Speculation and Inflation
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Johannes Baader's Postwar Plasto-Dio-Dada-Drama And
Dada/Surrealism ISSN 0084-9537 No. 21 DOI: 10.17077/0084-9537.1336 Exhibiting Dada and Surrealism pps. 1-16 Johannes Baader’s Postwar Plasto-Dio-Dada-Drama and German War Exhibitions during World War I Katharina Hoins Hamburger Kunsthalle accessible This work has been identified with a http://rightsstatements.org/vocab/InC/1.0/">Rights Statement In Copyright. Copyright © 2017 Katharina Hoins This work has been identified with a http://rightsstatements.org/vocab/InC/1.0/">Rights Statement In Copyright. Recommended Citation Hoins, Katharina. "Johannes Baader’s Postwar Plasto-Dio-Dada-Drama and German War Exhibitions during World War I." Dada/Surrealism 21 (2017): 1-16. Available at: https://doi.org/10.17077/0084-9537.1336 Hosted by Iowa Research Online This Theme Essay is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Dada/Surrealism by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. Johannes Baader’s Postwar Plasto-Dio-Dada-Drama and German War Exhibitions during World War I Katharina Hoins Figure 1:Johannes Baader, Plasto-Dio-Dada- Figure 2: Trophy arrangement, German Drama, 1920. War Exhibition Freiburg, 1916. “The World War is a newspaper war. In reality, it never existed,” Johannes Baader proclaimed in 1920 in the Dada Almanach, with regard to his assemblage the Plasto- Dio-Dada-Drama. “So one should never believe newspapers. It’s all eyewash. From the first reports of the mobilization, to Liège, the Battle of the Marne, the retreat from Russia and the armistice – the press has created the World War” (Baader, “Germany’s Greatness” 101). -
The Text and the Coming of Age of the Avant-Garde in Germany
The Text and the Coming of Age of the Avant-Garde in Germany Timothy 0. Benson Visible Language XXI 3/4 365-411 The radical change in the appearance of the text which oc © 1988 Visible Language curred in German artists' publications during the teens c/o Rhode Island School of Design demonstrates a coming of age of the avant-garde, a transfor Providence, RI 02903 mation in the way the avant-garde viewed itself and its role Timothy 0. Benson within the broader culture. Traditionally, the instrumental Robert Gore Riskind Center for purpose of the text had been to interpret an "aesthetic" ac German Expressionist Studies tivity and convey the historical intentions and meaning as Los Angeles County Museum ofArt sociated with that activity. The prerogative of artists as 5905 Wilshire Boulevard well as critics, apologists and historians, the text attempted Los Angeles, CA 90036 to reach an observer believed to be "situated" in a shared web of events, thus enacting the historicist myth based on the rationalist notion of causality which underlies the avant garde. By the onset of the twentieth century, however, both the rationalist basis and the utopian telos generally as sumed in the historicist myth were being increasingly chal lenged in the metaphors of a declining civilization, a dis solving self, and a disintegrating cosmos so much a part of the cultural pessimism of the symbolist era of "deca dence."1 By the mid-teens, many of the Expressionists had gone beyond the theme of an apocalypse to posit a catastro phe so deep as to void the whole notion of progressive so cial change.2 The aesthetic realm, as an arena of pure form and structure rather than material and temporal causality, became more than a natural haven for those artists and writers who persisted in yearning for such ideals as Total itiit; that sense of wholeness for the individual and human- 365 VISIBLE LANGUAGE XXI NUMBER 3/4 1987 *65. -
1 Hanne Bergius "JOIN DADA!"
Hanne Bergius "JOIN DADA!" ASPECTS OF DADA`S RECEPTION SINCE THE LATE 1950S Lecture for the symposium "Representing Dada", September 9, 2006 in the Museum`s Titus 1 Theater, 11 West 53rd Street, New York held in conjunction with the exhibition "Dada ", on view at the Museum of Modern Art, New York (June 18 - September 11,2006) I thank you for your invitation and I am delighted to talk to you in the context of this exhibition, which would also have made sense in Germany. The last one took place in 1994 and presented above all the Dada collection of the Kunsthaus Zürich. (1) When we now examine some aspects of Dada`s reception since the late 1950s, let us focus on two dada exhibitions: 1958 in Düsseldorf and 1977 in Berlin. They were the most important international Dada retrospectives in Germany since the " First International Dada Fair" of the Berlin Dadaists in 192o ( - beside one exhibition in 1966 which showed only documents.(2)) If "Dada. Documents of a Movement "(3) at Düsseldorf stood in the context of Neo-Dada, "Dada in Europe. Documents and Works"(4) was integrated into the larger "Tendencies of the Twenties" project as the 15th exhibition of the European Council in Berlin.(5). As the Cover of the Exhibition Catalogue of the "Tendencies of the Twenties" (1977) (Fig. 1) shows in addition to Dada , sections on Surrealism/New Objectivity, Constructivism and Architecture of the Twenties were also included. It was a very succesfull exhibition, by which Berlin capitalized in particular on the most exciting chapter in its history - the "Roaring Twenties". -
Dada Africa. Dialogue with the Other 05.08.–07.11.2016
Dada Africa. Dialogue with the Other 05.08.–07.11.2016 PRESS KIT Hannah Höch, Untitled (From an Ethnographic Museum), 1929 © VG BILD-KUNST Bonn, 2016 CONTENTS Press release Education programme and project space “Dada is here!” Press images Exhibition architecture Catalogue National and international loans Companion booklet including the exhibition texts New design for Museum Shop WWW.BERLINISCHEGALERIE.DE BERLINISCHE GALERIE LANDESMUSEUM FÜR MODERNE ALTE JAKOBSTRASSE 124-128 FON +49 (0) 30 –789 02–600 KUNST, FOTOGRAFIE UND ARCHITEKTUR 10969 BERLIN FAX +49 (0) 30 –789 02–700 STIFTUNG ÖFFENTLICHEN RECHTS POSTFACH 610355 – 10926 BERLIN [email protected] PRESS RELEASE Ulrike Andres Head of Marketing and Communications Tel. +49 (0)30 789 02-829 [email protected] Contact: ARTEFAKT Kulturkonzepte Stefan Hirtz Tel. +49 (0)30 440 10 686 [email protected] Berlin, 3 August 2016 Dada Africa. Dialogue with the Other 05.08.–07.11.2016 Press conference: 03.08.2016, 11 am, opening: 04.08.2016, 7 pm Dada is 100 years old. The Dadaists and their artistic articulations were a significant influence on 20th-century art. Marking this centenary, the exhibition “Dada Africa. Dialogue with the Other” is the first to explore Dadaist responses to non- European cultures and their art. It shows how frequently the Dadaists referenced non-Western forms of expression in order to strike out in new directions. The springboard for this centenary project was Dada’s very first exhibition at Han Coray’s gallery in Zurich. It was called “Dada. Cubistes. Art Nègre”, and back in Hannah Höch, Untitled (From an 1917 it displayed works of avant-garde and African art side by Ethnographic Museum), 1929 side. -
Dada and Surrealist Journals in the Mary Reynolds Collection
Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States. -
The False Gods of Dada
The false Gods of Dada: on Dada Presentism by Maria Stavrinaki A new book on the movement draws lessons on the dangers of eclecticism by Pac Pobric | 13 May 2016 | The Art Newspaper Artists at the First International Dada Fair in Berlin, June 1920. In the final chapter of the art historian Maria Stavrinaki's new book, Dada Presentism, she imagines the origin of Dada as an immaculate conception. "Who, in fact, did invent Dada?" she asks. "Everyone and no one." Amidst the devastation of the First World War, with Enlightenment optimism in ruin, Dada arrived as a miraculous redeemer. Stavrinaki echoes the German Dadaist Richard Huelsenbeck, who wrote in his 1920 history of the movement that "Dada came over the Dadaists without their knowing it; it was an immaculate conception, and thereby its profound meaning was revealed to me." Throughout her book, Stavrinaki hews closely to this clerical line, offering essentially theological claims about the movement. In the collages of Raoul Hausmann and the masks of Marcel Janco, Stavrinaki sees God-like reconciliation of all opposites. The Dadaists were both Futurists, with all the attendant utopian aspiration that implies, and Primitivists, insofar as they were fascinated by mythical history. "For those intellectuals and artists who found neither comfort in the past nor in the future, the only remaining choice was to gain a foothold in the present", Stavrinaki writes—a present characterised, above all, by its openness to all possibility. Dada's "presentism"—its absorption of all that had come and all that was to be— allowed for omniscience and absolute artistic opportunity. -
Biblioteca Di Studi Di Filologia Moderna – 37 –
BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA – 37 – DIPARTIMENTO DI LINGUE, LETTERATURE E STUDI INTERCULTURALI Università degli Studi di Firenze Coordinamento editoriale Fabrizia Baldissera, Fiorenzo Fantaccini, Ilaria Moschini Donatella Pallotti, Ernestina Pellegrini, Beatrice Töttössy BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA Collana Open Access del Dipartimento di Lingue, Letterature e Studi Interculturali Direttore Beatrice Töttössy Comitato scientifico internazionale Enza Biagini (Professore Emerito), Nicholas Brownlees, Martha Canfield, Richard Allen Cave (Emeritus Professor, Royal Holloway, University of London), Piero Ceccucci, Massimo Ciaravolo (Università Ca’ Foscari Venezia), John Denton, Anna Dolfi, Mario Domenichelli (Professore Emerito), Maria Teresa Fancelli (Professore Emerito), Massimo Fanfani, Fiorenzo Fantaccini (Università degli Studi di Firenze), Paul Geyer (Rheinische Friedrich-Wilhelms-Universität Bonn), Ingrid Hennemann, Sergej Akimovich Kibal’nik (Institute of Russian Literature [the Pushkin House], Russian Academy of Sciences; Saint-Petersburg State University), Ferenc Kiefer (Research Institute for Linguistics of the Hungarian Academy of Sciences; Academia Europaea), Michela Landi, Murathan Mungan (scrittore), Stefania Pavan, Peter Por (CNRS Parigi), Gaetano Prampolini, Paola Pugliatti, Miguel Rojas Mix (Centro Extremeño de Estudios y Cooperación Iberoamericanos), Giampaolo Salvi (Eötvös Loránd University, Budapest), Ayşe Saraçgil, Rita Svandrlik, Angela Tarantino (Università degli Studi di Roma ‘La Sapienza’), Maria -
Raoul Hausmann and Berlin Dada Studies in the Fine Arts: the Avant-Garde, No
NUNC COCNOSCO EX PARTE THOMAS J BATA LIBRARY TRENT UNIVERSITY Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/raoulhausmannberOOOObens Raoul Hausmann and Berlin Dada Studies in the Fine Arts: The Avant-Garde, No. 55 Stephen C. Foster, Series Editor Associate Professor of Art History University of Iowa Other Titles in This Series No. 47 Artwords: Discourse on the 60s and 70s Jeanne Siegel No. 48 Dadaj Dimensions Stephen C. Foster, ed. No. 49 Arthur Dove: Nature as Symbol Sherrye Cohn No. 50 The New Generation and Artistic Modernism in the Ukraine Myroslava M. Mudrak No. 51 Gypsies and Other Bohemians: The Myth of the Artist in Nineteenth- Century France Marilyn R. Brown No. 52 Emil Nolde and German Expressionism: A Prophet in His Own Land William S. Bradley No. 53 The Skyscraper in American Art, 1890-1931 Merrill Schleier No. 54 Andy Warhol’s Art and Films Patrick S. Smith Raoul Hausmann and Berlin Dada by Timothy O. Benson T TA /f T Research U'lVlT Press Ann Arbor, Michigan \ u » V-*** \ C\ Xv»;s 7 ; Copyright © 1987, 1986 Timothy O. Benson All rights reserved Produced and distributed by UMI Research Press an imprint of University Microfilms, Inc. Ann Arbor, Michigan 48106 Library of Congress Cataloging in Publication Data Benson, Timothy O., 1950- Raoul Hausmann and Berlin Dada. (Studies in the fine arts. The Avant-garde ; no. 55) Revision of author’s thesis (Ph D.)— University of Iowa, 1985. Bibliography: p. Includes index. I. Hausmann, Raoul, 1886-1971—Aesthetics. 2. Hausmann, Raoul, 1886-1971—Political and social views. -
De Stijl Presentation Cdul
Dadaism and De Stijl In Europe The Emergence of Dadism during WW1 and the Rebirth of Order with the De Stijl Design and the World in Transition: Before and after WW1 , new concepts and forms emerged in the form of art and design movements: 1. Art Nouveau 2. Expressionism 3. Futurism 5. Cubism Influencing these emergent trends were new ideas, technologies, materials and political and social change and upheaval. Seen as part of a desire to return to order, the De Stijl movement was a natural response to the chaos that corresponded with the events of WW1. The Emergence of Dadaism • Dadaism was a cultural movement that was concentrated on anti-war politics which then made its way to the art world through art theory, art manifestoes, literature, poetry and eventually graphic design and the visual arts. The movement, although Dadaists would not have been happy calling it a movement, originated in Switzerland and spread across Europe and into the United States, which was a safe haven for many writers during World War I. An anti-art movement, Dadaists attempted to break away from the styles of traditional art aesthetics as well as rationality, of any kind. They produced a great many publications as a home for their writings and protest materials which were handed out at gatherings and protests. The visual aesthetics associate with the movement often include found objects and materials combined through collage. Marcel Duchamp, Fountain 1917 Quite literally inverting Reality, a urinal upended and signed by Duchamp with the Name ‘Mott’, the plumbing supply chain that sold it to him. -
RARE Periodicals Performance ART, Happenings, Fluxus Etc
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES rare PeriodicAlS Please ask for our Catalogues and come to visit us at: per fORMANcE ART, HappENINgS, http://antiq.benjamins.com flT UxUS E c. RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 297 Underground and Counterculture and much more Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received. -
Dada Futures: Inflation, Speculation, and Uncertainty in Der Dada No
UC Berkeley TRANSIT Title Dada Futures: Inflation, Speculation, and Uncertainty in Der Dada No. 1 Permalink https://escholarship.org/uc/item/4043n8kj Journal TRANSIT, 10(2) Author Beals, Kurt Publication Date 2016 DOI 10.5070/T7102031160 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Beals: Dada Futures: Inflation, Speculation, and Uncertainty in Der Dada No. 1 Dada Futures: Inflation, Speculation, and Uncertainty in Der Dada No. 1 TRANSIT vol. 10, no. 2 Kurt Beals Introduction In June 1919, shortly before the signing of the Treaty of Versailles, the Berlin Dadaists Raoul Hausmann and Johannes Baader published the first issue of their magazine Der Dada.1 Although it comprised a mere eight pages, Der Dada No. 1 was hardly thin on ambition. Like the treaty itself, the magazine claimed to usher in a new era: Its first page proclaimed, “Die neue Zeit beginnt mit dem Todesjahr des Oberdada,” a reference to Baader, who had intentionally fed false rumors of his own demise to the German press (Fig. 1). From the very beginning, then, this magazine presented itself as a decisive break with the past, and heralded a radically different future. On subsequent pages, the magazine tackled topics ranging from politics to economics to religion, its tone veering from the polemical to the plainly satirical, punctuated by non-sequiturs, chaotic typography, and Hausmann’s rough-hewn woodcuts. One common thread amidst this diversity was a concern with the future, and above all with its manifest uncertainty. As the present article will demonstrate, such uncertainty gave rise to a distinctive attitude towards the future that can be recognized throughout the issue: an attitude of speculation. -
Francis Picabia's Anti-Art Anti-Christ
Jésus-Christ Rastaquouère: Francis Picabia’s Anti-Art Anti-Christ Sarah Hayden Jésus-Christ Rastaquouère was published in Paris in the autumn of 1920.1 After protracted, ultimately abortive, negotiations with René Hilsum and Bernard Grasset, it was produced at Francis Picabia’s own expense under the ‘Collection Dada’ imprint of Paris bookseller-publishers, Au Sans Pareil, and distributed by Jacques Povlovsky’s Librairie-Galerie La Cible.2 The fact that Ezra Pound was an early proponent of Picabia’s writing is not surprising; the fact that his enthusiastic early reading of Jésus-Christ Rastaquouère has not been succeeded by extensive further scholarship certainly is. Having dismissed Picabia in 1916 as a proponent of ‘modern froth’,3 by 1921 Pound was willing to praise his prowess ‘not exactly as a painter, but as a writer’.4 In the same year, Pound 1. Francis Picabia, Jésus-Christ Rastaquouère (Paris: Au Sans Pareil, 1920), hereafter JCR in the text. Translators and critics have offered various glosses on the book’s title. See Michel Sanouillet, Francis Picabia et 391, vol. 2 (Paris: Eric Losfeld, 1966), p. 123, and Francis Picabia, I am a Beautiful Monster: Poetry, Prose and Provocation, ed. and trans. by Marc Lowenthal (Cambridge, MA: MIT, 2007), p. 223. Picabia also used the ‘rasta’ prefix in his visual art of this period, including Tableau rastadada (1920) (collage on paper, 19 x 17 cm), and Le Rastaquouère (1920). The latter of these was exhibited at the Salon d’automne, Paris, October 1920. For an illuminating treatment of the Tableau rastadada, see George Baker, ‘Long live Daddy’, October, 105 (2003), 37–72.