Transience

feeling a space, touching a space. sensing the surface and adapting to its characteristix. destructive circulation, over and over and over and over.

Wattery matter conducts a digitized memory of a city dweller playing with urban waters. The viewer is invited to complete the work by imagining the leg's cells absorbing the liquid while releasing particles of itself into the circuit of the city.

The more I walk through the forest that borders my parents‘ house, the more I notice its smaller and larger illnesses. He and most of the others are in bad shape. It has been lumbered, replanted, only to be lumbered again. Humans see it as their property. Yet it is home to countless living creatures and is actually a huge organism itself. The poem „Waldeinsamkeit“ (Forest Solitude) by Heirich Heine describes life in the forest with all its creatures and how they disappeared because people began to use it for themselves. The magic creatures disappeared and since then no one has seen them again. I wonder if some of them are still around and if they would show themselves, if they were met with kindness. If there is a chance of that happening, I think it will take a lot of time and patience. It would need a place to wait for them. That‘s the place I want to build. It has to be small. Just big enough to stretch out. With large openings so that everyone can see that someone is waiting for them. Birds should live in it too, the last ones that don‘t hide. The measurements were taken, the material has been ordered. I go back into the forest to understand what we have done to it and all those creatures who live in it. Maybe he will talk to me and tell me a little bit about his suffering. Perhaps even the spirits come out of hiding

The work in progress has been developed over the last days at Alter Wasserspeicher. The cracks are taken from the brick walls within the building. It is interesting how they can be understood. From a static point of view they appear as results of strains and tensions in bulidings. It is becoming obvious that the structure is not as durable and strong as we expected. At first sight a crack is a line that is finding its way through the wall. It is also a space in between. A sudden white space.

The safe spaces that surround us are not permanent.Various factors such as natural disasters, human construction and destruction, climate change, and war can alter our environment. The cycle of construction, wear and tear, repair, and reconstruction continues, and sometimes structures gradually deteriorate over time, unnoticed by anyone, until they eventually crumble, scatter into the air, and become part of something else. The project <Beyond control>, which consists of a steel frame installation, sound, and performance video,inspired by the trauma experienced during earthquakes in Japan, aims to visually communicate the cyclical concept of construction, destruction, and the deterioration of structures. The trauma of the earthquake is played through video in the steel frame structure that shakes from side to side as if an earthquake had occurred. Performance videos, including the sound of construction, nature and earthquake warnings, show how buildings are affected by environmental changes and human actions. Through this project, I reflect on how the safety of our surroundings can become unstable and examine the impact of natural disasters and human activities on buildings and the environment. It is also encouraged to contemplate the impermanence of the built environment and the interconnectedness of these processes.

My project is based on a story named The Peach Blossom Spring. The story expresses the ancient Chinese people's understanding of utopia.It was written during a time of political instability and national disunity. A fisherman rowed through a peach blossom field and found an ethereal utopia where the people lead an ideal existence in harmony with nature, unaware of the outside world for centuries. The video adopts the perspective of a fisherman, and the final text uses the description of this place in the original story. This description is also in line with some modern people's imagination of utopia.

Spaces constantly appear and then accumulate, taking the architecture into a constant state of staggering, blending and separating. Frequency shapes architecture. Until the frequence is not present, the liquid no longer to exist.

A performance embodying transformance and change through repetition.

1. Retransmission of radio archives recorded at Floating University in may, wandering from a frequency to another, looking for the entities inhabiting the large abandoned hertzien landscapes of Tempelhof airport, between machines-to-machines communications, signals from outer-space and independent local radios, in the liminal spaces where satellites, aliens and ghosts live intertwined. Most of the time, all we can listen to are silence and interferences, but after days listening to weather balloons and aircrafts, I can’t help but think that someone is trying to send a message. 2. Monster was one of the most active entities on the YouTube live chat « Sad Songs for Sad People», a web lacrymatory filled up with the tears of teenagers’ avatars gathering to tell stories and form relationships. On may 12th 2023, he disappeared. Angel Charm followed rapidly after. Maybe they’re in holidays somewhere.

Is the city made for people? That is the initial question of the project. On the basis of 3 different places in the city of Bremen, the everyday changes in the city are documented. The pictures become montages, our view of what happens in the city every day changes. Urban structures emerge or disappear. The individual montages come together to form a panorama that shows how urban systems develop and change. The time at which each picture was taken will only be evident from a time stamp. Approximately 6 slide projectors will be used for the exhibition. The slide projectors will operate individually or synchronously, depending on the scene. With the help of a relay, an attempt will be made to switch and automate the individual projectors in analogue fashion. By combining image and sound (relays & projectors), the effect of the image shown is intensified and transmitted into the room. The projectors are positioned in a semicircle in front of a wall on the floor. The round shape of the walls is to support the panorama effect

Everything that is drawn here was a reality on the surface. And now it is a reality several thousand kilometers from here. The shadow of horror that comes at the zero hour is always inherent in our world, do we see the seeds of this horror before it becomes our reality? We can't just stop it, we run into it regularly, so where does it all start? This place was and remains a bunker. It can become it again, because it already is, while everything else has a variable nature, a warehouse, a storehouse, an exhibition hall, all this can sink into oblivion at one moment when it becomes dangerous outside again due to the fact that our society turned a blind eye to many of the actions taken in society itself. At the same time, the horror of war and destruction lives precisely in such places as this, in which it is quiet and calm, which are isolated from the outside world, in those in which you are safe when a hurricane of the madness of human nature is raging outside. Dear spectator, I ask you to ask one question to yourself - where does the beginning of this horror lie in ourselves? Donation links to United24 (https://u24.gov.ua/) foundation.

An installation that narrates the bond of all creatures. All creatures are connected for various reasons. These seemingly more or less connections are intertwined, and in different time and space, they are affecting our lives in forms that we are familiar with or cannot distinguish. We are uncontrollably guided by these connections, There’s no good or bad. In the same way, these connections also break down the inherent boundaries... What we may need is to listen to our inner voice.

Marker and colored pencil on paper with an augmented reality timelapse video of the composition process. Abstracted composition of the Großer Wasserspeicher architectural drawings.

"cross:erase:beyond" is a sound installation that involves scratching and drawing on vinyl records. The artwork embodies the notion of "erasing the boundaries that exist in the world" and aims to gather voices on various topics and issues. It seeks to express the experiences and instabilities of individuals who exist outside mainstream society, while emphasizing the incomplete nature and diversity of boundaries. Through the documentation of this artwork, it becomes evident that "cross:erase:beyond" serves as a powerful means of expression, utilizing scratches and unexpected noises to disrupt and challenge the traditional understanding of boundaries. In doing so, it invites viewers to question and reconsider the limitations imposed upon marginalized individuals, thereby promoting a more inclusive and diverse society.

How do we Hear? investigates the concept of spatial aural perception. We seek to convey our understanding of the atmosphere inside various architectural spaces using a variety of sounds coming from material, habitation, water, and culture. We are interested in understanding perception of sound and emotional response in the form of participatory art including drawing, painting, writing and recording.

This project is about experimenting with the ways we perceive a neighborhood and it's history. In order to do so, we use the name of the streets to explore the intersections between past and present stories.

The audiences are sent out on a quest for our in-class creative projects hidden somewhere in the venue. The locations of them are suggested by clues created through lateral thinking. The projects form a puzzle, symbolizing a "land of memories" for our three weeks exploring the notion of "creating" in Berlin.

Body <-> City is a textile and paper collage that reflects our experiences living in Berlin in an abstract and instinctive way. Many of the ideas for the collage came about in the process of making it, with no strict visual goal in mind. This spontaneity resembles the surprises that come with navigating a new place, as well as the transformations in the self as a result of interactions in the city. We decided to focus on the body because being women of color have made it a central aspect of our lives. In this case, the body is not only a sensorial channel between the ego and the world, but also a filter that dictates how others will see us and therefore influence our experiences.

Portfolio site walking through the projects we created in class.

This movie offers a unique perspective on Berlin, as seen through my own eyes. Having had the privilege of spending considerable time in this vibrant city, I've discovered hidden gems and subtle nuances that often go unnoticed by many. Beyond the conventional tourist spots, there are countless details and experiences that capture the essence of Berlin's charm and character. Through this film, I aim to shed light on these overlooked aspects, inviting viewers to embark on a journey of discovery and appreciation for the lesser-known treasures that make Berlin truly special.

Our project is a magazine that will include engaging articles, vibrant imagery, and personal anecdotes that bring the dynamic experience of a J-term in Berlin to life. It celebrates the fusion of academic exploration and personal growth through creating

They would like to move the living equipment of the habitat into this heterogeneous space. Evoke some previous memories of the wasserspeicher before (e.g. war, temporary habitat), the intervention of the living space, and highlight this heterogeneous space more.it is like Foucault”s Heterotopias ,They are worlds within worlds, mirroring and yet upsetting what is outside.

Furax is a creature born in the Furan, a toxic underground river in Saint Etienne, she's out of society and writes poetry that she transforms into earthquakes with electronic machines.