As part of the AIR-M Ebenböckhaus residencies, South American artists Emilia de las Carreras and Fátima Rodrigo, alongside curator Ariana Nuala, host an open studio sharing their new works and giving insights into their research.

Emilia de las Carreras (Buenos Aires, Argentina) is a visual artist based in Buenos Aires. Her practice centers on the collection and transformation of discarded materials encountered in urban environments. Working across sculpture, installation, and site-responsive projects, she reactivates objects such as aluminum bottle caps, glass fragments, shells, and construction debris, exploring the social, ecological, and affective histories they carry. Through processes of weaving, assembling, and collaboration, de las Carreras creates suspended structures and sculptural forms that evoke bodies, organisms, and systems of adaptation.

Fátima Rodrigo (Peru) is a visual artist working across mixed-media installation, sculpture, textile, sound, and scenographic environments. Her practice explores the intersections between modernity, popularculture, and gender identity in Latin America. Through installation, textiles, sculpture, and sound, she traces how European avant-garde languages were absorbed, translated, and reimagined through television, music, entertainment, and other forms of everyday visual culture, revealing the complex negotiations between local and global imaginaries.

Ariana Nuala (Brazil) is a researcher and curator whose practice unfolds through sustained dialogue with artistic collectives and institutional contexts. Their work examines museums as sites where memory, power, territory, and diaspora intersect. Combining curatorial practice with poetic writing, pedagogy, and collective processes, Nuala develops methodologies that resist institutional pacification while sustaining tension, opacity, and critical proximity.

Emilia de las Carreras and Fátima Rodrigo are in residence at Ebenböckhaus in Munich from July 7 to September 24, 2026. The residency is a collaboration between the City of Munich Department of Arts and Culture and Salta art, in partnership with ERA Foundation. Ariana Nuala in residence at Ebenböckhaus in Munich from August 25 to September 24, 2026. This residency is supported by Pivô and the City of Munich Department of Arts and Culture, in collaboration with Salta art.

As part of her residency at Pivô Salvador, Giulia Zabarella opened her studio, sharing an ongoing body of work developed through encounters and observations in Salvador da Bahia. Drawings, photographs, projections, and texts were presented as fragments of a broader research process. Her work engages Afro-diasporic histories, syncretic religious practices, urban tales and encounters in the city of Salvador, translating field-based research into layered visual and textual forms.

The open studio also included a performative reading with João Paes and an artist talk with curator Janaina Selva.

Carmen Arias in conversation with curator Lydia Korndörfer as part of an open studio and artist talk on Friday, May 15 at 12:00.

As part of the Salta art Studio Grant, awarded in February 2026, Arias will open the doors to her studio at Empfangshalle (Gabelsbergerstraße 83), offering insight into her current work and research. The work presented here examines the use of ornaments in public space through encounters between natural forms and constructed imitations. The talk begins at 12:00, with the studio remaining open until 16:00. The event takes place as part of the Various Others program.

The works of Carmen Arias take us on a journey into the undergrounds and to the “Supraterranean.” Through the means of sculpture and language, Arias explores what defines modern life—and its ancient histories. Her focus is on urban space, yet the artist reveals unexpected connections between today’s sewage systems and Paleolithic caves. In this way, the city becomes a portal—and the former replica of the Altamira Cave at the Deutsches Museum ultimately leads back to the artist’s homeland.

Having grown up near Altamira, Arias’s understanding of sculpture was shaped not only by her place of origin but also by her father’s profession: “Only in sculpture and archaeology would one attribute meaning to a simple stone.”, states the artist and looking closely at her young oeuvre, the proximity of her practice to the methods and objects of archaeology becomes strikingly apparent. Artisanal techniques of reproduction intersect with the presence of scientific instruments and archaeological study objects. In this sense, a giant tooth appears both as a tool for digesting one’s urban environment and as a memorial object, carrying traces of an individual life into the future.

The open studio and artist talk provide an opportunity to further explore how the methods of sculpture and archaeology—and the magic of reproduction—intertwine in Arias’s works, while offering insight into the conditions of their production.

Lydia Korndörfer

About Carmen Arias

Carmen Arias’s practice spans sculpture, installation, sound, and material activations, engaging with the city as a constructed body shaped by political, social, and historical forces.

Working with materials such as ceramic, plaster, concrete, steel, and found objects, she draws on overlooked architectural and infrastructural elements -manholes, service ladders, pipes, ventilation systems, and underground passages. Through shifts in scale, material, and function, these structures are reconfigured into sculptural forms that question how urban systems operate and how they relate to the body.

Her work often approaches the city as an archaeological site, revealing hidden networks of circulation -of water, air, and movement- and exploring their resonance with bodily processes. Sculptural elements can be activated performatively, further emphasizing the relationship between infrastructure, presence, and use.

About Lydia Korndörfer

Lydia Korndoerfer is an art historian, writer, and curator. Her research and curatorial projects focus on interdisciplinary artistic practices that engage with contemporary and future realities, moving between the fields of politics, society, religion, science, technology, and nature. She is currently an Associate Curator at Haus der Kunst München, where the exhibition “For Children. Art Stories since 1968” has been central to her work since 2023. From 2020 to 2021, she was Artistic Director of the Kunstverein Arnsberg. Since 2013, she has been working as an independent curator realising exhibitions such as “Proyecto Eclipse” at Matucana 100 in Santiago de Chile (2019), and “Hey, Mars!” at Haus am Lützowplatz in Berlin (2019). Korndoerfer studied at the Humboldt University in Berlin and the University of Bologna. She has contributed to exhibition catalogues and monographs as an author and editor, and has taught at art academies including the Berlin University of the Arts, the Braunschweig University of Art, and Burg Giebichenstein in Halle.

Pivô Research welcomes everyone interested in gaining an inside look at the artists’ ateliers. As part of Pivô’s Campo Aberto artist-in-residence Eunjin Yoo opens her workspace to the public, where visitors have the opportunity to talk to the her and explore the ongoing projects she has been developing during her residency at Pivô. Her practice moves across installation, sound, sculpture, video, and performance, exploring how cultural memory and identity are shaped through migration, labor, and shared histories. Her works often emerge through fieldwork and collaboration, weaving together sonic fragments, material traces, and lived experience. As part of the Open Studio at, Yoo will present an interactive sound and rhythm performance Emptying Silence (Ressonâncias da Chuva) in collaboration with Arquétipo Rafa. The 30 min long performance is a living sketch that offers insight into her process and invites the audience to take part and engage throughout.

During her residency at Pivô she is focusing on the volatile and material qualities of sound and collaborating with local artisans to create hybrid percussive instrumental objects. She is immersing herself in São Paulo’s percussion ecosystem, combining pandeiro practice, field recording and modular sculpture. Her focus is on how rhythm is transmitted beyond notation—through gesture, voice and collective memory. She is experimenting with contact microphones and hybrid percussion objects, developing drawings and scores based on listening sessions in rodas de samba, and testing the first elements for small percussion-based sculptures.

As part of her residency at Pivô, Eunjin Yoo traveled from São Paulo to Rio de Janeiro, the birthplace and heart of samba’s musical ecosystem, to continue her research on the material and performative qualities of sound and traditional percussion instruments. There, she engaged with musicians, instrument makers, and archives to study how samba’s rhythms are transmitted and embodied through gesture, voice, and collective memory, rather than written notation.

Highlights of the trip included sessions with leading percussionists Marcos Suzano and Sérgio Krakowski, hands-on study of pandeiro techniques, and participation in a Candomblé percussion class, offering insight into the rhythmic, gestural, and spiritual foundations that have deeply influenced samba. Yoo also explored second-hand markets and instrument workshops to source materials for future sculptures and installations, documenting rhythm practices as part of her ongoing project.

Her research emphasizes the unwritten score of samba, revealing how rhythm circulates across bodies, social spaces, and generations.

Opening times:

Saturday, 18 October 2025, 1-9 PM, Performance at 2 PM
Sunday, 19 October 2025 1-9 PM, Performance at 3:30 PM

Pivô, Av. Ipiranga 200, São Paulo

The entrance is free.

The Open Studio at AIR-M Ebenböckhaus presents works and projects developed during Berger’s residency. Her practice explores the power of images in shaping collective identities across textiles, digital media, and installation.

Alongside her studio production, Berger has been investigating the legacy of German shadow theatre during her stay in Munich, a research that continues to inform her interest in the migration of images and stories across geographies.

Organised by the Department of Arts and Culture, Artist in Residence – Munich, Ebenböckhaus in collaboration with Salta art.

Resident artists Julia Retz and Andrés Aizicovich have been exploring themes of memory, architecture, and collaboration during their residency at AIR-M Ebenböckhaus in Munich. Julia reimagines historical buildings and their layered narratives, using materials like latex to examine the boundaries between visibility and concealment. Andrés presents a sculptural wind instrument that merges sound, performance, and functionality, emphasizing shared effort and collective experience.

The Open Studio at Ebenböckhaus offers an opportunity to meet the artists, discover their creative processes, and experience the works developed during their residency. At 5 PM, curator Anna Schneider leads a discussion with the artists, providing deeper insights into their practices and ideas.

Organised by the Department of Arts and Culture, Artist in Residence Munich – Ebenböckhaus. Curated by Salta art.

Artist-in-residence Vincent Scheers opens his workspace to the public as part of Pivô’s Campo Aberto, where visitors have the unique opportunity to observe his creative process firsthand and explore the ongoing projects he has been developing during his residency at Pivô Pesquisa. A workshop by Vincent and screenings of his newest films are also part of the open studio.

Opening times:
Saturday, 19 October 2024, 1–7 PM
Sunday, 20 October 2024, 12–6 PM

The entrance is free.

Pivô Research welcomes visitors interested in gaining an inside look at the artists’ ateliers for one week.

Diogo da Cruz, who has spent a significant portion of his residency at his studio in Pivô, Sao Paulo, will also open its doors to the public, taking the opportunity together with Fallon Mayanja to screen their recent footage for the third part of the sci-fi film series “AXECIDYR” for the first time alongside other installations and sculptures.

Mon. to Sat. 1:00 to 7:00 pm.

Sun. 12:00 to 6:00 pm.

Gabriela presented the first cut of her new film, 𝘊𝘳𝘢𝘴𝘩. The film is the culmination of the work and research Gabriela conducted during her 3-month residency in Munich.

Mureb’s work addresses relationships among body, technology and the world, proposing that we listen to machines as a way of listening ot he path that produced them, continuously reenacted in their movements. Filmed at the BMW Recycling & Demolition Centre (RDZ), 𝘊𝘳𝘢𝘴𝘩 provides an opportunity to observe the Western world’s industrial heritage through the insides of a technical event.