Jenny Brockmann

The installation, entitled "Alignment", comprises three interconnected rooms of equal proportions but differing dimensions. The outer room has a diameter of 7 metres and a ceiling height of 2.8 metres, the next has a diameter of 5 metres and a wall height of 2 metres, and finally, the innermost room has a diameter of 2.8 metres and a wall height of 1.12 metres.The rooms are interconnected by openings (doors), which allow for the movement of visitors within the installation. The doors are programmed to follow the movement of visitors, opening and closing in accordance with their presence and navigation within the space. This functionality is facilitated by sensors that detect visitor movement, in conjunction with a control system that directs the doors' positions.The interactive nature of the installation engages the viewer, offering a unique experience where they become an integral part of the exhibition.

The installation, entitled "Out of Balance", comprises a substantial aluminium construction. Two accessible containers are suspended in the air, connected by a tube affixed to the ceiling, reminiscent of a colossal set of scales.The aluminium sheet-lined rooms, measuring H280 cm x W160 cm x D160 cm, are open at the front and back. The sidewalls feature 70 x 120 cm wide openings, which function as the entrance on the exterior and, on the interior, serve as a visual axis to the opposite room.In a balanced state, the open-meshed floors of the rooms are held at rest just above two pools of water, which constitute a central element of the installation. However, as the visitor enters or exits either space via the two-step staircase, this equilibrium is upset, creating a motion that threatens immersion into "the tank".

In her project entitled "Cold – Study of Sensitivity", Jenny Brockmann has created an installation designed to provide a sensory experience for a single visitor at a time. The room is intended to encourage visitors to reflect on their own sensitivity and sensibility to cold (and heat), and to consider the psychological effects of cold. The phenomenon of cold can be regarded not only as a meteorological occurrence, but also as a metaphor for social disconnection and alienation, a trend that poses a significant challenge to our ability to coexist.

“Nature of Knowledge - the Uncertain Structure” was a real-time experiment at the JRC (Joint Research Center of the European Commission) in Ispra, Italy, which generated data on the consequences of climate change and transferred them into a spatial installation in the form of a spiral [1] in the BOZAR Museum (Brussels, Belgium). A structure corresponding to the test structures in the ELSA laboratory was erected in a remote location, subjected to increasing stress during the exhibition period and finally permanently transformed. For this purpose, mechanical devices were used that simulate geological movements and atmospheric conditions at ELSA. The connected spiral transformed according to the data generated by the energy of the deforming structure. Random and intentional factors such as visitor movement or physical data such as temperature and pressure led to certain variables in the experiment, adding a random element to the overall uncertainty of the project and creating an integrated form of communication. This social interaction channel between observers and the element being tested referred to different opinions on the rate of climate change. This project was a collaboration with Pierre Pegon (Engineering), Diana Rembges (Biology) and Marcelo Masera (Electrical Engineering, Risk Management). [1] The art historian and historian of science Hans-Jörg-Rheinberger writes in “The Aura of the Spiral” that we find the formal principle of the spiral as a natural form, especially in organic structures, but that the aesthetic interest in the spiral form has always been culturally influenced and as such has taken on many forms in human history. Today, the shape of the spiral is an important reference in both the arts and the sciences.

The discursive, performative installation "Jenny Brockmann: #LIMITS', curated by Linda Rocco at the Goethe-Institut London, refers to the allegory of the skin. As the largest and most versatile organ in the human body, the skin acts as a shell that separates the inside from the outside, protecting us from environmental influences and maintaining homeostasis, our inner balance. "Jenny Brockmann: #LIMITS" will set up a public laboratory in the library and auditorium of the Goethe Institute London for four weeks, centred around the interactive sculpture "Seat#12", discursive materials, objects and cartographies of thought.