Podcasts about moholy nagy

Pablo Giori is the co-founder and director of the Experimental Photo Festival, the Ágora, School of Experimentation, and the  International Photography Festivals Association (IPFA) in Barcelona. His interest in experimental analogue photography was born out of his work as a documentarian, historian, and archivist with the estate of Pere Català (Valls, Alt Camp, 1889 – Barcelona, 1971). The Catalan photographer, publicist, and writer is most known for republican posters and propaganda during the Spanish Civil War. He also had contact with various avant-garde associations in Barcelona, and his work can be related to photographers such as Man Ray, Moholy-Nagy, Renger-Patzsch and Sougez, among others. Pablo Giori holds a Bachelor's degree in Philology (National University of Tucumán), a master's degree in Cultural Studies (University of Girona), a master's degree in Strategic Communication (Universitat Rovira i Virgili) and a PhD in Contemporary History (Universitat de Girona). He has taken courses on Photographic archives management in the digital environment and on Preservation, conservation and digitization of photographic originals at the Institut d'Estudis Fotogràfics de Catalunya.   Pablo Giori's official website with information about his photography projects and academic work. - https://en.pablogiori.com/ - https://www.instagram.com/pablo.giori/ International Photography Festivals Association (IPFA) - https://www.photographyfestivalsassociation.com/ - https://www.instagram.com/experimentalphotofestival/ Experimental Photo Festival Barcelona - https://en.experimentalphotofestival.com/ - https://www.instagram.com/photographyfestivals/   Michael Dooney https://beacons.ai/michaeldooney   This episode of Subtext & Discourse Art World Podcast was recorded on 3. February 2025 between Perth (AU) and Barcelona (ES). Portrait supplied by Pablo Giori.

Ob ordnungsliebend, Tetris- oder Star Wars-Fan: Im Werk E IV (Konstruktion VII) von László Moholy-Nagy ist für jede*n etwas dabei. Mit ausgeklügelten Bildmotiven und einer Freude am Experimentieren schuf der Bauhauskünstler Werke, die bis heute faszinieren. Was Moholy-Nagy mit dem Professor aus dem Film "Zurück in die Zukunft" zu tun hat und wieso sich jede Disco über seine Kunst freuen würde, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge des Kunstsnack.

This episode of bauhaus faces is about a photographer that most Bauhaus fans today know: Lucia Moholy. She was the photographer who delivered the photos of the Bauhaus in Dessau and its masters' houses that made the art school so iconic. But it wasn't until the 1990s that art historians became alert to her when her photos and negatives made their way into the Bauhaus-Archive in Berlin. Until then they had taken a long reroute from Germany via the US, while Lucia Moholy had thought they were lost, when in fact Bauhaus founder and first director Walter Gropius had taken them with him, denied their possession for decades and made use of them to promote the Bauhaus as the ultimate epitome of the avantgarde without ever mentioning their creator: Lucia Moholy. But her life and work were so much more! When she was in danger of being arrested by the Nazis, Lucia left Germany and emigrated to London. Here, she worked as a portrait photographer and – as director – set up the microfilm archive ASLIB. She never succeeded in emigrating to the US like so many other Bauhauslers although she had an offer from her ex-husband László Moholy-Nagy to come and teach photography at the New Bauhaus in Chicago. Most of her adult life, Lucia Moholy struggled to make ends meet and gain recognition for her achievements. When she – once more – emigrated to Switzerland in 1959 (she would live and die in Zollikon near Zurich) Lucia started writing about her collaborative work with László Moholy-Nagy and her own share in it.For this episode the US art historian Robin Schuldenfrei helped to tell the story of Lucia Moholy. She has been researching Moholy for many years now.__________________________________SHOW NOTES⁠www.bauhausfaces.com⁠ | ⁠@bauhausfaces⁠EXHIBITION „Lucia Moholy: Exposures“ at Kunsthalle Praha from 30th May until 28th October 2024 https://www.kunsthallepraha.org/en/events/lucia-moholy-exposures AND at Fotostiftung Winterthur in Spring 2025 https://fotostiftung.ch/en/BOOKS BY LUCIA MOHOLY „A Hundred Years of Photography“ (Lucia Moholy, 1939) https://www.amazon.de/Photography-1839-1939-Fotografie-Bauhäusler-Bauhaus-Archiv/dp/3922613586„Marginalien zu Moholy-Nagy/Moholy-Nagy, Marginal Notes“ (Lucia Moholy, 1972)ABOUT LUCIA MOHOLY Lucia Moholy Bauhaus Fotografin (Rolf Sachsse, 1995) „‚What I Could Lose‘: The Fate of Lucia“ (Meghan Forbes) Moholyhttps://quod.lib.umich.edu/cgi/t/text/text-idx?cc=mqr;c=mqr;c=mqrarchive;idno=act2080.0055.102;view=text;rgn=main;xc=1;g=mqrgLucia Moholy. Im Schatten des Bauhaus (Jochen Stöckmann, 2022) https://www.weltkunst.de/ausstellungen/2022/09/lucia-moholy-fotografie-bauhaus?pagination=1&fullviewABOUT LUCIA MOHOLY'S BOOKS AND NEGATIVES„Multiple Frames for Lucia Moholy“ (Sabine Hartmann) https://youtu.be/aB5ioylqVuM?si=1ggYQUgMXe6FWHic„Images in Exile: Lucia Moholy's Bauhaus Negatives and the Construction of the Bauhaus Legacy“ (Robin Schuldenfrei) https://courtauld.ac.uk/wp-content/uploads/2015/02/Schuldenfrei_2013_Images_in_Exile_Lucia_Moholys_Bauhaus.pdf„A Hundred Years of Photography 1839–1939“ (Burcu Dogramaci) https://archive.metromod.net/viewer.p/69/1470/object/5140-11251867PHOTOS BY LUCIA MOHOLY IN ARCHIVESBauhaus photos Bauhaus-Archiv Berlin https://open-archive.bauhaus.de/eMP/eMuseumPlus?service=direct/1/ResultDetailView/result.inline.moduleBottomContextFunctionBar1.bottomNavigator.back&sp=13&sp=Sartist&sp=SfilterDefinition&sp=0&sp=1&sp=1&sp=SdetailView&sp=93&sp=Sdetail&sp=0&sp=T&sp=0&sp=SdetailList&sp=6&sp=0Harvard Art Museums https://harvardartmuseums.org/collectionsNational Portrait Gallery https://www.npg.org.uk/collections/search/person/mp07323/lucia-moholyFotostiftung Winterthur, Switzerland https://fotostiftung.ch.zetcom.net/de/artists/artist/1395/MoMA, New York https://www.moma.org/artists/6922COVER PHOTO: László Moholy-Nagy, Portrait of Lucia Moholy, 1927, Bauhaus-Archiv Berlin

Antonio Somaini"Frontiere della percezione"Festival Filosofiawww.festivalfilosofia.itFestival Filosofia, SassuoloDomenica 15 settembre 2024, ore 16:30"Frontiere della percezione"Intelligenza artificiale e cultura visualeQuale rapporto sussiste fra creatività e sviluppo tecnologico? In che modo l'intelligenza artificiale ha modificato il valore creativo di un'azione, soprattutto nel campo visuale, artistico e cinematografico, e a quale nuovo tipo di fruizione è chiamato l'osservatore? Antonio Somaini  è professore di Teoria del cinema, dei media e della cultura visiva presso l'Università Paris III - Sorbonne Nouvelle. È membro senior dell'Institut Universitaire de France (IUF). Ha insegnato in diverse università e centri di ricerca a Milano, Venezia, Parma, Berlino, Weimar, Parigi. Si occupa delle teorie degli anni Venti e Trenta in relazione con le questioni che attraversano la teoria contemporanea del cinema, dei media e della cultura visiva; lavora sulla cultura visiva contemporanea, e in particolare studia l'impatto delle tecnologie di intelligenza artificiale sul campo delle immagini fisse e in movimento. Ha curato edizioni in inglese, francese, italiano, tedesco e portoghese di testi di Walter Benjamin, Sergei M. Eisenstein, László Moholy-Nagy e DzigaVertov. Nel 2020 è stato il curatore principale della mostra “Time Machine: Cinematic Temporalities”. Tra i suoi libri in italiano: Ejzenštejn. Il cinema, le arti, il montaggio (Torino 2011); Estetica dei media e della comunicazione (con Roberto Diodato, Bologna 2011); Cultura visuale. Immagini, sguardi, media, dispositivi (con Andrea Pinotti, Torino 2016).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Einen Monat verbringt Jules Ahoi im Dessauer Meisterhaus des Typografen und Malers László Moholy-Nagy. Morgen erscheint das Produkt dieser künstlerischen Arbeitsphase in Form eines neuen Albums. "MAGNOLIA (The Bauhaus Tapes)", auf denen er unter anderem einen Track (Old Master’s House) dieser Zeit in Sachsen-Anhalt widmet. Das Songwriting zu seinem neuen Album beginnt bereits lange vor seinem Aufenthalt in Dessau, und zwar mit einer Reise nach Norwegen und den Orten, die Jules Ahoi bei dieser Reise eigentlich gar nicht gesehen hat – wie den Ort Ålesund, der dennoch weiterhin eine Sehnsucht für den Kölner Musiker symbolisiert. Er selbst teilt das Album in drei Abschnitte; Erlebnisse und Erfahrungen, die letztlich in Akten zusammenfinden: auf Sehnsucht und Aufbruch folgen das Verweilen und genauere Beobachten sowie letztlich der Ausblick darauf, wie es weitergehen kann. Zusammengehalten werden die neuen Stücke von Jules Ahoi von Aufnahmen verschiedener Geräusche auf dem Bauhaus-Gelände in Dessau, sowie der Musik, die mitunter an die harmonisch, sanften Melodien von José Gonzalez erinnert oder dann an die direkten Lyrics und Stimme von Singer-Songwriter Johnny Flynn.

Einen Monat verbringt Jules Ahoi im Dessauer Meisterhaus des Typografen und Malers László Moholy-Nagy. Morgen erscheint das Produkt dieser künstlerischen Arbeitsphase in Form eines neuen Albums. "MAGNOLIA (The Bauhaus Tapes)", auf denen er unter anderem einen Track (Old Master’s House) dieser Zeit in Sachsen-Anhalt widmet. Das Songwriting zu seinem neuen Album beginnt bereits lange vor seinem Aufenthalt in Dessau, und zwar mit einer Reise nach Norwegen und den Orten, die Jules Ahoi bei dieser Reise eigentlich gar nicht gesehen hat – wie den Ort Ålesund, der dennoch weiterhin eine Sehnsucht für den Kölner Musiker symbolisiert. Er selbst teilt das Album in drei Abschnitte; Erlebnisse und Erfahrungen, die letztlich in Akten zusammenfinden: auf Sehnsucht und Aufbruch folgen das Verweilen und genauere Beobachten sowie letztlich der Ausblick darauf, wie es weitergehen kann. Zusammengehalten werden die neuen Stücke von Jules Ahoi von Aufnahmen verschiedener Geräusche auf dem Bauhaus-Gelände in Dessau, sowie der Musik, die mitunter an die harmonisch, sanften Melodien von José Gonzalez erinnert oder dann an die direkten Lyrics und Stimme von Singer-Songwriter Johnny Flynn.

Einen Monat verbringt Jules Ahoi im Dessauer Meisterhaus des Typografen und Malers László Moholy-Nagy. Morgen erscheint das Produkt dieser künstlerischen Arbeitsphase in Form eines neuen Albums. "MAGNOLIA (The Bauhaus Tapes)", auf denen er unter anderem einen Track (Old Master’s House) dieser Zeit in Sachsen-Anhalt widmet. Das Songwriting zu seinem neuen Album beginnt bereits lange vor seinem Aufenthalt in Dessau, und zwar mit einer Reise nach Norwegen und den Orten, die Jules Ahoi bei dieser Reise eigentlich gar nicht gesehen hat – wie den Ort Ålesund, der dennoch weiterhin eine Sehnsucht für den Kölner Musiker symbolisiert. Er selbst teilt das Album in drei Abschnitte; Erlebnisse und Erfahrungen, die letztlich in Akten zusammenfinden: auf Sehnsucht und Aufbruch folgen das Verweilen und genauere Beobachten sowie letztlich der Ausblick darauf, wie es weitergehen kann. Zusammengehalten werden die neuen Stücke von Jules Ahoi von Aufnahmen verschiedener Geräusche auf dem Bauhaus-Gelände in Dessau, sowie der Musik, die mitunter an die harmonisch, sanften Melodien von José Gonzalez erinnert oder dann an die direkten Lyrics und Stimme von Singer-Songwriter Johnny Flynn.

Einen Monat verbringt Jules Ahoi im Dessauer Meisterhaus des Typografen und Malers László Moholy-Nagy. Morgen erscheint das Produkt dieser künstlerischen Arbeitsphase in Form eines neuen Albums. "MAGNOLIA (The Bauhaus Tapes)", auf denen er unter anderem einen Track (Old Master’s House) dieser Zeit in Sachsen-Anhalt widmet. Das Songwriting zu seinem neuen Album beginnt bereits lange vor seinem Aufenthalt in Dessau, und zwar mit einer Reise nach Norwegen und den Orten, die Jules Ahoi bei dieser Reise eigentlich gar nicht gesehen hat – wie den Ort Ålesund, der dennoch weiterhin eine Sehnsucht für den Kölner Musiker symbolisiert. Er selbst teilt das Album in drei Abschnitte; Erlebnisse und Erfahrungen, die letztlich in Akten zusammenfinden: auf Sehnsucht und Aufbruch folgen das Verweilen und genauere Beobachten sowie letztlich der Ausblick darauf, wie es weitergehen kann. Zusammengehalten werden die neuen Stücke von Jules Ahoi von Aufnahmen verschiedener Geräusche auf dem Bauhaus-Gelände in Dessau, sowie der Musik, die mitunter an die harmonisch, sanften Melodien von José Gonzalez erinnert oder dann an die direkten Lyrics und Stimme von Singer-Songwriter Johnny Flynn.

This is the first part of a conversation between Aimee Pflieger and Leland Rice on May 19, 2024. Here, he details his first exposure to photography, his experiences both as a student and as an instructor, and finally the genesis and execution of the first major American exhibition of László Moholy-Nagy's photographic work. This groundbreaking exhibition and accompanying catalogue of gathers around 75 of the artist's photographs and photograms and traveled to 21 venues in 4 years, through the summer of 1979.

V Ljubljani je pretekli teden potekal festival Big Arhitektura, ki je na enem mestu povezal arhitekte, notranje oblikovalce, inženirje, urbaniste, pa tudi odločevalce, investitorje in študente arhitekture. Edinstvena priložnost na enem mestu slišati različne poglede na grajeni prostor in oblikovanje, preveriti odnos politike do prostora ter se seznaniti z inovacijami: tehnološkimi, pa tudi tistimi v razmišljanju. V tokratni Intelekti govorimo o arhitekturnih zgodbah onkraj ustaljenih okvirov, s poudarkom na praksah, ki že v zgodnjih fazah načrtovanja vključujejo končne uporabnike arhitekture in prostora. Intelekto pripravlja Miha Žorž. Gostja in gostje Intelekte so: - arhitekta Blaž Budja in Rok Jereb, Jereb Budja arhitekti - Borbála Marosán, raziskovalka na Centru za inovacije MOME z Univerze za umetnost in oblikovanje Moholy-Nagy v Budimpešti - arhitekt Gregor Mljač, Zavod Big

2024. április 5., péntek 6:30-8 óra NÉVNAPOK, ESEMÉNYEK, SZÜLETÉSNAPOSOK, LAPSZEMLE, TŐZSDEI HELYZETKÉP BUDAPEST, TE CSODÁS: szubjektív programajánló áprilisra. GASZTRÓ: Winelovers Grand 2024. FILM: 27 - ez a sokszoros díjnyertes magyar animációs rövidfilm, moziban lesz látható más filmek előtt. Kék Pelikan - ilyen jó magyar filmet rég nem láttunk ZENE: Bartók Tavasz: Spiritualized, Baxter Dury (UK) | Fabienne Débarre (FRA), Carson Coma V. születésnap - Programok - WeloveBudapest, Galaxisok – Ellenszélben lemezbemutató, Nyit a Budapest Park KIÁLLÍTÁS: Budapest FotóFesztivál: Budapest Fotó Fesztivál, 42. Magyar Sajtófotó Kiállítás, Szépművészeti Múzeum: Kertész, Moholy-Nagy, Capa… / Magyar fotóművészek Amerikában (1914–1989), Galéria: A bábu megszólal Anna Margit (1913–1991) életmű-kiállítása – Magyar Nemzeti Galéria, Wágner Gábor, a We Love Budapest újságírója TD SYNNEX: Miért kerül AI gomb a hardware-ekbe? Horváth Zoltán, a TD Synnex Kft. Business Unit Lead, Microsoft Cloud Solutions, valamint Kardos Lili, a TD Synnex Kft. Microsoft HW üzletfejlesztője ÉRTÉKPERCEK: Az EURHUF alakulása, Amerikai makroadatok (munkaerőpiac helyzete, aktuális kamatvárakozások), Eurozóna makroadatok (infláció, munkanélküliség) és hatása az EURUSD-ra, jövőheti események. Fodor István, az OTP Global Markets treasury üzletkötője

100 Jahre Bauhaus. Der ehemalige Direktor Walter Gropius braucht eine Festrede. Er trifft Moholy-Nagy, Mies van der Rohe und andere Weimarer Kollegen auf der Suche nach Inspiration. Doch die Realisierung der Moderne hat nicht nur die Bauhaus-Ideen verändert. Von wittmann/zeitblom www.deutschlandfunkkultur.de, Hörspiel

Im Jahr 1930 konzeptionierte Lászlo Moholy-Nagy den ersten Licht-Raum-Modulator. Seitdem wurde der Apparat immer wieder nachgebaut. In der vierten Episode von Bauhaus – der Podcast sind Torsten Blume, wissenschaftlicher Mitarbeiter der Stiftung Bauhaus Dessau und Jürgen Steger, Diplom Designer und Objektgestalter zu Gast. Im Gespräch mit der Moderatorin Pauline Braune erläutern sie den Entwicklungsprozess des Apparats und diskutieren, ab wann eine Reproduktion ein Original ist und ob es überhaupt sinnvoll ist, dieser Frage nachzugehen. Wenn ihr Anregungen oder Fragen zum Podcast habt, dann schreibt uns gerne eine Email an: podcast@bauhaus-dessau.de Weitere Informationen zur Stiftung Bauhaus Dessau findet ihr unter https://www.bauhaus-dessau.de.

De beroemde fotograaf Eva Besnyö was tijdens haar 93-jarige leven niet alleen getuige van, maar ook drijvende kracht achter belangrijke ontwikkelingen in de fotografie. In het beeld 'Vrouwelijk naakt' zien we een naakte jonge vrouw door de lens van een vrouwelijke fotograaf. En gefotografeerd op een manier die toen net in opkomst was. Janine Abbring spreekt erover met conservator fotografie Mattie Boom.Wil je weten hoe deze foto eruitziet? Ga dan naar www.rijksmuseum.nl/podcastIn het Rijksmuseum is powered by ING.

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Prof. Christine Erhard. Freie Künstlerin aus Düsseldorf und Professorin für Fotografie an der Muthesius Kunsthochschule Kiel. Zitate aus dem Podcast: »Irgendwann habe ich mich entschieden, Objekte nur noch für das Bild herzustellen.» »Mich interessiert die Abbildung von einem dreidimensionalen Raum durch ein zweidimensionales Bild.« »Ich konstruiere komplette Räume vor der Kamera.« »Ich habe zum Beispiel ein Bild von László Moholy-Nagy nachgebaut.« »Heute können wir uns oft nicht mehr vorstellen, das Bilder auch anders entstanden sein könnten als digital.« »Wenn ich das mit einem KI-generierten Bild machen würde, hätte ich das Bedürfnis, das KI-generierte Bild wiederum aus dem digitalen Raum raus zu holen und zu materialisieren.« »Mein Anliegen ist es auch, den Raum wieder selbst zum Bild werden zu lassen.« »Ein gutes Bild ist für mich, wenn ich damit die Aufmerksamkeit der Betrachterinnen gewinne.« Christine Erhard wurde 1969 geboren und studierte von 1992 bis 1998 an der Kunstakademie Düsseldorf Bildhauerei bei Fritz Schwegler. Seit 2022 ist sie Professorin für Fotografie an der Muthesius Kunsthochschule Kiel. Sie lebt und arbeitet in Düsseldorf. https://christineerhard.de https://muthesius-kunsthochschule.de/personenverzeichnis/prof-in-christine-erhard/ - - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Lea Kötting Regelmäßig gut informiert über das INTERNATIONALE FESTIVAL FOTOGRAFISCHER BILDER, den »Deutschen Fotobuchpreis« und den Podcast Fotografien Neu Denken durch unseren Newsletter: https://festival-fotografischer-bilder.de/newsletter/ Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2023. Andy Scholz wurde 1971 in Varel am Jadebusen geboren. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 arbeitet er als freier Künstler, Autor und ist seit 2016 künstlerischer Leiter und Kurator vom INTERNATIONALEN FESTIVAL FOTOGRAFISCHER BILDER. Seit 2012 unterrichtete er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Im Oktober 2022 integrierte er gemeinsam mit Martin Rosner den Deutschen Fotobuchpreises ins INTERNATIONALE FESTIVAL FOTOGRAFISCHER BILDER in Regensburg. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

“Moï Ver”au Centre Pompidou, Parisdu 12 avril au 28 août 2023Interview de Julie Jones, conservatrice, cabinet de la photographie, Musée national d'art moderneet de Karolina Ziebinska-Lewandowska, directrice du Musée de Varsovie, commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 11 avril 2023, durée 20'29.© FranceFineArt.https://francefineart.com/2023/04/12/3422_moi-ver_centre-pompidou/Communiqué de presseCommissariat :Julie Jones, conservatrice, cabinet de la photographie, Musée national d'art moderne Karolina Ziebinska-Lewandowska, directrice du Musée de VarsoviePour la première fois, l'oeuvre de Moshe Vorobeichic, dit Moï Ver (1904, Vilnius, Empire russe, actuelle Lituanie – 1995, Safed, Israël), photographe, graphiste et peintre, est présentée dans toute sa richesse et sa complexité. Cette rétrospective réunit plus de trois cents oeuvres et documents (photographies, peintures, dessins, imprimés), dont un grand nombre d'inédits, provenant des archives Moï Ver à Tel Aviv et de collections privées européennes.Après une formation artistique au début des années 1920 à Vilnius, Moshe Vorobeichic étudie au Bauhaus de Dessau, auprès de László Moholy-Nagy, Josef Albers, Paul Klee et Vassily Kandinsky. Sa découverte de nouvelles formes artistiques, aussi bien en photographie qu'en peinture, se poursuit à Paris entre 1929 et 1933, auprès de Fernand Léger à l'Académie moderne, et à l'École de photographie et de cinéma. En 1931, Moï Ver publie son premier livre d'artiste, Paris, aux éditions Jeanne Walter. Cet ouvrage illustré de photographies, magnifique synthèse des innovations formelles des avant-gardes de l'époque, fait alors sa renommée. La même année, il travaille à la réalisation d'un second ouvrage photographique, publié à titre posthume, Ci-contre. Aujourd'hui conservée dans la collection du Musée national d'art moderne, et présentée en intégralité dans l'exposition, la maquette originale de l'ouvrage, contenant plus d'une centaine de photographies, est, aux côtés de Paris, une oeuvre majeure du modernisme photographique des années 1930. Brillantes grammaires de formes, de textures et de structures, ces deux ensembles témoignent d'un regard expérimental sur la société contemporaine et d'une maîtrise saisissante du montage photographique.Depuis la fin des années 1920 et jusqu'au début de la Seconde Guerre mondiale, Moshe Vorobeichic réalise également une documentation photographique des communautés juives à Vilnius d'abord, puis dans de nombreuses villes et villages polonais. En 1931, il reproduit quelques-unes de ses images, organisées en d'étonnants collages, dans son ouvrage The Ghetto Lane in Vilna (publié aux éditions Orell Füssli). Installé définitivement en Palestine mandataire en 1934, Moshe Vorobeichic met désormais son art au service de la propagande sioniste. Il photographie les « nouveaux migrants », la construction des infrastructures et la vie quotidienne des kibboutzim. Majoritairement inédites, ces images sont alors publiées dans des ouvrages, des brochures d'information, et lui servent également de matière première pour la réalisation d'affiches politiques. Au début des années 1950, à l'âge de cinquante ans, Vorobeichic abandonne la photographie et le graphisme. Il adopte le nom de Moshe Raviv et se retire dans le village de Safed pour se consacrer à la peinture.Moshe Vorobeichic (dit Moï Ver) a, plusieurs fois, changé de nom et de pseudonyme : « Moï Ver » est retenu ici comme nom principal, avec celui de Moshe Vorobeichic qu'il utilise jusqu'à la fin des années 1940 et qui apparaît sur la majorité des tirages et des publications d'époque. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Húsvéti adásunkban Csomay Zsófia építész, a MOME oktatója, az egyetem kampuszának tervezője a vendégünk! A Tanárnő személye megkerülhetetlen az építészközegben: olyan épületek tervezője, mint a Collegium Budapest Vendégház (2003) vagy a békéscsabai Megyei Könyvtár (1985). Ybl-díjas, legutóbbi elismerése a Moholy-Nagy díj.Az elmúlt évtizedben a sajtóban többször nyilatkozott, tavaly pedig többedmagával tüntetést is szervezett a budavári átalakítások és épületrombolások ellen. Csomay Zsófia életútja az építésztársadalomban és a várospolitikánkban végbement több változásra is rávilágít az elmúlt közel hatvan évből.Arról mesélt többek között, hogy milyen volt pályakezdő építésznek lenni a hatvanas években, illetve milyen volt az a ma már ritkán ismert családias és magas fokon elkötelezett szakmai közeg, amelyben – és a modernizációs kísérlet jegyében – megszülettek a kor ikonikus épületei. Beszélgetünk a rendszerváltás előtti intézmények (KÖZTI, Iparterv) hálózatáról, az azok közötti különbségekről, de szó esik több ízben arról is, hogy van-e legitimitása szabadidőruháknak.Milyen nyugati inspiráló példák voltak a kor építészei előtt? Mi a baj a Dunapart látképével? Mitől jó egy pad, és miért izgalmas az unalmas építészet? Elősegítheti-e az erőforráshiány a megalomán sztárépítészet felszámolását? Arról is szó esik, hogy miért van hatalmas szükség jó építészekre a gazdasági, politikai, ökológiai válságok korában.A beszélgetésben hivatkozott írásokat, terveket, épületek listáját megtaláljátok posztjainkban az Instagramon.Támogasd te is a Partizánt adód 1%-ával!Név: Partizán Rendszerkritikus Tartalomelőállításért AlapítványAdószám: 19286031-2-42

Egyedülálló erdőtelepítő akciót indít a MOME. Az intézmény három nemzeti parkkal - a Balaton-felvidéki, a Duna-Dráva és a Duna-Ipoly Nemzeti Parkkal - összefogva Magyarország három pontján, közel félszáz hektáron hoz létre új erdőket, amelyek felcseperedve lehetővé teszik az egyetem károsanyag kibocsátásának semlegesítését. A program a képzésbe is beépül, az akcióban az egyetem dolgozói és hallgatói is szerepet vállalhatnak. Barcza Dániel rektorhelyettes beszél a Civil Rádióban arról, hogy az egyetemüket működtető alapítvány kezdeményezésére 2030-ra a MOME lesz Magyarország első karbonsemleges egyeteme. A MOME ZERO program keretében jelentősen növelik az energiahatékonyságot, megszüntetik az élelmiszerpazarlást és bevezetik a papírmentes adminisztrációt is. Az új bejelentés lényege, hogy az ezek után fennmaradó károsanyag kibocsátást is kompenzálják, méghozzá saját telepítésű erdők segítségével. Péterfi Ferenc interjúja

Renowned generative artist Dmitri Cherniak joins Kevin on today's episode. Light Years by Dmitri consists of 100 unique NFT artworks, each complemented by a physical silver gelatin print. The artworks were developed iteratively as Dmitri traveled around the globe researching Moholy-Nagy with the support of the Moholy-Nagy estate. Each edition was created by a code-based generative system, then hand-prepared, and printed to a film negative that was used to develop the image as a silver gelatin print.

In this episode of Perspectives, we speak with Joseph Malherek, author of Free-Market Socialists: European Émigrés Who Made Capitalist Culture in America, 1918–1968.   What is the surprising connection between socialism and the corporate focus group? How did socialists come to develop, of all things, the suburban American shopping mall?   Listen in as Joseph Malherek explains the socialist roots of U.S. social research. He charts the lives and careers of Hungarian artist-designer László Moholy-Nagy, the Austrian sociologist Paul Lazarsfeld, and his fellow Viennese Victor Gruen—an architect and urban planner—to tell the story of an intellectual migration from Central Europe to the United States. These figures sought answers to the question: why do people do the things they do and make the economic decisions they make? Malherek demonstrates how U.S. businesses channeled socialist thought for creative solutions to the practical problems of industrial design, urban planning, and consumer behavior. For more information and resources on this topic, and others, please see https://www.chstm.org/video/143.

Híreink következnek! A MÉD és Moholy-Nagy díjátadó, egy tüntetés mellett beszégetünk röviden arról, hogy mi az értelme az építészetelméletnek, miért fontos a fikció és a tervezés az építészettörténetben, de arról is, hogy az emlékezetpolitika fogalma (és annak különböző értelmezései) hogyan járulnak hozzá a tér történelmi megértéséhez. Megnéztük az Osztapenkó maradhat? illetve a FUGA Lakhatás című kiállításait, amik november végén bezártak, és mesélünk nektek róluk. Beszélgetünk még a jószándékú szociális design korlátairól, illetve a politikai akarat hiányáról a város népességében lezajló változások kapcsán.Kövessetek az Instagramon, Facebookon, írjátok meg e-mailen, hogyan tetszett az adás, valamint várunk tőletek olyan városi helyszíneket, épületeket, amiket szerintetek érdemes lenne megemlítenünk.Az Építészfórum által szervezett Média Építészeti Díja díjátadó: https://mediadij.epiteszforum.hu/ Moholy-Nagy díj: https://mome.hu/hu/a-moholy-nagy-dij Tamás Gáspár Miklós: https://litera.hu/irodalom/publicisztika/tamas-gaspar-miklos-a-nemet-kontraszt.html FUGA kiállítás: http://fuga.org.hu/fevent/lakhatas/ Osztapenko maradhat? kiállítás: https://www.varmuzeum.hu/osztapenkomaradhat.html 22-esek tüntetése a várban: https://merce.hu/2021/11/05/a-budai-varban-zajlo-gigaberuhazasok-ellen-tiltakoztak-a-civilek/ Budapest népességcsökkenése: https://www.google.hu/amp/s/www.portfolio.hu/ingatlan/20211019/egyre-csak-fogy-budapest-nepessege-egyre-tobben-koltoznek-a-balaton-kozelebe-505956%3fampEz itt a Partizán Podcast csatornája.A Partizán Podcast Facebook oldalát itt találod:https://www.facebook.com/profile.php?id=100087436092000A Partizán oldalát és a videóit itt tudod megnézni:Youtube-on: https://www.youtube.com/c/Partiz%C3%A1nm%C3%A9diaFacebookon: https://facebook.com/partizanpolitika/Iratkozz fel a Partizán hírlevelére:https://csapat.partizanmedia.hu/forms/partizan-feliratkozasTámogasd te is a Partizán munkáját!https://csapat.partizanmedia.hu/fundraising/partizan/Extra tartalmak, vágatlan videók:https://www.patreon.com/partizanpolitika

“Ergy Landau“ 1896-1967à la Maison de la Photographie Robert Doisneau, Gentillydu 23 septembre 2022 au 8 janvier 2023Interview de Laurence Le Guen, présidente de l'association des Amis d'Ergy Landau, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 24 octobre 2022, durée 18'33.© FranceFineArt.https://francefineart.com/2022/10/26/3335_ergy-landau_maison-de-la-photographie-robert-doisneau/Communiqué de presse Commissariat :Kathleen Grosset, Laurence Le Guen et David MartensExposition organisée avec la collaboration de l'Association des Amis d'Ergy LandauL'exposition rétrospective Ergy Landau, 1896-1967 retrace pour la première fois la trajectoire de cette photographe d'origine hongroise installée à Paris au début des années 1920.C'est à travers une centaine de tirages originaux totalement inédits et des archives personnelles récemment redécouvertes que nous suivons cette figure aujourd'hui peu connue du grand public et pourtant prédominante du milieu du 20ème siècle. Pendant plus de trente années, Ergy Landau participe en effet aux plus grandes expositions photographiques et collabore à de multiples publications, livres d'art et ouvrages pédagogiques en passant par les revues grand public. Ses photographies les plus personnelles témoignent d'une assurance, d'un sens précis de la composition, d'une attention et d'une facilité pour agencer les jeux de l'ombre et de la lumière.Qui, aujourd'hui, a entendu parler d'Ergy Landau ? Sans doute peu de personnes en dehors d'un cercle restreint de spécialistes, historiens et amateurs de photographie du 20ème siècle. Pourtant très active entre le début des années 1920 et la fin des années 1950, Ergy Landau a plus que compté dans le paysage photographique français. Issue de la diaspora hongroise qui quitte son pays au lendemain de la Première Guerre mondiale, elle s'installe à Paris et développe une activité de photographe professionnelle particulièrement diversifiée. Si elle ouvre dès son arrivée un atelier dans le 16ème arrondissement c'est parce qu'elle s'est initiée très tôt avec la technique et qu'elle fréquente depuis plusieurs années déjà, et malgré son jeune âge, les cercles hongrois de la «photographie d'art». En France, elle continue d'entretenir ses amitiés avec ses compatriotes (Brassaï, Kertész, Moholy-Nagy…) et contribuera à initier Nora Dumas et Ylla, qui seront dans un premier temps ses assistantes. S'imposant rapidement comme une spécialiste du portrait, tout spécialement d'enfants, elle développe des recherches formelles qui la rapprochent à certains égards de la Nouvelle Objectivité et réalise dans le même temps de nombreux nus féminins. Publiées dans différents périodiques de la presse illustrée et des magazines ou revues de l'entre-deux-guerres, ses images témoignent de l'émancipation des corps qui accompagne certaines transformations des modes de vie, notamment sous la forme des loisirs de plein air et des sports pratiqués en pleine nature. En 1933, elle rejoint l'Agence Rapho, dont elle soutiendra la renaissance après-guerre. Jusqu'à l'accident qui, en 1965, la laisse lourdement handicapée, elle effectue plusieurs séjour et reportages à l'étranger (Mongolie, Chine) et publie plusieurs livres de voyages et d'autres destinés au jeune public. Décédée sans descendance en 1967, avant la période qui, dans les années 1970, marque la reconnaissance des photographes comme des artistes à part entière, Ergy Landau tombe peu à peu dans l'oubli. Cette exposition, ainsi que l'ouvrage monographique qui l'accompagne, sont les résultats d'une recherche qui a été rendue possible par l'exploration du fonds E. Landau, inédit jusqu'alors.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dr. Mészáros Flóra művészettörténész, a budapesti Metropolitan Egyetem Művészet-és Designelmélet Intézetének docense, a design-és művészetmenedzsment képzés kurátori specializációjának vezetője; emellett szabadúszó kurátor. Fő kutatási területe a magyar művészet nemzetközi kontextusa, és az absztrakt művészet. doktori disszertációját a Budapesti ELTE-n és a párizsi Sorbonneo-n írta és védte meg az Abstraction-Création körből. Vendégelőadásokat tartott többek között Dublinban, Bécsben vagy a párizsi Sorbonne-on. Rendszeresen publikál tudományos szövegeket avantgárd és kortárs témában, például a bécsi Belvedere Beyond Klimt kiállításának katalógusába írt tanulmányt. Több könyv szerzője, például Martyn Ferenc és Párizs (2014); Gáspár György: ablakból térre (2017), stb. Olyan köteteket szerkesztett, mint a Modern Art and Internationalism (2017) vagy a Párizsi Absztraktok. Abstraction-Création tárlat magyar és angol nyelvű kiállítás katalógusa (2021). Nemzetközi kiállítások közreműködője, így segédkezett a párizsi Centre Georges Pompidou Victor Vasarely-kiállításán. Nemzetközi tárlatok kurátora, így Párizsban, vagy Bécsben (Collegium hungaricum) rendezett kiállítást Martyn Ferenc munkáiból, vagy ő volt a kurátora Bartha Máté arles-i Rencontres Fotófesztivál díjnyertes Kontakt című kiállításának. Tavaly 14 év kutatás és 3 év szervezés után valósította meg a Párizsi absztraktok. Abstraction-Création, Hélion, Kandinszkij, Moholy-Nagy című megatárlatot a debreceni MODEM-ben. A bécsi kiállításhoz kapcsolódva megjegyzendő, hogy évek óta kutatja Marytn Ferenc (Lantos Ferenc mestere), Lantos Ferenc, a Pécsi Műhely és a kortárs absztrakt művészek tevékenységét. #Bécs #művészet #művészettörténész #podcast Budapesti Metropolotian Egyetem: https://www.facebook.com/METUBudapest/ https://www.youtube.com/c/MetropolitanBudapest/videos https://www.metropolitan.hu/ https://www.instagram.com/metropolitanbudapest/ MODEM kiállítás: https://www.youtube.com/watch?v=S81gJory2Vc Lantos Ferenc portre: https://www.youtube.com/watch?v=FEMWsMwwBVY A mai Collegium Hungaricum kiállítás megnyitója: https://fb.me/e/1TyHu13yz https://www.facebook.com/CollegiumHungaricumWien https://youtu.be/g2sHoj29H2k https://youtu.be/S81gJory2Vc https://youtu.be/8d5rCb06m8E https://wmn.hu/kult/56052-ezek-a-muvek-a-remenytelensegbol-is-szuletettek---interju-dr-meszaros-flora-muveszettortenesszel https://www.kortarsonline.hu/aktual/meszaros-flora.html Borítóképhez felhasznált portré fotó: Müller András https://instagram.com/sardnarellum Tudományos fokozat: PhD Filozófiatudományi Doktori Iskola, ELTE BTK és École Doctorale VI Paris IV-Sorbonne, 2016 Munkahelyek: 2016– Károli Gáspár Református Egyetem BTK, Művészettörténet Tanszék, adjunktus 2014–2015 Károli Gáspár Református Egyetem BTK, megbízott előadó 2010–2012 PTE Pollack Mihály Műszaki Kar, Pécs, megbízott előadó Témák, Fejezetek: Szakmai pályafutás Kutatások, munkák Bécsben Művészettörténész és kurátori pálya kihívásai Budapesti Metropolitan Egyetem Párizsi absztraktok Abstraction-Création, Hélion, Kandinszkij, Moholy-Nagy című megatárlat Megatárlat megszervezése Lantos Ferenc kiállítása Bécsben Lantos Ferenc kutatása, jövőbeli projekt -------------------------------------------

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Welcome back.    Do you think that if you had looked up and seen Sam Kramer's shop, would you have been attracted?   Toni: Oh, my god, I would have been up in a shot. Are you kidding? I would have tumbled up those stairs had I known it was there. I never even knew what it was, but I was always seeking out that aesthetic, that kind of thing. Like I said, my mother would buy handmade jewelry, silver jewelry, and I loved what she bought. I would go to galleries with her. When I say gallery, they were more like shops; they were like shop-galleries, multimedia boutiques, not specifically jewelry, that would carry handmade jewelry. I loved it. Had I seen Sam Kramer's shop, I would have been up like a shot. The same thing with Art Smith. I would have been down those steps like a shot, but I didn't know they were there, and I was too busy running after boys and going to the coffee shops in Greenwich Village to look carefully.   Sharon: Out here, I don't know if you would have had those influences.   Toni: You had a few shops. You're in the Los Angeles area?   Sharon: Yeah.   Toni: There were a few shops in L.A., not so much in Northern California. There was Nanny's in San Francisco, which was a craft gallery that carried a lot of jewelers. In Southern California there were a few studio shops, but I don't know how prominent they were. I don't know how obvious they were. I don't think that they were as much on people's radar as the ones in New York.   Sharon: When you say studio jewelers, was everything one-off, handmade?   Toni: Yes—well, not necessarily one-off. Generally, what these jewelers would do—this is the best generalization—for the larger, more expensive, more involved pieces, they would make one. When they sold it, they'd make another one, and when they sold that, they'd make another one. If the style was popular, they would also have what they would think of as production lines—earrings, cuff links, tie bars that they would replicate, but they were not cast usually. At that time, very little of it was cast. It was hand-wrought, so there were minor differences in each of the examples. But unless we get into the business records of these jewelers, we don't really know exactly how many they made of each design.   Sharon: Why is it, do you think, that modernist jewelry has been so popular today?   Toni: Oh, that's a good question. That's a very good question. I think a lot has to do with Fifty/50 Gallery's promotion. Fifty/50 was on Broadway at 12th Street, and it was a multimedia gallery that specialized in mid-20th century material. There were three very smart, very savvy, very charismatic owners who truly loved the material like I love it, and when you love something so much, when you have a passion, it's very easy to make other people love it also. I think a lot of the answer to that question is Fifty/50's promotion. They were also a very educative gallery. They were smart, and they knew how to give people the information they needed to know they were buying something special. I think it appeals to a certain kind of person.    Blanche Brown was an art historian in the midcentury who was married to Arthur Danto, who was a philosopher who taught art history at Columbia. His wife, Blanche Brown, was also an art historian. She did a lot of writing, and she would talk about the modernist jewelry, which she loved. It was a badge that she and her cohort would wear with pride because it showed them to be aesthetically aware, politically progressive. It made them stand apart from women who were wearing diamonds and precious jewelry just to show how wealthy their husbands were, which was in the 1940s and 1950s, the women who would wear this jewelry. So, for women like Blanche Brown and women through the 1960s, 70s, 80s and even now—well, now it's different because we have all the contemporary jewelers—but I think it set these women apart. It made them special in a way. It set them apart from the women who were wearing the Cartier and the Van Cleef and Arpels.    You dress for your peers. You dress to make your peers admire you, if not be envious. Within the Bohemian subculture of the 1950s, within the Beat Generation of the 1950s and through the 1960s and the hippies in the 1970s, it set apart that kind of woman. Remember, also, feminism was starting to become a very important aspect of lifestyle. I think when “The Feminine Mystique” came out around 1963—I would have to check it—women were starting to feel empowered. They wanted to show themselves to be intelligent and secure and powerful, and I think modernist jewelry imparted that message when one wore it. It's not that different than people who wear the contemporary jewelry we love so much now. Art Jewelry Forum says it's jewelry that makes you think, and that is what I think a lot of us relate to in that jewelry. It's jewelry with a real concept behind it.   Sharon: That leads me to the next question. I know the biographies repeat themselves. When I was looking up information about you, they said you're an expert in modernist and contemporary jewelry. Contemporary can mean anything. Would you agree with the contemporary aspect?   Toni: I don't view myself as an expert in contemporary. I think I know more than a lot of people about it only because I study it. It's very hard to keep up because there are so many new jewelers popping up all the time. The name of my course that I teach at Pratt is Theory and Criticism of Contemporary Jewelry. Because of that, I do have to keep up to the day because it's a required course for the juniors majoring in jewelry studies, and I feel a responsibility to make them aware of what's happening right at that point I'm teaching it. Things are changing so much in our field, but I don't view myself as an expert. I just think I know a lot about it. It's not my field of expertise, and there's so much. You've got German jewelers, and you've got Chinese jewelers, and you've got Australian and New Zealand jewelers, and you've got Swedish jewelers. All over the world. You've got Estonia, a little, small country, as these major jewelers. They are each individual disciplines in and of themselves.   Sharon: How is it that you wrote the catalogue that became “Messengers of Modernism”? Were you asked to write the catalogue?    Toni: Yeah, I was hired by David Hanks and Associates, which was and still is the curatorial firm. They're American, but they work for the Montreal Museum of Fine Arts. At that time, there was a separate Montreal Museum of Decorative Arts, and that's really where Messengers of Modernism—it came under the Montreal Museum of Decorative Arts. Now, it has been absorbed into the Montreal Museum of Fine Arts. It's just one building. It was a separate building. Basically I was hired by the museum to write the catalogue.   Sharon: And how did it become a book?    Toni: It is a book.    Sharon: Yes, but how did it become—it was a catalogue.   Toni: It's a book, but it functions as the catalogue in the next edition.   Sharon: Right, but I was saying that you wrote the catalogue, and then you said it was published by Flammarion in Paris. Did they say, “Oh, let's take it and make it a book?” How did it transform?   Toni: It was always a book, but it functioned as the catalogue for a particular collection, which is their collection of modernist jewelry. Many exhibitions, even painting exhibitions, when you go to a museum and view a painting exhibition and you buy the accompanying text, it's the catalogue of the exhibition.   Sharon: Yes, but a lot of those don't become books per se. That's why I was wondering, did somebody at the publishers see your catalogue and say, “This would make a great book?” I have never seen the exhibition, but I have the book.   Toni: I think this is a semantic conversation more than anything else. It has become, as I said, the standard text, mostly because nothing else really exists, except I believe Marbeth Schon wrote a book on the modernist jewelers which is more encyclopedic. This book, “Messengers of Modernism,” first of all, it puts the collection in the context of studio craft from the turn of the century up until then, which was then the present. The book was published in 1996. I think what you're saying is it's more important than what we think of as a museum catalogue and it's become a standard text.   Sharon: Yeah.   Toni: It was always conceived as a book about modernist jewelry; it was just focusing on this one collection. What I'm saying is people would say, “Well, why isn't this one in the book? Why did you leave this one out?” and I said, “Well, I didn't leave this one out. This is a book about a finite collection that's in the Montreal Museum of Fine Arts.” If I were writing a book about modernist jewelry, of course I would have included Claire Falkenstein, but she wasn't in their collection, so it's not in that book. That was basically what I meant.   Sharon: Is there a volume two that's going to be coming out with the ones that weren't in the collection that you think should be in the book?   Toni: That book was published in 1996. We're already in 2022. People are always asking me, but one never knows.    Sharon: I guess you don't need an exhibition to write a catalogue.    Toni: No, to write a book, of course you don't.   Sharon: To write a book. What's on your radar? What do you think you have next? Is it in the realm of modernism that you would be writing about?   Toni: That's really what I write about. I lecture about contemporary jewelry to my students and occasionally to the public, but my area of expertise is modernism. There are cardiologists that have a part of their practice in general medicine, but if somebody has a gastrointestinal problem, they're going to send them to a gastroenterologist. I can deal with the broad strokes, which I do, but unless it's one specific jeweler that I would write about, I would not attempt a book about contemporary jewelry. I would stick with modernism, what I feel very confident and comfortable with.   Sharon: If somebody who's passionate about jewelry but not wealthy said they want to start building a modernist collection, where would they start?   Toni: That is another good question. First of all, they would really have to comb the auctions. If they were very serious about collecting important works, I would send them to Mark McDonald, who's the premier dealer in this material. He was one of the partners of Fifty/50.   Sharon: Right, does he still work in that area? Didn't they close the store? Yeah, they closed the store.   Toni: Yeah, two of the partners tragically died. Mark had Gansevoort Gallery after. That was on Gansevoort Street in the Meatpacking District here in New York, which was a wonderful gallery also specializing in modernist material, multimedia. Then he had a shop up in Hudson, New York, for many years, right opposite Ornamentum Gallery. That closed, but he still deals privately. He is the most knowledgeable dealer in the period that I know of. If anybody was really serious about starting to collect modernist jewelry, he would be the person I recommend they go to.   Sharon: It sounds like somebody to collaborate with if you're writing your next book.   Toni: We always collaborate. We're good friends and we always collaborate.   Sharon: Where do you see the market for modernist jewelry? Do you see it continuing to grow? Is it flat? Is it growing?   Toni: Yes, the best of it will continue to grow. There was an auction right before the pandemic hit. I think it was February of 2020, right before we got slammed. It was an auction that was organized by David Rago Auction in New Hope, Pennsylvania, and Wright, which is also an auction gallery specializing in modern and modernism from Chicago. Mark McDonald curated the collection, and the idea behind that exhibition was it was going to go from modernist jewelry from the mid-20th century up to the present and show the lineage and the inheritance from the modernist jewelers. It also included Europeans, and there was some wonderful modernist jewelry in that exhibition that sold very well—the move star pieces, the big pieces.    Then there was—I guess a year ago, no more than that—there was an auction at Bonhams auction house which was one couple's collection of modernist jewelry, artist jewelry—and by artists, I mean Picasso and Max Ernst, modernist artists. They collected a lot of Mexican jewelry and two of Art Smith's most major bracelets, his modern cuff and his lava cuff. I always forget which sold for what, but these were copper and brass cuffs. One sold for $18,000 and one sold for $13,000. I think the modern cuff was $18,000 and the lava cuff was $13,000. If anybody comes to my lecture tomorrow for GemEx, I talk about both of them in detail. This is big money. Five figures is very big money for these items, but these are the best of the best, the majors of the major by Art Smith. Art Smith is currently very, very coveted.   Sharon: Who's your favorite of the modernist jewelers? Who would you say?   Toni: Well, I have two favorites. There are three that are the most important, so let's say three favorites. One is Art Smith, and the reason is because the designs are just brilliant. They really take the body into consideration, negative space into consideration, and they're just spectacularly designed and beautiful to wear. Sam Kramer, the best of his work, the really weird, crazy, surrealist pieces like the one that's on the cover and the back of the Sam Kramer book. Margaret de Patta, who was from the San Francisco Bay area, and she was diametrically opposite to these two because her work was based upon constructivism. She had studied under Moholy-Nagy, the Hungarian constructivist painter, sculptor, photographer. Her work is architectural based upon these eccentrically cut stones. She would be inspired by the rutilations, which are the inclusions within quartz, and she would design her structures around them. I would say those are my three favorites.   Sharon: That's interesting. I wouldn't have thought of Margaret de Patta. I guess I think of her in a different category. I don't know why.   Toni: She's one of the most important modernist jewelers. She founded that whole San Francisco Bay Area MAG, the Metal Arts Guild. She was their guru.    Sharon: When I think of San Francisco at that time, I think of all the jewelry I bought when I was 16 and then I said, “What did I want this for?” Now I see it in the flea markets for 14 times the price I paid for it.   Toni: Right.   Sharon: But who knew. Anyway, Toni, thank you so much. It's been so great to have you. We really learned a lot. It's a real treat. Thank you.   Toni: I had a great time also. Thank you for inviting me. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

A conversation with executive producer Marquise Stillwell; producer, cinematographer, and designer/animator Petter Ringbom; and co-producer Ashley Lukasik; moderated by András Szántó, author, cultural strategist, and Art Basel Conversations host. Taking place before the in-person screening of  The New Bauhaus - The life and legacy of Moholy-Nagy 2019, Documentary, 85 minutes Director/Producer: Alysa Nahmias In 1937, László Moholy-Nagy came to Chicago to start the New Bauhaus, an art institute that aimed to pioneer the development and dissemination of modern design. The film's narrative weaves original interviews with archival footage, voiceover, and stylized filming featuring Hans-Ulrich Obrist. The result is a new perspective view of a man who was ahead of his time and is increasingly relevant in today's contemporary art and design discourses. Following recent retrospectives of Moholy-Nagy's work at major museums, this film offers a more accessible and intimate, emotional journey through his life and his work as an artist, designer, visionary, and teacher. Moholy-Nagy believed that designing was “not a profession but an attitude,” he brought together art students and design students—something unheard of at the time—and challenged them to look at the world differently.

Híreink következnek!A MÉD és Moholy-Nagy díjátadó, egy tüntetés mellett beszégetünk röviden arról, hogy mi az értelme az építészetelméletnek, miért fontos a fikció és a tervezés az építészettörténetben, de arról is, hogy az emlékezetpolitika fogalma (és annak különböző értelmezései) hogyan járulnak hozzá a tér történelmi megértéséhez. Megnéztük az Osztapenkó maradhat? illetve a FUGA Lakhatás című kiállításait, amik november végén bezártak, és mesélünk nektek róluk.Beszélgetünk még a jószándékú szociális design korlátairól, illetve a politikai akarat hiányáról a város népességében lezajló változások kapcsán.Kövessetek az Instagramon, Facebookon, írjátok meg e-mailen, hogyan tetszett az adás, valamint várunk tőletek olyan városi helyszíneket, épületeket, amiket szerintetek érdemes lenne megemlítenünk.Az Építészfórum által szervezett Média Építészeti Díja díjátadó: https://mediadij.epiteszforum.hu/Moholy-Nagy díj: https://mome.hu/hu/a-moholy-nagy-dijTamás Gáspár Miklós: https://litera.hu/irodalom/publicisztika/tamas-gaspar-miklos-a-nemet-kontraszt.htmlFUGA kiállítás: http://fuga.org.hu/fevent/lakhatas/Osztapenko maradhat? kiállítás: https://www.varmuzeum.hu/osztapenkomaradhat.html22-esek tüntetése a várban: https://merce.hu/2021/11/05/a-budai-varban-zajlo-gigaberuhazasok-ellen-tiltakoztak-a-civilek/Budapest népességcsökkenése: https://www.google.hu/amp/s/www.portfolio.hu/ingatlan/20211019/egyre-csak-fogy-budapest-nepessege-egyre-tobben-koltoznek-a-balaton-kozelebe-505956%3famp★ Support this podcast on Patreon ★

Il 18 maggio 1929 si inaugura a Stoccarda, in Germania, la mostra mostra itinerante internazionale Film und Photo organizzata da Moholy-Nagy - con Alessandra Mauro

Lyt til alle afsnit af Kvinde kend din historie på Podimo. Opret dig her og prøv Podimo gratis: https://applink.podimo.com/KKHD Maler Franciska Clausen var den eneste af de tidlige danske modernister, der kom ind i inderkredsen af den internationale surrealistiske avantgarde og satte sit præg på den. Hun boede i 1920'erne først i Berlin og siden i Paris, hvor hun studerede hos og arbejdede sammen med flere af sin tids største kunstneriske pionerer, som László Moholy-Nagy og Fernand Léger. På trods af international succes faldt hun ikke rigtig ind i danskernes smag med sin moderne og surrealistiske kunst, og først sent i livet blev hun anerkendt i sit hjemland. I dag står hun som en af Danmarks største avantgardister. Dagens gæst er kunsthistoriker, Mette Højsgaard, som har studeret i Paris, hvor hun faldt over og senere studerede Franciska Clausens kunst og livshistorie. Gæst: Mette Højsgaard. Vært og tilrettelægger: Gry Nielsen-Jexen. Tilrettelæggelse, klip og produktion: Cecilie Wortziger Musik: Frej Levin og Scott Holmes Grafik: Sofie Nørgaard Kampmark

bauhaus.film.expanded | Führung und Gespräch [08.02.2020 - 23.08.2020] Auf einem virtuellen Rundgang durch die Ausstellung besprechen Jan Knopf und Teresa Retzer spezielle Filme aus dem umfangreichen Angebot von »bauhaus.film.expanded«. Diese werden mithilfe des Begriffs »MITAHMEN«, der von Walter Benjamin geprägt wurde, analysiert. Ausgehend von László Moholy-Nagys Film »Berliner Stilleben« (DE 1926) wird der durchstrukturierte Alltag der modernen Großstadt, die zwischen Sachlichkeit und Dynamik in einer Massengesellschaft variiert, genauer betrachtet. Die speziellen filmischen Mittel, wie die überhöht technische Perspektive, die drastische Darstellung von Licht und Schatten und die nicht-erzählerische Montage, die Moholy-Nagy in vielen seiner dokumentarischen Filme anwendet, finden sich auch in seinen Kultur- und Werbefilmen und in seinen experimentellen Arbeiten – wie dem »Lichtspiel schwarz-weiss-grau« (DE 1930) – wieder. In seinem Umgang mit den neuen Möglichkeiten des Films nimmt der Künstler, ebenso wie weitere FilmemacherInnen der Ausstellung, bereits praktische und theoretische Überlegungen zum Film vorneweg, die im späteren Hollywood-Kino »die Massen bewegen« (Thomas Elsässer). Die ExpertInnen veranschaulichen an Film-Beispielen, wie eine zunehmende Beeinflussung und Mediatisierung der Menschen durch den Film das alltägliche Leben bestimmt.

bauhaus.film.digitally.expanded | ExpertInnengespräch [17.05.2020] moderiert von Teresa Retzer. In dieser Live-Diskussion der Reihe »bauhaus.film.digitally.expanded« unterhalten sich Markus Heltschl, Eva Krivanec, Claudia Reiche, Rolf Sachsse und Thomas Tode über das »Neue Sehen« am Bauhaus. Das Gespräch wird moderiert von Teresa Retzer. Diese Stilrichtung, die ursprünglich aus der Fotografie stammt, etablierte sich in den 1920er-Jahren. Die neuen Methoden des Neuen Sehens wollten bildhistorisch festgefahrene Darstellungsformen aufbrechen. Die AnhängerInnen des Neuen Sehens wollten insbesondere den konventionellen Umgang mit der Komposition, mit Licht und Dunkel, sowie bewegten und unbewegten Bildelementen in der Fotografie umdenken und erneuern. Sie wünschten sich lebhaftere und dynamischere Bilder, in denen sich der gesellschaftliche und technologische Fortschritt dieser Zeit widerspiegelte. Unter anderen vertraten Ellen Auerbach, Ella Bergmann-Michel, Erich Consemüller, Horacio Coppola, Andreas Feininger, Lucia Moholy, László Moholy-Nagy, Umbo, Walter Peterhans, Albert Renger-Patzsch, Alexander Michailowitsch Rodtschenko, Peter Pewas, Hans Richter und Grete Stern die Herangehensweisen des Neuen Sehens oder wurden durch die Stilrichtung massgeblich beeinflusst.

Wykład towarzyszący wystawie „Tak widzą. Panorama fotografii węgierskiej”, Muzeum Narodowe w Warszawie, 20 lipca 2017 W 1989 roku w Europie Środkowo-Wschodniej upadały reżimy komunistyczne i rodziła się demokracja. Słynny fotograf Chris Niedenthal podczas wykładu w Muzeum Narodowym w Warszawie przedstawił swoje fotografie dokumentujące tamten czas. Na pokazanych zdjęciach można było zobaczyć życie polityczne i codzienne w Polsce, na Węgrzech, w Niemczech, w krajach ZSRR oraz w Rumunii. Na koniec Niedenthal zaprezentował swoje fotografie wykonane podczas protestów w 2017 roku w Warszawie. Tak widzą. Panorama fotografii węgierskiej 13 czerwca – 10 września 2017 W historii fotografii światowej dzieła artystów węgierskich zajmują osobne miejsce. Nie sposób dziś napisać jej dwudziestowiecznego rozdziału bez uwzględnienia ich znaczącego dorobku. Wystawa skupia się na pracach światowej sławy fotografów, takich jak André Kertész, Brassaï, Robert Capa, Márton Munkácsi, László Moholy-Nagy, György Kepes, Lucien Hervé i Éva Besnyő. Zachowując układ chronologiczny, szczególny nacisk położono na intertekstualność, czy może raczej na poczucie interwizualności. Fotografie zaprezentowano w mało dotąd rozpoznanych kontekstach – zarówno obok dzieł mistrzów, jak i współczesnych, dzięki czemu można dostrzec istotne wpływy, którym podlegali autorzy w procesie wypracowywania własnego języka fotograficznego. Prace kolejnych pokoleń artystów złożyły się na całościowy i bogaty przegląd fotografii węgierskiej. Kurator wystawy: Gabriella Csizek Wystawa zorganizowana w związku z Rokiem Kultury Węgierskiej w Polsce 2016/2017 Partnerzy wystawy: Rok Kultury Węgierskiej w Polsce Ministerstwo Spraw Zagranicznych i Handlu Węgier Instytut im. Balassiego – Węgierski Instytut Kultury w Warszawie Współorganizatorzy wystawy: Dom Fotografii Mai Manó w Budapeszcie Centrum Fotografii Współczesnej im. Roberta Capy w Budapeszcie

Floris Neussüs, Sans titre (vice versa), Kassel, 1985 Fasciné par les photogrammes de pionniers comme Man Ray ou Lázló Moholy-Nagy, Floris Neusüss fait partie des artistes ayant poussé très loin l’expérimentation du procédé qui, sans recours à la prise de vue, consiste à exposer puis à développer un papier photosensible sur lequel, dans le noir, sont déposés des objets. L’innovateur qu’il a été a, notamment, introduit pour la première fois, en 1960, des figures humaines grandeur nature, produisant ainsi des œuvres de grand format où les corps réels sont transfigurés. Dans la série des diptyques Vice Versa, l’expérimentation à partir de papiers inversant les valeurs positif-négatif, accentue la dématérialisation des formes. Floris NEUSÜSS Est né à Lennep en Allemagne en 1937 – Il est mort à Kassel en 2020

Ein Bauhaus-Konzeptalbum von wittmann/zeitblom I Ein Bauhaus-Konzeptalbum von wittmann/zeitblom l „‘AUDIO.SPACE.MACHINE‘ ist […] kein historisches Stück. Es ist brandaktuell: Indem sie den vergangenen Stoff in unsere Zeit fortschreiben, geben wittmann/zeitblom uns ein Werkzeug an die Hand, mit dem wir, im Rückblick auf Geschehenes, unsere Zukunftsmöglichkeiten durchdenken können.“ – so die Jury des Hörspielpreises der Kriegsblinden zum Siegerstück. Das Hörspiel erkundet das idealistisch-utopische Denken der Bauhaus-Künstler, deren Texte mit zeitgenössischen Autoren und Materialien kombiniert werden. Ein Klangerlebnis, das die Grenzen der Kunstform Hörspiel signifikant erweitert. Das Stück wurde anlässlich des „Bauhaus 100“-Jubiläums entwickelt und war im Januar 2019 Teil des Eröffnungsfestivals „100 jahre bauhaus“ in Berlin. Inhalt: Der ehemalige Direktor Walter Gropius braucht eine Festrede. Er trifft Moholy-Nagy, Mies van der Rohe und andere Weimarer Kollegen auf der Suche nach Inspiration. Doch die Realisierung der Moderne hat nicht nur die Bauhaus-Ideen verändert. Selbst die Bauhaus- Künstlerfreunde scheinen nicht mehr aus Fleisch und Blut, sondern in der Maschinerie aufgegangen zu sein. Aber Gropius kämpft weiter für seine Idee: die unsterbliche Marke BAUHAUS! I Mit Alice Dwyer, Elias Falk, Paul Herwig, Jacqueline Macauly, Leslie Malton, Lars Rudolph, Albrecht Schuch, Bernhard Schütz, Sabin Tambrea und Christian Wittmann I Konzept und Realisierung: wittmann/zeitblom I SängerInnen: Maria Goja, Gemma Ray, Christian Wittmann I MusikerInnen: Achim Färber (Drums), Maria Goja (Harmonium, Piano), Falk Breitkreuz (Bassklarinette), zeitblom (Electronics) I Technische Realisation: Boris Wilsdorf I Produktion: DLF/NDR/SWR 2019 in Zusammenarbeit mit IMF (Interactive Media Foundation) l https://ndr.de/radiokunst

"Entdecke die Lichtjahre Deines Lebens." László Moholy-Nagy verwischte in seinem "Totalexperiment" die Konturen von Raum, Materie und Zeit.

"Ich lebe als Übertragungskabel, alle Übertragungen können durch mich hindurchlaufen." Aus: Vier Gedichte von László Moholy-Nagy, 1918.

bauhaus.film.expanded | Filmscreening und Einführung durch Robert Horter, Jan Knopf, Thomas Tode und Martin Reinhart [15.02.2020] In seinem avantgardistischen Filmentwurf »Dynamik der Großstadt« portraitiert László Moholy-Nagy den endlosen Fluss des Großstadtlebens. Es ist einer der ersten Versuche in der Filmgeschichte, der die vielfältigen Bewegungsmomente einer modernen Großstadt visuell erfasst. Der Typofoto-Filmentwurf »Dynamik der Großstadt« (1921/1922) wurde Teil eines neuen Genres, das in den 1920er-Jahren an mehreren Orten zugleich entstand: die Großstadtsinfonie (auch wenn Moholy-Nagys Film erst posthum realisiert werden konnte). Eine Einführung in die Thematik der Großstadtsinfonie geben die Kuratoren der Ausstellung »bauhaus.film.expanded« Markus Heltschl und Thomas Tode.

bauhaus.film.expanded | Filmscreening und Einführung durch Markus Heltschl und Thomas Tode [16.02.2020] In seinem avantgardistischen Filmentwurf »Dynamik der Großstadt« portraitiert László Moholy-Nagy den endlosen Fluss des Großstadtlebens. Es ist einer der ersten Versuche in der Filmgeschichte, der die vielfältigen Bewegungsmomente einer modernen Großstadt visuell erfasst. Der Typofoto-Filmentwurf »Dynamik der Großstadt« (1921/1922) wurde Teil eines neuen Genres, das in den 1920er-Jahren an mehreren Orten zugleich entstand: die Großstadtsinfonie (auch wenn Moholy-Nagys Film erst posthum realisiert werden konnte). Eine Einführung in die Thematik der Großstadtsinfonie geben die Kuratoren der Ausstellung »bauhaus.film.expanded« Markus Heltschl und Thomas Tode.

On this episode of Archinect Sessions we’re sharing a conversation I had with Alysa Nahmias, the director and producer of the documentary film “The New Bauhaus.” We recorded this conversation last month, poolside, a few hours before the film premiered to a packed house in the Annenberg Theater at the Palm Springs International Film Festival. Alysa, a trained architect-turned-filmmaker, made her directorial debut in 2011 with Unfinished Spaces, a critically acclaimed documentary about the unfinished National Art School in Cuba.  While she has a number of producing credits under her belt, The New Bauhaus is the second documentary film project that she directed. The film focuses on the life and legacy of László Moholy-Nagy, the Hungarian artist and teacher most famously known through his work at the Bauhaus. It’s a beautifully told story, presented in a unique, non-linear fashion, narrated by Hans Ulrich Obrist who represent Maholy in a surprisingly effective way.  The film will be screened again at this year’s Modernism Week in Palm springs, tomorrow, February 14th, followed by screenings at Melbourne Design Week the Architecture & Design Film Festival in DC in March, and in Los Angeles, at SC-Arc, in April. Full details can be found at thenewbauhaus.com. 

Olá pessoal, aqui quem fala é o Rafael Ancara, no episódio de hoje eu, o Almir Mirabeau e Ricardo Cunha Lima convidamos a Bárbara Emanuel para continuar a conversar sobre o livro Teoria do Design Gráfico organizado por Helen Armstrong e publicado no Brasil em português pela editora Ubu. Como tínhamos proposto lá no ep#115, neste programa abordamos o livro 1 ou a parte 1: A criação da disciplina. A qual trata de textos históricos e manifestos passando por Marinetti, Ródtchenko, Lissítzki, Moholy-Nagy, Tschichold, Warde e Bayer. Pelos nomes já dá pra imaginar que falamos bastante de tipografia, mas também retornamos de novo a pergunta principal dessa série: Por que essa galera se preocupou em escrever?! Links Livro Teoria do Design Gráfico https://www.ubueditora.com.br/teoria-design-grafico.html Palestra do Ancara e Fabiano sobre Infografia e Tipografia https://www.youtube.com/watch?v=GYpuT5cyFQY Artigo da Bárbara e do Ricardo Arthur - Linguagem e Design: sobre a impossibilidade da neutralidade da informação https://bit.ly/30AFqtL Se gostou do episódio compartilhe com seus colegas, deixe seu comentário e nos siga nas nossas redes sociais. Até o próximo episódio!

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 10/6/2019, primera de las que dedicaremos a Kati Horna, una de las fotógrafas más sorprendentes del siglo XX. Nacida en Budapest en 1912, recibió una formación vanguardista y cosmopolita en Berlín, Budapest y París, con maestros como Laszlo Kassak, Lászlo Moholy-Nagy o József Pécsi. Amiga de juventud de Endre Friedmann (Robert Capa) y de Chiki Weisz, con apenas 21 años ya ha tenido que huir del fascismo en Berlín y en Budapest.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 10/6/2019, primera de las que dedicaremos a Kati Horna, una de las fotógrafas más sorprendentes del siglo XX. Nacida en Budapest en 1912, recibió una formación vanguardista y cosmopolita en Berlín, Budapest y París, con maestros como Laszlo Kassak, Lászlo Moholy-Nagy o József Pécsi. Amiga de juventud de Endre Friedmann (Robert Capa) y de Chiki Weisz, con apenas 21 años ya ha tenido que huir del fascismo en Berlín y en Budapest.

Tracing the revolution in graphic design in the 1920s, the exhibition Jan Tschichold and the New Typography: Graphic Design Between the World Wars, on display at the Bard Graduate Center gallery until July 7, displays materials assembled by typographer and designer Jan Tschichold (1902–1974) in Weimar, Germany throughout his life. Tschichold’s 1928 book “Die Neue Typographie” was one of the key texts of modern design, partly due to its grasp of Constructivist ideas and new print technology, but also for its practical use as a design manual. His collection of design and art works by esteemed colleagues like Kurt Schwitters, El Lissitzky, László Moholy-Nagy, Herbert Bayer, Piet Zwart, and Ladislav Sutnar, purchased by Phillip Johnson and donated to the Museum of Modern Art, forms the foundation of the exhibition. In this installment of Leonard Lopate at Large, the show’s curator Paul Stirton, an associate professor of modern European design history at the Bard Graduate Center, joins critic and co-founder of the design criticism program at SVA Steven Heller for a discussion of the work that changed graphic design forever.

100 Jahre Bauhaus. Der ehemalige Direktor Walter Gropius braucht eine Festrede. Er trifft Moholy-Nagy, Mies van der Rohe und andere Weimarer Kollegen auf der Suche nach Inspiration. Doch die Realisierung der Moderne hat nicht nur die Bauhaus-Ideen verändert. Von wittmann/zeitblom www.deutschlandfunkkultur.de, Hörspiel Hören bis: .. Direkter Link zur Audiodatei

Pauline Dakin spent her childhood on the run. Sally Bayley grew up in a house where men were forbidden and a charismatic leader ruled. They compare notes with presenter Matthew Sweet. New Generation Thinker Iain Smith discusses his research into the history of a film known as the Turkish Star Wars. Plus Canadian poet Gary Geddes on his poem sequence The Terracotta Army. And the pioneering Hungarian photographer László Moholy-Nagy and the birds eye view images which he created. Sarah Allen, co-curator of a new exhibition at Tate Modern discusses his impact.Girl with Dove: A Childhood Spent Graphically Reading by Sally Bayley is out now. Pauline Dakin's memoir is called Run, Hide, Repeat. Dünyayı Kurtaran Adam (The Man Who Saved the World) is the title of a 1982 Turkish science fantasy adventure film which is also described as Turkish Star Wars. Gary Geddes is the author of poetry collections including The Terracotta Army and War & Other Measures and his non-fiction books include Medicine Unbundled: A Journey through the Minefields of Indigenous Health Care. He is talking at Birmingham, Liverpool and Oxford universities and University College London. China's First Emperor and the Terracotta Warriors is an exhibition running at the World Museum Liverpool until October 28th 2018. Shape of Light: 100 Years of Photography and Abstract Art runs at Tate Modern until October 14th 2018. Producer: Fiona McLean

The Real of Reality | International Conference on Philosophy and Film Wed, 02.11.2016 – Sun, 06.11.2016 ZKM_Media Theater, ZKM_Lecture Hall, ZKM_Media Lounge, ZKM_Cube My presentation is based on the proposition that every film, whether documentary or feature film, is based on the mutual relationship between the found and the invented, the material and the fiction, the real and the symbolic. In addition, as opposed to the closed form of the feature film, the open form of the documentary film can make the interplay between the real and the symbolic, the recorded material and the narrative, more visible. Hence, the documentary film is not a reproduction of reality, but a creative approach to the real, which is directly connected to the everlasting search for the answer to the question: what is the real? What, then, is the real? The real is not the objective fact of reality, but something that is always perceived by a distorted view. Thus, in the real, the distorted subjective view is always included. However, if one accepts that the documentary material is always framed by an interpretation and subjective perspective, this nevertheless means that the real is the construct of a perspectivism, because there is the actual existence and effect of the real. Nevertheless, this is always in a reciprocal relationship between the observer and the observed. What is the real in film? In film, at least three kinds of „the real“ can be ascertained. They are the historical real, the optical real, and the material real. My presentation deals with these three kinds of the real based on the film theories of Benjamin, Moholy-Nagy, and Vertov. International Conference on Philosophy and Film Photography and film in particular paved the way for complex philosophical questions regarding the nature of reality and its mechanical reproduction. What does film reproduce and how can we grasp this element, which has the transactive ability to form reality although originating in reality? This shaping takes palce through a complex interaction of image, action and narration and tends to permeate reality completely. It is an inconspicuous process that already affects our everyday life profoundly and is based on a revolution of the real. What does film show? Do we have access to reality that is not based on images or narrations? And what can film and its analysis contribute to philosophical debates on the real? These are questions we are asking to engage in a dialogue between philosophy and film. For five days, one hundred and fifty philosophers, media scholars and filmmakers will connect philosophical theory with cinematic practice and open up new ideas and concepts. To accompany the program, there will be film screenings of documentaries of the invited filmmakers. The participation at the conference is also possible without the presentation of a paper. The conference will be held in English.

Panel event at The Art Institute of Chicago presented with IIT Institute of Design Upon its founding Moholy-Nagy referred to the New Bauhaus in Chicago as a "laboratory for a new education". As the New Bauhaus evolved into Institute of Design, his legacy of experimentation in education maintains through experiential, project-based learning and a commitment to prototyping. Over the past eight decades, ID's school-as-lab model has provided a forum to conceive new futures in healthcare, transportation, retail, finance, social services and computer-human interaction. The field of design has broadly adopted the human-centered approach grounded in the New Bauhaus as standard practice. Entirely new approaches to learning outside of traditional education models and infrastructures have been developed through the collaborative efforts of designers, entrepreneurs, artists, policymakers and others. This discussion will feature a multi-disciplinary group of panelists representing the academic, non-profit, and creative sectors. Patrick Whitney, Connie Yowell, Eric Ellingsen, and Dr. Melissa Gillian explore Moholy-Nagy's influential legacy of experimental education in Chicago. Panelists Eric Ellingsen Visiting Assistant Professor of Architecture, IIT College of Architecture Melissa Gilliam MD, MPH Professor of Obstetrics/Gynecology and Pediatrics, University of Chicago Patrick Whitney Distinguished Professor and Steelcase/Robert C. Pew Professor of Design, IIT Institute of Design Connie Yowell CEO, LRNG Moderated by Ashley Lukasik, Director of Corporate Relations, Communications, and Marketing at IIT Institute of Design.

In this episode we have art theorist and curator Mark Cameron Boyd. By opening Pandora’s Box we contemplate upon thinkers like Clement Greenberg, Michael Fried, László Moholy-Nagy, Rosalind Krauss, et cetera, et cetera. Whether an artist has the intention to do so or not he is surfing the wave of art theoretical thinking, we recognize the functional benefits of exploring the field outside the insulated circle amongst other creatives and discuss where this generation of artist's stand on the grand scheme. www.MarkCameronBoyd.com www.instagram.com/mcameronboyd

Tali Fitoussi (IFM/Management 2015) parle de quelques aspects méconnus de la culture geek. Nora Hevesi (IFM/Management 2015) parle de László Moholy-Nagy et des avant-gardes hongroises. Aude-Marine Paepegaey (IFM/Management 2014), parle de la lomographie, Paris, 29 mai 2015, festival des "sas" à l'IFM.

On the spur of the moment, I decided that EASGS would unofficially take part in the John Cage Centennial Festival by airing Cage's ROARATORIO in its entirety. I swear it isn't because I forgot to plan this week's show (these back to back 5th and 1st Thursdays always sneak up on me!). For this program, I'm trying something different. I have a sneaking suspicion that some of you might not feel like listening to an hour-long Irish circus. Rather than making you hold down fast-forward (and risk skipping me entirely!) I've split the first half of the show off as Program 26.1. The podcast you can dance to is Program 26.2. Note, if you're the sort of weirdo who ONLY wants to listen to avant literary sound effects, my further discussion of the piece extends into the beginning of 26.2. Download | Podcast Stereolab - "John Cage Bubblegum" (from Why Popstars Can't Dance) The Grouse dutifully introduces the Circus. Stereolab - "Three Women" (from Chemical Chords) John Cage - "Roaratorio, an Irish circus on Finnegans Wake" (from Roaratorio)

Munkácsi, Brassai, Capa, Kertész és Moholy-Nagy párhuzamos életrajza Kincses Károllyal.

"Desde el pasado 23 de abril se exhibe en la Fundación Juan March la exposición «Kurt Schwitters y el espíritu de la utopía», integrada por 28 obras -óleos, collages, dibujos y una escultura- del artista alemán Kurt Schwitters (1887-1948), 31 obras de otros autores con los que Schwitters mantuvo estrecho contacto (entre ellos Picasso, Arp, Moholy-Nagy, Paul Klee, Kandinsky, Joan Miró o Léger) y 7 fotografías realizadas por Ernst Schwitters, hijo del pintor. Las 31 obras de diversos autores proceden de la Colección que Ernst fue formando con la obra de artistas amigos de su padre, que expusieron en la galería berlinesa Der Sturm, participaron en el dadaísmo, en el constructivismo o pertenecieron a los grupos Cercle et Carré y Abstraction-Création. Dicha obra ayuda a comprender el contexto ideológico y las tensiones estilísticas en las que se forjó la vanguardia europea, de la que Kurt Schwitters es uno de los más destacados representantes. La exposición estará abierta en Madrid, en la Fundación Juan March, hasta el 20 de junio próximo.Las 28 obras de Kurt Schwitters proceden también de esta Colección Ernst Schwitters, así como del Legado Kurt Schwitters, del Sprengel Museum de Hannover y de coleccionistas privados. La muestra se ha organizado asimismo con la ayuda de Lola y Bengt Schwitters, viuda e hijo de Ernst Schwitters. Han colaborado además el Centro Galego de Arte Contemporánea de Santiago de Compostela y el Museu do Chiado de Lisboa, lugares donde anteriormente ha sido expuesta la Colección de Ernst Schwitters.Kurt Schwitters, uno de los nombres clave de la vanguardia europea de los años veinte y creador del movimiento dadaista Men, dejó una compleja obra muy personal, situada entre el espíritu irónico del dadaísmo y la voluntad estructurada del constructivismo. Fue un artista plural que cultivó desde la pintura a la poesía.«El ‘espíritu de la utopía' que da título a la exposición, implícito en el proyecto de las vanguardias, está unido a la idea, forjada durante la primera guerra mundial, de la aparición de un hombre nuevo, dotado de una nueva sensibilidad y capaz de expresarse en lenguajes como la abstracción, el idioma poético Zaoum de Khlebnikov o la música dodecafònica. Schwitters, con su pintura Merz, y muchos de sus amigos artistas y poetas alimentaron esta idea con su obra», apunta Javier Maderuelo, quien pronunció la conferencia inaugural de la muestra y es autor de uno de los textos que recoge el catálogo"Más información de este acto

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