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NEWS

Concert

Roger Mas

Irredemp
Institut Ramon Llull

30.03.2017
20:00 @ GlogauAIR

Using texts in which street slang and literary language merge with archaic speech, Roger Mas is able to create a special and spontaneous atmosphere with the support of the audience. Irredemp concert gets its inspiration from three sources: modern music, Mas' own tradition and traditional music from all over the world.

Roger Mas (Solsona, 1975) was born in a family of musics. During his early career as singer and composer he won the Premi de Catalunya Ràdio in 1996. Since then he has released 9 albums, for each of his projects he has obtained different distinctions and recognition from the critics and developed a honest songwriter personality. His work is marked by a great and clear creativity and shows why Roger Mas is one of the rising voices of the European songwriting scene.

The concert will take place at GlogauAIR, non profit organization that was founded in 2006 by the spanish artist Chema Alvargonzález, to create a meeting point for artists of different disciplines and encourage the collaboration between different artistic profiles and nationalities. With this aim regularly take place at GlogauAIR the Open Studios Exhibitions as well as other events like video and sound art, performance festivals and concerts. The residence is located in one of the Jugendstil buildings conceived as a school by the renowned architect Ludwig Hoffman in 1896.

A collaboration with the Government of Catalonia and the Institut Ramon Llull.


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open_studios



OPEN STUDIOS
GlogauAIR Resident Artists



THE SPRAWLS
Project Space Exhibition



24 - 25 March 2017
@ GlogauAIR


Facebook event

Facebook event

Download catalog here

Download press release here


OPEN STUDIOS
GlogauAIR Resident Artists

David Gonçalves // Tadasuke Jinno // Ewa Kubiak // Hyoyoun Lee // Roxanne Nesbitt // Maximilien Pyée // Alexandre Félix // Uzma Sultan // Laurent Trezegnies // Natalia Urnía // Ilyn Wong

The visitors will have the opportunity of enjoying the presence of the artists themselves, as well as having direct access to their latest and freshest creations, inspired by their personal and artistic experience of inhabiting the city.

The duo Maximilien Pyée and Alexandre Félix is currently exploring the potential of producing art collectively as a way to strengthen social bonds, while David Gonçalves reflects on what it means to be nomadic, by stripping out the excess and highlighting the beauty of the essential and of the practical. The artist Tadasuke Jinno has been leading an approach to visual art that challenges the viewer through the usage of mechanisms that create a discordance between reality and human’s sense of perception.

At the same time, Ewa Kubiak is working on testing the limits of communication of textual and visual messages, and the degree of misleading illusion that is created by means of intentionally created settings. The painter Uzma Sultan plunges into a social analysis of the cultures she is inserted in, at the same time that the also painter Hyoyoun Lee leads a deep but at the same time metaphysical quest for already faded and fragmented anonymous stories lost in time.

By using textiles as her main working material, Natalia Urnia imbues each thread contained in a fabric with meaningful connotations of memory, time and place of belonging – all that we hold close to us and that, in a way, dresses and shapes our core common human nature into a variety of specific identities. Also working with the intersection of intimate personal and collective narratives, Ilyn Wong sets off to explore the complexity of multiple stories and layers that exist within and around the main narratives, which, because the hidden personal stories are forgotten, tend to be often overly simplified.

Finally - although using two completely different approaches - the artists Laurent Trezegnies and Roxanne Nesbitt contribute to deconstruct our the sense of the “ordinary”, highlighting its peculiarities and hidden or forgotten potential. Laurent calls attention to the all-day-familiar type of places by creating installations using various industrial materials, thus investing that same space with a new meaning, or renovating that same place's sense of 'novelty'. Roxanne, on the other hand, by applying an intersection between music and architecture, is interested in the various soundscapes created by the pedestrian body in relation to different kinds of space.


THE SPRAWLS
Project Space Exhibition

Coven Berlin presents:

Kiona Hagen Niehaus // Angela Kaisers // Anaïs Senli // Blanca Gomila // María Amparo Gomar Vidal //
Ileana Pascalau // Lorena Juan And Boris Steinberg // Esther Nelke

Gender can create a sensory experience of tangible and virtual borders, as well as conscious and unconscious ones. These spatial and cultural frontiers are essential points of reference for our own identities. Our limited, and simultaneously real and ephemeral bodies can be stimulated in order to provoke an evolution on, and a transgression of, oppressive social codes.

In the frame of The Sprawls, our work will focus on queer strategies as political tools to rebel against gender constrictions and body policing. With an experimental and playful approach, we will explore and reclaim the concepts of gender, sex, and sexuality and establish new personal and social realities. We will also address the gendered borders of institutionalized knowledge in order to analyze the constructs that can manipulate our understanding of power.



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Friday, March 24th // 19:00 - 24:00

20:00 // Louise Trueheart // matter v matter - a foray // Performance

21:00 // Sura Hertzberg // Naked SURAnade // Naked Live Music Performance

22:00 // Vagittarius Rising // THE DECLARATION OF THE NATION OF VAG // Live Music Performance

23:00 // S&M // Moving // Live Music and Reactive Movement Performance


Saturday, March 25th // 16:00 - 24:00

16:00 // COVEN BERLIN // Collective Talk

17:00 // Madeleine White // See Somebody // 1-on-1 Performance

Harley Aussoleil // Pärchen // 1-on-1 Performance

19:00 // DREAMaTEAM // ALLE UNTER EINER DECKE – becoming activist // Intimate Collective Performance


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Call for Curatorial Proposals

Towards the West. Curated by Paulina Olszewska. Exhibition with students from Academy of Art in Szczecin, Poland. GlogauAIR, Berlin 2014.

Open Call

Call for Curatorial Proposals

We want to host your idea!

GlogauAIR is looking for a fresh, innovative, edgy project! Every three months, during the Open Studios events, we additionally host a two-day guest exhibition in our Project Space. This time, we want to host your idea.

GlogauAIR is based on the premises of openness, experimentation and dialogue. Being a non-profit organization permanently running an international Artist-in-Residence program, we are deeply committed to and focused on innovation and artistic quality.

With the current call we aim to support creative minds while simultaneously actively contributing to a lively exchange and spreading of experimental ideas and practices throughout the city of Berlin.

What we offer for free:

- Project Space (150 sqm.)
- Technical support
- Technical equipment
- Promotion (Website, Newsletter, Facebook, Instagram, Flyers and Poster)
- Featuring in Open Studios catalog
- Catering


Exhibition Dates // September 22nd to 23rd (Open Studios September 2017)
Deadline for Proposal Submissions // April 1st, 2017
The selected project will be announced on // May 1st, 2017




Eligibility:

- All sorts of artistic disciplines are accepted
- The curatorial project must include at least a minimum of three artists
- The current call is open to individual curators as well as to curatorial teams/organizations
- Curators and artists do not necessarily have to be Berlin-based


Required documentation:

- Title + Exhibition concept (max. 300 words in English)
- Artists' statement + link to artists’ webpage or portfolio
- List of selected works + Pictures or weblinks
- Technical requirements
- CV of the curator(s)/collective/organization

The information listed above must be sent to projectspace@glogauair.net in only one single document (pdf, rar or zip) that should not exceed 20 MB.

The enclosed document should be named as follows: exhibitionTitle_monthandyearoftheexhibition.pdf

Example: title_september2017.pdf


In case you have any questions or in case you are having trouble with the submission, do not hesitate in contacting us.




IMPORTANT NOTES:

Any eventual costs with extra materials and services aside from the original offer are entirely left to the curator’s responsibility.

In case the curator is planning on applying for funding, or has already obtained financial support for the project, it should be included as a note in the exhibition concept.

Some of the technical equipment featured on the list might also be used by GlogauAIR’s resident artists during the same Open Studios event. For this reason, the availability of all these items cannot be fully guaranteed.

The organization reserves the right to not select any of the proposals in case the jury considers that none of the submissions meets the necessary quality standards or requirements.

Drawing sessions

GLOGAUAKT

Every Monday 19:00-21:00

13.03.2017
19:00-21:00 @ GlogauAIR

GlogauAIRs weekly live model drawing sessions are back.

From 6th March on, GlogauAIR will host Glogauakt at the Project Space, live model drawing sessions open to everyone.

Fees: 5 €
Free for resident artists

SHOWCASE PROJECT

Ilyn Wong

An Archaeology of You

March 2017 @ GlogauAIR's showcase

More Showcase Projects

Interview

Meet the Artist

EEGB


MEET THE ARTIST is a series of short interviews given by GlogauAIRs resident artists. The aim is to provide the public with the opportunity of getting to know the artist behind the art as well as to get a glimpse of the creation process that can rarely be seen.

The research group EEGB is composed of Edmund Eva & George Baldwin. After learning the skills and craft of drawing by hand, they pushed the limits of the genre, programming and building mechanical tools to create imagery.

What kind of art do you do? How do you describe it?

Edmund Eva: We describe it as being on an intersection between drawing and technology. So it's Digital Art or New Media Art, but we definitely base everything on drawing.

How do you define your work? Is it New Media Art, Robotic Art,...?

Edmund: I think we change it on the context. Sometimes it's easier to tell people you are just a digital artist because saying New Media or something else is complicated. I wouldn't say we were completely just in one of those categories. I mean, "new media artist" doesn't sum up the aspect of drawing which is a consistent theme in our work. I don't know, we don't have to be in just one!

Why did you decide to work together?

Edmund Eva: Oh, it's fate (laughs).

George Baldwin: There were lots of reasons, I think. We were doing the same course at university, and we were living together.

Edmund: So, yeah. We can spend a lot of time with each other, without killing each other. But also, I think we were inspiring each other when we were on the drawing course to go off topic, off the topic of drawing in its pure form, and towards more digital techniques.

George: We had overlapping interests, so we worked together.

Edmund: So we just bounced ideas off each other for the last five years.


Can you describe briefly your artistic process?

George: It changes per project, I guess. But we usually set out with the intention of creating a drawing and then we use some sort of technology to record, diagram or map something. We've found interesting processes with that approach.

As a team, does each one of you have specific tasks?

George: Oh yes, so I usually do a lot of the programming and Ed would do hardware and technical drawing as well. So we sort of try to share ideas, always in discussion with each other.

Edmund: Yes, on the technology side, like the practicalities of the process, we split the tasks (programming and hardware) and artistically we discuss between us, so creatively we collaborate completely, sharing and compromising.

So you studied drawing, and how did you get the technology knowledge?

George: Self-taught, there is a lot of open sourced information and programs that we can use that are free. There are also big online communities that will help you out. So there's a lot of googling (searching), just seeing what's possible and learning along the way.

Edmund: A lot of mistakes. A lot of blowing stuff up accidentally (laughs).

George: But that's part of it.

What attracted you so much in A.I. that made you start focusing on that?

George: It is a big topic at the moment and it’s kind of a scary topic. It’s in a lot of science fiction and they're always predicting end of the world scenarios, I wanted to understand that a little bit more. When you find out what the inner workings are it becomes less scary. Robots are not going to take over the world in five or fifteen years.

Edmund: Yes, I guess we both read ‘Who Owns The Future’ by Jaron Lanier, who's a Silicon Valley technologist, programmer and designer. He laid out this idea of Artificial Intelligence being a fake, just human intelligence cycled back around.

George: Yes, sort of just simulated, and there's not any intelligence as we know it, like it can work out problems but they are very specific. So if you gave an artificial image recognition software something it hasn't learnt, like a different database, like a different image of something it’s never seen before, it won't know what it is and it can't work it out, unless you train it or change the code. And that's interesting.

Can you talk about the Gestalt project you have been developing in GlogauAIR?

Edmund: Yeah, this is related to Artificial Intelligence. So, I guess when we were writing the application we just remembered reading Lanier and getting particularly interested in the topic. We've done a project before in Belfast with these robots, and then we got more interested in behaviour, swarm behaviour. observing animals and then replicating that through coding, robotics and stuff.

George: So, the project now is to develop that and put in ‘Artificial Intelligence’ in some way making it more autonomous, make the robots more autonomous. Seeing when Artificial Intelligence has control, what happens in a drawing and how can it make decisions based on the behaviour of those robots. Essentially we have a feedback loop and the drawing will also develop as a performance over a few days.

Why focusing on behaviour? And why do you conceive it as a mathematical equation?

George: During uni, I got really interested in Complex Adaptive Systems, a field of science that can describe, with mathematics, things like bird behaviour when they flock or how ant societies work. So, their overarching idea is that you can get complexity from simple behaviours, if you just multiply them. I find their work fascinating, the way they see the world, and it means you can do interesting things and make the robots have anthropomorphic qualities... it's uncertain but exciting at the same time.

How do machines, and yours especially, help us to better understand human behaviour?

Edmund: Yeah, that's interesting. I think we are seeing Artificial Intelligence as just human intelligence reconstituted on a massive scale. We are distilling human behaviours down. We are taking one sort of creative process that a human may go through and trying to simulate it through programming and robotics. Attempting to make drawings in a similar way to what a Surrealist artist might have done. Make some marks and then look at what they can see in the marks, then accentuate those marks, and look again, and keep doing this. It’s a way of idea generation or a sort of system of creativity. So we are kind of replicating that process so we can make observations about humans making these robots, making these drawings.

George: We are looking at creativity. So we make the robots, or try to, make the robots creative, and ask is it them being creative or is it us making them creative?

How do you think Berlin has contributed to help you developing your work?

Edmund: Berlin seems to have a huge tech community. We went to this nice little barbecue where we met them all and I think we've never been in a city quite like that. It's nice meeting people interested in these subjects around technology and how they connect it to art.

So you find it inspirational?

George: Yeah, definitely.

Edmund: Within our sphere of practice there's a lot more people who we can collaborate with or just converse with, which is inspiring.

You are about to participate in GlogauAIR's Open Studios, where people will get to know your work. How does the public usually react to your creations?

George: It's a mix.

Edmund: Either they hate it and they are afraid of it.

George: They think we're cheating.

Edmund: I heard a guy saying "this is scary and we should stop", and was against it completely. And then, on the other hand, you have people who find it actually very beautiful. Especially the marks that the robots make, because then they are so pure and naive yet precise.I think it comes down to that idea of what we were talking about, how people see the future. Where is technology taking us? Is it a utopia or a dystopia? You get these real extremes of people who either completely distrust and hate technology or embrace it as the savior for the future. We are people in between.

George: I am a robot actually, Ed built me to help him make drawings.

Current Resident Artist Exhibition

Somewhere other than here

Hyoyoun Lee

09.03.2017 - 05.05.2017
@ Gat Rooms
Mauerstrasse 81/82 10117 Berlin

Hyoyoun Lee is born in 1973, Seoul, South Korea. She studied Fine Arts at Hongik University in Seoul and Printmaking at Royal Institute of Fine Arts in Stockholm, Sweden. Hyoyoun Lee currently lives and works in Seoul. Her works are collected by National Museum of Contemporary Art Korea, and Seoul City Museum.

Her works are stories about the times that she has passed along through her experiences and memories. Her works often depict people and modern cities and, possibly, around nature. In other times, the stories and visions come from the space in between objects and people, people and “scapes”. Hyoyoun will be exhibiting at Gat Point Charlie hotel from the 9th March until the 5th May.

In collaboration with Gat Rooms
More info in gatrooms.com/gat-cube


GlogauAIR Artists in Residence Program:

NEXT APPLICATION DEADLINE


April 25th, 2017

For the residencies starting in October 2017


July 25th, 2017

For the residencies starting in January 2018


Application



RECENT

Photo-Berlin 2016-2017

Photo Asbjornrod / VII Masterclass 2014

Workshop

Photo-Berlin 2016-2017

VII Masterclass 2016-2017

16.03.2017 - 19.03.2017
@ GlogauAIR

The VII Masterclass is an educational initiative which aims to sustain participants in the making of  long term projects, laying the foundations for their photojournalistic identities. After the 2014/2015 Milan event, Berlin will play host to the upcoming VII Masterclass, which will take place over a period of seven months. Among the photographers who attended the very first VII Masterclass, some have obtained international recognition, such as Carolina Arantes (Prix Fondation Lagardère) and Nadege Mazars (Magnum Foundation Grant 2016).

During the VII Masterclass, participants will have direct access to six teaching Masters over three scheduled sessions of four days each. They will also be supported and monitored by a Master of their choice through a monthly Skype call, in order to evaluate progress and solve any potential issues.

Within each of the three Masterclass sessions, participants will benefit from the contribution of a number of guests hailing from the editorial, artistic and visual culture worlds. Diversity in the contributions offered is a distinctive feature of the Masterclass curriculum and reflects the commitment of VII Photo to further widen the horizons of photojournalism.

The photojournalism industry has deeply changed over the past 15 years and a different kind of training has become mandatory for the new generation of photographers, who are now required to increase their skills and expand their knowledge through interaction with disciplines culturally aligned with photography.

For this reason, some of the themes explored in the last VII Masterclass program were – amongst others – video art, crowd-funding, exhibition design, digital archiving and the concept of mental maps, which enable better and alternative work organization.

The VII Masterclass is open to all photographers, with no age limit or nationality restrictions. Classes will be taught in English. Participants will be selected by a jury after the submission of a 20-image portfolio and a text illustrating the project that they intend to develop following the year’s theme: The other.

The project

The theme of the second VII Masterclass, The Other focuses on a fundamental issue of contemporary society: The Other is what is different to us. The Other is not us, but it is also us.

The Other is an immigrant, if we are still living in our homeland, or a foreign native that we don’t understand, if we are the expatriated.

It is an ill person, when we are in good health, or someone privileged, when we are less fortunate. The Other is our most truthful mirror, even though we often think that this mirror is distorted.

As a consequence, photographers have a duty to reflect on encountering The Other, in order to instill a positive change in people’s mentality, through the stories they portray.


✴   ✴   ✴

First session // September 27 – 30, 2016
Finding your story and your own style

The first session of the second VII Masterclass will focus on the importance of finding a personal style and how to hit upon the right story to tell.

Two VII photographers will guide participants through this process, starting from the experience of one of the participants of the previous Masterclass.

A guest historian will illustrate the many stories that it’s possible to uncover in the city of Berlin, and a guest journalist will help participants to acquire and use the necessary skills that are needed to search through the news and develop a narrative.

To complete the picture, two internationally acclaimed photographers, who turned their quest for a personal and unique style into a professional career, will give a presentation of their most recent projects.

VII Photographers: Stefano De Luigi, Ashley Gilbertson


Second session // December 19 – 22, 2016
Editing your work

The second session of this Masterclass will help participants to enhance and refine their editing skills. Contributions by numerous photo-editors hailing from the publishing industry will offer participants a chance to interact with the professional world of news publishing, showing them that editing one’s work is just as essential to a photographer as the selection of reality when framing a subject or scene.

From a specialized magazine dedicated to photo essays and reportages (MARE), to Germany’s leading weekly newspaper supplement (Zeit Magazin), passing through a national newspapers, ending with a monthly magazine, this session is entirely centered on the selection process, a natural step after the identification of a story and a personal style (1st session).

VII Photographers: Jocelyn Bain Hogg, Maciek Nabrdalik


Third session // March 16 – 19, 2017
Self-promotion tools

The third and final session of this Masterclass will analyze the tools that are required for promoting a photographers’ work and reaching out to a wider audience. The main subjects of discussion will be: creating a personal website that works perfectly well on portable devices and is fully connected with a photographer’s presence on social networks; the importance of being published in news magazines; the new publishing industry, which, over the years, has created a community of supporters and not just one of “passive” readers; the importance of having one’s work exhibited in specialized venues for a photographer’s career.

VII Photographers: Chris Morris, Tomas Van Houtryve

The Sound Is Present

Miriam Hamann. Pendulum. 8-channel sound installation, 2013, Wood, speakers, audio amplifier, audio interface

Artist Talk

The Sound Is Present

Roxanne Nesbitt
& Miriam Hamann

23.02.2017
18:30 @ GlogauAIR

Thanks to names such as John Cage, the before unperceived, irrelevant sounds of everyday life began to matter. They became entities, objects themselves, with a presence of their own, free from human control and subjectivity; purposeless, continuously changing, captured from the perpetual flow of the ever-changing world.

Up until the 20th century working with sound generally meant composing music; organized structures of sound, controlled and mediated by human subjectivity; finite and fixed entities written down on a score. However, thanks to an ontological shift on this matter, the concept of music and music itself started to be deconstructed. Inspired by the notions of 'being' and 'duration' (by Nietzsche and Bergson, respectively), and highly propelled by the development of sound recording and processing devices, sounds - not music - became the focal point of audible art pieces.

By becoming permeable to endless experiments using all sorts of infinitely new sounds, the sonic sphere is now richer. In The sound is present the two invited artists will share with us their own experiences with the sonic world, calling our attention to the rich ubiquitous, unseen presence of sound, that can be manipulated in order to create new meanings and relations. As John Cage once said: Music is permanent, only listening is intermittent.

Roxanne Nesbitt - Trained as an architect and orchestral musician, Roxanne Nesbitt works to combine several disciplines. Her research and practice explore the connections between sound, sight and motion, employing, spatial and sonic strategies to forge new relationships and reveal existing analogies.

Miriam Hamann - Focusing on installations which deal with space, her work is the result of an investigation into the sculptural presence of everyday objects. In addition to the decontextualization and recontextualization of everyday objects the immaterial plays an important role as well. She uses sound and light as an immaterial 'fabric' that is uncoupled from its environment and original function to become a building block for the creation of new architectures and spatial perceptions.

Interview

Meet the Artist

Sam Hatfield & Fiona Skelton

MEET THE ARTIST is a series of short interviews given by GlogauAIR's resident artists. The aim is to provide the public with the opportunity of getting to know the artist behind the art as well as to get a glimpse of the creation process that can rarely be seen.

Meet the Artist: Sam Hatfield & Fiona Skelton on Vimeo


Sam Hatfield and Fiona Skelton have collaboratively practiced across diverse artistic languages including video, performance, installation, spoken word, illustration and music. The overarching premise of their joint practice is to use the unexpected and the absurd to provocatively deconstruct psychological and social constructs.




Digital Electronics for Musicians

Image: Alessandra Leone

Workshop

Digital Electronics for Musicians

Alexandros Drymonitis

15.02.2017 - 19.02.2017
@ GlogauAIR

This workshop is based on the book Digital Electronics for Musicians written by the tutor. In this workshop participants will create their own interactive audio interfaces using the open source programming language Pure Data for the audio part, and the Arduino open source prototyping platform for the control interface.

After being introduced to both programming languages and basic electronic circuits, the participants will move on to realize their own ideas into a palpable interface, be it a set of sensors, a stompbox, or anything the participants want to create.
In order to be able to create stand-alone interfaces, participants will be introduced to Raspberry Pi embedded computer and the Linux operating system. These will be used in case the computer must be embedded into the device a participant will build during the workshop.

The workshop is split in two main parts. The first part consists of introductory sessions on the programming languages that will be used, as well as electronic circuits and basic use of the Linux operating system. This part will also focus on the communication between the Arduino and Pd, based on a set of Pd abstractions created by the tutor, which facilitate their communication to a great extent.
The second part will focus on building the interfaces of the participants. In this part all the soldering, drilling, parts mounting, and all the manual work will be done. The goal of this workshop is that every participant will leave with a finished project along with its enclosure.

Some interface examples taken from the book Digital Electronics for Musicians are the following:
An interactive bow for bowed string instruments
An interactive drum set
A DIY theremin
A looper
A clavier or patch-bay matrix (or other type) synthesizer

Workshop workflow:
DAY 1: Introduction to Pure Data, creation of simple audio software
DAY 2: Introduction to Arduino, creation of simple circuits and use of sensors | Connection of the Arduino with Pure Data for the creation of interactive audio software
DAY 3: Introduction to embedded computers and the Linux operating system | discussion with the participants on the projects to be developed during the workshop
DAY 4/5: Creation of individual projects, programming, creation of final circuits, creation of the final project device

Tuition language: English

Total duration of the workshop: 30 hours

Participants' fee:
Early bird (registration before 21st of January): 120€
Registration after the 21st of January: 150€

Registration:
alexdrymonitis@gmail.com

Tutor's Bio:
Alexandros Drymonitis is a musician, active in the field of experimental music and noise. He is an MMus graduate of the Conservatorium van Amsterdam where he studied the guitar and composition. His musical practice focuses on the texture of sound and noise, exploring the borders of control, with form as a main goal. His educational aim is to provide acquired knowledge on multimedia programming.

He has collaborated with various artists from different art disciplines, plus several ensembles, either interdisciplinary or music ensembles. He is currently a member of Medea Electronique and Self-Absorption, and a collaborator of the ARTéfacts Ensemble.
As a member of Medea Electronique, he is a main organizer of Electric Nights, a festival on live electronic music, based in Athens. He is also a founding member of Patching Circle Athens, a collective group of users of visual programming languages.

He has taught the guitar at the Music School of Amsterdam and Philippos Nakas Conservatory in Athens, and electronic music programming at Musical Praxis Conservatory in Athens. He is currently a freelancer in the field of electronic music and media programming, teaching several workshops in various venues and undertaking media programming in various events. He is the author of Digital Electronics for Musicians, published by Apress.






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