Glogauerstr16 Berlin 9 - 10 Dec 2016

G L O G A U A I RWe l c o m e t o

GlogauAIR is a non-profit organisation based in Berlin, founded by the Spanish artist Chema Al-vargonzález in 2006. It is a multidisciplinary platform of artistic exchange, cooperation and production that connects the local and the global art scene.

Here, artists from the most diverse contexts find a place to develop their projects in constant dialogue with the artistically dynamic city of Berlin, while in-tegrated in a dynamic fruitful multicultural environ-ment which potentiates knowledge, research and creativity.

In the Open Studios exhibition, happening every three months, the resident artists present projects they have been working on while residing in Glogau-AIR. During this occasion, the public has the oppor-tunity of exchanging ideas with the artists, visiting their working spaces as well as getting closer to their creation process and techniques.

Along with the Open Studios, GlogauAIR invites ex-ternal collaborators to present their works, projects and initiatives in the ground floor of the building.

The December 2016 edition presents the Pop Up Kino Videoart Festival, organized by Nati Grund, Ana Sanfrutos and Irene Cruz.

C l a rk Beaumon t

Car l o s F ranco

Br i t n i F rank l i n

P ra theek I r va thur

J i gnesh Pancha l

A l exandre Fé l i x & Max im i l i e n Pyée

Ben Re i l l y

M i r e i l l e R i po l l

Sam Ha t f i e l d & F i ona Ske l t on

Na ta l i a U rn í a

Jun Zhang

G logauA IR Res i dent Ar t i s t s

CLARK BEAUMONTAus t ra l i a

www.clarkbeaumont.com

Sarah Clark and Nicole Beaumont, are the Austra-lian artistic collaboration, Clark Beaumont. Using perfor-mance, video and installation, their practice explores ideas and constructs surrounding identity, interpersonal relationships, intimacy and female subjectivity.

Their collaboration focuses on their individual and inter-subjective experiences, using themselves as the subjects of their work and, their collaboration, as a proxy for re-lationships in general. Through performance and time-based media, the pair experiment with multiple feminine personas and characters to recreate and reflect on their individual and intersubjective experiences.

Their works often explore the intersection between per-formativity and authenticity, as well as the shifting dy-namic between performer and viewer.

During their residency, the artists are developing a new work, The ‘O’ Zone - a performance installation that undresses the issue of climate change, sort of.

Terms like ‘The Cloud’ alienate us from the complex structures (physical and socio-political) by which the in-ternet is supported and through which it is consumed by us, making it sound benign and ethereal, all the while it takes a heavy toll on the environment and on the hu-man laborers that participate in its production.

On the picture, the work titled FaceTime: Two fully func-tionally swings were hung facing each other. Above, the building’s architectural skeleton was exposed so as to make the user conscious of the structure that made their interaction possible.The title was taken from Apple’s video communication app for their iOS mobile operating system.

www.cfrancomaldonado.com

CARLOS FRANCOUn i t ed S ta te s

FaceTimeChains, exposed architectural inner workings, swings

Interactive installation, 2015

My work is an expression of the impacts of colonialism on individualized culture. This installation focusses more on the aspect of this concept that addresses the simi-larities between the structure of a contemporary society based around capitalism and the inherently imperial na-ture of colonialism.

Drawing the comparison between the forced cultural assimilation bestowed unto the indigenous at the hands of colonialists and the barriers that are created around us by the very nature of capitalist society. Through the use of photographic digital collage and the juxtaposi-tion of valued and devalued found objects, a visual nar-rative of the evolution from colonialism to capitalism and the complications that have been born from it, will be subtly revealed.

www.britnilucille.com

BR ITN I FRANKL IN Un i t ed S ta te s

I work with information & how we perceive it to shape our reality. Looking at the world through the lens of sci-ence & mathematics, I try to extract the layers of infor-mation that are present in tangible & intangible envi-ronments. Using this information, I attempt to construct experiences & objects that can bring to the fore, the unseen, within & outside the viewer.

Through my work, I try to raise questions about what we believe to be real and concrete and fundamental to our belief systems, by revealing information in systems that otherwise goes unseen or selectively ignored.

www.behance.net/pickledmonkeybrain

PRATHEEK IRVATHURI n d i a

TerraChemicals, glass, 2.5 x 2.5 cm, 2015

Having grown up in vernacular culture associates a trial of moving through and adopting from many con-trasting conditions. Practically, to end on sketchy guess-es that represent what’s pure vernacular, or wherever in between, is nearly absurd.

There is a as multifold fashion of substance as there are people. So I notch to linear dimensions, and the multiple approaches of witnessing an article/object, as an ac-tion to get above the surface of paraphernalia/things. to form an image of what was there. In this way, work is one and the other testimony and manipulation at the same generation. Making an image of an image of an im-age, the work I do ends up appearing in so many ways: real, not real, look-alike. When spectators recognize that there’s a distortion involved, they take a longer look than usual. The work I’m making represents my experiences.

J IGNESH PANCHALI n d i a

jigneshpanchal.tumblr.com

Art is life, nature is colors, movement is perpetual.

How about revealing all this reality together in real time !?

ALEXANDRE FÉL IX & MAX IM IL I EN PYÉEFrance

BEN RE ILLYI r e l and

www.benreilly.ie

Time is short and the water is rising.

Raymond Carver

BoneWax and pigment, dimensions variable.

Cobble (kopfsteinpflaster) stones and paper bags, cast in wax mixed with ground soot and ivory black dry pigment. Image by Alexandre Félix 2016.

This time my starting point is to work on subjects seen from that particular point of view: seen from below. I chose to work on neo classical sculptures built in the beginning of last century in Berlin, but also immaginary landscapes seen with this peculiarity: to be seen from below.

In this work I am initially making engravings on cupper, with carborundum and resines. These engraved plates will be printed at first. I like to play around with a single plate, each one give many different versions or series of it. Then the work sometimes becomes a photographic work. Playing in various ways with matrices just like with the disciplines (it is neither of the traditional engraving, nor the professional photography), my intention is to capture certain moment when, as in a mirage, the spec-tator sees something that is not in reality there, or which he guesses to be. To confuse the issue, as a matter of fact. And, by activating the imagination of the specta-tor, to make him an actor of this work.

MIRE ILLE R IPOLLSw i t zer l and

mireille-ripoll.ch

Aus t ra l i aSAM HATF IELD & F IONA SKELTON

manundlady.com

Sam Hatfield and Fiona Skelton have collaboratively practiced across a diverse range of mediums including video, performance, installation, illustration and music. The overarching premise of their practice is to use the un-expected and the absurd to provocatively deconstruct social and psychological paradigms.

If individual consciousness is merely a bundle of pro-cesses without any central point of synthesis, then joint consciousness may become not merely a possibility but a necessary outcome of any systematic collaborative process involving multiple selves who already qualify as conscious. A video series is being developed in which the progression of a sexual relationship is used as the narrative basis for artistically bringing into being a third “entity”.

The artists are also producing a work that uses absurdist imagery and spoken word to explore a sociological and economic delusion in relation to the co-opting of time, provoking reflection upon the global economic struc-tures that are intensifying inequality and dissatisfaction.

This project is made of two textile installations, in order to displace an architectural fragment from Chile to Ger-many and vice versa from Germany to Chile.The first is the textile installation in the permanent work-shop GlogauAIR, Berlin, of a construction representing the architectural walls of the NAC Gallery in Santiago, Chile. The second is the installation in the NAC Gallery, Santiago, Chile, of a construction representing the ar-chitectural construction of the walls of the permanent workshop GlogauAIR, Berlin. This textile construction will be transported from Berlin to Santiago in order to be mounted there.

The materials: the threads that make up the used clothes. The technique: draw out at hand threads who forms the weft (woof of cloth) from those used clothes. These threads give rise to the walls (parallelepiped) that divide the spaces. The sense of the work is then produced from the mean-ings which provides the same architectural space where the assembly is carried out, generating crosses between time / memory, past / present / future, where you were / where you are / where you will be, line / wall, pattern / plain, textile / space, clothing / architecture, the first and second skin that inhabits man to survive.

NATAL IA URN IACh i l e

www.instagram.com/nataliaurnia

Image by Marcela Urivi

What makes the space? The wall?The furniture? Maybe the distance between the things.The behavior comes from the distance.

I walk around Berlin and collect the abandoned materials on the street. I recombinate these pieces not only to create objects but also the space in between.

UntitledAbandoned windows, doors, chairs, stones, etc, 2016

JUN ZHANGCh i na

instagram.com/zjzjwindy

Humor has since long time been used by art, for in it art has found a natural grammar for questioning, challenging and subverting. From the comedies of ancient Greece, the European medieval satires, to the blunt Dada movement in the visual arts, humor has been an instrument used to put major issues into perspective.

By minimizing their importance, reducing them to their absurdist core, humor serves as a deconstruc-tion mechanism, as it creates a parallel world of multiple creative possibilities where everything is placed at the same level of (non-) importance. This by itself already creates a disruption in the highly hierarchical real world, challenging its established order.

Thus, however attractive, amusing and engaging, humorous art does not cease to be a less serious, valid path in pursuit of meanings, alternatives and ideals.

Aritsts’ TalkHumor is a serious matter

With Annelies Kamen, Sam Hatfield & Fiona Skelton

The Cult of Love Pt IV: Desire Video (detail), 2016

LifePOP UP KINO

# 10

popupkinofest.tumblr.com

VIDEOART FESTIVAL

Curated by Nati Grund

Invited Artists Joas Nebe

Irene Cruz & Juan Yuste 451 Productions

Rubén González

SEL(FISH)Opening Live Installation

Sara FerrerMatthieu Ranc

Irene CruzCurated by

Ana Corpas & Ana Márquez

In BlueIrene Cruz & Juan Yuste, still Image

About Pop Up Kino

Pop Up Kino is a international video art festival based in Berlin. The first edition was on May 2014. The aim of the project is to enhance the visibility of video art in the con-text of the artistic scene of Berlin and to give an opportu-nity to international artists to show their video creations. Our purpose is to show video art, to give it a space, to start a dialogue, to share, to promote... ultimately to let people know and get in touch with this medium.

Since September 2014 we celebrate the festival simulta-neously in different spaces in different countries, so far La Neomudejar & La Casa Encendida (Madrid), Espacio Dinamo & Kino Palais (Buenos Aires), The American Uni-versity of Paris, Octubre Centre de Cultura Contemporà-nia (Valencia), Project Art Space & The Annex (NYC) have participated.

Team

Nati GrundAna SanfrutosIrene Cruz

Pop Up Kino #10

Opening Live Installation

popupkinofest.tumblr.com

SELF(fish) is the symbiotic outcome of the three art pieces created by Sara Ferrer, Irene Cruz and Matthieu Ranc. This kind of oniric exploration invites us to do a re-flection on the unconscious state of the society.During the sleep, humans go through an unconscious phase, which leads to a state of absolute vulnerability, when everything around us fades into the background. In this stage, we are not even able to react to external stimulus.In this ingenious installation, a symbiotic complementar-ity can be seen between the three disciplines. Sara Ferrer express this idea through the allusion to fishes, with the intention of returning to the origin of species, to that pe-riod when all animals were aquatic organisms. Irene Cruz wants to take us through video art to a non-palpable lyrical world tinted in a bluish, dim and transcendental light, aiming to reconnect us with nature and therefore our origins. Last but not least, Matthieu Ranc will guide us to a moment of trance with his live music performance by using synthetic sounds and creating loops, destroying with this all organic basis.

Ana Márquez & Anna Corpas

My work, mainly installations, sculptures and photog-raphy - focus on questioning the origins of our behaviour and the consequences, in a constant search for new methaphorical, poetic and critical ways of reflect. I often work, with materials and objects which carry themselves their own symbolism, keeping the memory of its main functionality but, transforming it and reinventing it.

The work The Shark is upside down, is a composition of three life size caribbean sharks, made with galvanic metal, in a state of tonic immobility position. The shark doesn’t play dead voluntarily. This is induced, unexpectedly, by other predators, who know their weakness, in order to attack them easily and without defense. Even though, its power and its strength is re-duced to zero, this state is only temporary.

It is an invitation to think about our own vulnerability in society.

SARA FERRERsaraferrer.com

Opening Live InstallationOpening Live Installation

I RENE CRUZirenecruz.com

My Artwork is about mystery, privacy, integration with the landscape … I work away from customisation to rep-resent universal emotions and feelings

Another distinguishing feature is the light, a light of sun-set, a cold light …that’s ‘my light’, I always feel very big attraction that light dim and intimate, subdued, serene, enveloping the stage. Rarely I show faces in my photos.

Although I think the main key is what means the word ‘liminal’ (referring to a position of an initial stage of a pro-cess, or be on both sides of a boundary or threshold). I mean, are between day and night, between the tran-quility and restlessness. Is not a limit. It is a road, a bridge.

Nature is everything.

I like to see what I am playing as being slow, attached to little details. My music is inspired by calm and self-awareness.

Always improvised, it is for me an on-going process, a never-ending loop: the resulting music influencing the rest of what is to come.

It is a journey whose end I can not predict, a moment in the day where everything stops. It is a call to dive deep into our minds, and think on how we ended up here, atthis precise point in time.

MATTH IEU RANC3daysaweek.bandcamp.com

Opening Live Installation Invited Artists

It’s a never-ending game of disintegration. I challenge the viewer by not living up to his or her expectations. I am denying the satisfaction of solving the riddle, hidden within the depth of my artwork 1. By turning his filmic cabinet of curiosity into an intriguing jigsaw puzzle of hybrid geometric patterns, Joas Nebe teases the viewer into accessing his game. He believes: Riddle games of this kind spark creativity and pass on the role of the artist to the viewer 1.

1 Gaming Into Mindfulness, Rebecca Schoensee, Humanize Magazine issue 11, p. 20-31

JOAS NEBEwww.jsnebe.de

JUAN YUSTEjuanyuste.com

My inspiration comes from what surrounds me, my fragmented life, those I love and those who love me and all the colors in the sky. That impulse that makes me want to save through all these artistic disciplines what the pass-ing of time takes away from me. My personal battle with oblivion and the ghosts of my past.

I try people to participate in my art using close language but with difficult access, that require some sort of effort that will make the viewer feels a participant rather than a passive being. What I’m trying to say is not important, what matters is what they think I’m saying.

For me it’s just a need.

Born in Genoa in 1976, he started to study classical gui-tar when he was 7 years old. Bachelor in jazz guitar at the Conservatory Niccolò Paganini of Genoa. He studied with Pietro Leveratto, MarcoTindiglia, Pietro Condorelli, Mario Raja, Garrison Fewell, Alessio Menconi.

Along with concerts and didactic activity he compose musics for theatre (with Mani Ambulanti, actors from Genoa’s Teatro Stabile, Teatro del Piccione, Teatro Ovunque), contemporary dance (Ubi Danza, ONCE, Guendalina di Marco, Aline Nari, Francesca Stampone, Marta Kosieradzka, Joana Castro, Elisa Spagone), read-ings, short films, post-scorings and Internet web-sites.

ADR IANO FONTANAadrianofontana.com

Invited ArtistsInvited Artists

451 PRODUCT IONS451prods.com

451 Prods is a film company specialized in documen-taries, fiction and art videos located in Spain and Switzer-land. It owes its name to the film Fahrenheit 451 and it is lead by Jonathan Bellés and Beatrice Heredia. Since the creation of its brand in 2009, until now it has evoked its own universe through images.

The 451 team created in 2010 a documentary film about the belgian painter Magritte titled René Magritte: drôle de bonhomme. Recently, the produced G: The Nuclear Threat, a documentary film about the origins of the Jap-anese monster Godzilla.

Furthermore, they produced some video dance and art video projects such as L’ennéagramme (2011) winner of Nacional Valencia Crea award and Ateneo (2016), an art video filmed during a residency at GlogauAIR.

Rubén González Escudero work comes from a particu-lar view of the world and its context, that he sees as an affecting cultural construction of our perception.

His interest lies primarily in the subject and his environ-ment, which he considers not only on a physical level, but also in tis broader meaning. In his artistic process, he begins with the observation and exploration of his sur-roundings, to later analyze them by photos, paintings, drawings or video. This is followed by the deconstruction, contextualization, alienation and abstraction of the re-sults.

Ultimately, reality is reconstructed in a new order again, gathered up or associated in an alternative way. The re-sult of this process brings up the question of how uncon-ditional conventions affect our reality.

rubengonzalezescudero.comRUBÉN GONZÁLEZ

Invited ArtistsInvited Artists

PROGRAM

Friday, December 9th // 19:00 - 24:00

20:00 // Sel(fish)Popup Kino // Opening Live Installation

21:00 // The ‘O’ ZoneClark Beaumont // Performance

21:30 // Sel(fish)Popup Kino // Opening Live Installation

Saturday, December 10th // 16:00 - 22:00

16:30 // Humour is a serious matter // Artist TalkAnnelies Kamen, Sam Hatfield & Fiona Skelton

18:00 // The ‘O’ ZoneClark Beaumont // Performance

18:30 - 22:00 // Pop Up Kino Open CallScreening + Presentation

GlogauAIR Artist in Residence Program

Glogauer Str. 1610999 Berlin

+49 (0)30 61 222 75

glogauair.netwww.facebook.com/glogauair/

info@glogauair.net

Art Direction: Sergio FrutosDesign: Sara Valcárcel, Darena Georgieva

Project Coordination: Helena OliveiraTechnical Support: Juan Carlos Rosa Casasola

Project Assistants: Darena Georgieva, Sara Valcárcel, Nora Vivanco

glogauair.net