bauhaus art as life at the barbican art gallery london
2012-05-01 10:39
Entrance to 'Bauhaus: Art as Life' exhibition, designed by architects Carmody Groarke and graphic designers APFEL, at the Barbican Art Gallery
在Bauhaus学校,有一个著名的学期第一天的故事,当时LászlóMomy-Nagy要求新的学生用一张纸做些什么。一个小时后,他回来发现了大量的天鹅,摩天大楼和小报。他轻蔑地看着他们,直到他找到一个学生,他只是拿起他的床单,把它折成两半,像一张贺卡一样站在他的桌子上。
摩圣-纳吉指着它,称赞它,并将它呈献给全班。他说,这是一种利用纸张的天然性能、可折叠性、强度和简单性来创造一种只有在这一种材料中才能实现的结构的设计。这可能是杜撰的-虽然听起来很可能-但它体现了包豪斯的核心是一个奇怪的矛盾,是一种充满苦行气质的鸡尾酒,也是一种对自身严重性的自我意识的模仿。
鲍豪斯目前是伦敦巴比康艺术馆一场大型展览的主题,它被人们铭记为高尚、德国的现代思维,它体现了一场试图改变世界的运动所关注的社会、哲学和美学问题,为工业无产阶级时代创造了一种新的设计语言,并最终为富有和受过教育的资产阶级制造了艺术品。建筑师沃尔特·格罗皮乌斯(Walter Gropius)、路德维希·密斯·范德罗赫(Ludwig Mies Van Der Rohe)和汉尼斯·迈耶(Hannes Meyer)这些人都是严肃的人,他们在第一次世界大战中的经历留下了伤痕,他们决心使设计变得激进。
由建筑师卡莫迪·格罗尔克(Carmody Groarke)和平面设计师阿普费尔(Apfel)设计的“包豪斯:艺术即生活”(Bauhaus:Art as Life)展览,试图通过一系列个人物品、肖像和故事,使这种技术官僚意志的现代形象人性化,这些人中有很多是学术界以外的人,他们在这所短暂的设计学校学习,成为世界上最具影响力的设计学校。
他们也揭示了鲍豪斯生活中一个被宣传的方面:幽默。这所学校的早期充满了一种奇怪的表现主义、琐罗亚斯德教和神秘主义,以及崇拜、剃光头和披着长袍的怪癖。至少在早期,它与现代主义神话的机器完全不同。相反,它体现了魏玛文化的某种程度-在第一次世界大战的恐怖之后,它开始于新德意志共和国的故乡-那座城市。
虽然它可能慢慢地变得更为严厉的现代主义者——尤其是当它在1925移居德绍的时候——它一直被认为是达达主义荒谬感的核心元素,它有能力模仿它自己的惯例(至少在私下里)和与它相反的基本人性。Stark设计输出。正是在日常活动中,这种轻盈才出现,而不是在设计的生产中。
巴比康展览的策展人凯瑟琳·因斯(Catherine Ince)说:“我们正试图把包豪斯视为一所艺术学校,而不是试图将其合理化为一个设计时刻。”我们试图收集更多的个人物品:给格罗皮乌斯学生的礼物、课外活动的摄影、舞会和聚会的邀请函和图片。
尤其是这些政党,肯定是非同寻常的。每年都有四场“官方”派对,由奥斯卡·施莱默(Oskar Schlemmer)(戏剧工作坊负责人)精心设计的舞台设计;每月一次的蒙面舞会,学生们为这些舞会制作自己的服装,通常是离谱的服装,由鲍豪斯自己的爵士乐队配乐;“风筝派对”(风筝派对),学生们竞相制作最好的风筝(其中一些显然太漂亮了,实际上飞不出-功能主义,对吧?)
“巴比肯”展示了赫伯特·拜尔1922年的“风筝派对邀请函”,信中的字母排列成一条略带飘动的尾巴,指向略显吉尔伯特和沙利文的漫画,以及鲁道夫·巴尚的另一张迷人的邀请函,它看上去有点像“克兰吉斯汤龙”(Clangers‘Soup Drap)。还有一些化装派对,学生们穿着几何服装,取笑工作坊的功能主义作品。其中一些服装接近达达的无政府主义精神,包括一匹管状半人半哑剧马,他的后端是一辆自行车。在1929年的一次金属晚会上,客人们被用箔纸包裹着,托波拉奖是康定斯基的一幅画,邀请函是约翰·尼格曼的一幅华丽的平面作品。
木偶和其他几何玩具,也形成了一个迷人的部分输出车间。施莱默令人难以忘怀的玩具-就像米其林人(Michelin Man)一样-看上去仍然很激进-他的三重奏芭蕾舞团非常直接地启发了菲利普·德古弗莱(Philippe Decouflé)1987年为新秩序(New Order)的“真信念”保罗·克莱恩的儿子费利克斯14岁就已经在包豪斯了,他的木偶戏把学校里最大的人物都送来了。因斯说:“学生和老师们一起去看费利克斯的木偶剧,以赶上最新的八卦。”
在犹太人聚居区将包豪斯妇女引入纺织品和玩具的设计和生产过程中,可能有一种评论颇多的性别歧视,但她们的产出却非同寻常,而且持续了很长时间。阿尔玛西德霍夫-布舍尔1923年的造船积木仍在生产中,玛加雷塔雷克哈特的绳拉木偶和木偶套装(全部由瑞士制造商Naef生产)。然而,你确实得到了这样的印象:这些玩具更多地是为了取悦那些有设计意识的教父们,他们购买这些玩具,而不是给他们的孩子,尽管当时他们抽象的形状和大胆的颜色看起来一定很壮观。
但是,在巴比坎展出的国际象棋(约瑟夫·哈特卫,1923年,也是由Naef制作的)是一件绝对天才的作品,是一种抽象的抽象,它变成了纯净、华丽的雕塑。Ince解释说:“有一个关于孩子的天才的想法,一个回归到纯粹的童年状态,与生活和艺术并驾齐驱的想法。”包豪斯一家总是在经济上苦苦挣扎。政党慢慢变得更多的是筹款而不是娱乐,纳粹政权日益激烈的对抗决定了它的命运。
人们将永远记住这所学校,因为这一时刻,设计开始受到重视。然而,无穷无尽的照片中,年轻人穿着傻傻的、富有创意的衣服,到处鬼鬼祟祟,让人瞥见人们经常被视为缺乏现代主义的人性,其特点是对机器美学的奉献,以及对无穷无尽的乌托邦式工人住宅的干巴巴的憧憬。巴比肯的表演有助于将乐趣重新投入功能主义。 。
The Barbican's exhibition puts the fun back in Bauhaus functionalism, by showing some of the personal effects of the school's alumni, photography of extracurricular activities, and invitations for parties. Pictured is 'Extension to the Prellerhaus', by Edmund Collein, part of a set of works made for Walter Gropius on his departure from the school, 1928
Invitation to the Beard, Nose and Heart party (1928) by Herbert Bayer. There were four 'official' parties each year, elaborate affairs with stage designs by Oskar Schlemmer (head of the theatre workshops)
Invitation to the Metallic party (1929) by Johan Niegemann
A smoochy collage of kisses given by teachers and students of the Bauhaus to Walter Gropius for his 44th Birthday, 18th May 1927
Installation view featuring, from left: Design for a newspaper stand (1924), Design for a cigarette pavilion (1924) and Poster for exhibition celebrating Kandinsky’s 60th birthday (1926) by Herbet Bayer. Courtesy: Bauhaus-Archiv, Berlin
Postcard No 11, by Herbert Bayer, for the summer exhibition in Weimar (1923)
Postcard No 4, by Paul Klee, for the summer exhibition in Weimar (1923)
Postcard No.7, by Laszlo Moholy-Nagy, for the summer exhibition in Weimar (1923)
'The spatial effect of colours and forms, from Wassily Kandinsky's course at the Bauhaus Dessau' (1929) by Eugen Batz. Photograph: VG Bild-Kunst, Bonn, Germany, courtesy: Bauhaus-Archiv Berlin
'The jump over the Bauhaus', by T Lux Feininger (1927) capturing sport at the art school. Courtesy: Bauhaus-Archiv Berlin
Weaving workshop graduation party, September 1930
Masters on the roof of the Bauhaus building (c.1926/1998). From left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer. Courtesy: Bauhaus-Archiv Berlin/Centre Pompidou, Paris
As a whole, the exhibition showcases more than 400 works, including a rich array of painting, sculpture, architecture, film, photography, furniture, graphics, product design, textiles, ceramics and theatre by Bauhaus masters. Pictured is 'Design for a single-family house' by Farkas Molnar (1922) Photograph: Markus Hawlik, courtesy: Bauhaus-Archiv Berlin
'Graph of the educational curriculum at the Bauhaus' (1923) by Walter Gropius. Photograph: VG Bild-Kunst, Germany, courtesy Bauhaus-Archiv Berlin
'Isometric drawing of Walter Gropius's study in the Weimar Bauhaus' (c.1923) by Herbert Bayer. Courtesy: Stiftung Bauhaus Dessau
'Twin Tower' (1923) by Paul Klee. From a private collection, long term loan to the Franz Marc Museum, Kochel a. See, Germany
'Tomb in Three Parts' (1923) by Paul Klee. Courtesy: Philadelphia Museum of Art, The Louis E. Stern Collection
'Tea Service' (1924) by Marianne Brandt. Photograph: VG Bild-Kunst, Germany, courtesy: the Bauhaus-Archiv Berlin
From left: fat-separating gravy boat with saucer, MT 50 (1924) by Wilhelm Wagenfeld and Wolfgang Tümpel, ashtray with triangular opening, MT 36 (1924) by Marianne Brandt and wine pitcher (1922) by Christian Dell. Courtesy: Klassik Stiftung Weimar, Bestand Museen, Stiftung Bauhaus Dessau and Bauhaus-Archiv Berlin
Coffee machine, warmer, bowl, pot, filter fitting, strainer and lid (1923) by Theodor Bogler. Courtesy: Klassik Stiftung Weimar, Bestand Museen
'Factory A' (1925/26) by Josef Albers. Courtesy: The Josef and Anni Albers Foundation/ VG Bild-Kunst, Germany/ Artists Rights Society, New York, USA, 2012
Prospect 'Bauhaus Dessau' (1927) by Herbert and Irene Bayer. Photograph: VG Bild-Kunst, Germany, courtesy: Stiftung Bauhaus Dessau
'Club Chair from Oeser's home' (1928) by Josef Albers. Photograph: Fotostudio Barsch © VG Bild-Kunst, Germany, courtesy: Bauhaus-Archiv Berlin
Installation shot featuring, from left: Lath Chair, TI 1a (1924) and Children’s table, and chairs, TI 3a (1923) by Marcel Breuer. Courtesy: Klassik Stiftung Weimar, Bestand Museen
Installation view featuring from left: set of stacking tables (c.1927) by Josef Albers and nesting tables, B9 (1925–26) by Marcel Breuer. Courtesy: The Josef and Anni Albers Foundation and Klassik Stiftung Weimar, Bestand Museen
Installation view featuring from left: Table and chairs for the Kandinsky house, Dessau (1926), Tubular steel chair (1926) by Club chair (1925–26) by Marcel Breuer. Courtesy: Musée National d’Art Moderne/ Centre de Création Industrielle (Bequest Nina Kandinsky 1981), Bauhaus-Archiv Berlin and the Victoria and Albert Museuem
Prospectus '14 Bauhausbucher' by Làszlò Moholy-Nagy, 1928. Photograph: VG Bild-Kunst, Germany, courtesy: Bauhaus-Archiv Berlin
From left: wall hanging (1927) by Gertrud Arndt and wall hanging WE 493/445 (1926) by Anni Albers. Courtesy: Bauhaus-Archiv Berlin
Installation view featuring, from back left: wall hanging (1924) by Anni Albers, fabric to be sold by the metre (1923–24) by Agnes Roghé and working drawing for tapestry (c.1924) by Gunta Stölzl. Courtesy: The Josef and Anni Albers Foundation, Klassik Stiftung Weimar, Bestand Museen and Arthur A. Cohen Purchase Fund
'Five Choirs' (1928) by Gunta Stîlzl. Photograph: VG Bild-Kunst, Bonn, Germany, courtesy: the Museen für Kunst und Kulturgeschichte der Hansestadt Lübeck
Architectural sculpture (1922) by Otto Werner and Cube Composition (1919) by Johannes Itten. Courtesy: Bauhaus-Archiv Berlin and Klassik Stiftung Weimar, Bestand Museen
'The Little Hunchback' for the play 'The Adventures of the Little Hunchback' by Kurt Schmidt and Toni Hergt. The play was performed at the Bauhaus Weimar, 1923. Courtesy: Puppentheatersammlung, Staatliche Kunstsammlungen Dresden
Hand puppet of Paul Klee (1924) by Marianne Ahlfeld-Heymann. Courtesy: Bauhaus-Archiv Berlin
Installation view featuring, from left: The Triadic Ballet, Wire Figure (1922), The Triadic Ballet, Turc I (1922) and The Triadic Ballet, Turc II (1922) by Oskar Schlemmer. Courtesy: The Oskar Schlemmer Estate. Collection C. Raman Schlemmer
'Bauhaus Building, Dessau' (1930-32)n by Iwao Yamawaki. From Galerie Berinson, Berlin, Courtesy: Makoto Yamawaki
Installation view featuring a model of the Bauhaus building, Dessau (1925–26). Courtesy: Stiftung Bauhaus Dessau
'Reflecting Colour-Light-Play/ Reflektorische Farblichtspiele' (1968) by Kurt Schwerdtfeger. The film is a restaging based on his 1922–23 Bauhaus performances. Courtesy: Estate Kurt Schwerdtfeger
keywords:bauhaus, designer, barbican art gallery, mies van der rohe, walter gropius
关键词:鲍豪斯,设计师,巴比康画廊,密斯·范德洛,沃尔特·格罗皮乌斯
在Bauhaus学校,有一个著名的学期第一天的故事,当时LászlóMomy-Nagy要求新的学生用一张纸做些什么。一个小时后,他回来发现了大量的天鹅,摩天大楼和卫生巾.
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