PUT YOUR BEARD IN MY MOUTH
Sweet Seals For You, Always
pixel skylines
Lint Roller? I Barely Know Her
trying on a metaphor
PR's Tumblrdome
$LAYYYTER
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⁂
Claire Keane
occasionally subtle
#extradirty
Mike Driver
Keni
he wasn't even looking at me and he found me
Aqua Utopia｜海の底で記憶を紡ぐ
★
I'd rather be in outer space 🛸
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DEAR READER
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@occupydada
The time, when, instead of vain self-referencialism, at Hugo Ball’s Cabaret Voltaire, the song “Revoluzzer” by Erich Mühsam was part of the Repertoire... “Der "Revoluzzer" wurde eines von Mühsams erfolgreichen Liedern. Es verbreitete sich unter KabarettistInnen und gehörte zum festen Repertoire der Münchener "Elf Scharfrichter" oder des dadaistischen Cabaret Voltaire von Hugo Ball.”
http://www.graswurzel.net/235/concert.shtml
Rainer Ganahl at Barbara Weiss, Berlin, November 2016 - January 2017
Uber Capitalism
Still one of the most interesting contemporary artists: Rainer Ganahl: “the word UBER CAPITALISM is turning slowly on top of the fasade of the former stock exchange (bourse) of Bruges, the earliest stock exchange in northern Europe during the 13th century.” http://ubercapitalism.com/
René Clair, Entr'act, scénario : Francis Picabia Musique : Eric Satie, distributeur : Pathé Cinéma, Museum of Modern Art, Canyon Cinema, 1924, Paris, Centre Pompidou
Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Droits réservés
© Jean-François Clair
On December 6, 1938, [Heartfield] was able to fly to London via Strasbourg and Paris with only ten other emigrants. He thus came to escape the terrible threat of the Gestapo. That the danger was imminent is evidenced by a circular from the President of the Prague Police dated May 5, 1939. It appears that the Gestapo intervention group in Bohemia had been urgently searching since April 24, 1939 for thirty-one people, mostly emigrants. Heartfield appeared at number 5 on the list. Using such lists, the Gestapo, just four days after the entrance of the Wehrmacht into Prague, arrested approximately eight hundred German and Czech Communists.
Michael Kresja, “Comment les nazis réagirent au travail de Heartfield. 1933-1939,” trans. into French by Claude Riehl, from John Heartfield: Photomontages politiques 1930-1938 (Musées de Strasbourg, 2006)
John Heartifeld, Selbstporträt [ Self-Portrait ; Autoportrait], 1919, 19.3 x 13.5 cm Art Institute, Chicago.
Source
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Marcel Duchamp, Sculpture-morte, 1959, Insectes, fruits et légumes en massepain collés sur papier, dans boîte en bois et verre, 33,8 x 22,5 x 9,9 cm, Paris, Centre Pompidou.
© Georges Meguerditchian - Centre Pompidou, MNAM-CCI (diffusion RMN) © Succession Marcel Duchamp/ Adagp, Paris
Francis Picabia, Guillaume Apollinaire, vers 1918, Encre et aquarelle sur papier, 57.5 × 45 cm, Galerie Natalie Seroussi
Marcel Duchamp, Pocket Chess Set, 1943, Leather, celluloid, and pins 6 5/16 x 4 1/8 inches (16 x 10.5 cm), Philadelphia Museum of Art.
© Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp
Hannah Höch, Kleine Sonne (Little Sun), 1969, Collage, 41.4 × 61.5 cm
© Hannah Höch / Artists Rights Society (ARS), NYWhitechapel Gallery
Max Ernst (1891 - 1976), Die Anatomie als Braut (Anatomie jeune mariée), 1921, Illustrations de magazines avec rehauts de gouache et de mine graphite découpées et collées sur papier, 10,7 x 7,8 cm, Paris, Centre Pompidou
© Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP © Adagp, Paris
Erwin Blumenfeld, Minotaur / Dictator [Minotaure / Dictateur], Paris, vers 1937, Épreuve gélatino-argentique, tirage d’époque, Collection Yvette Blumenfeld Georges Deeton / Art+Commerce, New York, Gallery Kicken Berlin, Berlin.
© The Estate of Erwin Blumenfeld
Erwin Blumenfeld,
Fantaisies Parisiennes 1923
Collage & Colored Pencil on Paper 13 1/2 x 9 1/2”
Images from Rainer Ganahl's Credit Crunch Meal as part of Performa 11’s Fluxus Weekend. This “occupied” installation was accompanied by a meal of lentils. Ganahl explains, “Lentils are eaten in Italy at the end of the year in the hope that money will come in the new year.”
Self-portrait with Police Commissioner Zörgiebel, 1929
It was 1929. The bloody May Day demonstration was shown in the newsreels. Not everything was shown, but some… enough of the savage and brutal actions of Zörgiebel’s police, the deliberate and cold-blooded murder of the defenseless workers, to get the idea. Even the good bourgeois audience at the Ufa-Palast am Zoo acknowledged the filmstrip with jeers and whistles. There were also those present that applauded the actions of Zörgiebel’s police with demonstrative clapping, including a towering Hun, who was sitting not far from Heartfield. Heartfield jumped up from his seat as if stung by a tarantula and hissed to the broad-shouldered German, “You swine! You swine!” When the performance was over, the Hun, lying in wait for Heartfield, grabbed the small, frail man by the collar: “Now you take back your insult, quickly - what did you say, what am I?” Heartfield, in an iron clamp, defenseless, barely breathing: “You are a swine.” The man knocked him to the pavement and hit him repeatedly in the face, furiously demanding: “What am I, what am I?” Him, tight-lipped: “A swine, a swine, a swine” - until he was liberated by the now-swelling crowd of passersby, bloody, bruised, half fainting.
—Wolf Reiss (Janos Reismann), Internationale Literatur 1934, no. 5, quoted in Eckhard Siepmann, Montage: John Heartfield
Hannah Höch with one of her Dada dolls, c. 1925, courtesy Berlinische Galerie.
Caption from Rainer Ganahl show “COMME des Marxists”
http://www.commedesmarxists.com/
http://www.ganahl.info/whitecat.html
Rainer Ganahl, the man who has brought back to life the works of Alfred Jarry ( Ubu Roi / Père Ubu ) and more, deserves to be mentioned here. Currently at the Hacienda (Zurich), and even at the cabaret voltaire krypta with dadalenin.
dadaism avant la lettre meets dadaism après?
not sure about that, but Rainer Ganahl doing quite ok stuff.
