Photo: Marion Lammersen / Kubix GmbH
Photo: Marion Lammersen / Kubix GmbH
Photo: Marion Lammersen / Kubix GmbH
Photo: Sandra Schuck
The show was part of the Berlin-wide program “Der Kult des Künstlers” (The Artist Cult). The Warhol Shop that was integrated into the exhibition proved controversial with the critics but popular with the public.
The permanent exhibition in the famous building tells the story of the Bauhaus through selected exhibits and a media timeline.
The exhibition shows the development and influence of the legendary school on it’s 90th anniversary. With about 1.000 exhibits, it is the biggest show on the Bauhaus so far.
Publication on the exhibition in Martin-Gropius-Bau, Berlin: The book re-examines and re-evalutes the art school´s history and influence.
Entrance Stedelijk Museum
Hayward Gallery | Photo: Marcus Leith
Filmscape graphic panels
Hayward Gallery | Photo: Marcus Leith
Hayward Gallery | Photo: Marcus Leith
Hayward Gallery | Photo: Marcus Leith
Hayward Gallery | Photo: Marcus Leith
The huge exhibition presents around 800 of Warhol’s works in 33 different media formats and in three scenographic landscapes: Filmscape, TV-Scape and Cosmos. The exhibition design won the German Design Prize in Gold in 2011.
The publication accompanying the exhibition at all four museums translates the curatorial spaces in the rhythm of one page per minute into book space.
The big retrospective subtly places the artist in a contemporary context.
Publication on the exhibition at the Moderna Museet, Stockholm, and the Louisiana Museum of Modern Art, Humlebæk: Coloured lights seems to shine from the book´s spine edge, which changes with the stations of the artist´s life and subtly accompanies the work of Max Ernst through the daringly surreal book architecture.
My favourite graphic designer in the Bauhaus is László Moholy-Nagy. Graphic design was just one of many areas he was working in, and his layouts often seem a trifle inelegant and akward. But when it comes to translating ideas into graphic compositions, he is the boldest and the most inventive and engaging. He is trying to tell you something and he wants you to UNDERSTAND that something. That is because he could be your great-great-grandfather. He was born in 1895.
People often write about how contemporary and relevant the Bauhaus still is and how it’s cultural legacy can be found everywhere around us, which is probably correct, at least in the case of Germany. But while working on the graphic interface of the 90th anniversary Bauhaus Exhibition, I was more interested in pin-pointing the difference between now and 90 years ago.
Light-Space-Modulator by László Moholy-Nagy in the Modell Bauhaus Exhibition
One important difference I found, lies in the changed relationship between designer, content and audience. Whereas László Moholy-Nagy is one with his content and comes up real close to deliver his message into your face, the contemporary designer keeps a distance. He doesn´t shout, he doesn´t arrange his words for maximum impact, but to strict grammatical rules. He wants you to understand the underlying sentence structure first, the words second. He designs systems in which content is arranged, and then lets you draw your own conclusions.
The contemporary designer not only keeps a distance to the content and the audience, but also to his own work and the idea of authorship. The thing that appeals to him in using systems is the element of chance. Graphic systems can be programmed to generate an aesthetic almost by themselves. They work like a bit like a Graphic-Meaning-Modulator, you feed some parameters into it and out comes a visual surprise. Here are our parameters for the 23 panels guiding the visitor from the inner Central Hall of the Martin-Gropius Bau into the outer exhibition ring.
And now press start and see what happens:
More about the exhibition here: Modell Bauhaus
The exhibition interrogates the effects of EU strategies on architecture, urban development and the political map.
Publication on the Exhibition at FRAC Centre and Collégiale Saint-Pierre-Le-Puellier, Orléans: On the changing shape of Europe and the biological metaphors of curating, the colourful language of this book makes tangible a Europe in transition.
An exhibition about the inventor of the happening, who understood the museum as a place of mediation, which should directly involve the visitor into action.
Publication on the occasion of the exhibition »P.P.P. – Pier Paolo Pasolini und der Tod«, Pinakothek der Moderne, Munich: The book presents the Italian intellctual as author, filmmaker and graphic artist. The gallery of fictive cover pictures with the P.P.P. label point to Pasolini´s ambivalent relationship with the public.
Media art exhibition of the literaturWERKstatt (Berlin) and the Stiftung Brückner-Kühner (Kassel) showing a wide range of works, that deal with text in digital media.
Publication on the occasion of the exhibition at Kulturforum Potsdamer Platz: Black one, white zero: The book is numbered binary, so that each exhibit on a double page has its own barcode. This code links the exhibit to space and book.
The exhibition presents the varied attempts to canonize the historic Bauhaus in a seemingly endless spatial structure.
