chen (SG) 24

Ella Sinskey (USA) 26 Emma Sarpaniemi (FI) 28

Gonzalo Javier Morales Leiva (CL) 30 Julia Edith Rigby (USA) 32

22 Daria Veshtak (UA) 34 Laura Mirarchi (IT) 36 Mason Weiss (USA)

Meghan Marie Malar (FR, UK)

38 Miranda Holmes (USA)

40 Natsuki Oshiro (JP)

Osamu Shikichi (JP) Suzi Garner (USA) Uma Halsted (USA)

44

42 Nicole Maloof (USA)

46 48 50

Matilda Marina (UA) 52

Alicia Savage

United States of America www.aliciasavage.com

Alicia Savage is an interdisciplinary artist based in New Hampshire. Her practice incorporates photography, performance, installation, and poetry.

Reflecting on questions she holds as an only child contemplating single parenthood, her work explores the sacrifice and responsibility of care; and social constructions of adulthood.

Through conceptual photography and self portraiture she bridges reflections of her female identity in dialog with her grandmother. Representational household materials and combining of prior works are used to interpret forms of inheritance and loss; in labor, identity, future, and memory.

This project is a work in progress. During the residency she wants to further develop her practice outside of self portraiture and to incorporate research that restructures possibilities of care into new work. Untitled (2020) Photograph

Amy Evans

Australia

www.amyevans.com.au

Amy Evans is an Australian multidisciplinary artist and architect currently based in Berlin.

Sitting at the intersection between architecture and art, her research-based arts practice examines the city through sculpture, painting, installation, architecture, teaching, and curation. Her art practice heavily influences the way she creates spatial experiences in her architecture and installation work, and vice versa.

Amy is fascinated by the formation of cities and their impact on the individual lives within. Her ongoing project ‘The City Shaped’ travels to a series of cities to examine the political, social, and economic factors which have contributed to their physical shaping. Through a series of drawings and paintings, her research catalogues, extracts, and distils information about the city to better understand the relationship between the urban fabric and its people. These catalogues and extractions are then abstracted through sculpture and installation art to create new ways of looking at and understanding the city.

During her time at GlogauAIR, her research and resulting project have explored the shaping of Berlin’s urban fabric, tracing significant events over the past century.

(2022) Installation

Carlos Asensio

Spain

www.carlos-asensio.blogspot.com

Carlos Asensio is a Spanish painter based in Castellón who is interested in mixed media to explore all the expressive possibilities offered by mixing paint with digital image transfer techniques.

This body of work is a continuation of his series “Glitch Houses”, which generates a link between the anomaly that appears in the image, with the malfunctioning of the system that poorly manages some aspect of society.

In this case, he examines the degradation of nature over the last seventy years. For this he uses the diptych format that presents, on the one hand, three original photographs from the fifties, taken by his relatives and which are part of his personal archive. Next to each painting, he includes an interpretation of each image that has been digitally manipulated with the aim of creating a vision of the current state of those landscapes that are in a worse condition today.

During the second part of his residency, for the first time, he has adapted one of his paintings as a print edition. The technique used is a mixture of risography and silkscreen, in an attempt to experiment with its expressive possibilities.

Mont-Blanc. Glitch (2022) Mixed media on linen 50 x 40 cm

Carrie Stubbs

United States of America • Switzerland www.carriestubbs.com

Carrie Stubbs is an American installation artist and painter living in Zürich, Switzerland. Her work is concerned with the ideas of how light and color change our perception of space. It also questions the sanctity of pure, reduced beauty.

During her residency, Carrie will be exploring the connection between cast light, drawn lines of light and planes of color. Both painted works and sculptures will examine the connections of how our understanding of light and color is affected by temperature and their surroundings. She has developed two new projects during her residency. ‘Ellipse in balance’ is an installation that explores the balance of forms as well as color variations and gradients created through colored light. It is an installation of precariously stacked oval-shaped wooden pieces, containing lights.

The second project, ‘The topography of color’, is a series of paintings on milled wood surfaces. Through the triangular 3-D forms, Stubbs explores how shapes and shadows disrupt the flat surfaces of color.

Stubbs continues with her long-term research exploring visual perception through her work in color painting and light installations.

Ellipse in balance (2022) Studio shot as sketch, wood and light Each element 45x 65 cm

Daria Veshtak

Ukraine

Daria Veshtak is a Kyiv-based artist, musician, composer and video maker.

In her practice, the artist combines the language of computer graphics with other forms of artistic expression, such as musical composition and the use of various audiovisual technologies.

Since 2016, she has been working under the stage name Sirakusy, performing in different cities of Ukraine and supporting initiatives that spread the culture and aesthetics of electronic music. Her musical research draws inspiration from the post-revolutionary electronic music scene in Kyiv. In her music she combines different genres such as (techno, idm, electro, industrial, d&b, trance...) with her melodic compositions.

During Open Studios she will create an audiovisual installation, working together with her creative partner Matilda Marina.

GlogauAIR collaborates with the Goethe-Institut's matching platform for cultural professionals in cooperation with the international NGO Artists at Risk is part of a comprehensive package of measures for which the Federal Foreign Office is providing funds from the 2022 supplementary budget to mitigate the consequences of the Russian war of aggression against Ukraine.

Dance of Destruction (2022) Animation video

Dongyan Chen

Singapore

www.dongyanchen.com

Dongyan Chen is a multidisciplinary artist currently based in Singapore. Her practice is primarily based are in video and installation, and also consist of various media such as drawing, writing, sculptures, and photography. Chen’s work presents a way of constructing fictional stories that concern different topics.

Chen was born in China and moved to Singapore with her family at 13 years old. She received a Bachelor of Fine Art (Hons) from Central Saint Martins, University of the Arts London in 2018. With her multicultural background, Chen’s works involves a lot of cultural differences and play with and between languages. Being bilingual, she often uses both Mandarin and English texts in her work to explore the relationship between languages and the human mind.

Recently, Chen has been focused more on the research of story-telling and different kinds of narrative structures. Her current work ‘FACTORY’ was inspired by Chinese Buddhism art and Western European art, which tries to explore the similarity and differences between these two, and reimagine a new story by using the elements from both Eastern and Western art. She took out the elements that appeared the most from traditional Buddhism art and European art, such as ‘hands’ and ‘eyes’, and interpreted them in a new imagination by using drawings and videos. Chen is looking for new ways to explore the relationship between ancient art and modern technologies.

FACTORY (2022)

Single-Channel Video Installation, 5:55min

Ella Sinskey

United States of America www.esinskey.com

Ella Sinskey is a multi-disciplinary artist focused on experiential and integrated works that seek to draw out the fantastical from everyday customs. She works with edible ingredients, film, drawing and textiles to create immersive experiences.

She hopes to create spaces and events that serve others in getting to know one another. The work itself may be the jumping off point, but a shared experience is the most important part.

Her practice follows a series of hazardous steps. Step one is to find an object or an idea of no particular use. Step two is to become obsessed with it. Step three is to profess love to the thing with a dedicated art-work-making-frenzy. Step four is to lose steam and move on.

She is inspired by: anchovies, door frames, schematics, cookbooks, scallions, flour, iron, off whites, doomsday music, entropy, pushing, collision, orange, her mother, her father, the holy lord, slideshows, simits.

During her residency at GlogauAIR, she is cooking a large meal for the people of Berlin. This meal includes interactive objects (a tablecloth, plates, decor) and food (seasonal, foraged, theoretical). Hopefully, everyone will have a great time and all woes will be left at the door.

Broad Pallor (2019)

Emma Sarpaniemi

Finland

www.emmasarpaniemi.com

Emma Sarpaniemi is an artist and photographer based in Helsinki. In her practice, Sarpaniemi investigates definitions of femininity through performative self-portraits. The character is a playful and tender representation of a woman who behaves, looks and performs on her terms and rules. The world Sarpaniemi builds is blurred between her identity, reality, and fantasy.

The starting point for Sarpaniemi’s self-portraits is often an object or clothing she finds from a flea market from which she starts to construct the image. Sarpaniemi is interested in using objects from daily life in an unpredictable way to create a contradiction in the photograph. The idea is to merge the familiar element in a context that it’s not intended to use.

Self-portraiture is a playground for Sarpaniemi, where the artist’s aim is to question certain patriarchal ideals of a female and to celebrate femininity without the boundaries defined by others. Through play, she can see possibilities for new ways of being and being affected.

Collaboration plays an important part in her practice. Sarpaniemi is exploring intimacy and companionship through self-portraits she creates together with her close group of friends. The outcome of Sarpaniemi’s work either photographed individually or in a collaboration with her friends is an outcome of a playful and modern yet timeless portrayal of womanhood.

Self-portrait Wearing Red Socks (2022) Analog photography

Gonzalo Javier Morales Leiva

Chile

www.gonzalomoralesleiva.com

Gonzalo Javier Morales Leiva is a visual artist from south-central Chile, Latin America.

Morales Leiva bases his work on photography and from this medium he expands his artistic experience to other disciplines such as drawing, performance and sculpture.

His artistic practice begins as a methodology of escape from past traumatic experiences, where getting lost with his camera in the city has been his way of dealing with questions such as the fragility of the body, memory, and the transcendence of the human being. In this way he has been creating an analogical photographic archive, where it is possible to identify his interest in simple objects, ruins, lines and geometries where indices of violence and decadence can be glimpsed.

During his residency at GlogauAIR, Morales Leiva has been experimenting with using his own body as a performative medium. As a way of giving his body an expressive opportunity within his artistic work, he has been executing drawings created with his feet and hands. Working with materials such as charcoal and powdered graphite, he performs actions such as walking, rubbing or dancing on paper, stones and concrete, inside and outside his studio. Paying attention to his entire creative process, he records and photographs his actions, which result in small and large scale drawings.

There was a crackling sound (2022) Performative drawing, gaphite on paper 130 x 100 cm

Julia Edith Rigby

United States of America

www.juliaedithrigby.com

Julia Edith Rigby is a multi-disciplinary artist from California who thinks about climate change, ephemera, environmental relationships and acoustic ecology. She works with found materials and found sites to explore sensory perception, sound and sense of place. Her sound sculptures and experimental compositions question ways of collaborating and co-creating with non-humans and natural processes. She builds interactive, site-responsive installations that situate the viewer as performer. She engages with the landscape to research entangled relationships between people and the spaces we occupy.

She is curious about the ways that site-specific installations can yield sitespecific sonic compositions, how immersing ourselves in our immediate ecological soundscapes can expand our capacity for ecological thinking and global thinking. How can sensory experience shape thought and feeling, especially regarding abstract concepts like ecosystem health and climate change? How might the emotive effects of sound influence our perception of space and phenomena? Could an ability to hear climate change — to physically hear and feel it in our bodies — catalyze new ways of thinking about the phenomenon, locally and globally?

Staircase Sea Cave (2022)

Laura Mirarchi

Italy

@mirarchi.laura

Laura Mirarchi is a visual artist based in Italy. Her research explores the individual and questions of identity, political, as well cultural differences in our fragmented and contradictory society.

To present her concept in a visual form she makes use of different media such as painting, drawing, and printmaking. More recently, she has approached the installation by working with hybrid materials to create sculptural elements.

Treating the figure as a motif of flowing forms, the purpose is to invite the viewer to question what they see and experience in this space that opens up different perspectives and meanings. In a time when we are overwhelmed by an abuse of images and consumption, how can we preserve our personal integrity?

During her time at GlogauAIR, Mirarchi is exploring such questions through photography and video, finding a tension between the need to be constantly connected and the feeling of loss and loneliness that comes from the inability to balance those poles.

She’s using some materials, such as cellophane, as a filter to overlay the images as a way to transmit this feeling of struggle to find a real connection and the contrast between what is visible and what is not.

Say it low (2022) Photography

Mason Weiss

United States of America www.mweissart.com

Mason Weiss is an artist from Los Angeles who stitches together autobiographical sculptures primarily out of beads and textiles combining the figure, self-portraiture, and wearables.

Weiss’s practice acts as an ongoing diary where each sculpture is an entry exploring his relationship to being queer as a transmasculine person. Using materials and techniques traditionally associated with “women’s work,” he amends his history with womanhood and alleviates the tension between his body, psyche, and desires.

For Weiss, the method of “freestyle stitching” is a resistance to the use of patterns, which frees him from adhering to a formulaic approach in his work. This technique directly correlates to queerness; by defying predetermined societal expectations, he liberates himself by redefining and reconciling his relationship with gender.

"Too Faced" is Weiss’s series of masks that investigates gender performativity by contemplating the coexistence of the feminine and masculine in nature. Guided by conversations with the Berlin LGBTQ+ community, he selects animals and insects associated with gendered attributes and unifies these qualities to create wearable hybridized creatures.

Bare (2016)

Polymer clay, faux fur, fabric, paint, wood, steel and sand 65 x 30 x 25 cm

Matilda Marina

Ukraine

Matilda Marina is an artist and director-producer.

Previously she was a dancer and mime, before she realised a desire to embody her ideas from zero to full-scale multidisciplinary shows. In 2017 she founded “33 Hypnotheatre & Technocircus” an artistic company that works with modern performing arts, experimenting and combining them with original, mainly electronic music, media art, film, design and visual arts, aiming to achieve a synthesis of various fruits of creative thought.

Themes that have always appeared in her creations are connected with a fantasy world, the subconscious, dark fairy tales, and dreams. In the period of 2018- 2021, she focused on research about interconnections, cosmos exploration and preparing a project called Autopoiesis. During this time she started to shoot experimental films, bringing performances to video.

Currently, Matilda continues her search for new scenes and artistic forms by processing the clashing of realities. For Open Studios she will create an audiovisual installation, together with her creative partner Daria Veshtak.

GlogauAIR collaborates with the Goethe-Institut's matching platform for cultural professionals in cooperation with the international NGO Artists at Risk is part of a comprehensive package of measures for which the Federal Foreign Office is providing funds from the 2022 supplementary budget to mitigate the consequences of the Russian war of aggression against Ukraine.

Princess Looking into the Void (2022) Mixed media Dimensions variable

Meghan Marie Malar

France • United Kingdom

Meghan Marie Malar’s art practice is deeply informed by her sojourn in a Californian Zen monastery following her disillusionment with the machinery of Hollywood, where she trained as a filmmaker. Her artworks, bearing the mark of this influence, are sites of restraint and intense curation. Marie Malar strives to condense lived experience into simple form, guided by the thought of creating artistic objects that feel like stones gently chiseled by water.

Her time in the residency has welcomed a turn toward materiality in her work. Drawing on the Catholic imagination, she began making objects from natural and domestic materials, proposing a feminine vision of the divine that grows from the earth and within quotidian contexts. Her sculpture "A Heavenly Body Appears", for instance, imagines a saintly form descending onto earth and melding with the landscape. With these pieces, she loosens the strictures of traditional Catholicism, incorporating fairytale imagery and childhood impressions of life in the French countryside, to form work imparting a personal relationship with the divine.

Despite a turn toward material, the moving image is her emotional centre. Her series of videos, titled "Gesturals", are conceived as visual poems, light as air. Life is breathed into her self-made divine objects as they become centrepieces in trance-like moving images that play with magical occurrences and ritualistic gestures.

A Heavenly Body Appears (2022) Plywood, canvas frame, acrylic 140 x 140 cm

Miranda Holmes

United States of America

www.mirandaholmesart.com

Miranda Holmes is an artist currently living in Columbus, Ohio. Through drawing and painting, Holmes explores the ways in which people change, including how cultural environments shift our behaviors over time. In her paintings, past iterations of subjects and compositions remain visible alongside more opaque areas of the work. These residues of the work’s past shine through transparent layers as evidence of how the painting evolved.

Holmes sees her artistic practice as a way to observe how we move and are moved by those around us. In addition to drawing and painting, her project at GlogauAIR consisted of participating in free workshops around Berlin as well as offering her own collaborative drawing workshop.

Drawing from photos of everyday life, Holmes plays the line between representation and abstraction in her depictions of femme-presenting bodies. Often, her paintings show fragments of recognizable bodies, environments, and objects alongside areas of abstraction that play with color, line, and shape. Holmes’ multiple approaches to painting re-presents femme bodies as holders of experiences and memories, textured and inflected by the space and people around them. Her work observes what shapes subdue or strengthen over time and provokes questions of what could have been otherwise.

Third Leg (2022) Oil and acrylic on canvas 177 x 152 cm

Natsuki Oshiro

Japan

www.oshironatsuki.com

Natsuki Oshiro is a multidisciplinary painter from Japan. As a way of extending the visual experience in painting, she employs repetitive patterns, in which the space continues to expand on a flat plane.Then she combines these with abstract images, as a way of expanding the visual experience by exploring the relationship between two or more works.

Her work focuses on poems and traditional gardens as a way to replace social symbols with literary perspectives. For example, a poetic description of the same moon can contain several meanings in various cultures or time periods. Through the reading of poetry from different periods, she believes that historical literary perspectives can provide a window to make the monotony of the urban landscape a richer experience.

In her work, she first creates a pattern for a subject. Then, she abstracts the subject with her pattern as a three dimensional installation that is an actual work or could be just a drawing. This installation is then transformed into a painting. The figure changes little by little. One work contains another. Through this complex process, the subject of her works continue to be formalized as symbols. This system is inspired by the style of traditional Japanese gardens. She believes in the imaginative possibilities of pared-down expression.

During the GlogauAIR residency, she has been researching the Sans Souci Palace in Potsdam, which King Frederick II of Prussia built in 1747. The palace’s design fully reflects Friedrich’s literary perspectives, which is what she wants to convey through her art.

The moon was tilted No.2 (2022) Acrylic on wood and wood panel 20.5 x 15.5 x 3.8 cm

Photo by Koichi Nishiyama

Nicole Maloof

United States of America www.nicolemaloof-art.com

Nicole Maloof is a Rhode Island-based artist and a recent graduate from American University with an MFA in Studio Art. Her art practice engages themes surrounding the abject body, seduction, and perception.

Maloof is materially driven; using conventional art materials including plaster, resin and acrylic paint, in combination with used medical supplies, hard candy and Jell-O she explores the way manipulation can alter the read of an object.

Diagnosed with Type 1 Diabetes at a young age, Maloof uses a medical device called the Autosoft 90 Infusion Set to help supply her body with the daily amounts of insulin it needs. She employs her used infusion sets in order to create thousands of molds, bringing awareness to her dependency on this object. The molds Maloof creates are visually sleek, however bodily in nature.

In her current project with GlogauAIR, flesh and blood colored acrylic paint create the illusion of open wounds obscuring the Autosoft 90 molds. Maloof creates sculptures that are both intriguing and repulsive, seductive and disgusting, questioning our own role in what we find alarming and captivating.

I can't give you diabetes (2022) Plaster, acrylic paint and yarn on wood panel 30.5 x 30.5 cm

Osamu Shikichi

Japan

www.linktr.ee/osamu_shikichi

Osamu Shikichi is a Japanese artist working on dance and performance art as well as organising a collective platform for making performances, called Hyper Ambient Club.

They would like to invite the audience to a specific time and space to examine our body, which we treat as our own, as something temporarily unfamiliar, weird and a bit new. It could be a poetic transformation of the images sticking to the human body which we treat as something special. Recently, Shikichi has been working on how to make bodies anonymous and share and hack some parts of human body with other people as royalty-free materials.This process has been inspired by visualization ASMR (autonomous sensory meridian response) with body movements and the concept of the “unisex”.

Remembering shared physical memories of choreographic movements evoking weird sensations such as obtaining a vaccination, Shikichi is interested in hacking and transplanting each other's body parts. Through this process, we share our own bodily accounts with others and subscribe together, the same way one might share a Netflix account. Then they recycle the parts of the body that have become free materials left out of our consciousness . In this series of practice, they will research the idea of a“unisex” human body by wearing other people's bodies and singular (or weird) time as one might wear someone else’s clothes.

Currently they are also doing urban research performance, burning the boundaries between public and private through fire graffiti.

Angel circles #6 / fire graffiti (2022) Performance

Suzi Garner

United States of America www.suzigarner.com

Suzi Garner collaborates with individuals, communities and the environment to create situations and processes which result in video and installation. Through a process of listening and bearing witness she finds inspiration in relationships, both human and non-human, and how they generate small rituals of resilience which are often invisible within the human and natural environment. She explores ways to amplify and engage with these rituals through art making.

Recent projects include interactive map making, shadow theater and video projections in collaboration with residents of a homeless camp along the 1-580 freeway in California. This project aimed at documenting and regsitering the individual experiences, cultural heritage and artistic work created at this site prior to the community's eviction.

At GlogauAIR Suzi is further developing a ritual of painting, scorching, and collage using her breast milk. She is investigating the relationships between her own natural processes as a mother and artist and rituals of resilience found in knobcone pine and Douglas fir trees which survived a forest fire in the Robert Louis Stevenson State Forest, California.

Untitled (2022)

Charred Douglas fir and knobcone pine cones and scorched breast milk on paper 152 cm

Uma Halsted

United States of America www.umashalsted.com

Uma Halsted works with discards: the remains of the painting process, the remains of the canvas itself. Halsted animates canvas, paint, and wood into bodies and little creatures, exploring different materials and mediums as various ways of documenting her process. Her work’s creation is as important as the final product itself , evoking performance-art through traces of touch.

Halsted’s paintings and sculptures transcend the frame, moulding themselves into organic, bulbous forms. They expose their own insides and become waste receptacles of discarded pigment, transmitting water like a membrane in osmosis. What is exhibited is the imprint of transmitted paint from one canvas to another, from one side to the other, the trace of what has been painted in the past and grows into a form in the present. Like water and the body, Halsted’s works are unfixed and constantly morphing beyond formal interpretation. They each act as documents of a process that has formerly occurred, bearing the memory of material and touch.

Halsted is fascinated by rhythmic routines and repetition and how mundane activities become ritualistic and spiritual. When putting the body to habitual work, the mind quiets down. Her works are often the product of such repetitive, bodily action, and they thus exist somewhere between the mundane, grotesque, and sublime.

Water Stains #7 (2022)

Water-based pigment on raw and primed canvas 274 x 182 cm

Berlin Guest Artist

Samuel Perea-Díaz Spain 56

PROJECT SPACE

Samuel Perea-Díaz

Spain www.perea-diaz.es

Samuel Perea-Díaz is a Spanish sound artist based in Berlin. Samuel holds a degree in Architecture from the University of Sevilla and a MA in Sound Studies and Sonic Arts from the Berlin University of the Arts.

Perea-Díaz’s art installations explore spaces of mixed realities while focusing on sound. Their artwork blends and moves between time-based media, creating installations and sound-focused objects, which engage with field recording, relocation of sound, sonification, and Virtual Reality.

The artist stretches the senses of the ordinary by practicing listening walks and producing immersive sonic spaces inside and outside the gallery space. The project at GlogauAIR engages with re-exhibiting different sonic events in a sound installation as the result of an artistic research on architecture and sound. Perea-Díaz’s residency begins first with an analytical approach to the space by listening to the building and environment of GlogauAIR. It concludes with the realization of a sound installation, which presents sound-in-objects and field recordings in a multi-channel set-up.

Samuel is interested in the possibilities of engaging, expanding, and mapping different geographies of sound. Perea-Díaz´s installation renders a particular acoustic scenography that creates space for reflection and perception of reality.

Untitled, Topoanalysis (2021) Sound Installation, SoundsAbout, Berlin 8-channel sound composition, glass bricks, 360 x 200 cm printed carpet, lacquered transducers, concrete mixed with 3D printed objects (dimensions variable) Duration 15´ in loop

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 in 2021, the catalogue cover is now decided by an open call to all of the participating artists, giving them the opportunity to present their work on the cover. 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 session, the jury selected the image submitted by Miranda Holmes, a US-American artist who joined us in the residency starting in October 2022. The image that was selected ultimately captures both something about the present moment and about the experience of the residency itself. Holmes expertly crafts an image that represents the collective spirit that the simple act of sharing a meal can create and the close ties that develop between the artists during the residency.

As the artist herself describes, in the painting, a table stretches from the foreground into the background. Cups, bowls, and a vase of flowers are scattered around the table and painted in varying degrees of solidity – their emerald shapes hover on the surface of the painting like ghosts. The use of transparent layers of paint allows these elements to merge with one another in a single image; rather than portray the passage of time linearly like in a film, this painting captures the scene of a table changing throughout the day in a single moment.

There is a flattening effect as time is compressed and the residency period is as short and intense as the colours in this painting are vibrant. GlogauAIR acts as a source of inspiration, interaction, production, and presentation.

Miranda Holmes © "The Table Over the Course of the Afternoon and Into the Evening", 2022

Official Contributors:

Memoria Artistica Chema Alvargonzalez

Institutional Partners: Spanish Embassy in Berlin Goethe Institut Artists at Risk

Collaborators: Kalma Lab BBA Gallery

Media Partners: GoOut Artconnect

Thanks to:

Preussen Quelle

Memoria Artística Chema Alvargonzalez

Founders

Columna Alvargonzález Ramos Pablo Alvargonzález Ramos

Honorary President Studio Manager Studio Assistant

Mª Pilar Ramos Angueira Mariona Benaiges Pecanins Linn Kuitunen

+34 (93) 415 12 93

C/Martínez de la Rosa, 48 Bajos Barcelona 08012, Spain www.chemaalvargonzalez.com

GlogauAIR gGmbH

Founders Director Program Coordinator Cultural Manager and Administration

On-site Program: Curator and Project Space Coordinator

Curator Advisor and Partnerships

On-line Program: Curator Advisor

Graphic, Media & Visual Communication

Chema Alvargonzalez Pablo Alvargonzález Ramos Columna Alvargonzález Mariona Benaiges Pecanins

Anne Hübner

Dr. Suzy Royal

Justin Ross

Laura Olea López

Beatrice Lezzi

Technical Support

Internship Program

Sergei Kurek

Savanna Fortgang

Sofia Bevione Ruby Whittaker

+ 49 (0) 30 61 222 75

Glogauer Str. 16 10999 Berlin, Germany www.glogauair.net

www.glogauair.net