Otto Lindig Lichttempel | Archiploitation

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Restored and adjusted Lichttempel by Otto Lindig, 1920/1921.
Image below from the Bauhaus Archiv in Berlin.

2015

Otto Lindig, coffeepot, 1924-25. Produced for the Bauhaus by Dornburg Pottery. Collection Milwaukee Art Museum. milwaukeeart #ottolindig #bauhaus

As every year the Keramikmuseum Westerwald will award prizes for the special competition (“Museumsfest”) during the Ceramic Market (25 and 26.5.2019). This year´s theme is the cup (with handle) and saucer. The jury members will pay special attention to form and function. The competition is open to all ceramists, participation in the market is not necessary. Check out the application form on www.keramikmuseum.de/ausstellungen

Image: Otto Lindig, cup and saucer, 1923

#keramikmuseumwesterwald #ottolindig #ceramics #pottery #potteryart #keramikmarkthöhrgrenzhausen #geschirr #cupandsaucer

This photograph, taken by Lucia Moholy, presents Otto Lindig’s coffee pot and cup, Theodor Bogler’s teapot, and Marguerite Friedlaender’s mugs, from the 1920s.
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As one of the first workshops at the Bauhaus, the ceramics workshop was opened as early as 1919 at a Weimar furnace factory. In 1920, the workshop moved to Dornburg, Saale. This was just 20 kilometres away and offered enough space for student accommodation as well as the workshop. Until 1925, Gerhard Marcks was head of the workshop. The renowned master potter Max Krehan was the master of works from 1920 to 1925. The ceramics workshop did not survive the move to the Bauhaus Dessau. Otto Lindig, the former head of the production workshop, continued a part of the ceramics workshop at the State school for architecture in Weimar.
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#luciamoholy #ottolindig #theodorbogler #margueritedriedlaender #bauhaus #weimar #dessau #maxkrehan #gerhardmarcks

Irma Blank, Gehen, Second life, 2017. Artist book, published by FLAT, Turin. Print on paper, 96 bound pages, 27 × 17 cm.
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The third and last vitrine features a book entitled Gehen, Second life, which was produced in concomitance with the eponymous series (see my previous posts); I particularly love this book not only because I believe that its cover is written with one of my favorite typefaces, Didot (also the same used by Harper’s Bazar!), not only because it is so essential, not only because it embodies the artist desire to “move forward” [gehen in German] no matter what – but also because it continues her desire to produce a book for each of her series, giving the chance to appreciate her work on various levels. I also love how its total-black minimal look perfectly goes hand in hand with Marguerite Friedländer and Otto Lindig’s vases and even more so with Marcel Breuer and Richard Schadewell’s legendary “Bauhaus” Fuld telephone. Photos: Eyal Agivayev. #irmablank #ccatelaviv ccatelaviv johanacarrier joanaprneves bauhaus.foundation.telaviv #margueritefriedländer #ottolindig #richardschadewell #marcelbreuer #bauhaus

Gerhard Marcks, Stove Tile with a Portrait of Otto Lindig, c. 1921. #gerhardmarcks #ottolindig #bauhaus #artmovement #tile

Oak and rush chair, Erich Dieckmann, Furnishings for the dining room at Haus Am Horn, 1923.
I’m having trouble identifying the tea/coffee pot in the cabinet. It looks so familiar and at the same time can’t find any refs to it. Bogler, Lindig? Closer look in my story.

Image: Bauhaus Archiv
#hausamhorn #bauhaus #erichdieckmann #ottolindig #theodorbogler

© Bas van Beek
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