bauhaus
imaginista
Edition 3

Corresponding With

Lyonel Feininger, Kathedrale [Cathedral], 1919, Cover and one page of the manifesto
and programme of the Bauhaus, April 1919, 32.1 x 19.4 cm, Woodblock print
Bauhaus-Archiv Berlin, Photo: Atelier Schneider, © VG Bild-Kunst, Bonn 2018.

Nandalal Bose, Instructions for Mural painting, early 1930s
Mural, Kala Bhavana, Santiniketan, India, © Kala Bhavan, Visva Bharati, Santiniketan.

Weaving workshop at Bauhaus Dessau, ca. 1927, photo: Erich Consemüller/architect: Walter Gropius
Bauhaus-Archiv Berlin / © VG Bild-Kunst, Bonn 2018.

Lena Bergner, Two studies from the Paul Klee course at the Bauhaus, 1927–28
Litho print, Zentrum Paul Klee, Bern.

Kala Bavhan campus, Santiniketan, West Bengal, 2017, photo: Grant Watson.

Krishna Reddy, Postcard and drawing, year unknown
Photo: Grant Watson, © Krishna Reddy, New York.

Renshichiro Kawakita, Katsuo Takei  
Kōsei Kyōiku Taikei (Manual for Teaching Thinking Through Construction), 1934.

Renschichiro Kawakita demonstrating paper cut technique for art educators, Tokyo 1932
Gelatin silver print.

Hin Bredendieck (middle) from Josef Albers's preliminary course 1928, ca. 1928 (photo) / 2015
Fine Art Print, Stiftung Bauhaus Dessau.

Seikatsu kosei (Life Construction) exhibition at Bunka Gakuin
in June 1931. Published in: Kenchiku Gaho, Vol. 22, No. 10.

Luca Frei, Design for pillows, 2017
Gouache, pencil and collage on foam core, 70 x 100 x 3 cm, photo: Karl Isakson.

●Edition Concept

In 1919 Walter Gropius published the Bauhaus Manifesto, which set out the curriculum for a school that would bring together art and craft as components of a new architecture with implications for social renewal. The edition Corresponding With positions Bauhaus teaching in relation to art schools in Asia from the first decades of the twentieth century that emerged in a parallel response to the new conditions of modernity. It explores the links between them, their common ground as well as how they established different models.

 

By examining these three schools together, the Bauhaus Manifesto becomes a comparative text to be read alongside foundational writing on art education from non-European sources. Rather than thinking in terms of chronological influences, Corresponding With explores a related history of educational systems, conceived through the transmission of ideas, and at the same time understood in terms of parallels and affinities. The edition will address three art schools: the Bauhaus from 1919 to 1933; Kala Bhavana (Institute of Fine Arts) in Santiniketan, India, between 1919 and 1939; and the Seikatsu Kōsei Kenkyūsho (Research Institute of Life Construction, later renamed in Shin Kenchiku Kōgei Gakuin((School of New Architecture and Design, 1933–36)) in Tokyo, Japan, from 1931 to 1939. It will compare the education, philosophy and different approach of these three schools, their teaching methods and workshop environments, their aesthetic language and material cultures. One thing they have in common is that, in the face of historic change, they turned to educational reform and institution-building as a way to achieve a radical break with the existing order.

 

Through this lens, Corresponding With will explore the question of how a contemporary paradigm shift demands new institutional structures as well as a recalibration of the relationship between education, culture and society.