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Das Black Mountain College in der Nähe von Asheville, North Carolina, kann als Ort gelebter Utopie bezeichnet werden. Zwischen 1933 und 1957 galt hier das Experimentieren als eine wertvolle Erfahrung sowie selbstbestimmtes Lernen, Lehren und demokratisches Zusammenleben als wichtige Güter.
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The Black Mountain College near Asheville, North Carolina, can be described as a place of lived utopia. Between 1933 and 1957, experimentation was considered a valuable experience and self-determined learning, teaching, and democratic co-existence were seen as important assets.
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Bekannt wurde der Designer durch seine Werke speziell für Kinder. Er entwarf Spielzeug für die Firma Naef in der Schweiz und die Firma Galt in England. Neben seinen Spielzeugdesigns erregte er außerdem Aufmerksamkeit mit seinem Entwurf der Corporate Identity für die amerikanische Firma Creative Playthings, dessen Logo mittlerweile eine Ikone geworden ist.
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Fredun Shapur was born in 1929 and is known for his graphic design, the majority of which was created between 1960 and 1980. His work at that time was characterised particularly by boldness and originality and he also became known for his work created especially for children. He designed toys for Naef in Switzerland and Galt in Great Britain. In addition to his toy designs, he also attracted attention with his corporate identity design for the American company Creative Playthings whose logo has in the meantime become to be regarded as iconic.
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Im Mittelpunkt der Ausstellung steht die Entwicklung ihrer Architektur, in der die gesellschaftliche Bedeutung des Bauens und die kulturelle Verankerung derselben eine zentrale Rolle spielten: „Die künstlerische Freiheit galt immer als ‚individuelle’ Freiheit. Wirkliche Freiheit aber gibt es nur im Kollektiv. Es ist dies eine Freiheit der sozialen Verantwortung, die die Grenzen der Ästhetik zu sprengen vermag…“.
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Lina Bo Bardi was born in Italy in 1914 where she was also educated before working first as an editor and designer at journals such as Domus, Lo Stile and A. Cultura dellaVita. In 1946 with her husband, the journalist and art critic, Pietro Maria Bardi, she moved to Brazil where she carried out her first designs. These include the Museu de Arte de São Paulo, the Espirito Santo do Cerrado church, and the cultural and sports centre Fábrica da Pompéia. At the heart of the exhibition is the development of her architecture in which the social importance of construction and the cultural anchoring of the same play a central part: “Artistic freedom was always an ‘individual’ freedom. But true freedom is only in the collective. It is this one freedom of social responsibility that is able to burst the boundaries of aesthetics…” In addition to almost 100 sketches, the exhibition displays her built designs in historic and current photographs. Interviews with Bo Bardi’s friends and collegues complete the picture. There is also a comprehensive catalogue published by Hatje Cantz.
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Das Interesse der Fotografen an den neuen Arbeits- und Lebensweisen der Hippies führte sie unter anderem in den Stadtteil Haight-Ashbury in San Francisco, der 1967 als Ursprung und Zentrum der alternativen Flower-Power-Szene galt.
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The photographers Ruth-Marion Baruch and Pirkle Jones met at the California School of Fine Arts (now the San Francisco Art Institute) in 1946, while attending the photography class taught by Ansel Adams. They were married three years later. The following decades were marked by the consolidation of the civil rights and the hippie movement, especially on the west coast of the US. The photographers’ interest in the hippies’ new ways of working and living led them to districts such as Haight-Ashbury in San Francisco, which in 1967 was regarded as the origin and centre of the alternative flower power scene. For two years, Pirkle Jones also accompanied the houseboat community “Gate Five” in Sausalito, a partnership of dropouts and artists. At the end of the 1960s, Ruth-Marion Baruch pursued her aim to use her own series of photographs to challenge the one-dimensional representation of the Black Panther Party in the media. Although racial segregation was abolished in 1964, it remained anchored in politics, the legal system and the minds of many people. The Black Panthers, who had turned away from the non-violent civil rights movement of Martin Luther King, continued to oppose the on-going social oppression and exploitation, resulting in a biased and negative view of the group in the media.