The legacy of the Bauhaus

The legacy of the Bauhaus

Can you imagine school students fashion, design and painting laying the foundations of art? Students broke molds, rather than adapt to them. He was one of the legacies of the legendary Bauhaus school, first in Weimar and then in Dessau, about a hundred years ago.

Featured pupils were people like Marcel Breuer, I would end by signing the Whitney Museum in New York, or Marianne Brandt, who, being a woman, challenged many conventions with their designs as the role it occupied in the world of creation. The teachers? All essential in the art of the twentieth century: Paul Klee, Wassily Kandinsky and Josef Albers.

The difficult time when the school came the war period, has parallels with the current time. The ancient craft to travel industry has been replaced by a society that lost ground analog to a digital world. So when approaching the centenary of the great laboratory that mixed art and applied arts, industry and crafts, tradition and modernity, culture and propaganda, that raises initiative as a model for teaching and creation.

Such is the case of Jason Wu, creative director at Hugo Boss, which was inspired by the legacy of this school to compose his latest collection.

In addition, the signing of German origin has sponsored an exhibition organized by the Vitra Design Museum in Weil am Rhein and Bundeskunsthalle Bonn. From Norman Foster Karim Rashid, a remarkable cast of contemporary artists today deemed the Bauhaus.

The first thoughts to found a school that would break the ivory tower of artists mixing with job creation back to 1915, when Walter Gropius set up the department of architecture, art and applied arts at the School of Arts and Crafts in Weimar, ending It is the Bauhaus.

Although it was not inaugurated until 1919 and only remained open (in three different locations) until 1933, when the Nazis closed in Germany they did not want to wait for 2019 to demonstrate the validity of a cross-idea of the arts, who defended such current issues as the social responsibility of the artist or the importance of everyday culture.

And is that beyond the trivialization of the word Bauhaus aesthetics -associated to chill or its -applied all kinds of products vulgarization: from a chain of hardware stores into a jeans brand, in the opinion of the Commissioner shows, the Swiss architect Jolanthe Kugler, “10 years ago would not have been possible to rescue this school as a knowledge base. But today, with architects and artists rethinking their role in society, urging it.”

The legacy of the Bauhaus

Beyond the famous chairs devised pupils and teachers know what motivated this initiative is key to defining today the formation model creators “and, of course, to outline the consumption pattern of the society,” says Kugler. Perhaps with current coworking, crowdsourcing, the Globalpolitik or social commerce, questioning and change the way we produce, negotiate and share, designers and artists are close to bauhausianos pioneers.

Between 1919 and 1933, they also had to build bridges between art and industry and between disciplines themselves. “In those moments, what unites creators unique is not so much a line of formal investigation as a vision of life,” says the curator.

Turned into referent it is relevant rummaging through the bottomless pit laboratory of modernity that was the Bauhaus.

You may have a Bauhaus chair at home without knowing it. You may rest your coffee cup on a table support devised by Breuer and plagiarized by dozens of companies around the world. At the Bauhaus a number of icons whose replicas and copies have finally become synonymous sober and tight office furniture should be.

However, his legacy is more an attitude than these icons, more experimentation than their own fabrics Anni Albers drew in the twenties. However, to reexamine those still living fashion fabrics.

“What happens with the aesthetics of the Bauhaus is that no expiration date. Is eternal, “says Jason Wu , who wanted to resume alike synergy between disciplines and culture of the functionality that characterized the school in his last collection for Hugo Boss.

That is eternal aesthetics is precisely what strikes in a fashion accustomed to associate with renewal expiration. “On one side are the quarterly changes; on the other, the spirit that remains in the collections “says Hjordis Kettenbach, responsible for cultural affairs of the firm. “The will to surprise without crashing, to convince from the details, lets the user view and not disguised,” he continues.

“The need to experiment, to try aimlessly, should return to school.

Get a lot of not looking for something specific, “says Kluger. You have not had the architecture and fashion in recent years too difficult experimental component by the user take? Are we prepared to see in experimentation and risk an exit to the cultural, economic and business stagnation? The curator of this exhibition believe worth the risk.

The Bauhaus also had a negative legacy, a victim of mixing ambition and propaganda. Advertise happens when aspirations rather than results. Remember, students and teachers of the German School wanted to change society, produce for everyone, but its products were too expensive, they were not for all.

“The Bauhaus was good to consider it a nonstarter, and this is the beginning of all creation and discovery,” insists the curator of the exhibition. He explains that this school was “contrary to the Bologna reform, which is destroying our education, because there is no space to think or place for the unexpected. ”

Kugler argues that fashion into the collections of major museums because “it’s the closest art, reveals more than any other as individuals.” Argues that the division between the arts no sense. “Everything is contaminated, the current world is like. There are many ways, but everyone should enrich life and people. ”

How not relate fashion with urgency by the news that has marked the architecture of recent decades? “Maybe that’s why we should reflect and look for other models. At Art Basel there is talk of art, but money and brands. So museums must open the doors to those who have something to say, “Kluger said.

Thus, many creators to examine the legacy of the legendary school and question it, bring points of view illuminators. Mainstreaming, the spread between the arts is now norm then began to rehearse. So Benedetta Tagliabue argues that the Bauhaus was “not a style but an attitude”.

Perhaps because the show’s claim seeking the mythical school and laboratory as style, authors of work on the aesthetic opposite of that modernity, as the Egyptian Karim Rashid, secure feel close to her by her defense of “democratization of design.”

However, he announced that democratic will got to become aristocratic. What has the Indian designer Satyendra Pakhale. Although the school recognizes the debt of the idea, “the design is not a profession, it is an attitude”.

Defend look at the past critically to create and invent new traditions without nostalgia. So that in 1922 the society of Oriental Art in Calcutta rode a first shows on the Bauhaus that marked the arrival of modernity to India, “but unfortunately it was a visual modernity: there can be no social modernity modernity”.

That is the reason why his generation German School associated to conformism and a dogmatic aesthetics of what it meant to be modern. Today, when we rescued the dignity of everyday objects, claiming that what is needed to improve the world are socially inclusive cultures. “The design in everyday tools can be an element to allow social change”.

Also the Dutch creative ideals Hella Jongerius talks about roads near and far. Does not share the Bauhaus did disappear the individual character of their pupils to light a collective style. “Subjectivity penalizing them is what interests me,” but is convinced that its emphasis on improvisation and experience is the foundation of the best creation.

Norman Foster contradicts it. The author of the Reichstag that defends team spirit, “the collective over the individual.” For him the strength of the Bauhaus lay in their ability to seek shine in the most difficult moments: “A design and architecture born on economic and social crisis, rather than reflecting this scenario, are able to shine a brighter future It is not utopian, it is sobering.”

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