Berlin / Germany remembers, with events in various cities, the 100th anniversary of the creation of the Bauhaus school, which in its brief history led to a revolution in art, design and architecture.
“Rethink the world” is the motto of the commemoration programme, recovering what was the essence of the work of the school founded by Walter Gropius and Henry van der Velde in 1919 in Weimar.
A route which passes through 100 places across the country where you can see the traces left is highlighted in the programme of the celebrations.
One of the aims of Gropius and Van der Welde was to integrate pure art into applied arts, such as architecture and design. Between 1919 and 1925 the school was based in Weimar, between 1925 and 1932 in Dessau, and between 1932 and 1933 in Berlin, where it finally had to dissolve due to Nazi persecution.
THE TEACHINGS OF THE SCHOOL
The festival is not limited to pay homage to the great masters who passed through the school, among which we can highlight artists such as Paul Klee or Wassily Kandinsky or architects like Mies van der Rohe, but try to bring the teachings of the school to the present and develop them in various projects.
“How does the Bauhaus sound?” is, for example, the question that the pianist Michael Wollny has left to make a musical composition, which premiered during the opening of the festival.
The idea that crosses most of the projects has to do with the ideal of integration of all the arts, with which Gropius dreamed.
Gropius, when was thinking about the total work of art, thought about architecture. “The ultimate goal of all plastic activity is architecture,” he wrote in the school’s manifesto. His program was to return to art his practical sense and practical life his artistic sense, which he saw lost by industrialization and mass production.
The idea of the total work of art, in which Gropius imagined a building, however, has today in those who try to draw from his teachings also other expressions that go from the heater to urban interventions.
BAUHAUS AND POLITICS
During the years of its existence, the Bauhaus was considered as a left-wing and internationalist institution, rejected by the right-wing parties.
The political dimension of the Bauhaus is one of the topics which will be addressed in some of the events, such as a debate to be held in Weimar on January 30.
The idea of a social architecture – with beautiful and accessible housing – is one with which the myth of the Bauhaus is associated.
There are also iconic images associated with the school such as the flat roofs – which the right side considered the German spirit to be contrary – the white houses, full of glass that gave an impression of transparency, and chairs and lamps that promise functionality. (January 17, 2019, EFE/Practica Español)
News related in video (May 2017):
Lee la noticia y responde a las preguntas. (Read the news and answer the questions.)
una exposición sobre la Bauhaus que podrá ser visitada el mes que viene.
la reciente de creación de una escuela artística en Alemania.
unas actividades para conmemorar la creación de la escuela Bauhaus.
No se sabe.
se quiere divulgar cuál es el legado de la Bauhaus en la actualidad.
solo se quiere divulgar cuáles fueron los orígenes de la escuela Bauhaus.
solo se analizarán a los artistas más representativos vinculados con la Bauhaus.
Claro que sí.
solo estuvo interesada en teorizar sobre qué es el arte.
llevó el arte a la arquitectura y al diseño.
jamás pensó en dar una dimensión práctica al arte puro.
una muestra sobre la pervivencia de la Bauhaus.
la poco influencia que tiene la escuela Bauhaus en la actualidad.
por qué desapareció la escuela Bauhaus.
no se exhibieron objetos de diseño.
solo se exhibieron obras y libros.
se exhibieron piezas de todo tipo.
se hizo una oposición con las producciones de la nueva sociedad industrial.
en esta muestra se defiende la producción en masa de objetos.
la Bauhaus jamás estuvo interesada en hacer objetos duraderos, bellos y útiles.