"Everybody, except myself, have used, and admit to having used my photographs ... and often also without mentioning my name", lamented Lucia Moholy in 1956, "everyone – except myself – have derived advantages from using my photographs, either directly, or indirectly, in a number of ways, be it in cash or prestige, or both".1 The photographs in question being of and from the Weimar and Dessau Bauhauses, photos which played, and continue to play, a not unimportant role in mediating Bauhaus to a
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......and continued over Budapest and on to Berlin - where amongst other delights we partook of the exhibitions Sensing the Future: László Moholy-Nagy, die Medien und die Künste at the Bauhaus Archiv Berlin and Schrill Bizarr Brachial. Das Neue Deutsche Design der 80er Jahre at the Bröhan Museum - and onto Cologne for the Orgatec office furniture trade fair.
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In his 1936 film "Modern Times" Charlie Chaplin is famously swallowed by the wheels of progress in a short yet cutting critique on the problems and challenges technological and social change were bringing for the common man. Over a decade earlier the Hungarian artist and author László Moholy-Nagy had also began to approach and study the problems and challenges of modernity, of increasing technological innovation and the associated flood of new sensory experiences, and in their winter 2014/15
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