Jordan Marani Haus Werk II 2019 pencil and acrylic on board 30 x 40cm. Image courtesy the artist.
Haus Werk: The Bauhaus in contemporary art
24 November 2019 – 15 March 2020
The exhibition Haus Werk: The Bauhaus in contemporary art, 24 November 2019 to 15 March 2020 at McClelland Sculpture Park + Gallery, forms part of the official 100jahrebauhaus program of events that celebrates the centenary of the Bauhaus in 2019. Including Australian and international contemporary artists and performers, Haus Werk affirms the relevance of methods first grounded in the Bauhaus, and explores the way these concepts have new applications across different locations and times. Echoing the expansive educational agenda of the Bauhaus, the project incorporates exhibitions, architecture, a library resource, an education program and a catalogue.
The title refers to the way our understanding of the Bauhaus has become entwined with domestic space, with particular emphasis on the influence of the female artists who were relegated to the weaving workshop . Acknowledging the production of artwork as both a form of labour and a kind of play, the project encourages a fluid understanding of these states of production, as outlined by Bauhaus master Johannes Itten in 1919: ‘Play becomes celebration; celebration becomes work; work becomes play. Our play should become work; our work, a celebration; and our celebration, play. I regard this as the supreme excellence of the human tasks .’ [‘our play, our party, our work’ was the title given by Johannes Itten to his lecture of 1919]
Haus Werk includes an exhibition across the three internal gallery spaces as well as outdoor installations at McClelland Sculpture Park and Gallery; a series of public programs to accompany the project including a kite festival and a lantern parade; an installation by Jacqueline Stojanovic at the Glass Cube in central Frankston; a series of related publications on display available for reading and perusal at Frankston Library; and a catalogue.
The project features an even allocation of Australian and international participants to increase dialogue and strengthen networks in the fields of art and design. In doing so, the project opens for consideration the differing contexts of influence.Many of the international artists have never exhibited in Australia before.
Artists: Peter Atkins (AUS); Anael Berkowitz (USA/ISR); Katja Brinkmann (DEU); Danica Chappell (AUS); Sarah crowEST (AUS); Elizabeth Day (AUS); Stephan Ehrenhofer (AUT); Assaf Evron (ISR/USA); Anna Farago (AUS); Robert Jacks (AUS); Paul Knight (AUS); Eva-Fiore Kovacovsky (CZE); Paul Klee (CZE); Mafalda Millies and Roya Sachs (USA/DEU); John Nixon (AUS); Laresa Kosloff (AUS); Jordan Marani (AUS); Sam Martin (AUS); Bernd Ribbeck (DEU); Jacqueline Stojanović (AUS); Esther Stewart (AUS) and Pallavi Sen (IND); Sebastian Stadler (CZE); Tim Tetzner (DEU); Claudia Wieser (DEU)
Curated by Jane O’Neill, with Lisa Byrne and Simon Lawrie
Catalogue designed by Roland Brauchli
Image: Jacqueline Stojanović, Grid III 2019. Courtesy the artist.
Jacqueline Stojanović: Concrete Fabric
Cube 37, Glass Cube Gallery, Frankston Arts Centre
Tuesday 26 November – Sunday 16 February
View 24/7 from the street front. Free Entry.
For Haus Werk, artist Jacqueline Stojanović has created a large-scale architectural weaving titled Concrete Fabric (2019) for the Glass Cube at Franskton Arts Centre. This work consists of sheets of metal mesh covered in woven wool, which the artist notes “approaches the Bauhaus’ architectural principles from a weaver’s sensibilities, utilising industrial materials and maintaining an exposure of their raw qualities.”
Born and based in Melbourne, Jacqueline Stojanović completed a Bachelor of Fine Art at Monash University in 2014 and a Bachelor of Fine Art (Honours) at the Victorian College of the Arts, University of Melbourne in 2015. The artist works across the fields of weaving, photography, drawing and installation. Stojanović learnt how to make carpets during travels from Central Asia to Serbia during a time of research about the trade and weaving history of the area. This informed a series of tapestries made at the Icelandic Textile Centre in Blönduós, Iceland, during a residency in November 2017. Strongly geometric by nature, and determined by the loom’s apparatus in working within a gridded structure, Stojanović’s tapestries align with the key principles of form, composition and colour, referencing Bauhaus weaving masters Anni Albers, Otti Berger and Gunta Stölzl. Stojanović has directed her learning in the craft through travels in the Caucasus, Middle East and Balkans. The Bauhaus and Socialist architecture of these areas, with an emphasis on function, aesthetics, and raw materiality, further informs her work.