Leo Zogmayer [*1949 · AT]. Wenn ich Kunst sage…, 2018.


Digital Print on drawing paper 180gr. 20 + 5 E.A.

Ohne metaphysische Öffnung, ins Ganze eben, würde Kunst sich ja unweigerlich in den üblichen kognitiven Modellen und im Pragmatischen verlieren. Kunst ist kein verfeinerter Kulturindustriezweig. Kunst ist für nichts da. Für alles. Kunst spricht in den Wind, hebelt nicht herum. Beginnt genau dort, wo die Messbarkeit endet. Kunst ist eine unendliche Kugel, ihr Mittelpunkt ist überall, und Umriss ist keiner auszumachen. Wenn ich Kunst sage, meine ich das Ganze.

120 € net

Lindsay Packer [*1973 · US]. Backward Glance, 2018.


Archival pigment print on paper. 10 + 3 E.A.

I treat light as a material. With an analog approach rooted in the visual language of painting, I combine physical objects, light, and color in temporary, immersive installations that are integral to and inseparable from their architectural sites. These color spaces are luminous, temporary geometries, calling into question the divisions between analog and digital ways of seeing. My photographic practice began as a straightforward way of documenting these installations and taking notes on my working process, but photography is now a primary way for me to see and show color and ephemeral form. With simple geometric shapes made of wood and paper and an experimental approach to additive color mixing, this image plays with a cross section of Bauhaus principles: the study of form, material, color, composition, and space.

300 € net

Lorenza Sannai [*1969 · IT/US]. Aspis, 2018.

Digital fine art giclée print with hand–painted additions, on Hahnemüle Photo rag 500 gr. 100% Cotton White. 20 uniques

Painting is one of the many media used to generate a work of art, to inevitably submit it to the law of change: everything mutates according to the position we assume towards it. We are continually subjected to dualism. I have chosen painting and geometry as the most simple and suitable instruments to paint stressing the importance of the sensibility of the hand, the tactility of pigments, the way light reveals their surface. Often painting that is based on geometry expresses the necessity of the individual to rationalize, but in my work geometry is a means of discovering unforeseen dimensions. Bauhaus has freed artists from a traditional sense of conceiving a work of art, it has given strength to the idea and freed every material from traditional use. Thus, “art” becomes any process applied to an element, to an object, to a construction. I have absorbed by osmosis this thought because I leave open the possibility of expanding my research by intervening with different materials and modalities, even the tridimensional aspect. The work presented here is originated from scraps of plastic stickers that I used to define areas of color on a D-Bond panel. I then glued the scraps on a sheet of paper distributing them in order to create structures and added to them by using pens and colored pencils, and painting with watercolors other areas. These are giclée digital reproductions on white paper. I have further added paint on some areas with acrylics or egg tempera, revealing the physicality of the work: the sheet of paper is not only support but also a perceptible surface the eye sees in diverse manners.

200 € net

Lucía Simón Medina [*1987 · ES]. From 2 to 324 on three variations, 2018.

Pencil on paper, hand drawing. 3 unique drawings

From 2 to 324 on three variations are related to the ideas of “Point and line to plane” by W.Kandinsky. These are descriptive drawings in which all even numbers from 2 to 324 are drawn as sum of two prime numbers*. The three variations are the result of distributing the geometrical point of each number in three different organisation forms: linear, diagonal and spiral). *Prime numbers are those that can be divided only by 1 and themselves, they are the elemental blocks of number theory because every other natural number greater that 2 or 5 can be expressed as a sum of three prime numbers (uneven numbers) or as sum of two prime numbers (even numbers).


Two available.
967 € net

Lucio Pozzi [*1935 · US]. Bau Tur, 2018.


Giclée digital print. Edition 20

Bauhaus has given me a framework within which to fit my idea of art as an open field in continuous evolution. By never settling on one visual language alone I feel that I am expanding the concept of Gesamtkunstwerk that Gropius and Piscator were exploring. Instead of feeling it as a limiting canon, it allows me to cultivate the panic and excitement of never knowing exactly where the process of art making will lead me. Bau Tur is part of my more reductive group of works. Alone or mixed with other forms, a simplified portal has been a recurring motif in many of my paintings and installations. It reminds me of Mon the Shinto sacred gate, the stone entrance to Mycenae, the Pythagorean π.

300 € net

Maik Teriete [*1975 · DE]. half, 2018.


Thread on Cardboard. 5 + 1 E.A.

When I visited the Bauhaus in Dessau not long ago, I was excited to see the new Meisterhäuser buildings, that were built upon the ruins of the old ones that couldn’t be restored. I found the form of these houses quite an interesting choice for a context like Bauhaus, where everything is supposed to be light and well balanced. These buildings look rather heavy and solid and send out an almost provocative massage in this environment. The windows are satined, so it’s not possible to see through them. The people working inside complained, that is not a nice working environment, because these buildings have a claustrophobic effect on them. For my contribution to CENTURY.idee bauhaus I worked with photographs of these new Meisterhäuser by drawing the outlines of these buildings at my computer and later zooming in these drawings. My goal was to create a work, that still partly shows the hole image and at the same time goes beyond the representation of this image. When I found the right balance in this process I transferred the lines to my favoured materials thread and a special kind of black fibre cardboard. Stitching the thread onto the cardboard is my way of combining the computer supported form shaping to the tactile materials of the Bauhaus. The title half reflects this process of partly showing something and invites the viewer to imagine a greater form outside the lines of the concrete surface.

400 € net

Mandy Cano Villalobos [*1979 · US]. Tenebrae (IV-VI), 2018.

Gouache on tea stained paper. Unique works

Each series employs repetitious mark making as a means of meditative ritual. The works, intimate and small, reference journal pages and mimic handwritten text, yet divulge no decipherable meaning. Rather, the stitches, burns or dots act as a record of ritualistic creation, transforming each piece into a relic of touch.


Unavailable at present.
480 € net

Marguerite Hersberger [*1943 · CH]. ohne Titel, 2018.


Transparentpapier beidseitig bemalt, gefaltet und geschnitten. 3 Exemplare

formspiele – spielformen. formen der vieldeutigkeiten. das haus steht kopf. die öffnung des ausgeschnittenen fensters gibt den blick frei in neue dimensionen.

550 € net

Mariángeles Soto-Díaz [*1970 · VE/US]. The Pink Elephant In The Room Learns To Navigate The Forest Without Fear, 2018.

Ink, color pencil, acid-free non-tropical wooden paper. From a series of unique works

In The Pink Elephant in the Room Series, I use the formal language of lines, planes and geometry to address gender inequality and other issues such as representation in art history and in the contemporary art world using humorous active titles in which the “pink elephant in the room” makes herself visible. For this set of three drawings from the series, I use wooden paper as a substrate, placing The Pink Elephant in the woods, literally and metaphorically, but shifting the meaning towards making her path as she walks forth, fearless, mixing organic nature and geometry while engaging in the fraught territory of mixing metaphors. Drawn with Ink and Color pencil on Acidfree wooden paper, 29,7 x 21 cm.


Two works available.
700 € net

Mary Schiliro [*1959 · US]. Slice, Punch, Dip 3, 2018.

Acrylic paint on paper. Series of unique pieces

My Slice, Punch, Dip series involves a dipping process to apply paint to a surface, which I began using a number of years ago. It was a way of working that gave me some distance from the subjectivity of the brushstroke. I was also searching for a process that was more physical in nature. Through this process, the paper becomes impregnated with paint, allowing medium and support to merge and become one. For this series, in keeping with the spirit of the Bauhaus, a template was used to laser cut circular holes in sheets of paper, making the works easily reproduceable. The “slice and punch” in the title, refers to my cutting of holes through the paper, thus further enhancing its physicality.

650 €

Matthew Deleget [*1972 · US]. Century, 2018.


Scored and creased black mirrored paper. 3 E.A.

For the Century exhibition, I used a non-traditional drawing method on a non-traditional drawing material. I first scored an open-ended square grid with a bone knife into the surface of a black mirrored paper. I then crushed the paper with my bare hands over and over again until the rigid paper became soft and pliable, like a piece of leather. The surface of the drawing is reminiscent of my broken monochrome paintings that I make with a hammer on wooden panel. I wanted my drawing in this exhibition to appear like a frieze of shattered windows on Gropius’ Bauhaus building in Dessau. The windows are still intact, but under the weight of one hundred years of artistic and societal pressure, have fossilized into a sheet of mica crystals.


Unavailable at present.
600 € net

Matthew Hawtin [*1972 · CA]. Bauhauspace, 2018.


Collage and ink on paper. Edition 3

3 E.A. for exhibition submission. No edition has yet been produced. When I think of the Bauhaus I think of the basic principles of art – line, shape, colour, form and texture and how these elements connect different creative practices. As homage to Bauhaus I wanted to explore different spatial aspects by using collage to produce an ambiguous yet structured space on the paper surface.

300 € net

Max Cole [*1937 · US]. “Space Plane,” 2018.

Digital print on cotton paper. 20 + 3 E.A.

This images derives from the work I have done for the past 5 or so years which began when I focused on the Greek Cross and the work of Malevich again. I first saw his art while I was a young student and have responded to the embrace of the mystical in art practiced by the Supremacists in my work since those early influences.

300 € net

Michael Rouillard [*1955] · US]. “Phi: Seen/Unseen,” 2018.


Ballpoint pen on paper. Series of unique works

The piece is done by holding 4 ballpoint pens in each hand and scribbling – treating the whole surface at once. The page is rotated in 4 directions and is then turned over to do the same thing to the reverse side. This is done repeatedly until the page is a densely saturated black. Line, by its sheer volume, becomes submerged into plane. The title is: “Phi: Seen/Unseen”. The overall proportions are of a Golden Section (Phi) but since the back of the page is also done only 1/2 of the piece is seen at any one time – hence the title.


Unavailable at present.
2.200 € net

Mitsuhiro Yamagiwa [*1969 · JP]. Script of the corner, 2018.


Silver spray on polyethylene. Unique + 3 E.A.

Using four corners of A4 size to parallelize the theory and practical duality. Looking back there towards the edge of corner. Looking at the space by the relationship between front and back and left and right. What is obtained from the difference of point of view and perspective.


Unavailable.
480 € net

Nadine Fecht [*1976 · DE]. carry on, 2018.

2200 Kugelschreiber und Plastikfolie auf Archivpapier. 25 + 3 E.A.

— die Plastiktütengriffverstärkung als fast schon brutal funktionsorientiertes und dennoch formschönes Massendesign für den täglichen Gebrauch
— der Kugelschreiberabrieb als organisch-organisierte strukturale Textur eine Hommage an die Textilwerkstätten des Bauhaus

450 € net

Peter Weber [*1944 · DE]. Hommage à Gropius I, 2018.


Canson Aquarellkarton, gefaltet. 6 + 1 E.A.

The idea is a homage to the architect and director of the Bauhaus, Walter Gropius. An even plane turns into architecture through folding the paper without any loss in the plane or surface. The ideal architecture which does not lose any of the construction material involved. The paper is a 300 g Canson watercolour cardboard which is folded without any cuts.

650 € net

Rainer Splitt [*1963 · DE]. paperpool (Bauhaus), 2018.

Kunstharz auf 400 gr. Phönixmotion. 23 + 1 E.A.

Die A4 Blätter werden zu unterschiedlichen rechteckigen Behältnissen gefaltet, in die rote Kunstharzfarbe eingefüllt und wieder ausgegossen wird; anschließend werden die Blätter entfaltet und damit zurück in die Ebene gebracht. Zwei Formprinzipien wirken ineinander: das rechtwinklige „bauen“ und das organische Fließverhalten des Materials Farbe. Anwesenheit und Abwesenheit gleichzeitig.

750 € net