All dates, events and more at a glance.
from 10 August 2018
until 31 December 2018
Exhibition Bauhaus Lab 2018: The Art of Joining: Designing the Universal Connector
The Art of Joining: Designing the Universal Connector
The international participants of the Bauhaus Lab 2018 investigated the historical context and discourses of transatlantic postwar modernism bundled in the metal connector. The three month long research, which included excursions for on-site investigation and archival study, is culminated in an exhibition in the Bauhaus Building. Its grid system juxtaposes the virtual three-dimensional grid that General Panel System inscribed in space with the DIN norms, the contemporary paragon of standardization. The findings are displayed in thematic chapters, revolving around different spatial constellations the connector brought together.
"Experiment Bauhaus": From cultural to national unity
An exhibition under discussion
“Weit ist der Weg zur Normalität” (It’s a long way to normality) was the title of a review that appeared in the newspaper Der Tagesspiegel in 1988, a year before the reunification of Germany. The article discussed the exhibition Experiment Bauhaus of the Bauhaus Archiv Berlin (in West Germany), which was shown in the Bauhaus Dessau (in East Germany). But the review was dominated not by the show’s 340 exhibits, but by its political relevance: as a “symbol of the cultural commonalities of the two German states” and as a contribution to “the development of normal neighbourly relations”.
The Bauhaus exhibition harked back to the 1986 agreement on cultural exchange between the two German federated entities, and was a fixed part of this agreement. Had the Bauhaus already become a symbol of Germany’s cultural unity before the fall of the Berlin Wall? In 1986 the Bauhaus Dessau was re-established as a “Zentrum für Gestaltung” (Centre of design). In addition to events on urban planning and design, with its stage it provided a platform for the alternative arts scene in the GDR. Many artists gave their final performances here before being banned. And although this East German avant-garde played no role in the official announcements of the GDR’s representatives, many thousands of visitors are likely to have associated Experiment Bauhaus with not only historic exhibits, but also those cultural and political experiments that the contemporary context provoked.
In 2018 this exhibition, which was so significant as regards the German-German reception of the Bauhaus, lies 30 years behind us – long enough ago to discuss this experiment with the protagonists, eyewitnesses and visitors of the day. Shortly before the centenary of the Bauhaus in 2019, the discussion will provide an opportunity to reflect on the various expectations and hopes associated with the Bauhaus in a reunified Germany.
Dr. Peter Hahn, former director of the Bauhaus-Archiv, Museum für Gestaltung, Berlin
Prof. Rolf Kuhn, former director of the Bauhaus Dessau Foundation
Dr. Regina Bittner, Head of Academy and Deputy Director
Bauhaus magazine 10 – Standard | Release
Release with introduction and photo exhibition
Types, norms and laws determine our everyday life: standards make us comparable, but also equal, set standards and have to be renegotiated again and again. Particularly in Dessau, the Bauhaus strived for standardisation in architecture and design, promising a better quality of life for the masses.
Bauhaus 10 is dedicated to the topic of "standard" from a historical and contemporary perspective. It presents modern patents as well as Carl Fiegers Wohnmaschine or Konrad Wachsmann's prefabricated house system. The magazine meets DIN inventors and Neufert experts, Bauhaus agents and norm innovators and approaches the "standard questions" with architects, artists and mediation experts.
The magazine itself is also a typographic experiment with standards. The designers of the Munich Graphic Agency have subjected themselves to rules: They use Arial as one of the standard fonts of the digital age and consistently set the magazine in a single font size.
At a small reception, authors will give a brief introduction to the magazine.
Staging the Bauhaus: John Cage's "Europera 5"
“For 200 years, Europeans have sent us their operas. Now I'll send them all back." This is what John Cage wrote about his Europeras.
In this work, Cage breaks through the norms of the European opera world of the 18th and 19th century. He not only subjected the music to a random generator, but also the stage sets from dozens of operas, props, lights, dance figures and the operatic aria. Cage did not compose any of the Europera's notes in the true sense of the word, but worked with the material of other composers. The random, uncontrollable combination of music creates new, incalculable references. Europeras is regarded as Cage's biggest and most radical music theatre work. Europeras is now rarely performed.
The annual theme 2018 of the Bauhaus Dessau Foundation, Standard, is the occasion to re-stage John Cage’s Europera 5 on the Bauhaus stage.
Bauhaus Building, Stage