Avant-garde at the Waterkant
In the Spotlight: Hamburg
FOLLOWER – female follows form
Anything is possible: huddle together in house corners, hang from banisters, or do a handstand in a stairwell: until July 21, 2019, you can develop an unusually physical relationship to architecture at selected locations and capture the moment on camera. 100 years after the famous Bauhaus motto “form follows function”, Simone Kessler and Edward Beierle present their interactive art project “FOLLOWER – female follows form”, bridging the gap between the Bauhaus and the present day.
Bauhaus in Hamburg
In the 1920s and early 1930s, a small, but select group of Bauhaus protagonists gathered in Hamburg: Hedwig Arnheim-Dülberg-Slutzky, Naum Slutzky, Alfred Ehrhardt and Fritz Schleifer established themselves as creative freelancers and teachers, pursuing their Bauhaus principles in the city by the Elbe River. Their work was pioneering, inspiring many others to follow them in subsequent decades, including the textile artist Else Mögelin, the ceramic artist Otto Lindig, the spatial designer Edgar Horstmann and the architect Max Bill. The legendary “Li-la-le” artist festival was just one of their many achievements. Hamburg’s Freie Akademie der Künste is presenting its exhibition “Bauhaus in Hamburg” until June 30, 2019.
Between June 14, 2019 and September 30, 2019, you can experience history and the present day at a single glance at Dar-Es-Salaam Platz: the photo and light-art project “memory effect” recalls the square’s former appearance. It is regarded as one of the best examples of the Hamburg variety of Neues Bauen. Its “Hamburg way” was developed by Fritz Schumacher, the city’s Directory of Building. The concept was developed further by the architect and building administrator Gustav Oelsner, before the urban planner Karl Schneider used his construction projects to bring Hamburg in line with international Modernism. “memory effect” allows you to compare the past with the present.
Andreas Feininger: The Slums of Hamburg 1930
Towards the end of World War II, Andreas Feininger wandered through the urban canyons of New York, taking photos that would make him a superstar of the art scene. But before then, he captured a completely different atmosphere in Hamburg. In the quarter known as the Gängeviertel, along Valentinskamp, his camera focused on people on the fringes of society. In the run-down district’s narrow alleyways, between cobblestones and half-timber houses, he documented a world that was very different from the elegant Harvestehuder Weg and Rothenbaumchaussee. Between 1929 and 1931, Feininger strolled through the Gängeviertel, taking photos with his Leica camera. He regarded Hamburg as, “a global harbour, a gateway to the world, the lure of the unknown, emigration, adventure, hope for a great future.” His photos are evidence of a past age. Die VisuleX Gallery for Photography is presenting them until June 27, 2019.
Hamburger Architektur Sommer 2019
This year, around 60 events during the Hamburger Architektur Sommer focus on the Bauhaus – a few of them are part of this newsletter. But there are many more events, exhibitions, films, interventions and activities presenting Hamburg’s Bauhaus influence: as a driving force, as inspiration or as a counter-concept.
A series of lectures and an exhibition will focus on the work of the landscape architect Leberecht Migge, who is regarded as one of the forefathers of urban gardening.
[TF 2019, Translation RHN]
More articles on this topic
The bauhaus100 newsletter will be circulated from time to time with news about the Bauhaus Centenary 2019.
From Workshops to Hackerspaces
Replacing classrooms with workshops is one of the Bauhaus’s best-known innovations. A hundred years later, the “workshop” is an indispensable component of all design education. But where are the limits and opportunities of this format, and what role does the realiza- tion of collective structures play in the further development of new technologies?