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Jenny Brockmann, Berlin (2026)

30/08/2023

“For the event ‘Bauhaus Psychology. Workshop with Robert Wilson’ in the Oberlichtsaal at the Bauhaus University in Weimar (Bauhaus-Universität Weimar), August 24th 2023, Jenny Brockmann created a discursive environment, which became a stage-like architecture for the workshop with theater director Robert Wilson, whose working method is reminiscent of research by Gertrud Grunow and Heinz Werner. The space of the Oberlichtsaal has been divided into 3 plateaus, on which the workshop takes place. Discursive objects designed by the artist are placed on each plateau. All the socalled discursive objects have the same form: half of a sphere, on top of which another arrangement has been created.” (Paulina Olszewska, 2023)
“(...) Jenny Brockmann became interested in the practice of Gertrud Grunow (1870 - 1944), who created a method of teaching harmony (German: Harmonisierungslehre), which from 1920 to 1924 was a part of the preparatory year at the Bauhaus. Her learning concept combined sound, movement and colour within space and encouraged students to develop individual experiences and explore their surroundings in various dimensions. (...) For the Kunstfest Weimar 2023, Jenny Brockmann collaborates with psychologist, media theorist and historian of science Henning Schmidgen, returns to the Bauhaus teacher and deepens interest in Gertrud Grunow by including further aspects of her academic research.” (Paulina Olszewska, 2023)

Idea: Henning Schmidgen
Concept and Organization: Henning Schmidgen, Moritz
Wehrmann, and Jenny Brockmann
Installation: Jenny Brockmann
Contributors: Ute Ackermann (art historian, curator at the Bauhaus Museum, Weimar), Jenny Brockmann (artist, Berlin/Weimar), Paulina Olszewska (art scholar, curator at Galeria Studio, Warsaw), Henning Schmidgen (psychologist, media scholar and historian of science, Weimar), and Robert Wilson (director, visual artist, and architect, New York).

Collaboration with Kunstfest Weimar

Image 1-3: Jenny Brockmann: ‘Discourse Object ’; ‘Discourse Object ’; ‘Discourse Object ’, 2023. Photos: René-T. Kusche

30/08/2023

On the occasion of the 100th anniversary of the Bauhaus exhibition in Weimar in 1923, the workshop ‘Bauhaus Psychology – Workshop with Robert Wilson’ explores the convoluted paths of reception and the various fields of application of the Bauhaus psychology that can be associated with the Bauhaus master Gertrud Grunow. Our focus will be on the movements of the living body, the sense of experience of intensities, and the continuing search for balance.

‘Bauhaus Psychology – Workshop with Robert Wilson’
at Oberlichtsaal, Bauhaus University Weimar (Bauhaus-Universität Weimar), August 24th, 2023.

Idea: Henning Schmidgen
Concept and Organization: Henning Schmidgen, Moritz
Wehrmann, and Jenny Brockmann
Installation: Jenny Brockmann
Contributors: Ute Ackermann (art historian, curator at the Bauhaus Museum, Weimar), Jenny Brockmann (artist, Berlin/Weimar), Paulina Olszewska (art scholar, curator at Galeria Studio, Warsaw), Henning Schmidgen (psychologist, media scholar and historian of science, Weimar), and Robert Wilson (director, visual artist, and architect, New York).

Collaboration with Kunstfest Weimar

Image: Excerpt, Reader to Bauhaus Psychology Workshop with Robert Wilson, August 24th, 2023.

30/08/2023

Reposted from Kunstfest Weimar (short EN version below)
Die Veranstaltung „Bauhaus Psychologie – Workshop mit Robert Wilson“ erkundet die verschlungenen Rezeptionswege und die unterschiedlichen Anwendungsfelder der mit der Bauhausmeisterin Gertrud Grunow assoziierbaren Bauhaus-Psychologie. Im Dialog mit Robert Wilson, der u. a. bei Sybil Moholy-Nagy studiert hat, sollen die Inhalte dieser Psychologie gesichert und ihre Perspektiven erörtert werden. Eine zentrale Frage ist, welche Rolle dabei der Körper, seine Bewegungen und seine Intensitäten spielen und wie eine entsprechend zentrierte Lehre vom Gleichgewicht heute weitergeführt werden kann – in der Architektur und der Kunst, aber auch in Tanz, Theater und Film. Der Workshop ist eine Veranstaltung des bauhaus.medien.bühnen Labors und findet im Rahmen des Jubiläumsjahres des Bauhausausstellung 2023 in Kooperation mit dem Kunstfest Weimar statt. Beitragende sind u. a. Robert Wilson (Theaterregisseur, Bildender Künstler, Architekt), Henning Schmidgen (Psychologe und Medientheoretiker, Professor an der Bauhaus-Universität, Weimar), Jenny Brockmann (Künstlerin), Ute Ackermann (Kunsthistorikerin, Kuratorin am Bauhaus Museum, Weimar), Paulina Olszewska (Kunstwissenschaftlerin, Kuratorin an der Galeria Studio, Warschau).

Ort: Oberlichtsaal der Bauhaus-Universität Weimar
Zeit: Donnerstag, 24.08.23 von 12h-19h
Anmeldung unter: [email protected]
Abbildung: Jenny Brockmann: ‚Grunowscher Farbkreis‘, 2018. Collage auf Transparentpapier.

Fotobearbeitung: Thomas Müller
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EN
On August 24th 2023 the event ‘Bauhaus Psychology – Workshop with Robert Wilson’ explores the convoluted paths of reception and the various fields of application of the Bauhaus psychology that can be associated with the Bauhaus master Gertrud Grunow. In dialogue with Robert Wilson, who studied with Sibyl Moholy-Nagy, among others, the contents of this psychology will be secured and its perspectives discussed. A key issue is the body, its movements and its intensities, and how a corresponding theory (and practice) of balancing can be continued today – in architecture and art, but also in dance, theater, and film.

30/08/2023

The presentation ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ by artist Jenny Brockmann had been delivered as part of the Infrastructure module within the Foundation of Fine Art course convened by Dr. George Mahashe at the Michaelis School of Fine Art, UCT. Thank you George, it was a pleasure meeting you and I look forward to continuing the conversation about artistic research, entanglements, and life!

‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ is based at the Chair of Media Theory and History of Science at the Bauhaus University, Weimar, and funded by the German Research Foundation (Deutsche Forschungsgemeinschaft) and includes researchers Prof. Dr. Henning Schmidgen and Dr. Mathias Schönher.

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Image: Jenny Brockmann Talk ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ at University Cape Town, 2nd August 2023. Photo: Tebogo George Mahashe and Jenny Brockmann, photo by Virginia MacKenny

30/08/2023

Jenny Brockmann presented the transdisciplinary research project ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ at the Michaelis School of Fine Art, UCT.

The project combines methods from the history of science and technology with new artistic-experimental perspectives. The central questions addressed by the project concern, firstly, the significance of a newly conceived animism for media studies research and, in this context, of the often invoked self-life of technology. Second, they concern the overcoming of the dichotomy of nature and culture, grounded by an animistic worldview, and the resulting possibility of a reframing of the critique of our neo-liberal economic and social order. And thirdly, they concern the potential to create a constructive dialogue between (media) science and (media) art by extending the discussion to aesthetic practice and artistic research in accordance with the animistic positions.

‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ is based at the Chair of Media Theory and History of Science at the Bauhaus University, Weimar, and funded by the German Research Foundation (Deutsche Forschungsgemeinschaft) and includes researchers Prof. Dr. Henning Schmidgen and Dr. Mathias Schönher.

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Image: Jenny Brockmann’s talk ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ at University Cape Town, 2nd August 2023. Photo: Tebogo George Mahashe.

30/08/2023

Thanks again for the wonderful invitation to present my involvement in the transdisciplinary research project entitled, ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ at the Michaelis School of Fine Art, UCT. The project addresses the question which is ever more frequently asked today: Are there such things as ‘living’ machines and ‘intelligent’ plants?

‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ is based at the Chair of Media Theory and History of Science at the Bauhaus University, Weimar, and funded by the German Research Foundation ( Forschungsgemeinschaft) and includes researchers Prof. Dr. Henning Schmidgen and Dr. Mathias Schönher.

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Image: Poster for Jenny Brockmann’s talk ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology’ at the Michaelis School of Fine Art, UCT.

30/08/2023

As part of the project ’SPACE analog/ digital’ Prof. Dr. Henning Schmidgen (media theorist and historian of science), Dr. Mathias Schönher (philosopher) and Jenny Borckmann accompanied the workshop by architect Dr. Tom Sanya with short lectures around the topic of ’Animism/Machinism: Configurations of Critique between Science, Art and Technology.’

‘Animism/Machinism’ is characterized by the combination of methods and approaches from recent science and technology studies, philosophical analysis and criticism, as well as artistic research. The starting point is the notion that our world appears more than ever as an animistic world. One reason for this lies in the developments in the field of ‘smart objects‘ and ‘intelligent environments‘. AI voice assistants like Apple's Siri or Amazon's Alexa create the impression that we are dealing with devices that possess an individual personality, or soul. We communicate with them as if they were assistants with a personality of their own. At the same time, the developments in ubiquitous computing lead to environments having their own power and agency, thus experiencing a kind of re-vitalization. Their equipment with technological components creates sensitive spaces that, for example, self-regulate their atmospheric properties, such as their lighting and temperature. The project investigates how these developments change the way we deal with media technologies.

Image 1-3: Lectures by Jenny Brockmann, Prof. Dr. Henning Schmidgen, and Dr. Mathias Schönher, ‘SPACE analog/ digital’ at Bauhaus-Museum Weimar. Photos by Renee Kusche

30/08/2023

Architect Dr. Tom Sanya's research as well as design practice is characterized by participatory approaches to spatial design. He uses these specifically to explore and thus better understand the connections between different spaces. In the workshop ‘SPACE analog/ digital’ he explored small experimental setups and spaces around the project space in the basement of the Bauhaus-Museum Weimar as well as in the Weimarhallenpark together with the participants.

Together with Prof. Dr. Henning Schmidgen (media theorist and historian of science), Dr. Mathias Schönher (philosopher) Jenny Borckmann accompanied this workshop with short lectures around the topic of ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology.’

Images: Installation views Workshop ’SPACE analog/ digital’ by Dr. Tom Sanya. Photo by Renee Kusche

30/08/2023

It was a pleasure to be part of ‘SPACE analog/ digital’ in March 2023. ‘SPACE analog/ digital’ consisted of a public workshop by South African architect Dr. Tom Sanya as well as short lectures by scientists and artists from the Bauhaus University Weimar.
The project took place in the context of the anniversary year of the 1923 Bauhaus exhibition and Klassik Stiftung Weimar theme year ‘Living’. It was a collaboration between the Bauhaus-Museum Weimar of and the bauhaus.media.stage laboratory of the Faculty of Media at the Bauhaus University Weimar.

The public workshop explored how, by way of a medium, differing, close or distant, urban or architectural spaces can be related. The starting point was the assumption that space and its connections to other spaces follow a certain logic that results from the people as well as the things and structures that define it.

The workshops were accompanied by short lectures by Prof. Dr. Henning Schmidgen (media theorist and historian of science), Dr. Mathias Schönher (philosopher), Jenny Brockmann (artist), and Dr. Tom Sanya (architect). The first three speakers jointly lead the research project headed by the Chair of Media Theory and History of Science at Bauhaus University Weimar, ‘Animism/Machinism: Configurations of Critique between Science, Art and Technology.’

Image: Lecture by Dr. Tom Sanya, ‘SPACE analog/ digital’ at Bauhaus-Museum Weimar. Photo by Renee Kusche

30/08/2023

Part of the exhibition ‘Spring Never Comes Again… . Children & Art in the 20th and 21st Century’ curated by Joanna Kordjak at Zachęta Narodowa Galeria Sztuki / Zachęta National Gallery of Art is the new installation ‘Without Title (Spring Never Comes Again’ (2023) by Jenny Brockmann. The sound-video-installation had been realized in collaboration with curator Joanna Kordjak and singer Barbara Kinga Majewska and gives children drawings from the concentration camp Theresienstadt a ‘voice’, an ‘image’ as well as a ‘space’. The drawings were made in class with the Jewish Bauhaus Grunow student Friedl Dicker-Brandeis.

“Friedl Dicker-Brandeis used her art workshops in Terezín to work with children using techniques inspired by the likes of Johannes Itten, her other Viennese teacher alongside Franz Cižek. These included ‘automatic drawing’ classes which encouraged spontaneous, free expression, or ‘rhythmic exercises’ which helped increase concentration. These involved creating drawings that responded to the teacher’s changing tone and rhythm of speech. Children focused on her voice and breathing patterns, as a distraction from the terrifying reality around them. At the same time — in the spirit of Bauhaus pedagogy — they were encouraged to engage all their senses. Artist Jenny Brockmann and singer Barbara Kinga Majewska reverse this technique, interpreting children’s abstract works which are stored in the Jewish Museum in Prague collections.” (Joanna Kordjak, Galeria Zacheta)

Additionally, Jenny Brockmann gave the workshop ‘Intermodal Drawing as Collective Action’.
On a large paper roll in the stairwell of the Zachęta building, under the guidance of the artist, participants tried out with pen and brush how sounds and breathing flow through the body and make shapes on paper together.

Video: Jenny Brockmann: ‘Without Title (Spring Never Comes Again)’, 2023. HD-Video. Collaboration with singer Barbara Kinga Majewska, Photo: Jenny Brockmann © the artist

Image: Jenny Brockmann Workshop ‘Intermodal Drawing as Collective Action’, video still. © the artist

06/04/2023

In the exhibition "Spring Never Comes Again…Children & Art in the 20th and 21st Century" curated by Joanna Kordjak at Zachęta Narodowa Galeria Sztuki / Zachęta National Gallery of Art Jenny Brockmanns object ‚Discourse Object #3‘ is presented together with original works by pupils of Gertrud Grunow herself. ‚Discourse Object #3‘ had been produced as part of the project ‚Collective Dialogue G. Grunow‘ realized by Jenny Brockmann in 2018. The project focused on Gertrud Grunow who was the first and only female Bauhaus master teaching «Harmonisation Theory» at the Bauhaus from 1920 to 1924.

“‚Discourse Object #3‘ is an installation that combines three elements: Color, Form and Movement. It consists of acrylic glass rods in three colors: red, yellow and blue. The rods form into three central circles, each in a color, from the largest (in red) to the smallest (in blue). A mechanism in the base on which the sculpture stands sets the installation in slight motion from top to bottom.

As with all of her objects, Jenny Brockmann's ‚Discourse Object #3‘ visually represents abstract processes of scientific research methods. The elements she used for ‚Discourse Object #3‘ played a central and important role in the teaching as well as the scientific research of Bauhaus master Gertrud Grunow. In her teaching, a specific color-circle was a starting point for the so-called balance exercises. Through the colors red, yellow and blue, as well as through the optical light pe*******on in between, color mixtures - orange, green and brown - are created, which correspond to Grunow's color palette. The further element, movement, links color and sound, the integral foundations of Grunow's teaching.

The different sizes of the colored sticks in each of the three circles can be compared to the transcription of sound emission and related to Grunow's empirical research between colors and tones. According to Grunow, people associate warm colors (including red) with low musical tones. Higher musical tones, on the other hand, are associated with cold colors (such as blue).” (Paulina Olszewska)

Image: Jenny Brockmann: ‚Discourse Object #3‘, 2018. Acrylic glass, light, motor, sound. Photo: Bernd Hiepe © the artist.

06/04/2023

In the exhibition "Spring Never Comes Again…Children & Art in the 20th and 21st Century" curated by Joanna Kordjak at Zachęta Narodowa Galeria Sztuki / Zachęta National Gallery of Art Jenny Brockmanns object ‚Discourse Object #3‘ is presented together with original works of art by Gertrud Grunow herself. ‚Discourse Object #3‘ had been produced as part of the project ‚Collective Dialogue G. Grunow‘ realized by Jenny Brockmann in 2018. The project focused on Gertrud Grunow who was the first and only female Bauhaus master teaching «Harmonisation Theory» at the Bauhaus from 1920 to 1924.
“‚Discourse Object #3‘ is an installation that combines three elements: Color, Form and Movement. It consists of acrylic glass rods in three colors: red, yellow and blue. The rods form into three central circles, each in a color, from the largest (in red) to the smallest (in blue). A mechanism in the base on which the sculpture stands sets the installation in slight motion from top to bottom.
As with all of her objects, Jenny Brockmann's ‚Discourse Object #3‘ visually represents abstract processes of scientific research methods. The elements she used for ‚Discourse Object #3‘played a central and important role in the teaching as well as the scientific research of Bauhaus master Gertrud Grunow. In her teaching, a specific color-circle was a starting point for the so-called balance exercises. Through the colors red, yellow and blue, as well as through the optical light pe*******on in between, color mixtures - orange, green and brown - are created, which correspond to Grunow's color palette. The further element, movement, links color and sound, the integral foundations of Grunow's teaching.
The different sizes of the colored sticks in each of the three circles can be compared to the transcription of sound emission and related to Grunow's empirical research between colors and tones. According to Grunow, people associate warm colors (including red) with low musical tones. Higher musical tones, on the other hand, are associated with cold colors (such as blue).” (Joanna Kordjak, Galeria Zacheta)
Image: Jenny Brockmann: ‚Discourse Object #3‘, 2018. Acrylic glass, light, motor, sound. Photo: Bernd Hiepe © the artist. Video documentation by the the artist

Jenny Brockmann

30/08/2023

30/08/2023

30/08/2023

30/08/2023

30/08/2023

30/08/2023

30/08/2023

30/08/2023

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06/04/2023

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