In context of the exhibition Luigi Colani and Art Nouveau, the Bröhan-Museum Berlin’s staircase is emblazoned with a long quote from Colani, a long and typically outspoken quote, in which Luigi Colani denigrates the Hochschule für Gestaltung Ulm, that design school which has such a prominent and pre-eminent position in popular understandings of design in post-War West Germany; and who for Luigi Colani were “defrauders of the German creative spirituality of the twenties and thirties! Imbecilic criminals.”1
A quote that not only neatly epitomises the (consciously cultivated) Colani communication strategy, nor only leads one to reflect on Colani’s own relationship to inter-War design in Germany, but for all leads one by necessity to question the validity of the accusation; and thereby to reflect on the relationship(s) between the Hochschule für Gestaltung Ulm and the “German creative spirituality of the twenties and thirties”, and by extrapolation to reflect on post-War design in West Germany……..
The only certainty as 2020 flows into 2021 is the ongoing uncertainty. An uncertainty that is increasingly being understood as an ongoing certainty and thereby turning ever more “plans” into “options”.
And also causing a great many global architecture and design museums to skip over the first quarter of 2021 as if weren’t there, and to move their new exhibition openings to April and beyond.
A state of affairs which on the one hand means there are currently fewer lonelier locations than any given museum’s “future exhibitions” listings; but on the other hand means that much as the coldest hour is the one just before the dawn, so it is increasingly certain, as in “old” certain, that the paucity of new exhibitions opening in the first quarter of 2021 will cede to a flood come spring. And so you can now plan, as in old “plan”, to visit an exhibition a day come summer. And still have options. Old and new
And a state of affairs which has to a degree forced our hand and produced a hybrid recommendations list for January 2021: offline exhibitions in Berlin, Hamburg and Metz; online exhibitions from Warsaw and Weimar/Dessau.
And as ever in these times, if you do feel comfortable visiting any museum, please familiarise yourself in advance with the current ticketing, entry, safety, hygiene, cloakroom, etc rules and systems. And during your visit please stay safe, stay responsible, and above all, stay curious…….
Bauhaus Weimar’s centenary may now be behind us, but there remains a lot of discussion, consideration and reflection ahead of us. Not least in context of the rapidly approaching Bauhaus Dessau centenary.
By way of an accompaniment to those reflections, considerations and discussions, and of engendering a differing perspective on both the schools and the contexts in which they existed, a Radio smow playlist devoted to music of, from and associated with the Bauhauses.
While we’d all much rather physically visit architecture and design museums, our current enforced virtual patronage does allow us all an excellent opportunity to begin to understand architecture and design museums as more than just an exhibition space with shop and café, and to begin to learn to interact with them, and for all their collections, in new, proactive, manners. To understand architecture and design museums as tools as much as institutions.
And while a virtual visit can never replace a physical one, it can help us extenuate and expand our understandings and thereby allow us to take even more from that physical visit. And those physical visits will return.
Until then, volume two of our online recommendations takes you from your sofa to Berlin, Hamburg, Bloomfield Hills, Mumbai, München, and hopefully and awful lot further…..
The museums may be closed, travel restricted and leaving your home, when possible, unadvised….. but that’s no reason to restrict your cultural uptake, far less neglect the development of your architecture and design understandings.
Or put another way, if you can’t get to the museum….. let the museum come to you.
Five online architecture and design exhibitions and museum collections to explore from your sofa, bed, garden, balcony, wherever…..
Looking back from the safety of 2019 it can be all too easy to assume that Bauhaus was a popularly received and much celebrated institution.
From its very earliest days, even before the first students had arrived in Weimar, the institution met with tenacious criticism and steadfast resistance; and arguably nowhere more so than in Weimar.
With the exhibition Mathilde von Freytag-Loringhoven. Painter, Author, Animal Psychologist and Bauhaus Critic the Stadtmuseum Weimar introduce one of the institution’s most tenacious and steadfast opponents; and in doing so allows not only for considerations on some of Bauhaus’s lesser discussed (hi)story, but also for reflections on the political, social and cultural realities of 1920’s Germany……
Sitting unassumingly, and largely unnoticed, in the middle of Germany, the city of Gotha may have only little resonance with the majority, with the great unwashed; however, every European royal family can trace their lineage back to Gotha: most famously the English royal family through Queen Victoria’s 1840 marriage to Prince Albert, but the royal houses of Sweden, Denmark, Spain, Holland, Norway, you get the idea, can all trace their lineage back to and through Gotha.
Gotha and royalty ✔
Gotha and inter-war Modernism ¿✔?
As this Bauhaus Weimar centenary year is making ever clearer, whereas Bauhaus may have been physically sited in Weimar, Dessau and (nominally) Berlin, approaching a better understanding of “Bauhaus” involves leaving those sites and following the many paths that either led to, or from, those sites.
Paths that not only allow one to approach a better understanding of “Bauhaus”, but for all to approach a better understanding of the wider developments of the inter-War years, of inter-War Modernism, and thus to better understand that Bauhaus was but a component of that period, but a component of inter-War Modernism.
And paths, such as those mapped by the Brandenburgisches Landesmuseum für moderne Kunst, that invariably lead to new places, to new understandings and to an Unknown Modernism………
On November 1st 1512 Pope Julius II celebrated the All Saint’s Day Mass in the Sistine Chapel. The first public presentation of Michelangelo’s frescos, and thereby the opening of a permanent exhibition still on show today. And still attracting a public.
And while permanent exhibitions are good and important, for all in allowing an overview and an introduction to a subject, it is those ever changing temporary exhibitions that, should, ideally, allow for new insights and deepening of understandings.
Our recommendations for five new, temporary, architecture and design exhibitions opening in November 2019, and which promise such insights and depths, can be can be found in Munich, New York, Vienna, Esslingen and Gotha…..
Having started this Bauhaus Weimar centenary year by exploring the path from Arts and Crafts to Bauhaus, the Bröhan Museum Berlin end this Bauhaus Weimar centenary year by exploring the path from Bauhaus to
Arts and Crafts Scandinavia.
Or more accurately put, by exploring Nordic Design. The Response to the Bauhaus.
Whereas in the natural world spring ushers in new life but once a year, in the design museum world re-awakenings are biannual: a spring spring as curators awake from their winter hibernation and an autumn spring as they awake from their summer dormancy. Both bringing forth not only the promise of growth, energy, of a new esprit, of new experiences, new sensations, but confirming the eternal nature of existence, that we are but a moment on an endless spiralling continuum…….
Our five new stimulations for September 2019 can be found in Berlin, Helsinki, Weil am Rhein, Stockholm and ‘s-Hertogenbosch…….
According to our old friend Roget possible synonyms for “August” include great, noble, impressive or worshipful.
We can’t promise the following quintet of exhibitions will exactly meet such qualities; however, they promise to be anything but frivolous, undignified or flighty explorations of their subject, and therefore certainly should be tending to the August in August 2019…….
According to the old saying “Human spirit and the June wind often change swiftly”, and while we can undertake only little to influence the wind, a visit to an architecture or design exhibition should help strengthen, enhance, embolden and thus stabilise the human spirit. In June, or at any time of the year.
Our five recommendations for new exhibitions opening in June 2019 can be found in Ulm, Hornu, Munich, Gothenburg and Boston……
“I assure you that you and your work are the model case for what the Bauhaus has been after” wrote Walter Gropius to Wilhelm Wagenfeld in April 1965.
Just how Wilhelm Wagenfeld developed that “model case” “after” Bauhaus is explored, as least in terms of one design genre, in that genre for which Wilhelm Wagenfeld is most popularly known as a Bauhaus model, in the exhibition Wilhelm Wagenfeld: Lamps at the Wilhelm Wagenfeld Haus Bremen.
For all the controversy surrounding smow Tel Aviv’s victory in the 2018 smow Song Contest, not least the question if there even is a smow Tel Aviv, the staging of the 2019 Contest in Israel does allow for a very nice reinforcing of the central theme of the 2019 smow Song Contest….
That joining the
Women’s Department weaving workshop was for many a female Bauhäusler not so much an active wish as the response to a take-it-or-leave-it proposition, shouldn’t be confused with the workshop producing work of an involuntary, unloving, uncaring nature, of it playing second fiddle to the rest of the institution. Far from it. The quality and relevance of the work created in the Bauhaus weaving workshop being in many regards attested by the fact it was one of the more productive and commercially successful Bauhaus workshops.
With the exhibition Bauhaus. Textiles and Graphics the Kunstsammlungen Chemnitz explore the work undertaken in the Bauhaus weaving workshops, some of the institutions’ principle protagonists and their place in wider considerations of inter-War weaving. While also neatly, if indirectly, highlighting Bauhaus’s gender differences, inequalities, prejudices……
More or less……
…..while 3 of the 5 have a direct connection to Bauhaus, 5 of the 5 are very much in the spirit of the attempts of inter-War architects and designers to reform architecture and design, to establish a new architecture and design for the new society, attempts in which Bauhaus played an important role.
And for those seeking escape from Dessau and Weimar, figuratively not physically, we refer you to our more general 5 New Architecture & Design Exhibitions for May 2019 recommendations….
Sitting, quietly, unobtrusively, in the north-western corner of Germany, Oldenburg is, in many regards, a near textbook example of a provincial town. Which we don’t mean as an insult. Doesn’t mean it’s irrelevant. In any sense less worthy than elsewhere. Much more Oldenburg is the sort of self-contained community that exists not so much independent of the rest of the world, but without the rest of the world noticing. Or Oldenburg caring if they notice. Oldenburg has its (hi)stories, its intrigues, its characters, its dramas, its ways, its understandings, the sheer number of cafes in the pedestrianised town centre confirming that it does, and that is all important for Oldenburg. But Oldenburg is inconspicuous. Oldenburg isn’t the sort of place that is ever going to feature on the news, is never casually referenced in TV programmes, magazine articles or radio discussions, if they have a football team, then not one who play in a league you’ve ever heard of. Oldenburg is the sort of place one is from, but one would never move to. Respectable, decorous, correct, happy, unassuming. Provincial.
And thus surely not the sort of place to be troubled by something as radical, avant-garde and reformist as Bauhaus.
And, as the exhibition Between Utopia and Adaptation. The Bauhaus in Oldenburg in the Landesmuseum für Kunst und Kulturgeschichte discusses, was not only troubled by, but actively contributed to.
When one considers the, let’s say, unique, derisive, unalluring place the Sächsisch dialect
enjoys endures amongst German speakers, it could be considered unwise, foolhardy, to explore all too deeply the contributions made by creatives and industry in and from the State of Sachsen to the development of Bauhaus, to explore, if you will, Bauhaus’s Sächsisch accent.
With the exhibition Bauhaus_Sachsen the Grassi Museum für Angewandte Kunst Leipzig do just that…….
Today industrially produced objects are so self-evident and ubiquitous it can be hard to believe there was a time when they weren’t.
With the exhibition Unique Piece or Mass Product? the Werkbundarchiv – Museum der Dinge Berlin explores the developments of industrial production in the early 20th century, the discussions and discourses which accompanied those developments and the connections between such developments and the evolution of both formal understandings and the role and function of designers.
“We feel ourselves beholden to the traditions of Bauhaus”1 opined Rolf Kuhn, Director of the Dessau based Zentrum für Gestaltung, in the catalogue for the institute’s 1988 exhibition Experiment Bauhaus.
And while that may have been the case in the late 1980s, it certainly wasn’t always so in East Germany.
With the exhibition Shaping everyday life! Bauhaus modernism in the GDR the Dokumentationszentrum Alltagskultur der DDR in Eisenhüttenstadt allow for not only an exploration of the relationship(s) between the Bauhaus legacy and the East German state, but also for comparisons between inter-War and post-War design in eastern Germany.
“Sometimes one has to remind oneself that this change took place in one generation – such is the gap between the woman of today and of yesterday, between the girl of then and of now.”
So begins the German magazine Die Woche’s 1930 article “Mädchen wollen etwas lernen“, “Girls want to learn something”, an article which opens Four “Bauhausmädels” and is subsequently extend by the Angermuseum Erfurt to explore not only what Gertrud Arndt, Margarete Heymann, Margaretha Reichardt and Marianne Brandt learned at Bauhaus, but how they subsequently applied that “something”.
From you have I been absent in the spring,
When proud-pied April, dressed in all his trim,
Enticed us into the following architecture and design exhibitions…….
William Shakespeare, Sonnet 98, From you have I been absent in the spring (extended, with apologies)
Were it possible that there could be such a thing as a “lost” Bauhaus building, something wholly unimaginable this of all years, then the best candidate would, arguably, have to be the ADGB Bundesschule in Bernau bei Berlin. Yes, it is on the UNESCO World Heritage List, and so is not really lost; however as an object it only rarely features, and when then invariably passingly, in the popular Bauhaus discourse …. and that despite being built by a serving Bauhaus Director.
With the exhibition Volksbedarf statt Luxusbedarf – Bernau and its Bauhaus the Galerie Bernau aim to not only help increase the works visibility but also allow for a better understanding of its character.
Although Bauhaus did undeniably exist, sometimes we could all be forgiven for believing we had collectively imagined it. Not only on account of its ephemerality as an institution, but also because it existed in a period of history that is, generally, a little abstract, intangible, indecipherable for a majority of us. While today the popular image of Bauhaus is so ideal, represents such a utopia and eutopia, it has that tangible feeling of intangibility, of unreality, of something imaginary.
With the exhibition Bauhaus Imaginista the Haus der Kulturen der Welt in Berlin aim to allow for a more substantive understanding of Bauhaus.