HOUSES OF THE YOUNG ROMANTICS & ART OF THE ARTIST CLUB

THE YOUNG SAVING CULTURE

FROM THEIR ELDERS 1881-1981: Paris, Vienna, Düsseldorf and London

DECEMBER 2020

CATHERINE SULEIMAN | ARCHITECTURE DISSERTATION University of Edinburgh

Introduction

I The Artistic Needs of an Ideal Public...... 7

II Architecture of the Artist Club...... 10

III Spirit of the Artist Club ...... 16

IV The Artist Club as an Artist’s Resource ...... 20

V Beyond the Sanctum Sanctorum ...... 24

VI Preciousness of the Gesamtkunstwerk...... 30

VII Conclusions: A Nostalgia for the Future ..... 34

Notes Bibliography Thanks Introduction

This study will shuttle between four of the most This study will use the term ‘ideal public’ to describe artistically prolific European cities of their age, the particular audience that these artist clubs and between a myriad of art disciplines in order to aspired to meet the needs of. This collective, in the illuminate the salient and interconnecting design words of Gustav Klimt, was a ‘Kunstlerschaft – the principles of four of Europe’s most dynamic and ideal community of those who create and those artistically productive architectural spaces: Le who enjoy’. Similarly, Arnold Hauser, referring to Chat Noir in Paris (1881-97), Cabaret Fledermaus Paris from 1881-97, described the ideal public as ‘a in Vienna (1907-1913), Creamcheese in Düsseldorf public entirely made up of real or potential artists, (1968-76) and Club for Heroes in London (1978- of artistic natures for whom reality is merely the 1981). Naturally this is a subject of such wealth and substratum of aesthetic experience’. diversity that the creation and cultural significance of each artist club could be looked at as a subject on Nonetheless, in aiming to meet the needs of their its own. However, the nuanced but distinct design ideal public, all four of these artist clubs stimulated principles that the architects of these artist clubs the production of art so sensorially evocative that adhered to in various, but often very similar ways, they each soared beyond the realms of the sanctum in the curation of spaces that were conducive to the sanctorum and out into the global stratosphere. development of modern art, deserves its own inves- While the conclusions arrived at in the course of tigation. In view of bringing to life a new appreci- this study derive from an intensive critical study of ation of the dialectics between the artistic creation these clubs, in order to prevent the hampering of of spaces, and the epochal artistic movements these the central argument – that the design and mani- spaces had the potential to engender, this study festation of artist clubs are a work of art in and of aims to further understand the art of the artist club – themselves – often important contextual consid- architecture that functioned to quench the unremit- erations, have had to be omitted. To address this, ting, artistic needs of an ‘ideal public’. the notes and bibliography suggest further books and sources that will enrich the reader’s broader cultural and historical understanding of the tempes- ‘THE IDEAL tuous cultural landscapes from which these artist clubs sprang. COMMUNITY OF THOSE WHO CREATE AND THOSE WHO ENJOY’ [ CHAPTER I ] 7

To explore this idea further, it is helpful to consider the way in which Egan, along with co-founder, Steve I Strange, set about bringing together and uniting this fragmented community. With a strong vision of The artistic needs of an ideal public the people they wanted (and did not want) at Club for Heroes, their method of promoting the club night, at its conception, deserves some attention. As The central thread that ties all four artist clubs Egan recalls: together was the desire of their founders to unite a fragmented artistic community along artistically I found a printer up the street and found a picture progressive lines. These were sensitive individuals, of David Bowie with his head in his hands from the acutely aware of new and powerful sensibilities ‘Heroes’ session, obviously in confusion. And I wrote fermenting in the midst of society alongside a keen ‘Fame, Fame, Fame, What’s Your Name? A Club for acknowledgement, if not distress, that there was no Heroes. Tuesday Nights’. I didn’t put an address place for those, embodying currents of the new zeit- because we didn’t want anyone to know where it geist, “to congregate, strengthen and grow”. was. We wanted to personally invite you. We went to Smile, the hairdressers. I said to Keith, ‘Can you Take for example, Rusty Egan, who in 1978, at the give these to some cool people? You know who they “FAME, FAME, FAME, age of twenty-one, co-founded Club for Heroes. are.’ We went to the Paul Howie shop, we went to PX. This club night, that took place at Billy’s, near We went to all of our friends’ shops and said, ‘Look, WHAT’S YOUR NAME?” Baker Street in London, before moving to the we’re having a party. It’s 50p to get in.’ Blitz in Covent Garden, brought together a rela- tively small group of around 100-150 art-students, Egan and Strange had an acute sense of who they shop assistants and unemployed ‘poseurs’ in a wanted to bring together and a constructive vision uniquely aesthetic environment. ‘In a room that of how to manufacture both mystique and intrigue tried to imagine the past’ with music that ‘seemed around Club for Heroes’ inaugural night so as to be to emanate from somewhere in the future’, Club sure of luring in “guests who [were] sympathetic”. for Heroes was a feat in its ability to inspire such a In this gifted partnership between Egan and Strange magnitude of creative production among its audi- their determination to galvanise in one space, people ence. This plethora of music, space, design, fashion, with a shared sensibility, created a new collective photography and journalism would, very rapidly, approach to the communication of artistic ideas. transcend from ‘the margins of underground culture Sharing the same attitude and passions, many of the in Britain to the global mainstream’. According to habitués of Club for Heroes were already familiar to Egan, what drove his desire to start his own club one another. One central protagonist, Fiona Dealey, night was a realisation that “there were others recalls her surprise at “suddenly” finding, at Billy’s, like me, bored with punk and with nowhere to go”, “all these people [she] knew from clubs… from the which thereby suggests, that Club for Heroes was Lacy Lady, the Goldmine”. Another central protag- born out of his sense ‘that something was breaking onist, Steve Dagger, extends this point explaining down and something new was being born’. What how, upon his first entry into Billy’s, he recognised was missing however, was a space in which this new, “two thirds of the room… from various different embryonic zeitgeist could realise itself. clubs, parties and art-school events”.

Fig 1. Drawing, Catherine Suleiman, C. Lord Frederic Leighton’s Fatidica, 2018. 8 9

his own artistic appetite however, he was resolute it was Salis’ artistic sensibilities which drove the in the idea that his café would gather ‘artists and conception of Le Chat Noir with its commercial their closest friends’ and become the ‘centre of their success being ‘at best a secondary consideration’. activities’. Le Chat Noir was to serve the contempo- If we consider how commercially lucrative both Le rary artistic community in Paris by being the space Chat Noir and Club for Heroes would soon become, in which young artists, writers, composers and it is important to note that for both Salis and Egan musicians would convene habitually to ‘converse, the money they derived, from either entry into the exchange ideas, read and perform their works for artist club or drink sales, served a purely self-sus- one another’. taining purpose. In the case of Club for Heroes, in particular, Egan relocated to the Blitz Club in order In our understanding of what sets these four artist to sustain the affordability of Club for Heroes for its clubs apart from the pre-existing social spaces young creative community: frequented by either established or embryonic artistic communities, we must observe from Le Once we were a success Vince wanted to double the Chat Noir two important factors. Firstly that, at its price of drinks and admission… but it really was not origin, Le Chat Noir maintained ‘a certain elitist about the money, so we went to Brendan at the Blitz character’ and did not actively seek out the general and we kept entry to a pound. public. While its door policy may not have been as strict as Club for Heroes, as will become more While considerably different in terms of spatiality, apparent later on, Le Chat Noir existed primarily for programme of entertainment and atmosphere, we the ‘artistic, literary and musical habitués’. Salis had should note the principal design intent of all four We can remark upon a similar situation in fin-de- This therefore provokes the question why, if there aspired to the profession of an artist since a young artist clubs – the founders wanted to create a space siècle Vienna where new artist circles, comprising were already various spaces in which like-minded man however, a series of unfortunate events had in which a nascent artistic community ‘felt free to of art-students, artists, writers and thinkers, chal- individuals were presently connecting with one brought Salis to ‘abandon’ this dream. Nonetheless, realise themselves’. lenging the rigid and unchanging conventions another, such as at art school events, at various of society, were already forming and fermenting other club nights or coffee houses, what needs did ‘outside the stuffy atmosphere of the Academy’, in these spaces not fulfil or rather, what were the Vienna’s all-important coffee-houses: founders of Le Chat Noir, Cabaret Fledermaus, Creamcheese and Club for Heroes aiming to achieve In the period around 1900 the Viennese coffee- that was different, in the manifestation of their own house was not just the hub of social life but the alternative spaces? undisputed centre of cultural activity. When a group of avant-garde artists decided to form This dissertation will regard Le Chat Noir, Cabaret themselves into an association in 1876, they called Fledermaus, Creamcheese and Club for Heroes themselves the Hagenbund after the owner of the as artist clubs because if we look at the forma- Zum blauen Freihaus restaurant. Not long afterwards, tion of these spaces linearly, one can observe, first another group of artists formed the Siebener Club and foremost, the evolution of Rodolphe Salis’s in the Sperl coffee-house. On the 3 April 1897, the ‘very modest undertaking’. Salis, an unsuccessful anti-establishment Austrian Association of Artists – artist desperate for funds, came up with the idea better known as the Vienna Secession – came into of opening a café in the bohemian quarter of being in the Griensteidl coffee-house. Six years later, Montmartre in order to placate his distiller father, in 1903, the Wiener Werkstätte was born around whose financial help he would only receive if he another such coffee-house table. found ‘some useful occupation’. In order to quench

Fig 2. Photo, Sukita, David Bowie – “Heroes” To Come, 1977. Fig 3. Photo, Chonical/Alamy Stock Photo, The audience at Le Chat Noir in Montmartre, Paris, n.d. [ CHAPTER II ] 11

Hermann Bahr

Everything in a room must be like an instrument in an orchestra. The architect is the conductor, the whole should produce a symphony.

Fig 4. Wiener Werkstätte Postcard 532, Moriz Jung, “Viennese Café: The Man of Letters”, 1911. 12 13

‘meticulous attention was paid to everything from being confronted with something captivatingly new II the cutlery and ashtrays to the stationery and pins and thought-provoking: for the waiting staff to wear’, is really quite remark- able. In extension to Hoffman’s incorporation of the I remember the throb of electronic music as I went Architecture of the Artist Club ‘skills of furniture designers, ceramic artists, silver- down the stairs. If you went into a soul club, there smiths and designers for its lighting, tableware and was a bpm that was about 120, but this was pulsing Cabaret Fledermaus is the only artist club within into an ‘exuberant explosion of colour and fantas- table decorations’, graphic designers also played a much slower than that, much more erotic. Maybe our exploration whose overall architectural design tical motifs’. As proclaimed by the Hungarian jour- significant artistic role, producing an array of highly it was Kraftwerk, I don’t know. I remember going and concept would spring from the imagination of nalist, Ludwig Hevesi: sophisticated ‘posters, tickets, menus, programmes, down these stairs, these red, kind of encased stairs. a trained and practicing architect, Joseph Hoffman, postcards and much more besides’. Considering the And it was like going down into something very and so deserves particular attention in our attempt The bar room is a room such as has never been seen wealth of artistic disciplines involved in the fabrica- sexual and sinister. And the first two people I saw to understand the role architecture plays in the before. Its décor is an original coup of decorative tion of Cabaret Fledermaus, (which is yet to be were Andy Polaris and his mate Kenny, dancing a creation of spaces conducive to the cultivation of fantasy… The walls, and the bar itself… are covered expanded on), in harmony with the artistic perspec- slow jive that they’d invented together, which was emerging avant-garde artistic communities. with an entirely unknown kind of mosaic, ‘Colourful tive of the Wiener Werkstätte that placed equal kind of like that sideways thing, holding hands. It as colour itself, and as fantastic as our fantasies’. importance on all the art forms, one can readily was like watching a jive in ultra-slow motion. Maybe In order to understand the architecture of Cabaret accept Hermann Bahr’s metaphor, “Everything in a Fledermaus and the way in which it catered to the room must be like an instrument in an orchestra. artistic sensibilities of its habitués, one has to appre- The architect is the conductor, the whole should ciate the artistic values being sought and practiced produce a symphony”. Hoffman synthesised the by Joseph Hoffman and, by extension, his Wiener artistic expressions of a fantastically mixed artistic Werkstätte. An evolution of key values established community, who at that time were ‘exploring by the Vienna succession, Hoffman, together with the sensuous ideals of emerging Expressionism’. the artist Koloman Moser and their all-important milchkuh, Fritz Waerndorfer, founded the Wiener Through an ability to orchestrate all or any art Werkstätte in 1903, a group of artists, designers form(s), ‘that brought with [them], from whatever and craftsmen ‘embracing every field of artistic milieu they came, either life or beauty’, – the archi- endeavour’, who manifested the Secessionist asser- tects of these artist clubs imbued their spaces with tion that “all art is good”, through their develop- a “propulsive energy” that would, as eloquently ment of a new integrated aesthetic. Inspirited by voiced by the Secessionists, “awaken the desire that the Gesamtkunstwerk principle – ‘the integra- lies dormant in the breast of every man for beauty tion of all the various design elements in a single and freedom of thought and feeling”. This point aesthetic environment’, – a wealth of subsidiary It is interesting to observe here an account associ- becomes even more poignant when we turn our I’d seen it in the Cabaret movie or something, but it art forms were embedded into the fabric of Cabaret ating the unprecedented brilliance of the ‘bar room’ attention towards Club for Heroes and explore how was hugely erotic, and those two guys, each one of Fledermaus and became, ‘inseparable compo- with the host of multicoloured tiles lining the walls Egan and Strange were able to orchestrate, every them could have been the female partner. There was nents’ of an architectural whole. As maintained by and bar, a ‘decorative’ feature which Hoffman had Tuesday night, a “wonderland”, that “sounded and an androgyny about it. the well-known Viennese writer and poet, Peter commissioned the ceramic artists, Bertold Löffler felt like tomorrow”. While Egan and Strange did Altenberg, “everything, but everything [in Cabaret and Michael Powolny, to undertake. More effective not redesign or refurbish the “dark” and “kind of Sharply encapsulated within this account is, that Fledermaus] contributes to a beautiful and distin- than the colourful arrangement of the bar, however, sleazy” little box club (Billy’s), or “dark and weird” through playing at Club for Heroes “what [he] guishing general effect”. The transformed product of was the excitement engendered by the way in which, little wine bar (The Blitz), venues that they would considered to be great music” – music that in fact, the renovated basement at No. 33 Kärntnerstrasse – as expressed by Altenberg, “wherever one looks, take over for only a single night each week, we can “no one had heard being played anywhere else” – a residential building located near Vienna’s fifth there are delicate, selected objects lovingly made by nonetheless detect, in a recollection of Gary Kemp, Egan, fabricated a powerfully dynamic and artis- avenue – entry into Cabaret Fledermaus involved this great company of artists”. The level of detail a strikingly similar visceral excitement roused tically evocative energy within the club which, as descending down a flight of stairs before stepping involved in the design of Cabaret Fledermaus where, upon journeying down the flight of stairs before Steve Dagger describes, made him “feel” as though

Fig 5. Photo, Artstor Library, “Cabaret Fledermaus”, View of Bar Room, 1907. Fig 6. Photo, Günter Fröhling, Kraftwerk, Düsseldorf, 1977. 14

“ELECTRONIC, MELODIC, CONTINENTAL AND THEREFORE TERRIBLY INTERESTING”

he was “stepping into the future”. A unique quality As explained by Andy McCluskey, in reference to embodied by Egan (and still maintained by him hearing Kraftwerk for the first time, the “erotic” now) was his “encyclopaedic knowledge of music”, music being played by Egan at Club for Heroes, which one can attribute to his own, particular “ticked lots of boxes [the artistic community] didn’t affinity for “the sound[s] of the future”, and his even know [they] had. It was different, electronic, artful capacity to synthesise these sounds in a way melodic, continental and therefore terribly inter- that, as remarked by Martin Kemp, “fired up our esting and strange and just intellectually stimu- enthusiasm”. It is crucial to acknowledge the signif- lating”. It is worth mentioning that McCluskey first icance of Egan’s acute awareness of the exciting, saw Kraftwerk play in 1975 at the Empire Theatre new, and transcendental currents in music. To in London to stress that the seeds of a new zeitgeist quote Egan, “I’d find European versions of records were already coming into existence in the UK. While such as Kraftwerk’s Das Model, Le Mannequin, we have accounted for Egan’s clever synthesis of and Bowie’s Heroes in German and French as I felt music at Club for Heroes, it is also valuable to illu- Europe and Japan had better music to offer than minate here the way in which, within this environ- the American music dominating the charts and TV”. ment, people ‘felt they had the freedom to realise The “completely different” music, being played by themselves’. In comparison to McCluskey, “in seat Egan at Club for Heroes, was the antithesis of the Q36”, experiencing Kraftwerk in a live concert age’s popular music – “it was more stylish, decadent environment (as thrilling and as vital this was to and futuristic”. One can therefore argue, that in a his and OMD’s musical development) Club For similar fashion to Hoffman, the ‘instruments’ being Hero habitués Polaris and Kenny, could viscerally harmonised by Egan within the fabric of Club for express and manifest their feelings in a new artform. Heroes were the new and hugely inspiring musical Together the two invented an enthralling new dance impulses venturing in from Europe and abroad. which, as illustrated by Kemp, contributed to the overall energy within Club for Heroes, an energy that Peter York describes, “a strange new mix of fantasy, style, yearning, preciousness and entrepre- neurial zeal”.

Fig 7. Photo, [Rusty Egan, at his record shop ‘The Cage’ London n.d]. [ CHAPTER III ] 17

Wieland Schmied

Art becomes architecture, architecture art: the categories are fluid.

III

Spirit of the Artist Club

In all these artist clubs the spaces became stages in the freedom to realise yourself” – was intention- which its ideal public could express themselves in ally evoked through sensorial artistic programmes ways they had never done before. Here, they were which not only engaged their public’s interest, but able to give form and shape to their artistic sensi- developed their public’s senses and expanded their bilities through active experimentation and evolu- own consciousness of themselves. tion of ‘small art forms’, which within the realm of the artist club, they were engendered to practice. However, as explained by founder of Creamcheese, ‘PASSER-BY, HALT! Günther Uecker, this sense of autonomy – the BE MODERN!’ feeling of “being able to do whatever [you] want…

Fig 8. Photo, Terry Smith, “SteveReference Strange on the Door at the Blitz”, nd. 18 19

To begin our exploration into how these artist clubs The references I took came from old films, art and French chansonnier Marya Delvard, Danish singer the big birds! And so, it is as well with the artists of instilled a sense of artistic freedom, it is consider- music; we made up our own rules. The element of Gertude Barrison and Austrian actress Lina Vetter small forms! ably interesting to note the way in which three of self-expression and re-invention became part of (ex-wife of Adolf Loos), wearing costumes designed these clubs maintained either a motto or sign at the the bond with everyone who went to the Blitz… our by the painter and graphic designer Carl Otto What is depicted here is the fresh and invigorating entrance of their clubs demanding autonomy and “looks” were extensions of our personalities run riot. Czeschka. In the same manner as Joseph Hoffmann, idea that the artist club should be a space wherein self-determination from its public. ‘Do not enter the performance brought together different modes each and every artist (within an ideal public), could if you’re ordinary’, was the strictly enforced door We can observe that the “beautiful costume[s]” of artistic expression’ – drama, poetry, music and “produce themselves in spectacle” regardless of their policy of Club for Heroes for example, which is in worn to Club for Heroes, and perhaps what the the visual arts – into a ‘fluid, coordinated whole’. artistic discipline or notoriety. Free from subservi- effect, remarkably similar to the Creamcheese’s New Romantics were most renowned for, were While it is important to consider the club’s view, to ence to commercial values, albeit this would soon manifesto, ‘Come on, be yourself’, or that of Le Chat a wholly authentic and artful expression of each create a space where ‘all the senses should be simul- change, Cabaret Fledermaus functioned as a stage Noir, which presented a sign exhorting ‘Passer-by, habitué’s individuality – looks that sprung from the taneously at least animated, and if possible, also wherein one’s individual mode of artistic expres- Halt! Be Modern!’. While the severity of these realm of desire, dreams, and ambition. This sense satisfied’, it is also extremely worthwhile to examine sion was wholly valued and nurtured. In line with proclamations varies, one can argue they all func- of autonomy experienced by habitués inside of more closely the clubs contention, that ‘no art with Club for Heroes, whose message was “you can do tion to provoke their audience’s sense of their own the club, who claimed that “this was the first place its proper means be excluded from contributing to it, but whatever you’re doing has to be interesting”, individualism. everybody could wear what they wanted to wear”, its the overall effect’. at Cabaret Fledermaus various interrelated artistic was the artistic aim of Strange’s purposive door activities, were “playfully” intertwined and exper- In the case of Club for Heroes, the uncompromising policy, that inspired and instilled a new confidence imented with in the curation of highly sensorial door policy that was to be enforced by its door about art and the practice of art. and unprecedented entertainment programmes. As manager, Steve Strange, activated heights of crea- amplified by Friedell the ‘breaking down of bound- tive activity among its ideal public in preparation Cabaret Fledermaus did not have to deal with the aries between art forms’ allowed for ‘new artistic for the club night itself. As Gary Kemp recalls, “we’d raw reality of London, as Vienna’s whole liberal possibilities to be opened up and tested out’. arrive in our much-deliberated-upon splendour, class was already consumed by art and artistic ideas. cobbled together from Oxfam or under hot sewing However, in the setting up of their artist club its In respect to Club for Heroes, Stephan Jones claims machines, brazenly kiss Strange at the door – a founders asserted the ideal that their space would that, “The Blitz ruled people’s lives. Exactly that. A public gesture that signalled power to the waiting ‘not merely be an entertaining professional revue nightclub inspired absolute devotion, of the kind hordes outside – and sashay in”. Strange proclaimed but an experimentation field for various and often previously reserved for a pop idol. I’d find people that those inside Club for Heroes should “look like intersecting fields of performing arts’. Leading at the Blitz who were possible only in my imag- a walking piece of art”, and, as alluded to by Kemp, Austrian writer of fin-de-siècle Vienna, Egon ination. But they were real”. If we have asserted this precondition stimulated a high degree of fore- Friedell, contended that Masken, one of the first the point already, that habitués of all these artist thought and artistic vision. ‘Looking for dead men’s performances presented to its public on its opening Peter Altenburg, for example, regarded Cabaret clubs were often beknown to one another prior to clothes’ was the term this crowd would give to their evening, was: Fledermaus as “the theatre of the art of small forms, the clubs’ conception, the ethereality of these artist shared affinity for “scouring” charity shops and then the art of doing small things in the theatre the way clubs where people were dream-like and where their customising (at home) what they had bought, in …something completely new. Three beautiful young really big things are done”. Altenburg proclaimed, activities exerted “mysterious fascination”, was the order to manifest the highest most artful ‘expression ladies in superb fantastical dresses speak some that: direct result of the clubs’ ability to value, nurture of themselves’ possible. The level of introspection terse and esoteric maxims by Peter Altenburg to and actively stimulate “the artist of small forms”. and thought, that each individual put into the fabri- the accompaniment of strangely exciting music The cabaret should be, ideally speaking, a refuge cation of their New Romantic looks, should not be by Hannes Ruch. These three forms of art merge of small great art! Not all birds are vultures, sea glossed over. As Club for Heroes habitué, Princess closely here that one simply can no longer tell which eagles, or condors who can rise 12,000 feet in the Julia, explains: of them makes the stronger impact. As a result, the ice-clear sky from there to look down imperiously on entire thing exerts a wholly mysterious fascination vast stretches of earth! There are also precious and For me there was nothing part-time about dressing that is quite unique. delightful little birds like the wren, the kingfisher up. I was absolutely fascinated with image, creating and the crested titmouse. Perhaps they are even different looks and developing a personal style. We can note that the performers included the more original, noteworthy, and admirable than

Fig 9. Photo, August Stauda, The stage of the “Kabarett Fledermaus” with the sisters Nagel and a Schrammel Quartet, 1908. [ CHAPTER IV ] 21

IV

The Artist Club as an Artist’s Resource

We have so far observed three commonalities of art’, the shadow theatre depended upon the crea- between our four artist clubs. Firstly, they brought tive brainpower and technical capabilities of many together a nascent vangarde community of artists other Le Chat Noir habitués who could partake in and prospective artists. Secondly, the founders of roles where they best excelled and thus maxim- the clubs made a conscious effort to nurture indi- ised the artistic potential of the entire production. viduality. Thirdly, through synthesising both new The shadow theatre involved as many as twelve artistic modes of expression and emerging artistic mechanics in addition to scriptwriters, singers and sensibilities into a fluid, coordinated whole, the musicians, and technical assistants. Together they architects of these artist clubs constructed entirely realised Henri’s vision: unprecedented atmospheres within their spaces which ignited a sense of artistic freedom and An ingenious combination of shadow and light cultural transcendence among their ideal public. play, décor painted or superimposed on glass and Now, a further imperative point that has not yet paper, cut-outs and Japanese style puppets, [that] been investigated but absolutely deserves our atten- created unparalleled pre-cinematographic effects tion, is that as a result of these three combined on the screen-stage. These were underlined by characteristics the four artist clubs became an inval- musical accompaniment, with a choir of sometimes uable artistic resource for an ideal public wanting to engage wholly in the intellectual pursuit of their own artistic development.

‘THE INCORPORATION OF ALL GENRES OF ART’

Within these artist clubs individuals had the oppor- tunity to pursue their artistic ideas, regardless of their own strengths, technical abilities or character traits, by drawing upon the shared camaraderie and the vast array of artistic knowledge and abilities which could, intermingle and stimulate one other. This is seen especially vividly in the Théâtre d’Om- bres, which developed within Le Chat Noir and ‘put all the Paris beau monde into a state of wonder by the brilliance of its technical and artistic innovation’. While perhaps the “brainchild” of Henri Rivière, it is important to appreciate how the shadow thea- tre’s sophisticated development was not the lone product of a twenty-year old artist but the fruit of collective labour. In its ‘incorporation of all genres Fig 10: Visage Album Cover, Photo by Peter Ashworth, artwork by Iain Gillies, Typography by Kate Wilson, Design by Visage, [left to right, Steve Strange, Fig 11. Photoengraving, Louis-Ernest Lesage, “Behind the scenes at the Chat Noir”, 1888. Vivenne Lynn, Stephen Jones, Daryl Humphreys, Cerith Wyn Evans], 1980. 22 23 up to twenty people backstage, piano or organ; by the tone of collaborative authorship being under- The message was you can do it, but what you photographers and graphic designers to create a narration either of the story telling or satirical mined. In a similar manner to Mick Jagger being were doing had to be interesting. It was incredibly visual aesthetic which synthesised 20th century commentary kind; and by acting. refused entry to Club for Heroes for being dressed liberating for all sorts of reasons. The fact that European romanticism. It is important to note here in jeans and trainers, a famed story from Cabaret suddenly everyone around you is saying, ‘I’m going that the success of this project was phenomenal. Not Within the confines of the artist club, habitués were Fledermaus is of one of its stars, Mela Marx, being to be a fashion designer,’ ‘I’m going to be a film- only did Egan succeed in creating new music for his enabled to overcome personal limitations through dismissed when she refused to perform in her maker,’ ‘I’m going to be a musician.’... ‘I’m starting a club, one of the singles in Visage’s first album, Fade the formation of artistic partnerships. For example, specially designed costume (because it was mould magazine’… ‘I’m starting an agency’. to Grey, reached the top ten in popular music charts it is interesting to note how the Austrian writer infested) and instead appeared in her ordinary in eleven different counties including the UK, France Peter Altenburg, ‘the leading spirit of turn-of-the- clothes. More than just a place wherein an ideal public were and Austria. century Vienna coffee-house culture’, while being free to imagine and project their highest ambitions, ‘colourful, eccentric and irrepressible’ was also If we take a look, once again, at the Club for Heroes at Club for Heroes habitués found the practical and ‘notoriously shy and therefore incapable of getting we can expand on this point further to observe emotional support necessary to help them see their up on a stage and performing’. However, in an how the atmosphere of solidarity and collective artistic ambitions through, and at that, to see them inspired partnership with Friedell, one which would authorship within these artist clubs, allowed for through very quickly if not immediately. At Club become a ‘Fledermaus institution’, Altenburg ‘found these communities of “rebels and libertarians”, to for Heroes, in relation to the growing media and transcend the narrow, traditional and conservative press interest that started to pervade the club, Steve confines of art and culture within their epoch. As Dagger explains how: remarked by Club for Heroes’ habitué, Robert Elms: “There was an etiquette amongst all of us that quickly If you went to the Blitz and wrote everyone’s name developed. If somebody got in touch, we would down… well, it’s extraordinary. I would say from the always say, ‘Yes, there’s this journalist, this designer, However, it was not only Egan and Club for Heroes’ early contingent of the Blitz in the first few weeks at this DJ, this film- maker’… We were all trying to help habitués who were quick to realise the value of the least 60 percent would go on to be either famous or each other”. club as a practical artistic resource. Recognising the would be recognised for what they do. powerful artistic ideas developing within the club’s Similar to the innovative shadow theatre that grew confines David Bowie, for example, visited Club for Let us remind ourselves that Club for Heroes was, at out of Le Chat Noir, soon Club for Heroes also devel- Heroes and picked out four of its habitués to feature its origin, a community of young art students, hair- oped its own sophisticated project – Visage – a in his second UK No. 1 single Ashes to Ashes and dressers, shop assistants and unemployed ‘poseurs’, synth-pop music group that took inspiration from thereby catapulted the New Romantics’ artistic style mostly under the age of twenty-four, without any Japan’s Yellow Magic Orchestra. Like Rivière, Egan’s and attitude further out into the ether. formal qualifications. Living during a time of conception of the band sprang out of a desire to extreme socio-economic deprivation in Britain, evolve the ideas already in fruition within the club: summarised by Steve Dagger as “that wretched decade of strikes and power cuts, of football violence The truth is, I started Visage because I’d run out of the perfect interpreter for his inexhaustible supply and casual racism, of macho unionism... rampant records to play at the Blitz. We’d been playing the of stories, short sketches and poems’. Embodying inflation [and] of charmless class conformity”, one same records every week, and I had this album by the theatrical flair and affinity for performance can understand Steve Dagger’s proclamation that, the Yellow Magic Orchestra and I was like, ‘Listen, that Altenburg perceivably lacked, Friedel could for the young people of the time, ‘there really was this is the future,’. bring to life the witty and evocative written works of not much to look forward to’. Nevertheless, in a very Altenburg in a way that might have otherwise been extraordinary way, at Club for Heroes, this “tribe” of Instead of going out and purchasing new music Egan unrealised or untapped. It is also important to note, misfits, were liberated by the social atmosphere and was able to realise this goal himself using the Club’s that being a space conducive to artistic collabora- spirit within the club which engendered and culti- readily available sea of musicians to set about the tion, this meant that discipline would be enforced, vated fierce ambition. As Robert Elms continues to bringing to life of new sounds, and the Club’s well of if it needed to be, in instances where habitués felt explain: self-proclaimed costume-designers, make-up artists, Fig 13: Video, David Bowie and Toni Visconti, Mainmann/SA/ Fig 12. Painting, Gustav Jagerspacher, [Portrait of Peter Altenberg], 1909. EMI, Ashes To Ashes, Blitz Kids as chorus to Major Tom, 1980. [ CHAPTER V ] 25

Düsseldorf during the sixties was not exactly a metropolis however, its ‘lively artistic environment’ brought the city into renown as a ‘European art capital par excellence’. Almost entirely devastated by World War II bombing, post-war reconstruction in Düsseldorf had resulted in an ‘economic miracle’, and this economic prosperity generated a wealth of potential art patrons and buyers within the city, which ‘attracted young artists from various back- grounds’. Düsseldorf had never been a ‘pioneer for new international artistic developments’ but now, in this particular post-war environment, there was a growing resistance among a younger generation of artists known as the Düsseldorf art scene, to the ideas of the older generation of artists who were consumed with processing Nazism and the experi- ence of war through the international trend of Art Informal. Countering the mourning of the past, the Düsseldorf art scene aimed at regenerating art and culture with an optimistic attitude that was to spread hope for the future. Nevertheless, this break from lyrical expressionism and quest for arts renewal necessitated a space in which young artists, uninhibited by shackles of institutionalised conven- tion, had the freedom to develop their own ideas.

The problem faced by young, avant-garde artists, ‘aspiring to transform and redefine art in the after- math of World War II’, as German artist Otto Piene explains, was that “there were no exhibition V opportunities… we were young and full of energy [but] the conventional exhibitions had no room for what we were doing”. The inherent conserva- Beyond the Sanctum Sanctorum tism of pre-existing art institutions meant that the pursuit of developing new artistic areas of explo- While these artist clubs were conceptualised in such ration such as ‘monochrome colour, light, motion, a way as to serve the artistic needs of a small and space, and seriality’ required the creation of one’s considerably exclusive avant-garde artistic commu- ‘own means of promotion and display’. In 1957 in nity, the audiences that their creative activities order to create for themselves the freedom to show would reach and inspire were strikingly vast. This what they were thinking, the then art students of the chapter will explore the subtle dialectics of this Kunstakadamie Düsseldorf, Piene and Heinz Mack, phenomenon looking particularly at the more recent began to organise a series of one-evening pop-up clubs Creamcheese and Club for Heroes. exhibitions which took place in Piene’s studio.

Fig 14: Photo, Volker Krämer, Daniel Spoerri, “We hang the counter from the ceiling”, 1969. 26 27

Once the space was there – a stage for the Creamcheese is strongly associated with several of avant-garde’s “challenging actions and contem- Düsseldorf’s most famous artists such as Günther ‘ONCE THE SPACE WAS plative performances” – people were interested. It Uecker, Joseph Beuys, Gerhard Richter, Blinky THERE, PEOPLE WERE was not only the inner circles of avant-garde art Palermo, and Sigmar Polke and three of the most INTERESTED’ students and artists who flocked to Creamcheese influential electronic bands Kraftwerk, Neu!, and and in a spirit of ‘trial and error’ performed in front Can, who were among its regular visitors. It is crucial of their peers – various other art professionals, to point out however, that at the end of the 60s and who had heard by word of mouth about the ‘goings early 70s, ‘these were largely unknown artists, who on’ within this artist club, would visit Creamcheese among others were able to try out the ideas and action – sound action) and was entirely experimen- and then, find themselves both struck and stim- works in the Creamcheese that would later make tative. For approximately three hours, ‘wrapped up ulated by the innovative programme of perfor- them world famous’. There would be much value in his fur coat and hat’, Beuys stood on a plinth in mances, or rather experiments, that the club had to in exploring in more depth, how the artist prac- Like the Vienna Secessionists (who succeeded from the corner of the ‘action room’ and engaged himself offer. For example, in 1968Documenta’s exhibition tices of Creamcheese’s artist habitués, in particular the official Vienna Society of Fine Arts in 1897 and calmly in the execution of ‘very quiet, concentrated, director, Arnold Bode, visited the Creamcheese their experimentations with processual art, perfor- created their own exhibition space in 1898) or Rusty and intense minimal movements’. At the same time, and stated that, “this is a total work of art”. Bode, mance art and, film, would impact the contempo- Egan (who professed, that “I knew that there were Kranemann’s band, PISSOFF, equipped with an so impressed by what he had saw, invited the rary European art scene. For example the Düsseldorf others like me with nowhere to go”, thus creating amplifier and their classical and jazz instruments leading artists responsible for the running of the School was brought to Edinburgh in 1970 by the Club for Heroes in 1978), the beginnings of the new, such as the cello, clarinet, and saxophone created artist club, to rebuild a variant of Creamcheese – prolific artist impresario, Richard Demarco, and German artists’ group Zero (1957-66), founded by “three hours of the apocalypse. Loud! Noise! Chaos! the ‘Documenta Club’ – in the orangery at the 4th with their exhibition Strategy: Get Arts, (held at the Mack, Piene and joined by Günter Uecker in 1961, Pain barrier!”. While PISSOFF’s “sound – music Documenta international exhibition in 1968. Edinburgh College of Art), ‘generated a dynamic and also demanded a space independent of the art – noise” experimentation was perceivably more institutions from which they sprang. Even though discomforting than melodic, this freedom for artists the Zero Group was to dissipate by 1966 a year to present and test out raw ideas, to a live ideal later Creamcheese, founded by Uecker and Mack, public of around 300-400 people, was eventually to came into existence and as Eberdard Kranemann have a huge impact on the development of contem- illuminates, catered to the needs of the emerging porary art and electronic music not just in Germany avant-garde: but worldwide. Before looking at this develop- ment in greater detail however, it is important to I was looking for like-minded people and found them consider what Kranemann means when he claims, at the art academy in Düsseldorf, where we were “I think everyone important in Germany and Europe studying at the time. I was studying painting with were [at Creamcheese]. As Dr Tiziana Caianiello Professor Rupprecht Geiger. The other members has written: were in Joseph Beuys’ sculpture class. We rehearsed at the academy, if you want to call it rehearsing. In the Creamcheese, which was strategically located Beuys hears us play. He was one of the professors near the Kunstmuseum, Kunstakademie, Kunsthalle at the Art Academy and liked what he heard, so and important galleries, the whole Düsseldorf art he asked us to perform together with him. We did scene was present: writers, visual artists, people from exactly that in 1967 at Creamcheese. Creamcheese the advertising industry and theatre. Also, gallery was a bar for people in the know. owners (such as Alfred Schmela) and museum people like the then director of the Kunstverein für die The performance that Kranemann is referring Rheinlande und Westfalen, Karl-Heinz Hering, were to was called, Handaktion – Klangaktion (hand regular guests… Quite a few travelled from far away. Fig 16. Photo, Hans Jürgen Funck, View of the corridor with the rubber ducks by Konrad Fischer-Lueg, n.d. Fig 15. Photo, R. Van den Boom. Heinz Mack, Otto Piene, and Fig 17. Photo, Edinburgh College of Art, Blinky Palermo making his wall painting Blue/Yellow/White/Red, Günther Uecker at Nul Exhibition, Stedelijk Museum, Amsterdam, 1962. for Strategy: Get Arts, presented at Edinburgh College of Art, 1970. 28 29 creative disturbance in a city where the influence Michael Rother and the pioneering drummer Klaus was – as far as [he] was concerned” – to buy some of the pre-war Scottish colourists such as Frances Dinger also joined Kraftwerk. Shortly after Hütter’s records, Egan recalls how: Cadell, John Duncan Fegusson, Leslie Hunter and return, he and Schneider-Esleben shifted their Samual Peploe still held sway’. Nevertheless, as there ‘improvised Kraut rock music towards structured I then ran around Düsseldorf, I went to every record is an extraordinary interconnection between the new electronic pop music’ with Rother and Dinger then shop I could find and bought everything I could sounds being experimented with at Creamcheese splitting from Kraftwerk to form Neu!. get my hands on: Neu!, La Düsseldorf, Riechmann, and the “sound[s] of the future”, that Egan would Rother, (and of course Kraftwerk) everything… play at Club for Heroes, this investigation will to take In the earlier chapters we observed how, from as I especially loved Wunderbar by Riechmann, as well precedent. early as 1975, Kraftwerk were beginning to have a as Flammende Herzen by Michael Rother. powerful influence on English musicians such as McClusky (co-founder of Orchestral Manoeuvres in ‘Impressed and inspired’, Egan returned to London the Dark). David Bowie who, to quote Egan, “was and would play “all this ambient music” at Club for the one thing that joined [his fragmented artistic Heroes. There is sufficient evidence to argue that community] together”, also discovered Kraftwerk the multi-sensory nature of playing this music in and Neu! around 1975 as he recalls: the highly dynamic environment of Club For Heroes, was crucial to the cultivation of an audience and I bought my first vinyl NEU 2 in Berlin around 1975 commercial success for this new German music while I was on a brief visit. I bought it because I and Kraftwerk in particular. For example, Egan knew that they were a spin-off of Kraftwerk and had chose to play Kraftwerk’s three-year-old single The to be worth hearing. Indeed, they were to prove to Model, from the B-side of Computer Love, which be Kraftwerk’s wayward, anarchistic brothers. I was was released in 1981. While The Model had failed to completely seduced by the setting of the aggressive chart when it was first released in Germany (1978), guitar-drone against the almost-but-not-quite seeing how successful these songs were among the robotic/machine drumming of Dinger… At our British crowd at Club for Heroes, Kraftwerk’s record regular swop-meets in 1976, Eno and I exchanged company EMI, re-issued the single in 1981 with After hearing the sound of Kranemann’s band, sounds that we loved. Eno offered, among others, The Model as the A-side. It immediately reached PISSOFF, the trained flutist and future co-founder Giorgio Moroder and Donna’s military R&B and no. 1 in February 1982 in the UK and as a conse- of Kraftwerk, Florian Schneider-Esleben, joined the I played him Neu! and the rest of the Düsseldorf quence Kraftwerk performed on Top of The Pops to band and would play with them from 1967-1968. sound. They sort of became our soundtrack for the an audience of about 17 million people. As a result In 1968 Schneider-Esleben met the trained pianist year 1976. of its success in the UK The Model was then also Ralf Hütter while studying at the Academy of Arts re-issued in Germany where it reached to no. 7 in in in Remcheid and then at the Robert Schumann The impact of Kraftwerk and Neu! on Bowie is the charts – at the time Kraftwerk’s greatest success Hochschule in Düsseldorf and for a year, they would perhaps most visible in Bowie’s album Heroes, in Germany. play improvisational music together – Schneider- which he released in 1977. Paying tribute to Esleben playing the flute, Hütter on the Hammond Schneider-Esleben, the album included the largely What is so interesting is the potentially vast reach of organ, Kranemann on bass and Paul Lovens on instrumental track V-2 Schneider while the overall these artist clubs that were set up solely to meet the drums. On Boxing Day in 1970 an early formation title of the album mirrored a track titled Hero, specific artistic needs of emerging avant-garde artist Kraftwerk, that involved co-founder Schneider- which featured in the Neu! album Neu ’75. Egan’s communities. Acting as alternative artistic insti- Esleben, Kranemann and Charly Weiss as drummer, keen fascination with the “Düsseldorf sound”, led tutions, these artist clubs became spaces where, as played one of their first gigs at Creamcheese. him to go to the city himself, ‘between the closure Günter Uecker explains, “collective and individual, Kraftwerk’s other co-founder, Ralf Hütter, had of Bowie Night at Billy’s and the early 1979 opening conscious and unconscious memories and expec- momentarily left Düsseldorf to finish his architec- at Blitz’, in pursuit of finding more music to play for tations, wishes and dreams intertwine[d] to form a tural studies in Aachen and in his absence musician his club. After going to Berlin – “where all the music new consciousness of perpetual change”.

Fig 18. Kraftwerk, Hütter, Schneider, Bartos, “The Man-Machine”, Record Cover, 1978. [ CHAPTER VI ] 31

The Preciousness of the Gesamtkunstwerk The existence of these prolific spaces is inextricably The “Chat Noir” is dead! The cabaret is closed; linked to the creators who founded them – sensitive the theatre, annihilated! The Chinese shadows individuals who, unwilling to fit in with society’s vanished! The poets and singers, scattered! expectations for them and ambitious to achieve so The journal, abolished! much more, created spaces steeped in values inte- Something considerable is leaving us, and when gral to art and culture’s renewal. I heard of the sale today of the last pictures, drawings, and other objets d’art In 1895, wanting to retire to the countryside, Salis that are going to be dispersed made the error of relinquishing Le Chat Noir to the To the four winds, Sir, of public auctions, hands of an organisation that proved unequal to the Something like a tear quivered on my eyelashes. task. When he returned to Paris in 1897, so ‘disap- Ah! The “Chat Noir,” the first “Chat Noir,” pointed by the fortunes of Le Chat Noir’, that had the one on the Boulevard Rochechouart! ‘lost its innocence and creativity’ through the rapid You are too young, my lads, to have known commercialization and marketing of the artist club this marvellous dive! and its performers’, Salis returned to Paris and closed down Le Chat Noir entirely in view of opening During the later stages of this study, in conversa- another artist club in another area of Paris and in a tion with Richard Demarco the discovery was made, new style. Unfortunately, the world was never to see that “the spirit of the Creamcheese [also] existed Le Chat Noir’s revival an, as Alphonse Allais wrote in Edinburgh”, from 1963 to 1967 at the Traverse in his bittersweet piece that he dedicated to Salis’ Theatre. Unlike our four other artist clubs, this widow in 1898, Salis’ death marked the end of his space is still physically in existence, bares the same legendary artist club: name and ‘function’ however, to use the words of 32 33

Demarco, its core founder, “now is an abomination”. pieces by the dynamic duo Polgar-Friedell and the ‘transformed into a “girlie” revue theatre’ called the are the design manifestation of the ideals of their Although this study has not explored the creation decorative art of Wimmer-Wisgrill’ continued to Singspielhalle Femina’. founders and the ideal public who frequented them of the Traverse Theatre, nor the creative activities maintain somewhat of Fledermaus’ original crea- and are therefore inherently susceptible to failure which it would engage itself in during this time, to tive spirit, the ‘emphasis on [freeform] experimen- In a similar fashion, existing for almost 10 years, as soon as these values are challenged or compro- strengthen our understanding of the nature of these tation and the intertwining of different art forms’, from 1967-1976, the Creamcheese would see its mised. Without the artistic nature, capability and club’s ability to survive we must take into consid- that lends itself to the ‘open[ing] up [of] new artistic descent into banality from the early seventies. The determination of sensitive souls, acutely alert to the eration the way in which as explained by Demarco, possibilities’, was entirely destroyed when Fritz demise of Creamcheese’s ‘heroic time’ is in direct raison d’être of the artist club, the spirit beholden when “I separated myself from the Traverse in Warendorfer (as a result of financial difficulties), correlation with the absence of several artists who within the confines of the artist club – a spirit with 1967, that’s when the Traverse died…it went into sold the artist club to Hugo Stein: had contributed significantly to the concept to the the power to spur widespread artistic and cultural the hands of the wrong kind of people who unfor- Creamcheese. As we have observed already, the rejuvenation – cannot exist. tunately, didn’t understand the preciousness of this After the sale of the cabaret to Hugo Stein in artist club had triggered widespread intrigue within world”. Here, Demarco is alluding to a pertinent October 1909 the dance numbers were reduced the artworld which had led to many of its habitués point. The curation of the artist club – incubators of and ultimately eliminated entirely. The emphasis now being preoccupied with artist activities else- collective authorship and cross-disciplinary artistic on experimentation and the intertwining of where. Not only did Uecker and Beuys exhibit their practice, that in an extraordinary manner can lead different art forms also soon ceased. The Wiener work at Documenta 4 at Kassel in 1968, a consider- to the widespread rejuvenation of art and culture, is Werkstätte and the Cabaret Fledermaus, which had able proportion of the Creamcheese crowd ventured an art form in and of itself. collaboratively opened up new artistic possibilities, up to Edinburgh in 1970 for the Strategy: Get Arts now took separate paths. The intention of creating exhibition namely, Joseph Beuys, Gunther Uecker, Let us observe what led to artistic demise of Cabaret a gesamtkunstwerk yielded more and more to the Lutz Mommartz, Ferdinand Kriwet, Gerhard Richter, Fledermaus. In 1909, the Viennese composer demands of sophisticated entertainment. Adolf Luther, Heinz Mack, Binky Palermo, Sigmar Heinrich Reinhardt took over the artistic direc- Polke and Daniel Spoerri. These international tion of Fledermaus after the prior artistic director, The change of artistic control over Cabaret opportunities catapulted Creamcheese’s habitués and renowned Master of Ceremonies, Marc Henry, Fledermaus instigated its decline into an entirely into various different directions for example, retired from his position in order to tour through commercial entertainment revue ‘without any following Strategy Get Arts, two of youngest and Germany and France, with his stage partner and further pretensions to artistic distinction’, and most inexperienced artist members of this group wife (another prominent figure within the artist therefore, the role of the artist descended from the Palermo and Polke (who were at this time in their club), Marya Delvard. When Henry departed from level of creator to that of “producer for the market”. mid-late twenties), went on to stage exhibitions at the Fledermaus, ‘the salad days of the most distinc- No longer were the club’s habitués free to interweave Documenta in Kassel and at the Venice Biennale. tive and famous Vienna cabaret were unmistakably nascent creative ideas and follow their artistic inter- over’. Left in the artistically insensitive hands of ests in whichever way they felt best favoured their The idea of the Gesamtkunstwerk in relation to the Reinhardt, Fledermaus was ‘redirected along more work. It is important to note also how Stein reduced artist club is two-fold. Whether or not our architects commercial lines’, which ‘yielding more and more the physical interior design of Fledermaus ‘entirely were openly aiming to manifest the ideals of the to the demands for sophisticated entertainment’ to black and white’. Realising his error only when Gesamtkunstwerk in the fabrication of their artist ushered in the rise of shallower and more spectacle he found his customers, ‘accustomed to ger red club, all four of their founding artists synthesised orientated performances. For example, driven by the plush and gilded plaster for their money […] besides various art forms in the bringing to life of ‘specially desire to attract larger audiences and thus, increase themselves’ due to the absence of the colourfully conceived interiors and dynamic programmes of live the artist clubs’ commerciality Reinhardt extended tiled bar and audience space which were ‘jewels of performances that gave rise to total sensory experi- the dance part of the Fledermaus’ programme as intimacy and nobility’, Stein ‘sought to compensate ences’. Within these aesthetically stimulating envi- he had seen how the expressionist dance matinees for his misfortune in part by painting the doors pink ronments, artists across disciplines were liberated to of the Wiesenthal sisters in particular, had evoked and having a couple of jaunty fauns painted on the ‘exchange provocative ideas and create new forms of ‘intense delight among the audience and press’ in walls’. Five years later, in 1913, Cabaret Fledermaus expression’, and it was this interdisciplinary collab- the club’s first season under the direction of Henry. came to its definitive end when at the hands of ‘yet oration which spurred the production of a stream of If the ‘performance of varying visiting dancers, the another management change’, the premises was other Gesamtkunstwerks. In this way, artist clubs [ CHAPTER VII ] 35

VII

A Nostalgia for the Future

Again We Love In each era that we have looked at, amidst even convention and socio-political chaos, was needed to the most uncongenial of social orders, the seeds be brought into fruition. of artistic and cultural renewal were already tran- My shining hour has come upon me here spiring within society. However small or fragmented, In an investigation that spans an entire century from The moment lingers in my room there existed ‘rebels and libertarians’ who possessed 1881-1981, across four different cities: Paris, Vienna, These words of mad music ringing clear what Bowie described as, a “nostalgia for the future”. Düsseldorf and London, to juxtapose Le Chat Noir, I drink them in but it’s gone too soon Nevertheless, what was always missing, were spaces Cabaret Fledermaus, Creamcheese, and Club for We cry, We sigh, Again we love that brought together these individuals and inspired Heroes, we have dug deep to bring out the obvious them to give form and shape to new artistic ideas significance of artist clubs in the development of art And in my sweating palm, I hold the key however nascent or experimental. and culture. Having the ability to observe so many The image déjà-vus again commonalities between all four artist clubs has ena- My head is spinning with a rhapsody The art of the artist club has revealed itself, through bled us to avoid some of the factors that has obscured The moment’s over but it’s not the end the course of this investigation, to be a dynamic, our understanding of these artist clubs in the past We cry, We sigh, Again we love all-embracing and dialectical art form. This art form such as, a focus on the artistic personality or a nostal- involves the design of architectural spaces that are gic projection about what was most ephemeral in the These passing shapes feel so cool to me conducive to art not just being passively consumed past. This study has explored the pivotal role of a few The taste of perfume in the air but to the forming of the intellectual senses by inspired individuals who through the manifestation The crystal shimmer of a blue sea which the arts can be enjoyed and further evolved. of their artist club, were able to bring to life a spirit Sun kissed beaches, but there’s no one there While only one of our artist club founders had an of solidarity, free-creation and collective authorship We cry, We sigh, Again we love architectural background all the young architects which was and still is, integral to the mastery of new of these incredibly liberating and aesthetically media and collective approaches to the dissemina- stimulating artist clubs shared a sharply critical tion of new, artistic ideas. The propulsive energy of view about their existing society and, alert to new this would transcend the realm of the artist club and and exciting artistic currents in art, believed that beyond cultural elites to engage whole societies in a space, free from the shackles of institutionalised new artistic attitudes, ideas and sensibilities.

“Again We Love” lyrics from Visage’s second studio album The Anvil, Writer(s): Billy Currie, Midge Ure, David Tomlinson, Steve Strange, Dave Formula, Peter Anselm, Rusty Egan, 1982. 36 [ NOTES ]

Introduction 19 Ibid, pxiv. 1 Carl Emil. Schorske, Fin-De-Siècle Vienna: Politics 20 Ibid, p27. and Culture (Cambridge: Cambridge University 21 Ibid, pxiv. Press, 1992), p269. 22 Smith, We Can Be Heroes, p50. 2 Arnold Hauser, The Social History of Art: Naturalism, Impressionism, the Film Age. Volume Four (London: Routledge & Kegan Paul, 1962), p176. Chapter II

23 English translation: Cashcow Chapter I The Young Saving Culture from their Elders 24 Jane Kallir, Viennese Design and the Wiener Werkstätte: (New York: Galerie St. Etienne/George 3 Jason Cowley, “How the New Romantics Braziller, 1986), p22. The title of this dissertation – The Young Saving Culture from their Elders – takes its name from the ideology Transformed British Culture,” New Statesman, 25 Kallir, Viennese Design, p19. of the Vienna Fin-de-Siécle magazine Ver Sacrum, (Sacred Spring), the magazine of the Secession movement October 28, 2020. https://www.newstatesman. com/culture/books/2020/10/how-new-romantics- 26 Ibid, p22. and is a reference to the creation not of a salon des réfusés but: transformed-british-culture 27 Ibid, p22. 4 Dylan Jones, Sweet Dreams: from Club Culture 28 Ibid, p22. ‘a new Roman secession plebis, in which the plebs, defiantly rejecting the misrule of the patricians, was to Style Culture, the Story of the New Romantics, 29 Werner J. Schweiger, Alexander Lieven, and W. G. withdrawing from the public... Where in Rome the elders pledged their children to a divine mission to save (London: Faber & Faber Limited, 2020), p5. Fischer, Wiener Werkstätte: Design in Vienna 1903 - 5 Cowley, “How the New Romantics Transformed society, in Vienna the young pledged themselves to save culture from their elders’. 1932, (London: Thames and Hudson, 1990), p148. British Culture.” https://www.newstatesman.com/ 30 Florence Ostende et al., Into the Night: Cabarets and Schorske, Fin-De-Siècle Vienna, p269. culture/books/2020/10/how-new-romantics- Clubs in Modern Art, (Munich, Germany: Prestel transformed-british-culture. Verlag, 2019), p55 While this manifesto arose in a specific context, like many of the other aspects and principles of all four clubs, 6 Graham Smith, We Can Be Heroes London Clubland 31 Vergo, Art in Vienna, p176-8. 1976-1984: Punks, Poseurs, Peacocks and People of it could apply equally to Paris, Düsseldorf or London as in each a young generation challenged the ideologies, 32 Ostende et al., Into the Night, p55. a Particular Persuasion, (London: Unbound, 2021), 33 J. Schweiger, Alexander Lieven, and W. G. conventions and aspirations of previous generations. p51. Fischer, Wiener Werkstätte, p148. 7 Cowley, “How the New Romantics Transformed 34 Ostende et al., Into the Night, p55. British Culture.” 35 Gabriele Fahr-Becker, Angelika Taschen and Annie 8 Jones, Sweet Dreams, p139. Berthold, Wiener Werkstaette:1903-1932, (Köln: 9 David Johnson, “1981, The Romantics – House of The Young Romantics Taschen, 2003), p65. a Mainstream Deejay’s Guide,” December 15, 2018, 36 Fahr-Becker, Taschen and Berthold, Wiener https://shapersofthe80s.com/blitz-kids/1981-the- Werkstaette:1903-1932, p65. Houses of The Young Romantics was an art happening I curated in Leighton House Museum in Holland Park, romantics-a-mainstream-deejays-guide/. 37 Ostende et al., Into the Night, p55. London, on November 16th 2018, during my second year on the Architecture (MA Hons) degree course at the 10 Jones, Sweet Dreams, p145. 38 Ibid, p57. University of Edinburgh. 11 Ibid, p134. 39 B. Segel, Turn-of-the-Century Cabaret, p217. 12 Peter Vergo, Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele and Their 40 Vergo, Art in Vienna, p46. For the event I invited four other artists – Waad Al-Kateab, a Syrian documentary film-maker, Iman Dabbous, Contemporaries (London: Phaidon Press Limited, 41 Smith, We Can Be Heroes, p178. an Egyptian fine art student studying at NYU, Chris Hedges an English Cellist who had graduated that year 2015), p40. 42 Ibid p52. from Cambridge University and Lan Klemenc, a Slovenian cocktail maker who I had met a few summers prior 13 Gabriele Fahr-Becker, Angelika Taschen and Annie 43 Jones, Sweet Dreams, p139. at Café Kafka in Vienna. Together we transformed and re-appropriated the rooms at Leighton House, leading Berthold, Wiener Werkstaette:1903-1932, (Köln: 44 Ibid, p175. Taschen, 2003), p9. audiences on a transcendental journey through five rooms – The Secret Garden, The Grand Hall, The Fourth 45 Ibid, p136. 14 Lsia Appignanesi, The Cabaret, (London: Studio Chapel, The Reading Room and the Exhibition Room – aiming to take them from the root of romanticism to 46 Smith, We Can Be Heroes, p46. Vista, 1975), p19. the future. 47 Jones, Sweet Dreams, p134. 15 Harold B. Segel, Turn-of-the-Century Cabaret: 48 Ibid, p140. Paris, Barcelona, Berlin, Munich, Vienna, Cracow, Moscow, St. Petersburg, Zurich, (New York: 49 Ibid, 176. Columbia University Press, 1987), p3. 50 Smith, We Can Be Heroes, p75. 16 B. Segel, Turn-of-the-Century Cabaret, pxiv. 51 Ibid, p67. 17 Ibid. 52 Ibid, p67. 18 Ibid, p17-18. 53 Jones, Sweet Dreams, p56-7. 38 39

54 Tiziana Caianiello, “Der Lichtraum (Hommage The drunken nihilistic violence that accompanied all 101 Ibid, p213-4. 116 Rüdiger Esch, Electri_city: The Düsseldorf School à Fontana) Und Das Creamcheese Im Museum this and that performing artists such as Rusty Egan of Electronic Music, (London: Omnibus Press, 102 Ibid, p205. Kunst Palast: Zur Musealisierung Der Düsseldorfer and Midge Ure experienced most intensively and 2016), p13. 103 Ibid, p294-5 “At one point Coco came up to me Kunstszene Der 1960er Jahre”, (dissertation, 2005), directly was horrifying. 117 Ibid, p537. and dais, ‘David wants you on his table.’ I wasn’t p105. 70 In fin-de-siècle Vienna the Haute Bourgeois’ being arrogant, but I said, ‘Excuse me, I have my 118 Ibid, p537. 55 Jones, Sweet Dreams, p56-7. inability to create political change caused them to job to do. I take my job very seriously.This is not a 119 Ibid. focus their efforts on challenging aesthetic values in 56 Smith, We Can Be Heroes, p217. goldfish bowl. The kids that are in this club are here 120 Ibid, p120. the arts and social sciences. See Carl Emil. Schorske, because they feel at home. My shift doesn’t finish 121 Caianiello, Der Lichtraum, p126. 71 Ostende et al., Into the Night, p57. until 1.30 a.m.’ When I finally went up to him, he Chapter III 122 Westdeutsche Zeitung, “Düsseldorf: Creamcheese – 72 J. Schweiger, Alexander Lieven, and W. G. said to me, ‘I’ve been watching you and love what Kneipe Als Gesamtkunstwerk,” Westdeutsche Fischer, Wiener Werkstätte, p144. you’ve been doing and the sound that you’re creating 57 Fischer Fine Art Limited, Vienna: a birthplace of Zeitung (Westdeutsche Zeitung, November 9, 2018), 73 Ostende et al., Into the Night, p57. musically, and I’d like you to be in my next video.’ 20th century design. Pt 1, 1900-1905, Purism and https://www.wz.de/nrw/duesseldorf/duesseldorf- 74 Ibid, p56. He asked me to style and choose the extras for the Functionalism “Konstruktiver Jugendstil”, (London: creamcheese-kneipe-als-gesamtkunstwerk_aid- video, which was ‘Ashes to Ashes’. So four of us were Fischer Fine Art Ltd, 1981), p8. 75 Ibid. 34238977. told to meet outside the Hilton Hotel in London 76 Ostende et al., Into the Night, p56. 123 Ibid. 58 B. Segel, Turn-of-the-Century Cabaret, p198-99. at 6.30 in the morning, and we were all thinking 59 Caianiello, Der Lichtraum, p105. 77 B. Segel, Turn-of-the-Century Cabaret, p198-99. we’re going somewhere fabulous, and then we’re 124 “EX-Creamcheese Düsseldorf – Sound of #Urbanana,” Holiday Travel Tips North Rhine- 60 “The New Romantic / Blitz Blub – Do Not 78 Ibid. told we’re going to Southend! They’d closed off the Westphalia, September 30, 2020, https://www. Enter If Your Ordinary,” YouTube (YouTube, 79 Caianiello, Der Lichtraum, P96. whole beach, but it was freezing. Bowie was known nrw-tourism.com/ex-creamcheese. January 1, 2012), https://www.youtube.com/ 80 Jones, Sweet Dreams, p188. as a very clever thief; that’s why he turned to the Blitz, because he wanted to be part of London’s most 125 Christian Weikop, Tate, “More Impact than the watch?v=vUqv1FhwNeg. 81 Ostende et al., Into the Night, p56. Venice Biennale”: Demarco, Beuys and Strategy: 61 Schirn Kunsthalle Frankfurt, “Art Is Entertainment happening scene.” 82 Ostende et al., Into the Night, p61. Get Arts – Tate Papers,” no.31, Spring 2019, Is Pop Is Creamcheese,” Schirn Kunsthalle 83 Jones, Sweet Dreams, p183. https://www.tate.org.uk/research/publications/ Frankfurt, December 11, 2014, https://www.schirn. Chapter V tate-papers/31/beuys-demarco-strategy-get-arts, de/en/magazine/context/art_is_entertainment_is_ accessed November 30, 2020. pop_is_creamcheese/, accessed December 1, 2020. Chapter IV 104 Caianiello, Der Lichtraum, p15. 126 Jones, Sweet Dreams, p176. 62 Julian Brigstocke, The Life of the City: Space, 105 Approximately 90 % Old City of Düsseldorf was Humour, and the Experience of Truth in Fin-De- 84 Lisa Appignanesi, The Cabaret, (London: Studio destroyed by WW11 bombing. 127 “Florian Schneider Obituary,” The Guardian Vista, 1975), p19. (Guardian News and Media, May 7, 2020), https:// Siècle Montmartre, (London: Routledge, Taylor & 106 Caianiello, Der Lichtraum, p15. Francis Group, 2016), p8. 85 Ibid. www.theguardian.com/music/2020/may/07/ 107 Ibid. florian-schneider-obituary. 63 Smith, We Can Be Heroes, p64. 86 Ibid. 108 Ibid. 128 Ibid. 64 B. Segel, Turn-of-the-Century Cabaret, p145. 87 Ostende et al., Into the Night, p31. 109 Ibid, p19. 129 “EX-Creamcheese Düsseldorf – Sound of 65 Jones, Sweet Dreams, p184. 88 Appignanesi, The Cabaret, p19. 110 Ibid. #Urbanana”. 66 Smith, We Can Be Heroes, p68. 89 B. Segel, Turn-of-the-Century Cabaret, p194. 111 “ZERO: Countdown to Tomorrow, 1950s–60s,” The 130 Rüdiger Esch, Electri_city, p46. 67 Jones, Sweet Dreams, p185. 90 Ibid, p199. Guggenheim Museums and Foundation, accessed 131 “Features: Autobahn: From Neu! To Kraftwerk: 68 Ibid, p134. 91 Ibid. November 30, 2020, https://www.guggenheim. Football, Motorik And The Pulse Of Modernity,” 69 The 1970s were a long saga of misery from the 92 Ibid. org/exhibition/zero-countdown-to-tomorrow- https://thequietus.com/articles/03472-from-neu- Stock Market Crash of 1973-4 to the Winter of 93 Ostende et al., Into the Night, p58. 1950s60s-2. to-kraftwerk-football-motorik-and-the-pulse-of- Discontent of 1978-9, from The Irish War, which 94 Renato Poggioli, The Theory of the Avant- 112 Guggenheim, “ZERO: Countdown to Tomorrow, modernity, accessed November 30, 2020. claimed 800 lives, to the massive industrial unrest Grade, (Cambridge, MA: Belknap Press of Harvard 1950s–60s,” YouTube (YouTube, November 132 “Rusty Egan Interview – Saying It as It Is!! (Part 1),” which included the switching off of energy supplies. University Press, 1981), p31. 25, 2014), https://www.youtube.com/ YouTube (YouTube, January 5, 2020), https://www. ‘Britain is a Tragedy – it has sunk to begging, watch?v=Ikodk4tWOh8, 00:50 95 Jones, Sweet Dreams, p187. youtube.com/watch?v=gmPaTCVr4pw, 22:50. borrowing, stealing, until North Sea Oil comes 113 Blair Asbury Brooks, “How the Zero Group Became 133 Mark Adams, “Bowie Tribute To Neu! For in’, said US secretary of State Henry Kissinger 96 Paul Sorene, “We Can Be Heroes – London’s New One of Art History’s Most Viral Movements,” Reissue Campaign,” David Bowie (David Bowie, to President Ford, continuing ‘That Britain has Romantics: 1979-1981,” Flashbak, November 14, Artspace, November 5, 2014, https://www. April 20, 2001) https://www.davidbowie. become such a scrounger is a disgrace’. In 1976 2017, https://flashbak.com/when-londons-new- artspace.com/magazine/art_101/art_market/zero- com/2001/2001/04/20/bowie-tribute-to-neu-for- Healey borrowed 3.9 billion euros from the IMF – romantics-were-heroes-1979-1981-40622/, accessed group-52526. reissue-campaign, accessed November 30, 2020. the largest loan in the Fund’s history and in return December 1, 2020. 114 Ibid. there was a slash in public spending of 8% far 97 Jones, Sweet Dreams, p28. 134 The-Blitz-Kids, http://www.theblitzkids.net/playlist- 115 Piene, Mack and Üecker’s final joint exhibition at higher than any achieved by Margaret Thatcher. at-blitz-rusty-egan/, accessed November 30, 2020. 98 Ibid, p28. Städitche Kunstammulungen in Boon, 1966, marks The Labour government was finally brought down, 135 Jones, Sweet Dreams, p175. 99 Smith, We Can Be Heroes, p52. dissolution of Gruppe Zero. (the first time a UK government had been brought 136 Rüdiger Esch, Electri_city, p183. down since 1841), in the 1979 vote of No Confidence. 100 Jones, Sweet Dreams, p188-190. 40 41

137 The-Blitz-Kids. 151 Ibid. Fig 8. Photo, Terry Smith, “Steve Strange on the Door bowie-came-recruiting-blitz-kids-for-his-ashes-to-ashes- at the Blitz”, nd, Photo, accessed December 10, 2020, video/. 138 Rüdiger Esch, Electri_city, p183. 152 Ostende et al., Into the Night, p61. https://www.lucy-bell.com/exhibition/terry-smith-blitz- 153 B. Segel, Turn-of-the-Century Cabaret, p218. Fig 14: Volker Krämer, Daniel Spoerri, “We hang 139 Ibid, p183. pieces. 154 Ostende et al., Into the Night, p61. the counter from the ceiling”, 1969, in Caianiello, 140 Ibid, p294. 155 J. Schweiger, Alexander Lieven, and W. G. Fig 9. August Stauda, The stage of the “Kabarett Tiziana. “Der Lichtraum (Hommage à Fontana) Und 141 At its peak in 1979, Top of the Pops recorded viewing Fischer, Wiener Werkstätte, p145. Fledermaus” with the sisters Nagel and a Schrammel Das Creamcheese Im Museum Kunst Palast: Zur figures of over 19 million. Otherwise during this time 156 Ostende et al., Into the Night, p61. Quartet, 1908 in Ostende, Florence, Lotte Johnson, Musealisierung Der Düsseldorfer Kunstszene Der 1960er it averaged 15 million viewers each week. Phillip Dennis Cate, Alexander Klee, Jo Cottrell, Raimund Jahre,” 2005, p141. 157 B. Segel, Turn-of-the-Century Cabaret, p218-7. 142 “On February 6th, 1982 the Kraftwerk Single Meyer, John Milner, et al. Into the Night: Cabarets and 158 Ostende et al., Into the Night, p61. Fig 15. Photo, R. Van den Boom. Heinz Mack, Otto ‘The Model’ Reached the Top 1 of the UK Singles Clubs in Modern Art, (Munich, Germany: Prestel Verlag, Piene, and Günther Uecker at Nul Exhibition, Chart!,” Online alternative & underground music 159 Poggioli, The Theory of the Avant-Grade, p112. 2019), p40. Stedelijk Museum, Amsterdam, 1962, Bloomsbury magazine, February 6, 2019, http://www.peek-a- 160 Ostende et al., Into the Night, p61. Fig 10: Peter Ashworth , Visage (Steve Strange, Vivienne Collections, Bloomsbury Academic 2018, https:// boo-magazine.be/en/news/2019/on-february-6th- 161 Ibid. Lynn, Stephen Jones, Daryl Humphries, Cerith Wyn www.bloomsburycollections.com/book/witness-to- 1982-the-kraftwerk-single-the-model-reached-the- 162 Ibid. Evans, 1980, Photo 45 cm x 45 cm., National Portrait phenomenon-group-zero-and-the-development-of-new- top-1-of-the-uk-singles-chart/, accessed November 163 Ibid. Gallery, United Kingdom, accessed December 10, 2020, media-in-postwar-european-art/introduction 30, 2020. 164 Ibid. https://www.npg.org.uk/collections/search/portrait/ Fig 16. Photo, Hans Jürgen Funck, View of the corridor 143 T Caianiello, Der Lichtraum, p144. mw261573/Visage-Steve-Strange-Vivienne-Lynn- 165 Caianiello, Der Lichtraum, p126-7. with the rubber ducks by Konrad Fischer-Lueg, n.d, Tribbeck-Stephen-Jones-Daryl-Humphries-Cerith-Wyn- 166 Ibid. in Caianiello, Tiziana. “Der Lichtraum (Hommage à Chapter VI Evans. 167 “Into the Night: Cabarets and Clubs in Modern Art,” Fontana) Und Das Creamcheese Im Museum Kunst accessed November 1, 2020, https://www.barbican. Fig 11. Louis-Ernest Lesage, Behind the scenes at the Palast: Zur Musealisierung Der Düsseldorfer Kunstszene 144 B. Segel, Turn-of-the-Century Cabaret, p80. org.uk/our-story/press-room/into-the-night- Chat Noir, 1888, in Ostende, Florence, Lotte Johnson, Der 1960er Jahre,” 2005, p100. 145 Ostende et al., Into the Night, p31. cabarets-and-clubs-in-modern-art. Phillip Dennis Cate, Alexander Klee, Jo Cottrell, Raimund Fig 17. Edinburgh College of Art, Blinky Palermo making 146 Ibid. 168 Ibid. Meyer, John Milner, et al. Into the Night: Cabarets and his wall painting Blue/Yellow/White/Red, for Strategy: 147 B. Segel, Turn-of-the-Century Cabaret, p80. Clubs in Modern Art, (Munich, Germany: Prestel Verlag, Get Arts, presented at Edinburgh College of Art, 1970, 2019), p40. 148 Richard Demarco, interview by Catherine Suleiman, Chapter VII Photo, Demarco Archive, November 19, 2020, https:// Summerhall, Edinburgh, 30 November, 2020. Fig 12. Painting, Gustav Jagerspacher, [Portrait of www.demarco-archive.ac.uk/assets/1252-p1970_blinky_ 149 Ibid. 169 Nicholas Pegg, The Complete David Bowie (London: Peter Altenberg], 1909, Wikimedia Commons, accessed palermo_strategy_get_arts_edinburgh_college_artp/ 150 Ibid. Titan Books, 2018), p62. December 10, 2020, https://commons.wikimedia.org/ lightbox. wiki/File:Portrait_of_Peter_Altenberg_by_Gustav_ Fig 18. Kraftwerk, Hütter, Schneider, Bartos, “The Jagerspacher_1909.jpg. Man-Machine”, Record Cover, 1978, Division of Rare Fig 13: David Bowie and Toni Visconti, Mainmann/SA/ and Manuscript Collections, Cornell University Library, [ IMAGES ] EMI, Ashes To Ashes, Blitz Kids as chorus to Major Tom, Cornell University Hip Hop Collection. https://library. 1980 in Shapers of the 80s, accessed December 10, 2020, artstor.org/asset/26300619. https://shapersofthe80s.com/2020/07/01/1980--why- Fig 1. Catherine Suleiman, Lord Frederic Leighton’s Galerie New York, New York, accessed November 20, Fatidica, 2018, rendered pencil drawing on paper, 10 × 15 2020, https://fristartmuseum.org/exhibition/postcards- cm., London. of-the-wiener-werkstatte/. [ BIBLIOGRAPHY ] Fig 2. Masayoshi Sukita, David Bowie – “Heroes” To Fig 5. 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Back Cover, Mixed Media Painting (Tar, Acrylic, Watercolour), Catherine Suleiman, “Take me to the Theatre”, 2015.