Free Spirits, Artists and a new Museum
In the Spotlight: Thuringia
[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.
[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.
[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.
[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.
[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.
[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.
More articles on this topic
The bauhaus100 newsletter will be circulated from time to time with news about the Bauhaus Centenary 2019.
Global Resonance Spaces
How, one hundred years after the founding of the Bauhaus, can culture be rethought as a social project? And how does the design school continue to inspire visionary practices and discourses today? The curators of bauhaus imaginista Marion von Osten and Grant Watson discuss with art historian Mona Schieren the Bauhaus’s transnational relationships, correspondences, and migration stories, and its relevance for an art, design, and education of the future.
What's new in the West?
Artists where attracted to the Bauhaus due to the diversity of forms, formats and means of expression – not only in the initial years. Until today the invitation to experiment, to think freely and creatively is a strong source of inspiration for young creative people. Their creativity is based on multimedia, networking, working as a collective or in pairs. And thus they transport the Bauhaus from the present to the future.