Three Intermezzi are opening simultaneously at the Bauhaus Museum Dessau. Intermezzi are exhibitions within the exhibition: In three zones within the permanent exhibition on the history of the Bauhaus, changing current and historical positions from art and design intervene and create new approaches and relationships to the legacy of modernism. The Intermezzi 2025 focuse, among other things, on representations of nature in our post-digital age and the material knowledge contained in ceramics and fired objects.
In the Intermezzi, Anna Gille shows charcoal drawings of vegetation in analogue and digital landscapes. She stages these in an object installation reminiscent of the presentation of devices in Apple stores, for example. Gille draws nature, which she sometimes also encounters as digital images in video games or in the endless feed of her photo app. At the same time, she fundamentally explores drawing as a traditional artistic medium. Gille has created a new, imposing drawing on the wall of the stage on the ground floor that fills the space, challenging the usual dimensions of drawing and allowing the museum space itself to be experienced as a landscape.
The ceramics that Matthias Kaiser produces in his studio are subtle experiments in form and materiality. Their surfaces are often coated with specially produced glazes made from natural materials that he collects himself, such as mussel shells or quartz sand, and are reminiscent of pottery traditions from different cultures. At the same time, they assert themselves as independent entities that defy simple categorisation as arts and crafts, utility ceramics or ceramic sculpture. For Intermezzi 2025, a series of new objects will be created that express an examination of material, production, form and (non-)use, as well as ceramics at the historic Bauhaus. The exhibition Delphinium Maximum in the Spatial Stage features vases by Matthias Kaiser, which were designed as special containers for Delphinium Maximum.
The Experimental Space is dedicated to the role and the various relationships of material, music and sound in the artistic processes of the draughtswoman Anna Gille and the ceramicist Matthias Kaiser. On display are various interactions between sound and material that become clear in the works of both artists. Based on their respective working methods, different approaches to object and image are opened up. Matthias Kaiser, for example, is inspired by music for his work on the potter’s wheel, and the excerpts from the computer game landscapes quoted in Anna Gille’s drawings can hardly be separated from their very own soundscapes.