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.}

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.

Kemzeke : E.L.T. Mesens

E.L.T. MESENS comme nous l'entendons...

Retrospective exhibition

Verbeke Foundation, Kemzeke (B)

14.08.2011 - 16.10.2011

Curators: Geert Verbeke, Simon Delobel
URL: www.verbekefoundation.com/
Catalogue: download the catalogue (in Dutch; also in French)

On the occasion of the 40th anniversary of the death of E.L.T. Mesens the Verbeke Foundation organizes the first retrospective of his dadaist and surrealist oeuvre. The exhibition contains an exceptional selection of about 200 collages, posters, partitions, letters, magazines and books illustrating the diverse talents and activities of Mesens. He was not only a musician, composer, poet, photographer, collagist, editor and polemist but also a gallerist and art collector. In addition ninety-four window displays illustrate the personalities of as much acquaintances of Mesens: from Eileen Agar, Scottie Wilson and Salvador Dali to Desmond Morris and Peggy Guggenheim.

Publication: DADA Een geschiedenis

Hubert van den Berg
Dada. Een geschiedenis
Van Tilt : Nijmegen, June 2010
ISBN 9789075697971.

The book Dada. A history of Hubert van den Berg drags the reader into the depths of dada and shows us its true face. Because many aspects of dada are very dada, in the past the Dadaists were more than once misunderstood and often lost in the jumble of dada. Van den Berg knows this tangle to unravel, and shows the reader the full glory and horror of dada. Dada is the mirror in which humanity could see the world in its true form, and Van den Berg helps the reader to understand what he sees. In addition, Van den Berg's book, the first Dada history of Dutch origin, offers the reader a comprehensive description of the generation, dissemination, development and finally the collapse of Dada. In Dutch.

Angelika Hoerle

Angelika Hoerle. Comet of the Cologne Avant-garde
Museum Ludwig, Cologne
September 26, 2009-January 17, 2010
exhibition flyer

Angelika Fick Hoerle (1899-1923) lived hard and died young. In spite of her youth, she left a promising artistic legacy. Moving through the influences of WW I, the German Revolution and Dada, she developed artistic styles that foreshadowed Surrealism and the Cologne Progressives.

Angelika's apartment in Lindenthal, the ‘dadaheim' with its Schloemilch Verlag, was both a meeting place and the publishing house for Max Ernst's Fiat Modes and the international Dada magazine, Die Schammade. Nicknamed "Dada Angelika" by friends and dubbed the German Master of Dada by a newspaper, Angelika went on to co-found the Stupid Group and become a voice for women along with her best friend Marta Hegeman. When Angelika died of tuberculosis at 22 years of age, her brother, the artist Willy Fick, paid the back rent on the apartment where she had lived alone since the fall of 1922; he wanted to save her things. Willy Fick hid Angelika's works, and those of her politically active friends, from the National Socialists when the artists represented were labelled degenerate.

See also: Angelika Hoerle: The Comet of Cologne Dada an exhibition at the Art Gallery of Ontario (AGO).

Publication: Dada in Paris

Dada in Paris
By Michel Sanouillet; Michèle Humbert, Editorial Consultant; Translated by Sharmila Ganguly; Revised and Expanded by Anne Sanouillet
MIT Press : Cambridge MA, 2009
640 pp.
ISBN-10: 0-262-01303-7
ISBN-13: 978-0-262-01303-1
Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it. Over forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early twentieth-century avant-garde. This first English-language edition of Sanouillet's definitive work (a translation of the expanded 2005 French edition) gives English-speaking readers their first direct access to the author's monumental history (based on years of research, including personal involvement with most of the Dadaists still living at the time) and massive compilation of previously unpublished correspondence, including more than 200 letters to and from such movement luminaries as Tristan Tzara, André Breton, and Francis Picabia.

Publication : Dada's Women

Dada's Women
Ruth Hemus
Yale University Press, New Haven
2009
250 p., 60 b/w + 20 color illus.
ISBN: 9780300141481 / 0300141483.

The European Dada movement of the early 20th century has long been regarded as a male preserve, one in which women have been relegated to footnotes or mentioned only as the wives, girlfriends, or sisters of Dada men. This fascinating book challenges that assumption, focusing on the creative contributions made to Dada by five pivotal European women.

Ruth Hemus establishes the ways in which Emmy Hennings and Sophie Taeuber in Zurich, Hannah Höch in Berlin, and Suzanne Duchamp and Céline Arnauld in Paris made important interventions across fine art, literature, and performance. Hemus highlights how their techniques and approaches were characteristic of Dada’s rebellion against aesthetic and cultural conventions, analyzes the impact of gender on each woman’s work, and shows convincingly that they were innovators and not imitators. In its new and original perspective on Dada, the book broadens our appreciation and challenges accepted understandings of this revolutionary avant-garde movement.

Reviewed by Sally O’Reilly for Frieze Issue 123 (May 2009).

Erwin Blumenfeld - Dada Montages

I WAS NOTHING BUT A BERLINER
Berlinische Galerie, Berlin
27 February through 1 June 2009.
The exhibition is curated by Helen Adkins.
A catalogue in German and English is available (More information).

During the 1940s and 1950s, Erwin Blumenfeld (born 1897 in Wilhelmstraße in Berlin, died and buried 1969 in Rome) was one of the most sought-after fashion photographers in the world. Far less known is the early work of this artist of Jewish origin raised in the late Wilhelminian German capital: the often bitingly humorous Dada collages produced between 1916 and 1933.
His friendship with Paul Citroen and Walter Mehring, who found recognition as painter and poet respectively, the association with Berlin’s bohemia surrounding Else Lasker-Schüler and Herwarth Walden’s Galerie Der Sturm, and his worship of George Grosz collided with Blumenfeld’s career in the garment trade. Blumenfeld sensed the urge to write, paint, and act on stage, but still he pursued the career of a businessman and, in 1923, opened a shop for women’s leather goods in Amsterdam. Theater, film, art, and literature are kneaded together with the artists’ daily experience of life and assembled into a visual entity of most distinct character. Blumenfeld’s cynical and extremely individualistic approach, humor, scorn, and anarchy were perfectly Dada. The bankruptcy of his shop, sealed in 1933 by the National Socialist seizure of power in Germany, finally forced him to try his luck as a professional photographer.

In this exhibition curated by Helen Adkins the focus is for the first time on the montages. The selection of some 50 montages and 30 photographs is chosen from the estate of the artist in Paris and Cambridge, the collection of the Berlinische Galerie, and other collections.

Text and Image Credits: Berlinische Galerie, Berlin

Christian Schad Retrospective

Gemeentemuseum Den Haag
The Hague
31 January 2009 - 10 May 2009
The exhibition, a cooperation of the Gemeentemuseum Den Haag and the Leopold Museum in Vienna, is accompanied by a fully illustrated catalogue authored by Anna Auer, Thomas Richter and others.

Press release
While Christian Schad's (1894-1982)famous key works that show his decisive contribution to New Objectivity are a chief focus of the exhibition, his early work that was influenced by Cubism and Dadaism will play an equally significant role as the more abstract ones he produced in the 1950s. His multifaceted graphic oeuvre bears witness to an artist who delighted in experimentation until the very end and who was highly skilled in numerous techniques and who repeatedly tread new territory, as his Schadographs and Resopal pictures show.

A comparison with the works of younger proponents of this artistic concept will inspire a re-evaluation of his often underestimated late work in which he returned to Realism in the 1970s: in addition to the realistic painting mastered by Schad, alienated, symbolic elements appear especially in the works from the 1960s and the 1970s. In parallel to works reflecting international art movements of the day such as Pop Art or -Fantastic Realism-, his late works from the 1960s show that the artist, now over seventy years of age, was still very much in tune with the times, indeed even a model for an emerging new generation.

On the exhibition's structure:
1. Cubist, Dadaist and Expressionist early works
Influenced by the expressionist paintings of Oskar Kokoschka, Wassily Kandinsky and Robert Delaunay - which he had seen before 1914 during his years at art school in Munich - Christian Schad produced his first expressionist paintings during a journey to Volendam in 1914. When the First World War broke out in the same year, he was forced to go back to Germany. He first immigrated to Zurich in 1915, where he received key impulses from the lawyer and writer Walter Serner. In October 1915, the two of them published the first issue of their magazine Sirius, which Schad illustrated. Serner introduced him to the Zurich Dadaists around the Cabaret Voltaire, Hugo Ball and Hans Arp, amongst others. Schad's paintings from his Zurich days are grisaille-like and influenced by Cubo-Futurism. They are very often set in cafe's and cabarets; the portrait of Diseuse Marietta is a milestone in his artistic development due to his use of not just colour but also text.

Schad moved to Geneva in 1917, where his first Dadaist works emerged. This was where he invented his Schadographs - photogrammes in which he combined objet trouve's and text. Oskar Kokoschka's influence soon became apparent in some of the ensuing paintings, particularly in those where he draws out the psyche of the portrayed subjects. Schad liked to paint children because of their large eyes, which became a kind of trademark of his New Objectivity phase. In 1918, he made several portraits of patients at the Bel Air Clinic for the mentally ill, the Sonntägliche Clown [Sunday's Clown] being the most striking of all. Emotions and moods are the chief motifs in these paintings; the expressive hands of his subjects and his treatment of the background are reminiscent of Oskar Kokoschka. From 1919 to 1920 a series of Schadographies and Dadaist high reliefs emerged, however, very few of them have survived. In addition to Hugo Ball and Hans Arp, another artist to influence him was Alexander Archipenko. Schad took part in many Dada exhibitions in Geneva.

2. New Objectivity paintings from the 1920s and the 1930s
In March 1920, lack of money forced Schad to return to Munich. He had not witnessed the horrors of the war; he found Dadaist paintings to be -absurd- and Expressionism outdated. In the summer of 1920 he travelled to Rome and then to Naples, where he lived until 1925 with brief interruptions. In 1923 he got married to an Italian woman in Orvieto. Italian Realism, represented by artists like Ubaldo Oppi and Felice Casorati and the group Novecento Italiano, strongly influenced him during these years and he was much more oriented to the Italians than to the socialist inclinations of New Objectivity in Germany. Schad made his first realistic paintings in Naples where he mainly painted portraits, except for the cafe' and theatre scenes whose liveliness he particularly cherished. In the winter of 1921/22, Schad travelled across Germany, where he received several commissions for portraits and became acquainted with many New Objectivity painters.

On his return to Italy Schad visited the museums in Rome, where he had the opportunity to study the work of renaissance painters whose application of colour, -magical gaze-, clarity of form, transparency of colour and eroticism became an important source of inspiration for him. He was especially drawn to Raffael's Fiorina and the works of Botticelli and Mantegna. Schad's portrait of Pope Pius XI from 1925 was largely responsible for his international fame.

In 1925, Schad moved to Vienna, where he lived until 1928. His parents' contacts to the Austrian aristocracy got him several commissions for portraits. Many of these portraits were set before a fictive Parisian backdrop, the best known of them being Selfportrait in Transparent Green Shirt and Model. Schad's main promoter was the gallerist Lea Bondi, who exhibited his works at the Galerie Würthle in Vienna. After his separation from his wife in 1927, Schad moved to Berlin where he lived until until 1942. It was in Berlin that he made most of his important New Objectivity portraits, for which his girlfriend Maika was his favourite model. Schad not only portrayed important personages (such as Egon Erwin Kisch or Count d'Anneaucourt), but also beautiful women from modest backgrounds as well as figures from art circles. A cool expression combined with psychological intensity and a flawless complexion characterised his figures, making his women the ideals of an epoch. The technique of glazing so typical of Schad's work harks back to the Old Masters.

After the Nazis had seized power, many of his works became the target of harsh criticism, but at the same time his soft-focus portraits of ideal women also adorned the covers of magazines and were even in the Great German Art Show. By this time, -the end of New Objectivity- was becoming evident; Schad's paintings now became more expressive and he started painting landscapes. In 1942 he moved to Aschaffenburg, from where he received numerous commissions, and moved there permanently when his Berlin studio was destroyed by bombs. From now on, the semblance to his renaissance ideals became increasingly stronger in his portraits, also because he was at the time copying Matthias Grünewald's altar painting in Aschaffenburg's collegiate church. Schad had to live under extremely dire circumstances until about 1951.

3. Abstract and Resopal Paintings from the 1950s and 1960s
Schad's work from the Post-War years is barely known and several critics find its quality retrograde. This is partially because Art Informel was the only accepted form of modern art in Germany at that time, but Schad, with a few exceptions, had remained figurative. One of the aims of this exhibition is to revise the verdict of his critics. Schad's friendship with Francis Picabia, his admiration for Cocteau (he even staged one of his plays in Aschaffenburg and his line was clearly a model for Schad) and his occupation as curator of an Ernst Ludwig Kirchner exhibition left definite traces in his work. By the end of the 1940s, his work had become more linear, especially his so-called Resopal (plywood) paintings from the 1950s, which had begun to show traces of Pop Art. He now applied the principle of multiple views in his paintings and drawings as the result of his involvement with Picasso's work.

4. The Realistic Late Work
Schad remained true to the realistic form of painting - especially in the few pictures (about one or two per year) that he painted in the final years - which became increasingly characterised by a collage-like technique in which he combined motifs and symbolic content. In the 1950s and the 1960s, exhibitions in East Berlin made his work better known in the GDR which made him an ideal for many artists. Nevertheless, Schad, turned down a professorship offered to him by the art academy in East Berlin. In Aschaffenburg, he studied Joyce's Ulysses, East Asian Philosophy and contemporary history (e.g. monetary reform), aspects of which also flowed into his work in Aschaffenburg.

Later, in the 1960s, he returned to -Magical Realism- by tying in the themes he had addressed in his Berlin days. Paintings like Engel im Separe'e [Angel in the Separe'e] or Pavonia emerged, which symbolically addressed sexuality in bohemian environments. His symbol-laden self-portrait titled Umgebung [Environment], the allegory Das Geld [Money, 1970], Werdandi (1978/80) or his late portraits such as Michael or the last Bettina portraits - even surpass the formal clarity of his works from the 1920s. They remain until today a source of inspiration for artists, e.g., Michael Triegel.

5. Collages and Prints and Drawings
From 1954 onwards, Schad began to produce woodcut prints and lithographies which were partially inspired by Ernst Ludwig Kirchner's. He often underlayed the woodcuts with linoleum prints in the form of colourful surfaces. His woodcuts refer back to the early, dadaist reliefs he had made in Switzerland. These works were better known in America where they had been exhibited often. At the end of the 1960s, a series of collages that has never been published emerged at the same time as Pop Art. His highly simplified woodcuts from the 1970s also find parallels in American Pop Art and commercial graphics.

6. Schadographies
A whole chapter of the exhibition is dedicated to the so-called Schadographs. These combinations of objets trouve's and text as artistic medium were Schad's contribution to the Dada movement during his Geneva days. They were also the reason why he was acclaimed in several exhibitions since the 1930s - especially overseas - and often without his knowledge. Numerous high ranking artists, amongst them Man Ray and Laszlo Moholy-Nagy, adopted this technique. In the Post-War years, Schad started making Schadographs once again; new series emerged. Since very few of the early Schadographs have survived, or are in a condition to be loaned, this chapter of the exhibition will especially focus on this unusual medium of art by juxtaposing Schad's early and late Schadographies against the works of other artists.

Text credits: Press Release Leopold Museum, Vienna.
Image credits: Christian Schad, Sonja, 1928 (c) Christian-Schad-Stiftung, Aschaffenburg.

DADA at MoMA

Exhibition
The Museum of Modern Art, New York NY
May 21–July 28, 2008
The exhibition was organized by Michelle Elligott, Museum Archivist
More about the exhibition.

To coincide with the launch of the Museum's ambitious publication Dada in the Collection of The Museum of Modern Art, the ninth volume of MoMA's Studies in Modern Art series, this exhibition provides an overview of the Museum's long and rich history of collecting, documenting, interpreting, and exhibiting works of the Dada era. This display of original documents, letters, floor plans, installation photographs, and oral history commentary highlights landmark exhibitions at MoMA; addresses significant Dada acquisitions, key donors, and innovative film programs and scholarship at the Museum throughout the years; and documents the evolution of the installation of Dada works in the Museum's collection.

Catalogue
Dada in the Collection features some seventy works in various mediums—including books, collages, drawings, films, paintings, and reliefs—presented in large-scale reproductions and accompanied by in depth, object-focused entries by an interdepartmental group of the Museum's curators.
Catalyzed by the major Dada exhibition that appeared in 2005 and 2006 in Paris and Washington, D.C. and at MoMA, the book benefits from new scholarship generated by the extraordinary opportunity the exhibitions created for an international community of scholars to examine the Museum's objects beside those on loan from other institutions. This is the ninth volume of Studies in Modern Art, the Museum's publication series devoted to scholarly research on its collection. Includes 242 illustrations.

Dada in the Collection of The Museum of Modern Art
Edited by Anne Umland and Adrian Sudhalter, with Scott Gerson
ISBN 9780870706684
Published in 2008
Pages 352.

Picabia and Paris Dada

The Artwork Caught by the Tail
Francis Picabia and Dada in Paris
George Baker
MIT Press, Cambridge MA
October 2007
472 pp., 122 illus.
ISBN-10: 0-262-02618-X
ISBN-13: 978-0-262-02618-5
Page of the Publisher.

The artist Francis Picabia--notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist--has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes.

Such reimagining involves a new account of the readymade--Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history--and naming them--for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl ) to his "painting" Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle.

Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, André Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.

Reviewed by Peter Read for Times Online.

Kurt Schwitters and the Avant-Garde

Symposium 2007
Kurt Schwitters und die Avantgarde

Proceedings presented at the symposium held on June 29 through July 1, 2007 at the Sprengel Museum Hannover:

1. Neue Kunst – Kunstismen – Merzgebiete, Hubert van den Berg
2. Der Merzbau im Kontext des Architektonischen, Hanne Bergius
3. Kurt Schwitters und die Mystik, Götz-Lothar Darsow
4. Die „Kathedrale“ im Werk von Kurt Schwitters, Curt Germundson
5. Cicero, the Roman Hitler, Karin Orchard
6. Künstlerinnen im Umfeld von Kurt Schwitter, Isabel Schulz
7. Kurt Schwitters and The Museum of Modern Art in New York, Adrian Sudhalter
8. Der unzeitgemässe Schwitters, Beat Wyss

Hannah Höch – All Beginnings are DADA!

Hannah Höch – All Beginnings are DADA!
Museum Tinguely, Basel
January 16 through May 4, 2008

On the site of the museum: press releases in English, French and German and Pressphotos

The Museum Tinguely presents the first extensive survey in Switzerland dedicated to Hannah Höch (1889-1978), the sole woman member of the group Dada Berlin. The exhibition covers the period from her early Dada years during and immediately following the First World War through the 1920s, a fertile phase in her career during which Höch was in contact with numerous important avant-garde artists such as Kurt Schwitters, Hans Arp, Theo van Doesburg. She collaborated in part with them, producing masterly collages, profound yet ironical. During the 1930s and ‘40s, she worked in total retirement and secrecy – and her works contain a cryptic criticism of the National Socialist regime. Her late works, less known, in which she appears to anticipate Pop Art by her themes and colours, were her reaction to new scientific discoveries of the day. To close the exhibition, a section will be dedicated to Höch’s garden – a recurrent theme throughout the artist’s oeuvre.

The exhibition was conceived in close collaboration with the Berlinische Galerie, seat of the Hannah Höch archives; it is organised in a chronological order and divided into five sections, opening with Höch’s large-scale photo-collage 'Lebensbild' that the artist created in 1972/1973 so to speak as a sort of visual autobiography. The collage harks back to numerous important works that the visitor can encounter throughout the exhibition.

See also Hannah Höch, June 2007.

Picabia - Poetry, Prose, and Provocation

Francis Picabia
I Am a Beautiful Monster. Poetry, Prose, and Provocation
Translated by Marc Lowenthal
The MIT Press : Cambridger MA, September 30, 2007
560 pp. ISBN-10: 0262162431 / ISBN-13: 978-0262162432

Very little of Picabia's poetry and prose has been translated into English, and his literary experiments have never been the subject of close critical study. I Am a Beautiful Monster is the first definitive edition in English of Picabia's writings, gathering a sizable array of Picabia's poetry and prose and, most importantly, providing a critical context for it with an extensive introduction and detailed notes by the translator.
I Am a Beautiful Monster provides the texts of all of Picabia's significant publications, his books Fifty-two Mirrors, Poems and Drawings of the Daughter Born without a Mother, Purring Poetry, Unique Eunuch, Yes No, Chi-lo-sa, Thoughts without Language, and others, all presented complete, many of them accompanied by their original illustrations.

Hannah Höch - Aller Anfang ist Dada

This exhibition is devoted to the probably most significant female German artist of the classical modern period: Hannah Höch. Her œuvre has recently found new international recognition and Höch, who was particularly famous for her collages, will now be honoured with a major show again. This will be the first exhibition in her home city of Berlin for more than 15 years. Around 160 works drawn from all her creative periods will showcase the extraordinary variety of her artistic production, which always kept pace with the latest techniques of her time.

Hannah Höch - Aller Anfang ist Dada, Berlinische Galerie Berlin (April 6 to July 2, 2007). Press Release (English). Catalogue available (see image). Video Interview with curator Ralf Burmeister.