H. Frank Taffelt [*1955 · DE]. I. B. Nr. 01–03, 2018.

Kugelschreiber auf Papier. 3 Unikate

Die Herausforderung [Projekt CENTURY], das Narrativ Bauhaus [DER NEUE MENSCH, DAS NEUE SEHEN].mit zeichnerischen Projektionen auf kleiner Fläche zu fassen, scheint eine Zumutung. Als minimalistisch komplementäre Entsprechung der Diversität des Bauhauses aber konsequent. Eine auf das Äußerste reduzierte Anmutung, die zu exemplarischen, geometrisch konkreten Interventionen einlädt. Zu sublimen Aneignungen, Fragmentierungen, Eingriffen. Annäherungen an eine Idee. Der bauhausgeschulten Wahrnehmung werden Irritationen zugemutet. Die erwartete Gesetztheit wird minimal dekonstruiert. Das vordergründig Stabile, Gefügte gerät in unscharfe Bewegungen. Die geometrische Ordnung wird subtil verlassen. Unrechte Winkel. Sacht fallende, aufsteigende Linien konterkarieren die Waagerechte. Sich neigende, kippende Ränder bewirken eine Atmosphäre vertikaler Verklärung. Die Parallelität ist außer Kraft. Erwartete Kontexte sind unterlaufen. Dezente Eingriffe irritieren. Eine diskrete Störung der Sehordnung [Marcel Broodthaers: Poesie als Störung von Weltordnung]. Ein konzeptionelles Unbehagen zwischen nüchterner Konstruktion und poetischer Ernüchterung. Der Bezug in der Haltung, dem abgestimmten Maß, bleibt als Anordnungsnotwendigkeit evident. Keine falschen Versprechungen. Keine gefällige Verklärung. Ein abgesetzter Horizont von Einfachheit, Strenge und Harmonie. Und ein Moment der Melancholie. Ein Moment der Flüchtigkeit, des Abschieds. Das gehört auch zu dieser Idee Bauhaus. Aber die Gegenwart braucht das statuierte Exempel Bauhaus. Denn die Dimension der Zumutung darf nicht abhandenkommen. Unter globalen Vorzeichen drohen maßlose Konformität, Terror des Gleichen und Austreibung des Anderen [Byung-Chul Han, 2016]. Mit elementaren Mitteln das Singuläre stärken, vitalistische Projektionen anstoßen, generieren. Jenseits vertrauter Codes. Jenseits der Fülle. Überschreitungen ins Fremde, Untiefe denken, wagen. Einen Raum der Nicht-Gewissheit betretend. Das SEHEN DES ANDEREN im Sinn. Gegen den Zeitgeist das Schöne verteidigen!

950 € net

Haleh Redjaian [*1971 · DE/IR]. When lines, squares and triangles meet, 2018.

Etching on Cotton Paper. 4 + 2 E.A.

I am very much inspired by the Bauhaus passion for simple geometry. “When lines, squares and triangles meet” is a cold needle etching, starting with a red square which refers to the idea of Johannes Itten and Wassily Kandinsky to assign colors to a geometric shape. The image is based on the one color, which changes with the presence, effect and intensity of the line..

180 € ne

Hansjörg Schneider [*1960 · DE]. Meisterhaus Kandinsky/Klee, 2019.

Handmade paper with watermark. 40 + 3 E.A.

This is a line drawing showing significant windows of the Meisterhaus Kandinsky / Klee seen from a Northern position. The drawing, however, is “hidden” in the structure of the paper as a watermark. Hold the sheet against the light and you will see it most clearly. Without additional light or a darker background the sight vanishes to a degree of little visibility. Have the ideas of the Bauhaus become so omnipresent that we do not recognize them anymore?

300 € net

Hartmut Böhm [*1938 · DE]. Untitled, 2018.

Collage aus Foto-Negativaufbewahrungskarton und Pergamintasche auf Finnpappe. 3 Unikate + 1 E.A.

Vorfabrizierte, zeitgebundene Gebrauchsmaterialien der Kunst werden in einen anderen Kontext gesetzt. Eigentlich zur Archivierung künstlerische Arbeiten auf Dia- oder Negativfilm genutzt, sind sie heute in einem neuen Zusammenhang Utensilien der Kunst an sich geworden.

500 € net

Heather Jones [*1976 · US]. Field Note 16, 2018.

Cotton fabric and thread stitched on cotton paper. 3 unique works

I work with textiles and enjoy using materials and techniques that are associated with crafts to push the boundaries of fine art. My Field Notes series came from a desire to create a body of works on paper. Each one is made out of small pieces of commercially sourced woven cotton fabrics that I stitch together with a sewing machine and then press with an iron, using the same techniques that are used in industrial and home sewing. The compositions of simplified forms in this series are created improvisationally and design decisions are often made in the moment as I am working on each piece. Once the composition is finished, I stitch it to paper with the sewing machine, and the edges of the fabric are left raw and untouched. These pieces serve as studies, although they are finished works in and of themselves, and each one is unique. The loose thread and frayed edge of the fabrics are intentionally left as such, as they reference and honor the beauty found in everyday items used in domestic settings. My work is influenced by many of the artists and teachers of the Bauhaus, but most notably by Josef and Anni Albers. I am forever indebted to Josef’s exploration of color and his studies on their interaction, and I reference that in all of the work that I produce. Anni’s textile work is most special to me, as I revere her as a pioneer in the world of textiles and particularly in pushing the boundaries between art and craft with her designs.

400 €

Horst Bartnig [*1936 · DE]. 50 Unterbrechungen in hellgrau, 50 Striche in schwarz, 50 Unterbrechungen in schwarz, 50 Striche in hellgrau, 2013/2018.

Künstler-PC-Print auf Bütten. Je 2 Exemplare

Blatt 1 + Blatt 3 ergeben Blatt 2
1.000/3 € net

Ioannis Lassithiotakis [*1956 · GR]. The black line, 2017.

Tempera on paper. 3 unique works

The new abstract works of painter Ioannis Lassithiotakis follow up from his previous work, which was titled ‘The Black Line’. The black line, a symbol of immobility, limits and authoritarianism, in these new works meets the top of the tower of life and death, touches the vertices of the triangles of vanity and ascension, is immersed in the yellow of memory and time, it becomes God’s point of view. The constructions of stable or sometimes unstable equilibrium it sets up in combination with standard geometrical shapes, undercut the stillness of the black, yellow and white limits, inducing us into a deeply political, existential and ultimately philosophical dialogue with the abstract works of art. The paintings, which can be placed within the traditions of Suprematism and Minimalism, are very simple in their expressive elements but at the same time very dense and enigmatic in their content. The monochromatic blocs that dominate the two–dimensional compositions initially appear to allude to familiar symbols, but, on a second reading, they seem to pose questions rather than provide answers, through a process of enquiry, juxtaposition and emotional and conceptual stimulation. Some of the larger paintings depict colored box–like figures. These seem to be carriers of messages, symbols of ethnicity, of displacement, but also of establishment, dominance and repression. The boxes are positioned in a way that creates multicolored columns, in stable or unstable equilibria, rendering the frame a space where the established ideologies and their antagonists continuously play out. In some of the works the parallelograms, apparently carrying symbolisms of color, look like ballot boxes – immobile, pregnant, but traumatized by a straight slit on their bodies. Elsewhere triangles, yellow, red or black, terminating at the final black line, can be taken as symbols of the human life–voyage, forward to the future, but still full of incertitude, vanity, and always tragically terminal. However, the black line is often crowned by a white or yellow horizon, giving the works an existential optimism and inviting us to meditate on what lies beyond the limits. But in his enigmatic work “God’s Eye”, the artist places God’s point of view decidedly within the limits (of life itself? of society? of the world?), disturbing the geometric balance of the composition and the chromatic harmony between white and yellow. The new work by Ioannis Lassithiotakis brings back to the forefront the metaphysical as well as sociopolitical dimensions of abstraction in a resourceful and modern way that builds in a creative way on the vision of the great avant–garde artists of the 20th century. (Harris Hatziioannou, PhD, Philosophy)

1.200 € net

Irina Ojovan [*1988 · MD]. _M.B._M.B. N1_ 2018.

Watercolours on Arches paper. Series of 5 works

Pirelli Tire Building by Marcel Breuer, the Marianne Brandt ashtrays and Farbkreis / Farbkugel by Johannes Itten were my reference points for this
series. I was interested in the juxtaposition of information and non-information.

600 € net

Jan Klopfleisch [*1972 · DE] o.T., 2018.

Gouache on Cotton Paper. 3 + 1 E.A

Die Serie von Gouachen habe ich mit einer japanischen Ise–Katagami (Papierschablone zum Färben von Stoffen) schabloniert.
Die Ise–Katagami hatten ihre Blüte in der Edo–Zeit (17. – 19. Jhd.). Bei den Samurai waren besonders aufwändige kleinteilige geometrische Muster beliebt. Mich haben diese abstrakten Muster, die lange vor der westlichen Moderne entstanden, sehr fasziniert und ich habe ein paar Katagami auf dem Flohmarkt in Kyoto gefunden. Durch Überlagerung der Schablone entsteht aus einem Raster eine komplexe dynamische Zeichenfolge. Wichtig dabei ist die handwerkliche Machart, die Schablone ist handgeschnitten und mit dem Pinsel schabloniert, dies bedingt Fehler und Abweichungen. Die Gouachen erinnern an gewebte Textilien. Weberei und Flechtmuster sind uralte Handwerkstechniken, die aufgrund ihrer Herstellung in einem rechtwinkligen Raster seit Jahrhunderten mit geometrischen Mustern arbeiten in den verschiedensten Kulturen. Ich denke, die Moderne in Europa und die abstrakte Kunst haben zahlreiche Inspirationsquellen in außereuropäischen Kulturen. Mit der Entstehung der ethnologischen Sammlungen und Museen, den Weltausstellungen und Publikationen am Anfang des 20. Jhd. wurden Arbeiten anderer Kulturen sichtbar. Die Offenheit des Bauhauses und die Rückbesinnung auf das Handwerk als Quelle der Gestaltung schafften den Boden für diese Einflüsse. Dabei dürften einige Bereiche der hochentwickelten Handwerkskunst Japans für das Bauhaus interessant gewesen sein, da sie ästhetische Ideale des Bauhauses, wie Einfachheit und Funktionalität, den bewussten Einsatz von Material – diese Art von Schönheit, paradigmatisch umgesetzt hatten.

600 € net

Jan van Munster [*1939 · NL]. BROKEN SQUARE, 2018.

Handmade paper, pencil, metal. Series of 4 unique works especially for CENTURY. idee bauhaus

BAUHAUS evoziert verschiedene Assoziationen. Sie bilden den Ausgangspunkt für meine Arbeit BROKEN SQUARE für dieses Projekt. BROKEN SQUARE ist für mich ein Symbol für Alterung und Verfall. Ein Status, dem ein Umbruch folgt zu neuen Formen der Kreativität und Synergie. BAUHAUS evokes various associations. They form the starting point for my work BROKEN SQUARE for this project. To me BROKEN SQUARE is a symbol of aging and decay. A status followed by a change to new forms of creativity and synergy.

600 € net

Jan Maarten Voskuil [*1964 · NL]. Bauhaus MEU VII (Non-fit triangles), 2018.

Paper collage. Unique works

The works started as method for sketch designs for three dimensional works. The colourful curves represent the sides of spatial paintings, which in the final linen execution can only be seen from an angle. In these spatial paintings seen from the front, one only notices the monochrome curved surface and just the shades from the sides The sides themselves are nonpainted linen. The paper works focus on possible slopes for the sides in a two dimensional representation ass well as that they open up a more free use of color and somehow introduce a kind of Matisse like lyricism to the otherwise geometric shaped works. Like Matisse it’s drawing with colored shapes instead of lines.

Please note: A Bauhaus MEU V (red) example is also available!
700 € net

Jaromír Novotný [*1974 · CZ]. Farbstudie, 2018.

Silver gelatin process, bw baryta photopaper. Unique works

For this project, I work with a basic architectural structure of weight and support, process of surrounding a core, filling up a given space, finding proportions etc. I work with photo chemicals directly on the surface of photo paper, with tape and brushes, in a quite painterly way. There is no negative. The works are not prints. The whole paper is worked on under light, no dark room, it is lit evenly allover. The colour differences (of bw paper) are caused mostly by different concentrations of a developer liquid. Single works are variations on one composition. I am not interested in exact repetition, I do not measure, every work is started again anew and made as a live process, including mistakes, errors (stains, tearings etc…). I have a certain plan and expectations before I begin, to try to obtain certain hues and colour combinations. But, as the paper is totally overexposed, I do not see real, final colours until the whole thing is put in fixer, washed and dried. I like this combination of plan and chance. A combination of an attempt to put something in order and an impossibility to manage how the process would end up. Unexpectability within exact form. Colour appearing on bw photo paper. I was thinking about colour theories (Albers), which go through some organic, erratic process. I also was thinking about how perfection of Bauhaus’ ideas inevitably merges with features like materials’ aging (yellowing paper, fading etc…), changing how we perceive particular objects now, as visual information. To look at these three works as if they were bad (faded, failed) reproductions is ok, too. I like the uncertainty arising from the strange detached colour scheme – can I believe that these are what they are on them own, or are they a fading image of something else? A4 is a bit difficult for me to deal with. So, first thing I did with every paper was to make the format shorter – hence the white stripe on the bottom. It is not part of the composition, but at the same time it is, because it makes it fixed in certain position on the A4 format, as if on a book page.

1.000 € net

Jason Karolak [*1974 · US]. Argot (for HB), 2018.

Digital print. 20 + 3 E.A.

The lineage and influence of the Bauhaus has travelled far and wide. When I was an undergraduate student at Pratt Institute in Brooklyn in the 1990s I studied with a professor, Herbert Beerman, who had been a student of Josef Albers at Yale. Herbert was a charismatic teacher who presented rigorous fundamentals of color and design, while also lecturing about psychedelics. The course had an element of anarchy, and project due dates were vague. Through Herbert and at Pratt, I was exposed to Albers, the Bauhaus, and to broader modernist projects. I became further immersed in abstraction and the concrete elements of art-making. I was also living in Brooklyn during what may now be considered a golden era of hip hop coming out of this locale. This music, the noisy energy of the city, and the bright commercial signage were impressing themselves onto my body and into my visual language. The Bauhaus was an exemplar of two important threads of modernism. Firstly, the Bauhaus helped to establish a kind of school of thought for artists to deal with the internal components of art-making, the inherent elements of line, form, color, structure, and so on. It “extracted” artmaking away from the world; it reduced and focused its principles. At the same time, the Bauhaus school connected abstract principles back to the real and applied world, through its collaborative investigations into industry, architecture, graphic design, furniture, among other spheres. This tension between art’s removal from the world and its deep engagement in it has been central to my evolving language. In April 2018 I had my first solo exhibition of paintings in Germany. A review, written by Monika Werner Staude and titled „Vom Überleben im Lauten New York“ appeared in the West German newspaper. The writer described how the work mimicked the sonic qualities of the urban environment in which I reside. She also stated that the work is quiet, distilled, and meditative, perhaps in response to this same noise. This piece was made by combining painted elements with digital editing

300 € net

Jasper van der Graaf [*1975 · NL]. Untitled (multiple CENTURY), 2018.

Permanent marker on Canson Paper.

Bauhaus is about universality. It (therefore) is international, spreadable, multipliable and applicable. My work is all about that, in the way it grows and merges on walls (wall paintings) or spreads as (multiple) paintings, prints and drawings. Also I think that international artistic collaboration in group projects is interesting and fun. The way art works mix can provide a big added value.

150 € net

Joan Waltemath [*1953 · US]. differential, 2018.

Metallic C–Prints on photographic paper. Edition 5

this drawing was created with a compass and straight edge according to the sq of 2 progression and then the aspect ratio changed to DIN A4 size [29.7 x 21 cm].in photoshop along with some other digital manipulations. I’m responding the shift in dimensions that I understand to be part of the bauhaus era when building materials were available in standard manufacturing sizes rather than as materials of varying dimensions, which were determined by the properties of the material itself.

150 € net

José Heerkens [*1950 · NL]. Letter to Anni, 2018.

Acrylic on grey cardboard (yellow-beige). Series of unique works

It might have been possible in terms of time, but I never have met Anni Albers. Fortunately I got to know her groundbreaking work, especially when I was artist-in-residence at The Josef and Anni Albers Foundation, in 2011. Looking at the work of Anni Albers is seeing her way of thinking through about materials, new forms and techniques. I admire her open mind to develop the work as far as possible, her courage, and write a Letter to Anni.

650 € net

Juliane Schmidt [*1982 · DE]. shaped shapes, 2018.

Digital Print on Paper. 3 x 7 + 3 E.A.

One square, one triangle and a circle – this work consists of three parts. Only the distorted background of these forms is questioning their origin. I took a photo of a red, a yellow and a blue drawing paper in A4 format arranged on the grey squared ground of my studio. Using the transformation tools of image processing, I formed the three basic Bauhaus forms out of these rectangles. A fundamental thought of this work is how the use of computers over the last decades has changed our life and work. For me, the most interesting aspect in doing „shaped shapes“ is that a form was forced into another and now claims to be that form.

70 € net

Julius Stahl [*1978 · DE]. Lichtobjekt, 2018.

Luminogram on silver gelatin paper. 3 unique works

Das Luminogramm ist mittels eines Instruments entstanden, das ich im Laufe der vergangenen Jahre ent-wickelt habe. Ein Instrument zur Erzeugung von klingendem Licht. Ursprünglich wurde es für großformatige Lichtinstallationen in Ausstellungsräumen konzipiert. Es besteht aus einem Apparat, der gebündeltes Licht durch ein kleines Objekte fallen läßt. Das Objekt wird dabei durch einen elektronisch erzeugten Ton (Sinuston) in Schwingung versetzt. Durch diese Schwingung wird das austretende Licht moduliert. Mit dem Luminogramm wird das so entstehende Lichtobjekt gewissermaßen aufgezeichnet. Es trifft in der Dunkel-kammer auf lichtempfindliches Silbergelatinepapier. Bei dessen analoger Entwicklung tritt langsam die Spur hervor, die das modulierte Licht auf dem Papier hinterlassen hat. Durch die Schwingung entsteht eine räumliche Form, entstanden aus klingendem Licht.

950 € net

Käthe Kruse [*1958 · DE]. 100 m rot/blau/gelb/orange/grün/violett, 2018.

Polyesterfaden auf Aquarellpapier 300 gr. Je 3 Unikate in 6 Farben, neben den Grundfarben Rot, Blau und Gelb noch Orange, Grün und Violett

100 Jahre Bauhaus – 100 m Polyesterfaden. Eine Homage an die Frauen des Bauhaus. Obwohl Walter Gropius Gleichbehandlung als Maxime ausgegeben hatte, wurde Frauen die Textilwerkstatt gewissermaßen zugewiesen. Über fünfzig Jahre ließ Anni Albers Arbeiten mit Fäden entstehen. Sie webte Gemälde, Industriestoffe, ja sogar Denkmäler und brachte das Dilemma auf den Punkt: “Wenn eine Arbeit mit Fäden entsteht, dann wird sie als Handwerk betrachtet; auf Papier wird sie als Kunst angesehen.” Meine Arbeiten sind Fäden, genäht auf Papier. Kunst also. Die konstruktive Farbenlehre des Johannes Itten habe ich genutzt. Die Farben der ersten Ordnung sind Gelb, Rot und Blau, die Farben der zweiten Ordnung sind Orange, Grün und Violett. Eine Rolle Nähgarn enthält 100 m Faden, den ich, so eng aneinander und so gerade und ordentlich wie ich es konnte, auf 300 mg dickes Aquarellpapier nähte. Dabei musste ich feststellen, dass, je heller das Nähgarn ist, desto weiter die Nähte auseinander liegen. So füllt Gelb das ganze Blatt und am Ende musste ich die Nähte sogar noch übereinander nähen, während Blau und Rot jeweils noch einen weißen Rand Papier sehen lassen.

750 € net