100 Years of Bauhaus — Weimar Program (update no:1)

The celebrations of the 100th birthday of Bauhaus continue at full speed—it’s even getting busier and busier as 2019 approaches. I have started a list of various events that will be held in Weimar—earlier in one of the articles (check here). The centennial is such a big and special occasion that day by day a new activity is added to the schedule. Therefore, I will be updating the list from time to time, and here are the most recent ones.
 
 
The Bauhaus in Pictures—Public Tour (the date have passed, but still nice to know)
23.03.2018 – 24.06.2018
Created by Klassik Stiftung Weimar, the exhibition called The Bauhaus in Pictures opened its doors to the public on April 15. Photo documentation of the Weimar and Dessau periods consisting of around 200 pictures were shown through a guided tour until the 24th of June in Schiller Museum. 
The exhibition displayed various, original photographs taken around the times when the Bauhaus was found—containing the images of students and teachers, furniture, objects, textile products and so on.
 
 
Formlabor (the date have passed, but still nice to know)
14.04.2018 — 24.06.2018
Formlabor (Form Laboratory) was an open workshop series held in Schiller Museum by Klassik Stiftung Weimar. Based on the preliminary course of the Bauhaus, visitors could create their own 3D objects, document them photographically and then present them in the exhibition. Participation was included in the exhibition entry.
On Sundays, an interactive family tour “Your Picture of the Bauhaus” took place. During the interactive tour, the little visitors could get their own impression of the Bauhaus.

 

A visit from the Bauhaus Museum Weimar

17.04.2018 — 05.04.2019
In order to generate interest in the upcoming Bauhaus anniversary, the Klassik Stiftung Weimar will be presenting selected exhibits from its Bauhaus collection at eleven Weimar and Thuringian museums until April 2019.
Visitors will have the chance to preview various Bauhaus works, e.g. Theodor Bogler’s large cookie jar at the Erfurt Angermuseum, an illustration by Johannes Driesch at the Ceramics Museum Bürgel and a vase by Otto Lindig at the Lindenau Museum in Altenburg.
Exhibition venues: Goethe-Nationalmuseum, Schloss Belvedere, Nietzsche-Archiv, Schiller-Museum, Stadtmuseum Weimar, Lindenau-Museum Altenburg, Keramik-Museum Bürgel, Angermuseum Erfurt, Museum für Angewandte Kunst Gera, Herzogliches Museum Gotha, Kunstsammlung Jena.
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Credit: Bauhaus100
BAU – Werkstatt in Weimar
14.06.2018 — 07.03.2019
BAU is the temporary workshop of Bauhaus Agents Weimar in the Other Music Academy; for all ages starting from 7. There is a changing program led by artists, architects, and designers. The admission is free of charge and registration. The workshop has a continuous program with various dates. 
  
 
Bauhaus now #2 
The second edition of the Bauhaus magazine is available for purchase -also in the international version- since 23rd of May. The issue questions various topics dealing with architecture and urban planning: Where does the future take space? Where is the surplus? Where is the poetry?

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Credit: Bauhaus100
 How the Bauhaus Came to Weimar (Archive of Heat and Cold)
17.08.2018 — 02.09.2018
In anticipation of the 100th anniversary of the Bauhaus, the Kunstfest is opening an archive—a Wunderkammer of rarities and curiosities. Archaeological discoveries from the recent and distant past, objects, documents, and artworks portray how the Bauhaus was established—a veritable balancing act at a time of political and economic instability. The archive presents a wealth of materials which demonstrate how the Bauhaus became a school where the young Weimar democracy practiced its hand in social and aesthetic balance. Personal letters, cosmic spatial calculations, newspaper clippings, weather forecasts, exercises in balance, obscure models, jotted notes on yellowed paper napkins, faded photos and much more invoke spaces and times in which the Bauhaus is forever re-established and re-invented.
 
 
Acting Space – Bauhaus Goes Kunstfest 2018
To mark the upcoming Bauhaus anniversary, the Kunstfest Weimar called on students of the Bauhaus-Universität Weimar -particularly those studying “Public Art and New Artistic Strategies” and “Fine Art”- to develop public artworks which offer a fresh perspective on the Bauhaus, its protagonists, and the planned commemorative festivities. Here is a list of the projects:
Am Horn gepackt (Grab it by the Horn) by Daniel Theiler
17.08.2018 — 02.09.2018
Daniel Theiler builds a replica of the Haus am Horn, the first Bauhaus model residence, out of fabric—the material most often used by the first female students at the Bauhaus. With its patterned and colorful swaths of fabric designed by students and other participants, the patchwork structure represents a cheerful statement on gender equality.
No Longer Can Anything Exist In Isolation by Matthew Lloyd 
17.08.2018 — 02.09.2018
Walter Gropius was absolutely convinced that art could change the world. Architecture, sculpting, painting—he envisioned all art forms converging to create a “building of the future” and a “symbol of a new faith”. Matthew Lloyd’s poster installation highlights this spiritual aspect that Gropius had hinted at in his “Bauhaus Manifesto” of 1919. 
The Souvenir Shop by ThinkTankBauhaus100 – Nora Spiekermann, Yi Weihua, Suna Mathilde Yoo
Daily from 22.08.2018 till 25.08.2018  | 15:00 – 18:00 
Bauhaus100 is a brand name! Every effort is being made to put a new shine on Weimar in 2019. The ThinkTankBauhaus100 is accompanying these activities and collecting mementos from sites of change which can later be sold in the Souvenir Shop. We invite you to contribute your personal memories or visions for the Bauhaus in Weimar.
International Bauhaus Championships by Sophie Foster, Stefan Lesueur, Denise Rosero Bermúdez and Jakob Wirth
25.08.2018 | 13:00 – 18:00 
How Bauhaus are you? Who are the new Bauhaus Masters? How well do you measure up to the Bauhausideals? We are looking for teams to participate in a series of games and athletic challenges which reassess the legacy of the Bauhaus. Registration until 30.06.2018 at bauhausmeisterschaft@gmail.com
Bauhaus Forever by Vincent Brière 
25.08.2018  | 22:00 – 23:30 
Upon the invitation of Kunstfest Weimar, the pop star Grrropius will launch his new single hit “Bauhaus Forever” before continuing on his worldwide tour. Follow his career on social media with #Grrropius.
 
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Credit: Bauhaus100
Brainchildren, or the State of a Shower Stall
19.08.2018 | 12:00 – 20:00

The social system in which we live is confined by a corset of economic constraints. The members of the youth club Waggong in Weimar-West, the Sozialkontor Johannes Falk Weimar, and the Kollektiv Kubik have teamed up to brainstorm possibilities of changing and reshaping this system. In various workshops, they have envisioned the kind of world they want to live in. Using luxury trash and landfill treasures as material, and art and design as tools, they set out to disrupt entrenched routines. To think outside the box! To let the imagination run free! To put brainchildren into the world! For as they say—a shower stall is a shower stall is a shower stall.

On 19 August, the young participants will gather on Goetheplatz to present and critically examine their ideas. All are welcome to attend, to continue developing and shaping these ideas, and to celebrate.

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Credit: Bauhaus100
I have seen the future: Bauhaus and Film
19.08.2018 | 19:00 – 20:30 
The nascent medium of the film played an important role in the artistic experiments of the Bauhaus. From the earliest rough drafts of abstract film to the connection between film and dance, the series forms a link to the works of two remarkable female filmmakers who studied at the Bauhaus. Each screening will open with an introduction by Thomas Tode, who will lead a follow-up discussion if desired. 
This short film series by the Hamburg filmmaker and curator Thomas Tode presents examples that illuminate the Bauhaus’s position with regard to film.
 
 
Collective Dialogue “Gertrud Grunow”
19.08.2018 | 11:00 – 12:30 

In this production, the visual artist Jenny Brockmann focuses on Gertrud Grunow who was the first and only female Bauhaus master teaching “Harmonisation Theory” at the Bauhaus from 1920 to 1924.

Sounds, colors, and movement form the basis of Gertrud Grunow’s “Harmonisation Theory” which she taught at the Bauhaus from 1920 to 1924. Her aim was to use all of one’s senses equally and harmoniously. The class was quite popular among students and instructors alike, making Gertrud Grunow the first and only female Bauhaus master to significantly shape the Bauhaus curriculum and influence the working artists there. Later, she found herself in midst of the political controversy which ultimately led to the closure of the Bauhaus in Weimar. In this production by the visual artist Jenny Brockmann, Gertrud Grunow’s teaching methods serve as the starting point for a multipart work which begins with a series of interviews in 2018 and will conclude with an exhibition at the Kunstfest 2019.

Brockmann applies cross-media methods and unusual materials in her pieces which include installations, sculptures, drawings, film, and photography. She studied Architecture, Philosophy, and Art and was a master student under Rebecca Horn.

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Credit: Bauhaus100
Nothing Works Without Color
21.08.2018 | 20:00 – 21:30 
Known for his flamboyant character, the painter Johannes Itten played an integral role in the establishment of the early Bauhaus. In a film produced before the eyes and ears of a live audience, the director Katrin Rothe sets out to examine the life of the Bauhaus instructor as well as her own years at university, during which she became acquainted with Itten’s color theory in different ways. Katrin Rothe pages back and forth through Itten’s scintillating biography, creating a musical-fanciful series of images depicting the turbulent times of the early Bauhaus. Wondrous colors, forms, and figures jump from the drawing board and from Rothe’s own sketchpads and notes onto the movie screen in a live performance where various encounters take shape.
 
 
Chats in the Bauhaus Kitchen
17.08.2018 — 02.09.2018
In the series “Chats in the Bauhaus Kitchen”, the Kunstfest Weimar asks experts, researchers, artists and the audience: What does “being modern” mean today, 100 years after the founding of the Bauhaus in the middle of the 21st century?
In the turbulent years following the war, revolution and the founding of a new republic, society struggled to find people who were capable of shaping the new order. During this phase, numerous artists, architects and designers assumed leadership roles. With the founding of the Bauhaus in 1919, students and instructors alike had the opportunity to propose new ways of organizing life in the modern industrial age. The Bauhaus represented an exploratory relationship with respect to materials, forms, and knowledge, and offered the economically unstable and politically fragile Weimar Republic with a constructive, aesthetic and realizable social utopia. The Bauhaus was the artists’ republic and engineering salon, a laboratory, and an experiment.
Cold
21.08.2018 | 18:00
Gropius praised the Bauhaus architecture with the words: “No one is disturbed by another in this apartment”. The new cities would be designed to be spacious, orderly and uncongested. He envisioned modern people leading lives “objectively” and “methodically”. For this reason, the members of the Bauhaus experimented with new forms and new material culture. At the Museum of Pre- and Ancient History, we investigate the catalysts that have determined cultural trends past and present. How does the craft of life come about? Nowadays, this important craft not only involves finding ways to address climate change but also phenomena like mobility and social diversity. (Includes a short tour of the “Ice Age” by museum director Dr. Diethard Walter.)
Balances
29.08.2018 | 18:00
The Bauhaus can arguably be described as a “school of balance”. Using basic and often technical materials, students in the famous Bauhaus preliminary course designed balancing, swaying and oscillating objects which were reminiscent of buildings, spaceships, and machines. What do these fascinating exercises in balance tell us about the Weimar Republic? How do we ourselves maintain balance in the modern world? With respect to terms like the “work-life balance”, what drives our need for balance in our inner and outer world? For balance is not the only key in the world of design—it also plays an essential role in politics, society, and private life. During each chat, visitors will be invited to enjoy snacks and refreshments from the Bauhaus kitchen.
Heat
30.08.2018 | 18:00
Weather phenomena have always served as metaphors for describing world events. The same holds for the history of the Bauhaus—an interplay of heating and cooling, scorching euphoria and frosty rejection. In the same way literature, art and science use the language of meteorology to offer an alternative perspective on world events, we too shall examine current social, societal and political imbalances in terms of weather fluctuations.
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Credit: Bauhaus100

 Funkhaus Weimar—Nietzsche Calling

23.08.2018 | 20:00 – 21:20 

The call for a “New Man” was part of the original Bauhaus philosophy, the purpose of which was to achieve a new, rational art form. In this, the faith in technical progress strangely fused with spiritual and esoteric forms of expression.

On the eve of the 100th anniversary of the Bauhaus, we return to the former Nietzsche Memorial Hall which embodies both the history of this development and its catastrophic conclusion. Designed around 1910 as an homage to Nietzsche, the commemorative site was finally built by the Nazis in 1937, housed the Soviet secret service for a short time, and was used as a radio station from 1946 to 2000.

Live music, electronics, sound and text documents -from Nietzsche to contemporary philosophical manifestos- converge in various stations on a tour of sound installations and music theatrical scenes.

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Credit: Bauhaus100
Hear, Hear! The Bauhaus Controversy
28.08.2018 | 20:00 – 21:30 
Weimar is not all about Goethe and Schiller. Today, Weimar proudly acknowledges that the Bauhaus comes from this city of the classical era. However, at the time it was founded and in the few short years it existed in Weimar, there was no lack of controversy surrounding the Bauhaus. In fact, Walter Gropius glumly admitted, “90% of the Bauhauslers’ efforts were solely focused on fending off attacks, only 10% remained for creative work”. Due to the rapidly changing political sentiments of the early Weimar Republic, the presumably calculated attacks by numerous Bauhaus opponents and the heated debates in the Thuringian state parliament, the Bauhaus bore the brunt of political vilification and had to close its doors in Weimar in 1925. Yet, the debates surrounding the Bauhaus reveal the struggle of Germany’s young democracy to define its self-image, as well as the radicalization of political language in the 1920s.

The theatrical performance “Hear, Hear!” is based on the minutes of the Thuringian parliamentary debates. It presents historical documents -minutes, newspaper articles, letters- and depicts the controversies swirling around the Bauhaus itself. In addition to Walter Gropius, numerous political protagonists of the early 1920s, politicians from right- and left-wing parties, and other famous individuals make their appearance on stage. “Hear, Hear!” is not a mere re-enactment of a historical debate, but a depiction of parliament, the high house of democracy, gradually devolving into a Bauhaus festival of mad reverie.

The heart of the performance is comprised of puppets created by the artist and puppeteer Suse Wächter. Wächter and her expressive puppets achieved critical acclaim in her piece “Heroes of the 20th Century”, which recently featured in Julian Rosefeldt’s video installation and film “Manifesto”.
 
 
Of False Princes and Dear Monsters
01.09.2018 | 17:00 – 18:30 

Germany in the 1920s; the old order has vanished and the new has yet to arrive. Burgeoning self-confidence and a desireforadventure clash with the spirit of subservience and obedience to authority. The perfect environment for shady characters who claim to be something they’re not in order to quickly climb the social ladder—the con artist. With his novel “Confessions of Felix Krull, Confidence Man” published in 1922, Thomas Mann created a literary monument to this figure.

In a reading with prominent speakers, the Kunstfest Weimar presents texts which explore the phenomenon of the con artist from various angles, and at the same time, paint a fascinating panorama of the early Weimar Republic. Of course, no reading would be complete without “Felix Krull”. With the addition of René Halkett and Harry Domela, audiences will be introduced to two authors who have a special connection to Weimar and Thuringia.

René Halkett was born in Weimar in 1900 under the name Albrecht Freiherr von Fritsch. He studied at the Bauhaus and emigrated to England in 1933. In 1939, he published an autobiographical portrait of his times titled “The Dear Monster”, describing an entire generation’s loss of orientation following the First World War.

Harry Domela, on the other hand, was perhaps the most famous con artist of the Weimar Republic. In 1926 he registered at an Erfurt hotel under the name Baron von Korff and was soon believed to be Wilhelm of Prussia, the son of the former crown prince. He savored the attention the Thuringians showered on him as his “Royal Highness”. But the fraud was soon exposed; Domela was arrested. While in prison, he wrote his memories titled “The False Prince” which eloquently portrays the state of the Weimar Republic in those years. (Knowledge of German will be required.)

 
Opening weekend: Bauhaus Museum Weimar and Neues Museum
06.04.2019 — 07.04.201

The Klassik Stiftung Weimar will open the new Bauhaus Museum Weimar and a new permanent exhibition on modernism around 1900 at the Neues Museum Weimar on April 6, 2019. Further details about the opening programme will be announced in the coming months.

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Credit: Bauhaus100

 Van de Velde, Nietzsche and Modernism around 1900

06.04.2019 — 01.04.2029
The new permanent exhibition “Van de Velde, Nietzsche, and Modernism around 1900” features outstanding international works of realism, impressionism, and jugendstil (youth style) with numerous references to contemporary trends.
Based on the philosopher and cult figure Friedrich Nietzsche, the exhibition will present important works of early modernism in Weimar—including pieces by the Weimar Art School and prominent avant-gardists, e.g. Claude Monet and Max Beckmann, who enjoyed the support of Harry Graf Kessler. The exhibition will also present numerous functional and elegant works designed by Henry van de Velde.
A large museum workshop will offer regular and special programmes that invite visitors to actively explore exhibition themes related to handicrafts, such as bookbinding and woodworking.

The former Grand Ducal Museum was built in 1869—one of the first museums in Germany. In 2019, the Neues Museum Weimar will become an integral part of the Quarter of Weimar Modernism centered around the Bauhaus Museum. In 2020, it will be joined by a Buchenwald Memorial exhibition on the subject of “forced labor” in the south wing of the “Gauforum”, and the House of the Weimar Republic on Theaterplatz.
 
 
Haus Am Horn
18.05.2019 — 18.05.2029
The Haus Am Horn is widely recognized as the prototype of modern living. In this house, the revolutionary ideas of the Bauhaus materialized for the first time. Designed by Georg Muche, the model house was built for the first major Bauhaus exhibition of 1923 and is located a stone’s throw from the Goethe Gartenhaus. All of the furniture was designed and built in the Bauhaus workshops by such well-known Bauhaus students as Marcel Breuer, Theodor Bogler, and Alma Siedhoff-Buscher. As the only example of Bauhaus architecture in Weimar, the Haus Am Horn belongs to the UNESCO World Heritage Site “Bauhaus and its Sites in Weimar, Dessau, and Bernau”. 
 
 
The Matter of Data—Tracing the materiality of “Bauhaus Modernism”
28.09.2019 — 03.11.2019
The history of the Bauhaus direct way to exile has not yet been investigated to such an extent: The triangular relationship between Germany, Great Britain, and Palestine will be traced in an exhibition on the basis of film and archival studies. Building on the long-term research at the junior professorship of the architectural theory of the Bauhaus-Universität Weimar on German-Jewish architects in the UK and Palestine, special attention should be paid to the networks of architects and artists of the Bauhaus (Weimar, Dessau, Berlin). In documentary portraits of architects with their architectures, the paths and conflicts of artistic creation in the countries of exile or in their new homelands are to be captured and reconstructed.
 
Yağmur Ruzgar, 2. semester Public Art and New Artistic Strategies (M.F.A.)

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