One hundred years after the founding of Bauhaus, it’s time to revisit bauhaus journal as significant written testimony of this iconic movement of modern art. In this journal, published periodically from 1926 to 1931, the most important voices of the movement are heard: masters of the Bauhaus, among others, Josef Albers, Walter Gropius, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Oskar Schlemmer, as well as Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld, and many more.
They address the developments in and around the Bauhaus, the methods and focal points of their own teaching, and current projects of students and masters. At the time primarily addressed to the members of the “circle of friends of the bauhaus,” the journal published by Gropius and Moholy-Nagy makes tangible the authentic voice of this mouthpiece of the avant-garde. The facsimile reprint is intended to give new impetus to international discussion and research on the Bauhaus, its theories and designs.
The exact replica of all individual issues are accompanied by a commentary booklet including an overview of the content, an English translation of all texts, and a scholarly essay which places the journal in its historical context.
Painting, Photography, Film
Offered a position at the Weimar Bauhaus in 1923, László Moholy-Nagy (1895–1946) soon belonged to the inner circle of Bauhaus masters. When the school moved to Dessau, Moholy-Nagy and Walter Gropius began a fruitful collaboration as joint publishers of the Bauhausbücher series.
In addition to designing and editing the Bauhausbücher, Moholy-Nagy produced a title of his own: the legendary Painting, Photography, Film. In this book, Moholy-Nagy’s efforts to have photography and filmmaking recognized as art forms on the same level as painting are propounded and explained at length. The artist makes the case for a radical rethinking of the visual arts and the further development of photographic design to keep pace with a radically changing technological modernity.
Alongside theoretical and technical approaches and forays into the nature of the medium, Moholy-Nagy uses an extensive appendix of illustrations to provide a thorough survey of the numerous possibilities that photography and film could offer—from press photography and scientific imagery to Moholy-Nagy’s own abstract photograms and New Vision photographs.
This English translation of Painting, Photography, Film is based in content and design on the 1925 German first edition, making the latter available to an international readership for the first time. The publication includes a brief scholarly text providing crucial contextual information and reflecting on the history and legacy of Moholy-Nagy’s book.
New Design – Neoplasticism, Nieuwe Beelding
Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. His rigorous geometric compositions of verticals and horizontals and strident palette of essential colors were important to numerous Bauhaus masters; Mondrian’s influence appeared in Bauhaus architecture, product design, typography, graphic design, painting and beyond.
It is therefore not surprising that Mondrian’s essays on art theory, most of them written for the De Stijl journal, were translated into German and published as number five in the Bauhausbücher series. New Design starts with a philosophical foray into art, which Mondrian describes as a figurative expression of human existence—an expression which will find its natural conclusion in his own concept of a “New Design.” Mondrian then considers the relationship between painting and architecture and dares to take a far-reaching look at the future of Neoplasticism, which he imagines revolutionizing design and architecture around the world.
Harry Holtzman’s renowned translations of Mondrian’s selected essays appear in New Design as a complete compilation for the first time. The publication is true to the content and design of the German first edition of 1925 and includes a brief scholarly commentary.
International Architecture
When the Bauhaus moved to Dessau in 1924, it was finally possible to publish the first of the Bauhausbücher that Walter Gropius (1883–1969) and Làszlò Moholy-Nagy (1895–1946) had first conceived of in Weimar. The series was intended to give insight into the teachings of the Bauhaus and the possibilities it offered for incorporating modern design into everyday aspects of an ever-more-modern world.
First in the series was Gropius’ International Architecture, an overview of the modern architecture of the mid-1920s and an early attempt to articulate what would come to be known as International Style architecture. In a brief preface, Gropius summarized the guiding principles he identified uniting the avant-garde around the world. But the real thrust of the book is visual, with an extensive illustrated section showing buildings in Europe and the Americas. According to Gropius, these illustrations show the “development of a consistent worldview” that dispensed with the prior decorative role of architecture and expressed itself in a new language of exactitude, functionality and geometry.
Published for the first time in English, this new edition of the first of the Bauhausbücher is accompanied by a brief scholarly commentary. Presented in a design true to Moholy-Nagy’s original, International Architecture offers readers the opportunity to explore the Bauhaus’ aesthetic and its place in the world as Gropius himself was trying to define them.
Pedagogical Sketchbook
Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879–1940) brought his expressive blend of color and line to the school—and, with the second volume in the Bauhausbücher series, beyond its walls.
In his legendary Pedagogical Sketchbook, Paul Klee takes a theoretical approach to drawing using geometric shapes and lines. Evincing a desire to reunite artistic design and craft, and written in a tone that oscillates between the seeming objectivity of the diagram, the rhetoric of science and mathematics, and an abstract, quasi-mystical intuition, Klee’s text expresses key aspects of the Bauhaus’ pedagogy and guiding philosophies. And while Klee’s method is deeply personal, in the context of the fundamentally multivocal Bauhaus, his individual approach to abstract form is typical in its idiosyncrasy. In this book, he presents his own theory about the relationships between line, shape, surface, and color in the visual space.
In the present volume, the 1953 English translation by Sibyl Moholy-Nagy is combined with the design and physical qualities of the original German edition from 1925.
Pixel, Patch und Pattern – Typeknitting
In Pixel, Patch and Pattern, two worlds collide: the vibrant coolness of digital typography and the decelerating craft of knitting. Rüdiger Schlömer takes you step by step into the world of letter knitting. With sample alphabets, for which he translates fonts from well-known type designers, Schlömer lays the foundation for your typographic expression with needle and thread. Threads become lines and modules grid. Typographic knitting is not a new craft trend, but a graphic approach to a crafting technique that holds in most of us a slumber, from which it just wants to be awakened.
For digital designers, who also want to do something analogue—and knitwear in the spell of letters.
With writings by Andrea Tinnes, Zuzana Licko, Christian Schmalohr, Typotheque, Nouvelle Noire, Fidel Peugeot, Pieter van Rosmalen and many others who have never seen your typedesign so “knit table.”
With tricks and practical tips from more than ten years knitting experience and countless examples by Rüdiger Schlömer and his knitting supporters.
Total Armageddon—A Slanted Reader on Design
Total Armageddon is about design. And culture. And complexity, notably how we, as a global civilization, deal with science fiction, taste, social media, the cities we live in, aesthetics, PowerPoint, burkas, Big Tech, full-contact sports, and other thorny topics. A collection of both essays that are brand new, as well as the very best essays from past issues of Slanted Magazine, written by the most vital and vibrant global voices in writing on design and culture today such as Steven Heller, Piotr Rypson, Gerry Leonidas, Yoon Soo Lee, Kiyonori Muroga, and a host of others.
The book celebrates 15 years of independent publishing and brings together the who is who of authors and essays from 32 issues of Slanted Magazine. With financing this special publication on Kickstarter, we attempted to integrate our audience and followers to be a part of the creative process, a publication for our loyal friends and also new design enthusiasts alike.
Total Armageddon comes with essays by Can Altay, Eran Bacharach, Simon Baker, Emanuel Barbosa, Laure Boer, Gerda Breuer, Dr. Nadine Chahine, Doug Clouse, Olga Drenda, Jori Erdman, Marcus Farr, Kenneth FitzGerald, Charlotte von Fritschen, Amélie Gastaut, Martin Giesen, Jonathan M. Hansen, Steven Heller, Ilka Helmig, Will Hill, Lorena Howard-Sheridan, Natalia Ilyin, Mr. Keedy, Marianna Kellokoski, Matilda Kivelä, Toshiaki Koga, Iwona Kurz, Carolina Laudon, Yoon Soo Lee, Gerry Leonidas, Christine Lhowe, Tim Loffing, Mathieu Lommen, Ian Lynam, Dermot Mac Cormack, Georgios Matthiopoulos, Julia Meer, Silas Munro, Kiyonori Muroga, Randy Nakamura, Alexander Negrelli, Ingo Niermann, Panos Papanagiotou, Natassa Pappa, David Peacock, Louise Rouse, Piotr Rypson, Niki Sioki, Huda Smitshuijzen AbiFarès, Thierry Somers, Sonja Steppan, Agata Szydłowska, Aleksander Tokarz, Alexander Torell, Angela Voulangas, Rene Wawrzkiewicz, Wolfgang Weingart, and Onur F. Yazıcıgil.
Awarded with DDC Award.
SPEED
SPEED provides an insightful and personal look into the subcultures scenes of of transportation in its various forms and beauty. Photographed by Horst Friedrichs between 1997 and 2018 and in collaboration with Creative Director Lars Harmsen the book showcases two decades of photography on these active groups. The photos are defined by the acute styling and attention to detail that seamlessly transport the reader to a world of cars, motorcycle, scooter, and bicycles.
Auslöser Magazine Issue 1
Auslöser Magazine is a bilingual (German and English) indie print magazine that focuses on the human stories behind the camera. The Auslöser Magazine Issue 1 (available since March 2019) features 4 long-form in-depth interviews with Friedl Kubelka, Yanina Boldyreva, Wolfgang Zurborn and Brian Finke. Also, there is a behind the scenes photo reportage at the famous publishing and print house STEIDL, and in detail a very special camera from the WestLicht camera museum.
Poster »Typen und Prototypen«
hinzkunst Poster designed by burkhardthauke, a multidisciplinary design studio founded in 2009 by Ralph Burkhardt and Daniel Hauke. The office has since been honored with numerous national and international awards.
Poster »Wye Oak«
Poster designed by burkhardthauke, a multidisciplinary design studio founded in 2009 by Ralph Burkhardt and Daniel Hauke. The office has since been honored with numerous national and international awards.
Throw “Holewang”
hinzkunst blankets are the perfect companion: at home on the couch, as a bedspread, as a tapestry …
Throw »Kiekerowski«
hinzkunst blankets are the perfect companion: at home on the couch, as a bedspread, as a tapestry …
Throw »Diefenbach«
hinzkunst blankets are the perfect companion: at home on the couch, as a bedspread, as a tapestry …
Throw »Millbrock«
hinzkunst blankets are the perfect companion: at home on the couch, as a bedspread, as a tapestry …
Cry Me A River
Everyone responds to the separation of his beloved in his own way. Some with fiery-vengeful anger and others drag themselves through a balmy everyday life, damp with gray-tinged tears.
In CRY ME A RIVER, a young couple moves to an unknown village for a while to look after the two dogs of an aunt. While they have to admit in their togetherness that their relationship is no longer working, one of the two dogs dies. They choose to part, though they continue to live under the same roof to look after the suffering dog left alone. The tears flow incessantly, they fill one and a half liters of plastic bottles, they create waterfalls and rivers.
She writes, dreams of success and above all she dreams of a perfect great love full of passion and eternal dedication. But even in her dream world, the supposedly ideal lover is kidnapped by reality. He hits the shelves of a supermarket, undecided in choosing the right cereal, the villager Paol. A night of alcohol and excess and the strange appearance of a giant shrimp that comes down from heaven like an archangel will help him see things from a different perspective.
Nika, Lotte, Mangold!
Nika loves metal, video games and action. Lotte is super sporty, super exact and super smart. Mangold likes to carry stuff around, has the best taste in clothes and makes the best ass bombs. The three live in the dachshund valley, where Karl runs out with nasty Berta, Becker’s fat cat feels misunderstood, a new tree house is built and wild snowball fights take place in winter.
Sometimes silly, sometimes thoughtful and always with a lot of humor, all kinds of ideas and zest for action meet the three friends NIKA, LOTTE and MANGOLD the big and small adventures in their lives. And Thomas Wellmann proves once again that he is not only a fantastic draftsman, but also a great storyteller.
Von Spatz
In the hills of Santa Monica lies the “Von Sparrow Rehab Center.” A mental hospital for artists and employees of the show business for the reassurance of nerves a bevy of psychiatrists, nurses and carers are available. Patients are required to dedicate themselves fully to their recovery and artistic work at this location. For this purpose, the hospital management provides atelier houses, an art supply, an art gallery and much more.
The clinic director Margarete von Spatz cares lovingly for her patients, including Walt Disney, who tries more or less in vain during his stay on various artworks. During the numerous afternoon activities such as Painting therapy, penguin service and kneading muses Walt about his life as an artist. How could the father of a mouse lose his mind?
Old Songs New Songs
Have you ever broken more than three plates in one day? Did her child belch in the service? The characters in OLD SONGS NEW SONGS are entangled in a web of prohibitions and blame, in which the photographing of hares in the months January to April is just as punishable as the appearance in public with a woman’s beard or unshaven legs.
In her detailed leporello, Rita Fürstenau brings together historical legal texts that, from today’s perspective, sometimes seem amusing, bizarre or simply gruesome. Although these laws are no longer effective, it becomes clear that the moral concepts and motivations that once validated their validity are still alive today.
Crawl Space
The students Daisy and Jeanne-Claude have a secret that allows them to escape their suburban life: in the dark corners of the cellar of Daisy’s house, behind the washing machine and a veil that separates the realities lies a hidden world. The rainbow-colored ecosystem is home to uncommon sensations and bizarre lifeformers, including both playful teapot creatures and less friendly creatures.
As the friends explore this strange reality, they discover that they too are shaped by their influence. But her friendship will soon be tested as Jeanne-Claude takes more and more of her school friends into the wondrous world and Daisy begins to wonder how real her new-found popularity at the school really is.
Lichtpause
LICHTPAUSE tells a day in Algiers, from early morning to night, and takes us on a long walk through the city. The voice of the narrator mingles with the voices of her friends, who comment, interpret, ask, answer. It is about the air, the traffic, the sea, the presence of violence, the money, the oil, the layers of pasts that are deposited in architecture. In the eyes of the Europeans on Algiers and the possibility of friendship, despite the echo of history and the current situation.
The book was created during two stays of the artist in Algiers, between September 2016 and April 2017. The work on text and drawings was above all a reason to listen, to observe, to find a look that is searching and does not necessarily mean to understand. A perspective that constantly questions itself, dedicates itself to fleetingness and attempts to grasp conditions that pass by and yet remain as holey memories. The result is an impressive travelogue in fragments, in poetic snapshots from constantly reassembling perspectives.
In Winter
It is winter and in a nameless forest high in the north, the paths of a cat and a hawk cross. The brief encounter will be disastrous for both. For death too, brushing softly through the cold night, joins them.
IN WINTER is reminiscent of a classic animal fable, but instead of a moral mediation occurs an atmospheric condensation that does not want to explain or teach, but aims to look at the inner life of the characters and their relationships with each other.
Zwischen den Zweigen zwitschert ein Waldhorn
With self-forged verses and colorful illustrations Julia Kluge embarks on a hunt for centuries-old hunting customs. Through the close connection of hunting with the development of culture and art since the Palaeolithic rock paintings each epoch finds its very own portrayal of hunting, between necessary food, mystical ritual and brutal pastime.
From the Middle Ages to the 18th century hunting in Central Europe was reserved for the nobility. This power centering culminated in elaborate hunt or par force hunts, which were a popular social event at the princely courts. Anyone who wanted to be valid had to prove his sovereignty as a good hunter. Splendidly decorated hunting books, describing the tips, tricks and technique of hunting in a bizarre and beautiful manner, bear witness to the hunt-dingy epochs. Many a prince wrote his own hunting book in which he praised his abilities over the green clover.
Based on these historical hunting books, Julia Kluge drew her own “weidmännische Ratgeber.” Her illustrations open up the view of a cultural asset hidden in the undergrowth. Not only does the content fit together like a collage, but the ink drawings printed in three special colors also complement and overlap. Fine structures are reminiscent of light that falls through dense treetops on the forest floor. Crisp verses pick up the once secret language of the pastoralists. The advice can be enjoyed with a wink and reflect the ambivalent relationship between the proud self-image of the hunters and the hunted animals again.
Röhner
P. leads a hermit life in an appropriate symbiosis with his busy neighbor. From the preparation of the coffee to the care of the house plants everything runs in time. With the unexpected arrival of Röhner —an old acquaintance —this rhythm changes.
While Röhner becomes a psychotic imposition, P. mentions various scenarios in the mind how he could get rid of the unloved guest. Only when Röhner begins to build an intimate relationship with the neighbor, frees P. from his thoughts and grasp action.