Natali Blugerman

The Sensorial Neighbourhood, is a virtual spatial design and artistic body that manifests itself in the urban scape. Its inhabitants create a fingerprint for interventions they wished occurred in their surroundings, and the neighbourhood’s designers form a creative group to materialize this wish. The sensorial neighbourhood cherishes and promotes collaboration, creativity, and intu- ition as means to explore and re-invent the cities we live in.

Play Your Air is a design proposal I made for the Goethe Institute AIR. The residents are invited to play The Incomplete Game, alone, but together. Each new resident continues the game the last resident left. In this way their communication is through the space, which acts, also as a timeline. The transformative space is the game-set and the way each person plays it, becomes a source of knowledge and discovery.

In Light Observatory #4, four participants sit around a table, and each is visually immersed in a different space, which they can manipulate. A question triggers a discussion: “How to create balance between human and non-human for a space to be harmonious?”.

IIn the Olfactory dreaming performative lectures I guide participants to smell with their minds instead of with their noses.

In this setup, 20 people entered a silent dark room and took a seat. After some minutes of immersion in the darkness, a thin line of sunlight in front of them entered the space. This line vibrated in different colours and intensities depending on the position of the sun respect to the window and the passing of clouds. The experience in this contrast between darkness and a “moving” sunlight beam was very personal, as each brain tried to make sense of what was happening: if the image was moving or not; contracting or expanding; shifting, appearing elsewhere or more. The main focus in this Observatory was to explore the notion that what we see with our minds does not always equals to what is physically happening in front of our eyes.

In this wearable I place microphones on each foot, both connected directly to headphones. The person using the device then goes for a walk, listening to the sounds that originate at ground level. This work was driven by the fact that our body actually listens in all its height, but because our ears are so high up, we miss out a lot of information. What this device tries to do is to enhance the awareness of being vertical, creating a closed circuit between lower and upper sounds. People realize how rhythmical their walks sound, almost like a heartbeat.

In this Observatory I built darkness in or- der to experience light in a very raw and powerful way. e installation is for one person at a time. People enter using the upper and lower part of their bodies as they pass by the 13 triangles that are placed spirally inwards. In the last section, which is pitch black there is a chair facing the entrance of the installation. e observer takes a seat and discovers a tiny 9mm "star" of sunlight entering the observatory, going directly to their retinas. In this star you can observe the refraction of the sunlight in colors, and depending on the weather outside and the time of the day and year you get di er- ent e ects. A er some minutes the brain starts tripping and "seeing" other phenomena. As people go slowly back out they understand, for example, that all the light we are surrounded by is created by uncountable small colorful stars.

Out of total darkness a tiny colorful waterfall appears to give some segonds of bliss, and vanishes again.

Project in process developed with the European Space Agency.

Here I place a Jenga on top of a map of my bed, on top of an overhead projec- tor. On the other overhead projector there's a plastic bag. I start playing Jenga as I unfold and reposition the structures and lines that live as ideas and thoughts in my bed life. e tension builds up as the structure gets more complex and di cult to keep standing. e images in the projection and in the performance are quite di erent and give transforming perspectives of the same event. e brick that breaks down the whole system is the winner and is places separately in the plastic bag.

e inspiration for this multisensorial installation was the movement and sound that grass makes when we step on it and then goes back up again. People are invited to perceive this phenomenon as they activate the playful "machine" by stepping on the grass squares that pull up strings and open the two layers of grass letting a fresh scent come out and the movement start.

is photography series is an ongoing project I started in 2012. Food and the way we experience it has been a source of inspiration and exploration for me.Most of the times when I start working on a new idea I create for myself an unknown context where to discover new things about me and the universe I'm part of. And usually the main structures of these contexts are food and meditation.

is performance in about trusting and following light, and the combination and bounderies of arti cial and natural sources. When there’s big contrast between dark and light, to follow the warmth is quite easy, but what happens when natural light appears and both sources mixed?