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O I D U T S N G I DES N G I S E D S E H C S DEUT

OTL AICHER OTTO “OTL” AICHER (13 May 1922 – 1 September 1991) was a German graphic designer and typographer. He is best known for having designed pictograms for the 1972 Summer Olympics in Munich that proved influential on the use of stick figures for public signage, as well as designing the typeface Rotis.

Aicher also co-founded the Ulm School of Design.

EARLY LIFE AND CAREER Aicher was born in Ulm, in the south-western state of Baden-Württemberg, on 13 May 1922. Aicher was a classmate and friend of Werner Scholl, and through him met Werner’s family, including his siblings Hans and Sophie Scholl, both of whom would be executed in 1943 for their membership in the White Rose resistance movement in Nazi Germany. Like the Scholls, Aicher was strongly opposed to the Nazi movement. He was arrested in 1937 for refusing to join the Hitler Youth, and consequently he was failed on his abitur (college entrance) examination in 1941. He was subsequently drafted into the German army to fight in World War II, though he tried to leave at various times. In 1945 he deserted the army, and went into hiding at the Scholls’ house in Wutach.

In 1946, after the end of the war, Aicher began studying sculpture at the Academy of Fine Arts Munich. In 1947, he opened his own studio in Ulm. In 1952 he married Inge Scholl, the older sister of Werner, Hans, and Sophie.

PUBLICATIONS Aicher wrote many books on design and other subjects, including: “The Kitchen is for Cooking” (1982) “Walking in the Desert” (1982)

Hans Donner (* 31. Juli 1948 in Wuppertal, Deutschland) ist ein in Rio de Janeiro, Brasilien ansässiger Österreicher und Designer. Seine Ausbildung erhielt er an der Höheren Graphischen BundesLehr- und Versuchsanstalt in Wien.

HANS DONNER

Im Alter von 25 Jahren wanderte er von der Exotik des Landes angezogen nach Brasilien aus und ließ sich in Rio de Janeiro nieder. Seine erste Tätigkeit in der neuen Heimat fand er beim nationalen Fernsehsender Rede Globo, für den er als erster Auftrag Logo und Marke neu gestaltete. Insbesondere das von ihm eingeführte neue dreidimensionale Logo sowie animierte Programmübergänge fanden großen Anklang und erhielten auch international viel Beachtung. Seither hat er für Rede Globo zahlreiche weitere Designs gestaltet, so beispielsweise die Titel zu zahlreichen Programmen und Serien.

Hans Donner war auch auf vielen internationalen Ausstellungen vertreten, so hatte er einen Stand auf der Expo 2000 in Hannover.

Hans Donner designte unter anderem auch das ursprüngliche Logo des ersten privaten portugiesischen Fernsehsenders SIC. Darüber hinaus entwirft er auch Möbel und Uhren. Eine von ihm zum 500-jährigen Jubiläum der Entdeckung Brasiliens gestaltete Uhr war in allen Hauptstädten der Bundesstaaten aufgestellt.

Weblinks

Hans Donner ist verheiratet mit dem ehemaligen Modell und der Tänzerin Valéria Valenssa (* 5. Oktober 1971). Sie begleitete bis 2004 über 14 Jahre hinweg mit ihren Tanzeinlagen die Karnevalsberichterstattung Globeleza von Rede Globo, was ihr selbst den Beinamen Globeleza eintrug. Die Ehe zwischen Donner und Valenssa erbrachte bislang zwei Söhne.

Literatur von und über Hans Donner im Katalog der Deutschen Nationalbibliothek Website von Hans Donner Timension-Uhren

WILLY FLECKHAUS WILHELM AUGUST FLECKHAUS

(21 December 1925 – 12 September 1983) was a German designer and art director, perhaps best known as art director of Twen magazine throughout its 1959 to 1970 existence.[1][2] He was a prolific designer of book covers.[3] Fleckhaus was born in 1925 in Velbert, Germany.[3] He died of a heart attack at his home in Tuscany, Italy on 12 September 1983.[3]

EXHIBITIONS 2016: Willy Fleckhaus Design, Revolte, Regenbogen; Museum für Angewandte Kunst Köln (in Cooperation with Museum Villa Stuck, Munich).

2017: Willy Fleckhaus Design, Revolte, Regenbogen im Museum für Kunst und Gewerbe in Hamburg.

2017: Willy Fleckhaus Design, Revolte, Regenbogen; Museum Villa Stuck, Munich. further venues in preparation

BIBLIOGRAPHY Fleckhaus - Design, Revolt, Rainbow. Ed. Michael Buhrs, Petra Hesse, text (german/english) by Hans-Michael Koetzle, Carsten Wolff. Hartmann Books, Stuttgart 2017, ISBN 978-3-96070-012-8. twen – Revision einer Legende. Ed. by Hans-Michael Koetzle (only german), Klinkhardt&Biermann, 1995, ISBN 978-3781403925.

Michael Koetzle, Carsten M. Wolff (Ed.): Fleckhaus. Deutschlands erster Art Director, (only german). Klinkhardt & Biermann, 1997, ISBN 9783781404052.

Heinz Edelmann (20 June 1934 – 21 July 2009) was a German illustrator and designer. He was born in Ústí nad Labem, Czechoslovakia, into the Czech-German family of Wilhelm Edelmann and Josefa (née Kladivová) Edelmann. He was well known as an illustrator in Europe, but is probably most famous for his art direction and character designs for the Beatles’ 1968 animated film Yellow Submarine.

Edelmann studied printmaking at the Kunstakademie Düsseldorf (Düsseldorf Arts Academy) from 1953 to 1958. He began his career as a freelance illustrator and designer for theatre posters and advertising in Germany. Between 1961 and 1969 he was a regular illustrator and cover designer for the inter-

nationally renowned youth magazine twen. During 1967–68, he worked on Yellow Submarine. From 1968 to 1970 he was a partner in a small animation company in London, but his desire at the time to work on more feature films was not realised. In 1970 Edelmann moved to Amsterdam and designed book jackets and posters for plays and films. His last use of the style of Yellow Submarine was in illustrating a book, Andromedar SR1 (1970), about a voyage to Mars. He also designed the cover for a German edition of Tolkien’s The Lord of the Rings, and illustrated the Kenneth Grahame children’s book The Wind in the Willows.

Between 1972 and 1976, Edelmann taught industrial graphic design at Fachhochschule Düsseldorf (Düsseldorf University of Applied Sciences). He was subsequently Lecturer of Art and Design at Fachhochschule Köln (Cologne University of Applied Sciences) and in 1989 became Professor of Illustration at the State Academy of Fine Arts in Stuttgart. He designed the 1992 Seville World’s Fair mascot, Curro.

Edelmann died from heart disease and renal failure in Stuttgart, aged 75.[1]

Hannsjörg Voth (* 6. Februar 1940 in Bad Harzburg) ist ein deutscher Künstler.

Werdegang

HANNSJÖRG

Voth wurde als Sohn des Architekten Hans-Erich Voth und seiner Ehefrau Elisabeth in Bad Harzburg geboren. Bereits im Sommer 1945 übersiedelte die Familie nach Bremervörde, dem Geburtsort der Mutter. Nach einer Zimmermannslehre, dem Wehrdienst und Gesellenjahren studierte Voth von 1961 bis 1965 Gebrauchsgrafik an der Staatlichen Kunstschule Bremen. 1968 zog er nach München und arbeitete als Artdirektor in einer Werbeagentur. Daneben begann er eine Tätigkeit als freier Maler und Zeichner. Voth widmete sich seit 1972 ausschließlich eigenen künstlerischen Arbeiten. In diesen Jahren entstanden zahlreiche Acrylbilder und Siebdrucke, die sich (symbolisch) mit den Themen Verschnürung und Bandage beschäftigten. [1] Seit 1974 gilt er mit den Vorarbeiten zu dem Projekt Feldzeichen (realisiert April 1975 in lngelsberg bei Zorneding) als ein Vertreter der Richtungen Konzeptkunst und Land Art. Während seines Aufenthaltes in Marokko, wo er lange Zeit lebte, realisierte er Großskulpturen wie Goldene Spirale oder Stadt des Orion.

VOTH

Gemeinsam ist allen Projekten Voths eine oft archaische Ästhetik sowie die Tatsache, dass die Werke früher oder später zerfallen werden, der Vergänglichkeit anheimgegeben sind. Erhalten bleibt schließlich oft nur die Dokumentation (Kataloge, Filme, Fotografien) des Werks, bei der er von seiner Frau, der Fotografin Ingrid Voth-Amslinger, unterstützt wird.

Als Mitglied des Deutschen

Künstlerbundes nahm Hannsjörg Voth zwischen 1972 und 1986 an mehreren DKB-Jahresausstellungen teil.[2] Voth lebt und arbeitet in München.

Preise & Ehrungen 1973: Bayerischer Staatspreis für Malerei 1974: Förderpreis für Bildende Kunst der Landeshauptstadt München 1977: Erster Kunstpreis für Malerei, Philip Morris International Art Prize 1977: AZ-Stern des Jahres für das Projekt Reise ins Meer 1977: Kunstpreis des Kulturkreises der deutschen Wirtschaft im BDI 1977: Biennalepreis der Norwegian International Print Biennal, Fredrikstad 1980: Arnold-Bode-Preis 1981: Förderpreis der Gabriele Münter- und Johannes Eichner-Stiftung 1981: Stipendium der Prinzregent-Luitpold-Stiftung 1982 und 1986: Stipendium der Stiftung Kunstfonds, Bonn Projekte Zwischen Sonnentor und Mondplatz Feldzeichen (Ingelsberg bei München, 1973–1975) Platz der Macht (Neuenkirchen, Lüneburger Heide, 1975–1976) Steine leben ewig (Neuenkirchen, Lüneburger Heide, 1977) Neubepflanzung zweier Rosenbeete (Colombi-Park, Freiburg im Breisgau, 1977) Reise ins Meer (Ludwigshafen – Nordsee, 1976–1978) Boot aus Stein (IJsselmeer, Niederlande, 1978–1981) Erdkreuz (IGA 1983 München, 1983) Himmelsleiter (Freiburg im Breisgau, 1983) Steinhaus mit Seelenloch (Buga

Berlin, 1985) Himmelstreppe (Marha-Ebene, Marokko, 1980–1987)[3] Lebensbogen (Klärwerk Dietersheim bei München, 1989) Scheitelhaltung (Rhein-Main-Donaukanal bei Hilpoltstein, 1992) Zwischen Sonnentor und Mondplatz (Europäisches Patentamt, München, 1991–1993) Wachstumsspirale (Freising/ Weihenstephan, 1993–1994) Pegel Insel Ried (Donauwörth, 1994) Arche (Schweisfurth-Stiftung, Hermannsdorf, 1993–1996) Goldene Spirale (Marha-Ebene, Marokko - 31°35’31,5”N 4°32’06,0”W, 1993–1997) Stadt des Orion (Marha-Ebene, Marokko - 31°36’49,5”N 4°31’32,5”W, 1998–2003) Einzelnachweise Christian Werner Thomsen (Hrsg.): Hannsjörg Voth: Zeitzeichen, Lebensreisen, zur Ausstellung im Städtische Galerie Haus Seel, Siegen. Prestel, München, 1994 ISBN 978-3-79131401-3 S. 138 ff. kuenstlerbund.de: Ordentliche Mitglieder des Deutschen Künstlerbundes seit der Gründung 1903 / Voth, Hannsjörg (abgerufen am 4. Juni 2016) kultura-extra.de: Archäologie der Zukunft (abgerufen am 4. Juni 2016)

ANTON STANKOWSKI Anton Stankowski (June 18, 1906 – December 11, 1998) was a German graphic designer, photographer and painter. He developed an original Theory of Design and pioneered Constructive Graphic Art. Typical Stankowski designs attempt to illustrate processes or behaviours rather than objects. Such experiments resulted in the use of fractal-like structures long before their popularisation by Benoît Mandelbrot in 1975.

Early life Anton Stankowski was born in Gelsenkirchen, Westphalia. Before embarking on the profession of graphic designer, Stankowski worked as a decorator and church painter. In 1927 he attended the Folkwang Schule with fellow photographer, Max Burchartz.

Professional career 1929 Stankowski moved to Zurich, where he worked at the renowned advertising studio of Max Dalang.

This is where he developed ‘constructive graphic art’ with his new photo- and typographic view. His friends in Zurich Richard Paul Lohse, Heiri Steiner,

Hans Neuburg, as well as Hans Coray, Hans Fischli, Herbert Matter, Ernst A. Heiniger, Verena Loewensberg, Max Bill and others formed a cultural circle.

During these years Stankowski completed his famous ‘Theory of Design’ in which he worked out fundamental forms of expression.

1934 he had to leave Switzerland due to the withdrawal of his official work permit and, after staying in Lörrach in 1938, he came to Stuttgart where he worked as a freelance graphic designer. In 1940 he joined the forces and became prisoner of war until 1948. After returning, he worked for the ‘Stuttgarter Illustrierte’ as editor, graphic designer and photographer.

1951 he established his own graphic design studio on the Killesberg in Stuttgart. With Willi Baumeister, Max Bense, Walter Cantz, Egon Eiermann, Mia Seeger and others a new cultural circle developed. He taught in Ulm at the College of Design. His work on the graphic design field for IBM, SEL etc., especially his ‘functional graphic designs’ are exemplary.

In the 1960s Stankowski created the now legendary ‘Berlin layout’, the city’s visual identity, as well as the word trademarks IDUNA and VIESSMANN. Between 1969 and 1972 he was chairman of the Committee for Visual Design for the Olympic Games in Munich.

Deutsche Bank logo The 1970s saw the creation of famous logos and trademarks, such as the one for the Deutsche Bank, the Münchner Rückversicherungen, REWE and Olympic Congress Baden-Baden alongside many othes. The Deutsche Bank logo was number two in Creative Review’s top 20 logos of all time.[1] As Patrick Burgoyne, the editor of Creative Review magazine put it,[2] “The Deutsche Bank square is neat visual shorthand for the type of values you might want in a bank security (the square) and growth (the oblique line)”.

For Stankowski there was no separation between free and applied art. Many of his photographic and painterly works flow into his functional graphic design.

From the mid-1970s onwards he increasingly turned to painting. His painterly oeuvre from the late 1920s to the late 1990s shows a continuity of constructive-concrete art. The exhibitions from 1928 onwards

in the fields of graphic art, painting and photography point out the same way.

1976 the state of Baden-Wurttemberg conferred on him a professorship, and Stankowski, who was seen as a pioneer of graphic design, received innumerable awards and tributes, the most recent being the City of Stuttgart’s Molfenter Award in 1991.

By 1980, Stankowski had produced a volume of trademarks for clients in and Switzerland. In 1983, he established the Stankowski Foundation to make awards to others for bridging the domains of fine and applied art, as he himself had done. Following his death in December 1998, the German Artist Federation awarded him the honorary Harry Graf Kessler Award for his life work.

Stankowski’s work is noted for straddling the camps of fine and applied arts by synthesising information and creative impulse. He was inspired by the abstract paintings of Piet Mondrian, Theo van Doesburg, Malevich and Kandinsky. Stankowski advocated graphic design as a field of pictorial creation that requires collaboration with free artists and scientists.

Erik Spiekermann

Erik Spiekermann (born 30 May 1947 in Stadthagen, Lower Saxony) is a German typographer, designer and writer. He is an honorary professor at the University of the Arts Bremen and ArtCenter College of Design.

Biography Spiekermann studied art history at Berlin’s Free University, funding himself by running a letterpress printing press in the basement of his house.[1] Between 1972 and 1979, he worked as a freelance graphic designer in London before returning to Berlin and founding MetaDesign with two partners.

In 1989, he and his then-wife Joan Spiekermann started FontShop, the first mail-order distributor for digital fonts. FontShop International followed and now publishes the FontFont range of typefaces. MetaDesign combined clean, teutonic-looking information design and complex corporate design systems for clients like BVG (Berlin Transit), DĂźsseldorf Airport, Audi, Volkswagen and Heidelberg Printing, amongst others.

In 2001, Spiekermann left MetaDesign over policy disagreements and started United Designers Network, with offices in Berlin, London, and San Francisco.

In April 2006, the Art Center College of Design in Pasadena awarded Spiekermann an Honorary Doctorship for his contribution to design.[2] His family of typefaces for Deutsche Bahn (German Railways), designed with Christian Schwartz, received a Gold Medal at the German Federal Design Prize in 2006, the highest such award in Germany.[2] In May 2007 he was the first designer to be elected into the European Design Awards Hall of Fame.[3]

In January 2007, UDN was renamed SpiekermannPartners. In January 2009 SpiekermannPartners merged with Dutch design agency Eden Design & Communication and continued its operations under the name Edenspiekermann .[4] Edenspiekermann currently run offices in Amsterdam, Berlin, Singapore, San Francisco and Los Angeles.

Spiekermann is considered a very influential personality in the field of typeface design and information design.[5] He often attends international meetings, and has been giving a substantial contribution in several fields, such as app development and public wayfinding.[6][7][8] Controversies On 18 August 2017, Spiekermann replied to a tweet in which author Laura Kalbag announced having written a new book to be released by Jeffrey Zeldman’s A Book Apart publishing company.

Spiekermann replied: “Actually, you wrote a text.

It took a few other people & skills to make that into a book.”[9] Over the next 24 hours, several prominent figures in the design and tech industries — as well as authors J.K. Rowling[10] and Roxane Gay[11] — stepped forward to criticise Spiekermann’s behaviour and show their support for Kalbag.

Notable works Specimens of typefaces by Erik Spiekermann Spiekermann has designed many commercial typefaces as well as typefaces as part of corporate design programmes.[12][13] Berliner Grotesk (original is from 1913, digitization is from c. 1978) Lo-Type (original is from 1911/14, digitization is from 1980) ITC Officina Sans (1990) ITC Officina Serif (1990) FF Meta (1991–1998) FF Govan (2001) FF Info (2000) Nokia Sans (2002-2011, corporate typeface for Nokia and the default UI font for Symbian S60 smartphones)[14] FF Unit (2003) FF Meta Serif (with Christian Schwartz and Kris Sowersby, 2007) FF Unit Slab (with Christian Schwartz and Kris Sowersby, 2009) Fira Sans (designed in collaboration with Ralph

Carrois)[15] for Firefox OS, released in 2013 under the SIL Open Font License) Spiekermann co-authored Stop Stealing Sheep & Find Out How Type Works. He also participated in the creation of numerous corporate identities and other works, including redesigns of the publications The Economist and Reason.[16] Spiekermann also appeared in the documentary Helvetica.

Awards 2003 – Gerrit Noordzij Prize 2006 – German Design Award 2007 – European Design Awards Hall of Fame 2007 – Honorary Royal Designer for Industry, Royal Society for the encouragement of Arts, Manufactures & Commerce, London 2011 – Lifetime achievement award from German Design Prize [17]

Early life and education Bill was born in Winterthur. After an apprenticeship as a silversmith during 1924-1927, Bill took up studies at the Bauhaus in Dessau under many teachers including Wassily Kandinsky, Paul Klee and Oskar Schlemmer from 1927 to 1929, after which he moved to Zurich.

Work Building Ulm HfG, photography by Hans G. Conrad.

Junghans clock, design by Max Bill Pavillon-Skulptur (1983), Zürich, by Max Bill Art and design After working on graphic designs for the few modern buildings being constructed, he built his first work, his own house and studio (1932–3) in Zurich-Höngg.[1] From 1937 onwards he was a prime mover behind the Allianz group of Swiss artists.[2] Bill is widely considered the single most decisive influence on Swiss graphic design beginning in the 1950s with his theoretical writing and progressive work.[3] His connection to the days of the Modern Movement gave him special authority. As an industrial designer, his work is characterized by a clarity of design and precise proportions.[4] Examples are the elegant clocks and watches designed for Junghans, a long-term client. Among Bill’s most notable product designs is the “Ulmer Hocker” of 1954, a stool that can also be used as a shelf element, a speaker’s desk, a tablet or a side table.

Although the stool was a creation of Bill and Ulm school designer Hans Gugelot, it is often called “Bill Hocker” because the first sketch on a cocktail napkin was Bill’s work.

As a designer and artist, Bill sought to create forms which visually represent the New Physics of the early 20th century. He sought to create objects so that the new science of form could be understood by the senses: that is as a concrete art. Thus Bill is not a rationalist – as is typically thought – but rather a phenomenologist. One who understands embodiment as the ultimate expression of a concrete art. In this way he is not so much extending as re-interpreting Bauhaus theory. Yet curiously Bill’s critical interpreters have not really grasped this fundamental issue.[4] He made spare geometric paintings and spherical sculptures, some based on the Möbius strip, in stone, wood, metal and plaster.[5][6] His architectural work included an office building in Germany,

a radio studio in Zurich, and a bridge in eastern Switzerland.[7] He continued to produce architectural designs, such as those for a museum of contemporary art (1981) in Florence and for the Bauhaus Archive (1987) in Berlin. In 1982 he also entered a competition for an addition to the Neue Nationalgalerie in Berlin, built to a design by Mies van der Rohe.[1] Pavillon-Skulptur (1979–83), a large granite sculpture, was installed adjacent to the Bahnhofstrasse, Zürich in 1983. As is often the case with modern art in public places, the installation generated some controversy. Endlose Treppe (1991), a sculpture made of North American granite, was designed for the philosopher Ernst Bloch.

In 1982 he was awarded the Sir Misha Black award and was added to the College of Medallists.

[8] Teaching In 1944, Bill became a professor at the Kunstgewerbeschule Zürich. In 1953, alongside Inge Aicher-Scholl and Otl Aicher, he founded the Ulm School of Design (German: Hochschule für Gestaltung - HfG Ulm) in Ulm, Germany, a design school initially created in the tradition of the Bauhaus and which later developed a new design education approach integrating art and science. The school was notable for its inclusion of semiotics as a field of study. The school closed in 1968. Faculty and students included Tomás Maldonado, Otl Aicher, Josef Albers, Johannes Itten, John Lottes, Walter Zeischegg, and Peter Seitz.

Bill was a professor at the Hochschule für bildende Künste Hamburg and chair of Environmental Design from 1967 to 1974. In 1973 he became an associate member of the Royal Flemish Academy of Science, Literature and Fine Art in Brussels.

In 1976 he became a member of the Berlin Academy of Arts. In addition to his teaching, Bill wrote and lectured extensively on art, architecture and design, appearing at symposiums and design conferences around the world. In particular, he wrote books about Le Corbusier, Kandinsky, Ludwig Mies van der Rohe, and artistic theory.[7] Teaching In 1944, Bill became a professor at the Kunstgewerbeschule Zürich. In 1953, alongside Inge Aicher-Scholl and Otl Aicher, he founded the Ulm School of Design (German: Hochschule für Gestal-

tung - HfG Ulm) in Ulm, Germany, a design school initially created in the tradition of the Bauhaus and which later developed a new design education approach integrating art and science. The school was notable for its inclusion of semiotics as a field of study. The school closed in 1968. Faculty and students included Tomás Maldonado, Otl Aicher, Josef Albers, Johannes Itten, John Lottes, Walter Zeischegg, and Peter Seitz.

Bill was a professor at the Hochschule für bildende Künste Hamburg and chair of Environmental Design from 1967 to 1974. In 1973 he became an associate member of the Royal Flemish Academy of Science, Literature and Fine Art in Brussels.

In 1976 he became a member of the Berlin Academy of Arts. In addition to his teaching, Bill wrote and lectured extensively on art, architecture and design, appearing at symposiums and design conferences around the world. In particular, he wrote books about Le Corbusier, Kandinsky, Ludwig Mies van der Rohe, and artistic theory.[7] Exhibitions Bill executed many public sculptures in Europe and exhibited extensively in galleries and museums, including a retrospective at the Kunsthaus Zürich in 1968-69. He had his first exhibition in the United States at the Staempfli Gallery in New York City in 1963 and was the subject of retrospectives at the Albright-Knox Art Gallery in Buffalo and the Los Angeles County Museum of Art in 1974, and the Solomon R. Guggenheim Museum in New York City in 1988. He participated in documentas I (1955), II (1959), and III (1964). In 1993, he received the Praemium Imperiale for sculpture, awarded by the Emperor of Japan.[6] Bill is credited with having been “the spark that lighted the fuse of Brazil’s artistic revolution” and the country’s “movement toward concrete art”[9] with his 1951 retrospective at the São Paulo Museum of Modern Art. He strongly influenced Brazilian artists like Franz Weissmann.[10] Private life After a liaison with Nusch Éluard, Bill married the cellist and photographer Binia Mathilde Spoerri in January 1931.[11] She died in 1988. From 1974 he was living together with art historian Angela Thomas; they married in 1991.

Bill was also involved in politics. He was elected

to the Zurich municipal council in 1961.[7] From 1967 to 1971, he served as a member of the Swiss National Council.

Bill died en route to a hospital after collapsing from a heart attack at Berlin Tegel Airport. He was 85 and lived in Zumikon, a Zürich suburb.[6] In 1996, Jakob Bill, the son of Max, founded the Swiss Max Bill Foundation (max, binia + jakob bill stiftung[12]) and implemented the idea of his father. The purpose of the foundation is to collect and take care of the works in possession of the Bill family, as well as the promotion of scientific research.

LUCIAN BERNHARD Return to Germany International Congress of Progressive Artists, May 1922, Lissitzky 9th from left In 1921, roughly concurrent with the demise of UNOVIS, suprematism was beginning to fracture into two ideologically adverse halves, one favoring Utopian, spiritual art and the other a more utilitarian art that served society. Lissitzky was fully aligned with neither and left Vitebsk in 1921. He took a job as a cultural representative of Russia and moved to Berlin where he was to establish contacts between Russian and German artists.

There he also took up work as a writer and designer for international magazines and journals while helping to promote the avant-garde

through various gallery shows. He started the very short-lived but impressive periodical Veshch-Gegenstand Objekt with Russian-Jewish writer Ilya Ehrenburg. This was intended to display contemporary Russian art to Western Europe.

It was a wide-ranging pan-arts publication, mainly focusing on new suprematist and constructivist works, and was published in German, French and Russian.[26] In the first issue, Lissitzky wrote: We consider the triumph of the constructive method to be essential for our present. We find it not only in the new economy and in the development of the industry, but also in the psychology of our contemporaries of art.

Veshch will champion

constructive art, whose mission is not, after all, to embellish life, but to organize it.

During his stay Lissitzky also developed his career as a graphic designer with some historically important works such as the books Dlia Golossa (For the Voice), a collection of poems from Vladimir Mayakovsky, and Die Kunstismen (The Artisms) together with Jean Arp. In Berlin he also met and befriended many other artists, most notably Kurt Schwitters, László Moholy-Nagy, and Theo van Doesburg.[27] Together with Schwitters and van Doesburg, Lissitzky presented the idea of an international artistic movement under the guidelines of constructivism while also working with Kurt

Schwitters on the issue Nasci (Nature) of the periodical Merz, and continuing to illustrate children’s books. The year after the publication of his first Proun series in Moscow in 1921, Schwitters introduced Lissitzky to the Hanover gallery kestnergesellschaft, where he held his first solo exhibition. The second Proun series, printed in Hanover in 1923, was a success, utilizing new printing techniques.[26] Later on, he met Sophie Küppers, who was the widow of Paul Küppers, an art director of the kestnergesellschaft at which Lissitzky was showing, and whom he would marry in 1927.

O I D U T S N DESIG N G I S E D S E H C S T DEU

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