African Mobilities is not concerned exclusively with the architecture of the refugee camp. Instead, it seeks to explore how cities and towns might become sites of refuge for African populations on the move, while simultaneously reckoning with the ways in which colonial geographies of extraction are enfolded within seemingly new zones of resource extraction. The show aims to rethink the geography of African migrations and the challenges and opportunities they pose for doing architecture and urbanism differently: through an exploration of architectures at the intersection of migration, displacement and digital technology. The exhibition connects fourteen diverse locations through workshops, commissioned projects and master classes: Johannesburg, Harare, Kampala, Addis Ababa, Munich, Luanda, Abidjan, Lagos, New York, Dakar, Nairobi, London, Lubumbashi, and Praia. It is based on a trans-national and interdisciplinary approach to architectural research and design, showing both current work and creative research-driven work that offer future possible urban scenarios and architectural prototypes, brought about by a world in motion.
Inspired by the Bauhaus, American Jazz and the aesthetic tradition of Japan, Ikko Tanaka (1930-2002) remains one of the most influential Japanese graphic designers. The exhibition is dedicated to the theme of the face in the poster oeuvre of this communicator between Japanese culture and the West. The parade of faces gliding past the ambling viewer is akin to a Gallery of Beauties, rendered in radical geometric abstraction, calligraphic expressivity or captured in photographs, emblematic, distorted, as impenetrable mask, surreal, playful … Sublimely seductive or theatrically tantalizing, all of these faces want to catch the viewer’s attention, be it for Noh or Kabuki theatre, exhibitions, communications companies or a collection by fashion designer Issey Miyake. Ikko Tanaka’s style could be outlined as combining bold abstraction with the balancing of opposites; it is expressive, elegant and powerful. Fellow designer American Ivan Chermayeff dubbed him a “distiller of visual truth”.
2018 will mark 50 years since the first International Silver Jewelry Symposium in Jablonec in 1968, in what was then Communist Czechoslovakia. To celebrate the 50th anniversary of this unique moment in the history of studio jewelry, Die Neue Sammlung is staging an exhibition where the works created for the exhibition will be on display again for the first time. From the middle of the 19th century, Jablonec nad Nisou became a mecca for the jewelry industry, thanks to its proximity to the centres of Bohemian glass-making at Libereč and Železný Brod. Glass beads and jewelry were exported as far afield as Africa and industrial exhibitions were staged. At the end of the 1960s, however, the world-wide economic downturn also hit the Czechoslovakian jewelry industry. The symposium was an attempt to find a way out of this dilemma by harnessing modern ideas, promoting international exchange and building on the success which Czechoslovakian jewelry had enjoyed at the world exhibitions in Brussels in 1958 and Montreal in 1967.
The topic of housing development is as relevant today as it was 100 years ago. This exhibition forms part of the centenary celebrations marking the founding of the Free State of Bavaria and places a special focus on the evolution of residential architecture in Bavaria in the context of political decisions and actions, and against the backdrop of economic and social factors. The exhibition will address the ways in which concepts of space and architectural solutions reflect specific living conditions, and will also look at construction and housing programs – in particular the promotion of social housing in Bavaria and the attempt to boost the living conditions of a broad sector of society. By looking at a range of building styles – from detached homes to small housing estates and low-rise ‘Zeilenbau‘ developments, through to large-scale housing estates – light is shed not just on urban development, but also on the more rural regions of Bavaria.
Fritz Winter (1905-1976) began his artistic career in 1927 at the Bauhaus in Dessau as a pupil of Wassily Kandinsky, Oskar Schlemmer and Paul Klee. Parallel to the exhibition ‘Paul Klee. Construction of Mystery,‘ the Fritz Winter Foundation is showing the artist’s early works from the 1920s up until the 1940s.
The exhibition follows projects that have previously been put on show in the Neue Pinakothek’s study gallery. Using information recorded in an index held in the museum storerooms, the exhibition sets about arranging these projects into a thematic selection. ‚C is for Country…’ shows 19th century artists (re)discovering the familiar and unfamiliar both at home and abroad, and the resulting depictions captured in their paintings. Featuring between 40 and 50 paintings, the collection allows visitors to observe how quickly initial curiosity can become bogged down in clichés.