We enter the gallery. An undulating, transparent wall directs our eyes to the right half of the room as it guides our bodies leftward, toward a photo mural composed of Bauhaus architecture, design, and art (Figures 1, 2). Separated from the outset, body and vision are at least perfunctorily reunited by an endless backlit band that requires a push of a button to set into motion half a dozen large photographs, including the glass corner from Walter Gropius's 1925––26 Dessau Bauhaus building and a diagram from Moholy-Nagy's 1924 film manuscript Dynamik der Groββstadt. Three suspended, circular, glass displays appear to free their content——Wilhelm Wagenfeld's 1924 Bauhaus lamp and other design objects——from the constraints of gravity. Private, circular viewing consoles for avant-garde films——including Viking Eggeling's Symphonie Diagonale (1924) and Dziga Vertov's Man with a Movie Camera (1929)——are visible...
Skip Nav Destination
Review Article| June 01 2010
Review: Raum der Gegenwart (Room of Our Time) by Schirn Kunsthalle
Raum der Gegenwart (Room of Our Time). Kunsthalle, Erfurt, 29 March––24 May 2009 Bauhaus, Dessau, 9 June––24 October 2009.
Journal of the Society of Architectural Historians (2010) 69 (2): 265–269.
- Views Icon Views
- Share Icon Share
- Search Site
Review: Raum der Gegenwart (Room of Our Time) by Schirn Kunsthalle. Journal of the Society of Architectural Historians 1 June 2010; 69 (2): 265–269. doi: https://doi.org/10.1525/jsah.2010.69.2.265
Download citation file: