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In this bonus episode, we will look at the development of Moholy’s art through selected works — paintings, photographs, sculptures, and films that help trace his extraordinary artistic evolution. Once again, Moholy’s grandsons Daniel and Andreas Hug, together with the Canadian art historian Oliver Botar, guide us through his work.

László Moholy-Nagy’s work is often associated with the Bauhaus years, photography, and the New Vision. Yet the second half of his life shows how far his ideas travelled beyond Dessau — and how they continued to evolve across different countries, media, and institutions. After leaving the Bauhaus, Moholy worked in Berlin as a freelance graphic and stage designer before the political situation in Germany forced him into exile. This second part of the bauhaus faces episode follows Moholy first to the Netherlands, then to England, and finally to Chicago, where he became director of the New Bauhaus and explores Moholy not only as a former Bauhaus master, but as an artist, educator, and thinker whose ideas helped bring Bauhaus principles into a new international context. At the centre of Moholy’s work remained a profound interest in light, movement, space, new materials, and human perception. Once again, Moholy’s grandsons Daniel and Andreas Hug, together with the Canadian art historian Oliver Botar, guide us through his life, work, and legacy.

László Moholy-Nagy is often associated above all with photography and the New Vision. Yet his work reaches far beyond this field. He was one of the great multimedia artists of the twentieth century — working with painting, photography, film, typography, stage design, and sculpture. At the centre of Moholy’s practice was a profound interest in education. He did not see art as something separate from life. His work explored how art could mediate between new technology and human experience — and how it might teach us to see, think, and live differently. This episode of bauhaus faces explores Moholy not only as a photographer of the New Vision, but as an artist, educator, and thinker whose ideas helped shape modern visual culture. Because Moholy’s work is so vast and varied, this story will be told in two parts. Part 1 focuses on his family background, his path toward becoming an artist, his Bauhaus years, and his later period in Berlin. Part 2 follows him to the Netherlands, England, and finally Chicago, where he became director of the New Bauhaus and helped bring Bauhaus ideas into an international conversation about art, design, technology, and education. The episode features conversations with Moholy’s grandsons, Daniel and Andreas Hug, and with the Canadian art historian Oliver Botar. A bonus episode will accompany both parts, in which all three interview partners discuss selected works by Moholy — tracing his development from a young, self-taught painter to an internationally renowned artist and educator.

Generally known as “the spy with a camera,” this episode asks: What do we see when we stop looking for the spy and start looking at her photographs, collages, and publications? Edith Tudor-Hart has too often been seen through a story that is not primarily about her work, but about secrecy, politics, and the men around her. Several publications have linked her to the Cambridge Five, the group of British men who spied for the Soviet Union. It is a dramatic story. But it can easily overshadow everything else. Once we move past this stereotype, we see a remarkable photographer of social realities: poverty, housing, health, children’s welfare, women’s health, and the sharp inequalities of 1920s and 30s Austria and Britain. We see a Bauhaus student, a communist, a migrant, a mother, and an artist who understood photography as a tool of social critique and education.

In the early 1930s, a small group of young architects left the Bauhaus in Dessau and followed their teacher, Hannes Meyer, to the Soviet Union. They went in search of new possibilities for architecture—convinced that the ideas they had developed at the Bauhaus could find a future there. Their paths, however, would soon diverge in unexpected ways. This episode returns to that group—often referred to as the Red Bauhaus Brigade—and focuses on two more members: Konrad Püschel and René Mensch. Picking up on my previous conversation with Daniel Talesnik about Tibor Weiner, we take a broader view of what it meant to continue architectural work across shifting political and geographic contexts.

A new episode of bauhaus faces is out now. This time, I’m joined by Chilean architect and historian Daniel Talesnik to explore the story of a remarkable group of Bauhaus students—through the life of one of them: Tibor Weiner. Weiner was part of the circle around Hannes Meyer, the second director of the Bauhaus—a group often referred to as the “Red Bauhaus Brigade.” After Meyer’s dismissal in 1930, he relocated to the Soviet Union, and a number of his students followed, hoping to continue their work and ideals abroad. In our conversation, Daniel traces what he calls the “Itinerant Red Bauhaus" or "The Third Emigration,” following these architects as their paths diverged across the Soviet Union, and beyond. At the center is Weiner’s own journey—from Moscow to Paris, on to Chile, and eventually back to his home Hungary after the Second World War. His story reflects the broader reality many of them faced: architecture not just as a discipline, but as a means of survival in a century marked by political upheaval. Daniel and I will be back soon with a bonus episode, taking a closer look at other Red Bauhaus Brigade members Konrad Püschel (who was sent to North Korea), René Mensch (who ended up in Iran), and Philipp Tolziner (who was imprisoned for 10 years in a Soviet Gulag and then became one of the first monument preservationists of the Soviet Union). You can find the episode now wherever you listen to podcasts—and if you enjoy bauhaus faces, please consider leaving a 5-star-review on Spotify or Apple Podcasts or sharing it with someone who might be interested.

In our first episode of 2026, we turn the spotlight on Florence Henri. Drawn to the Bauhaus less by its curriculum than by its people, Henri discovered photography through Lucia Moholy and never looked back. What began as an experiment became a radical reinvention: mirrors, props, fractured spaces — images that redefined modern photography. Henri stayed fiercely artistic, while mentoring a generation of women who would go on to shape the medium themselves: Dora Maar, Lisette Model, Gisèle Freund, Ilse Bing, and more. In this episode I was joined by the head of the Florence Henri Archive Giovanni Battista Martini, art historian Paola Rosina, and curator Roberto Lacarbonara — in a truly Bauhaus-style multilingual conversation, recorded in Switzerland and brought to you in English. And there’s more to come: bonus episodes with deep dives into Henri’s most iconic photographs, and the full original interview in French/English. 🎧 Listen on bauhausfaces.com or on all major podcast platforms!

In this very short episode, Giovanni Battista Martini, head of the Florence Henri Archive in Genoa, and the Italian art historians Paola Rosina and Roberto Lacarbonara will describe their favourite photo by Florence Henri in more detail for you. Please look out for the images on your smartphone or tablet while listening. As always, I added the photos to the chapters. 🎧 Listen on bauhausfaces.com or on all major podcast platforms!

BONUS EPISODE – FRANCAIS Deuxième épisode bonus de bauhaus faces — et une conversation résolument multilingue ! Autour de la peintre et photographe Florence Henri, j’échange avec Giovanni Battista Martini, Paola Rosina et Roberto Lacarbonara dans un dialogue mêlant français et anglais, fidèle à l’esprit du Bauhaus et au croisement des cultures. Il existe également un épisode principal entièrement en anglais, ainsi qu’un premier bonus en anglais dans lequel les trois invités présentent et analysent chacun leur photographie préférée de Florence Henri. Un triptyque d’épisodes pour explorer en profondeur l’œuvre et l’héritage de Florence Henri — entre langues, perspectives et regards passionnés.

The last episode of 2025 is here! And it's about Ludwig Hilberseimer. Never heard of him? No problem! bauhaus faces will help you out. Only few of the houses Hilberseimer planned were built. He was much more concerned about the bigger picture: How does the modern city, especially the metropolis, need to be organized to meet people's needs? His futuristic-looking draft of a Highrise City from 1924 with floating bridge pavements high above the streets, skyscrapers as apartment buildings, and a plant-less, sterile surrounding was certainly a real shocker. A "necropolis" rather than a metropolis. That high-rise apartment buildings would soon become reality, only a few of his contemporaries of the 1920s believed. With the help of the architectural historians Ute Poerschke and Kevin Harrington we will shine a light on Ludwig Hilberseimer. 🎧 Listen on bauhausfaces.com or on all major podcast platforms!

In this new episode of bauhaus faces, we dive into the life and work of Hans Fischli. Often overlooked in broader Bauhaus stories, Fischli worked across architecture, painting, sculpture, and teaching—leaving a mark that’s still felt today. To get a sense of his impact, I spoke with the people who knew him best: his son, the artist Peter Fischli, his grandson, curator Fredi Fischli, who is currently preparing an exhibition on Hans Fischli at Zentrum Paul Klee in Berne, and his granddaughter, the artist Gina Fischli. Together, they share personal stories and reflections on their (grand-)father’s architectural and artistic work. 🎧 Listen on bauhausfaces.com or on all major podcast platforms!

In the latest episode of “bauhaus faces,” we dive into the remarkable story of another iconic Bauhaus couple: Anni and Josef Albers. Their lives and legacies are deeply intertwined— from their first meeting in 1922 in Weimar to their lasting impact on art, design, and education in the US. Anni, who would later shortly lead the weaving workshop at the Bauhaus and then at Black Mountain College, and Josef, a visionary "young master" of the preliminary course, fled Nazi persecution in 1933. In the U.S., they helped shape the Black Mountain College and continued to innovate—Anni in textiles and jewelry, Josef in teaching and painting. Inspired by their travels to Mexico and their love for geometric forms, their art resonates to this day. Join me and Brenda Danilowitz, Chief Curator of The Josef & Anni Albers Foundation, as we explore the incredible journey of this Bauhaus power couple.

She was more than a textile designer— Léna Meyer-Bergner was a force for education and for social change. While her husband, Hannes Meyer, is often remembered as the Bauhaus’ second director, Lena’s groundbreaking work in design, pedagogy, and social transformation is finally stepping into the spotlight. In this episode, I sat down with two leading art historians – Sandra Neugärtner and Viridiana Zavala – to explore the unknown story of Léna Meyer-Bergner. From her studies at the Bauhaus to her visionary approach to modernism in the Soviet Union and on to her graphic talent in exile in Mexico, we explore how her work evolved. 🎧 Listen now and discover why Léna Meyer-Bergner deserves a place at the center of Bauhaus history.

Léna Meyer-Bergner fue más que una diseñadora textil: Léna Meyer-Bergner fue una fuerza impulsora de la educación y el cambio social. Aunque su esposo, Hannes Meyer, segundo director de la Bauhaus, es muy conocido, el trabajo pionero de Lena en el diseño, la pedagogía y la transformación social está finalmente saliendo a la luz. En este episodio, me senté con la historiadora de arte mexicana Viridiana Zavala para explorar la desconocida historia de Léna Meyer-Bergner: desde sus estudios en la Bauhaus hasta su enfoque visionario del modernismo en la Unión Soviética y su talento gráfico en el exilio en México, exploramos cómo evolucionó su obra. 🎧 Escucha ahora y descubre por qué Léna Meyer-Bergner merece un lugar en el centro de la historia de la Bauhaus.

"Bill always said that he also went to the Bauhaus to find clarity. And that is a process. You don't just have clarity, you have to earn it." (Angela Thomas) For this brand-new episode, I travelled to Zumikon to visit Angela Thomas and Erich Schmid in their house - the Bill Haus. This house, which looks somehow unremarkable from the outside but is amazingly light, open, and welcoming and on the inside, was built by the Swiss architect and designer Max Bill in 1967–68. His second wife and widow, Angela Thomas, lives there today with her husband, the filmmaker Erich Schmid, who made a film about Bill entitled “Max Bill – Das absolute Augenmaß/The master's vision”. Max Bill established himself in art history as the architect and first director of the Hochschule für Gestaltung in Ulm, also known as HfG Ulm or Ulm School of Design. And that is exactly the reason why I also interviewed the head of the HfG Ulm archive, Martin Mäntele, regarding all questions around the official successor of the Bauhaus. Because that is what Bill intended to do in Ulm – to continue the Bauhaus as if it had never been closed in 1933. And he had Walter Gropius’s blessing, too, and the financial support by the Americans. LOOK OUT FOR 2 BONUS EPISODES with the original Interviews that will be published in the next 2 weeks!