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

●Latest Articles
●Re-publication
Forms of Life — Marguerite Wildenhain's Pond Farm

Excerpted from Live Form: Women, Ceramics, and Community by Jenni Sorkin


© The University of Chicago. Reproduced with permission. → more

●Re-publication
Work with Material

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

●Excerpt
Interview with Fiber Artist Sheila Hicks

On 3rd of February and 11th of March textile researcher and writer Monique Lévi-Strauss met with her friend of 37 years, American Fiber artist Sheila Hicks, for an interview at Hicks’ home in Paris, France. They talked about the artist’s education, inspiration and her journey through South America.

 

The entire interview transcript and an excerpt from the original audio recording can be viewed at the Archives of American Art, Smithsonian Institution. → 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

●Re-publication
The Harriet Engelhardt Memorial Collection of Textiles

from: Black Mountain College Bulletin, Vol. 6, No. 4, May 1948. → more

●Re-publication
The New Tapestry

from: Craft Horizons, Vol. XXIII, No. 2, March/April 1963, pp. 10–19, 48–49. → more

●Re-publication
Tapestry Rugs in an Ancient Peruvian Design

from: Shuttle-Craft Bulletin, March 1941. → 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

●Re-publication
Tapestry through the Ages. The Weaving of Tapestries, Part I+II

from: Shuttle-Craft Bulletin, 1957. → 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

●Re-publication
Toward a Modernist Theory of Weaving

"Toward a Modernist Weaving Theory", from: T'ai Smith: Bauhaus Weaving Theory. From Feminine Craft to Mode of Design, University of Minnesota Press, Minneapolis/London 2014, pp. 41–78. → more

●Report
On distance, objects and the body

On the 24th and 25th of March 2018, we met in Rabat to participate in the first event of the bauhaus imaginista project. We were attending a workshop with the French-Algerian artist Kader Attia, surrounded by an exhibition of archival materials from artists and students from the École des Beaux Arts in Casablanca and including the Maghreb Art magazine on the walls of Le Cube — independent art space that hosted Attia's show in Rabat. → 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

●Re-publication
Moma, the Ulm and the development of design pedagogy in India

Courtesy Western Artists and India: Creative Inspirations in Art and Design (The Shoestring Publisher, 2013) edited by Shanay Jhaveri. → 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

●Re-publication
Als Stadtplaner und Städtebauer in Nordkorea

Februar 1955: Die Regierung der DDR entscheidet sich die Nordkoreaner beim Wiederaufbau der Städte Hamhung und Hungnam – beide fast vollständig im Koreakrieg von amerikanischen Bombern zerstört – zu unterstützen. Die Leitung der Stadtplanung übernimmt der ehemalige Bauhaus-Architekt Konrad Püschel. → more

●Correspondent report
Weaving through Hangzhou and Moving Away

As a correspondent for the bauhaus imaginista project, I was invited to share my impressions and thoughts of the exhibition in Hangzhou. The following text and gif collage is a personal encounter with Moving Away and an attempt to capture the affective dimension of the exhibition. → more

●Re-publication
India Report

“The India Report” was written in 1958 by prominent American designers Charles and Ray Eames at the invitation of the newly independent government of India. It outlined the rationale and institutional mechanism for introducing modern design in India and resulted in the establishment of the National Institute of Design at Ahmedabad. → 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

●Re-publication
Le Gâchis / The Waste

in: Souffles, No. 7–8, 1967, pp. 1–14


"The Waste", translated by Kate Hugh McStevenson in the context of the SNF project “Ästhetik der Dekolonisierung. Das Magazin Souffles (1966–1972)“ (2014–16)


Courtesy of Abdellatif Laâbi. → more

●Interviews
Fiches et questionnaires

Fiches et questionnaire avec Farid Belkahia, Mohamed Chabaa, Mohamed Melehi

 

dans: Souffles, No. 7–8, 1967

 

Courtoisie de Abdellatif Laâbi. → more

●Re-publication
Essai d'Inventaire des Styles dans les Arts Populaires du Maroc

Dans notre première publication nous avions distingué quatre traditions ou influences artistiques qui se font sentir au Maroc.
La tradition berbère,
La tradition Islamique,
L’art populaire marocain,
Les influences Sahariennes et Africaines

 

Publié dans: Maghreb Art, 1966 → more

●Re-publication
Témoignage sur un artiste occidental — Herbert Bayer

‘j’ai voyagé au maroc et j’ai beaucoup apprécié ses différentes traditions artisitiques; je suis impressionnable, et je peux dire que le maroc a signifié beaucoup pour moi.’
 

Publié dans: Integral, No. 12–13, 1978. → more

●Film
Documentation of the exhibition installation in China

Documentation of the exhibition installation of bauhaus imaginsta: Moving Away at the China Design Museum of CAA in Hangzhou → 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

●Announcement
Moving Away, Hangzhou — Exhibition in China

The way in which a Bauhaus’s design ethos spread internationally, its institutional role and its evolution from within diverse cultures, forms the basis of the bauhaus imaginista exhibition Moving Away. The title indicates both the migration of Bauhaus ideas, as well as the distance produced by time and geography. → 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 one on the other. After completing his studies I. M. Pei worked with Gropius on plans for a university in Shanghai, which he was subsequently able to realise in Taiwan in association with Chang Chao-Kang and Chen Chi-Kuan. → more

●Re-publication
CIAM 4 in Moscow — Preparation and Failure

The paper deals with the dramatic story of the preparation for (and subsequent failure of) the 4th Congrès internationaux d’architecture moderne (CIAM) conference in Moscow. The offer to host the congress in Moscow was made in 1929. Had it taken place in 1930 or 1931, the planned congress would have had an enormous impact.  → 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

●Editorial
Learning From, Rabat

In Morocco, a lessor known history is how Bauhaus ideas of synthesizing different cultural influences impacted on art and design practice and esucation in the post-colonial period. The synthesis of the craft production and modern means of production is considered by post-colonial artists as one possible pathway beyond the legacy of colonial art education. → more

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