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At eye level: Comprehensive show on German-German design

2021-10-14T13:57:24.159Z

Design from Germany achieved worldwide importance at the beginning of the 20th century. After 1949 the development continued divided into different systems. A show shows differences, but also parallels in design East and West.



Design from Germany achieved worldwide importance at the beginning of the 20th century.

After 1949 the development continued divided into different systems.

A show shows differences, but also parallels in design East and West.

Dresden - The Vitra Design Museum (Weil am Rhein) and the Dresden Museum of Applied Arts have looked at the history of design in divided Germany more closely and from a wider perspective than before. The exhibition “German Design 1949-1989. Two countries, one story "is a" consideration at eye level, "said Marion Ackermann, General Director of the Staatliche Kunstsammlungen Dresden (SKD), on Thursday. The show brings together 390 exhibits from furniture and lights to graphics and interior design to fashion and vehicle design - an Eldorado not only for design fans.

Classics such as the Simson S50 moped or the small record player known as the “Snow White Coffin” can be found alongside rarities such as Luigi Colani's Poly-COR loop chair, the “Senftenberger Egg” - a plastic chair - or the Consumer's Rest Lounge Chair.

Protagonists such as Rudolf Horn, Dieter Rams, Margarete Jahny and Egon Eiermann are also represented.

Dresden is the second stop after Weil am Rhein, where the show was closed for most of its duration due to the pandemic.

Afterwards, it is intended to “draw attention to an important part of German cultural history that has not been illuminated so far,” said Vitra Museum Director Mateo Kries.

There is interest from museums in Europe, Asia, China, but nothing is certain about the tour.

The overview of a specific German history and the varieties of design for the implementation of social utopias is based on the common history of the Bauhaus, Werkbund and Modernism and ranges from design as a service provider in the economy or the subject of critical positions, said Thomas A. Geisler, head of the arts and crafts museum.

"It's not about a comparison of the design traditions, but about entanglements, where one is reflected in the other, and breaks."

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Whether it is a design from the GDR or the FRG is deliberately only readable from the graphics.

Stereotypes are also questioned, said Geisler.

The international reputation of the Deutsches Design brand is still very much shaped by West German.

“We want to add further perspectives.” There are still a lot of gaps, “so far the main focus has been on the difference, but there is also a lot in common,” said Mateo Kries.

The first comprehensive show of its kind breaks with the presentation of previous retrospectives and publications on “German” design, which East German design culture seldom gave its own meaning, said Geisler.

This will also be discussed at a round table prepared by the Deutsche Werkstätten Hellerau Dresden - based on the committees of the same name from the time of the fall.

dpa

Source: merkur

All news articles on 2021-10-14

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