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1926 Publishes several important essays in Dessau.
Continues to perfect his photograms, now made in a darkroom
with controlled lighting. Exhibits with the Abstract Section
of the Experimental Art show at the Kronprinzenpalais in Berlin.
Included in the Société Anonyme exhibition held at the Brooklyn Museum,
New York, from November to January.
One-man show at the Fides Gallery in Dresden.
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1927 Together with J. J. Oud and W. Piper he participates in
the founding of
the magazine i10, for which he is the film and photography editor.
Participates in Mannheim in the exhibition Wege und Richtungen
der abstrakten Malerei Europas (Ways and Directions of Abstract
Painting in Europe).
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1928 In spring, along with Gropius and
others, he resigns from the Bauhaus.
He returns to Berlin where he remains until 1934, working as
a commercial artist, typographer, and independent curator.
In February and March is included in an exhibition at Johannes
Itten’s private art school in Berlin.
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1929 Separates from Lucia.
Further involvement in exhibition, stage and costume design.
Hired as the stage designer at the Berlin Kroll Opera and
at Erwin Piscator’s political theatre.
Three year design contract for the cover design of the fashion
magazine
Die Neue Linie (Leipzig/Berlin).
Makes a documentary film about the Old Port of Marseilles, one of his seven surviving short films shot in Europe.
His second, solely authored volume for the Bauhaus Books series,
Von Material zu Architektur (From Material to Architecture),
is published as volume 14. It presents Bauhaus pedagogy.
He is involved in the selection of works for the Stuttgart
Werkbund (arts and crafts society) exhibition, Film und Foto,
where he exhibits 97 of his photographs.
He participates with the Novembergruppe in the Grosse Berliner
Kunstausstellung (Great Berlin Art Exhibition).
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1930 He designs a room for the German section of the exhibition
“20e Salon des Artistes Décorateurs Français”
in the Grand Palais in Paris, organised by the Deutsche Werkbund
from May through July. First presentation of the Lichtrequisit
einer elektrischen Bühne (the Light Space Modulator, nicknamed
The Light Machine), a kinetic sculpture sponsored by the Berlin
AEG.
The Light Display Machine becomes the subject of his best-known
film Lichtspiel schwarz weiss grau (Lightplay black white grey).
The commission for Alexander Dorner to design a Raum der Gegenwart
(Room of the Present) in the Provinzialmuseum Hannover is not
realized.
Publication by Franz Roh of 60 Photos, a book of Moholy-Nagy’s photographic work.
January and February participates in an exhibition of avant-garde
posters in Munich, which travels to Budapest in April.
His works are included in two exhibitions in Stockholm and an
exhibition of Socialist Art Today in Amsterdam.
By this date Moholy-Nagy has made many international contacts
through his extensive travels in Europe since the mid-twenties.
From 1930 through 1936 he participates in the Maison de les
Artistes, a salon organized every summer by Madame Hélène
de Mandrot at her husband’s castle in La Sarraz, Switzerland.
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1931 Exhibition design with Herbert Bayer for the Deutsche Bundesausstellung (National German Exhibition) in Berlin.
Completes the film Berliner Stilleben (Berlin Still Life).
In March his photographs are included in the Exhibition of Foreign
Advertising Photography in New York City.
In summer he makes a long trip to Scandinavia and visits Sweden, Norway,
and Finland.
In October the Delphic Studios in New York exhibits his photographs.
During the winter of 1931/1932 he meets Sibylle Pietzsch in Berlin.
She becomes his second wife.
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1932 Films Tönendes ABC (Sound ABC) and Großstadt Zigeuner
(Big City Gypsies).
Makes contact with the Abtraction-Création group in Paris.
An English language edition of Von Material zu Architektur is
published in the United States as The New Vision.
He participates in two exhibitions at the Julien Levy Gallery
in New York: Surrealism and Modern European Photography.
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1933 In February his photographs are included
in an exhibition at the George Walter Vincent Smith Art Gallery
in Springfield, Massachusetts.
Also in February his film, Lightplay black white gray, is shown
by Julien Levy
in New York. Moholy-Nagy also shows this film in conjunction
with a lecture at the Film Society in Amsterdam.
In the summer he participates in the 4th meeting of the CIAM
(Congrès International d’Architecture Moderne/Congress
for Modern Architecture), which is held in Greece on a boat
on the Aegean Sea. He films the meeting as the documentary,
Architekturkongress (Architects’ Congress.). |
1934 He moves to Amsterdam to work as a commercial designer, doing advertising, layouts for publications, and exhibition design.
Travels regularly to London to study color photographic processes
to use in his advertising work.
Publishes articles on the role of art in industrial society.
In June has a solo exhibition with the Abstraction-Création
group in Paris.
Lichtspiel is shown in Finland.
Shows four short films in Den Haag in October.
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1935 Moves to London, where he remains until 1937. Works as a commercial artist with György Kepes.
Does interior design and display at Simpson’s Piccadilly
and the re-design of the advertisement material, from letterhead
to poster layout to leaflet, for Imperial Airways, as well as
the design of a travelling exhibition in a train wagon, and
a poster commission for “London Transport”.
Film commissions for Lobsters (1935) and New Architecture and the London Zoo (1936).
He begins to paint on transparent plastics.
Large retrospective exhibition organized by the Czech architect,
Frantisek Kalivoida, in the Arts and Crafts School in Ceské
Budejovice (Budweis),
which travelled to the House of Artists in Brno (Brünn).
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1936 Kalivoda devotes a special issue
of the journal, Telehor, to Moholy-Nagy’s work. This issue,
the only one published, includes articles by Moholy-Nagy, Giedion,
Kalivoda.
Participates in the Abstraction-Création group exhibition
in Paris.
Designs special effects for Alexander Korda’s film, Things
to Come by H.G Wells, but they not used in the final version.
Designs invitations and posters for exhibitions at the London
Gallery.
With Marcel Breuer designs the exhibitor’s stand for Courtauld’s
at the
London Arts and Crafts Fair.
March and April he participates in the Guggenheim Exhibition
at Gibbs
Memorial Art Gallery, Charleston, South Carolina.
Included in the Cubism and Abstract Art show at the Museum of
Modern Art, New York.
Made Honorary Member of the Art Societies of Oxford and Cambridge
and the Design Institute, London.
He designs the dust jackets and photographs the illustrations
for three books: The Street Markets of London by Mary Benedetta
(1936), Eton Portrait by Bernard Fergusson (1937) and An Oxford
University Chest by John Betjeman (1938).
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1937 In January has a retrospective exhibition at the London
Gallery.
Through Gropius Moholy-Nagy is appointed director of a design
school in Chicago sponsored by the Association of Arts and Industries.
He calls this school the New Bauhaus – American School
of Design.
The New Bauhaus opens in October on Prairie Avenue.
Participates in the group show “Constructivists”
in Basel in October.
His work is included in the Degenerate Art exhibition in Munich,
Germany.
His work is included in an exhibition at the New Bauhaus in
December.
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