“The word ‘document’ which in the last few generations stood, and in many regards still stands for, papers relating to legal matters, such as deeds, contracts, affidavits and certificates, has in present-day professional usage reverted to its original meaning as derived from its Latin origin”, opined Lucia Moholy in 1948, “and now applies to spoken, written, printed and other materials, produced and distributed for the purpose of imparting knowledge”.1

With Lucia Moholy: Exposures Kunsthalle Praha allow one to approach a better understanding that for Lucia Moholy the most important “other material” of documentation was photography, and employs Lucia Moholy’s photography, and her spoken, written and printed material, to enable an imparting of enhanced knowledge of Lucia Moholy and on the (hi)story of 20th century creativity…….

Lucia Moholy peruses some of her photographs of the products of the Bauhaus Weimar and Bauhaus Dessau workshops, as seen at Lucia Moholy: Exposures, Kunsthalle Praha

There is an argument to be made that popular understandings of, and the popular presentation of, inter-War European avant-garde architecture and design tend to focus on Germany and Russia, and on Functionalism, popular foci that tend to cause us all to forget that the inter-War European avant-Garde was a homogenous mix of positions and, and as with the Art Nouveau before it, an international moment defined by its variety of regional dialects.

With the exhibition Hej rup! The Czech Avant-Garde the Bröhan Museum, Berlin, provide for an introductory course in inter-War Czechoslovakian…….

Hej rup! The Czech Avant-Garde, Bröhan Museum, Berlin