Bauhaus: Media Art

  • October 14, 2018 / 18:00
  • November 2, 2018 / 21:00

At the Bauhaus, film practice was part of the teaching concept of a "science of seeing." Art and technology were to form a new unit. Film, as a technical medium par excellence, was an important element in this program. Media art opens up an insight into the spectrum of the various artistic genres that were taught and practiced at the Bauhaus and influenced each other: in the selected works of Heinrich Brocksieper, Werner Graeff, Kurt Kranz and Kurt Schwerdtfeger painting, drawing, graphics and installation are carried through. The medium of film also made it more dynamic Inspired by the abstract films of Hans Richter and Viking Eggeling, Bauhausers further developed the modern language of forms in media art experiments.

Composition I 1922
Director: Werner Graeff
Germany, 1922/1977, 2’, color
 
Composition II / 1922
Director: Werner Graeff
Germany, 1922/1959, 2’, black & white
 
Reflective Plays of Coloured Light
Director: Rudolf Jüdes
Germany, 1922/1967, 24’, color
 
Surfaces, Perpelleristic – Duck – Seamstress
Director: Heinrich Brocksieper
Germany, 1927-1930, 6’, black & white
 
Twenty Pictures from the Life of a Composition
Director: Kurt Kranz
Germany, 1927-1928/1972, 2’, color
 
Black:White / White:Black
Director: Kurt Kranz
Germany, 1928-1929/1972, 2’, black & white
 
The Heroic Arrow
Director: Kurt Kranz
Germany, 1930/1972, 8’, black & white
 
Leporello - Draft for a Color Film
Director: Kurt Kranz
Germany, 1930-1931/1972, 5’, color
 
Variations on a Geometric Theme
Director: Kurt Kranz
Germany, 1955/1972, 22’, black & white
 
Rhythm 21
Director: Hans Richter
Germany, 1921/1923, 4’, black & white
 
Rhythm 23
Director: Hans Richter
Germany, 1923/1925, 4’, black & white
 
Diagonal Sinfonie
Director: Viking Eggeling
Germany, 1921-1924/1925, 7’, black & white
 
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Bauhaus: Model and Myth

Bauhaus: Model and Myth

Bauhaus: Media Art

Bauhaus: Media Art

The Ottoman Way of Serving Coffee

The Ottoman Way of Serving Coffee

Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.

Turquerie

Turquerie

Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts. 

Good News from the Skies

Good News from the Skies

Inspired by the exhibition And Now the Good News, which focusing on the relationship between mass media and art, we prepared horoscope readings based on the chapters of the exhibition. Using the popular astrological language inspired by the effects of the movements of celestial bodies on people, these readings with references to the works in the exhibition make fictional future predictions inspired by the horoscope columns that we read in the newspapers with the desire to receive good news about our day.