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

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.

●Related Articles
●Article
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

●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

●Article
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

●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

●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

●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

●Research Archive
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