Dialogfeld 3

She completed her master's degree at the Bauhaus University in Weimar in 2010 and has lived in Berlin ever since.

Jennis Li Cheng Tien's works oscillate between installations and ephemeral, time- and site-specific interventions in public space. The visually tangible abstraction of sociological and anthropological contexts are the focal points of her works. It is precisely this observation of social structures and spaces that leads to her very unique approach, in which she translates the intersection of approaches from the disciplines of architecture, sculpture and urbanism into her own methodological work.

An installative intervention in public space Jennis Li Cheng Tien realizes an installative intervention inspired by her observation of the current cityscape of Chemnitz. She processes her impressions of the many construction sites, which occupy and even block paths and streets with their presence, into an installation. She uses the omnipresent roadblocks to create a hexagon that lets people through instead of blocking them. With her intervention, she wants to question the defined spaces in the public sphere.

Umschichten work at the intersection of art, architecture and design. They use the power of temporality to materialize a state of emergency, a secret wish or a problem and thus set mental processes and discourses about spatial futures and programmes in motion. Her artistic practice is based on a careful handling of material and a strongly contextualized approach on site. She examines processes and states of transition - in the material and in the location.

Alper Kazokoglu, born in 1986, studied architecture at the Karlsruhe Institute of Technology and scenography, exhibition design and media art at the Karlsruhe University of Arts and Design. He has been working with umschichten since 2010 and has been involved in many projects during this time. Most recently in the “Plastikausplastik”, Essen (2017) and the theater project “Hexenhüttentraumpaläste”, Stuttgart (2018). In his work, he expands the examination of built space with aspects from the performative and visual arts. In doing so, he liquefies established work processes and dissolves structural hierarchies.

A supporting structure that carries nothing, not even itself, rejects its original function and finds the perfect place for a different order in a hollow building. Barely visible from the outside, it configures itself into an anti-structural component - a sketch of a wasteful structural element. The rebellion of the supporting structure can be understood as a proposal for the reflection of the night. An invitation to look behind the facades in order to question our understanding of the night as a pure supporting structure for the activities of the day.