Hugo ball reciting the sound poem karawane

Growing up in Israel in the s and 60s, I knew Janco for what he was then — an Israeli artist. The founder of the artists' colony of Ein Hod, the teacher of an entire generation of young Israeli painters, he was so deeply rooted in the Israeli experience, so much part of our landscape, that it was inconceivable to see him as anything else but that.

When I first started to read the literature of Dada and Surrealism, I was surprised to find a Marcel Janco portrayed as one of the originators of Dada. Was it the same Marcel Janco? Somehow I couldn't associate an art scene so removed from the mainstream of modern art — as I then unflatteringly perceived 2 the Israeli art scene — with the formidable Dada credentials ascribed to Janco.

Later, in New York — this was in the early s — I discovered that many of those well-versed in the history of Dada were aware of Marcel Janco the Dadaist but were rather ignorant about his later career. The fact that she received little attention as a writer and artist may be due to various reasons. Perhaps it was the distinct language, or the general uneasiness at dealing with her Catholicism; whatever it was, her trace is missing in the male-dominated Dada historicisation.

Only recently has Hennings received recognition, and indeed beyond the role of cabaret star. Whoever reads her novels, poems, and reviews will encounter a woman for whom writing was a survival strategy. She astutely analyses her existence and stages herself as a «multiple». The aim of this exhibition is to examine her oeuvre seriously and to promote the opinion that there is continuity within it.

For example, ecstasy and faith lie close together, and the themes of captivity and freedom run throughout her work. Motifs like the rose are recurring. For the first time, stained glass from the last years of her life can be viewed in an exhibition. In the past, little claim to art was attribu- ted to them. The exhibition display as a place of encounter and a focal point of standardised ideas is part of her artistic questioning.

There men may go where they will. Once we also belonged to them. And now we are forgotten and sunk into oblivion. Thomas F. Because Dada was primarily a male-dominated arena, however, the very hierarchies Dadaists professed to reject actually existed within their own art and society—most explicitly in the body of written work that survives today.

Emmy Hennings. I posit that these variances may reveal much about how gender influenced the manipulation of language in a counter-culture context such as Dada, and how the performative qualities of Dada poetics further complicated gender roles and power dynamics in the Cabaret Voltaire. I proclaim the opposition of all cosmic faculties to [sentimentality,] this gonorrhea of a putrid sun issued from the factories of philosophical thought Every product of disgust capable of becoming a negation of the family is Dada.

As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars.

Hugo ball reciting the sound poem karawane

Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. ByBall returned to the Catholicism of his early life and immersed himself in the mysticism of early medieval Christian saints.

He retired with Hennings to a tiny Swiss village, Agnuzzo, where he began the process of revising his diaries from towhich were later published under the title, Die Flucht aus der Zeit Flight Out of Time. The diaries provide a wealth of information concerning the people and events of the Zurich Dada movement. Ball died quite young, at age 41 inpoor, a religious zealot, in self-imposed isolation and all but forgotten.

He had become the epitome of the Dadaists as he once described them: a person "still so convinced of the unity of all beings, of the totality of all things, that he suffers from the dissonances. Hugo Ball met cabaret singer, Emmy Hennings in Munich in the middle of Together they fled to Zurich to avoid the turmoil of war. In Februarythe couple opened the Cabaret Voltaire where Dada was born.

There Ball organized and promoted Dada events, including performances in which he participated - most often reciting his sound poems. Technically a nightclub, the Cabaret Voltaire was a lively hub where the artistic and political activity of the anarchic Dada movement could be freely undertaken. It was, in essence, a living example of the Dada Manifestowhich Ball drafted and read aloud at the first public Dada soiree on July 14, As the leader of the group, Ball articulated their philosophy to destroy and clear away the refuse of "the rationalized language of modernity," which for them was emblematic of the "agony and death throes of [the] age.

The spectacle was intentionally brutal and perplexing as the artists attempted to mirror the turmoil of the day. A site for radical artistic experimentation, the Cabaret Voltaire did not limit participation by non-Dada artists and avant-garde notables such as Filippo Tommaso Marinetti of the Italian Futurist group, Wassily Kandinsky, Giorgio di Chirico, and Paul Klee, among others, were contributors to the scene.

German painter, Hans Richter, described the nightclub very imaginatively, writing: "The Cabaret Voltaire was a six-piece band. Each played his own instrument, i. Our replies are sighs of love, volleys of hiccups, poems, moos, and miaowing of medieval Brutists. Ball described his poetry as an effort to "return to the innermost alchemy of the word" to invent a new language outside of the conventional one.

Of the phonetic verses that he created, which he called "Lautgedichte" "sound poems"he wrote:, "I don't want words that other people have invented I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation is seven yards long, I want words that are seven yards long. The artistry of sound poetry is its focus on "the phonetic aspects of human speech" rather than on semantics or syntax.

By its nature, a sound poem is meant to be performed rather than simply read silently. The Dadaist sound poems differed from their predecessors - those of the Italian Futurists, particularly Marinetti. Topped with a top hat it represents a bourgeois, not being able to open his senses for the situation full of innovations and chances. The print of a lost painting of Marcel Janco of illuminates the space and the atmosphere of the cafe-house of immigrants with Dadaists performing simultaneously on a stage in front of a small space filled with an audience.

Being aware of such a stuffed place filled with a smoking audience one may ask, where a photographer with a tripod would find a stand with a clear view during a life act on a hugo ball reciting the sound poem karawane stage? The observations on documents about the happenings at the Cabaret Voltaire and their quotations over the decades may lead an observer to reflect about the character of innovations.

It is remarkable that artists and researchers have been attracted by the few documents about DADA, especially the rare ones about the short Dadaistic career of Hugo Ball, without getting to the crucial point in it. Finding the Dadaistic spirit in chaos and anarchy they missed the nicely planned and directed part in the work of Hugo Ball who was smart enough to consult a professional photographer and rehearse the visual part his performance in a studio.

Taking that in account it becomes obvious that it is the un-authenticity of the image, which is responsible for the iconic character it has for DADA until today. Also the typography of the poem is famous, although it is not fully understood either. We do not know how it sounded inbut nevertheless we call it a sound-poem, as the changing characters give the idea of changing voices.