bauhaus
imaginista
●Edition 2: Learning From / ●Edition 3: Moving Away / ●Edition 1: Corresponding With / ●Edition 4: Still Undead
Traveling Exhibition

Collected Research Tour

  • Worldwide
  • Worldwide

bauhaus imaginista is a major international project that marks the school’s centenary. Focusing on the international dissemination and reception of the Bauhaus a touring exhibition is developed through four chapters that extend from Bauhaus education to its diverse history beyond Europe. The aim of ​bauhaus imaginista is to rethink the school from a global perspective, and to read its entanglements against a century of geopolitical change. Three chapters of a major exhibition variously travelled in 2018 to Hangzhou, São Paulo, Moscow, Kyoto and Delhi culminating in a major exhibition at the House of World Cultures (HKW) in 2019.

In order to bring this project to a wider network of Goethe Institutes not able to mount the full show, the ​bauhaus imaginista curators have conceived a smaller exhibition, which will be available to tour Goethe Institutes internationally from 2019. The overall project ​bauhaus imaginista departs from 4 Gegenstande, key objects from Bauhaus history used to explore different themes linked to the school, including reform pedagogy, design debate, non-western material cultures, and experimental visual practice. These gegenstande include the ​Bauhaus Manifesto by Walter Gropius (1919) ​ein bauhaus film collage by Marcel Breuer (1926) ​Carpet a drawing by Paul Klee (1927) ​Reflektorische Lichstpiele by Kurt Schwerdfeger (1922) (film).

For the ​bauhaus imaginista touring exhibition, the artist Luca Frei has been commissioned to design a structure, which is part sculpture part exhibition architecture, that will function as a reading space within which visitors can engage with ​bauhaus imaginista.​ Central to this will be a computer terminal where people can browse the ​bauhaus imaginista online journal, print out visual and textual material and compile it in folders provided. The installation will also include a graphic presentation of the 4 gegenstand, information about the chapter themes, curatorial research undertaken in Europe, Asia, Africa and the Americas, as well as still and moving image documentation of ​bauhaus imaginista international events and press reports.

A film programme will feature newly commissioned works on Bauhaus themes and histories by contemporary artists and researchers including from: Zvi Efrat who examines the Ife/Ile Campus in Nigeria designed by Arieh Sharon, the Otolith Group who look at Rabindranath Tagore’s pedagogy and Japonism at Santiniketan and Wendelien van Oldenborgh, who will research the life and work of architect Lotte Stam-Beese in Moscow and Rotterdam.

bauhaus imaginista is a common project by the ​Bauhaus Kooperation Berlin Dessau Weimar, Goethe-Institut and Haus der Kulturen der Welt, funded by the Ministry of Foreign Affairs and Federal Cultural Foundation, on occasion of the centenary ‘100 years of bauhaus’. The project is curated by Marion von Osten and Grant Watson in collaboration with an international team of researchers.

All Locations of the collected research tour:

Ankara, Athens, Bangkok, Belgrad, Belgrad, Brasov (Romania), Bukarest, Chisinau (Romania), Dhaka, Guadalajara, Havanna, Indianapolis, Instanbul, Livorno, Mexico City, Monterrey, Nikosia, Nowosibirsk, Panama, Podgorica, Riga, Rotterdam, San José (Costa Rica), San Luis Potosi, Sarajevo, Seoul, Singapur, Skopje, Sofia, Tampere (Finland), Teheran, Tessaloniki, Vilnius, Zagreb

●Documentation
●Related Articles
●Article
Times of Rudeness — Design at an Impasse

In 1980, Lina Bo Bardi began working on a book concerning her time in the northeastern part of Brazil. With the help of Isa Grinspum Ferraz, she captioned the illustrations, revised her contributions to the book and drafted the layout and contents. The latter also included texts by her collaborators who, in a truly collective effort, had tried to envision the project of a true Brazil—an unfettered and free country with no remnant remaining of the colonial inferiority complex which had plagued the country earlier in its history. Bo Bardi discontinued her work in 1981. In 1994, the Instituto Lina Bo e P.M. Bardi published this project as Times of Rudeness: Design at an Impasse. → more

●Article
Nigerian Campus Design — A Juxtaposition of Traditional and Contemporary Architecture

The early to mid-twentieth century saw the International Style and modernism rapidly influence major Nigerian cities and towns, first as a result of colonialism and then independence. Discussing the architecture of two first-generation Nigerian Universities, the University of Ibadan and Obafemi Awolowo University, this article builds upon the established discourse concerning how architects assimilated the International Style into the tropical climate and sociocultural context of Nigeria. → more

●Article
Contemporary Reflections on NID History — Teaching through the Design Archive

I often stage chance encounters for students with archival materials at the NID: a rare photograph of the building in construction, an odd handwritten scribble on a drawing by M.P. Ranjan, a stunning collection of sound recordings by David Tudor and John Cage. The amazement and wonder created by this staging becomes the starting point for the pedagogical value of archives. → more

●Interviw
The Bauhaus Manifesto — Conversation with Magdalena Droste

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
“The Attack on the Bauhaus” — A Collage that Became a Symbol of the Closure of the Bauhaus

For the Yamawaki couple, their studies at the Dessau Bauhaus ended with the closure of the Dessau site. Iwao’s luggage for his return home also included his collage Der Schlag gegen das Bauhaus. It was first published in the architecture magazine Kokusai kenchiku in December 1932. Iwao let the collage speak for itself, publishing it without comment. → more

●Article
Reclaiming the National — Against Nationalism

The question of how one resists populist nationalism is both obvious and fiendishly difficult. This sounds like a paradoxical proposition, and, indeed, it is. I am inspired by an early critique of nationalism which bears an uncanny resonance in today’s world: a critique that was made in 1916 by the Bengal poet and visionary, Rabindranath Tagore, during a lecture tour in Japan, in the midst of the First World War. → more

●Article
Johannes Itten and Mazdaznan at the Bauhaus

Having experimented with Mazdaznan’s teachings on nutrition, breathing and character while studying at the Stuttgart Academy of Art (1913–16), Johannes Itten used these findings for the first time as a “teaching and educational system” while directing his Viennese painting school (1916–19). By 1918/19 at the latest (still before his move to the Bauhaus), Itten had also learned about Mazdaznan’s racial model. But how did the racialist worldview of the Swiss Bauhaus “master” affect Bauhaus practice? → more

●Article
Latter-day Bauhaus? — Muriel Cooper and the Digital Imaginary

The Bauhaus is a monument—a book with the physical heft to match its scholarly ambition. Published in 1969 by the MIT Press, The Bauhaus: Weimar, Dessau, Berlin, Chicago stands fourteen inches tall, ten inches wide, and two and-a-half inches thick, weighing in at over ten pounds. It is the revised, expanded, and redesigned translation of editor Hans Wingler’s 1962 German tome Das Bauhaus, 1919–1933: Weimar, Dessau, Berlin. Muriel Cooper, the MIT Press’s first Design and Media Director, consistently rated the book as one of her proudest achievements among the nearly 500 she would design or oversee during her tenure. → more