Cologne Dada 1918-1922 by yurtgc548

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									Cologne Dada: 1918-1922

 Max Ernst, Johannes Baargeld
  (Alfred Greunwald), Hans Arp,
            Franz Seiwert, Anton
Raderscheidt, Marta Hegemann,
      Heinrich & Angelika Hoerle
    Cologne Dada
   Halfway between the joint influences of Zurich & Paris (influences of
    Arp & Tzara)
   Also highly politicized faction
   Also highly aestheticized faction
   1st Cologne Dada- Nov. 1919---
   Society of Arts & Kunstverein (Baargeld & Ernst separated from
    Society)
   No connection exists
   April 1920
   Entrance hall of Museum of Applied Arts
   Arp, Baargeld, & Ernst
   Central W/3
   Cologne Artist’ Union promised no jury but removed their entries
   Charged with outrage against public morals
   Poster Dada WINS! Dada stands for calm & order!
    Ernst & Baargeld’s Communist review
    Der Ventilator

   “To us Dada was above all a moral reaction…My
    friend Baargeld & I used to distribute our review Der
    Ventilator at factory gates. Our rage aimed at total
    subversion. A horrible futile war had robbed us of five
    years of our existence. We had experienced the
    collapse into ridicule & shame of everything
    represented to us as just, true, & beautiful. My works
    of that period were not meant to attract but to make
    people scream.”
   Review confiscated & banned by British military
    authorities who occupied the left bank of the Rhine
Max Ernst (Dadamax)

   Virtuoso of collage
   Dramatic power in his collages
   His poetry was inspired by natural sciences (
    sediments, animals, leaves, stamens, sandworms)
   Delicate palette/watercolorist
   Metaphorically rich titles to his works
   Combines realities from very different sources
   Pioneer of the narrative procedures of Surrealism
   Influenced by art of Giorgio de Chirico
Giorgio de Chirico 1888-1978
Mystery & Melancholy of a Street, 1914

                             Depths of the unknown
                             Troubling dream imagery
                             Anxiety of the modern
                              age
                             Precise spatial
                              conceptions&
                              perspectives
                             Vanishing lines
                             Mannequins
                             Yet, foreboding shadows
Self-constructed Little Machine
by Minimax Dadamax, 1919

                          Chance conjunction of
                           material from different
                           sources on the same
                           sheet
                          Give the letters a life
                           independent of literary
                           meaning
                          Deliberately mystifying
                           accumulations
                          Recall?
                             Dadamax Collages

   "The positive term 'building' is appropriate in this
    connection, although it may seem an extraordinary
    paradox. Max Ernst's rejection of art was given a
    stylistically determined form. The works that now
    emerged were structured by principles that governed
    the choice of materials and by constants that
    determined their use. From the beginning Ernst knew
    how to set limits on the infinite number of possibilities
    offered by existing materials and forms. When he
    invented this new working procedure based on
    quotation in 1920/21 he immediately recognized both
    its potential and the dangers it involved.”
Max Ernst, The Hat Makes the Man. 1920.
Cut-and-pasted paper, pencil, ink and watercolor on paper, 14 x
18" (35.6 x 45.7 cm)
Fatagaga: Ernst & Arp
   Fabrication de tableaux garantis gazo-
    metriques
   Fabrication of pictures guaranteed as
    gasometric
German Dada in sum: dissensions & outcroppings
   “Huelsenbeck founding the Dada Club as a projection of the
    Zurich group
   Baader rallying to Dada without being a member of the Club,
    yet feeling the need to found what he called the Club of the
    Blue Milky Way
   Hausmann drawing away while proclaiming that Dada was
    more than Dada & declaring himself a Presentist
   Schwitters blackballed by Huelsenbeck, launching Merz &
    involving Hausmann & Hoech in his anti-Dada Merz soirees,
    while gaining the support of Tzara in Zurich
   Ernst in Cologne viewing the Berlin group as counterfeit &
    setting up his own Dada faction linked with Zurich &, later with
    Paris
   Huelsenbeck publishing a Dada Almanach, frowning on
    Baader & Schwitters, & belittling the part played by Ball in
    Zurich & Haussmann in Berlin”

								
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