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Documentation Centre / Cycles

The Bauhaus

Young people, come to the Bauhaus!

On the occasion of the centenary of the Bauhaus, we are offering this cycle curated by Jorge Torres Cueco.

The Bauhaus is now one hundred years old and, in my opinion, continues to be as contemporary as ever. It is surprising that, at just fourteen years old, objects, industrial products, plastic works and architecture resist the passage of time, despite the difficulties and contradictions it experienced during the years of the Weimar Republic. It is also not surprising given the students and teachers who filled its classrooms: Paul Klee, Wassily Kandinsky, Johannes Itten, László Moholy-Nagy, Lyonel Feiniger, Josef Albers, Günta Stolz, Walter Gropius, Mies van der Rohe or Marcel Breuer. This is the story that we see in the documentaries directed by Niels Bolbrinker: Bauhaus. The myth of modernity (2017, with Kerstin Stutterheim) and Bauhaus Spirit. 100 Years of Bauhaus (2018, with Thomas Tielsch), in which some of its students appear, conveying their artistic and life experience. This same experience is narrated by the protagonist of the Erich Schmid documentary Max Bill. A classic of the future (2008), which in turn, introduces us to the world of the Ulm School of Design, owing its existence to the Bauhaus, and to the post-war culture. Other documentaries, such as Kandinsky and the Russian House (Michael Craig, 2007) and Mies van der Rohe (Michael Blackwood, 1986), offer a profile of two of its most important protagonists: Kandinsky, one of its pioneers, and Mies, its last director.
Of no less interest are the interventions of professors such as Luis Fernández-Galiano, in the cycle "The Bauhaus time" with Klee, a teacher (2013), or others from the past, such as Abraham Moles with his reflections on art and communication in L'Experiènce du Bauhaus après la Deuxième Guerre Mondiale: L'École d'Ulm (1986); Wolf Tegethoff in The Mies van der Rohe Museum concept and Ludwig Glaser wit Mies' designs for the pavilion and exhibition hall in Barcelona in the cycle of the German teacher, which was held in 1986 in Barcelona.


Among all the available documents, the following film should be highlighted: Impressen vom alten Marseiller Hafen (vieux port) by Lászlo Moholy-Nagy in 1929, an impressive visual and human portrait of the Old Port of Marseilles. A fascinating testament comes from all those plastic experiences created at the Bauhaus, whereby sound, movement, colour and image were brought together in films that were short but had great visual intensity. Today, we have the original edition or reconstruction of a part of those experimental works created by teachers and students of the Bauhaus: Werner Graeff, Komposition I and Komposition II (1922); Kurt Schwerdfeger, Reflektorische Farblichtspiele (1922/1967); Kurt Kranz, Zwanzig Bilder aus Dem Leben einer Komposition (1927-28/1972); Kurt Kranz Der Heroische Pfeil (1930/72) and Variationen über ein geometrisches Thema (1944/72); or Viking Eggeling, Symphonie Diagonale (1921-24). Also worthy of note are reproductions of stage rehearsals and ballets such as those by Lothar Schreyer, Mann (1920/2012), Ludwig Hirschfeld-Mack, Kreuzspiel (1923/1964-65), Kurt Schmidt, Das Mechanische Ballett (1923/2009); Wassily Kandinsky, Bilder Einer Ausstellung (1928/1984) and, of course, Oskar Schlemmer with Das Triadische Ballet (1922/70 and 1989) and the recreations Mensch und Kunstfigur (1969) and Oskar Schlemmer und Tanz (1980).


An overview of recent doctoral theses on the Bauhaus; we check the interest acquired by the figure of its last director, Mies van der Rohe, viewed from different angles: “Mies y la conciencia del espacio” (Cristina Gastón); “Espacio, Tiempo y Silencio. Arquitectura y Música en la obra de Mies y Webern” (José Luis Baró); "Traslaciones Poéticas: un recorrido por la Friedrichstrasse de Mies van der Rohe en 1921 ”(Pablo Gallego); “El pilar en Mies van der Rohe. El léxico del acero” (Javier Ferrándiz);  “Las flexiones del arquetipo en la obra de Mies van der Rohe” (Carlos Lanuza); “Material, espacio y color en Mies van der Rohe. Café Samt & Seide 1927” (Enrique Colomés);  “Mies' Two-Way Span” (Euardo Mantovani) o “La paradoja de Mies. Las simetrias invisibles a través del Pabellón de Barcelona” (Francisco Muñoz) . But also, "Wassily Kandinsky y la evolución de la forma" (Antoni Maltas); “Hacia un concepto de espacio interior: 1927-1937. Lilly Reich” (María Melgarejo) and “Hilberseimer, El urbanismo de la gran ciudad” (José Antonio Sumay) are valuable documents that also go beyond mere biographical profiles. “El camino hacia la arquitectura: las mujeres de la Bauhaus” (Josenia Hervás) and “La Silla de la Discordia” (Pablo López) show the protean and rewarding space that the Bauhaus grants to research.
Jorge Torres Cueco
Doctor Architect. Professor of Architectural Projects at the Polytechnic University of Valencia since 2003. He has given seminars, conferences and doctoral courses on modernity and review of architecture.


This entire collection of documentaries, theses, conferences and films offers us a much more complex and exhaustive overview. The Bauhaus not only revolutionised the design of objects and their understanding as a synthesis between art and industry, but its research on visual and plastic phenomena crossed the boundaries of modern art to introduce us to the experience of art and the contemporary world.


Teaching old teachers

It is shocking that such a bold title belonged to a time when those teachers did not yet exist.
See the article on the AF Blog

Intangible agents of Laszlo Moholy Nagy

The years Laszlo Moholy Nagy spent as a professor at the Bauhaus (1922-1928)
See the article on the AF Blog

The Bauhaus celebrates its centenary with its capacity to influence intact

Germany commemorates the anniversary of the school with an ambitious programme
See the article on the AF Blog

The women of the Bauhaus

"Alma Buscher, Friedl Dicker, Wera Meyer-Waldeck, Marianne Brandt, Lucia Moholy-Nagy, Lilly Reich.

See the article on the Blog