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Dada in Zurich – Cabaret Voltaire -‐ h�p://www.youtube.com/watch?v=�l92oV1kMc Hugo Ball in his “Magical Bishop” costume Marcel Janco, Mask, c. 1919, Paper, cardboard, at the Cabaret Voltaire, Zurich, June 1916 string, gouache, and pastel, 45 x 22 5 cm Umberto Boccioni, Futurist Evening in Milan, 1911 Hugo Ball in his “Magical Bishop” costume at the Cabaret Voltaire, Zurich, June 1916 context WWI trenches, Belgium, 1917 Marcel Duchamp, Fountain, 1917/1964, porcelain urinal, paint, 36 x 48 x 61 cm Ready-made Useless machines à nonsense, anti- functional, anti-rational, anti-art Contradicts viewer’s expectations: 1) quality of the object / craft of the artist vs. ART ABOUT MEANING 2)rare/ unique=precious vs. Marcel Duchamp, INDUSTRIAL, MASS- Fountain, 1917/1964, PRODUCED porcelain urinal, paint, 36 3) aesthetic (beautiful) vs. x 48 x 61 cm FUNCTIONAL ABSENCE OF GOOD/ BAD TASTE Piero Manzoni, Artist’s Shit, 1961 art as a permanent provocation Focus on the gallery as a frame Man Ray, Lovingly Rrose Selavy Alias Marcel Duchamp, 1921 Cindy Sherman, from the series: Un�tled (Film S�lls) , 1977-‐80 Dada Fair, Berlin 1920 Dada Berlin – Dada Fair 1920 1) Fragmenta�on and clash Hannah Hoch, Cut with the kitchen knife through the beer belly of the Weimar Republic, c. 1919, collage cm 114 x 89.8 Dada Berlin – Dada Fair 1920 1) Fragmenta�on and clash 2) From collage to photomontage (against cubist aesthe�cism) 3) An�-‐bourgeois, an�-‐mass media, an�-‐sexism Hannah Hoch, Cut with the kitchen knife through the beer belly of the Weimar Republic, c. 1919, collage cm 114 x 89.8 From photomontage to new narra�ve Avant-‐garde and propaganda Hear�ield, Those who read bourgeois newspapers become deaf and dumb, 1930 Hear�ield, The Meaning of the Hear�iield, Adolf, the Superman, Swallows Hitler Salute: Li�le Man Asks for Gold and Spouts Junk, 1932 Big Gi�s, 1932 .

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Jews in Dada: Marcel Janco, Tristan Tzara, and Hans Richter
1 Jews in Dada: Marcel Janco, Tristan Tzara, and Hans Richter This lecture deals with three Jews who got together in Zurich in 1916. Two of them, Janco and Tzara, were high school friends in Romania; the third, Hans Richter, was German, and, probably unbeknown to them, also a Jew. I start with Janco and I wish to open on a personal note. The 'case' of Marcel Janco would best be epitomized by the somewhat fragmented and limited perspective from which, for a while, I was obliged to view his art. This experience has been shared, fully or in part, by my generation as well as by those closer to Janco's generation, Romanians, Europeans and Americans alike. Growing up in Israel in the 1950s and 60s, I knew Janco for what he was then – an Israeli artist. The founder of the artists' colony of Ein Hod, the teacher of an entire generation of young Israeli painters, he was so deeply rooted in the Israeli experience, so much part of our landscape, that it was inconceivable to see him as anything else but that. When I first started to read the literature of Dada and Surrealism, I was surprised to find a Marcel Janco portrayed as one of the originators of Dada. Was it the same Marcel Janco? Somehow I couldn't associate an art scene so removed from the mainstream of modern art – as I then unflatteringly perceived 2 the Israeli art scene – with the formidable Dada credentials ascribed to Janco. Later, in New York – this was in the early 1970s – I discovered that many of those well-versed in the history of Dada were aware of Marcel Janco the Dadaist but were rather ignorant about his later career.
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The Art of Nothingness: Dada, Taoism, and Zen
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Narratives Crossing Borders: the Dynamics of Cultural Interaction
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Dadaism Curtis Carter Marquette University, [email protected]
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