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 kōsei (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

Die Edition Corresponding With stellt ausgehend vom Bauhaus Manifest, das Bauhaus und seine Pädagogik in den Kontext zeitgleich praktizierender Kunsthochschulen in Asien, die in den ersten Jahrzehnten des 20. Jahrhunderts als Reaktion auf die politische und ökonomische Veränderung moderner Lebensverhältnisse gegründet wurden.

 

Walter Gropius erklärt in seinem Manifest 1919, dass es künftig „keinen wesentlichen Unterschied zwischen den Künstlern und den Handwerkern“ mehr geben solle. Der Anspruch einer „Rückkehr zum Handwerk“ spiegelte sich auch im Bauhaus-Lehrplan, der Ausrichtung auf Werkstätten und angewandte Lehrmethoden wieder. Eine ähnliche Rückorientierung auf traditionelle Handwerksformen verfolgten auch die Schule Kala Bhavana (Institut für Bildende Künste) in Santiniketan, Indien, von 1919 bis 1939 und das Seikatsu Kosei Kenkyusho (Kollektiv für Lebensgestaltung) in Tokio, Japan, von 1931 bis 1939.

 

Corresponding With zeichnet konkrete Beziehungen und Gemeinsamkeiten zwischen diesen Schulen, aber auch die jeweiligen Unterschiede ihrer pädagogischen Modelle nach. Nimmt man die asiatischen Schulen mit in den Blick, so erscheint das Bauhaus-Manifest als eine Position in einer Reihe von europäischen und außereuropäischen kunstpädagogischen Ansätzen. Die Wechselbeziehungen der Schulen versteht die Edition eher als ein Geflecht von transnationalen Austauschbeziehungen, Referenzen und Lehrkonzepten, die bereits zu Beginn des 20. Jahrhunderts in ihren Parallelentwicklungen und Ähnlichkeiten wahrgenommen wurden.

 

Mit einer Ausstellung in Kyoto und Veranstaltungen in Tokyo, Delhi und Berlin wird Corresponding With der Frage nachgehen ob auch in der globalisierten Gegenwart ebenso wieder neue institutionelle Strukturen nötig sind. Müssen wir auch heute wieder die Beziehung zwischen Bildung, Kunst und Gestaltung, Kultur und Gesellschaft neu denken?

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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

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Essay by Tagore denouncing nationalism

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