100 Years of Bauhaus Signalraum.Best Practice
"The guiding principle of the Bauhaus was therefore the idea of creating a new unity through the welding together of many 'arts' and movements: a unity having its basis in man himself and significant only as a living organism." (Walter Gropius)
In his famous manifesto, Gropius formulates the high expectations on the effectiveness of the Bauhaus ideas. His vision encompassing all the arts contributes to the myth of the Bauhaus as the refuge of the unity of all things and phenomena and the place where the world's turmoil may be ended.
SIGNALRAUM is inspired by the thesis of the positive changeability of the world through collaborative, aesthetic practice and puts it to the test. Hall 1 provides a space for this with sound and visual installations, concerts, interventions, participative formats for the viewers' aesthetic experience, lectures and discussions, inviting visitors to interact.
BEST PRACTICE is designed as a space for action and encounter. The central and reference point is the installation of a text and sound collage for which Horst Konietzny asks artists of all disciplines about art experiences that changed their lives. In the Matchpoint 4 blind date format visitors are invited to actively get to grips with their experience of art.
In addition to the text and sound collage, various different performances and interventions are also going on all the time.
VOLL STOFF! Lisa Simpson, Steffi Müller, Klaus Dietl
Musical sewing machines and more.A quirky poetic sewing-sound art as a continuous musical-visual performance and homage to artists such as Anni Albers. The group weaves itself musically into the secrets of the Bauhaus-typical textile art. Voll Stoff! Or "totally textile"!
MATCHPOINT 4 Marek Choloniewski / Horst Konietzny
While the sound collage runs, visitors can meet for a blind date chat on the power of art and talk to artists and curators involved with the festival and other visitors. Leave a brief note on the chat and you can be part of the closing concert on the Friday, where the dialogue with the audience is musically translated and continued (please register directly on-site). The Polish sound artist and professor of electro-acoustic music Marek Choloniewski (Krakow) feels his way into the "spiritual in the art" here with various sensors and translates it into sound.
VIOLINENAUTOMAT Karl F. Gerber
A truly special unicum is the Violinautomat by Karl F. Gerber, because it further interprets what is probably the most difficult traditional musical instrument – the violin. Perhaps it's more about polyrhythms on three separate bows than about bel canto. And enhanced playing techniques with musical automats as well now? The sounds visualise themselves through the chosen concept. The unique Violinautomat can be heard with new compositions on Thursday and Friday at 12 noon.
TURNTABLISMS Ignaz Schick.
The Berlin-based composer and sound artist Ignaz Schick will try out his "spiel" with ROTATING SURFACES on visual Bauhaus motifs. László Moholy-Nagy was already experimenting with soundboards, which he saw as sound sources rather than sound carriers.
2 to 3 pm
THOUGHTS ON THE BAUHAUS'S AFTER EFFECTS Guillaume Paoli.
The French philosopher was the house philosopher at the Leipzig Theatre, organised a series of discussions in the Roter Salon of the Volksbühne, and also developed the format of the philosophical consultation. Paoli will hold a special form of his consultation in the hall 1 lounge, where he'll provide a special insight into the Bauhaus.
4 to 5 pm
Concept, Direction: Horst Konietzny www.reframes.de
With Lisa Simpson, Steffi Müller, Klaus Dietl, Matteo Marangoni, Mariska de Groot, Dieter Vandoren, Marek Choloniewski, Alex Nowitz, Annette Krebs, Ignaz Schick, Ferdinand Försch & Friends, Dine Doneff, Guillaume Paoli
A production of 100 jahre bauhaus. Das Eröffnungsfestival.