bauhaus imaginista السلام عليكم

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In 1927, thirteen years after his well-known trip to Tunis, Bauhaus master Paul Klee drew a Berber kilim and, with this drawing, developed a relationship between textile crafts, decorative art and abstraction. For : Learning From, Klee’s drawing is the departure point for questioning – from the perspective of the globalised present – the collection, appropriation and study of pre-modern craft techniques, as practised by Bauhaus teachers and their students.

The French-Algerian artist Kader Attia will produce a new film project for bauhaus imaginista: Learning From, and his research will be presented and discussed in Rabat. According to Attia, non-Western objects in a museum are disengaged from their meaning. They are separated from their function and thus from the physical body and their social use. In his work for bauhaus imaginista, Kader examines the transcultural dimension of Berber jewellery, which not only used metals and gems, but also incorporated coins imported by the colonial powers. As Attia shows, the production and use of cultural goods is a result of transcultural encounters that provoke an incalculable circulation of meanings in different directions – a never-ending process of appropriation and re-appropriation.

It is precisely this process of dissemination and transformation that would become central to the radicalisation of the Moroccan art scene ten years after independence. In the 1960s, the Casablanca School took up the synthesis of the arts and the workshop principle of the Bauhaus. With a return to the social function of both the arts and local crafts, the attempt was made to decolonise cultural production and art education. The goal was to overcome the colonial-era division between high (fine) and low (applied) arts, thus making the engagement with craft techniques a political matter.

[NF 2018, Translation: DK]

100 years of bauhaus
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