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April 08 2014

05:47

January 06 2013

02:19
3648 adae 500

Merzbarn Wall

The Hatton Gallery is home to the Merzbarn Wall. Constructed in a barn in the Lake District during 1947-48, and transported to the Hatton in 1965, the Merzbarn was Kurt Schwitters’ final, and in his own estimation, ‘greatest’, piece of work.

Via Kurt Schwitters and the Merzbarn Wall - Hatton Gallery

02:09
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A detail from the reconstructed 1933 Merz Building, Schwitters’s 10-year transformation of his parents’ flat in Hanover. Photograph: Wilhelm Redemann/Sprengel Museum Hannover/Dacs

Via Kurt Schwitters: the modernist master in exile | Art and design | The Observer

Reposted bysiriusminerva siriusminerva
02:00
3655 4296 500

Untitled (With an Early Portrait of Kurt Schwitters), 1937-8
Photograph: Herling/Gwose/Kurt and Ernst Schwitters Stiftung, Sprengel Museum, Hannover

Via Kurt Schwitters collages – in pictures | Art and design | The Observer

December 13 2012

22:10
2068 a212 500

“With his Fountain (1917), Duchamp made the quintessential statement about the history and future of art. Duchamp of course knew the history of art and, given recent trends, where art was going. He knew what had been achieved — how over the centuries art had been a powerful vehicle that called upon the highest development of the human creative vision and demanded exacting technical skill; and he knew that art had an awesome power to exalt the senses, the minds, and the passions of those who experience it. With his urinal, Duchamp offered presciently a summary statement. The artist is not a great creator — Duchamp went shopping at a plumbing store. The artwork is not a special object — it was mass-produced in a factory. The experience of art is not exciting and ennobling — it is puzzling and leaves one with a sense of distaste. But over and above that, Duchamp did not select just any ready-made object to display. He could have selected a sink or a door-knob. In selecting the urinal, his message was clear: Art is something you piss on.”

[Excerpt from Why Art became Ugly (2004).]

(via Stephen Hicks, Ph.D. » Marcel Duchamp, Fountain (1917))

Reposted bygehirnfasching gehirnfasching

November 11 2012

19:17
4517 1080

Erik Satie’s A Day in the Life of a Musician:

Here is the exact timetable of my daily activities.

Get up: 7:18 am; be inspired 10:23 to 11:47 am.

Take lunch: 12:11 pm; leave table at 12:14 pm.

Healthy horse-riding out in the grounds: 1:19 to 2:53 pm

More inspiration: 3:12 to 4:07 pm.

Various activities (fencing, reflection, immobility, visits, contemplation, swimming etc.): 4:21 to 6:47 pm.

Dinner is served at 7:16 and ends at 7:20 pm

Then come symphonic readings out loud 8:09 to 9:49 pm.

I go to bed regularly at 10:37 pm. Once a week on Tuesdays I wake with a start at 3:19 am

I can only eat white foods: eggs, sugar, scraped bones, fat from dead animals, veal, salt, coconuts, chicken cooked in white water, rice, turnips, things like pasta, white cheese, cotton salad and certain fish.

I boil my wine and drink it cold mixed with fuchsia juice. I have a good appetite, but never talk while eating, for fear of strangling myself.

I breathe carefully a little at a time.

My sleep is deep but I keep one eye open. My bed is round with a hole cut out to let my head through. Once every hour a servant takes my temperature.

I have long subscribed to a fashion magazine. I wear a white bonnet, white stockings and a white waistcoat.

My doctor has always told me to smoke. Part of his advice runs “Smoke away, my dear chap. If you don’t someone else will.”

- Erik Satie

If only that kind of routine would work for me…

The poster of Erik Satie was made by The Keep Calm-O-Matic. ...

Via my BF & Dangerous Minds | Erik Satie: A Day in the Life of a Musician

September 19 2012

MerelyGifted
07:44
MerelyGifted
07:35
MerelyGifted
07:28
MerelyGifted
07:20
"Everybody can Dada"
—Dada-Fair, Berlin, poster, 1919

Dada blasted onto the scene in 1916 with ear-splitting enthusiasm: rowdy, brazen, irreverent, and assaulting. Its sounds were clamorous, its visions were shocking, and its language was explosive. Yet Dada was not aimless anarchy. Rather, the artists were responding to the violence and trauma of World War I—and to the shock of modernity more generally—by developing shock tactics of their own. They critiqued traditional conceptions of the artist as master of his medium by using prefabricated materials or relegating aesthetic decisions to chance. They scoffed at the conventional definition of artistic media, expanding it to include the stuff of modern life—newspapers, magazines, ticket stubs, mechanical parts, food wrappers, pipes, advertisements, light bulbs, and so on. Through their performances, publicity stunts, and manipulation of mass media, they further altered perceptions of what constituted a work of art by blurring the boundaries between art and life.  ...



  Via NGA-DADA - Introduction
MerelyGifted
07:18
MerelyGifted
07:17
Subversive and irreverent, Dada, more than any other movement, has shaken society's notions of art and cultural production. Fiercely anti-authoritarian and anti-hierarchical, Dada questioned the myth of originality, of the artist as genius suggesting instead that everybody should be an artist and that almost anything could be art. Surrealism, Constructivism, Lettrism, Situationism, Fluxus, Pop and OpArt, Conceptual Art and Minimalism: most twentieth-century art movements after 1923 have roots to Dada. Dada works still have a radicality and freshness that attracts today's culture jammers and disrupters of life as usual.  ...

   Via DADA Companion
MerelyGifted
07:10
MerelyGifted
07:06

Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection



...  United in their frustration and disillusionment with the war and their disgust with the culture that allowed it, the Dadaists felt that only insurrection and protest could fully express their rage.  "The beginnings of Dada," Tristan Tzara remarked, "were not the beginnings of art, but of disgust."  As Marcel Janco recalled: "We had lost confidence in our culture.  Everything had to be demolished.  We would begin again after the tabula rasa.  At the Cabaret Voltaire we began by shocking the bourgeois, demolishing his idea of art, attacking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order."   Through uproarious evenings filled with noise-music, abstract-poetry readings, and other performances, Dada began to voice its aggressive message.  While Dada evenings soon became notorious for insurrection and powerful assaults on art and bourgeois culture, it was through Dada journals that the news of this developing movement reached all corners of Europe and even the United States.  ...
MerelyGifted
07:04
MerelyGifted
07:02

Mark Harden's Artchive: "Dada and Surrealism"



...Dada began as an anti-art movement or, at least, a movement against the way art was appreciated by what considered itself the civilized world; Surrealism was much more than an art movement and it thrust home Dada's subversive attack on rational and 'civilized' standards. Whether people are aware of it or not, the Dada and Surrealist revolt has helped to change modern consciousness.

Dada had no formal aesthetic, virtually disregarding easel painting, but the Dadaists shared a nihilistic ethic. The word 'Dada', ambiguously denoting both 'hobby horse' and 'father', was arrived at by chance and gained immediate acceptance by its suitably childish and nonsensical ring. An international movement originating in Zurich and New York at the height of the First World War, it quickly spread to Berlin, Cologne, Hanover, Paris and, to some extent, Russia.

This revolt was against the senseless barbarities of war. It pinpointed the hypocrisy of those who felt that art created spiritual values. Civilization - despite Christianity, despite museums - had indeed broken down when thousands of grown men shelled each other day after day, from muddy trenches. It was no use for the person 'of sensibility', one of Dada's early targets, to take refuge in beauty.

The first step was to make negative gestures; to attack the icons of the old culture. It was in this iconoclastic spirit that in 1917 Marcel Duchamp put a moustache and beard in black crayon on a colored reproduction of Leonardo da Vinci's Mona Lisa (c 1502).  ...

MerelyGifted
06:59

Dadaism By Tristan Tzara



...  Dada is a state of mind. That is why it transforms itself according to races and events. Dada applies itself to everything, and yet it is nothing, it is the point where the yes and the no and all the opposites meet, not solemnly in the castles of human philosophies, but very simply at street corners, like dogs and grasshoppers.

Like everything in life, Dada is useless.

Dada is without pretension, as life should be.

Perhaps you will understand me better when I tell you that Dada is a virgin microbe that penetrates with the insistence of air into all the spaces that reason has not been able to fill with words or conventions.

Reposted byYELLOWBREEZES YELLOWBREEZES

September 18 2012

MerelyGifted
07:16
Let's Do It à Dada!
Einstürzende Neubauten
Alles Weider Offen (2007)


Texte auf Deutsch

English Lyrics
Reposted bygehirnfasching gehirnfasching

August 17 2012

MerelyGifted
18:06

May 14 2012

05:21
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