Urbanismuskolumne: Bauhaus, Bauhaus
In: Merkur: deutsche Zeitschrift für europäisches Denken, Band 69, Heft 10, S. 55-61
ISSN: 2510-4179
In: Merkur: deutsche Zeitschrift für europäisches Denken, Band 69, Heft 10, S. 55-61
ISSN: 2510-4179
In: Museumsstück
World Affairs Online
The year 2019 marks the centenary of the founding of the Bauhaus, arguably the most influential school of art and design in the modern era. Commemorative activities will focus on its culture-historical significance, with scant attention being paid to a more fundamental question: the ramifications on legal and political thinking caused by the deep-seated transformation of the material world during the so-called age of extremes. Daniel Damler reveals the finely woven fabric of material and intellectual culture, using the example of New Objectivity to show how radical changes in the design and material vocabulary of objects generate new political and legal paradigms. It was contemporaries of the Bauhaus revolution who began to apply aesthetic maxims such as 'functionality' and 'clarity' to the state and political thought. Our present-day demands for the 'transparency' of governments and parliaments (without really knowing what we even mean by this) are very much a part of this tradition. After the watershed of 1914, the 'virtues' associated with glass, steel and functional forms served as a surrogate for the lost ideological consensus in the fragmented societies of modernity. Examining the works of prominent twentieth-century legal scholars, Damler discovers a remarkable intertwining of the material and the intellectual, while offering new insights into the proto-legal spaces of imagination of leading architects such as Le Corbusier and Bruno Taut. Bauhaus Laws offers an extraordinary and timeless look at the shadow empire of legal aesthetics. His plea to take seriously the internal dynamics of concepts and figures of thought borrowed from material culture is addressed to legal scholars, political scientists and anthropologists, as well as to architects and designers. It is also aimed at readers who believe in political self-determination and the autonomy of the legal system.
In: Bulletin de la Classe des Beaux-Arts, Band 66, Heft 1, S. 218-224
In: New perspectives: interdisciplinary journal of Central & East European politics and international relations, Band 27, Heft 1, S. 159-177
ISSN: 2336-8268
In: Geistiges Eigentum und Wettbewerbsrecht 74
In: Geistiges Eigentum und Wettbewerbsrecht 74
Curated by Professor Daniel Sturgis Artists: Juan Bolivar, David Diao, Liam Gillick, Maria Laet, Andrea Medjesi-Jones, Ad Minoliti, Sadie Murdoch, Judith Raum, Helen Robertson, Eva Sajovic, SAVVY Contemporary, Schroeter und Berger, Alexis Teplin, Ian Whittlesea Bauhaus: Utopia in Crisis explores how contemporary practitioners have been drawn to the social, utopian and transgressive aspects of Bauhaus history. The exhibition was first staged at Camberwell Space and was part of the UAL: OurHaus festival, which Professor Sturgis has convened to coincide with Bauhaus 100, the international celebration of the famous Bauhaus design school's centenary. The diverse collection of artworks presented in this exhibition will investigate the ways in which artists today are reframing the Bauhaus's modernist legacy as one which includes political and subjective resistance. As such, Bauhaus: Utopia in Crisis addresses how artistic legacies intersect with contemporary concerns through understanding that the Bauhaus was a complicated interweaving of different positions and personalities and never a truly unified project. Through archival research, the Berlin based artist Judith Raum will present a series of new films which examine the position and personalities of Bauhaus artists such as Lilly Reich, Otti Berger and Gunta Stölzl who, as women, were limited to expressing their creativity in the weaving workshop. The Anti Faschistische Aktion logo of Bauhaus student Max Gebhard and Max Keilson is represented by the Weimar based Schroeter und Berger in a politicised repositioning which aims to claim the logo as a classic piece of Bauhaus design through its contemporary international reach. The importance of the transgressive and performative aspect of Bauhaus pedagogy is referenced in the works of the London-based US painter Alexis Teplin who employs costumed characters to perform dialogues derived from fictions and historical modernist texts to animate her abstract compositions.
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In: Bauhaus-Taschenbuch 3
In: Passagen, 4
World Affairs Online
In this text, there are two allusions to the origin. On the one hand, to any variation of the social and political forms, the universal content of women's right to a full visibility is invariable, and it converts into a transmissible ideal for each of the upcoming generations. The introduction shows the interest of women in settling their professional dedication in the past work of their female colleagues. The right to visibility configures an ideal whose universality is not conditioned by History, which is therefore re-comprehensible and transmittable with an identical intersubjective sense, forever and since the origin. On the other hand, as we adjust to a certain event, the origin of the Bauhaus, there is more relevance in the fact that the vindication for women's visibility, though universal, is subject to periods of acceleration. Hence, the present results, in terms of intensity, a filial of 1919, even though both moments are separated by one hundred years. The testimonies of two female students of the first period of the Bauhaus make great sense, as they represent a participation which, if excluded, would make Bauhaus history unconceivable. ; En este texto se emplean dos alusiones al origen. Por un lado, que ante cualquier variación de las formas sociales y políticas, el contenido universal del derecho de la mujer a la plena visibilidad resulta invariable y éste se convierte en un ideal transmisible para cada nueva generación. La introducción refleja el interés de la mujer por asentar su dedicación profesional en el trabajo pretérito de sus colegas femeninas. El derecho a la visibilidad configura un ideal cuya universalidad no esta condicionada por la historia y es por tanto re-comprensible y transmisible con un sentido intersubjetivo idéntico para siempre y desde el origen. Por otro lado, al ajustarnos a un acontecimiento concreto, el origen de la Bauhaus, toma relevancia el hecho de que la reivindicación por la visibilidad de la mujer, aún siendo universal, esta sujeto a periodos de aceleración. Así, el presente resulta ser en intensidad una filial de 1919, aunque ambos momentos estén separados por cien años. Cobran por tanto un sentido especial los testimonios aquí reflejados de dos alumnas del primer periodo de la Bauhaus, porque ellas representan una participación sin la cual la historia de la Bauhaus no sería concebible.
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