BAUHAUS, SCHOOLS of architecture, MODERN architecture, MUSEUMS, and SOCIAL media
Abstract
The article discusses the design legacy of the Bauhaus German school of design and architecture despite having only existed for 14 years. At its centennial, the Walter Gropius-founded school has been honored with museums devoted to it across three locations in Germany. The global impact of the school as shown in the media and social networks is noted. The story of the Bauhaus's founding until its closing in 1933 is detailed.
exil, photographie couleur, photomontage, femmes, modernisme, Argentine, Bauhaus, exile, color photography, women, modernism, and Argentina
Abstract
The article examines the divergent photographic modernities, photo-collage and color photography, as practiced by German-Jewish women photographers Grete Stern and Gisèle Freund who, after fleeing Nazi Europe, relocated to Argentina. The analysis is focused on their photo-portraiture. Le texte examine les deux modernités photographiques divergentes (le photocollage et la photographie couleur) pratiqués en parallèle par Grete Stern Gisèle Freund, femmes photographes d’origine juive -allemande qui sont émigrés en Argentine, tous les deux fuyant l’Europe nazie. L’analyse se concentre sur leur photo-portraits.
British Journal of Psychotherapy. Nov2020, Vol. 36 Issue 4, p534-547. 14p.
Subjects
BAUHAUS, WORLD War I, OBJECTIVITY, WAR victims, and MEMORIAL museums
Abstract
2019 marked the centenary of the Bauhaus movement. I took this anniversary as an opportunity to visit the new Bauhaus Museum in Weimar with friends. Here, however, I was surprised by the tormenting boredom that I felt during the visit. I experienced the building in the Bauhaus style as bleak, lifeless and ugly. My mood changed when a movie recording of Schlemmer's Triadic Ballet reminded us of World War I soldiers, the so‐called war‐tremblers, and I had intuitively related the very factual Bauhaus style to the war traumas of the Bauhaus generation. At that moment I saw the museum as a memorial to the victims of World War I, and I discovered parallels between trauma defence in the form of a mechanical lifestyle and the Bauhaus aesthetics, characterized by objectivity, typification and standardization. Against this background, I understand Bauhaus aesthetics in response to the triplicity of traumatic modernity, that is, to the primary helplessness, the death of God and the disasters of war. My thesis is that this architectural answer to the traumatic modernity remains valid until today, explaining the great success of the Bauhaus in modern times. [ABSTRACT FROM AUTHOR]
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