IMAGINARY BAUHAUS MUSEUM
April 3—June 2, 2019
is a collaboration between the international MFA program „Public Art and New Artistic Strategies“ at the Bauhaus-Universität Weimar and the Klassik Stiftung Weimar. Begun in 2015, it was designed as a long-term project with various exhibition locations. During the 2019 Bauhaus anniversary, it will be presented in Weimar at the Schiller-Museum (April 3 to June 2) and in public spaces around the city (April to July), and continue beyond the anniversary year.
What is the role of the historical Bauhaus in relationship to current artistic practices and teaching? How can the utopian potential of the Bauhaus be activated for the future? It was with student works that the collection of the historic Bauhaus began in 1919 and with which the Weimar museum director Wilhelm Köhler realized an internationally significant museum policy. In 1925, during the politically forced relocation of the Bauhaus to Dessau, he and Walter Gropius selected 168 works from the workshops for the Weimar Museum.
Today, students, alumni and teachers of the international MFA program are taking up the momentum for research and experimentation in order to test how the utopian potential of the Bauhaus can be activated for a museum collection of the future. Since 2015, the IMAGINARY BAUHAUS MUSEUM project has been tackling the social, economic and political issues of the present at selected exhibition stations in order to imagine 168 artistic works for a future Bauhaus collection. The internationality of the artists with their respective biographies and cultural backgrounds opens up different ways of seeing and acting.
Parallel to the exhibition of the historic collection at the new Bauhaus-Museum, a social utopian museum space will be erected inside the Schiller-Museum and in the public spaces of the city. Together with citizens of Weimar and guests new spaces for action in light of global challenges will be explored in different artistic forms and media as well as discursive events. In this show, specifically produced works are juxtaposed with a specially arranged exhibition within the exhibition; artistic formats and strategies combine to create a dynamic entity that will change over the course of the show.
IMAGINARY BAUHAUS GOES GORKI
The first venue of the museum’s collection of the future was created by the teachers, students and alumni of the international Masters programme in the context of the exhibition 2. BERLINER HERBSTSALON 2015 in Berlin. At the invitation of the Maxim Gorki Theater they created a sort of social utopian space for radical diversity, for artistic work and research, on the controversial issues of our time.
Questions of flight and migration as “World Cultural Heritage” which also shape the historical heritage of the Bauhaus were addressed. As part of the exhibition interventions, participatory installations and performances involving an interested public emerged in and around the Gorki Theater, the Palais am Festungsgraben and the surroundings of these buildings.
Fields of action were opened through artistic means, individually and collaboratively, and new forms of knowledge production were developed which deal with themes of flight in the museum of the future.
The daily changing programme included a selection of already realised works by alumni as well as lectures and discussions under the direction of the cultural scientist Dr. Boris Buden.
CHE BELLA BRUTTA – BAUHAUS GOES BOCHUM
Under the title CHE BELLA BRUTTA! a temporary artistic production facility was built on the campus of Ruhr-Universität Bochum (RUB) with the students in 2018. After an introductory lecture on the architecture of brutalism, the project was dedicated to the development of site-specific artistic approaches on the contrasts of RUB’s architectural stages. RUB was conceived in 1948 as a beacon of the new start of educational policy after the war. An architectural competition was advertised for the new university in 1962, in which Walter Gropius also took part. From 1964, the building complex designed by the architectural firm Hentrich, Petschnigg & Partner was built in the middle of the working-class area of the Ruhrgebiet. Described by Helmut Hentrich as a „harbor in the sea of knowledge“ then condemned shortly thereafter as an anonymous learning factory and concrete castle with suicidal qualities, the RUB was and is a significant symbol of its epoch. In different artistic forms and media, performative or participatory actions and interventions, the university building was artistically explored.