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Given the emphasis on functionality and design for industrial production, the Bauhaus movement is rarely associated with disciplines like dance. But for Oskar Schlemmer (1888-1943), translating its principles into movement and performance was as compelling as a well-conceived chair or building.

In the last century, the Bauhaus has indelibly shaped our modern built environments and the ways we think of the relationship between form and function (it even inspired conceptual cookbooks). German architect Walter Gropius founded the school in 1919 in Weimar, Germany, with the intention of uniting architecture, fine arts, and crafts. The school focused on minimalism and creating for the social good and involved artists and designers like Ludwig Mies van der Rohe, László Moholy-Nagy, Wassily Kandinsky, Paul Klee, and Anni and Josef Albers.

The Master of Form at the Bauhaus theatre workshop, Schlemmer was a painter, sculptor, and choreographer responsible for the under-known Triadic Ballet, a striking, playful dance structured around groups of three. Debuted in 1922, the avant-garde production comprises three colors—yellow, pink or white, and black—and three costume shapes—the square, circle, and triangle.

“Building on multiples of three,” says an explanation from MoMA, “transcended the egotism of the individual and dualism of the couple, emphasizing the collective.”

In true Bauhaus form, the idea was to eliminate the decorative frills associated with ballet, including tutus that allow bodies to bend, twist, and explore a full range of mobility. Instead, Schlemmer’s costumes restrict movement and add a modern quality as dancers appear stifled and almost mechanical, a nod to the movement’s focus on accessibility through mass production and turning “art into industry.”

Several of Schlemmer’s illustrations for the ballet are available online, including his bizarre sculptural costume designs with wide, bubbly skirts and vibrantly striped sleeves. MoMA’s collections contain a print titled “Figures in Space,” which reveals one of the performance’s foremost preoccupations: how bodies move and interact in space.

As seen in a fully colorized film of the dance from the 1970s, the dancers are incredibly deliberate as they navigate sparse sets with clean lines. Open Culture notes that they appear almost like pantomimes or puppets “with figures in awkward costumes tracing various shapes around the stage and each other.”

A few years back, Great Big Story created a video visiting the Bavarian Junior Ballet as it prepared for a performance. The costumes are faithful to Schlemmer’s vision and retain the rigid geometries and bright palettes. As noted by director Ivan Liška, the strange attire combined with the jilted, robotic choreography often leaves the audience laughing. “It’s very successful because the audience can’t believe this is 100 years old,” he says. “There you see the visionary power of Oskar Schlemmer.”

Triadic Ballet is rarely reproduced, but Bavarian Junior Ballet will bring the work back to the stage this June to celebrate its 15th anniversary. And if you’re in New York, you can see one of Schlemmer’s studies in Living in the Age of the Machine at MoMA. It’s also worth exploring The Oskar Schlemmer Theatre Estate and Archives, which boasts a trove of archival imagery and drawings on its website.

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On an abandoned pier on Chaishan Island’s shore, an elegant installation rocks in the wind. Completed in 2023 by GN Architects, “The Seaside Pavillion” rests on a coastal trail frequented by tourists and locals alike.

The dynamic construction features dozens of elastic-wrapped blades that, when caught by a breeze, flit and flutter, echoing both the movement of the tide and creating a semi-shaded space for respite. “During the day, the leaves are closed,” the designers say in a statement. “In the morning and evening, when the tide starts to rise, the wings open and dance under the drive of the buoy, forming a romantic and magical scene.”

Once a fishing community, Chaishan today is mainly a tourist destination. Only 100 elderly residents still live on the island as many have left for larger cities. “The Seaside Pavillion” was commissioned by the Zhoushan government’s “Hello, Island” initiative to attract more people to move to the sparsely populated area.

While appearing delicate, the blades are designed to be resilient and to withstand typhoons. Fishing ropes provide their structure, while a rubber and steel armature creates a strong, hardy base. When a tropical cyclone threatens the island, caretakers can tie the blades down to prevent damage.

You can find more from GN Architects, whose projects span installations, landscapes, interiors, and more, on its website. (via designboom)

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A nine-meter-tall passageway made of eight individual arches enticed visitors into ENESS’s latest installation (previously). Last month at Quoz Arts Fest 2025 in Dubai, Forest Dancer comprised a monumental entry and an immersive exhibition of illuminated inflatable forms inside a contemporary building.

With mushroom-like proportions, pixellated patterns, and a slew of changing hues, ENESS’s work encompasses a central character surrounded by psychedelic trees, mountains, insects, and boulder-like bean bags.

“As artists, we work in many contexts—inside galleries and museums, in (the) public realm and even creating small art pieces for the home,” said ENESS founder Nimrod Weis. “This approach of ‘art is everywhere’ means that we responded to the inspiring architecture by creating an artwork that is at once a conversation with the built form and an installation in its own right.”

This year’s festival was curated around the theme of an Arabic proverb meaning “a hut holds a thousand friends,” inspiring creative responses that center on bringing people of all ages together and promoting interactivity.

A statement says, “The entire exhibition, spanning over 600 square meters, is an ode to the power and importance of creativity in the face of online obsession, geopolitical upheaval, and the rise of dark forces taking us far from the soulfulness of art, human connection, and gentle contemplation,” says a statement.

Find more on ENESS’s website.

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Vibrant contrasts, eye-opening patterns, and mischievous creatures are just a few of the characteristics of Brazilian artist Amanda Lobos’ beguiling scenes. Based in Vila Velha, about an eight-hour drive up the coast from Rio de Janeiro, Lobos works extensively across a range of mediums, from graphic and product design to murals and public installations.

A large-scale inflatable work titled “Ventura” was installed last year on the top of a building in the city of Belo Horizonte. Lobos calls upon the philosophy of Indigenous Brazilian environmentalist and philosopher Ailton Krenak, who posits that humankind should live in harmony with nature rather than trying to control it.

Lobos’ all-seeing “Ventura,” which translates to “fortune,” perches on a corner of a tall building and oversees its domain, double-faced with two eyes on each side and one of its legs curled up casually on the ledge.

This work “is about the agony and dilemma of returning a star to the sky,” Lobos says in a statement, describing “Ventura” as “condemned to the duality of the fantastic and the real.”

Much of the artist’s work is intentionally left open to interpretation. “I believe that what I want to communicate to viewers is already embedded in my work visually, allowing them to interpret it however they wish—that’s the beauty of it!” Lobos tells Colossal. “I don’t like to be too literal or overly serious with my concepts; I enjoy the creative process and the freedom it gives me.”

In vivid murals, Lobos applies a similar juxtaposition of mystery and play, as coy characters dance within colorful panels or long walls illuminate the joys of learning. An expansive mural at a school in the Jardim Limoeiro neighborhood of Serra celebrates science, art, curiosity, and play.

“My favorite thing about painting murals—besides seeing them come to life on a large scale from an initial sketch on paper or a 30-centimeter canvas—is the process itself,” Lobos tells Colossal. She adds:

Executing the piece and watching it unfold is truly special. The feeling of applying paint with no “Ctrl+Z” is humbling, and working on such a large surface teaches you to embrace mistakes and adapt in new ways. Every wall is a fresh learning experience.

Lobos is soon heading to Mexico to paint her first mural outside of Brazil looking forward to collaborating with two other artists on a pair of murals for the Movimento Cidade festival in August.

We’ve shared a handful of public art projects here, but you can head over to Behance or Instagram to see a wide range of the designer’s vibrant product collaborations and commissions.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Fantastical Figures Illuminate Urban Buildings in Amanda Lobos’ Murals and Installations appeared first on Colossal.