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The Bauhaus Idea and Bauhaus Politics

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Éva Forgács

Chapter 15. Parallel Fates? Weimar, Dessau and Moscow

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WHEN in the autumn of 1930 Meyer took the train to Moscow, he as it were with his own body, drew a line connecting Bauhaus utopias and views of art to the parallel Soviet Russian theories. The wider historical and intellectual environment of the Bauhaus included not only those currents of international Constructivism that played a significant role in Germany, but also the source, the Soviet Russian avant-garde, with all of its ecstatic enthusiasm, sober pragmatism and analytic methods, futuristic visions and ongoing euphoria. Like the Bauhaus, VKhUTEMAS (Higher Artistic-Technical Studios) was a kind of concentrate of the times: it embodied all issues that stirred art and society, and considered its task to be searching, through art, for answers and solutions to present and future problems.

During the Bauhaus's early surge of momentum Gropius expressly sought contacts, if not directly with VKhUTEMAS, then with the artists of the recently founded Soviet state. As early as 1920 he sent ...

© Central European University Press, 1995

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