Bauhaus Dessau : Conference Collecting 2.+3.+4.+5.12.

20191 2 1 + Provenances: Case Studies + Contiguities: + + + The Museum as Context of Com­mu­ni- cation + + + Methods: Visibility of the Global For the centenary of the Bauhaus three have tried, by way of a synthesis of global new Bauhaus museums will open their perspectives, to move away from restrictive, doors to the public in . The muse- nationally based ideas of identity. The Bau- ums in , Dessau and are haus Dessau Foundation too subscribes to ­connected to the transnational history of this new approach to historiography. Bauhaus exhibits that has grown over one hundred years of global acquisition and The conference Collecting Bauhaus ­collection. For the canonical representation brings together international experts from of modern art and design in the twentieth public and private institutions with Bauhaus century the Bauhaus is a constant. Pro- collections. The aim is to discuss the global- duced in the brief but enormously produc- ly dispersed objects and collection histories tive period between 1919 and 1933, the of the Bauhaus, revisit exhibition and com- work of the Bauhaus is inextricably linked munication strategies and consider how to its dramatic history in the twentieth cen- ­museums in the twenty-first century might tury, from closure to expulsion and exile. benefit from these global interconnections. The initial idea for the conference concept From its inception, the Bauhaus served as was developed by Regina Bittner. The con- an international platform for a wide-ranging ference focus on the provenance, relocation European and international avant-garde and changing ownership of Bauhaus ob- movement in architecture, art and design. jects concludes the Bauhaus Dessau Foun- As such, the school itself formed a vital, dation’s centenary year while inaugurating global network. In recent years historians a range of cooperative projects.

4 5 Programme Provenances: Contiguities: Methods: Highlights­ Which stories are embed- In what way does the How do we enable people ded in the Bauhaus ob- meaning of different to visualise and experi- jects and which connec- ­objects change in the ence the Bauhaus? tions give them meaning? context of the museum? Lecture “” The Bauhaus is a complex histor- The Bauhaus spread across the The Bauhaus’ products were ical phenomenon that can be ex- ?! Panel discussion world and became a global phe- usually, though not exclusively, perienced through different cul- Guided tour ⁂ nomenon. It did so not solely be- made for daily use, prototypes tural contexts using objects, im- Reading ¶ cause of the National Socialist for the industrial age. Yet muse- ages and narratives. Today, the Party !!! dictatorship that started in 1933 ums and individuals throughout museum is a place for the materi- in Germany and its repercus- the world collect Bauhaus ob- al heritage that offers contact with Reception YYY sions. On the one hand, the his- jects: furniture, graphic prints, the originals. It embodies the Break { } toric Bauhaus absorbed various designs for advertisement, publi- ­immaterial world of ideas of the Shuttle service … cultural influences in its work, cations and manuscripts, but Bauhaus and is challenged by the not least by way of its teachers also oil paintings. It is all Bau- constantly changing possibilities and students, who came to the haus. What all objects in the var- that digital developments provide Bauhaus from all corners of the ious collections have in common for the communication of know­ world. On the other, Bauhaus is that they have an inherent, ledge and skills. At the confer- members created their products mutable cultural significance. ence, we will discuss a variety with the aim of having a positive They are owned, cared for, trad- of narrative approaches from the effect on the world and to trans- ed, displayed and communicat- digital sphere to the material forming society through design. ed not as profane things, but as world of objects. Seen from the In museums today Bauhaus models, as signifiers. During the perspective of a number of differ- ­collections are placed in diverse conference, we will explore the ent histories of collections and cultural and political contexts. meanings that have been and their provenance a multi-layered As a result, the provenance of are being ascribed to Bauhaus and polyphonic picture of the the objects offers insights into objects in the respective con- “­collected” Bauhaus emerges. the history of the institutions and texts of other collections and is frequently linked to private for- ­exhibitions. In this way, very dif- tunes in the turbulent twentieth ferent Bauhaus narratives take century as well as to the mecha- shape that transcend the “classi- nisms and dynamics of the inter- cal modern” canon. national art market.

6 7 Conference +++++pro+ +gra+mme

Arrival of the participants 5.30 pm –> Bauhaus Building, YYY Reception YYY vestibule ⁂ Guided tour ⁂ Reception and guided tour Optional Opening of the conference by 2 – 4 pm Rainer Robra, Minister of State ⁂ Guided tour ⁂ and Culture of the State of Masters’ Houses ­Saxony-Anhalt, and guided tour Mon, – > meeting point of the exhibition Versuchsstätte Gropius House Bauhaus with curator Wolfgang Thöner Optional –> Bauhaus Museum 5 pm Dessau … Shuttle service … From Bauhaus Building 7.30 pm to Bauhaus Museum Dessau { } Break { } limited places Dinner max. 20 persons –> Bauhaus Museum 2 Dessau

Optional 9.30 pm … Shuttle service … From Bauhaus Museum Dessau to Bauhaus Building limited places Dec max. 20 persons

2019 13

Optional Panel 1 9.30 am … Shuttle service … Provenances: Case Studies (1) From Bauhaus Building –> Bauhaus Museum to Bauhaus Museum Dessau Dessau limited places max. 20 persons 10.15 – 11 am Tue, “” Lecture “” 10 am Keynote YYY Reception YYY /w Martino Stierli, MoMA Welcome! [ New York, US ] /w Claudia Perren + Florian Strob, Bauhaus 11 – 11.30 am Dessau Foundation­ “” Lecture “” –> Bauhaus Museum Bauhaus in Ahmedabad: Dessau Prototypes for Modernity /w Tanishka Kachru, National Institute­ of Design 3 [ ­Ahmedabad, IN ]

11.30 am – 12.30 pm ?! Panel discussion ?! Provenances /w Martino Stierli + Tanishka Kachru + Maria Müller-Schareck, Kunstsammlung NRW [ ­Düsseldorf, DE ] + Éva Forgács, Art Center College of Design Dec [ ­Pasadena, US ] Moderation: Annemarie Jaeggi, Bauhaus-Archiv / Museum für Gestaltung [ Berlin, DE ]

12.30 – 1.30 pm { } Break { } Lunch 2019 17 Panel 2 2.30 – 3.30 pm Panel 3 Optional ?! Panel discussion ?! 5.15 pm Provenances: Case Studies (2) Provenances Provenances: Case Studies (3) … Shuttle service … –> Bauhaus Museum /w Laura Muir + Mienke Simon –> Bauhaus Museum From Bauhaus Museum Dessau Thomas + Susanne Graner, Dessau Dessau to Bauhaus Building Vitra Design Museum [ Weil am (de > en) limited places 1.30 – 2 pm Rhein, DE ] + Tilo Grabach,­ max. 20 persons “” Lecture “” Germanisches­ Nationalmuseum­ 4 – 5 pm Object Lessons: [ Nuremberg, DE ] ?! Panel discussion ?! 6 – 7 pm The Bauhaus and Harvard Moderation: Jeannette Re- Provenances ⁂ Guided tour + book launch ⁂ /w Laura Muir, Busch-Reisinger densek, The Josef and Anni Al- /w Klaus Blechschmidt, Exhibition tour of Bauhaus Lab: Museum [ Cambridge, US ] bers ­Foundation [ Bethany, US ] Ulrich Fiedler, Bernd Freese Out of the Suitcase. (all private collectors) [ DE ] A Dispersed Collection 2 – 2.30 pmr 3.30 – 4 pm Moderation: Wolfgang Thöner, /w Regina Bittner, Bauhaus “” Lecture “” { } Break { } Bauhaus Dessau Foundation Dessau Foundation + partici- Lionel Feininger’s Painting Coffee break [ ­Dessau-Roßlau, DE ] + pants of the Bauhaus Lab 2019 Ober-Weimar and the Bauhaus Anke Blümm, Klassik Stiftung –> Bauhaus Building <> Netherlands Network Weimar [ ­Weimar, DE ] /w Mienke Simon Thomas, 8 pm ­Museum Boijmans Van { } Break { } ­Beuningen [ Rotterdam, NL ] Dinner –> Bauhaus Building, canteen

18 19

Optional 9.30 – 10 am 9 am “” Lecture “” … Shuttle service … Sheila Hicks, Bauhaus From Bauhaus Building and Latin America: Following to Bauhaus Museum Dessau Ariadne’s Thread limited places /w Fernando A. Pérez Oyarzún, max. 20 persons Museo National de Bellas Artes Wed, [ Santiago de Chile, CL ] Panel 4 10 – 10.30 am “” Lecture “” Contiguities: The Museum The Museum as a Site of as Context of Communication Inaccurate Quotes: –> Bauhaus Museum Defamiliarization as a Way Dessau of Re-seeing Reality /w Hila Cohen-Schneiderman, MoBY: Museums of Bat Yam 4 [ Tel Aviv, IL ] 10.30 – 11.30 am ?! Panel discussion ?! Contiguities /w Fernando A. Pérez Oyarzún + Hila Cohen-Schneiderman + Katja Leiskau, Deutsches Archi- tektur Museum [ Frankfurt, DE ] + ­Angelika Nollert, Die Neue Sammlung [ Munich, DE ] + Hetty Dec Berens, Het Nieuwe Instituut­ [ Rotterdam, NL ] Moderation: Ines Weizman, Bauhaus-Universität­ Weimar [Weimar, DE]

11.30 am – 12.30 pm { } Lunch { } 2019 23 Mittagessen 12.30 – 1.30 pm 2.30 – 3.30 pm Bauhaus Birthday 6 – 6.15 pm ¶ Reading ¶ ?! Panel discussion ?! Celebrations > > > > > > !!! Music !!! . Methods Habla de mi en presente Eine Biographie /w Zoe Zhang + Isabel Wünsche Conclusion of the /w Winfried Nerdinger, + Almut Grunewald, gta/ETH anniversary year 6.15 – 6.30 pm Moderation: Peter Bernhard, ­Zürich [ Zurich, CH ] + Fabienne YYY Reception YYY ­Bauhaus Dessau Foundation Eggelhöfer, Zentrum Every year, the Bauhaus Dessau Gratitude and Birthday Toast A reading of the series Die An- [ Bern, CH ] + Patrick Rössler, Foundation celebrates the birth- w/ Claudia Perren haltische Landesbücherei zu Universität Erfurt [ Erfurt, DE ] day of the world-famous school Gast im Bauhaus Dessau Moderation: Regina Bittner, building, which opened on 6.30 – 7 pm –> Bauhaus Museum ­Bauhaus Dessau Foundation ­December 4, 1926. ⁂ Performance ⁂ Dessau, Open Stage Birthday Cake (de > en) 3.30 – 4 pm This year, the Foundation also { } Break { } celebrates the completion of the 7 – 7.30 pm P a n e l 5 Coffee break Bauhaus Jubilee 2019 and the “” Lecture “” Bauhaus Conference: with birth- Wie Sammlungsdinge entwerfen Methods: Optional day cakes, festive lectures and [Designing Collection Items] Visibility of the Global 4 pm Rumba. Come and celebrate w/ Eva Maria Froschauer, –> Bauhaus Museum Dessau … Shuttle service … with us! Everybody is welcome. BTU [Cottbus, DE] From Bauhaus Museum 1.30–2 pm Dessau to Bauhaus Building The evening will be framed by a 7.30 – 7.45 pm “” Lecture “” limited places max. 20 persons performance of students from the “” Lecture “” Anonymous Modern: Anhalt University of Applied Bauhaus Magazine 11 the Bauhaus Objects in China 4.30 – 5.30 pm Sciences under the direction of /w Franziska Eidner + /w Zoe Zhang, China Design ⁂ Guided tour ⁂ Torsten Blume. At the photo gym- Caroline Jansky ­Museum [ Hangzhou, CN ] The Building as an Object nastics, everyone has the oppor- /w Monika Markgraf + Florian tunity to slip into the role of a 7.45 – 9 pm 2 – 2.30 pm Strob, Bauhaus Dessau Bauhaus dancer and to stage !!! Music !!! “” Lecture “” Foundation­ themselves space-filling. Habla de mi en presente Colour Theory on Display: –> Bauhaus Building Ludwig Hirschfeld-Mack’s Color –> Bauhaus Museum 9 – 10 pm Charts in Weimar, New York, Optional Dessau !!! Music !!! and Melbourne 5.30 pm (de > en) Bauhaus Playlist /w Isabel Wünsche, Jacobs Uni- … Shuttle service … versity Bremen [Bremen, DE ] From Bauhaus Building Optional 10 pm to Bauhaus Museum Dessau Shuttle service: Bauhaus Muse- 24 25 um Dessau > Bauhaus Building

Departure of the participants

Optional 10 am – 12.30 pm ⁂ Guided tour ⁂ Dessau-Törten Estate -> Konsum Building, Thu, Dessau-Törten Estate 5 Dec

2019 29

Hetty Berens Anke Blümm is a cultural scientist and archi- is Research Associate at the tectural historian at the Het Bauhaus Museum of the Klassik Nieuwe Instituut in Rotterdam. Stiftung Weimar. Her research Lecturers focuses on the phenomenon of Peter Bernhard modernity in design and archi- is Research Associate at the tecture. Bauhaus Dessau Foundation and scientific editor of the publication Hila Cohen-Schneiderman and Bauhaus Dessau. The Collection, is the Chief Curator of MoBY: published in 2019. He research- Museums of Bat Yam, Israel. In es, teaches and writes on philo- her practice she investigates the sophical topics, in particular phi- relations between conservation losophy at the Bauhaus. and activation. She specializes in curating site-specific interven- ­Panelists Regina Bittner tions and artistic research pro- is Head of the Academy of the jects. Bauhaus Dessau Foundation and responsible for the concep- Fabienne Eggelhöfer tion and teaching of postgradu- studied Art History and Ro- ate programmes for design, mance Languages in Fribourg, Bauhaus and architectural re- Paris and Bern. Since 2001 she search. Her work focuses on in- has been Research Associate ternational architecture and ur- at the Zentrum Paul Klee Foun- ban research, modernity and mi- dation and in 2007 she became gration, the cultural history of Curator at the Zentrum Paul modernity and heritage studies. Klee.

Klaus Blechschmidt Ulrich Fiedler is a designer who works as a founded galerie ulrich fiedler freelance product designer and with Katharina Evers in Cologne graphic artist. At present he is re- in 1996 and, since 2008, in Ber- searching the creative years lin. The main focus of their pro- of Bauhaus designer Marianne gramme is the communication of Brandt in his hometown of Gotha.­ historical documents from the

33 beginnings of modern design Tilo Grabach Tanishka Kachru modern art with a special inter- to collections and museums. is Head of the Collection for Arts is Senior Faculty in Communica- est in interwar photography, the and Crafts from the 19th to the tion Design at NID Ahmedabad. Bauhaus and institutional histo- Éva Forgács 21st century at the Germanis- Her research interests are in the ries. is art historian, critic, curator, ches Nationalmuseum in Nurem- areas of design histories from Professor at Art Center College berg. His focus is on exile re- postcolonial perspectives and Maria Müller-Schareck of Design, Pasadena. She is au- search (e.g. on Piet Mondrian) as digital heritage interpretation. is Curator at the Kunstsammlung thor of The Bauhaus Idea and well as on questions around the Nordrhein-Westfalen in Düssel- Bauhaus Politics (CEU Press, culture of bourgeois collecting. Katja Leiskau dorf. She is an art historian and 1995), and essays on the Bau- heads the Archive of the Ger- has worked on numerous exhibi- haus. Susanne Graner man Architecture Museum in tion projects on modern art. She manages the Collection and Ar- Frankfurt am Main. Her current has also written numerous arti- Bernd Freese chive of the Vitra Design Muse- research interest is focused on cles on modern and contempo- was trained as an industrial um. In addition to the conserva- the interaction of architecture rary art. business manager for printing tion and strategic care of the and photography. and paper. Since he got to know collection, she curated the exhi- Winfried Nerdinger an author and designer and a bition Anton Lorenz: From Monika Markgraf is an architectural historian. gallery owner and worked on an Avant-Garde to Industry in 2019. is Research Associate for Build- Among other engagements, he estate of a former employer, ing Research and Preservation was Professor of the History Bernd Freese has been involved Almut Grunewald] at the Bauhaus Dessau Founda- of Architecture and Building with the Bauhaus. In 1987 he is a Research Associate at the tion. She is particularly interest- Construction at the Technical began to collect Bauhaus docu- Archive of the Institute for Histo- ed in the study of the architec- University of Munich, Director ments, which he continues to ry and Theory of Architecture ture and history of Bauhaus of the Architecture­ Museum of this day. (gta) at ETH Zurich. Her re- buildings and the preservation the Technical University of Mu- search focuses on the interdisci- and maintenance of these build- nich and Founding Director of Eva Maria Froschauer plinary production and reception ings. Other focal points of her the NS Documentation Centre is a Lecturer at the BTU of modernity. work are the preservation of Munich. With his books, writings Cottbus-Senftenberg. Her most modern monuments and the and ­exhibitions, Nerdinger has recent publication deals with Annemarie Jaeggi construction and maintenance of made decisive contributions to with collections and their status has been Director of the Bau- a building research archive. research into the history of art as tools as well as with collec- haus Archive / Museum für Ge- and architecture and to public tion objects in architectural staltung in Berlin since 2003. Laura Muir] awareness of the importance design­ processes She researches and publishes is a Research Curator at the of architecture. on the architectural history of Harvard Art Museums. Her re- modernism and the Bauhaus. search is focused on European

34 35 Angelika Nollert Droste, he headed the DFG re- bauhaus <=> netherlands. pio- Transformation of Education in is Director of the Neue Sammlu- search project bewegte netze. neers of a new world at Museum Art, Architecture, and Design, ng - The Design Museum at the Bauhausangehörige und ihre Boijmans Van Beuningen. 1930 to 1970,” funded by the Pinakothek der Moderne in Mu- Beziehungs-Netzwerke, Australian Research Council, nich. She deals with the continu- 1930/40er Jahre [moving net- Wolfgang Thöner 2016-2019. ities and intersection of the disci- works. Bauhaus members and has been Head of the Collection plines of design, art and archi- their relationship networks, Department at the Bauhaus Zoe Zhang tecture. 1930s/40s]. Dessau Foundation since 2009. is the Assistant Director of the His research focuses on various China Design Museum (CDM) Fernando A. Pérez Oyarzún Martino Stierli areas of the Bauhaus’ history and Head of the Research De- is Director of the Museo Nation- is the Philip Johnson Chief Cu- and reception (especially in East partment at the Art Museum of al de Bellas Artes, Chile. His re- rator of Architecture and Design Germany from 1945 to 1990), the China Academy of Art search focuses on architecture at The Museum of Modern Art in particular as they pertain to (CAA). Her own research inter- and design theory. (MoMA), New York. His re- architecture, functionalism, fine est is in the dispersion and search focuses on the intersec- arts and cultural history. translation of the Bauhaus in Claudia Perren tion of architecture and modern and to China from the beginning is Director and CEO of the Bau- visual culture as well as modern Ines Weizman of 20th Century to the 1980s. haus Dessau Foundation. She is architecture in a global perspec- teaches at the Bauhaus Univer- interested in hybrids that move tive. sity Weimar as a Junior Profes- between disciplines while chal- sor for Architectural Theory. lenging space and redefining it. Florian Strob There she is Co-Director of the is a Research Associate in the Bauhaus Institute for History and Jeannette Redensek Directorate of the Bauhaus Des- Theory of Architecture and Plan- is Research Curator at the Josef sau Foundation. His research in- ning and Director of the Centre and Anni Albers Foundation in terests focus in particular on the for Documentary Architecture. Bethany, Connecticut (USA), interfaces between literature and where she is preparing the Josef architecture. Isabel Wünsche Albers catalogue raisonné. teaches Art History at Jacobs Mienke Simon Thomas University Bremen. She has Patrick Rössler is an art and design historian published widely on European is Professor of Communication and works as a Curator in the modernism and the avant-garde Science with a focus on Empiri- Decorative Arts and Design at movements and has been a par- cal Communication Research / Museum Boijmans Van Beunin- ticipant in the research project Methods at the University of Er- gen in Rotterdam. In 2019 she “Bauhaus Australia: Émigrés, furt. Together with Magdalena organised the exhibition Refugees and the Modernist

36 37 ?: finally got its own space in West For the Bauhaus Dessau Foundation ­Germany. In 1976 the Wissenschaft- the conference Collecting Bauhaus lich-Kulturelle Zentrum (WKZ), the marks the finale of the centennial. predecessor of today’s Bauhaus Collecting in One of the basic functions of museum ­Dessau Foundation, was founded in work – collection,­ preservation, re- the GDR and moved in the Bauhaus search, and mediation­ – takes centre Building. Along with it came the first stage. What would you say about the acquisition for the Centre’s own col- place of collecting for Bauhaus re- lection. I think this fact illustrates that Context­ search in general and for the work of Bauhaus collecting is also always the Bauhaus Foundation in particular? linked to a cultural-political commen- tary on the respective present. !!: When the Bauhaus had to shut down ?: under pressure from the National So- In what ways does the Bauhaus Des- cialists in 1933 most of its members – sau Foundation already work with teachers and students alike – were other institutions that have a Bauhaus eventually forced to leave Germany. collection and what do you want that And with the people, many objects collaboration to look like in the future? also made their way into a wide varie- Interview ty of new cultural contexts. Of course !!: works by the Bauhaus and its mem- We have had collaborative projects bers were already collected in the for decades with partners from all 1920s – think of the Busch-Reisinger over the world. With the centennial Museum and the Museum of Modern this has definitely increased even Art as well as the Neue Sammlung in more: First there are the projects of with Munich – but after 1933 and especial- the Bauhaus cooperation between ly after the end of the Second World Berlin, Dessau, and Weimar, such War the collection of these scattered as the bauhaus imaginista project. objects suddenly took on a new and And then there are many smaller greater significance: Now the heritage ­projects in the centenary programme, of this institution, which was long which were all realised with the par- Florian Strob gone, had to be preserved and made ticipation of great partners. In effect, visible. This effort was led first and this does not just mean that we bor- foremost by the former members of rowed and lent objects to each other the Bauhaus themselves – like Walter but that we essentially exchanged ex- Gropius in the US and West Germa- periences and knowledge. For exam- ny. When Hans Maria Wingler started ple, Fritz Horstman of the Josef and the in in Anni Albers Foundation designed an 1960 the collection of Bauhaus items artistic assemblage for the exhibition

38 39 Archaeology of Modernism in the his- her cultural contexts – and it still does !!: !!: toric Bauhaus Building using materi- to this day. We have long been inte- Our notion of collecting has become I think it’s more about the narratives als from our Buiding Research Ar- rested in what became of the Bau- a lot broader today. One keyword and the cultural and social contexts in chive. At the Bauhaus Museum Des- haus, its reception, and the very diffe- here is data: Patrick Rössler at the which the objects exist in a collection sau we reserve special exhibition rent narratives that were spun around University of Erfurt has just released and which are presented in exhibiti- spaces within the permanent exhibi- it all over the world. That is why it was an online tool, a biographical databa- ons, whether they are originals or tion – we call them “intermezzi” – important for the conference to repre- se that currently contains data on mass products. In any given show, which are supposed to facilitate pre- sent the diversity of disciplines that 1467 individual biographies of Bau- the Bauhaus – as represented, say, cisely this kind of exchange with other were taught at the historic Bauhaus – haus members. Similarly, for the exhi- by Marcel Breuer’s Wassily Chair – institutions, among other things. For here, too, there are institutions that bition The Matter of Data, which was can be taken to stand for either: the instance, at the moment, work from work on collecting things related to in- conceptualised by Ines Weizman for narrative of a classic, heroically un- the preliminary course of the Hoch- dividual disciplines, such as architec- the and derstood modernity or a source of cri- schule für Gestaltung Ulm are on dis- tural museums, whose Bauhaus story the Liebling Haus in Tel Aviv, data on tical engagement with mass produc- play there, which makes the archive is different from, say, that of a fine the migration history of the Bauhaus tion. One panel of the conference is of HfG Ulm “a guest” in the exhibition arts museum. The archive of the architecture was first collected and therefore explicitly dedicated to the Bauhaus Versuchsstätte Bauhaus. Deutsches Architekturmuseum, for then made accessible by translating museum as a context for mediation The Collection. example, focuses on 20th century ar- that data into visuals for an exhibition. and for the specific relationships chitecture so you will certainly find The Global Bauhaus Map is the most created between objects. ?: documents and works related to the important part of our website collec- With about 50,000 objects the collec- Bauhaus here. Of course this is a ting.bauhaus-dessau.de and, as a pu- The interview was conducted by tion of the Bauhaus Dessau Foundati- completely different approach to the blication, was conceived to accompa- Caroline Jansky on is the second-largest “Bauhaus Bauhaus than that of, for instance, the ny the conference, is a digital me- collection” in the world after the Bau- Josef and Anni Albers Foundation, ta-collection too: Here we collect the haus-Archive in Berlin. On the occasi- which, though dedicated to the work stories and itineraries of Bauhaus ob- on of the 100th anniversary of the of an individual artist couple, does not jects, which, physically, are part of Bauhaus three new Bauhaus muse- limit itself to their Bauhaus period but very different collections today. ums will open in Germany: in Berlin, includes the entire biography of Josef Weimar and Dessau. Your confe- and Anni Albers in its collection and ?: rence does not focus exclusively on research efforts. In Dessau the Bauhaus was commit- representatives of institutions that col- ted to stepping up its collaboration lect Bauhaus art and design. So what ?: with industry and, instead of produ- does it mean to “collect Bauhaus” and When it comes to “collecting the Bau- cing expensive, one-of-a-kind and ar- how did you decide which participants haus,” many people certainly think of tisanal items, to creating prototypes to invite? historical objects made by Bauhaus for the mass market. Industrial pro- members at the Bauhaus. Naturally, duction seems to contradict the mu- !!: the number of these historical pieces seum-based collection of valuable art When the Bauhaus dissolved after is finite. What else is being collected and cultural treasures – doesn’t it? Florian Strob 1933 and its members and works at the Bauhaus? Is it possible to col- Apart from their character as “origi- were scattered, its legacy continued lect the Bauhaus in immaterial ways nals,” what makes the objects in a curator and head of project of the to develop under the influence of ot- as well? collection meaningful? conference Collecting Bauhaus

40 41 Global Bauhaus Map

The conference bundles the many per- spectives of the internationally intercon- nected, dispersed and rendered Bau- haus. The lectures and panel discussi- ons will be documented and made available on a website: collecting.bauhaus-dessau.de

The new approach of historiography from a global perspective is intrinsically bound up with the digital change since the end of the last century; the media innovations create the conditions that allow us to collect perspectives from far-flung corners of the world. Using the Bauhaus objects and their migration histories, this synthesis will then be ren- dered visible to everyone with the aid of digital media. One of the aims of the conference was to create a digital over- view of the Bauhaus collections world- wide: the Global Bauhaus Map. This map will be presented online as a collaborative publication project which will be continuously updated: Beginning with the institutions taking part in the conference, this interactive tool shows information on the respective collection histories and concepts. We have also asked participants to prepare informati- on on the translocation history of Bau- haus objects from their collection. The- se histories will be shown likewise in their geographical contexts. The digital map is designed as a networking tool that may be continuously updated.

42 43 Imprint All times subject to The Bauhaus Dessau Attendance Accessibility change. Short-term Foundation is a non-profit Participation in all panels The Bauhaus Museum Editor ­changes possible. foundation ­under public Bauhaus Dessau As of 15 November 2019 law. It is institutionally and guided tours only Dessau is completely Foundation ­funded by the German ­ Claudia Perren Federal Commissioner for ­after prior registration at barrier-free.­ Image Credit ­Culture and the Media, the bauhaus-dessau.de. Head of project State of Saxony-Anhalt, Florian Strob Objects from the collecti- and the City of Dessau- ­Limited contingent of 100 Due to the historical struc- on of the Bauhaus Dessau Roßlau. The Conference Project management Foundation in detail / Collecting Bauhaus participants. The reading ture of the building, the Valentina Buitrago Garcia,­ ­Bauhaus Dessau Founda- is generously funded by: Caroline Jansky tion, photo: Thomas ­Meyer by Winfried Nerdinger Bauhaus Building is not / OSTKREUZ and the Bauhaus birthday ­directly accessible. We Programme booklet design celebrations on the ask people with reduced Yvonne Tenschert based on a concept of evening of 4 December mobility to use the en- Herburg Weiland, are open to the public trance at ground level on Munich and free of charge. the rear side of the build- Editing Caroline Jansky, ing. From there, it is pos- Florian Strob

Language sible to take the historic Translation Rebecca Philipps Wil- The conference language freight elevator to the visi- liams, Jana Schmidt is English, the panels are tors’ centre on the raised Copy Editing simultaneously translated ground floor and all other Jana Schmidt into German. Ger- floors. The Visitor Service Programme Bauhaus birthday man-language pro- will be happy to help you Florian Strob, gramme items will be on site and at the tele- Caroline Jansky, Valentina Buitrago Garcia, translated into English. phone number +49 340 Claudia Perren, Torsten Blume, 6508-251. students of the Anhalt Uni- versity of Applied Scien- ces, Marcus Nebe, Lena Held

Technic Sebastian Czerny, Markus Wozny, Ivo Kriese 44 45 Bauhaus Dessau Foundation G r o p i u sallee 3 8 0 6 8 4 6 Dessau - Roßlau

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