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.
According to US gonzo journalist, Hunter S Thompson, “the human animal needs a Good Reason to get out of bed on a wretched morning in February.” 1
May we humbly suggest…….
Despite what some may have us believe, Bauhaus didn’t appear one morning from the slowly clearing mists of the Ilm valley; rather, and for all its lasting allure, Bauhaus ’twas but a moment on a longer, wider, international helix. One which began its twisting long before Walter Gropius and his merry band arrived in Weimar, and which continues, winding its way ever onwards, to this day.
With the exhibition From Arts and Crafts to the Bauhaus. Art and Design – A New Unity! the Bröhan Museum Berlin explore the helix as it approached and then, briefly, informed Bauhaus.
According to Germanic lore, “ein guter Septemberregen kommt nie ungelegen“, a good rain in September is never inopportune.
This year arguably more so than ever.
Similarly a good architecture and design exhibition in September is never inopportune.
And, and keeping with rain metaphors, while we can all remember what rain is, September 2018, sees a proper downpour of new architecture and design exhibitions. A downpour that is particularly opportune. Following July’s drought and its meagre 4 recommendations we have a ongoing deficit of one in our annual quota, the current deluge however means that for September 2018 we can present 6.
And so grab your umbrellas and take yourselves to an architecture and/or design exhibition this September. Our recommendations can be found in Kolding, Munich, London, Herford, Moscow and Weil am Rhein……..
Following on from the Collective in 2015, Movement in 2016 and Substance in 2017, the Stiftung Bauhaus Dessau’s annual theme for 2018 is the Standard; a central component of the teaching at Bauhaus Dessau yet one which is and was freely open to artistic, technological and functional interpretation.
And one the Bauhäusler freely interpreted artistically, technologically and functionally
The first exhibition in context of the annual theme explores the work of the German architect Carl Fieger, how he applied his understanding and interpretations of standardisation of architecture and design from his days at Bauhaus in the 1920s to his time at the East German Bauakademie in the 1950s, how he evolved and developed as an architect in that period and his contemporary relevance.
Summer traditionally sees a fall off in the number of new exhibitions opening, the 2017 drought is however especially hard, so much so that we can only find four recommendations. Either the global museum community assume we’re all at the beach, and thus not interested, or expect the world to end in September and so don’t see the point in new exhibitions.
It is a little unclear.
However, not only are we interested, but it takes a little more than the threat of an imminent apocalypse to keep us away from an interesting exhibition …. our recommendations for August 2017 with new exhibitions in Zürich, Copenhagen, Moscow and Weimar.
“The handicraft training in the Bauhaus workshops was not an end in itself, but an irreplaceable educational tool. The aim of this training was to create designers who, thanks to their precise knowledge of materials and processes, were able to influence the industrial production of our time.” Walter Gropius, 1955*
The tensions caused by the practical question of how this influence was to be expressed, and the parallels with the industrial production of our time, are explored in the exhibition Craft becomes Modern. The Bauhaus in the Making at Bauhaus Dessau.
While it’s hard to feel anything even vaguely resembling joy in a month which sees the UK start its senseless and cowardly, withdrawal from the European Union … life goes on!!
Our five top distractions for April 2017 features new design and architecture exhibitions in Berlin, New York, Paris, Dessau and Milan.
For George Orwell nothing heralded spring quite like the re-appearance of toads, emerging from their subterranean hibernation and setting off, once again, on life’s great cycle.
Our toads are the flurry of new design and architecture exhibitions which open globally every March, as the international museum and gallery community awake from their winter slumber.
Our highlights for March 2017, featuring new exhibitions in Bielefeld, Helsinki, Weil am Rhein, Utrecht and Paris
The German designer and silversmith Christian Dell is arguably best known for the numerous lighting designs he realised during the 1920s and 1930s.
Christian Dell was however also one of the pioneers of plastic design. If all too briefly.
Bauhaus Dessau was officially opened on December 4th 1926, and by way of celebrating the institution’s 90th anniversary on December 4th 2016 the foundation stone will be laid for the new Bauhaus Museum Dessau; an act which comes just one month after the foundation stone was laid for the new Bauhaus Museum Weimar. Both museums being built in preparation for the coming centenary of Bauhaus’s 1919 inauguration.
An apposite moment we thought to reflect on how Bauhaus was received, or at least how it was received in the early years, in its new, old, East German home1
Five recommendations for new architecture and design exhibitions opening in December 2016, featuring shows in Copenhagen, Weimar, Nürnberg, London and Munich
Dessau and Rotterdam may appear unlikely brothers in arms; however, an exploration of the towns’ architectural connections helps explain International
Whereas April showers tend to make you wet, grumpy and late, May showers are much more agreeable – or more
“The starting point for the chair was the problem of comfortable seating combined with a simple construction. A problem which
The end of design’s summer hibernation is traditionally marked by the opening of the Vitra Design Museum’s winter exhibition, which
The WA 24 table lamp by Wilhelm Wagenfeld is without question one of the most instantly recognisable pieces of Bauhaus
One of the biggest problems with Modernism is the name. It was unquestionably modern. Which is why it became known
As old Mother Goose, allegedly, once claimed: Thirty days hath September, and the following five enticing new design and architecture