10 Dec 2016 Welcome to GLOGAUAIR

Glogauerstr 16 Berlin 9 - 10 Dec 2016 Welcome to GLOGAUAIR 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 environment 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. GlogauAIR Resident Artists Clark Beaumont Carlos Franco Britni Franklin Pratheek Irvathur Jignesh Panchal Alexandre Félix & Maximilien Pyée Ben Reilly Mireille Ripoll Sam Hatfield & Fiona Skelton Natalia Urnía Jun Zhang CLARK BEAUMONT Australia www.clarkbeaumont.com Sarah Clark and Nicole Beaumont, are the Austra- lian artistic collaboration, Clark Beaumont. Using performance, video and installation, their practice explores ideas and constructs surrounding identity, interpersonal relationships, intimacy and female subjectivity. Their collaboration focuses on their individual and intersubjective experiences, using themselves as the subjects of their work and, their collaboration, as a proxy for relationships 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 dynamic 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. CARLOS FRANCO United States www.cfrancomaldonado.com 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. FaceTime Chains, exposed architectural inner workings, swings Interactive installation, 2015 BRITNI FRANKLIN United States www.britnilucille.com 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 nature 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 narrative of the evolution from colonialism to capitalism and the complications that have been born from it, will be subtly revealed. PRATHEEK IRVATHUR India www.behance.net/pickledmonkeybrain 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 information 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. Terra Chemicals, glass, 2.5 x 2.5 cm, 2015 JIGNESH PANCHAL India jigneshpanchal.tumblr.com Having grown up in vernacular culture associates a trial of moving through and adopting from many con- trasting conditions. Practically, to end on sketchy guesses 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 image, 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. ALEXANDRE FÉLIX & MAXIMILIEN PYÉE France Art is life, nature is colors, movement is perpetual. How about revealing all this reality together in real time !? BEN REILLY Ireland www.benreilly.ie Time is short and the water is rising. Raymond Carver Bone Wax 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. MIREILLE RIPOLL Switzerland mireille-ripoll.ch 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. SAM HATFIELD & FIONA SKELTON Australia 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 structures that are intensifying inequality and dissatisfaction. NATALIA URNIA Chile www.instagram.com/nataliaurnia 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 workshop 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 architectural 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. Image by Marcela Urivi What makes the space? JUN ZHANG The wall? China The furniture? Maybe the distance instagram.com/zjzjwindy 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. Untitled Abandoned windows, doors, chairs, stones, etc, 2016 Aritsts’ Talk Humor is a serious matter With Annelies Kamen, Sam Hatfield & Fiona Skelton Humor has since long time been used by art, for in it art has found a natural grammar for questioning, challenging and subverting.

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