Underexposed Modernity, Gallery ASPN, Leipzig
Vision of Modernism Today, Museum für Photographie Braunschweig
Exhibition with: Georg Brückmann, Frauke Dannert, Günther Förg, Owen Gump, Margret Hoppe, Irmel Kamp, Lucia Moholy, Anonyme Fotografien zur Bauhaus Architektur, Itzhak Kalter, Kocheisen + Hullmann, Christof Klute, Heidi Specker, Anett Stuth, Hiroshi Sugimoto
Curation: Barbara Hofmann-Johnson, Director of Museum für Photographie Braunschweig
On the 100thanniversary of the Bauhaus’ founding, the exhibition Visions of Modernism Today explores both the theme of Bauhaus architecture within the field of contemporary photography and the historic relationship between photography and Bauhaus architecture.
The meaning of the Bauhaus (1919-1933) as visionary architectural, design, socio-cultural and cultural-historic movement of modernism from the early 20thcentury to today is evident both through the richly varied analyses of its architecture, product and furniture designs and in the unwavering interest in the formal language its many classic objects. Likewise, within the realm of contemporary artistic photography, one sees the recognition and metaphorical transformation of Bauhaus architecture and its antecedents as a multi-dimensional conceptual theme. And at the Bauhaus itself, photography was regarded both as a legitimate, autonomous medium of artistic self-expression and as an essential means to interpret and document the new style of building and its visions of modernism.
Included in the exhibition are works that, through varying visual concepts and individual perspectives, examine the multifaceted aspects of modern architecture within the field of photography. Parallel to these contemporary pictorial examples, the exhibition includes vintage photographs from the Bauhaus era: from Lucia Moholy, from anonymous photographers in the 1930s, and from the Bauhaus buildings in Tel Aviv, through which a comparison of individual processes and concepts is made possible. This visual field of photographic works, while comprising differing pictorial languages, enables the juxtaposition of iconographic associations and illuminates both Bauhaus architecture and its ancestral buildings, such as Walter Gropius FAGUS Werkein Alfeld or Bruno Taut’s complex Onkel Tom’s Cabin in Berlin. Furthermore, many works relate to later modernist buildings, such as the White City in Tel Aviv, or Le Corbusier’s well-known Chapel of Ronchamp.