Free Spirits, Artists and a new Museum

In the Spotlight: Thuringia

Photo: © Tillmann Franzen, tillmannfranzen.com © VG Bild-Kunst, Bonn 2018
Central building of the Former Art School (1904–11), architect: Henry van de Velde

[Translate to English:] Bauhausmädels

“Bauhausmädels” is a term that has not aged well. It has become obsolete. In its day it was an acknowledgment of the young women, who realized their ideas of a creative life and who studied at the Bauhaus. Four of these free spirits were: Gertrud Arndt, Marianne Brandt, Margarete Heymann and Margarathe Reichardt. Both for them and their fellow female students the Bauhaus was a place for possibilities for artistic and personal development. But what was their every-day-life after university?  How did they establish themselves and how did they continue to develop? The exhibition “4 ‘Bauhausmädels’” offers some answers. It focuses on the important Bauhaus crafts photography, metal, ceramics and textiles and looks at them from a female perspective – an important perspective in the Bauhaus context.

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Stadtverwaltung Erfurt
Sight in the exhibition 4 “Bauhausmädels”

[Translate to English:] Porzellan-Design

German porcelain design on its way to modernism: this sums up the collection of the Berlin design historian, museum curator and collector Dieter Högermann. For centuries he collected porcelain, design objects of the “Gute Form” movement and industrial design of the 1960s and 1970s. Amongst them works by Josef Hoffmann, Wilhelm Wagenfeld, Gerhard Marcks and his student Marguerite Friedlaender-Wildenhain. The design gems will be exhibited for the first time at the Leuchtenburg in Seidenroda. Incidentally the exhibits were delivered in 1,100 banana crates.

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Fiedhelm Berger
Students from HTWK-Leipzig unpacking Objects for the exhibition

[Translate to English:] Weimar

The new Bauhaus-Museum Weimar should be a place of encounter, openness and lively discussions. The opening show that will take place in April 2019 also serves as a kick off for discourse: “The Bauhaus comes from Weimar”. It will be showing the extensive treasures of the Klassik Stiftung’s collection from the early Bauhaus: design icons meet contemporary documents that have hitherto not been presented. The show’s content is driven by the big matters, utopias and experiments on the way of living at the early Bauhaus and in the 1920s. “How do we want to live together?” This question is still relevant today.

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Visualisierung, 2018, © bloomimages GmbH
southeast elevation with terrace, visualization, 2018

[Translate to English:] Kolloquium

The 14th international Bauhaus colloquium of the Bauhaus University Weimar uses the Centenary year for a critical retrospective of the beginnings of the avant-garde movement, the historical context of the year 1919, international reception and migration. The sociopolitical incorporation of the Bauhaus in the global history of the 20th century is also taken into consideration. International architects, artists, historians and social scientists confront the historical Bauhaus with the present.

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Design: Happy Little Accidents
International Bauhaus Colloquium

[Translate to English:] Wilhelm Löber

The pottery workshop in the former royal stables of the Dornburger castles is the last workshop from the Bauhaus period that has been preserved and is still in use since it became operational in 1920. Gerhard Marcks, Marguerite Friedlaender, Otto Lindig, Theodor Bogler and numerous other creative minds could be found at the workbenches. A lot of their original equipment still exists along with the pottery that took shape here. This very special place will permanently open its doors to the public as of Easter 2019.

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Dornenhaus/Ahrenshoop
Wilhelm Löber: Bauhaus-Schüler – Keramiker – Bildhauer

[Translate to English:] Bauhaus Lectures

The Bauhaus Institute and the Hermann-Henselmann foundation use BAUHAUS LECTURES to present the research findings on the Bauhaus’ history and reception.  In April the focus will be on the political and aesthetic bibliography of the second Bauhaus Director Hannes Meyer. He left Germany with a Soviet mandate in 1936. This was ensued by jobs for the Communist International, problems in his Mexican exile and a failed reintegration in post-war Germany.

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Hermann-Henselmann-Stiftung/Dieter Feske
Die Schule im Walde. Bauhaus-Ästhetik und Formalismus-Debatte – Dr. Anja Guttenberger

Thuringia

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photo: Christoph Petras, 2011. Bauhaus Kooperation Berlin Dessau Weimar
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