Dada Exhibitions etc.
Hannah Höch was an artistic and cultural pioneer. A member of Berlin's Dada movement in the 1920s, she was a driving force in the development of 20th century collage. Splicing together images taken from fashion magazines and illustrated journals, she created a humorous and moving commentary on society during a time of tremendous social change. Höch was admired by contemporaries such as George Grosz, Theo van Doesburg and Kurt Schwitters, yet was often overlooked by traditional art history. As the first major exhibition of her work in Britain, the show puts this inspiring figure in the spotlight.
Bringing together over 100 works from major international collections, the exhibition examines Höch's extraordinary career from the 1910s to the 1970s. Starting with early works influenced by her time working in the fashion industry, it includes key photomontages such as High Finance (1923) which critiques the relationship between bankers and the army at the height of the economic crisis in Europe.
Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)
77 - 82 Whitechapel High Street, London E1 7QX
15 January 2014 - 23 March 2014
'Never keep both feet on the ground', Hannah Hoch
A large retrospective of the collage work of Hannah Hoch has just opened at the Whitechapel Gallery. Not a household name in the UK, she was an influential German artist who lived from 1889 to 1978. Curated by Daniel Herrmann and newly CBE-ed Professor Dawn Ades, this is the first major exhibition in London devoted to this female Dadaist and pioneer of collage. It fills the main galleries with over 125 wall-based pieces that rarely travel abroad.
Hoch was active in many types of media, but this show focuses on her collage work, showing her as a leader, a Dadaist and one of the earliest proponents of the technique. She was a Photoshop user before there was such a thing and you get the feeling she would have loved to play with the electronic image manipulation that is possible today. Her first collage piece sees her cutting up and repositioning her own deftly worked patterns, concentrating on aesthetics rather than the politics of her later works. She worked in the fashion publishing industry and her early pieces are grounded in the symmetries of embroidery which she believed was 'an art and ought to be treated like one.' [...]
Flaneur - January 23, 2014
Photomontage was the art of protest, but dada cut-and-paste pioneer Hannah Höch went further and made it a thing of beauty too.
"Hannah Höch: the bob-haired muse of the men's club" so ran one headline on the German artist's death in 1978, at the age of 88. Höch had been characterised as the It girl of the Berlin dadaists for most of her life. The obituaries also mentioned her early photomontages satirising Weimar politics, but mainly she emerged as a kind of moll-cum-waitress: lover of one dadaist, purveyor of sandwiches and beer to the others.
"Dada's good girl", with her nimble scissors and Louise Brooks haircut this has been a hard reputation to dislodge, so much so that the show opening at the Whitechapel Gallery next week is the first full-scale survey of her work in Britain. It presents 100 montages and watercolours (and combinations of both) made over six decades, largely in Berlin, and from 1939 onwards entirely in the tiny suburban cottage in which she hid from Nazi scrutiny and which became home for the rest of her life. [...]
The Observer, Sunday 12 January 2014
[...] Höch is the mother of photomontage, an aesthetic built on splicing and rejoining existing photographs to create surreal, immersive imagery. With pieces like "Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic," Höch not only pushed the boundaries of collage, she ripped through issues concerning the beauty industry, gay and lesbian relationships and racial discrimination. Marginalized for her bisexuality in Germany, she championed intersectional feminism nearly a century ago.
Whitechapel Gallery in London is the latest to pay homage to Höch's subversive flair. In an exhibition opening this month, the institute brings together over 100 works from the artist's oeuvre, spanning the 1910s to the 1970s. Included in the wild array of cut-and-pasted bodies is the memorable series "From an Ethnographic Museum," in which a sea of female anatomies joined with traditional masks question sex, race and gender. Höch's new woman -- modern, non-Western, sexually emancipated -- smashed through expectations of femininity, a feat recognized more by historians today than early 20th century critics. [...]
The Huffington Post 01/14/14
The Nazis branded her a degenerate and the dadaists tried to edge her out. But a new exhibition reveals Hannah Höch as a pioneer of photomontage and a feminist icon who took a kitchen knife to the glass ceiling.
The First International Dada Fair took place in Berlin in the summer of 1920, and included works by George Grosz, John Heartfield, Max Ernst and Francis Picabia. Photographs from the opening show the gallery teeming with paintings, posters and scurrilous assemblages; hanging from the ceiling is Prussian Archangel, by Heartfield and Rudolf Schlichter: a pig-faced dummy in military uniform. Suited and spatted, the dadaists comport themselves with dandyish indifference to their own anti-art inventions. There are only two women present, and one of them is the bobbed and diminutive Hannah Höch, who leans playfully on a cane borrowed from Grosz while she looks over the shoulder of her lover, Raoul Hausmann. To the right of the couple is a pasted slogan: "Art is dead. Long live the machine art of Tatlin." And to the left a large, squarish composition in which one can just about discern faces, text and fragments of machinery. [...]
The Guardian, Thursday 9 January 2014
From Marcel Duchamp's famous 1914 Bottle Rack, considered the first real 'readymade', to Joan Miro's sculptures from the end of the 1960s to artwork by Man Ray, Max Ernst, Picasso, Giacometti and Calder, the Centre Pompidou in Paris will offer visitors a full immersion in Surrealism, a literary and artistic movement from the 1920s and 1030s which led to the avant-garde movements of the 20th century.
The exhibit 'Le surréalisme et l'objet' running through March 3 follows the great success of the show dedicated to Dali' which attracted 750,000 visitors.
At the centre of the show is the 'surrealist object', the artists' use of objects from everyday life as an 'effective agent of poetic subversion of reality', said Didier Ottinger, the deputy director of Paris' Museum of modern art, who organized the show. [...]
ANSA Med - November 5, 2013
December 20, 1961 - January 9, 1962
Toronto, Ontario, Canada
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.