Cannibalizing the Canon

Dada Techniques in East-Central Europe
Erscheinungsjahr 2024
ISBN: 978-90-04-52673-0
Verlag: Brill

Buch, Englisch, Band 42, 634 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 1226 g

Reihe: Avant-Garde Critical Studies

This rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.

Autoren/Hrsg.

Weitere Mitwirkende

Botar, Oliver A. I.

Denischenko, Irina M.

Dobó, Gábor

Szeredi, Merse Pál

Fachgebiete

• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 20./21. Jahrhundert Surrealismus, Abstrakter Expressionismus
• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie

Inhaltsverzeichnis

List of Illustrations

Notes on Contributors

Introduction: “Dada Is more than Dada”

Oliver A. I. Botar, Irina Denischenko, Gábor Dobó and Merse Pál Szeredi

Part 1:Topographies

1 An Exchange Point in a Network: Prague and Dada, 1918–1922

Jindrich Toman

2 Becoming Avant-Garde: Romanian Appropriations of Dada Techniques through East-Central European Networking

Emanuel Modoc

3 Polish Responses to Dadaism: The Voices on Dada, Contacts and Interpretations

Przemyslaw Strozek

4 The Dada Entr’acte of Dragan Aleksic

Jasna Jovanov

5 Hungarian Dada: the Missing Link

András Kappanyos

Part 2: In/Exclusions

6 Céline Arnauld, the “Nomadic” Avant-Garde Writer: a Transnational Approach to Her Life and Work

Iulia Dondorici

7 Two Mysterious “Mademoiselles”: Jeanne Rigaud and Maria Cantarelli
A Multilingual Multi-Layered Dada Pun Unravelled?

Hubert van den Berg

8 Dada as an Avant-Garde Movement and as Invective

Károly Kókai

9 “Dada Is the Best Paying Concern of the Day”: Consumer Culture, Performativity, and the Avant-Garde in Romania

Alexandra Chiriac

Part 3: Performativities

10 Marcel Breuer and Dada Performance: Remade Readymade Self and Furniture

Edit Tóth

11 Míra Holzbachová: Embodying the Avant-Garde

Meghan Forbes

12 To Write with Dots or Not to Write at All? Dada Ideas in Polish Interwar Literature

Michalina Kmiecik

13 Green Donkey Theatre: a Case Study on Theatrical Innovations in the Name of Dadaism

Sára Bagdi and Judit Galácz

Part 4: Trans(pos)itions

14 The Genesis of Dada: Futurist Influences in Germany, Romania and at the Cabaret Voltaire

Günter Berghaus

15 Revolt and Authority: From Kassák to Erdély
Dada in the Hungarian Avant-Garde and Neo-Avant-Garde

Éva Forgács

16 Dadá, not Dáda: Moholy-Nagy in Berlin, 1920–1921

Oliver A. I. Botar

17 Words, Sounds, Images, Theories: the Authors of the Magazine IS in the Context of Dadaism

Imre József Balázs

18 Self-Positioning in the International Avant-Garde: Kassák’s Strategic Use of Dada and Constructivism in the Book of New Artists

Krisztina Zsófia Csaba

Part 5: Hybridentities

19 Raoul Hausmann and the Welteislehre: Science and Identity

Arndt Niebisch

20 Dada Lingua Franca: The Linguistic Fate of Tristan Tzara and Raoul Hausmann

Alexandru Bar and Michael White

21 Crossovers and Transgressions: Dada as a Life Strategy in Emil Szittya’s Works

Magdolna Gucsa

22 Android, Cyborg, Dandy and Woman

Representations of the Body in the Decadent and Dada Imaginations: The Hungarian and International Contexts

Györgyi Földes

23 The New Man, According to Sándor Bortnyik

Merse Pál Szeredi

Index

Über Autor(innen)

Oliver Botar is a Professor of Art History and Associate Director of the School of Art at the University of Manitoba. His research focuses on early 20th-century Central European Modernism, particularly the work of Moholy-Nagy, with concentrations on art in alternative media, and “Biocentrism” and Modernism in early-to-mid 20th-century art.

Irina Denischenko is an Assistant Professor at Georgetown University. Her research focuses on 20th-century literature and visual art--especially the avant-garde, on critical theory, as well as on women’s contributions to avant-garde and modernist aesthetics in Central and Eastern Europe.

Gábor Dobó is a research fellow at the Kassák Museum in Budapest. He is the principal investigator of a project focusing on the artist couple Lajos Kassák and Jolán Simon. In 2022, he was a Fulbright visiting scholar at Columbia University.

Merse Pál Szeredi is department head at the Kassák Museum. His research focuses on Hungarian avant-garde art and the history of Lajos Kassák’s magazine Ma in Vienna between 1920 and 1925, with special emphasis on its international networks.