Wednesday, 12 September 2012

Publication : Hans Arp

Hans Arp. Ovi Bimba
Edited by Melanie Dankbar, Juri Steiner
Text: Juri Steiner
JRP Ringier Kunstverlag AG 2012English / German
104 pages, 107 color and 8 b/w ills.
ISBN: 978-3-03764-297-9

The Zurich works
In 1916, Arp was invited by Hugo Ball to take part in the Cabaret Voltaire at Spiegelgasse 1 in Zurich. The now iconic event marked the birth of Dadaism and the beginnings of a long overdue breakthrough for Arp. "Ovi Bimba" is a revelatory publication exploring these early years of Arp’s practice, focusing on his time in Zurich during the birth of Dada to his sculptures in the 1940s and 1950s.

The publication positions these diverse pieces alongside those of Arp's fellow artists, including his wife, Sophie Taeuber-Arp. 

Thursday, 6 September 2012

Kurt Bartsch, Ralf Burmeister, Adelheid Koch-Didier, Stefan Schwar
Raoul Hausmann (1886–1971)
Werkverzeichnis – Biografie – Bibliografie.

Series: Die Deutsche Literatur (DDL)
Reihe VI: Die Deutsche Literatur zwischen 1890 und 1990
Abteilung A: Autorenlexikon

frommann-holzboog Verlag : Stuttgart 2011
16 *, 195 p. 78 ill. (11 color)
17,0 x 24,5 cm.

Read More

Saturday, 30 June 2012

An Audience of Artists

An Audience of Artists
Dada, Neo-Dada, and the Emergence of Abstract Expressionism
Catherine Craft
The University of Chicago Press 2012
336 p.
ISBN 978-0226116808

The term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art.

An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine A. Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement’s concerns about viewers, originality, and artists’ debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp’s renewed embrace of Dada in the late 1940s, Craft composes a subtle exploration of the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts.
Providing the first examination of the roots of the Neo-Dada phenomenon, this groundbreaking study significantly reassesses the histories of these three movements and offers new ways of understanding the broader issues related to the development of modern art.

Tuesday, 5 June 2012

Hugo-Ball-Almanach 2012


Studien und Texte zu Dada

Neue Folge 3, 2012

ed. by Eckhard Paul for the
City of Pirmasens and the Hugo-Ball-Gesellschaft.
Published by edition text + kritik, Munich

Hubert F. van den Berg
Deutsche »Kunst- und Kulturpropaganda« in der Galerie Dada? Die Sturm-Ausstellung und ihre Hintergründe

Maro Pionzi
Die Kunst des Schweigens. Hugo Ball zwischen Anarchie und Askese

Klaus H. Kiefer
Hugo Balls Wort-Spiele

Oliver Ruf
»Der Künstler und die Zeitkrankheit«. Zur therapeutischen Ästhetik zeitgenössischer Provenienz bei Hugo Ball

Walburga Krupp
Sophie Taeuber - Dada als Sprungbrett zur Kunst

Hugo Ball Preis

Adrian Notz
Das siebte Jahr im Cabaret Voltaire

Hugo Ball: Byzantinisches Christentum / hrsg. von Bern Wacker (Gabriele Guerra)

Hugo Ball. Der magische Bischof der Avanbtgarde / hrsg. von Michael Braun (Thomas Keith)

Robert Hodonyi: Herwarth Waldens »Sturm« und die Architektur. Eine Analyse zur Konvergenz der Künste in der Berliner Moderne (Robert Krause)

Friday, 13 April 2012

Zenit, Svetokret, Dada tank, Dada Jok and Dada Jazz

Zenit, Svetokret, Dada tank, Dada Jok and Dada Jazz
The Complete Reprint of the avant-garde magazines first published in
Zagreb and Belgrade 1921-1926. It is a limited edition of 320 copies, with all the copies numbered.

The reprint consists of a total of 42 volumes and foreword including data about the edition and an Introduction in English.

All the issues of the journal Zenit (1-43) have been reprinted, in 36 volumes as well as the Zenithist Manifesto, the journals Svetokret, Dada Tank (uncensored edition), Dada Tank 2nd edition (censored), Dada Jok, Dada Jazz and the manifesto Nemo propheta in patria.

The edition faithfully reproduces the journal from the time of its publication in the 1920s.

For more information see the online flyer.