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Original article (peer-reviewed)

Journal Bauhaus Imaginista Journal
Page(s) 1
Title of proceedings Bauhaus Imaginista Journal

Open Access

Abstract

Doreen Mende’s work Hamhung’s Two Orphans, which borrows its title from a chapter of the cine-essay Coréennes (1959) by Chris Marker, proposes to trace the transformation of the Bauhaus’s relevance from its prewar internationalist modernity into elements of the GDR’s socialist internationalism when architecture operated as a state-crafting instrument during the global Cold War.
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