By Maria Stavrinaki
Dada is usually celebrated for its suggestions of concern and competition, yet in Dada Presentism, Maria Stavrinaki presents a brand new photograph of Dada artwork and writings as a lucid mirrored image on historical past and the function of paintings inside of it. the unique (Berlin-based) Dadaists' acute old cognizance and their smooth adventure of time, she contends, expected the formulations of significant historians similar to Reinhart Koselleck and, extra lately, François Hartog. The ebook explores Dada temporalities and ideas of heritage in artworks, creative discourse, and within the pictures of the Berlin Dada stream. those photographs—including the well-known one of many First overseas Dada Fair—are provided now not as uncomplicated, obvious files, yet as formal deployments conforming to a truly concrete thought of background. This strategy permits Stavrinaki to hyperlink Dada to extra modern inventive pursuits and practices attracted to background and the archive. whilst, she investigates what looks a true oxymoron of the circulate: its simultaneous declare to the ephemeral and its compulsive writing of its personal historical past. during this means, Dada Presentism additionally interrogates the boundaries among heritage and fiction.
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Additional info for Dada Presentism: An Essay on Art and History
After all, the Weimar classicists transmitted their praise of interiority—something 52 A R T ’ S E F F I C A C Y O R D A D A ’ S U S E VA L U E to be cultivated far from the turmoil of the public sphere—to Germany’s Bildungsbürgertum (cultured middle class). Of course, a huge gulf lay between the original Weimar humanist cosmopolitanism and the nationalist pettiness that was brewing in the young republic. The separation between the two was total, but German nationalism incorporated the classics in its own way.
The same double bind can be seen in the way the bodies of his sculptures are anchored in their bases, signaling a sovereign autonomy. 28 Whereas Futurism failed to escape these contradictions, Jakobson found that Dada triumphed over all involuntary logical contradictions. He saw Dada as the artistic correlate to Albert Einstein’s theories in science, Nikolai Bukharin’s in economics, and Oswald Spengler’s in history, for all four shared an acute sense of relativity. Things had no absolute value in time or space not only because they were ephemeral but also because their interdependence far exceeded their individual particularities.
George Grosz, Germany, A Winter’s Tale, 1918, oil on canvas (destroyed). J. / ADAGP, Paris 2015. 26 THE PRESENT AS REPRODUCIBLE TIME sitting at the center of the composition is supported by the three pillars of church, state, and army. A more subtle symbolism can be seen at the base of the photograph’s optical pyramid, which is made up of the Dadaists themselves (see Figure 8). The left side of the photo is the side of instantaneity and captures a moment in which Raoul Hausmann, Johannes Baader, and the gallery owner, Otto Burchard, are conversing peacefully, their backs to the works on the wall behind them.