Dada Universal

Schweizerisches Landesmuseum Zürich
05.02.2016 – 28.03.2016

URL: www.nationalmuseum.ch/d/microsites/2016/Zuerich/Dada.php

‘DADA WAS THERE BEFORE THERE WAS DADA.’
The National Museum Zurich is holding an exhibition in 2016 to commemorate the 100-year anniversary of the birth of Dadaism. The exhibition not only features works of Dada art and literature but also examines the global and universal impact of the Dada movement right up to the present day. A highlight of the exhibition is the legendary ‘Fountain’ by Marcel Duchamp, the ‘Mona Lisa’ of Dadaism. And in a whirl through time and space, the Dada esprit comes alive through objects, projections and sound poems, involving all the human senses. Because: ‘DADA EST TATOU. TOUT EST DADA.’

^{Sophie Taeuber-Arp, Portrait Hans Arp, 1918, Holz gedrechselt, bemalt.
Privatbesitz.}

Dadaglobe Reconstructed

Kunsthaus Zurich

5 February – 1 May 2016

Dadaglobe’ brings together the more than two hundred artworks and texts that were sent to Tristan Tzara in 1921 by artists from all over Europe. This epochal but hitherto unpublished book project is finally being realized to mark the 100th anniversary of Dada’s foundation. After years of research, contributions that have since been dispersed around the globe have been assembled once again for an exhibition that is a milestone in recent Dada research. The presentation comprises self-portraits, photomontages and collages, drawings, book page designs, poems and essays as well as manuscripts, printed matter and revealing historical documents. ‘Dadaglobe’ is an impressive survey of the artistic diversity, socio-political relevance and art-historical impact of Dada. With contributions by Hans Arp, André Breton, Max Ernst, Hannah Höch, Sophie Taeuber-Arp and some 30 other artists.
The exhibition will be shown at the Museum of Modern Art, New York, from June 2016.

Also in 2016  (3 June – 25 September 2016 ): Francis Picabia. A Retrospective.
More information on : DADA Zurich 100 2016.

TaTa Dada

The Real Life and Celestial Adventures of Tristan Tzara       

By Marius Hentea

The MIT Press, 2014

URL: http://mitpress.mit.edu/books/tata-dada

 

Overview

Tristan Tzara, one of the most important figures in the twentieth century’s most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenstok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist.

 

As the leader of Dada, Tzara created “the moment art changed forever.” But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara’s early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara’s life and works after Dada. The one thing that remained constant through all of Tzara’s artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. [text publisher]

Hugo Ball Almanach 2014

Studien und Texte zu Dada
Neue Folge 5, 2014

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

www.etk-muenchen.de/





Contents 5 (2015)

Hans Richter Encounters – “From Dada till today”

Hans Richter
Berliner Festspiele
Martin Gropius Bau, Berlin
27 March to 30 June 2014
URL: www.berlinerfestspiele.de/.../ausstellung_hans_richter/


The oeuvre of Hans Richter (1888-1976) spanned nearly seven decades. Born in Berlin, he was one of the most significant champions of modernism. Berlin, Paris, Munich, Zurich, Moscow and New York were the major stations of his life. He was a painter and draughtsman, a Dadaist and a Constructivist, a film maker and a theoretician, as well as a great teacher. His great scroll collages remain icons of art history to this day. His work is characterised by a virtually unparalleled interpenetration of different artistic disciplines. The link between film and art was his major theme. Many of the most famous artists of the first half of the twentieth century were among his friends.

Dada-Archive donated to Museum Dr8888, the Netherlands

Dutch writer and art-critic K. Schippers donated his Dada archive to the Museum  Dr8888 in Drachten, the Netherlands. The museum is specialized in Dutch Dada. The archive consists of letters, clippings and photographs of Dutch Dada artists as Paul Citroen, Otto van Rees, Hendrik Werkman and the brothers Thijs and Evert Rinsema. The material was collected for his book Holland Dada, published in 1974. The museum plans to digitize the archive.


The donation will be part of the exhibition 'Holland Dada' and on view from April 12 to June 1, 2014 in Museum Dr8888.

Remediating the Avant-Garde

Magazines and Digital Archives

October 25–26, 2013 | Princeton University

This interdisciplinary conference will explore the conceptual and practical ground where traditional area studies, periodical studies, digital humanities, computer science, and library and information science converge.

We are interested in how these fields inform each other and challenge us to think and create in new ways, both as builders of digital resources and as scholars and teachers of avant-garde periodicals.

Click here for more information.

The Star Alphabet of E.L.T. Mesens

Dada and Surrealism in Brussels, Paris and London

The Star Alphabet of E.L.T. Mesens
Mu.Zee, Oostende
July 6-November 11, 2013
website: http://www.muzee.be/mesens/

Édouard Léon Théodore Mesens (1903-1971) was one of the most important international protagonists in the art world of the first half of the 20th century. He was a flamboyant and talented artist: a musician, poet, publisher, photographer, curator, art dealer and collector. This exhibition brings the fascinating story of Dadaism and Surrealism to life via Mesens’ exceptional collages, writings and publications.

Part of the Surrealist movement from the very beginning, E.L.T. Mesens was one of its most powerful driving forces. He played an active role in the European international art scene and, from as early as the 1920s, could count people like the Romanian poet Tristan Tzara, the Dutch artist Theo van Doesburg and the French composer Erik Satie as friends.
 

Mesens is the man who gave René Magritte international fame and who introduced Surrealism to England. He was friends with numerous artists, including Roland Penrose, Lee Miller, Kurt Schwitters, Max Ernst, André Breton and Man Ray. From 1938 to 1950 he was director of The London Gallery where René Magritte, Paul Delvaux, Giorgio de Chirico and Pablo Picasso all exhibited their work. Mesens completely dedicated his life to poetry and the imagination. In the 1950s, he focused on making collages and initiated major exhibitions in the Casino of Knokke.
 

Discover Dada and Surrealism in Brussels, Paris and London. The exhibition The Star Alphabet of E.L.T. Mesens contains numerous works of art, writings and archive photos by René Magritte, Man Ray, Lee Miller, Paul Klee, Max Ernst, Pablo Picasso, Salvador Dali, Paul Delvaux, Yves Tanguy, Amedeo Modigliani, Desmond Morris, Kurt Schwitters and many others!

 

A catalogue is available.

Forthcoming Publications

Generation Dada
The Berlin Avant-Garde and the First World War
Michael White
Yale University Press
Publication date: 31 Oct 2013
ISBN: 9780300169034
288 pages - 20 colour images + 130 black-&-white illustrations
See more at: http://yalebooks.co.uk/display.asp?K=9780300169034


For the Berlin Dadaists, their identity as a collective - Club Dada, to members - was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann and Johannes Baader - renamed Propaganda Marshall, Monteurdada, Dadasoph and Oberdada within the organization - have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group's beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality. Studying how the Dadaists saw themselves as a new generation - in contrast to their pacifist forbears, the Expressionists - the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.

After Dada
Marta Hegemann and the Cologne avant-garde
Dorothy Rowe
Manchester University Press
Publication date: September 2013
ISBN 978-0-7190-9007-3
240 pages -
See more at: http://www.manchesteruniversitypress.co.uk/cgi-bin/indexer?product=9780719090073

What happened in 1920s Cologne ‘after Dada’? Whilst most standard accounts of Cologne Dada simply stop with Max Ernst’s departure from the city for a new life as a surrealist in Paris, this book reveals the untold stories of the Cologne avant-garde that prospered after Dada but whose legacies have been largely forgotten or neglected. It focuses on the little-known Magical Realist painter Marta Hegemann (1894–1970). By re-inserting her into the histories of avant-garde modernism, a fuller picture of the gendered networks of artistic and cultural exchange within Weimar Germany can be revealed. This book embeds her activities as an artist within a gendered network of artistic exchange and influence in which Ernst continues to play a vital role amongst many others including his first wife, art critic Lou Straus-Ernst; photographers August Sander and Hannes Flach; artists Angelika Fick, Heinrich Hoerle, Willy Fick and the Cologne Progressives and visitors such as Kurt Schwitters and Katherine Dreier.

Oxford History of Modernist Magazines

The Oxford Critical and Cultural History of Modernist Magazines.

Volume III: Europe 1880-1940
Edited by Peter Brooker, Sascha Bru, Andrew Thacker, and Christian Weikop
Oxford University Press        

1,528 pages

ISBN 978-0-19-965958-6                                                    

The third of three volumes devoted to the cultural history of the modernist magazine in Britain, North America, and Europe, this collection contains fifty-six original essays on the role of 'little magazines' and independent periodicals in Europe in the period 1880-1940. It demonstrates how these publications were instrumental in founding and advancing developments in European modernism and the avant-garde.

Expert discussion of approaching 300 magazines, accompanied by an illuminating variety of cover images, from France, Italy, Germany, Spain and Portugal, Scandinavia, Central and Eastern Europe will significantly extend and strengthen the understanding of modernism and modernity. The chapters are organised into six main sections with contextual introductions specific to national, regional histories, and magazine cultures. Introductions and chapters combine to elucidate the part played by magazines in the broader formations associated with Symbolism, Expressionism, Futurism, Dada, Surrealism, and Constructivism in a period of fundamental social and geo-political change. Individual essays, situated in relation to metropolitan centres bring focussed attention to a range of celebrated and less well-known magazines, including Le Chat Noir, La Revue blanche, Le Festin d'Esope, La Nouvelle Revue Française, La Révolution Surréaliste, Documents,De Stijl, Ultra, Lacerba, Energie Nouve, Klingen, Exlex, flamman, Der Blaue Reiter, Der Sturm, Der Dada, Ver Sacrum, Cabaret Voltaire, 391, ReD, Zenit, Ma, Contemporanul, Formisci, Zdroj, Lef ,and Novy Lef .

Contents

Peter Brooker: General Introduction: Modernity, modernism, magazines

France
Peter Brooker: Introduction
1: Diana Schiau Botea: Performing writing: Le Chat Noir (1881-95), Le Courrier français (1884-1913), Gil Blas illustré (1891-1903), Les Quat'z'arts (1897-8)
2: Alexia Kalantzis: The 'little magazine' as publishing success : Le Scapin (1885-6), La Pleiade (1886-90), Le Mercure de France (1890-1965)
3: Elisa Grilli and Evanghelia Stead: Between symbolism and avant-garde poetics: La Plume (1889-1905), L'Ermitage (1890-1906), and La Revue blanche (1890-1905)
4: Anne-Rachel Hermetet: Modern classicism: La Nouvelle Revue française (1909-43) and Commerce (1924-32)
5: Willard Bohn: Apollinaire and 'the new spirit': Le Festin d'Esope (1903), Les Soirées de Paris (1912 -June 1913; Nov. 1913- July 1914), L'élan (1915-Feb 1916; Dec.1916)
6: Simon Dell: After Apollinaire: SIC (1916-19), Nord-Sud (1917-18) and L'Esprit Nouveau (1920-5)
7: David Hopkins: Proto-Dada. The New York connection: The Ridgefield Gazook (1915), The Blind Man (1917), Rongwrong (1917), 391 (1917), TNT (1919), New York Dada (1921)
8: Ruth Hemus: A Dada Season: 391 (1919-24), Cannibale (1920), Projecteur (1920), Dada (1920-1), Le Coeur à Barbe (1922)
9: John Attridge: Eclecticism and its discontents: Les Ecrits nouveaux (1917-22) and La Revue européenne (1923-31)
10: Raymond Spiteri: 'Que faire les surréalistes?': Littérature (1919-24), La Révolution surréaliste, (1925-9), Le Surréalisme au service de la révolution, (1930-3)
11: Eric Robertson: 'A shameless, indecent saintliness': Georges Bataille, Documents (1929-31), and Acéphale (1936-9)
12: Jed Rasula: Dangerous games and new mythologies: Cercle et Carré (1930), Art Concret (1930), Abstraction-Création (1932-5); Minotaure (1933-9).

The Low Countries
Sascha Bru: Introduction
13: Sascha Bru: 'The will to style': the Dutch contribution to the avant-garde: Leiden: De Stijl (1917-32), Mécano (1922-3), Amsterdam: Wendingen (1918-32), i10 (1927-9), Groningen: The Next Call (1923-6)
14: Daphné de Marneffe: Antwerp circles.Languages, locality, and internationalism: Ontwaking (1896, 1901-1910), De Boomgaard (1909-11), Résurrection (1917-18), Het Roode Zeil (1920), Sélection (1920-33), Ruimte (1920-1), Het Overzicht (1921-5), De Driehoek (1925-6), Lumière (1919-23), Ça Ira (1920-3)
15: Francis Mus and Hans Vandevoorde: 'Streetscape of new districts permeated by the fresh scent of cement'. Brussels, the avant-garde, and internationalism: La Jeune Belgique (1881-7), Van Nu en Straks (1893-1901), L'Art libre (1919-22), Le Disque Vert (1922-5), Variétés (1928-30), 7 Arts (1922-8).

Spain and Portugal
Peter Brooker: Introduction
16: Lori Cole: Madrid. Questioning the avant-garde: Helios (1903-4), El Nuevo Mercurio (1907), Prometeo (1908-12), Los Quijotes (1915-18), Cosmópolis (1919-1922), Grecia (1918-20), Ultra (1921-2), Ambos (1923), Litoral (1926-7,1929), Mediodía (1926-9), Carmen y Lola (1927-9), La Gaceta Literaria (1927-32), and Gallo (1928).
17: Geoff West: 'Noucentisme' and the avant-garde in Barcelona (1916-36) : La Revista. Quaderns de publicació quinzenal (1915-36) Vell i nou. Revista d'art (1915-19, 1920-1), Revista nova (1914, 1916-17), 391 (1917), Troços (1916, 1917-18) ; L'Instant. Revue franco-catalane d'art et littérature (1918-19), Un enemic del poble (1917-19), Arc-voltaic (1918), Proa (1921), L'Amic de les arts (1926-8), Hèlix (1929-30), A.C. Documentos de actividad contemporánea (1931-7), D'ací i d'allà (1918-36).
18: Clara Rocha: Modernist magazines in Portugal. Orpheu and its legacy: Orpheu (1915), Exílio (1916), Centauro (1916), Portugal Futurista (1917), Contemporânea (1915, 1922-6), Athena (1924-5), Sudoeste (1935), Presença (1927-38; 1939-40).

Italy
Sascha Bru (MDRN): Introduction
19: Francesca Billiani: Political and aesthetic transgressions. Florentine reviews à la mode: Il Marzocco (1896-1932), Il Regno (1903-5), Il Leonardo (1903-7), Hermes (1904), and La Voce (1908-14)
20: Luca Somigli: Past-loving Florence and the temptations of futurism: Lacerba (1913-15), Quartiere Latino (1913-14), L'Italia futurista (1916-18), La Vraie Italie (1919-20)
21: Mariana Aguirre: The return to order in Florence: Il Selvaggio (1924-43), Il Frontespizio (1929-40), Pègaso (1929-33), Campo di Marte (1938-9)
22: Eric Bulson: Milan, the 'rivista', and the de-provincialization of Italy: Le Papyrus (1894-6), Poesia (1905-09), Il Convegno (1920-40), Pan (1933-5), Corrente di vita giovanile (1938-40)
23: Vivien Greene: Bizantium and emporium: fine-secolo magazines in Rome and Milan: Fanfulla della Domenica (1879-1919), Cronaca Bizantina (1881-6), Il Convito (1895-1907), Cronaca d'Arte (1890-2), Vita Moderna (1892-5), Emporium (1895-1964)
24: Chris Michaelides: Futurist Periodicals in Rome (1916-39). From effervescence to disillusionment: Avanscoperta (1916-17), Cronache d'attualità (1916-22), Noi (1917-25), Roma futurista (1918-20), Dinamo: Rivista futurista (1919), Le Futurisme (1922-31), La Ruota dentata (1927), 2000 Giornale della rivoluzione artistica (1929), Futurismo (May 1932- Nov. 1933), Sant'Elia (Oct. 1933-Sept. 1934), Artecrazia (Oct. 1934- Jan. 1939).
25: Arianna Bove: 'The old was dying but the new could not be born'. Revolutionary magazines in Turin: Energie Nuove (1918-20), L'Ordine Nuovo (1919-20), Rivoluzione Liberale (1922-4), Il Baretti (1924-6).

Scandinavia
Peter Brooker: Introduction
26: Bjarne Søndergaard Bendtsen: Copenhagen. From the ivory tower to street activism: Ny Jord (1888-9), Taarnet (1893-4), Ungt Blod (1895-6), Vagten (1899-1900); Klingen (1917-20); Kværnen (1920), Buen (1924-25), Sirius (1924-25), Kritisk Revy (1926-8); Baalet (1921-2), Bjerget (1923), Pressen (1923-4), I Morgen (1925,1927); Clarté (1926-7), Monde (1928-31); linien (1934-9), konkretion (1935-6)
27: Eirik Vassenden: Norway. The Province and its Metropolites: Impressionisten (1886-90), Exlex (1919-20), PLAN (1933-6)
28: Mats Jansson: Crossing borders. Modernism in Sweden and the Swedish-speaking part of Finland: Thalia (1909-13), Ny konst (1915), flamman (1917-21), Ultra (1922), Quosego (1928-9), kontakt (1931), Spektrum (1931-3) and Karavan (1934-5).

Germany, Austria, Switzerland
Christian Weikop: Introduction
29: Timothy W. Hiles: Reality and utopia in Munich's premier magazines: Simplicissimus (1896-1944) and Jugend (1896-1940).
30: Jessica Horsley: 'There you have Munich': Der Blaue Reiter (1912), Revolution (1913), Der Weg (1919)
31: Andreas Kramer: Between art and activism: Pan (1895-1900; 1910-15), Die weissen Blätter (1913-21), Das neue Pathos (1913-19); Marsyas (1917-19)
32: Douglas Brent McBride: A critical mass for modernism in Berlin: Der Sturm (1910-1932), Die Aktion (1911-1932), Sturm-Bühne (1918-1919)
33: Christian Weikop: Transitions: from Expressionism to Dada: Neue Jugend (1914; 1916-17), Die freie Strasse (1915-18), Club Dada (1918)
34: Christian Weikop: Berlin Dada and the carnivalesque: Jedermann sein eigner Fussball (1919) and Der Dada (1919-20)
35: Sabine T. Kriebel: Radical left magazines in Berlin: Die Pleite (1919, 1923-4); Der blutige Ernst (1919); Der Gegner (1919-22); Der Knüppel (1923-7); Eulenspiegel (1928-31); AIZ/VI (1924-38)
36: Stephen Bury: 'Not to adorn life but to organize it': Veshch. Gegenstand. Objet: Revue internationale de l'art moderne (1922), G (1923-6)
37: Erika Esau: 'The magazine of enduring value': Der Querschnitt (1921-36) in context
38: Kathleen Chapman: Dresden. 'Collectivity is dead, long live mankind': Der Komet (1918-19), Menschen (1918-21), Neue Blätter für Kunst und Dichtung (1918-21)
39: Timothy O. Benson: Hamburg and Kiel: Radical Bildungsbürgertum: Die Schöne Rarität (1917-1919), Die Rote Erde (1919-1923), Der Sturmreiter (1919-1920), Kündung
40: Lynette Roth: Cologne.The magazine as artistic and social imperative:Der Ventilator (1919); Bulletin D (1919); Die Schammade (1920); Stupid (1920); a bis z (1929-33)
41: Dorothea Dietrich: Hannover. 'True art' and 'true DADA': Das Hohe Ufer (1919-20), Der Zweemann (1919-20), Der Marstall (1920), and Merz (1923-32)
42: Patrick Rössler: Frankfurt, Leipzig, and Dessau. 'neue typographie' - the new face of a new world: das neue frankfurt and die neue linie
43: Diane Silverthorne: Vienna's 'Holy Spring' and beyond: Ver Sacrum (1898-1903), Almanach der Wiener Werkstätte (1911), Hohe Warte (1904-9), Deutsche Kunst und Dekoration (1897-1932)
44: Edward Timms: From the Hapsburg Empire to the Holocaust: Die Fackel (1899-1936) and Der Brenner (1910-54)
45: Debbie Lewer: The avant-garde in Swiss exile 1914-20: Der Mistral (1915), Sirius (1915-16), Cabaret Voltaire (1916), Dada (1917-19), 391 (No. 8, 1918), Der Zeltweg (1919), Almanach der Freien Zeitung (1918).

East-Central Europe
Peter Brooker: Introduction
46: Nicholas Sawicki: The view from Prague: Moderní revue (1894-1925), Volné sm%ery (1896-1949), Um%elecký m%esí%cník (1911-4), Revolu%cní sborník Dev%etsil (1922), %Zivot (1923), Disk (1923-5), Pásmo (1924-6), ReD (1927-31)
47: Laurel Seely and Tyrus Miller: Avant-garde journals in the Yugoslav crucible: Zenit (Zagreb 1921-3; Belgrade 1924-6); Zagreb: Dada-Jok (1922), Dada-Tank (1922), Dada Jazz (1922); Novi Sad: Út (1922-5); Ljubljana: Svetokret (1921), Rde%ci pilot (1922), Tank (1927)
48: Éva Forgács and Tyrus Miller: The avant-garde in Budapest and in exile in Vienna: A Tett (1915-6), Ma (Budapest 1916-9; Vienna 1920-6), Egység (1922-4), Akasztott Ember (1922), 2x2 (1922), Ék (1923-4), Is (1924), 365 (1925), Dokumentum (1926-7), RIMunka (1928-39).
49: Irina Livezeanu: Romania. 'Windows toward the West': new forms and the 'poetry of true life'. Revista celor l'alti (1908), Insula (1912), Chemarea (1912), Contimporanul (1922-32), 75 HP (1924), Punct (1924-5 ), Integral (1925-8), Urmuz ( 1925 ), Unu (1928-33)
50: Przemyslaw Strozek: Kraków and Warsaw. Becoming the avant-garde: Rydwan (first series 1912-14), Maski (1918-19), Wianki (1919-22), Formi'sci (1919-21), Nowa Sztuka (1921-2), Zwrotnica (1922-3), Blok (1924-6)
51: Lidia Gluchowska: Poznan and Lódz. Nationalist modernism and the international avant-garde: Zdrój (1917-22); Ing-Idysz (Jung Idysz) (1919), Tel-Awiw (1919-21).

Russia, the Soviet Union, and Ukraine
Peter Brooker: Introduction
52: Christina Lodder with Peter Hellyer: St. Petersburg / Petrograd/ Leningrad. From aesthetes to revolutionaries: Mir Iskusstva (1898-1904), Apollon (1909-17), Studiya Impressionistov (1910), Soyuz Molodezhii (1912-13), Iskusstvo Kommuny (1918-19)
53: Oleg Minin: Modernism upheld. Moscow journals of art and literature: Vesy (1904-9), Iskusstvo (1905), Zolotoe Runo (1906-9), and Mákovets (1922).
54: Christina Lodder: From futurist iconoclasm to socialist construction: Futuristy. Pervyi zhurnal russkikh futuristov (1914), Lef: Levyi front iskusstv (1923-5), Novyi Lef (1927-8), Internationatsional'naya literature (1933-45)
55: Emily Finer: 'A rift on the left front': Lef (1923-5) and Na postu (1923-5)
56: Oleh S. Ilnytzkyj: Under imperial eyes in Kyiv and Kharkiv magazines: Ukrains'ka khata (1909-14), Muzahet (1919), Mystetstvo (1919), Katafalk iskusstva (1922), Semafor u maibutnie (1922), Honh komunkul'ta (1924), Nova generatsiia (1927-30), Avangard: Al'manakh proletars'kykh myttsiv Novoi generatsii (1930).

Hugo Ball Almanach 2013

Studien und Texte zu Dada
Neue Folge 4, 2013

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

www.etk-muenchen.de/





Contents 4 (2013)
Einleitung (S. 7-9)
Jost Eickmeyer: Mit der Karawane unter der schwarzen Fahne. Hugo Balls Bakunin im Kontext (p. 11-45)
Hans Dieter Zimmermann: »O Freunde, nicht diese Töne«. Hermann Hesses politische Schriften und Hugo Balls Zur Kritik der deutschen Intelligenz (p. 46-62)
Gabriele Guerra: Theokratie zwischen Ball und Bloch. Ein religionspolitisches Spannungsfeld, damals und heute (p. 63-76)
Jan-Friedrich Missfelder: Die eigentlich katholische Entschärfung. Hugo Ball liest Carl Schmitt (p. 77-88)
Thomas Ruster: Hugo Ball als Säkularisierungstheoretiker (p. 89-108)
Friedrich Vollhardt: Hugo Ball, Nietzsche und die Epoche der Reformation (p. 109-122)
Wilhelm Kühlmann: Flucht aus der Zeit – Was heißt das? Anmerkungen zu Hugo Balls Spätwerk (p. 123-139)
Oliver Ruf: Zur Herausforderung des Ästhetischen. Hugo Balls ›Dämonen‹ (p. 140-164)
Bernd Wacker: »Das Gebiet beherrsche ich«. Hugo Ball und die Psychoanalyse (p. 165-211)
Christa Baumberger: »Auch Gott ist ein Gefängnis«. Erlöserfiguren in Emmy Hennings’ Schriften der 1920er-Jahre (p. 212-233)

Appendix
Emil Szittya: Hugo Ball (p. 237-239)
Walter Fähnders: Kommentar zu Emil Szittyas Hugo-Ball-Porträt (p. 240-244)
Walter Fähnders: Emil Szittya und Hugo Ball (p. 245-253)
Adrian Notz: Das achte Jahr im Cabaret Voltaire (p. 254-261)

Reviews
Wiebke-Marie Stock: Denkumsturz. Hugo Ball – eine intellektuelle Biographie (Michael Braun) (p. 263-265)
Oliver Ruf: Zur Ästhetik der Provokation. Kritik und Literatur nach Hugo Ball (Gabriele Guerra) (p. 266-268)
Richard Huelsenbeck: DADA-LOGIK 1913-1972. Hrsg. und kommentiert von Herbert Kapfer (Oliver Ruf) (p. 269-271)
Irina Elisabeth Keller: »Mein Geist entflieht in Welten, die nicht sterben.« Epochenbezüge zur Christlichen und Schwarzen Romantik sowie zum Expressionismus in den Texten deutschsprachiger Gothic- und Dark­­­Metal-Bands und Bands der Neuen Deutschen Härte (Sandra Beck) (p. 271-277)
El Greco und die Moderne. Hrsg. von Beat Wismer und Michael Scholz-Hänsel (Daniela Padularosa) (p. 277-286)

Adressen der Mitarbeiterinnen und Mitarbeiter (p. 287-288)
Personenregister (p. 289-295)

Raoul Hausmann Portraits

Selections from the Raoul Hausmann Collections (1886-1971)

Raoul Hausmann, 7 janvier 1914, encre de Chine, 35,5 x 28 cm, Musée Départemental d’art contemporain de Rochechouart

March 1st to September 15th 2013 Through the lens of portraiture, the exhibition will explore the diversity of the Dadaist  Raoul Hausmann’s artistic practices  - paintings, photographs, drawings,  collages and photomontages . It will as well focus on his friendships, and his relation to the body and the performance.   Musée départemental d'art contemporain de Rochechouart place du Château 87600 Rochechouart France contact.musee@cg87.fr Cette adresse e-mail est protégée contre les spams, vous devez autoriser le JavaScript pour la visualiser. tél. 05 55 03 77 77 fax : 05 55 03 72 40

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. 

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.

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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
http://press.uchicago.edu
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.

Hugo-Ball-Almanach 2012

Hugo-Ball-Almanach

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

www.etk-muenchen.de/
Content:

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

Anhang
Hugo Ball Preis

Adrian Notz
Das siebte Jahr im Cabaret Voltaire

Rezensionen
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)

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.

50th anniversary : Fluxus at Rutgers

at/around/beyond: Fluxus at Rutgers
September 24, 2011 - April 01, 2012
Jane Voorhees Zimmerli Art Museum
Rutgers, The State University of New Jersey
71 Hamilton St., New Brunswick, NJ 08901
Tel 732.932.7237, ext. 659
Fax 732.932.8201
www.zimmerlimuseum.rutgers.edu

The spirit of Fluxus imbues Art After Hours on Wednesday, November 2, at the Zimmerli Art Museum at Rutgers. An exhibition tour, Flux Concert, and chess tournament spotlight at/around/beyond: Fluxus at Rutgers, which celebrates the 50th anniversary of this radical international art movement that has historic ties to the university. Art After Hours is the popular eclectic evening series held on the first Wednesday of the month from 5 to 9 p.m. at the Zimmerli. Admission is $6 for adults, $5 for adults over 65, and free for museum members, as well as Rutgers students, faculty and staff (with ID), and children under 18.

As a prelude to the concert, a tour of at/around/beyond: Fluxus at Rutgers begins at 5:30 p.m. More than 60 sculptural objects, games, photographs, assemblages, ephemera, books, and films are assembled from the museum’s permanent holdings and private collections. Long associated with the movement, artist Larry Miller conducts a Flux Concert at 6:30 p.m. Miller first became involved with Fluxus during his student days at Rutgers University, where he received his M.F.A. in 1970, before moving to New York City to establish a career as an installation and performance artist. The Flux Concert is free with admission, but reservations are required at 732.932.7237, ext. 615. The Zimmerli Student Advisory Board (ZSAB) hosts a chess tournament beginning at 4 p.m. Players have the unique opportunity to play Miller’s Fruit and Vegetable Chess. Finalists face off following the Flux Concert. To participate, contact ZSAB at ZimmerliStudentBoard@gmail.com.

“Fluxus has been described as an attitude, a way of experiencing the world, and as a laboratory of ideas,” notes Donna Gustafson, Andrew W. Mellon Liaison for Academic Programs and Curator. “Interaction was so integral to Fluxus attitudes towards life and art that the display of objects alone can’t completely convey the spirit of the movement.” This philosophy inspired Gustafson and Gerry Beegan, who teaches design at Mason Gross School of the Arts, to develop the Byrne Family First-Year Seminar, Artists, Musicians, and Poets in the Museum. A contingent of the students from the course is scheduled to perform with Miller.

Visitors to Fluxus at Rutgers also have the opportunity to interact with several Fluxus games during Art After Hours. Larry Miller’s Fruit and Vegetable Chess features fresh produce pieces, while Sound Chess by Mieko Shiomi (reconstructed by C. Greg Hagerty) has identical wooden chess pieces, requiring players to distinguish the hierarchy by shaking them to hear the rattles inside. Fluxus Balance, another game by Shiomi, allows visitors to conceptually weigh words and ideas on a tiny scale, and Ay-O’s Finger Boxes allows brave souls to insert their fingers into the mysterious holes of five small wooden boxes.

The exhibition has been organized by Donna Gustafson, Andrew W. Mellon Liaison for Academic Programs and Curator, and Eveline Baseggio Omiccioli, Ph.D. candidate in the Department of Art History and Zimmerli Graduate Assistant, with the assistance of Heather Cammarata-Seale, MA Candidate in the Department of Art History, and Dodum Chun, Museum Interns.
at/around/beyond: Fluxus at Rutgers is on view through April 1, 2012. Support for the exhibition and related programs has been provided by an endowment established by the Andrew W. Mellon Foundation, Class of 1937 Publication Fund, and the Dorothy Dehner Foundation for the Visual Arts.

George Maciunas

Gift Box for Jerold Ordover: Spell Your Name With These Objects, ca. 1970

Assorted objects in leatherette and velvet-lined box

Collection Zimmerli Art Museum at Rutgers
Museum Purchase, Class of 1921 Acquisition Fund
Photo Peter Jacobs

Publication: G: An Avant-Garde Journal

G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923-1926
Edited by Detlef Mertins and Michael W. Jennings
Getty Research Institute : 2010
280 pages; 22 color and 134 b/w illustrations
ISBN 978-1-60606-039-1.

First published in 1923, the journal G: Material zur Elementaren Gestaltung (G: Materials for Elemental Form-Creation) helped shape a new phase in the history of the European avant-garde. Founded by Hans Richter, a pioneer of abstract animated film, G featured works by some of the important names in the advanced cultures of Europe: Hans Arp, Walter Benjamin, Theo van Doesburg, Viking Eggeling, Naum Gabo, Werner Graeff, George Grosz, Hugo Häring, Raoul Hausmann, Ludwig Hilberseimer, Frederick Kiesler, El Lissitzky, Ludwig Mies van der Rohe, Antoine Pevsner, Man Ray, and Tristan Tzara.

This edition, the first in English translation, preserves the original design by Lissitzky, Richter, and Graeff, and includes essays that explore the role of the journal in its time and in relation to contemporary culture. An introduction analyzes the principles of the journal, situates it in the culture of the early 1920s, and evaluates its achievements.

This book is structured into two parts: first, a series of essays which provide analysis on the major areas of visual culture explored in G and second, the translated-to-English facsimile of the journal itself. With an overview which situates G and its major contributors in historical context begins the essay portion of the book. Other essays follow, one on each subject in the book’s title: Maria Gough on El Lissitzky’s contributions to G’s graphic design; subsequent essays by Edward Dimendberg on film, and Detlef Mertins on architecture, are also well-researched and informative.

In the second part of the book, a carefully constructed facsimile of G is presented, that is true to original documents held in the Museum of Modern Art, except the German text was translated into English.

Publication : Biography Hannah Höch

Cara Schweitzer
Schrankenlose Freiheit für Hannah Höch
Osburg Verlag : Berlin 2011
439 Seiten
ISBN-10: 3940731641
ISBN-13: 978-3940731647

The life of the Dada artist under the Nazi dictatorship

With her ​​scissors she cut art history, the collages of the grande dame of Berlin Dada movement, Hannah Höch (1889 - 1978), shook the Weimar »Beer Belly Cultural Epoch." Now for the first time a biography of the artist appears, who extensively discussed their predicament under the Nazi dictatorship. Previously undiscovered letters and documents explain why Hannah Höch could not leave Germany at the last minute.

Shortly after the outbreak of World War I in Berlin the Dada movement was formed. Hannah Höch is one of the few women in this illustrious men's club. After the takeover by the Nazis their work was considered as "degenerate". Her closest friends left the country. During the war years, she retired to spend in her garden on the outskirts of Berlin. Her house becomes a secret archive of the avant-garde. The biography focuses on the dramatic circumstances of her marriage to the 21 years younger Heinz Kurt Matthies. In 1938 he was arrested, and for the once cautious artist begins the fight for his release.