…a quite enthusiastic “Yes”

Gerd Fleischmann


Eugene Yukeshev: Aktivitäten, in Anlehnung an Diagramme von Hannes Meyer, 1929

Egidio Marzona hat Dokumente und Werke aus seinem Archiv und seiner Sammlung für eine Ausstellung im Pushkin Museum in Moskau zur Erinnerung an die Gründung des Bauhauses 1919 zur Verfügung gestellt, die ich zusammen mit russischen Kollegen kuratieren werde. Eugene Yukechev und Dima Barbanel  haben den Entwurf unseres Konzepts Marina Loshak, der Direktorin, präsentiert – und offene Türen eingerannt:

An exhibition to celebrate 100 years of the bauhaus should not only look back. It should identify projects that continue and rethink the ideas of the bauhaus today – or the different ideas from the expressionist, esoteric, and visonary beginnings in Weimar 1919, the move to Dessau 1925, the New Bauhaus in Chicago and the hochschule für gestaltung, Ulm.

Cooperation partners should be the Bauhaus Kooperation Berlin Dessau Weimar gGmbH, (hopefully) and design schools in Moscow. For patronage the museum should ask Dr. Frank-Walter Steinmeier, Bundesminister des Auswärtigen (Secretary of State).


•   Russian constructivism as an important contribution to modernism
•   Russians in Berlin in the early twenties, Berlin as a meeting point and melting pot for ideas
•   Foundation of WChUTEMAS in 1920 (celebration of 100 years in 2020)
•   Team work instead of individualism (Hannes Meyer and his socialist view of architecture and design)
•   Moscow and the young Soviet Union as a place of yearning for German architects, like Ernst May (Das neue Frankfurt), Gustav Hassenpflug, Margarete (Grete) Schütte-Lihotzky (Frankfurter Küche)


•   The exhibition should create curiousness (Neugier) and inform about the bauhaus in its five major aspects: Vorkurs with Johannes Itten in Weimar; the 1923 exhibition (with Haus am Horn), and the introduction of typography and communication by László Moholy-Nagy; the new building in Dessau with the new print shop, and the Reklamewerkstatt (advertising class); the concepts and efforts of Hannes Meyer,
•   show selected items from all classes and workshops, including photography and films
•   allow deeper study by a selection of completely translated publications and biographies of masters and students, especially the students from the USSR,
•   allow to see, use, and enjoy some modern bauhaus products and furniture, lent by companies that are still producing bauhaus designs like Rasch Tapetenfabrik, TECTA, L&C Stendal and others,
•   invite the visitors to participate and contribute, ask what “bauhaus” could mean for the future.

Der Teufel aber steckt im Detail.