bauhaus
imaginista
●Edition 2: Learning From
Mar. 23–24 2018
Podiumsdiskussion und Workshop

Rabat, Marokko

  • Le Cube – independent art room
  • Goethe-Institut Rabat
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Poster of bauhaus imaginista: Learning From, Rabat.
Graphic design by Nassim Azarzar.

1910 präsentierte die Ausstellung "Meisterwerke der mohammedanischen Kunst" in München Teppiche, die wie Gemälde an Wänden angebracht waren – eine Art der Präsentation, die viele Europäer dazu brachte, den Maghreb zu besuchen, um seine lokalen Handwerkstraditionen zu studieren. 

Graphik von Studenten der École des Beaux-Arts, in: Maghreb Art, N°3, École des Beaux-Arts de Casablanca, 1969.

1927 – dreizehn Jahre nach seiner bekannten Tunisreise – zeichnete der Bauhausmeister Paul Klee einen Berber-Kelim und entwickelte mit dieser Zeichnung eine Beziehung zwischen textilem Handwerk, dekorativer Kunst und Abstraktion. Klees Zeichnung ist für bauhaus imaginista: Learning From Ausgangspunkt, um Sammlung, Aneignung und Untersuchung von vormodernen Handwerkspraktiken wie sie von Bauhaus-Lehrenden und -Studierenden praktiziert wurden, aus der Perspektive der globalisierten Gegenwart kritisch zu befragen.

Laut dem französisch-algerischen Künstler Kader Attia wurden nicht-westliche Museumsobjekte wie Berberteppiche von ihrer ursprünglichen Bedeutung gelöst, indem sie aus ihrem ursprünglichen Kontext entfernt wurden. Durch einen Prozess der Abstraktion wurden sie von dem physischen und sozialen Körper gereinigt, mit dem sie verbunden sein müssen, wenn sie funktionieren und vollständig sein sollen. Um die Identität eines Objekts vollständig zu verstehen, argumentiert Attia, müssen wir es wieder mit dem Körper verbinden.

Für bauhaus imaginista: Learning From wird der Französisch-Algerische Künstler Kader Attia eine neue filmische Arbeit produzieren. Seine Recherchen werden in Rabat vorgestellt und diskutiert. Laut Attia, werden nichtwestliche Objekte im Museumskontext ihrer Bedeutung entledigt. Sie werden von ihrer Funktion und damit von unserem Körper und ihrem sozialen Gebrauch getrennt.

Kader untersucht in seiner Arbeit für bauhaus imaginista die transkulturelle Dimension von Berberschmuck, bei dem nicht nur Metalle und Edelsteine verwendet wurden, sondern auch Münzen, die von den Kolonialmächten importiert wurden. Die Produktion und der Gebrauch von Kulturgütern ist wie Attia zeigt transkulturellen Begegnungen geschuldet, die eine unvorhersehbare Zirkulation von Bedeutungen in unterschiedliche Richtungen provoziert – ein nie enden wollender Prozess von Aneignung und Wiederaneignung.

Es ist genau dieser Prozess der Zirkulation und der Verwandlung, der für die Radikalisierung der Kunstszene Marokkos zehn Jahre nach der Unabhängigkeit zentral werden sollte. In den 1960er-Jahren griff die Casablanca School die Synthese der Künste und das Werkstattprinzip des Bauhauses auf. Mit der Rückbesinnung auf die soziale Funktion der Künste und der lokalen Handwerkspraxis wurde der Versuch unternommen, Kulturproduktion und Kunstausbildung zu dekolonialisieren. Die koloniale Trennung in höhere, freie und niedere, angewandte Künste sollte überwunden werden. Die Untersuchung von Handwerkspraktiken wurde so zu einer politischen Fragestellung.

www.lecube-art.com

www.goethe.de/marokko

Graphik von Studenten der École des Beaux-Arts, in: Maghreb Art, N°3, École des Beaux-Arts de Casablanca, 1969.

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Teko Porã — On Art and Life

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