Posts Tagged ‘Reform Movement

31
Jan
16

Exhibition: ‘Art Nouveau. The Great Utopia’ at Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 17th October 2015 – 7th February 2016

Among the artists exhibited are: Emile Bernard, Edward Burne-Jones, Peter Behrens, Carlo Bugatti, Mariano For-tuny, Loïe Fuller, Emile Gallé, Paul Gauguin, Karl Gräser, Josef Hoffmann, Gustav Klimt, Fernand Khnopff, René Lalique, Elena Luksch-Makowsky, Charles R. Mackintosh, Madame D’Ora, Louis Majorelle, Paula Modersohn-Becker,  William Morris, Alfons Mucha, Richard Riemerschmid, Dante Gabriel Rossetti, Louis C. Tiffany, Henry van de Velde.

 

 

What a memorable exhibition!

The presentation of the work is excellent, just what one would hope for, and the works themselves are magnificent – objects that you would hope existed, but didn’t know for sure that they did.

Particularly interesting are the use of large historical photographs of the objects in use in situ, behind the actual object itself; the presence of large three-dimensional structures (such as the Erkerzimmer for the Hotel Gallia in Nice, 1894-1900) built in the gallery; and the welcome lack of “wallpaper noise” (as I call it) that has dogged recent exhibitions at the National Gallery of Victoria (eg. the ongoing Andy Warhol – Ai Weiwei exhibition). It is so nice to be able to contemplate these objects without the additional and unnecessary “noise” of competing wallpaper behind each object.

The work itself reflects the time from which it emanates – visual, disruptive, psychological, technical, natural, beautiful and sensual – locating “Art Nouveau in its historical context of ideas as a reform movement with all its manifold facets and extremes. Adopting a particular focus on the relationship between nature and technology, [the exhibition] illuminates the most varied disciplines, ranging far beyond the movement of arts and crafts and reaching as far as the history of medicine and the technology of film-making…  The ideal of superior craft in contrast to industrial articles collides with the commercial idea of competition and the marketing strategies at that time. Therefore the exhibition project maneuvers at the intersection of utopia and capitalism.”

One of the most vital periods of creativity in all fields in recent history.

Marcus

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Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Sports at the beach in Wyk on the island of Föhr c. 1912

 

Anonymous photographer
Sports at the beach in Wyk on the island of Föhr
Sanatorium Carl Gmelin, c. 1912
Collection The Ingwersen Family
© Fotoarchiv Ingwersen Wyk

 

Paul Gauguin (1848-1903) 'Manao Tupapau (The Ghost of the Dead awakens)' 1894

 

Paul Gauguin (1848-1903)
Manao Tupapau (The Ghost of the Dead awakens)
Manao Tupapau (Der Geist der Toten wacht) | Manao Tupapau (The Spirit Watches Over Her)

1894
Lithograph on zinc sheet
Sheet: 30.6 cm x 46 cm
© Kunsthalle Bremen – Der Kunstverein in Bremen

 

Gustav Klimt (1862-1918) 'Lying Female Nude' Vienna, 1914-15

 

Gustav Klimt (1862-1918)
Lying Female Nude
Vienna, 1914-15
Pencil
37.6 cm x  57.1 cm
© Wien Museum

 

Anne Brigman (1869–1950) 'The Wondrous Globe' 1912

 

Anne Brigman (1869-1950)
The Wondrous Globe
1912
Photogravure (from Camera Work)
21.1 cm x 19.9 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

George Méliès (1861-1938) (Regie) 'Voyage to the Moon' 1902

 

George Méliès (1861-1938) (Regie)
Le Voyage dans la Lune | Die Reise zum Mond | Voyage to the Moon
France, 1902
16 Min.
© BFI National Archive

 

 

Fernand Khnopff (1858-1921) 'Mask' c. 1897

 

Fernand Khnopff (1858-1921)
Mask
c. 1897
Gypsum, mounted
18.5 cm x 28 cm x 6.5 cm
© bpk, Hamburger Kunsthalle, Elke Walford

 

 

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

 

Installation photographs of the exhibition Art Nouveau. The Great Utopian Vision at Museum für Kunst und Gewerbe Hamburg

 

Damon & Colin (Maison Krieger). Erkerzimmer for the Hotel Gallia in Nice, 1894-1900

Damon & Colin (Maison Krieger). Erkerzimmer for the Hotel Gallia in Nice, 1894-1900 (detail)

 

Damon & Colin (Maison Krieger)
Erkerzimmer for the Hotel Gallia in Nice
1894-1900
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

 

Installation photographs of the exhibition Art Nouveau. The Great Utopian Vision at Museum für Kunst und Gewerbe Hamburg

 

Peter Behrens (1868-1940) 'Salon grand from house Behrens' c. 1901

 

Peter Behrens (1868-1940)
Salonflügel aus dem Haus Behrens | Salon grand from house Behrens, Darmstadt
c. 1901
Execution: J. P. Schiedmayer Pianofortefabrik, Stuttgart; Intarsienwerkstatt G. Wölfel & Kiessling
Palisander, mahagony, maple, cherry and walnut, burl birch, partly coloured red, lapis lazuli and mother of peral inlay
H. 99 cm x B. 150 cm x 192 cm
Museum für Angewandte Kunst, Köln
© Rheinisches Bildarchiv Köln

 

 

“The Museum für Kunst und Gewerbe Hamburg (MKG) would like to dare a quite new approach to the epoch of the Art Nouveau in its exhibition project Art Nouveau. The Great Utopia. In contrast to the period about a century ago, when Art Nouveau was le dernier cri, it can be seen today not just as a mere historical stylistic era, but can open up parallels to complex phenomena familiar to visitors from their own experience: scarcity of resources and issues of what materials to use, precarious working conditions and consumer behaviour, the trade-off between ecological and aesthetic considerations in manufacturing processes or the desire for stylishly elegant, prestigious interior furnishings. These are just a few of the aspects which emerge as central motives common to both the reform movement of the years around 1900 and for the decisions facing today’s consumers. The exhibition has therefore been chosen in order to bring out as clearly as possible in this new setting the roots of the ideas and motives which informed Art Nouveau. The new presentation still revolves, for instance, around the World Exhibition of 1900 as an international platform of modern design. Furthermore the flight away from European industrialization and the march of technology to imagined places of yearning such as the Middle Ages or nature is highlighted.

A further aspect is the change in the way people experienced their bodies in the fashion of the rational dress reform movement and modern dance. The exhibition project will attempt to locate Art Nouveau in its historical context of ideas as a reform movement with all its manifold facets and extremes. Adopting a particular focus on the relationship between nature and technology, it illuminates the most varied disciplines, ranging far beyond the movement of arts and crafts and reaching as far as the history of medicine and the technology of film-making. The exhibits can be read as artistic positions that address technological innovation as well as theories from Karl Marx (1818-1883) to Sigmund Freud (1856-1939). The ideal of superior craft in contrast to industrial articles collides with the commercial idea of competition and the marketing strategies at that time. Therefore the exhibition project maneuvers at the intersection of utopia and capitalism. Visitors will be able to see paintings, sculptures, drawings and prints, posters, books, tapestries, reform dresses, photo-graphs and films as well as scientific and historical medical apparatus and models.”

Text from the Museum für Kunst und Gewerbe Hamburg website

 

Rudolf Dührkoop. 'Head with Halo' 1908

 

Rudolph Dührkoop (1848-1918)
Kopf mit Heiligenschein | Head with Halo
1908
Platinotype
21 x 16 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Gabriel Charles Rossetti (1828-1882) 'Helen of Troy' 1863

 

Gabriel Charles Rossetti (1828-1882)
Helena von Troja | Helen of Troy
1863
Oil on mahogany
32.8 cm x 27.7 cm
Hamburger Kunsthalle
© bpk, Hamburger Kunsthalle
Photo: Elke Walford

 

Paula Modersohn-Becker (1876-1907) 'Kneeling nude girl against blue curtain, Worpswede' 1906/07

 

Paula Modersohn-Becker (1876-1907)
Kniender Mädchenakt vor blauem Vorhang | Kneeling Nude Girl
Worpswede, 1906/07
Oil on canvas
72 cm x 60 cm
© Landesmuseum Oldenburg, H. R. Wacker – ARTOTHEK

 

Naked archer, member of a nudists' community in Zurich, Switzerland 1910

 

Unknown photographer
Ein Bogenschütze “Naturmenschenkolonie” bei Zürich | Archer “Naturmenschenkolonie” near Zurich
Naked archer, member of a nudists’ community in Zurich, Switzerland
1910
From Berliner Illustrierte Zeitung, Nr. 34, 1910
© Ullstein Bild

 

Ferdinand Hodler (1853-1918) 'Childhood' c. 1894

 

Ferdinand Hodler (1853-1918)
Die Kindheit | Childhood
c. 1894
Oil on canvas
50 cm x 31 cm
© Städel Museum – U. Edelmann – ARTOTHEK

 

Elena Luksch-Makowsky (1878-1967) 'Adolescentia' 1903

 

Elena Luksch-Makowsky (1878-1967)
Adolescentia
1903
Oil on canvas
172 cm x 79 cm
Österreichische Galerie Belvedere, Wien
© Österreichische Galerie Belvedere, Wien

 

Atelier d'Ora. 'Red Hair' 1911

 

Atelier d’Ora
Rotes Haar | Red Hair
1911
Gummidruck
38 cm x 28.2 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Alfons Mucha (1860-1939) 'Salon des Cent' Paris 1896

 

Alfons Mucha (1860-1939)
Salon des Cent
Paris, 1896
Lithograph
63.5 cm x 46 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Alfons Mucha. 'Salon des Cent' Exhibition, Paris, 1897

 

Alfons Mucha (1860-1939)
Salon des Cent
Paris, 1897
Lithograph
63.5 cm x 46 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Eugène Grasset. 'Exhibition poster for an exhibition at the Salon des Cent' 1894

 

Eugène Grasset (1845-1917)
Print: G. de Malherbe, Zinkätzung
Ausstellungsplakat für eine eigene Ausstellung im Salon des Cent | exhibition poster for his own exhibition at Salon des Cents
1894
Stencil
60 x 40 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Verm. Albert Londe (1858-1917) 'Hysterics' Nd

 

Verm. Albert Londe (1858-1917)
Hysterischer Anfall (Bâillement hystérique) | Hysterics
Silver print
9 cm x 12 cm
Bibliothèque de Toulouse
© Bibliothèque Municipale de Toulouse

 

 

Albert Londe (1858-1917) was an influential French photographer, medical researcher and chronophotographer. He is remembered for his work as a medical photographer at the Salpêtrière Hospital in Paris, funded by the Parisian authorities, as well as being a pioneer in X-ray photography. During his two decades at the Salpêtrière, Albert Londe developed into arguably the most outstanding scientific photographer of his time.

In 1878 neurologist Jean-Martin Charcot hired Londe as a medical photographer at the Salpêtrière. In 1882 Londe devised a system to photograph the physical and muscular movements of patients (including individuals experiencing epileptic seizures). This he accomplished by using a camera with nine lenses that were triggered by electromagnetic energy, and with the use of a metronome he was able to sequentially time the release of the shutters, therefore taking photos onto glass plates in quick succession. A few years later Londe developed a camera with twelve lenses for photographing movement. In 1893 Londe published the first book on medical photography, titled La photographie médicale: Application aux sciences médicales et physiologiques. In 1898 he published Traité pratique de radiographie et de radioscope: technique et applications médicales.

Text from the Wikipedia website

 

Paul Gauguin (1848-1903) 'Vase with self-portrait' 1889

 

Paul Gauguin (1848-1903)
Vase mit Selbstbildnis | Vase with self-portrait
1889
Stoneware, engobe, copper and oxblood glaze
19.5 cm x 12 cm
Designmuseum Danmark, Kopenhagen
Photo: Pernille Klemp

 

Ernst Haeckel (1834-1919) 'Scyphozoans' 1904

 

Ernst Haeckel (1834-1919)
Discomedusae. – Scheibenquallen | Scyphozoans
Table 8 from Ernst Haeckel, Kunstformen der Natur, Leipzig und Wien
1904
© Museum für Kunst und Gewerbe Hamburg

 

Eugène Feuillâtre (1870-1916) Vase "La Mer" c. 1900

 

Eugène Feuillâtre (1870-1916)
Vase “La Mer”
c. 1900
Cloisonné enamel, gilded copper
37.5 cm
Petit Palais, Musée des Beaux-Arts de la Ville de Paris
© Petit Palais, Musée des Beaux-Arts de la Ville de Paris

 

The goldsmiths and jewellers of the second half of the nineteenth century constantly strove to perfect and develop the techniques of enamelling for artistic purposes. Eugène Feuillâtre, who headed the Lalique enamelling workshop before opening his own workshop in 1897, specialised in enamel on silver. The dilatation of the metal and its reactions with the colouring agents made this technique difficult. But it allowed Feuillâtre to obtain the blurred, milky, pearly tones that are so characteristic of his work. Feuillâtre’s use of colours illustrates his ability to choose materials to suit the effect he wanted. He is one of the craftsmen whose talent swept artistic enamelling to a veritable apotheosis about 1900.

 

Daum Frères (Manufacturer), 'vase formed like a pumpkin' Nancy, around 1909

 

Daum Frères (Hersteller | Manufacturer)
Vase in Kürbisform | Vase formed like a pumpkin
Nancy c. 1909
Cameo glass, mould blown, etched and cut
29.2 cm x 11.7 cm
Düsseldorf, Museum Kunstpalast
© Museum Kunstpalast – Horst Kolberg – ARTOTHEK

 

Louis C. Tiffany. 'Pont Lily-lamp' New York, 1900, execution around 1910

 

Louis C. Tiffany (1848-1933)
Pond Lily-Lampe | Pont Lily-lamp
New York, 1900, execution around 1910
Favrile glass, Bronze
57 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Albert Klein (1971-1926) 'Irisvase' 1900

 

Albert Klein (1971-1926)
Irisvase
1900
Execution: Königliche Porzellanmanufaktur, Berlin
Porcelain with glaze and sculptural decoration
61.5 cm
Bröhan-Museum
© Bröhan-Museum
Photo: Martin Adam, Berlin

 

William Morris. decoration fabric Strawberry Thief, London, 1883

 

William Morris (1834-1896)
Decoration fabric Strawberry Thief
London, 1883
Execution: Morris & Co., Merton Abbey/Surrey, 1883
Cotton, indigo discharge print, block print, 3-coloured
518 cm x 98 cm, Rapport 51 x 45 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

William Morris. decoration fabric Strawberry Thief, London, 1883 (detail)

 

William Morris (1834-1896)
Decoration fabric Strawberry Thief (detail)
London, 1883
Execution: Morris & Co., Merton Abbey/Surrey, 1883
Cotton, indigo discharge print, block print, 3-coloured
518 cm x 98 cm, Rapport 51 x 45 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

René Lalique (1860-1945) 'Hair comb' 1898-1899

 

René Lalique (1860-1945)
Haarkamm | Hair comb
1898-1899
Horn, gold, enamel
15.5 cm
Designmuseum Danmark, Kopenhagen
Photo: Pernille Klemp

 

Day dress of a suffragette sympathizer, England, 1905-09

 

Unknown maker
Tageskleid einer Suffragetten-Sympathisantin | Day dress of a sufragette sympathiser
England, 1905-09
Studio work or self-made, cotton, canvas lining, machine-made lace
L. 143 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Mariano Fortuny y Madrazo. Lady's dress Delphos, Venice, 1911–13

 

Mariano Fortuny y Madrazo (1871-1949)
Damenkleid Delphos | Lady’s dress Delphos
Venice, 1911-13
Label: Mariano Fortuny Venise
Pleated silk satin, silk cord, Murano glass beads
L. 148 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Carlo Bugatti (1856-1940) 'Chair' Milan 1902

 

Carlo Bugatti (1856-1940)
Stuhl | Chair
Milan, 1902
Oak, parchment, brass
98 cm x 48 cm x 48 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Karl Gräser (1849-1899) 'Chair in the style of his room furnishings on Monte Verita' Museum Casa Anatta, Monte Verita, Ascona, 1910

 

Karl Gräser (1849-1899)
Sessel im Stil seiner Zimmereinrichtung auf dem Monte Verità | Chair in the style of his room furnishings on Monte Verità
Museum Casa Anatta, Monte Verità, Ascona, um Verità 1910
Unhandeled braches, wooden panel
84 x 66 x 60 cm
Photo: Elena Mastrandrea
© Museum für Kunst und Gewerbe Hamburg

 

 

In the nineteenth century, Europe is shaken by the arrival of industrialization which upsets the social organization. This crisis is particularly felt in Germany where signs of rejection of the industrial world appear as early as 1870. Thus, in response to the urbanization generated by a new organization of work, Naturism appears. Attempting to flee the pollution of the cities, to create communities and “garden city” to live in harmony with nature. Those who share this view soon gather around the movement of Reform of the life (Lebensreform, 1892). The movement attracts followers of vegetarianism, naturism, spiritism, natural medicines, the Hygienism, the Theosophical Society, as well as artists.

In 1889, Franz Hartmann, German astrologer and Alfredo Pioda, a local man into progressive politics, both loving theosophical theories under strong Hindu influence, launched the idea of ​​a “secular monastery” bringing together individuals “regardless of race , creed, sex, caste or color. ” But nothing came of it. Eleven years later, he resurfaced with seven young men from good families, born in Germany, Holland, Slovenia and Montenegro, who landed in Ascona (Switzerland), attracted by the beauty of the place, its climate and possible telluric forces which the place would wear. The clan consists of Henri Oedenkoven (son of wealthy industrialists Antwerp), Karl Gräser (former officer of the Imperial Army, founder of the peace group Ohne Zwang, Unconstrained), his brother, the painter Gustav Gräser, Ida Hoffman (a feminist intellectual) Jeny and her sister, Lotte Hattemer (a beautiful young girl with anarchist ideas, breaking with a father who nonetheless supports herself needs) and Ferdinand Brune.

Spiritualist sects, pharmacists, nudists, philosophical circles, feminist movements, pacifists, socialists, libertarians, gurus, Theosophists, come together to form a nebula of more or less related interest, a band that will unite in a place that combines lifestyle and utopian effervescence. The hill is named Monte Verità, the Mountain of the truth. The group advocated free love, equality between men and women, they gardening scantily clad (or bare), alcohol was banned, meals consist of raw vegetables and fruits. As often, the ideal was overtaken by reality: after several months of reciprocity disagreement appears, especially between Henry Oedenkoven, who plans to open a place of cure, and the brothers Gräser. They who dedicate themselves to self-sufficiency and barter reject this conversion to money. Monte Verita knowns immediately two trends: the bourgeois dream paradise enjoying the modern comfort (water, electricity) and potentially profitable; and aspiration of returning to a liberated state of nature.

Text translated from the La Maud La Maud website

 

Unknown photographer. 'Monte Verita' c. 1900

 

Unknown photographer
Monte Verita
c. 1900

 

Charles Rennie Mackintosh. 'Chair for the Argyle Tea Room' Glasgow 1897

 

Charles Rennie Mackintosh (1868-1928)
Stuhl für den Argyle Tea Room | Chair for the Argyle Tea Room
Glasgow, 1897
Oak, stained
81 cm x 60 cm x 45 cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 10 am – 6 pm
Thursday 10 am – 9 pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

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07
Sep
13

Exhibition: ‘Evil Things. An Encyclopaedia of Bad Taste’ at Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 16th May – 27th October 2013

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I just love the categories that this museum has classified these objects into:

  • Devotional kitsch
  • Construction and artists dummies jokes
  • Whimsical material
  • Relief transpositions
  • Material surrogates
  • Inappropriate jewelry designs (for a rug depicting planes flying into the World Trade Centre towers!)
  • Inconveniences
  • Relief transpositions
  • Hunter kitsch
  • Jewelry and ornamental waste
  • Hooray kitsch
  • Construction dummy or far-fetched fantasy design
  • Tourist souvenir kitsch
  • Racist design
  • Bad or rotten material

There is a whole series of exhibitions that could be mounted, like stuffed animals, on any number of these categories. I particularly like “Material surrogates” which has endless possibilities and paradoxical connotations, as though, surrogates always have to be material and cannot be immaterial, of the spirit.

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Many thankx for the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the art work in the posting. Please click on the images for a larger version of the art.

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'Mosque alarm clock in shape' Nd

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Mosque alarm clock in shape
Nd
Devotionalienkitsch, fishing Seng
Collection Werkbundarchiv – Museum der Dinge, Berlin, acquired 2009
Photo: Armin Herrmann

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'Abdominal ashtray' 2009

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Abdominal ashtray
2009
Construction and artists dummies jokes
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Ashtray horse's hoof' Nd

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Ashtray horse’s hoof
Nd
Origin unknown
Whimsical material
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Ottmar Hoerl. 'The Big Piece of Hare' 2003

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Ottmar Hoerl
The Big Piece of Hare
2003
Relief transpositions
Motive after a watercolor by Albrecht Dürer
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Celluloid hair clips, mimic the natural material horn' 1920

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Celluloid hair clips, mimic the natural material horn
1920
Germany
Material surrogates
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Exhibition views. Photos: Michaela Hille

Exhibition views. Photos: Michaela Hille

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Exhibition views
Photos: Michaela Hille

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“What is taste? Who decides what is good or bad, beautiful or ugly? Corporations spend billions trying to find out which product will catch the spirit of the times. Scientists devote themselves to researching which regions of the brain are responsible for forming taste. And what do we do? We argue about taste, although, as is well known, there is no accounting for taste. The Museum für Kunst und Gewerbe Hamburg (MKG) is throwing itself into the argument about “good” and “bad” taste by showing the exhibition Evil Things: an Encylopaedia of Bad Taste developed by the Werkbundarchiv – Museum der Dinge, Berlin, which juxtaposes historical and contemporary approaches. On top of this, we invite visitors to take an active part in the debate on taste by setting up an exchange where they can swap items. The idea of the exhibition Evil Things was based on the pamphlet “Good and Bad Taste in the Arts and Crafts” published by the art historian Gustav E. Pazaurek in 1912. In it, he sets up a complex catalogue of criteria which also underlies his “Department of Lapses in Taste” in the Landesmuseum in Stuttgart. Pazaurek was a member of the Deutscher Werkbund, founded in 1907, which set off the debate on “good form” in design which still shows no sign of abating even today. The exhibition Evil Things presents some 60 objects from Pazaurek’s former “Chamber of Horrors” and confronts these with items of contemporary design. This provides an opportunity to review Pazaurek’s systematic canon and decide if it is still valid today. At the same time it postulates new categories which might be able to classify things as “good” or “bad” from the perspective of today’s world. In parallel to this, the MKG is showing a project by the Muthesius-Kunsthochschule Kiel entitled Name That Thing. Students focussed here on kitsch and produced projections, installations, objects, photography and texts on the theme, whereby they also had the Museum as an authority for forming taste squarely in their sights.”

Press release from the Museum für Kunst und Gewerbe Hamburg website

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'Bocksbeutel bottle, covered with patriotic motifs and coins' c. 1915

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Bocksbeutel bottle, covered with patriotic motifs and coins
c. 1915
probably Austrian
Materialpimpeleien
Pazaurek Collection, Landesmuseum Württemberg, Stuttgart,
Photo: Hendrik Zwietasch, Landesmuseum fillies

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'Hand-knotted rug with motif for 9/11' Nd

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Hand-knotted rug with motif for 9/11
Nd
Inappropriate jewelry designs
Afghanistan
Donated by Achille Mauri, Milan
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Mobile Phone Holder' 2009

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Mobile Phone Holder
2009
Agora Gift House AB, Sweden
Inappropriate jewelry motifs
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Philippe Starck. 'Juicy Salif lemon squeezer' 1990

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Philippe Starck
Juicy Salif lemon squeezer
1990
Designed by Philippe Starck in 1990, Alessi, Italy
Inconveniences
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Evil Things. An Encyclopaedia of Bad Taste

In 1909, Gustav E. Pazaurek opened a “Department of Lapses in Taste” in the Landesmuseum in Stuttgart with the goal of educating people in “good taste”. The exhibits on show there were without exception examples of art and craftwork intended to induce repugnance and to expose the “bad taste” of the objects. Pazaurek developed a comprehensive canon to classify things in his pamphlet “Good and Bad Taste in the Arts and Crafts”. In this, he invented drastic terminology such as “decorative brutality”, “violation of the material” or “functional lies”. But what is “evil” about an object? For Pazaurek, it lies first and foremost in its external appearance, materiality and construction. In his opinion, things have a strong influence on human beings, and are capable of altering the essence of their being. Pazaurek follows the notions of the Deutscher Werkbund here, according to which an appropriate domestic environment should aim not only at improving living standards, but also “improving” people and educating them to be responsible and thoughtful members of the community. The idea of educating people to have taste at the beginning of the 20th century, which also had proponents in the Bauhaus and in the Reform Movement, set itself up in opposition to the ostentatious pomposity and rabid inflation of decorative excrescences of the Wilhelminian period, which were perceived as being dishonest and superficial. Pazaurek’s “Bible of Taste” can also be seen in this context as an “anti-product catalogue”. The guidelines of the Deutscher Werkbund, to which architects, designers and academics subscribed, continued to exert an influence until well into the 1960s. The application of the historical criteria to contemporary products provides a wealth of material for discussion. On the one hand, it would probably be argued that such canons make no sense today while on the other, if we were asked to formulate criteria, we would consider quite different ones to be relevant – for instance, sustainability, fair trade, wildlife conservation etc.

Press release from the Museum für Kunst und Gewerbe Hamburg website

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'Mineral water bottle in the form of Madonna' Nd

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Mineral water bottle in the form of Madonna
Nd
Devotionalienkitsch, “lichen”
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Madonna figure "Fatima" Nd

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Madonna figure “Fatima”
Nd
Devotionalienkitsch, Portugal
collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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"The Scream" as a key chain, according to Edvard Munch's "The Scream" 1991

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“The Scream” as a key chain, according to Edvard Munch’s “The Scream”
1991
Relief transpositions
Robert Fishbone, On The Wall Productions, Inc.USA, 1991
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Historicist clock' Second half of the 19th Century

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Historicist clock
Second half of the 19th Century
Hunter kitsch
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Moeko Ishida. 'Studded with Stones cell phone' 2009

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Moeko Ishida
Studded with Stones cell phone
2009
Deco Loco
Jewelry and ornamental waste
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Obama children's sneakers' 2008

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Obama children’s sneakers
2008
Draft, Keds, USA 2009
Hooray kitsch
Collection Werkbundarchiv – Museum der Dinge, Berlin, Photo: Armin Herrmann

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'USB stick in the shape of a finger' 2009

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USB stick in the shape of a finger
2009
China
Construction dummy or far-fetched fantasy design
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Salt and pepper shakers in the shape of a woman' 2009

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Salt and pepper shakers in the shape of a woman
2009
Construction dummy or far-fetched fantasy design
Collection Werkbundarchiv – Museum der Dinge, Berlin

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'Souvenir from Dessau in the form of acting as a salt shaker with view of the Dessau city hall' first quarter 20th Century

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Souvenir from Dessau in the form of acting as a salt shaker with view of the Dessau city hall
first quarter 20th Century
Tourist souvenir kitsch
Pazaurek Collection, Landesmuseum Württemberg, Stuttgart

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'Jewelry packaging Conguitos' 1998

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Jewelry packaging Conguitos
1998
Conguitos – LACASA. SA, Zaragoza, Spain, 1998
Racist design
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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'Withdrawn from the market Teletubbies character that contains toxic plasticizers' 1998

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Withdrawn from the market Teletubbies character that contains toxic plasticizers
1998
Hasbro, Inc., 1998
Bad or rotten material
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Philippe Starck. Floor lamp 'Guns - Lounge Gun' 2005

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Philippe Starck
Floor lamp Guns – Lounge Gun
2005
Inappropriate jewelry designs
Flos, Italy, 2009
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

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Portrait Professor Gustav E. Pazaurek, © Fotoarchiv Landesmuseum Württemberg

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Portrait of Professor Gustav E. Pazaurek
© Fotoarchiv Landesmuseum Württemberg

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Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday and Thursday 11 am – 9 pm

Museum fur Kunst und Gewerbe Hamburg website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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