Die Schweizer Avantgarde und das Bauhaus
Rezeption, Wechselwirkungen, Transferprozesse
Only available in German
Gregory Grämiger, Ita Heinze-Greenberg, Lothar Schmitt (ed.)
Contributions by Tatiana Efrussi, Gregory Grämiger, Almut Grunewald and Bruno Maurer Ita Heinze-Greenberg, Sibylle Hoiman, Gloria Köpnick and Rainer Stamm, Claude Lichtenstein, Matthias Noell, Werner Oechslin, Adrian Pigat, Ute Poerschke, Patrick Rössler, Arthur Rüegg, Dieter Schnell, Christoph Wagner
Designed by Paolo Stolfo and Gregory Grämiger
Was Swiss modernism in the 1920s and 1930s really the moderate, balanced link between the traditional and the progressive? In contemporary discourse, it is defined as a position created by distancing itself from the radical avant-garde, which contextualized, above all, the Bauhaus movement in Switzerland’s politically turbulent neighbor country. The reception of the German reformed art school divided critics and led to a Swiss Bauhaus controversy. Yet the progressive influence of precisely the Swiss colleagues on the Weimar and Dessau institutions has been overlooked. On closer examination, the sharp confrontation quickly dissolves into manifold ramifications of transnational and intercultural networks. The contributions collected in this volume discuss the respective bilateral perceptions as well as their interdisciplinary connections, covering all areas of design: architecture, painting and sculpture, applied and performing arts, product and graphic design, and typography. These individual categories reveal different perspectives on formal and technical, educational and artistic aspects.
2019, gta Verlag
New National Gallery Berlin
The Neue Nationalgalerie is more than just a museum or a building. It is a milestone in the history of architecture, a memorial, an icon. With this singular pavilion structure, Mies van der Rohe set a virtuoso close to his decades-long exploration of “fluid” space.
Wo die Kunst entstand
Das sogenannte Prellerhaus und das Brendel’sche Atelier zählen zu den ältesten Atelierhäusern Weimars.
The Bauhaus was an important inspiration for modern design and functional architecture, well beyond the bounds of Germany alone. Yet the products themselves were not the only decisive factor in its international impact and reception. The ideas of the Bauhaus were carried around the world largely because of the – mostly involuntary – emigration of the Bauhaus figures in the 1930s, above all to the USA and the Soviet Union, but also to Israel, China, India and Turkey.