My interest in the Bauhaus goes back to the start of my first years of art education in the city of Lugano, which was based on the Bauhaus preliminary course system. Some of its main characteristics, such as composition and color theory, still resonate in my practice to this day. Due to this strong educational approach, I became very interested in thinking about the school itself as a model to experiment with and reflect on in relation to everyday life and society. Since then, a concern or preoccupations with design, pedagogy, community, translation and mediation have all appeared in my work in the form of installations, exhibition design, the re-staging of other artists’ work, as well as working with archival material.
When Marion von Osten and Grant Watson invited me to contribute to Corresponding With by developing a new work based on a personal reading of archival material, I responded with enthusiasm. Despite this enthusiasm, however, I was also a bit hesitant: hesitant to be thrown into a project with so many professionals and scholars for whom the Bauhaus constitutes their field of expertise; hesitant about my subjective interpretations to the ordering system of the archive. I came up with the idea of re-staging Life Construction, an experimental exhibition from 1931—building on four reproductions documenting the exhibition—through a structure inspired by Jikken Kōbō, a postwar artist group active in Tokyo in the 1950s, about which I will have more to say in what follows.