Are everyday objects such as vases, jugs, utensils, or furniture created between 1933 and 1945 ideologically charged, or do they even represent the criminal Nazi regime? The exhibition FORMS OF ADAPTATION explores a previously little-researched chapter of German design history. It examines the interplay of arts and crafts, design, and political ideology, revealing the profound influence of the Nazi state on design, production, and representation. At the same time, it explores the scope for action that designers used or sought within this authoritarian system. This is not just about form and aesthetics, but also about the political and social function of design in the context of dictatorial power.
Over 400 exhibits are on display, ranging from elaborate one-off pieces to mass-market designer products, largely made from politically favored materials such as wrought iron, local woods, tin, textiles, and amber. Many of the pieces were state-supported or shown at official exhibitions, competitions, and performance shows. Others were created under forced labor or in concentration camps. Photographs and contemporary documents complement the extensive presentation.
The GRASSI Museum of Applied Arts occupied a multifaceted position during the Nazi era. In the 1930s, it developed into a central venue where design ideas were negotiated and presented. While Grassi fairs and special presentations occasionally allowed for deviations from ideological guidelines, the museum was also obligated to cooperate with state institutions and make its spaces available for propaganda exhibitions.
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