Bauhaus Photoplastik and Japanese Pedagogy: Conflicts of Perspective

Marion von Osten's essay focuses on Edmund Collein's 1928 photoplastik titled 'Japanese Student at Bauhaus Holding Circle of Shadows,' which he created during László Moholy-Nagy's foundational course. This artwork blends collage with photography, embodying Moholy-Nagy's vision of using photography to create imaginative visuals instead of just replicating reality. Collein's work also brings attention to the ongoing, unpaid contributions of Lucia Moholy, who supported students in her darkroom. The essay places this piece in the context of the Bauhaus's shift from Walter Gropius to Hannes Meyer in 1928. Meyer emphasized addressing public needs over luxury, revised the curriculum to include sociology and philosophy, and opened workshops to women. The subject of the photoplastik is likely Japanese architect Takehiko Mizutani, who, after returning to Tokyo, collaborated with Renshichirō Kawakita on the 1930 'kōsei' exhibition that applied Bauhaus ideas to Japanese art education. They established the Seikatsu Kōsei Kenkyusho in 1931 and the Shin Kenchiku Kogei Gakuin in 1932. Kawakita's 1934 manual 'Kōsei Kyōiku Taikei' promoted creative freedom for children. Although the school eventually shut down due to rising nationalism, its impact on Japanese design and culture remains significant.