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Dadaistische Fotografie: Zur Kunst Der Fotomontage Bachelorseminar Herbstsemester 2014, Teilgebiet C (Moderne), 9 ECTS-Punkte Leitung: Nicole A

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Dadaistische Fotografie: Zur Kunst Der Fotomontage Bachelorseminar Herbstsemester 2014, Teilgebiet C (Moderne), 9 ECTS-Punkte Leitung: Nicole A Kunsthistorisches Institut, Universität Zürich Lehrstuhl Geschichte der bildenden Kunst, Prof. Dr. Bettina Gockel: http://www.khist.uzh.ch/chairs/bildende/lehre.html Dadaistische Fotografie: Zur Kunst der Fotomontage Bachelorseminar Herbstsemester 2014, Teilgebiet C (Moderne), 9 ECTS-Punkte Leitung: Nicole A. Krup, M.A. ([email protected]) Mi. 14-15:45 Uhr; Sprechstunde in der Regel nach der Sitzung Sprache: Englisch und Deutsch „Die Dadaisten anerkennen als einziges Programm die Pflicht, zeitlich und örtlich das gegenwärtige Geschehen zum Inhalt ihrer Bilder zu machen, weswegen sie auch nicht Tausend und eine Nacht oder Bilder aus Hinterindien, sondern die illustrierte Zeitung und die Leitartikel der Presse als Quell ihrer Produktion ansehen. „Betrachten wir uns unter diesen Gesichtspunkten einige Bilder.“ - Wieland Herzfelde Aus „Zur Einführung.“ Katalog der Ersten Internationalen Dada-Messe. Kunsthandlung R. Otto burchard. Der Malik-Verlag, Abteilung Dada. Berlin, Juni 1920. Auch wenn die Dadaisten kein „einziges Programm“ hatten, stand die Fotografie, vornehmlich als Reproduktionen in den Massenmedien, als Material erster Wahl in ihrer „Produktion“. Im Rahmen dieses Bachelorseminars werden wir diesen Aufruf von Wieland Herzfelde als kritische BetrachterInnen dieses besonderen Bereiches der dadaistischen Produktion – der bald darauf nach 1920 eine Apotheose unter dem Namen „Fotomontage“ erreichte – von Berlin über den Bauhaus hinaus bis jenseits von Dada und in die Zwischenkriegszeit in Europa nach Amerika folgen, um ein Verständnis des breiten Spektrums der Ansätze zur Fotografie als schöpferische Materialien zu erlangen. Neben dem Bildmaterial stehen zudem Manifeste, Aufsätze wie die von Herzfelde und Gedichte sowie Erinnerungen und Schriften von Fotomonteuren und seinen Betrachtern im Fokus, um eine historische Kontextualisierung und Problematisierung der Ziele der Fotomontage zu ermöglichen. John Heartfield, Das Pneuma umreist die Welt. Auf der Titelseite von Der Dada 3, 1920. Zielgruppe BA-Studierende der Theorie und Geschichte der Fotografie und Kunstgeschichte Lernziele Einführung in die Geschichte des Dadaismus Einführung in die Fotogeschichte der Zwischenkriegszeit in Europa und den USA Vertiefung der Fähigkeit des wissenschaftlichen Arbeitens mit schriftlichen Primärquellen zum Dadaismus Leistungsprüfung Vorbereitung (in Gruppen von je ca. 5 Personen) eines Textes in der Lektüresitzung (24.09.) Mündlicher Vortrag und Diskussionsleitung Schriftliche Seminararbeit Semesterprogramm 17.09. Einführung: Die Dadaisten und ihre Ansätze im fotografischen Medium Verteilung der Referatsthemen 24.09. Lektüresitzung: Bergius, Hanne. Montage Und Metamechanik: Dada Berlin - Artistik von Polaritäten. Berlin: Gebr. Mann, 2000. (Auszug) Bürger, Peter. Theorie Der Avantgarde. Frankfurt a.M.: Suhrkamp, 1974. (Auszug) Kayser, Wolfgang. Das Groteske: Seine Gestaltung in Malerei und Dichtung. Oldenburg: Stalling Verlag, 1957. (Auszug) Sudhalter, Adrian. „The Self-Reflectivity of Photomontage: Writing on and Exhibiting the Medium, 1920-1931.“ In Ausst.-Kat. Cuenca u.a., Photomontage between the Wars (1918-1939), hg. v. Michael Agnew und die Fundación Juan March, Madrid, 8-22. Madrid: Fundación Juan March, 2012. 01.10. 1. George Grosz 2. John Heartfield Lektüre: Herzfelde,Wieland. „Zur Einführung.“ Katalog der Ersten Internationalen Dada-Messe. Kunsthandlung R. Otto Burchard. Der Malik-Verlag, Abteilung Dada. Berlin, Juni 1920. 08.10. 1. Hannah Höch 2. Raoul Hausmann Lektüre: Hausmann, Raoul. „Photomontage.“ In Am Anfang War Dada, hg. v. Karl Riha und Günter Kämpf. Steinbach: Anabas-Verlag Günter Kämpf, 1972. Höch, Hannah. „Die ersten Fotomontagen.” In Hannah Höch: Eine Lebenscollage, Bd. 2, „Dokumente“, hg. v. Künstlerarchiv der Berlinischen Galerie Landesmuseum für Moderne Kunst, 504-506. Berlin: Berlinische Galerie; Ostfildern-Ruit: Verlag Gerd Hatje, 1995. Original: „Několik poznámek o fotomontáži.“ In Středisko: literárni měsičnik 4, N. 1 (Brno, 1934). Übersetzt von Deutsch ins Tschechisch von František Kalivoda. 15.10. Gruppenarbeit mit Dada-Originalen: Sitzung wird in der Grafischen Sammlung des Kunsthauses Zürich (Heimplatz 1, CH-8024 Zürich) stattfinden. Lektüre: Huelsenbeck, Richard und Andere. „Dadaistisches Manifest.” In Dada Almanach, hg. v. Richard Huelsenbeck, 36-41. Berlin: Erich Reiss, 1920. 22.10. 1. Johannes Baader 2. Fotomontage im Alltag: Die Weimarer Illustrierten Lektüre: Baader, Johannes. „Reklame für mich.“ Der Dada 1, Nr. 2 (1919): 6-8. Kracauer, Siegfried. „Die Photographie.“ In Siegfired Kracauer – Schriften, Bd. 5-2, hg. v. Inka Mülder Bach, 83-97. Frankfurt am Main: Suhrkamp 1990. Original: Siegfried Kracauer, „Die Photographie.” Frankfurter Zeitung. 28 Oktober 1927. 29.10. 1. Max Ernst 2. Johannes Baargeld Lektüre: Roh, Franz. „Max Ernst und die Stückungsgraphik.“ In Das Kunstblatt 11 (1927): 397-400. Schmidt-Burkhardt, Astrid. „,Legen Sie ihr Geld in dada an!‘ oder: Wie geht man mit Baargeld um?“. In Fatagaga Dada. Max Ernst, Hans Arp, Johannes Theodor Baargeld und der Kölner Dadaismus, hg. v. Karl Riha und Jörgen Schäfer, 179-191. Giessen: Anabas Verlag, 1995. 05.11. Das Fotogramm als Fotomontage: 1. Christian Schad 2. Man Ray Lektüre: Tzara, Tristan. „Die Photographie von der Kehrseite.“ Übers. v. Walter Benjamin. In G: Zeitschrift fur elementare Gestaltung, Nr. 3 (June 1924): 39-40. Man Ray. Self Portrait. London: André Deutsch, 1963. (Auszug) 12.11. Weitere Dimensionen der (Photo)Montage 1. Dada Film 2. Kurt Schwitters Lektüre: Richter, Hans. „Dada und der Film.“ In Dada: Monographie einer Bewegung, hg. v. Willy Verkauf. Teufen: Niggli, 1957. 19.11. Fotogramme und Fotomontagen der DadafreundInnen beim Bauhaus: 1. László Moholy-Nagy 2. Marianne Brandt Lektüre: Moholy-Nagy, László. „Fotogramm und Grenzgebiete.“ In i 10: Internationale Revue 21/22 (1929): 190-192. Otto, Elizabeth. „A ‚Schooling of the Senses’: Post-Dada Visual Experiments in the Bauhaus Photomontages of László Moholy- Nagy and Marianne Brandt.“ New German Critique 107, Bd. 36, Nr. 2 (20 Juni 2009): 89–131. 26.11. Fotomontage in den USA: 1. Fotomontage in der US-Amerikanischen Populärkultur 2. Freies Thema* Lektüre: Stein, Sally. „,Good fences make good neighbors’: American resistance to photomontage between the wars.“ In Ausst.-Kat. Boston (1992), Montage and Modern Life 1919-1942, hg. v. Matthew Teitelbaum und Maud Lavin, 129-189. Cambridge, MA und London: MIT, 1992. 03.12. West Coast Dada?: 1. Jess (Jess Collins) 2. Freies Thema* Lektüre: Duncan, Robert Edward. Caesar’s Gate: Poems, 1949-50. 4. ed. Berkeley, CA: Sand Dollar, 1972. (Auszug) 10.12. Fotomontage in den 60er Jahre: 1. Romare Bearden 2. Freies Thema* Lektüre: Mercer, Kobena. „Romare Bearden, 1964. Collage as Kunstwollen.“ In Cosmopolitan Modernisms, hg. v. Kobena Mercer, 124- 145. London: Institute of International Visual Arts, 2005. 17.12. Dada und Posthumanismus: 1. Das Dada-Cyborg 2. Freies Thema* Lektüre: Biro, Matthew. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis, Minn: University of Minnesota Press, 2009. (Auszug) *Weitere Themen Dadaistische Fotomontage in Ausstellungen, z.B. die Erste Internationale Dada-Messe (Berlin, 1920), Film und Foto (Stuttgart, 1929) und Fotomontage (Berlin, 1931), usw. Gegenüberstellung von Fotomontage und der Dadaistischen Poesie (z.B. Lautgedichte, Simultangedichte) Fotomontage und die Frau Fotomontage und Kolonialismus Dada Fotomontage und die Wissenschaftsgeschichte Fotomontagen, Stadt und Architektur (z.B. Paul Citroën, Mies Van der Rohe) Dada Fotomontage und Japan (z.B. Tomoyoshi Murayama, Die MAVO-Bewegung, Okanoue Toshiko) Dadaistische Montage in den USA (Black Mountain College und Neo Dada, z.B. Robert Rauschenbergs Combines; Funk Art, z.B. Ed Kienholz, Bruce Conner) ... Weitere Literatur zur Ergänzung der Lektüre im Programm Allgemein zum Dadaismus (kleine Auswahl) Bergius, Hanne. Das Lachen Dadas: Die Berliner Dadaisten Und Ihre Aktionen. Dada. Giessen: Anabas-Verlag, 1989. Delfiner, Judith. Double-barrelled gun: Dada aux États-Unis (1945-1957). Dijon: Les Presses du Réel, 2011. Dickerman, Leah (Hg.). Ausst.-Kat. Washington u.a. (2005), Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris. Washington: National Gallery of Art, 2005. Foster, Stephen Charles (Hg.). Crisis and the Arts: The History of Dada. New York: Hall u.a., 1996. 10 Bände. Hemus, Ruth. Dada’s Women. New Haven: Yale University Press, 2009. Korte, Hermann. Die Dadaisten. Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag, 1994. Richter, Hans. Dada. Kunst und Antikunst. Köln: DuMont Schauberg, 1964. Riha, Karl und Hanne Bergius (Hg.). Dada Berlin: Texte, Manifeste, Aktionen. Stuttgart: Reclam, 1977. Allgemein zur (Photo)Montage (Auswahl) Ades, Dawn. Photomontage. London: Thames and Hudson, 1976. Haenlein, Carl-Albrecht (Hg.). Ausst.-Kat. Hannover (1979), Dada: Photographie und Photocollage. Hannover: Kestner-Gesellschaft, 1979. Jürgens-Kirchhoff, Annegret. Technik Und Tendenz Der Montage in Der Bildenden Kunst Des 20. Jahrhunderts: Ein Essay. Lahn-Giessen: Anabas-Verlag, 1978. Möbius, Hanno. Montage und Collage: Literatur, bildende Künste, Film, Fotografie, Musik, Theater bis 1933. München: Fink, 2000. Teitelbaum, Matthew und Maud Lavin (Hg.). Ausst.-Kat. Boston (1992), Montage and Modern Life, 1919-1942. Cambridge, Mass: MIT Press, 1992. Weisstein, Ulrich. „Collage, Montage, and Related Terms: Their Literal and Figurative Use in and Application to Techniques and Forms in Various Arts.“ Comparative Literature
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