One year before the “big 100”, the centenary programme assembled by the Bauhaus Association 2019 continues with many interesting events that address, from varied perspectives, the Bauhaus and the creative minds behind it.

Original sofa from the Lemke House (with actor Christof Düro in the foreground), today in the Kunstgewerbemuseum (Museum of Decorative Arts) in Berlin / Photo: René Müller / Mies van der Rohe Haus
Original sofa from the Lemke House (with actor Christof Düro in the foreground), today in the Kunstgewerbemuseum (Museum of Decorative Arts) in Berlin / Photo: René Müller / Mies van der Rohe Haus

Inspired by the idea that after the anniversary is before the anniversary, the Württembergischer Kunstverein is turning to the critical review of a 1968 exhibition that had already been conceived as a retrospective: “50 years bauhaus” was put together in 1968 by Walter Gropius and Herbert Bayer and toured successfully around the world until 1971. The new exhibition with the working title “50 years after ‘50 years bauhaus’ 1968” fulfils a twofold purpose today: First, it can serve as a source archive for existing Bauhaus products and ideas. Second – and here lies the real objective of this redux – it serves as historic documentation of the interpretations of the Bauhausler in the late 1960s and their own view of what was then a fifty year old legacy. The exhibition begins on 5 May and ends on 23 September 2018.


Beginning in March 2018, the international exhibition and research project “Bauhaus Imaginista” explores the global interconnections of the Bauhaus in four chapters. The decentralised series of exhibitions will be presented at different art and design museums and cultural institutions in countries including Japan, China, Russia and Brazil. The journey begins with the exhibition chapter “Bauhaus Imaginista: Learning From”, at the Goethe-Institute in Rabat (Morocco). As part of the project, the Berlin-based artist Kader Attia uses a newly produced work to investigate the performative use of Berber carpets as well as the complex (mis-)interpretations and translations that come about as a result of their appropriation as a modernist art form.


The Mies van der Rohe Haus (Lemke House) in Berlin offers a programme planned for the entire year. The annual theme, “Mies – Sitting and Lying”, seeks to stimulate a dialogue between contemporary art and the furniture of Mies van der Rohe. The thematic series aims to shed light on more practical, aesthetic and cultural-theoretical aspects of sitting and lying by going beyond catalogues raisonnés and museum-like presentations of furniture. The first of four exhibitions begins 21 January 2018, as the Hamburg-based artist Peter Piller shows a broadly conceived and exciting compilation with a total of 60 photographs ranging from a Kama Sutra daybed to an ejection seat. In choosing the photos, Peter Piller got inspiration from well-known Mies portraits in which Mies van der Rohe himself sits or lies.
With these suggestions, 100 years of bauhaus begins the final spurt. The events promise that the wide-ranging and interesting perspectives will continue in 2018, helping to ease the wait for the Bauhaus Centenary.

 

[CG 2017; Translations: DK]