Bauhaus Centenary will be one of the great cultural events of the year 2019. The Bauhaus, Germany’s most significant school of design of the 20th century, has left its mark all over the world and has had a decisive influence on the education of artists, architects and designers. After completing their education, many foreign Bauhauslers returned to their native countries where found new spheres of activity. What is the significance of the respective local manifestations of the Bauhaus and modernism in places such as Moscow, Hangzhou, Kyoto, São Paulo or New York?
This and other questions are addressed by the touring exhibition Bauhaus Imaginista that stops on five continents in several locations that have a special connection with the Bauhaus. From March 2018, four separately developed exhibitions are being shown at art and design museums in Japan, China, Russia and Brazil. The four chapters, each consisting of exhibitions, workshops, conferences and discussions, are based on one specific Bauhaus object (the Bauhaus Manifesto of 1919, a collage by Marcel Breuer, a drawing of an oriental carpet by Paul Klee, and a light game by Kurt Schwerdtfeger).
In the chapter Corresponding With (Kyoto, Tokyo and New Delhi), an exhibition at the National Museum of Modern Art Kyoto (August 4–October 8, 2018) is examining the educational approaches of the Bauhaus and compare them with two avant-garde art schools that were working simultaneously in Japan and India.
Moving Away (Hangzhou, Moscow and Lagos) focuses on debates around design theory from the Bauhaus and their translation into other cultural and political contexts such as in the former Soviet Union, India, and China. It is realized at Garage Museum of Contemporary Art in Moscow (September 11–November 30, 2018).
In an exhibition at the SESC Pompéia in Brazil (October 10, 2018–January 10, 2019), the chapter Learning From (São Paulo, New York and Rabat) reveals the interest that the Bauhaus and designers generally had in indigenous and pre-modern material cultures, and how practitioners influenced by the Bauhaus in North Africa, the United States, and Brazil developed this further to form a new modern idiom.
During the Bauhaus centenary year 2019, the locally developed exhibitions will all finally be united in a large overview together with the fourth exhibition chapter, Still Undead, at Haus der Kulturen der Welt in Berlin. Still Undead explores experimental work with light and sound, film and photography and their repercussions in expanded cinema, visual and popular culture and in electronic music.
MOVING AWAY: THE INTERNATIONALIST ARCHITECT
With its focus on the international dissemination and reception of the Bauhaus, the Moscow exhibition Moving Away: The Internationalist Architect traces the complex relations between the Bauhaus and the Soviet Union in the context of contemporary international architectural movements. It focuses on several graduates and students who were connected to the second Bauhaus director, architect Hannes Meyer, in the Soviet Union in the 1930s: architect Philipp Tolziner, who ended up living the rest of his life in Moscow; architect and urban planner Konrad Püschel; and architect Lotte Stam-Beese, who was the first woman to study in the building department of the Bauhaus Dessau.
Through photographs, letters, collage, scrap book pages, personal notes, diagrams, manifestos, architectural drawings, and city plans, the material describes the architects’ relationship with the Bauhaus Dessau, the Soviet Union, and communist and socialist ideals. It reflects various attempts to write personal and collective history, to memorialise, to figure out ideas about collaborative practice, and address migratory experience, revealing a personal aspect to modernist utopian design histories.
Moving Away: The Internationalist Architect
Garage Museum of Contemporary Art
9/32 Krymsky Val st., 119049
12th September – 30th November 2018
Opening hours: open every day from 11.00 am to 10 pm
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