Dada Exhibitions etc.
Time and space in a new unreality
The Hungarian National Gallery's "Dada and Surrealism. Magritte, Duchamp, Man Ray, Miró, Dalí" exhibition offers an extensive introduction to two of the main art movements of the beginning of the twentieth century. The objects and images of internationally prominent artists are accompanied by works showing the evolution of dada and surrealism in Hungary, adding a unique, national perspective.
The first part of the display focuses on the development of the movements worldwide, showing them in a chronological and thematic order. Throughout the rooms, lengthy descriptions help viewers to fully appreciate the significance in art history of the works they see, which may prove especially useful for the understanding of the abstract and revolutionary style of Dadaist artists, with whose work the exhibition begins.
Dada's aim, essentially, was to question accepted artistic norms and deconstruct traditions in the era after the First World War, which they saw as the final sign of the failure of bourgeois culture. They exploited the technological developments of their age, reflecting on new phenomena in radio, cinema and manufacturing in a humorous and experimental way.
German artist Kurt Schwitters' series on show, titled "Merz", is a prime example of this; his collages are made of cast-off bits of paper, including bus tickets and test prints.
Apart from other assemblages, collages and montages, the exhibition features many three-dimensional objects. Perhaps the most famous among these ready-mades is a 1964 copy of Marcel Duchamp's "Fountain", signed by the artist himself. The porcelain urinal was first submitted for an exhibition in 1917, causing a huge scandal and starting a debate about the place of the artist and his works in modern society.
Dada and Surrealism. Magritte, Duchamp, Man Ray, Miró, Dalí
18. July 2014 - by Rozália Harsányi in Culture
Duchamp retrospective at Centre Pompidou
The Centre Pompidou welcomes the exhibition "Marcel Duchamp. La Peinture, même". Running from 24 September 2014 to 5 January 2015, it is designed to show "the paintings of the man who, in common modernist opinion, killed painting."
Aiming to shed light on Marcel Duchamp's major works, the retrospective will comprise 100 works, including La mariée mise à nue par ses célibataires, même (The Bride Stripped Bare by her Bachelors, Even), widely known as Le Grand Verre (The Large Glass), which was begun in 1910 and declared unfinished in 1923. Additionally, it is to analyse essential references of his hermetic work including: mathematics, the theme of "the bride", Impressionism, Cubism, the art of Francis Picabia and more.
The retrospective reveals a selection of Duchamp's pictorial studies relatively unknown in Europe, due to the large part being conserved at Philadelphia Museum of Arts questioning the myth behind his work: the destruction of painting through the ready-made, following the rejection of his piece Nu descendant un escalier (Nude descending a staircase) exhibited at the Salon des Indépendants in 1911.
Paris - 2 July 2014 - AMA
December 20, 1961 - January 9, 1962
Read on if you are interested in what was happening in Canada over fifty years ago. Some of the people involved were Michel Sanouillet, Greg Curnoe, Michael Snow and Joyce Wieland.