Tag Archives: Wassily Kandinsky

BAUHAUS — DOCUMENTA

BAUHAUS / DOCUMENTA—VISION UND MARKE—a new exhibition in Kassel curated by Philipp Oswalt and Daniel Tyradellis—looks at the crosscurrents between two iconic German institutions:

Bauhaus aimed to confront the crisis of industrialization and the damages caused by the First World War through the applied design of objects, spaces and buildings; documenta took up the romantic idea of the engagement with fine art, through which people should become responsible citizens again.”*

The show—part of the celebration of the Bauhaus centenary—includes works by Marianne Brandt, Marcel Breuer, Bazon Brock, Hans Haacke, Wassily Kandinsky, Barbara Klemm, Aleksandr Ptuschko, and Gilles Raynaldy.

BAUHAUS / DOCUMENTA—VISION UND MARKE*

Through September 8.

Neue Galerie

Schöne Aussicht 1, Kassel.

From top: Staircase of the Fridericianum with tapestry by Fritz Winter, 1956–1957, documenta 2, 1959, photograph by Günther Becker; Sculpture Hall at documenta I, Kassel, 1955, featuring works by Hans Arp, Henri Laurens, Alexander Calder, and Henry Moore; rotunda at the Fridericianum, documenta I, photograph by Günther Becker. Below: invitation card for Bauhaus/documenta—Vision und Marke, featuring images of Haus-Rucker-Co, Oase Nr. 7 (Oasis No. 7), documenta 5, 1972, photograph by Carl Eberth; and Wilhelm Wagenfeld ‘s Tischleuchte (table lamp), 1924, photograph by Joachim Fliegner. Images courtesy and © documenta archiv.

BAUHAUS POLITICS

Join Arjun Appadurai, Regina Bittner, Beatriz Colomina, Theresia Enzensberger, Jesko Fezer, Thomas Flierl, Benjamin Förster-Baldenius, Ayşe Güleç, Dorothee Halbrock, Ulrike Hamann, Christian Hiller, Joy Kristin KaluÖzcan KaradenizBianca Klose, Klaus Lederer, Gisela Mackenroth, Jacobus North, Anh-Linh Ngo, Marion von Osten, Philipp Oswalt, Stefan Rettich, Bernd Scherer, Schroeter und Berger, Justus H. Ulbricht, and Mark Wigley for an afternoon and evening seminar which asks the question:

What can institutions that are today confronted with attacks from the Right learn from the history of Bauhaus?

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Saturday, January 19, from 2 pm to 9:30 pm.
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Haus der Kulturen der Welt
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John-Foster-Dulles-Allee 10, Berlin.
From top: Gropius studio, Kandinsky-Klee house, 1925–1926, Dessau; Walter Gropius, Bauhaus Building, 1925–1926, Dessau.

THE GUGGENHEIM SIX

Peggy Guggenheim insisted that her collection remain intact in Venice every year between Easter and November 1st, the period when Venice receives its greatest number of visitors, and which coincides with the biennale. But this summer, key artwork from Peggy’s holdings are at the Guggenheim Museum in New York City, where they join works collected by the original contributors to the Guggenheim Foundation—artist and curator Katherine Dreier, dealer Karl Nierendorf, artist Hilla Rebay, gallerist Justin K. Thannhauser, and industrialist Solomon Guggenheim—in VISIONARIES: CREATING A MODERN GUGGENHEIM.

BrâncușiPissarro, Duchamp, Picasso, Calder, Klee, Mondrian, and Pollock are all represented, with a special emphasis on the work of Kandinsky.

VISIONARIES: CREATING A MODERN GUGGENHEIM, through September 6.

SOLOMON R. GUGGENHEIM MUSEUM, 1071 Fifth Avenue, at 88th Street, New York City.

guggenheim.org/exhibition/visionaries-creating-a-modern-guggenheim

Upper two: Exhibition catalogue, edited by Megan Fontanella; and Oskar Fischinger, Untitled, 1942. Image credit: Solomon R. Guggenheim Museum. Bottom: Peggy Guggenheim.

20147-visionaries-front_1

 

Peggy Guggenheim- Art Addict

Peggy-Guggenheim-Art-Addict