bauhaus
imaginista
●Editions
●Concept of bauhaus-imaginista.org
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The online scientific publishing platform bauhaus-imaginista.org is home to details of the research processes and results of bauhaus imaginista. It reflects on issues before and after the events and exhibitions of bauhaus imaginista and deepens insights gained through a network of collaborators and international researchers. The online journal relates to the artists commissioned for and around the events and exhibitions, as well as publishing reports by local correspondents.

 

The platform bauhaus-imaginista.org will be a continuously growing resource, a “work in progress”, divided into four conceptual editions (Corresponding With, Learning From, Moving Away and Still Undead), which will be filled with research texts and materials, videos, photos and artists’ pages and documentation about exhibitions, workshops and symposia held in the cities of Rabat, Hangzhou, New York, Kyoto and Tokyo, Moscow, São Paulo, Lagos and New Delhi in 2018, and in Berlin in 2019. → more

bauhaus-imaginista.org ist die wissenschaftliche Veröffentlichungsplattform des Projekts bauhaus imaginista, seines Forschungsprozesses und seiner Ergebnisse. Sie spiegelt Fragen und Aspekte, die in den Veranstaltungen und Ausstellungen aufgeworfen werden, und vertieft neue Erkenntnisse, gewonnen durch ein Netzwerk von Wissenschaftler*innen und Kooperationspartnern. Das Online-Journal berichtet darüber hinaus über die Arbeiten, die von den für bauhaus imaginista beauftragten Künstler*innen während der kommenden Veranstaltungen und für die Ausstellungen entwickelt werden, und veröffentlicht Reportagen der Korrespondenten vor Ort.

 

bauhaus-imaginista.org ist eine kontinuierlich wachsende Website, ein „work in progress“. Vier Editionen (Corresponding With, Learning From, Moving Away, Still Undead) werden mit aktuellen wissenschaftlichen Beiträgen, Videos, Fotos und Künstlerseiten sowie Dokumentationen der Ausstellungen, Workshops und Symposien in Rabat, Hangzhou, New York City, Kyoto und Tokio, Moskau, São Paulo, Lagos und Neu-Delhi im Jahr 2018 und in Berlin 2019 bestückt. Im Verlauf dieses Prozesses wird die Website zum Materialfundus und Wissenspool des Projektes heranwachsen. → more

●Journal Articles
●Article
"Every Moment Is a Moment of Learning" — Lenore Tawney. New Bauhaus and Amerindian Impulses

“I felt as if I had made a step and maybe a new form. These evolved from a study of Peruvian techniques, out of twining and twisting. Out of that came my new way of working, of dividing and separating the piece.” Lenore Tawney’s “Woven Forms” are not purpose-built in a (Western) crafts sense; they move beyond traditional European rules of weaving and attempt to approach an indigenous attitude towards craft and technique. This essay shows how Tawney charted her own unique path in fiber art by linking Amerindian impulses with Taoist concepts of space and Bauhaus ideas. → more

●Video
"Native Genius in Anonymous Architecture" by Sibyl Moholy-Nagy

Sibyl Moholy-Nagy understood herself as a traveling observer. In her book Native Genius in Anonymous Architecture Moholy-Nagy sought buildings that survived time because they had developed naturally out of the North American reality. In doing so she did not define one style, method or area but rather showed how builders found creative solutions to specific problems of site, climate, materials and skills.  → more

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Lena Bergner: From the Bauhaus to Mexico

The story of Lena Bergner is relevant to the history of architecture and design on account of her career passing through different ideological and cultural contexts. Here we will discuss her life and work, focusing on her training in the Bauhaus, her time in the USSR and her time in Mexico, where, along with her husband the architect Hannes Meyer, over a ten-year period she undertook cultural projects of great importance. → more

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The “Workshop for Popular Graphic Art” in Mexico: Bauhaus Travels to America

The global developments that led in 1942 to the appointment of Hannes Meyer, second Bauhaus director, as head of the workshop for popular graphic art, Taller de Gráfica Popular (henceforth referred to as the TGP), made it a focal point for migrating Europeans in flight from fascism. This essay aims to shed light on how the TGP was influenced by Europeans granted asylum by Mexico before and during World War Two, and, conversely, to explore the degree to which these exiled visual artists, writers, and architects’ ideas came to be influenced by their contact with artists active in the TGP. → more

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Chabâa’s Concept of the “3 As”

“Architecture is one expression of the fine arts” (Mohamed Chabâa, in: Alam Attarbia, No. 1, p. 36, 2001.)

 

Mohamed Chabâa’s consciousness of his national heritage and his interest in architecture both emerged at a young age. His concept of the “3 A’s”—art, architecture and the arts and crafts—grew out of his discovery both of the Italian Renaissance and the Bauhaus School during a period of study in Rome in the early 1960s. From then on, bringing together the “3 A’s” would become a central interest, a concept Chabâa would apply in various ways and fiercely defend throughout his long and varied career. → more

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École des Beaux-arts de Casablanca (1964–1970) — Fonctions de l’Image et Facteurs Temporels

Utopie culturelle vécue, posture éthique et préfiguration de la modernité artistique et culturelle marocaine, l’École des Beaux-arts de Casablanca est, de 1964 à 1970, le lieu de cristallisations d’aspirations sociales et artistiques portées par un groupe d’artistes et enseignants responsables d’une restructuration des bases pédagogiques. → more

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« Les Intégrations », Cabinet, Faraoui – De Mazières — Vers une Dématérialisation des Formes d’Art ?

Etudier les actions dans l’espace public revient à définir une historiographie de pratiques séminales contribuant à l’autonomisation du champ de l’histoire de l’art et de ses objets. A partir de 1966, le Cabinet d’architectes Abdeslam Faraoui et Patrice de Mazières met en œuvre le projet des Intégrations dont l’intermédialité entre l’art, l’urbanisme et l’architecture se distingue du corpus des actions organisées dans l’espace public. → more

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Naked Functionalism and the Anti-Aesthetic — The Activities of Renshichirō Kawakita in the 1930s

Kawakita called the educational activities that developed around the central axis of the School of New Architecture and Design “kōsei education.” The term “compositional/structural education” is often taken nowadays to refer to a preparatory course in composition derived from the Bauhaus—plastic arts training in which plastic elements such as color, form and materials are treated abstractly.  → more

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Richard Paulick and the Remaking of a Greater Shanghai 1933–1949

The article focusses on Richard Paulick’s sixteen-year exile in Shanghai. It is an examination of the interaction between a Bauhaus socialist and a Far East port city in its rush to modernize at the midpoint of the twentieth century. → more

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Bauhaus Weimar International — Visions and Projects 1919–1925

Although the Bauhaus opened its door in 1919, it took more than three years for Gropius to fully organize the school’s faculty, since with the departure of several of the old art school’s professors, such as Max Thedy, Richard Engelmann and Walther Klemm, open positions had to be regularly filled. But Gropius’s first appointments indicated the course set toward an international avant-garde school, a school of invention. → more

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A Mystic Milieu — Johannes Itten and Mazdaznan at Bauhaus Weimar

Mazdaznan had a significant although often misunderstood impact on the life and work of Johannes Itten, a key figure in the development of the Weimar Bauhaus. A devout practitioner of Mazdaznan, he was responsible for introducing it to students of the Bauhaus in the early 1920s. This essay explores the intimate relationship between Itten, Mazdaznan and the Bauhaus and, in so doing, also underscores how in its infancy the Bauhaus was very different from its later incarnation as a school associated primarily with technical innovation. → more

●On-site report
Weaving Reflections — On Museology and the Rematriation of Indigenous Beings from Ethnological Collections

One primary question leading up to the bauhaus imaginista workshop and symposium had concerned the extent to which Bauhaus artists had been culturally informed by and subsequently appropriated Indigenous art. This essay examines ethnographic and natural history museology and how Indigenous cultures are perceived, translated and exhibited through Westernized perspectives that are informed by a philosophical subject-object divide. → more

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After the Ball — Hannes Meyer presenting the Bauhaus in Moscow

Hannes Meyer arrived in the USSR just a couple of months after being dismissed from his position as Bauhaus director in October 1930. These months were filled with attempts by Meyer and his supporters to protest this decision through all possible means: media campaigns, open letters, student demonstration and court trials. After arriving in Moscow, Meyer carried on the fight against his unfair dismissal. → more

●Artistic Work
To Philipp Tolziner

For the exhibition bauhaus imaginista: Moving Away. The Internationalist Architect at Garage Contemporary Museum of Art, the contemporary artist Alice Creischer has been invited to respond to the personal archive of Bauhaus architect Philipp Tolziner. She produced reading of material relating to the architect’s socialist backgrounds and his work in the Soviet Union.  → more

●Translation
The Moscow Bauhaus exhibition catalogue (1931)

When Hannes Meyer had emigrated to the Soviet Union in 1930, one of the first things he did was organizing an exhibition about "his" Bauhaus. As early as in February 1931 Meyer had the exhibition “Bauhaus Dessau. Period of Hannes Meyer’s directorship. 1928-1930” already ready to receive the Moscow public. It was shown at the renown State Museum of New Western Art. This is the first English translation of the exhibition catalogue. → more

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Meyer’s Russia, or the Land that never was

It is quite hard to know where to start with Hannes Meyer in Moscow. It’s hard because, while there is plenty of documentation on him and his team in the Bauhaus Brigade—as well as other Western designers and architects (of these, Ernst May is at least as significant as Meyer, as is the Dutch designer Mart Stam, and each went on to produce more substantial work than Meyer after their respective Russian episodes)—the legacy of his work there presents certain difficulties in evaluating. → more

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Bauhaus manifesto re-cap — Historical background and content

Gropius wrote his Bauhaus manifesto shortly after the end of World War I. The German empire had collapsed, Russia had undergone a revolution and a second revolution in Germany was in the process of being suppressed. Throughout Germany people felt the necessity for a social and intellectual change. → more

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From Recognition to Rejection — Hannes Meyer and the Reception of the Bauhaus in the Soviet Union

The history of the Stalinist critique of the Bauhaus and Hannes Meyer has two chapters. The first chapter spans the time from 1929 to the Architects’ Congress in the Soviet Union in 1937; the second consists in the condemnation of the Bauhaus in the GDR that took place on the trip by East German architects to Moscow in spring of 1950. This text tells the story of the first chapter. → more

●Artist Text
Open your Eyes — Breathing new Life into Bauhaus Papercuts

My artistic practice working primarily with abstract folded paper objects led me to Josef Albers and his similar obsession with paper as an instructional medium. Initially looking for pleated paper forms and to learn more about the history of these techniques, I have since been swept up in the maelstrom of Albers' pedagogical mindset. It's difficult to look at one area of his thinking and not get pulled into many other directions, finding yourself challenged at every turn. → more

●Artist Text
The Egyptian Postures

In the late nineteenth century the self-styled Dr. Otoman Zar-Adusht Ha'nish founded Mazdaznan, a quasi-religious movement of vegetarian diet and body consciousness, which flourished across the USA and Europe until the 1940's. The Egyptian Postures is a guide to the most advanced Mazdaznan exercises that Johannes Itten taught his students at the Bauhaus. This edition of Dr. Otoman Zar-Adusht Ha’nish’s original instructions has been newly edited and illustrated by Ian Whittlesea with images of actor Ery Nzaramba demonstrating the postures. → more

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The Bauhaus and the Tea Ceremony

The impact of the Bauhaus teaching methods reached far beyond Germany. Conversely, throughout its existence, a Japanese sensibility permeated the Bauhaus, springing from the Japonisme of individual professors, until its closure in 1933. This article analyzes the reciprocal impact of German and Japanese design education in the interbellum period in order to shed new light on the tightly knit network of associations then connecting Japan and Europe. → more

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Don’t Breathe Normal: Read Souffles! — On Decolonizing Culture

The need for a synthesis of the arts and, with this, a change of pedagogical principles, was not only present at the beginning of the twentieth century (forces that prompted the Bauhaus’s foundation), but after WWII as well, during the “Short Century” of decolonization. . This second modern movement and its relation to modernism and the vernacular, the hand made, and the everyday was vividly expressed through texts and art works published in the Moroccan quarterly magazine Souffles, published beginning in the mid-1960s by a group of writers and artists in Rabat, Casablanca and Paris. → more

●Artist Text
The O Horizon — A Film produced for bauhaus imaginista

The Otolith Group have been commissioned to produce 'The O Horizon' for bauhaus imaginista, a new film containing studies of Kala Bhavana as well as the wider environments of Santiniketan and Sriniketan. Through rare footage of art, craft, music and dance, it explores the material production of the school and its community as well as the metaphysical inclinations that guided Tagore’s approach to institution building. → more

●Artist Text
The legacies of the Bauhaus — For the Present and the Future

"My method of bringing new life to archival images is to look at what happens at the margins rather than the center of a picture. I am also obsessed with making links, based on the belief that everything is connected. And also with what I call “narrative environments,” mediating spaces facilitating new forms of engagement." Luca Frei is a commissioned artist for bauhaus imaginista: Corresponding With. He talks about his approach to his installation for the exhibition at MoMAK in Kyoto. → more

●Article
Shifting, Rotating, Mirroring 
 — Lena Bergner’s Minutes of Paul Klee’s Classes

Lena Bergner developed carpet patterns applying specific methods learned from Paul Klee discernible in her finished work. The results, however, are quite unique. This is precisely what Klee sought to achieve with his classes at the Bauhaus: to point to paths of design so that the formal language is not arbitrary, without, however, prescribing predetermined outcomes. → more

●Video
kNOT a QUIPU — An Interview with Cecilia Vicuña

In this recorded interview, Vicuña describes how after she first learned about quipu, she immediately integrated the system into her life. Quipu, the Spanish transliteration of the word for “knot” in Cusco Quechua, is a system of colored, spun and plied or waxed threads or strings made from cotton or camelid fiber. They were used by the Inca people for a variety of administrative purposes, mainly record-keeping, and also for other ends that have now been lost to history.  → more

●Article
The “School in the Woods” as a Socio-pedagogical Ideal — Functional Analyses and Photographs by Peterhans

The building theory classes at the Bauhaus focused on imparting a functional understanding of architecture. Building had become a science. As a result, the ADGB Trade Union School was designed logically from the inside out. Walter Peterhans’ photographs of the school images illustrate both the architect’s intentions for the building and the environmental studies conducted by Bauhaus students. → more

●Article
The “Hungarian Bauhaus” — Sándor Bortnyik’s Bauhaus-inspired Budapest School Műhely 1928–1938

One of the many Hungarians associated with the Bauhaus, painter and graphic designer Sándor Bortnyik (1893-1976) opened his art and design school, Műhely, in Budapest in 1928 to bring the Bauhaus’s sprit and some of its teaching methods into Hungary. Even if Bortnyik’s school did not have the scope of the Bauhaus, it was an efficient experiment in an independent form of institutionalized education in the field of modern graphic design and typography. → more

●Article
Bauhausmoderne und chinesische Tradition — Franz Ehrlichs Entwurf für ein Haus des Handels in Peking (1954–1956)

In den frühen 1950er-Jahren bestanden gute diplomatische, politische und ökonomische Beziehungen zwischen der Volksrepublik China und der Deutschen Demokratischen Republik. Beide, sich als sozialistisch verstehende Staaten, waren 1949 gegründet worden. In diesem Aufsatz geht es um die besondere Beziehung zur chinesischen Architektur, Kunst und Gestaltung, die Franz Ehrlich entwickelte. → more

●Article
Common Threads — Approaches to Paul Klee’s Carpet of 1927

Paul Klee’s Carpet, 1927, creates a conundrum for scholars as it does not neatly fit the existing theoretical models concerning how European artists engage with non-Western art and culture, while at the same time opening up exciting new avenues for inquiry. → more

●Article
Andean Weaving and the Appropriation of the Ancient Past in Modern Fiber Art

Ancient and indigenous textile cultures of the Americas played a critical role in the development of the work of fiber artists who came of age in the U.S. in the late 1950s and 1960s. Anyone who has studied fiber art of this period, myself included, knows this well. They openly professed an admiration for traditions ranging from Navaho weaving, to the use of the backstrap loom in Mexico and Central America, to the ancient weaving techniques of Peru. → more

●Article
Teko Porã — On Art and Life

Cristine Takuá is an indigenous philosopher, educator, and artisan who lives in the village of Rio Silveira, state of São Paulo, Brazil. She was invited to present a contemporary perspective on questions and tensions raised by interactions between the indigenous communities and the mainstream art system, as well as to address Brazil’s specific social and political context. → more

●Article
Anni Albers and Ancient American Textiles

At the time Anni Albers wrote On Weaving in 1965, few discussions of Andean textiles “as art” had appeared in weaving textbooks, but there were numerous publications, many of which were German books published between 1880 and 1929, that documented and described their visual and technical properties. Albers almost single-handedly introduced weaving students to this ancient textile art through her writing and her artistic work.  → more

●Article
The Spread of the Bauhaus in China

As early as the end of the 19th century up to the beginning of the 20th century, which is to say before the founding of the Bauhaus and after China’s forced opening through war to the outside world, China had already been witness to various experiments in modernization. Such experiments contributed to the laying down of a foundational mindset necessary for the acceptance of the Bauhaus in China’s traditional culture. → more

●Video
Jawaja Project — A Case study

The NID was involved in a joint venture with the Indian Institute of Management, Ahmedabad in the adoption for development of a group of villages in Rajasthan. Could local self-reliance emerge from a process of mutual learning between communities and other groups of people? The film shows how leather work and weaving emerged as the opportunity and basis for sustained group effort. → more

●Video
Architects' Congress

The passenger ship Patris II transported the participants of the 4th International Congresses of Modern Architecture (CIAM) from Marseilles to Athens and back. Bauhaus teacher Moholy-Nagy, travelling as a “friend of the new building movement” produced this half-hour soundless film as a travel journal. → more

●Article
The Bauhaus and Morocco

In the years when Western nations were committed in new projects of partnership, with what was then called the “Third World”, young artists and students from the Maghreb had grown up in the passionate climate of the struggle for independence, were talented, open to modernity, and eager to connect with twentieth-century international art movements, which were different in production and spirit from colonial ideology and culture. → more

●Article
Modern Vernacular — Walter Gropius and Chinese Architecture

This essay explores the connection between Walter Gropius and I. M. Pei, as well as the influence of the one on the other. After completing his studies, I. M. Pei worked with Gropius on plans for a university in Shanghai, which he subsequently realized in Taiwan, than in association with Chang Chao-Kang and Chen Chi-Kuan. → more

●Artist Text
Research Project by Kader Attia

Looking into the history of objects, into their original practical and social function as well as into the circumstances of their transition to European and other countries of Western civilization, the artist Kader Attia aims at conveying the full identity of the objects and to follow the traces of their disappearance that still can be discovered today and call for repair. → more

●Article
Memories

I was sixteen years old when I undertook my first journey into finding a professional vocation, first in Asilah, then in Fez followed by Tétouan. 1952. Tangiers was, to me, an open book, a window on the world. The freedom of seeing, of discovering and of feeling, of weaving the narratives of my dreams. → more

●Research Archive
Tapestry Rugs in an Ancient Peruvian Design
Mary Meigs Atwater

from: Shuttle-Craft Bulletin, March 1941.

EN Size: 782 KB
Work with Material
Anni Albers

from: Black Mountain College Bulletin, No. 5, 1938.

EN Size: 2 MB
Source:Reproduced with permission of North Carolina Department of Natural and Cultural Resources and The Josef and Anni Albers Foundation.
Essai d'Inventaire des Styles dans les Arts Populaires du Maroc
Bert Flint

Publié dans: Maghreb Art, 1966.
Courtesy of Mohammed Melehi and Toni Maraini.

FR Size: 38 MB
Témoignage sur un artiste occidental. Herbert Bayer
Toni Maraini

Publié dans: Integral, No. 12–13, 1978.
Courtesy of Toni Maraini.

FR Size: 2 MB
Fiches et questionnaire avec Farid Belkahia, Mohamed Chabaa, Mohamed Melehi
Abdellatif Laâbi

Publié dans: Souffles, No. 7–8, 1967.

Courtesy of Abdellatif Laâbi.

FR Size: 26 MB
Oral history interview with Sheila Hicks
Monique Lévi-Strauss, Sheila Hicks

Oral history interview, 2004 February 3 and March 11.

EN Size: 82 KB
From an 'Alien, Hostile Phenomenon' to the 'Poetry of the Future'. On the Bauhaus Reception in East Germany, 1945–70
Wolfgang Thöner

from: GHI Bulletin Supplement 2.

EN Size: 651 KB
Lotte Stam-Beese. From 'Entwurfsarchitektin' to Urban-planning Architect
Hanneke Oosterhof

from: Architektúra & Urbanizmus, Vol. LI, No. 1–2, 2017, p. 94–105.

EN Size: 925 KB
Architekt und Propagandist: Zu den Vortragsreisen Hannes Meyers nach Westeuropa 1931–36
Klaus-Jürgen Winkler

in: Wissenschaftliche Zeitschrift der Hochschule für Architektur und Bauwesen Weimar, 32. Jg., 1986, Reihe: A, No. 4.

DE Size: 5 MB
Dashrath Patel’s non-aligned alignments
Nancy Adajania

Courtesy of Nancy Adajania.

EN Size: 271 KB
Im Schatten großer Mangobäume. Kunsterziehung und transkulturelle Moderne im Kontext der indischen Unabhängigkeitsbewegung
Christian Kravagna

in: Tom Holert & Marion von Osten (Hg.): Das Erziehungsbild. Zur visuellen Kultur des Pädagogischen, Schlebrügge.Editor, Wien 2010, S. 106–130.

DE Size: 21 MB
Nationalism in India
Rabindranath Tagore

Essay by Tagore denouncing nationalism

EN Size: 108 KB
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