Featuring the latest research commissioned on the occasion of the Bauhaus centenary, this book explores the global influence of the renowned Bauhaus school of arts and its famed artists. Bauhaus Imaginista marks the centennial anniversary of this fascinating and popular school of art, which championed the idea of artists working together as a community. The Bauhaus reconnected art with everyday life and was active in the fields of architecture, performance, design, and visual art. Founded by Walter Gropius, its faculty included such luminaries as Paul Klee, Wassily Kandinsky, La´szlo´ Moholy-Nagy, and Josef Albers. Placing emphasis on the international dissemination and reception of the Bauhaus, this book expresses the Bauhaus’ influence, philosophy, and history beyond Germany. Rethinking the school from an international perspective, it sets its entanglements against a century of geopolitical change, as many of its artists fled World War II Germany. Bauhaus Imaginista takes readers on a global visual tour of Bauhaus influence from art and design museums to campus galleries and art institutes in India, Japan, China, Russia, Brazil, Berlin, and the United States.

"Escaping easy categorization, Marion von Osten is an artist as much as a curator, an organizer-facilitator as much as a theorist, a teacher as much as an editor. In all these fields, her practice is distinctly process-oriented and collaborative. Marion von Osten: Once We Were Artists (A BAK Critical Reader in Artists’ Practice) critically maps the political commitment of von Osten’s influential work to feminism, theories of labor, knowledge production, education, and (post)coloniality. The contributions discuss some of the many aspects of this situated, collaborative, process-oriented work so as to provide a locus from which to further engage her transversal practice, as well as the subject of the artist at present. Contributors: Kader Attia, Sabeth Buchmann & Judith Hopf, Diedrich Diederichsen, Tom Holert, Brian Kuan Wood, Isabell Lorey, Angela McRobbie, Peter Spillmann, Marina Vishmidt, Tirdad Zolghadr"--Publisher's website.

"'Colonial Modern' is a reader on the relationship between modernism and the project of modernisation in architecture, as well as the intertwining of both in the context of colonialsim and decolonisation. It includes texts by specialists in the field and provides a strong visual representation of the subject."--

Based on the findings of an interdisciplinary research project, Transcultural Modernisms maps out the network of encounters, transnational influences, and local appropriations of an architectural modernity manifested in various ways in housing projects in India, Israel, Morocco, and China. Three case studies, realized in the era of decolonization, form a basis for the project, which further investigates specific social relations and the transcultural character of building discourses at the height of modernism. Rather than building on the notion of modernism as having moved from the North to the South—or from the West to the rest of the world—the emphasis in Transcultural Modernisms is on the exchanges and interrelations among international and local actors and concepts, a perspective in which “modernity” is not passively received, but is a concept in circulation, moving in several different directions at once, subject to constant renegotiation and reinterpretation. In this book, modernism is not presented as a universalist and/or European project, but as marked by cultural transfers and their global localization and translation. Publication series of the Academy of Fine Arts Vienna, vol. 12 Contributors Fahim Amir, Zvi Efrat, Eva Egermann, Nádia Farage, Gabu Heindl, Moira Hille, Rob Imrie, Monica Juneja, Christian Kravagna, Christina Linortner, Duanfang Lu, Marion von Osten, Anoma Pieris, Vikramāditya Prakāsh, Susan Schweik, Felicity D. Scott, Chunlan Zhao

Taking the Matter into Common Hands maps out the issues surrounding collaborative art from a practitioner's perspective. With contributions from Marion von Osten, Nav Haq, 16 Beaver, Copenhagen Free University, Maria Lind and Lars Nilsson, it examines the working relations between artists and other producers of culture, and explores the future of collective action in the art world. In recent years, the art world has shown a renewed interest in collective work and activity. Collaborations between artists and artists, artists and curators, and artists and outside professionals have begun to rival the traditional focus on the individual artist. This type of collaboration has called into question how we view works of art that are not the voice of a single individual, and how that impacts on the concept of art as a means of self-expression. Taking the Matter Into Common Hands is essential for both academics, practitioners and lay audiences alike 47 colour & b/w illustrations

The curatorial includes the post production artistic practices that bring together within a particular time and space related framework disparate images, objects, as well as other material and immaterial phenomena. In its performative aspects that seek to challenge the status quo, the curatorial also includes elements of choreography, orchestration and administrative logistics. Edited by director and writer Maria Lind, this book brings together a diverse group of curators, artists, art historians, educators and thinkers, all of whom reflect on the curatorial motives, tendencies and tactics, pitfalls and exegeses in translating and thus performing cultural heritage. Contributors include Doug Ashford, Beatrice von Bismarck and Eungie Joo.

A collection of texts, historical and contemporary, on radical pedagogy in the arts. How do people learn, what do they know, and how does it influence their personality, their behavior, and their position in society? These questions were the focus of the research project and exhibition series entitled "Creativity Exercises" between 2014 and 2016, which displayed historical and contemporary art projects experimenting with alternative forms of learning, spanning three exhibition stations: Galerie für Zeitgenössische Kunst Leipzig, tranzit.hu in Budapest, and the Museum of Modern Art in Warsaw. The book contextualizes the Creativity Exercises--an amateur art course led by neo-avant-garde artists Miklós Erdély and Dóra Maurer in Budapest from 1975 to 1977--within the postwar intellectual networks that connected artists, architects, educators, sociologists, and other socially engaged professionals, fostering the exchange of ideas and concepts and making connections between different fields of knowledge. The first part of the publication consists of historical texts translated into English for the first time, including the exercise descriptions that functioned as the curriculum for the Creativity Exercises, studies written on the methods employed in the Creativity Exercises course, and parallel models for progressive pedagogies and art education. In the second part of the book, newly commissioned essays offer historical and transnational context for the "case study" of the Creativity Exercises course. The impact that such "creativity exercises" had on aesthetic, educational and institutional concepts, and the impulses for participation, co-creation, knowledge production and exchange that they continue to give--even beyond the realm of art--are the central themes of the book. Contributors László Beke, Ildikó Enyedi, Miklós Erdély, Dóra Maurer, Ferenc Mérei and Tamás St. Auby, Éva Forgács, Janna Graham, Dóra Hegyi, Sándor Hornyik, Zsolt K. Horváth, Emese Kürti, Zsuzsa László, Marion von Osten, Axel Wieder

Lapdogs of the Bourgeoisie investigates the latent issue of class underlying the field of contemporary visual art. On the one hand, it raises the question of whether a given socioeconomic background still helps define your artistic career--and to which point the said career might reflect or consolidate the hierarchies in question. On the other hand, the project asks whether the traditional analytical tools at our disposal are helpful in such an examination of the art world today. Class inevitably raises awkward questions regarding the very participants, their backgrounds, patrons, and ideological partialities. This is perhaps the reason why the role of class structure has been so easily overlooked in the production and presentation of contemporary art, especially so in an era where artists are coaxed into anthropological framings of their practice. What was it that made gender, sexuality, ethnicity, and nationality eclipse the class issue with such ease? Lapdogs of the Bourgeoisie presents a collaborative project with a number of practitioners that scrutinize their own positions, bias, and gaze within the hierarchy of cultural production. It seeks to identify the levels of affect class has in the field--from artists, through to curators, institutions, and even audiences--and also looks at the hidden anxieties involved, particularly in relation to the actual decision-makers in mainstream art. Contributors Charlotte Bydler, Neil Cummings, Annika Eriksson, Chris Evans, Liam Gillick, Nav Haq, San Keller, Hassan Khan, Erden Kosova, Dr. Suhail Malik, Marion von Osten, Natascha Sadr Haghighian, Dr. Malcolm Quinn, Tirdad Zolghadr

« If the focus of modernist debates was the individual work of art, it is the exhibition that is the prime cultural carrier of contemporaneity. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition. The texts encompass exhibition design and form; exhibitions that are object-based, live or discursive; projects that no longer rely on a physical space to be visited in person; artists' responses to being curated; and their reflections on the potential of acting curatorially. »--