Cold as February 2014 unquestionably was, we managed to warm ourselves with exhibitions looking at the 1920s medial representation of Bauhaus Dessau, the life and works of Marianne Brandt and the work of Berlin based designer Birgit Severin. And got all excited by some USM window fittings!
Posts Tagged ‘Marianne Brandt’
By way of an addendum to our addendum to our “5 New Design Exhibitions for February 2014” post…… Until June 8th 2014 the Villa Esche in Chemnitz is presenting a special exhibition devoted to the artist and industrial designer Marianne Brandt.
Built in 1903 by Henry van de Velde for the Chemnitz textile magnate Herbert Eugen Esche, the Villa Esche is not only a wonderful example of Henry van de Velde’s approach to architecture and his understanding of his responsibilities in context of the architectural Gesamtkunstwerk, but being one of his earlier projects also provides some delightful indications of the move from Art Nouveau to Modernism that he helped initiate. Of the move from the decorative to the functional.
And as such is a more than fitting location for a presentation of Marianne Brandt’s work.
Born in Chemnitz in 1893 Marianne Liebe studied drawing at the Hochschule für Bildende Kunst Weimar, before in 1919 she married the Norwegian painter Erik Brandt and moved to Oslo. In 1924 Marianne Brandt joined Bauhaus Weimar, moved with the institution to Dessau in 1925 where in 1926 she took up a position in the metal workshops, famously working alongside the likes of Wilhelm Wagenfeld and Christian Dell. Following her graduation from Bauhaus in 1929 Marianne Brandt worked as a designer for various companies/design studios including spells with Walter Gropius in Berlin and the Ruppelwerke GmbH in Gotha. Post World War II Marianne Brandt taught briefly at both the Hochschule für Werkkunst Dresden and the Kunsthochschule Berlin-Weissensee before returning to Chemnitz in 1954 to work as a freelance designer. Marianne Brandt died on 18th June 1983 in Kirchberg, Sachsen.
Despite leaving us the most intoxicating canon of artistic and design works, and being one of the few truly successful female modernists, Marianne Brandt is, sadly, one of the lesser acknowledged Bauhaus graduates, and, save the odd tea pot and ashtray in the Alessi collection, barely exists.
Particularly sad is her relative anonymity in Chemnitz.
The triennial Marianne Brandt Contest does a truly wonderful job of keeping her memory and legacy alive, but aside from that….
Chemnitz is very keen to market itself as “Stadt der Moderne ” – “City of Modernism”; however, a quick read, and it is a quick read, of the official city website reveals that aside from a few house in the Kaßberg quarter, the Villa Esche and Erich Mendelsohn’s Schocken department store, the city struggles to find anything to confirm its modernist aspirations.
Marianne Brandt doesn’t even get a mention.
Things may however be starting to move in a more positive direction. In spring 2015 the city’s Industry Museum will unveil a newly organised permanent exhibition, which will, potentially, hopefully, devote more space to Marianne Brandt. The exhibition in Villa Esche is in many ways a foretaste of what is to come.
Marianne Brandt at Villa Esche isn’t a large exhibition, is however one of the broadest presentations of Marianne Brandt’s life and work we have seen in a long time and in addition to original examples of her product design work includes photos by and of Marianne Brandt, sketches, letters and a presentation of the current Marianne Brandt Alessi collection
Among the most interesting objects on display are a handwritten CV, a metal ball Marianne Brandt used for experimental photography and a letter confirming her appointment to the staff at Bauhaus Dessau.
150 Reichsmark per month was apparently the going rate.
In addition there is a 1935 letter from László Moholy-Nagy in which he recounts how he had recently met Walter Gropius in London, how both had regretted the lack of opportunities they could offer Marianne and in which he encourages her to learn English so that he can try to organise a position for her in the UK.
Which is just the most tantalising proposition. A classic case of, what if….?
All the products on show in the exhibition, save a 1925 cigarette box, originate from the period 1929-1932, so her time with the Ruppelwerke in Gotha and in addition to underscoring the multi-faceted nature of Marianne Brandt’s talent, her almost unnerving ability to effortlessly convey function through formal elegance, also remind us that modernism was often colourful. Something it’s all too easy to forget when the only records one normally has are black and white photos.
Presenting some 50 objects Marianne Brandt at Villa Esche is probably too small to be worth a special trip to Chemnitz; however, if you happen to be in Chemnitz it is well worth finding the time.
For all residents of Chemnitz it should be compulsory.
Fuller details can be found at www.villaesche.de
A few impressions:
Older readers will be well aware of the high esteem in which we hold the Bauhaus educated designer Marianne Brandt.
And of the fact that every time we write about her we invariably end up offending half of Saxony.
So. Deep breath. Fingers crossed. Here goes…..
In 2013 the Chemnitz Art Society Villa Arte will be hosting the 5th International Marianne Brandt Contest.
A triannual celebration of international contemporary design the 5th edition of the competition not only continues the search for objects and photographs that represent the “Poetry of the Functional” but also promises a one day Marianne Brandt symposium.
Which we think is an excellent idea.
One of our highlights of 2012 was the exhibition “Bauhaus. Art as Life” at the Barbican in London.
Not just because the flight to “The Island” meant the chance to enjoy a couple of genuinely decent beers on the way home, but also because of the new dimension to many of the Bauhaus proragonist’s outputs it presented.
Including of course Marriane Brandt.
In our interview with the curator Lydia Yee she flagged up Brandt’s collages as being among those rarely seen objects that had helped her better understand Bauhaus and its legacy.
We can only concur. But not just the collages. The exhibition was awash with rarely seen perspectives on Brandt’s work.
Design being what it is it is all too easy for a designer to be reduced to one or two “trademark” objects while the rest of their life’s work is simply ignored.
Yes Marianne Brandt’s tea service is excellent. But is one project. Exploring the rest of her work you discover aspects of her character and philosophy that you simply cannot extrapolate from a tea service.
“Bauhaus. Art as Life” presented that chance and while the International Marianne Brandt Contest is without question an excellent platform for keeping the life and work of Marianne Brandt in the public eye, a little more explanation of who she was, what she did and why she is so important wouldn’t go amiss. And would ensure that she remained relevant for young designers. We hope the symposium can achieve that.
In addition to the regular Product Design and Photography categories, the 2013 International Marianne Brandt Contest includes the special category “Cradle to Cradle” for Sustainable Design.
Which makes our hearts sink a little. Or to be honest, a lot.
For us “Sustainable Design” awards are a bit like 3D films – a passing bandwagon that everyone suddenly feels that they need to jump on. Regardless if they know the final destination or not.
Why not just make sustainability a criteria for winning the prize?
Looking back at the 2010 International Marianne Brandt Contest many of the entries were sustainable. Very sustainable even. And it is to be expected that many 2013 entries will also be. Intelligent contemporary designers working outwith the confines of commercial contracts invariably consider resources, life-cycles, energy supply and recycling/disposal when developing their projects.
Making “Sustainable Design” an extra category doesn’t help advance any dialogue about sustainability in design, rather it keeps it as a “feature” in the public’s view. However if design is to be truly sustainable we all – designers, consumers, “lifestyle bloggers”, manufacturers, politicians – have to understand stability as part of design’s remit.
Regardless, we’re just happy to have the International Marianne Brandt Contest back.
We’ve missed it. Honest.
The 2010 International Marianne Brandt Contest famously introduced us to two projects that still excite and fascinate us – Mechthild by Christoph Schmidt and Damensattel by Caspar Huckfeldt – and we fully expect the 2013 edition to be just as stimulating, invigorating, innovating and challenging.
Entries for the 2013 International Marianne Brandt Contest cannot be submitted until May 2013 and so you’ve got time to develop a killer project.
The competition is open to all designers, regardless of how professional. The only proviso is that you must be under 40: which of course sadly rules out most residents of Chemnitz.
So close. Sooooo close.
More details on the 2013 International Marianne Brandt Contest can be found at http://marianne-brandt-wettbewerb.de
Awards ceremonies are all well and good – but much more important is the exhibition to accompany the contest.
And until October 10th the Industrial Museum Chemnitz is hosting the International Marianne Brandt Contest 2010 exhibition.
We had planned to write a long text – changed our mind and instead present here a few impressions of our pick of the exhibits.
We can however strongly recommend the exhibition; not only for those interested in art and design – but also for all those who are open to new ideas and new thinking.
And for those can’t make it to Chemnitz – the winning projects will be on display in Leipzig during Designers Open (October 29-31) and in November at the Sächsische Akademie der Künste in Dresden.
More information can be found at www.marianne-brandt-wettbewerb.de
Although the Marianne Brandt Contest is on the surface about Marianne Brandt, the awards ceremony in Chemnitz on Friday stood very much under a different star.
“Chemnitz – Stadt der Moderne”/ “Chemnitz – The Modernist City”
Every single official speech rammed home the message; “Chemnitz – Stadt der Moderne” being repeated ad nauseum ad infinitum in the hope that if one said it often enough it may just come true.
“I want a pony !” “I want a pony !” “I want a pony !” “I want a pony !” “I want a pony !”
Now we’ve nothing against city marketing – just the evidence to back up Chemnitz’s claim to be a centre of European Modernism is slim.
And that’s using the evidence provided by Chemnitz itself, evidence which largely confuses “modernism” with “modern”
The irony of the whole situation is that as one could easily hear from Chemnitz Mayor Barbara Ludwig’s speech – Marianne Brandt is a strong enough character in her own right.
One doesn’t need to hijack such an event to force “Chemnitz – The Modernist City” down the throats of an audience intelligent enough to know that the claim being made is nothing more than a tawdry piece of city marketing.
Marianne Brandt’s legacy shines a thousand times brighter.
Fortunately all the prize winners very much in the spirit of Marianne Brandt.
The main photography prize, for example, was awarded to Düsseldorf based photographer Alexandra Grein for her wonderful collage series “Terra”. Conceived as an homage to the German romantic painter Caspar David Friedrich the individual works in “Terra” are constructed from satellite images of those locations which Caspar David Friedrich visited and which inspired him.
Collage as a photographic discipline is of course something Marianne Brandt made regular use of – Alexandra Grein, in effect if not intentionally, “Bauhausing” the discipline by updating it through the combination of modern computer technology and satellite imaging.
Also the main prize in the category product design could easily have come from Brandt or one of her contemporaries.
The Hummingbird Mechthild by Christoph Schmidt is, if we’re all honest, nothing more than a bit of origami with a paper clip in its beak.
The Eames DSR is also just a chair.
“Mechthild” arose because Christoph Schmidt was looking for a solution to filling some holes in his wall. Rather than just putting in bits of plaster or covering them up with a photo – he designed “Mechthild”.
“Mechthild” doesn’t just fill the hole; “Mechthild” uses the hole to create something. And in doing so not only turns a problem into an opportunity but also wonderfully demonstrates what can be achieved if one understands the materials you are working with and are able to think outwith the boundaries set by conventional design theory.
Which of course is something Bauhaus taught us all.
What we particularly like about “Mechthild” is that as with Algue by Ronan and Erwan Bouroullec, “Mechthild” casts shadows on the wall – shadows that change as the light in a room changes – and as such plays an active role in the interior design.
The highpoint of the awards for us were obviously the presentation of the (smow)-USM Haller special award to Berlin based designer Tonia Welter for her collection of USB jewellery and the (smow)-Vitra special award to Caspar Huckfeld for his delightful bike saddle.
But more on Tonia Welter, Caspar Huckfeld and Christoph Schmidt later.
As we sat through the opening speeches we genuinely feared that Chemnitz was at risk of soiling the image of one its true stars in the name of city marketing.
As we left the Oper we were much happier.
Not only because it was clear that the prize winners understood Marianne Brandt’s legacy, but also the wonderful musical interlude which saw a Marianne Brandt poem set to music, beautifully demonstrated that the organisers of the Marianne Brandt Contest also understand why they do what they do.
We just hope that in the future they continue to do that – and that Chemnitz finds itself a new, and appropriate, slogan.
When we heard that the 2010 International Marianne Brandt Contest exhibition was going to be held in the Industrial Museum, Chemnitz, our first thought was: that’s a bit harsh.
We know the city’s fortunes haven’t been the best since the end of the DDR – but to label the whole city as nothing more than a tourist attraction dedicated to artificially maintaining happier memories of times long since past….
It turns out that the Industrial Museum Chemnitz is actually a Museum in Chemnitz devoted to Industrial history.
Held under the motto “The poetry of the functional” the 2010 Marianne Brandt Contest sought entries in the two “regular” categories – product design and photography – plus this years “guest” category “Light in public spaces”
And the organisers weren’t disappointed – some 410 entries from 12 countries were submitted, a clear increase in comparison to 2007.
The exhibition in the Industrial Museum Chemnitz presents the prize winning entries plus a selection of further commended works – and thus allows both a nice overview of the submitted works plus the chance to assess the juries verdict in context of the other entries.
In addition to all the objects that one expects to see at such a show the International Marianne Brandt Contest 2010 exhibition has also some real gems of creativity.
And a couple of old (smow)blog favourites can also be admired and adored.
We don’t want to rain on any ones parade and so we’ll keep our powder dry until next week when we’ll present not only our review of the exhibition but also our report and photos from the awards ceremony.
We know that involves going to Chemnitz twice in two days, but…. what can you do.
Chemnitz is without doubt the ugliest city in Sachsen. If not Europe.
And so it is all the more surprising that the town produced one of the most gifted aestheticians of the Bauhaus generation: Marianne Brandt.
A student of, amongst others, László Moholy-Nagy, Josef Albers and Wassily Kandinsky, Brandt is best known for her home accessories including ashtrays, coffee/tee services and lamps. Many of her works are part of the permanent collection at leading museums including the Museum of Modern Art, MoMa, in New York.
To honour the city’s most most talented daughter, Chemnitz organises an triennial Marianne Brandt Contest and 2010 sees the fourth edition.
Under the motto “Poetry of the Functional” the 2010 Marianne Brandt Contest has three categories: photography, product design and light in public spaces.
The contest is open to all students and other creative youths under 40 years old as of 10.06.2010 and who have their main residence in Europe.
Full details of how to enter and what can be won can be found in the official 2010 Marianne Brandt Contest announcement.