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Online Journal Edition Still Undead
In the fourth and final chapter, ‘Still Undead’, ‘bauhaus imaginista’ investigates the Bauhaus’s experimental approach to a range of new media through photography and film, kinetic sculptures, visual devices and sound experiments.
Mysticism and Mazdaznan
Modern, technically talented young people designing practical objects for an enlightened world: the fact that the Bauhaus was founded in Germany no doubt further strengthened its reputation, since both the Bauhaus and the country are internationally regarded as unemotional, rational and focused on reason. We take a look behind the glass façade and discover spirits in tubular steel chairs and true Bauhaus angels.
Utopia and disappointment
The keynote lecture by Prof. em. Dr. Lucian Hölscher was a highlight of this year’s “Weimar Controversies”. The former teacher at the Ruhr-Universität Bochum impressed with his profound and entertaining thoughts on “Utopia and disappointment. 100 years of the Bauhaus”. Reason enough for us to publish his lecture.
Masters and weavers
In this Bauhaus centenary, one often gets the impression that this laboratory of modernism was a trailblazer for pretty much everything. Yet despite all the praise, a counter-question might be justified: What is not Bauhaus these days? In other words: What should we do better than the Bauhaus? Where should we take distance from it?
The Bauhaus Perspective on Green Spaces
The Bauhaus shifted perspectives further afield. Modernism turned familiar perforated façades into glass envelopes – thereby providing an unobstructed view of the outside world. What role does the outdoors play in the Bauhaus? What is its understanding of the countryside and green areas we live in? And how does the Bauhaus period inspire the design of open spaces today?
Highways, Byways and Leaving a Trail
What would Bauhaus tutors and students think of our 21st-century art schools? What would feel familiar and what would feel alien and remote from their experience? How would our contemporary understandings of art school curriculum differ from early 20th-century contexts? Susan Orr wants to discuss the concept of the art school “sticky curriculum” that she developed together with Alison Shreeve.