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
Despite being shut down by the Nazis after just fourteen years in existence, the Bauhaus art school stands as one of the defining movements of modern history. This book introduces the school’s commitment to creative expression, cutting-edge ideas, and the combination of fine art and technology in a utopian future.