There is more to explore beyond the Horizon
In the Spotlight: International Projects
Triennale der Moderne: The Transfer Agreement
With more than 4,000 houses the “White City” of Tel Aviv is the largest coherent ensemble of modernism and has been a UNESCO world heritage site since 2003. Some of the buildings were erected with building material from Germany. For instance a tile came off the wall during renovation work in the stairway of the former Max Liebling house, which is currently being converted into the White City Center. The tile was produced by Villeroy and Boch – made in Germany. The use of construction materials from Germany was based on the mostly unknown Haavara agreement – a contract between Zionists in Palestine and National Socialists in Germany. The exhibition “The Transfer Agreement“ addresses this agreement from an artistic, architectural and political perspective. It will be on show as part of the “Triennale der Moderne” from 19th September in the newly opened Liebling Haus - The White City Center in Tel Aviv.
Making Futures Bauhaus+
Architecture forms society and shapes how we live together. At the same time the construction industry is one of the largest waste producers. Making Futures Bauhaus+ is an action research project addressing both topics. It engages with architecture as a collective form and architecture as a resource. The project connects people of different disciplines within the framework of an international summer academy in Berlin. It sees itself as an experimental research unit pursuing future paths in architectural practice and education.
Following its great success in Berlin the exhibition and research project bauhaus imaginista will go on tour. From 20th September it will be on view at the Paul Klee Zentrum in Berne. At the same time the Nottingham Contemporary emphasises the British aspect of the Bauhaus with “Pop Culture in Britain Beyond the Bauhaus“.The curators of bauhaus imaginista conceived a smaller exhibition for the Goethe Institute with “collected research tour”. It will tour the world: from Guadalajara to Rotterdam, all the way to Istanbul. It discusses progressive education, design discussion, non-Western material cultures and experimental visual practice, based on four key objects of the Bauhaus history. This includes Walter Gropius’ Bauhaus Manifesto, a Bauhaus film collage by Marcel Breuer, a drawing by Paul Klee and the Reflecting Light Games by Kurt Schwerdfeger.
Encounters with Southeast Asian Modernism
The four curators Sally Below, Moritz Henning, Christian Hiller and Dr Eduard Kögel look well beyond the geographic horizon: Their exhibition series “Encounters with Southeast Asian Modernism“ explores the history of reception of modernism between globalisation and local identity together with international partners in four selected cities – Jakarta, Phnom Penh, Singapore and Yangon..
Sounding Utopia - 100 years of Bauhaus
The German national jazz orchestra is participating in a special kind of cross-border teamwork. Together with the Eastman School of Music (USA) and the archive of the George Eastman Museum Rochester (USA) it selected eight films by Bauhaus protagonists or with a reference to the Bauhaus from the 1920s and 1930s that served as a basis for current compositions by well-known jazz composers. “Klingende Utopien – 100 Jahre Bauhaus” (“Sounding Utopias – 100 years of Bauhaus”) connects the sound of a big band with video projections and sound modules.
[TF 2019; Translation RHN]
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The bauhaus100 newsletter will be circulated from time to time with news about the Bauhaus Centenary 2019.
All in Rotation
From Anne Teresa De Keersmaeker to Verner Panton, and from Gropius to Ricarda Huch: this November, you can discover a host of exciting personalities from a different perspective. And there’s also music and dance, as well as readings, guided tours and installations.
Has the Bauhaus ruined our cities?
When the association “Historischer Neumarkt Dresden e. V.” invited to the 3rd Dresden City Building Symposium in the Bauhaus year 2019, their representatives stated in the invitation: “Today, uniformity characterizes our newly built neighborhoods and squares. They are not urban, they do not even claim to be urban. Whether they are created in China, Europe or America hardly matters anymore. Is that the fulfillment of a promise made by the Bauhaus?” Even 100 years after the founding of the Bauhaus, the battle for the city of modernity has barely lost any of its sharpness.