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personal involvement with most of the Dadaists still living at the time) and massive compilation of previously unpublished correspondence, including more than 200 letters to and from such movement luminaries as Tristan Tzara, André Breton, and Francis Picabia.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).

Futurisms - Precursors, Protagonists, Legacies

Utrecht University will held an international conference on "Futurisms: precursors, protagonists, legacies", from 1 till 3 December 2009.
Confirmed keynote speakers: Günter Berghaus (Bristol University), Giovanni Lista (CNRS, Paris), Marjorie Perloff (Stanford University) and Jeffrey Schnapp (Stanford University); confirmed invited speakers are Walter Adamson (Amory University, Atlanta), Timothy Campbell (Cornell University), Silvia Contarini (Paris-X Nanterre) and Luca Somigli (Toronto University).
Organisors: Geert Buelens (chair of modern Dutch literature, University of Utrecht), Harald Hendrix (chair of Italian Studies, University of Utrecht), Monica Jansen (assistant professor in Italian Studies, Universities of Utrecht and Antwerp) and Wanda Strauven (associate professor in Film Studies, University of Amsterdam).

Information:
Conference website: www.hum.uu.nl/futurisms
Mail: futurisms@uu.nl.

Viva il Futurismo!

Kunst- und Kulturveranstaltungen zum 100-jährigen Gründungsjubiläum des Futurismus
Vorträge • Tagung • Theater • Tanz • Musik • Film • Ausstellung
Köln + Bonn + Düsseldorf • Juni–Oktober 2009

In Zusammenarbeit mit:
- Italienisches Kulturinstitut Köln
- Bonner Italien-Zentrum
- Vereinigung Deutsch-Italienischer Kultur-Gesellschaften e.V. (VDIG).

Website: www.futurismus.kulturserver.de/.

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

Conference Modernist Magazines Project

Modernism, Cultural Exchange and Transnationality: The Second Conference of the Modernist Magazines Project
Venue: Sussex, 15-17 July 2009
Key Note Speakers: Mark Morrisson (Penn State University, author of The Public Face of Modernism: Little Magazines, Audiences and Reception, 1905 -1920), Tim Benson (Rifkind Center, LA County Museum of Modern Art, editor of Central European Avant-Gardes: Exchange and Transformation 1910-1930)
More Information: Conference Folder [pdf].

The interest in much current critical debate in questions of national and transnational identities has helped restore and enliven the conception of modernism and the avant-garde as twin international formations across the arts. Magazines were instrumental in publicizing the new movements and frequently did so, singly or in the company of others, with an ambition to intervene in the public or international sphere.
The second conference of the Modernist Magazines Project invites proposals for papers which explore the role magazines have played in the broad networks of modernist art, ideas and politics in shaping and re-articulating regional, national, and cross-national identities. The conference will concentrate on but not be limited to the period 1880-1960 in Britain, Europe and the USA. Papers which fall outside these parameters but illuminate the conference themes are welcome.

The conference will be held at the University of Sussex from 15th to 17th July 2009. The deadline for the submission of proposals (200-250 words) is the 15th February 2009. Proposals for papers should be sent to: Christian Weikop(c.weikop@sussex.ac.uk), Dr Christian Weikop, School of Humanities, Arts B229 University of Sussex, Falmer Brighton BN1 9QN.