Ignition of a School of Design
On the occassion of the 100th anniversary of the bauhaus, SAVVY Contemporary seeks to challenge and act against the inherent, neocolonial power structures in design practices, theory and teaching with its project Spinning Triangles. It takes up the founding moment of the Bauhaus one hundred years ago and starts from its reality as a school of design to reverse and reshape it. We recognize the Bauhaus not only as a solution, but also as a problem, and will propose a school of design that may well become an “un-school,” and will emerge through a process between Dessau, Kinshasa, Berlin and Hong Kong.
Interventions and workshops
Intervention at the opening festival of “100 years of bauhaus”
Symposium and workshops
School of design
Hong Kong 08.10.–12.10.2019
School of design
OPEN CALL If you want to be one of fourty students attending the school in Berlin in the summer 2019, you can apply from 01.01. until 13.05.2019. Please send an email to email@example.com with the subject: “Application Spinning Triangles, school of design”. Please send your CV, a letter of motivation (max. 1 page), and a presentation of your work – in any medium that seems suitable to your practice (portfolio, soundpiece, essay, video presentation or similar, max. 10MB). Applicants in Congo can also reach us at: 00243 844 057 432. This school is not limited to any age group or academic background.
With African Design Centre, Akinbode Akinbiyi, Arjun Appadurai, Cosmin Costinas, DAAR (Decolonizing Architecture Art Residency), Lamin Fofana, *foundationClass, KUNCI School of Improper Education, Saskia Köbschall, Van Bo Le-Mentzel, VorOrt Dessau, Yanki Lee, Malaysia Design Archive, Lambert Mousseka, Henrike Naumann, Ou Ning, Ahmet Öğüt, Eliana Otta, Tabita Rezaire, Henrique Roscoe, Lorenzo Sandoval, Awilda Sterling, Dana Whabira, among others.
First and foremost, the Bauhaus was a school of design. It aimed to educate a new generation of designers, makers and thinkers that would face the challenges of their “now”. Spinning Triangles takes up this founding moment of 1919. Not in order to repeat it but to twist it: we will create a school of design that has what it takes to tackle the challenges of our “now”, and might, precisely by this, turn into an “Un-school”. This school will not be developed by the geopolitical west, but through the accelerated movement between deeply interwoven places – Dessau, Kinshasa, Berlin and Hong Kong.– and will confuse their prescribed roles as idea provider, raw material supplier and champion of production.
The ignition of this school will take place in Kinshasa – in the capital of a country without which our smartphone-modernity, creative economy and data collecting mania is unthinkable but which also bears the highest costs: the past twenty years alone have amassed six million corpses caused by the ruthless mining of minerals and its associated conflicts – official numbers that can be deemed as cautious estimations.
The longterm project starts in Dessau, where Van Bo Le-Mentzel will open a new Tinyhouse, the “Wohnmaschine”: a miniature clone of the workshop wing of the Dessau Bauhaus building. Behind the iconic facade hides a fifteen square meter apartment with an elaborate interior design and exhibition possibilities. We will not only inhabit these four walls, but also invite guests in order to negotiate space and property and question the complex heritage of modernity. Interventions by various protagonists will activate this mobile “world heritage site” and thus open it up to the public as an “academy of the fireside”. We will face the relations of coloniality and design as well as its various visibilities and invisibilities. Shortly after, results and experiences will move to Berlin on the occasion of the “100 years of bauhaus” opening festival, before the project is developed further in the Democratic Republic of Congo.
Impressions from the first chapter in Dessau
In Kinshasa, the thinking and design process will accelerate through a symposium and workshops. Various actors of former colonies will meet to raise the question how we can, in a world where all too many, still active modernist masterplans have failed, conceive our everyday environments in order to make a collective future possible – and through which philosophies. This process will bring about the prototype of a new “school.”
Five “masters” will export this “school” to Berlin, where forty students will learn and unlearn, presuming nonchalantly that it may not be the South that needs development but the North. Regular open school days and a continuous program with invited guest lecturers allow the participation of the public. Thus, words and actions aim to challenge and transform Bauhaus traditions and narratives of modernity and modernism.
As final station, for the time being, the school will move to Hong Kong to transform the art space Para Site in order to change design practices and discourse in this context as well.
Design has power. It creates our environments, our interactions, our being in the world. For too long, practices and narratives from the global South have been kept at the periphery of the design discourse, been ignored altogether, or appropriated. This needs to change. And it can only do so if we start with new forms of learning and unlearning, that may perhaps actually be very old, but have certainly been overheard for far to long.
Artistic Direction Bonaventure Soh Bejeng Ndikung
Curator & Concept Elsa Westreicher
Co-Curator Arlette-Louise Ndakoze
Curatorial Advice Elena Agudio
Curatorial Assistance Antonio Mendes, Jorinde Splettstößer
Research Raisa Galofre, Abhishek Nilamber, Lili Somogyi
Management Lynhan Balatbat-Helbock, Lema Sikod
Management Assistance Clara Brandt, Fanny Souade Sow
Communications Anna Jäger
co-operators Goethe-Institut (Kinshasa), Académie des Beaux-Arts (Kinshasa), Banka (Groupe de Recherches sur le Design, Kinshasa), KinArt Studio (Kinshasa), Ndaku (Kinshasa), Timbela Batimbela Yo (Kinshasa), Hochschule Anhalt (Dessau), VorOrt Haus (Dessau), Para Site (Hong Kong), Tinyhouse University e.V.
Funding Funded by the Bauhaus heute Fund of the German Federal Cultural Foundation