I will never make any compromise for my situation.
Today marks the 125th anniversary of the birth of female Dadaist Hannah Hawk, who was named the "punk ancestor of the art world" by the Guardian earlier this year. The Guardian article points out that unlike any school in the 20th century, Hawk advocates irrationality, nothingness, cooperation and improvisation-in other words, Hawke is a woman. As one of the pioneers of montage photo artists, Hawk created the image of a perfect woman, beautiful, happily married, politician, German, and a Dadaist who often hates women. Take Hawke's 1919 book, "cutting open the beer belly of the last German Wei Wei in the cultural era with Dada's kitchen knife." the name of this book reveals everything. In order to celebrate Hawk's contribution to the Dadaism, we will also explore several other female Dadaists.
as the youngest girl in the Duchamp family, Susan Duchamp lives in the famous Montparnasse area of Paris, so that his brother Marcel can help him and her build his career (they should be the closest pair of all siblings). At that time, it was always difficult for female painters to be recognized by the outside world, even though Susan received orthodox training at the Paris Academy of Fine Arts in Rouen. But genius is never buried, and Susan was a blockbuster when she attended an independent salon exhibition in Paris at the age of 22. This is one of the most representative Dada works of the younger generation. The multiplication of broken and reconstructed created in 1919 has a Dada trinity: anti-aesthetic sensitivity, stitching and text. "the mirror will break, the scaffolding will stumble, the balloon will fly away, and the stars will dim." This is her abstract self-interpretation.
one of the founders of Dadaism let Alp's collaborator and wife Sophie Taubel's work show an intimate combination of color and geometry. Her simple geometric art stems from her trust in the natural expression of colors, lines and forms, and she has been instilled with unusual ideas and free will. Sophie opposes the schematic approach of her contemporaries in dealing with objective forms of progress. " Oxford University Press commented on her, "during the period when Dadaism developed in Zurich (1916-20), Alp and Taubel created not only paintings but also a series of colored wood portraits. this includes a portrait of Jean Asop, the design of a series of wood carvings (Paris, 1918-19, Pompidou Center) and string puppets (Mousse Berilov, Zurich). The puppets were also used in Karlogozi's 1918 performance of the Deer King, as well as standing in a Swedish workshop in Zurich. At the same time, Taubel is also an excellent dancer and has performed in Voltaire taverns. Taubel performed at Dada's space exhibition, when she was wearing the fashion design of another Dada founder, Marcel Janko.
about this speech about Dada, I want to say that I know nothing about Dada. I just love the men associated with it, and I think it's enough to make me a Dada fan. " Beatrice Wood told her audience at the Philadelphia Museum in 1978. Indeed, in her time, Wood was far more famous for her sexual indulgence than for her contribution to the Dada School (she also had several virtual relationships in her artistic creation). But today she is known as the "Mother of Dada". She lived a colorful life and loved pottery all her life until she died at the age of 105. "Wood's paintings combine openness with diary privacy, highlighting her wisdom and humor, exaggeration and joy, which is why Wood is so famous." The Art Forum commented, "for example, her works in the 'touch something' (1932-33) series depict straightforward and sweet intimate sexual contact between women, which is radical in modern times, even with a very quaint painting style."
Amy Hennings performs regularly at the Voltaire Tavern, a Zurich nightclub (founded with her husband, Hugo Paul, one of the leading members of the Dada faction) and Sing, recited her works, danced or performed puppet shows at the Dada Museum of Art. Amy published things in anarchist magazines before joining the Dada faction. Chris Hoffman, a poet, professor and art performer, wrote an interesting story about Hennings, but made little mention of Dada.
Hennings did not like to expose that she had been a member of the avant-garde of the Munich and Zurich era for a long time and created a large number of creative works during that period. If you admit it, it is tantamount to admitting that for a long time she was a drug addict, a prostitute, and a liar who advocated free lust, anarchy and social revolution, went to prison more often and made fake passports for deserters at least once. That is why Amy Hennings advocates the personal art of anonymity and is willing to be the one behind Hugo Paul.
Baroness Elsa von Fretag-Lorehoven
Don't give me an old maid lollipop!
Yes! We don't have bananas
my taste buds are full of desire
here is a vibrator
A dozen cocktails, please!
-- Baroness Elsa von Fretag-Lorehoven
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she is a living work of art, and her devotion to Dada is enough to dwarf many men. Model artist, wandering poet, foundation performer, fashion icon and freewheeling feminist Elsa von Fretag-Lori HovanThe whole of Greenwich Village was in a strange state for decades before the 1960s. She was always arrested for showing off his clothes and stealing things that attracted her, and she jumped out of a petrol patrol car so quickly that the police had to let her go with admiration. It is also recorded that she is the muse of Duchamp's Fountain. And you must read the record of her first meeting with Margaret Anderson, editor of the Little Review.
British Bohemian Mina Roy became a Dadaist through her words, although she is also an artist who seeks untraditional ways and forms, including using trash in Manhattan dustbins. As another celebrity in Greenwich Village, Roy likes to challenge reality (and all gender standards)-as you can see in other people, a modernist poet magazine. " It was so healthy for us to stand trial in court for dirty literature, "said the editor of Roy recall Publishing House when he was coerced before the judge and jury."
"Queen of Greenwich" Carla Tess is a fashion icon, but her avant-garde dress is only part of her charm. She helped organize the first independent art exhibition (including many socially independent artists), and when the Sin Society tried to shut down one of her art performances, she resolutely rebelled against the pre-trial system and appeared in a popular magazine, such as the cover of Vanity Fair-which brings the gap between Dadaism and mainstream art closer.
from an artistic, political and personal point of view, she is one of the most independent and creative artists of the last century. Duoyan abandoned her real name (Maria Selminova) and chose to pursue her artistic life with a mysterious and neutral pseudonym. In order to support a few friends, she cut off all contact with her family. Duoyan opposes bourgeois tendencies and supports anarchist movements. With her independent life, she refuses to be told how to be a traditional woman, and she tells the world that she will never make any compromise for the quality of her work.
Juliette Roche was born into a wealthy family in Paris, which enabled her to stand out in the colorful world of art and politics from a very young age. She applies her knowledge of art and politics to innovative paintings and poetry (like the 1920 book Demi Seek), but she can also maintain a critical eye in the Dadaan male-dominated group.
"Florin Stahmi is a painter, poet and designer whose life is just enough to refute lies about artists. Because she is definitely not one of those lonely and untalented people who try to create works that can transcend his or her time and space, "he is described in the Archives of Jewish Women." Stahemil's paintings are always so vivid. Like the diary of her life, it was also a meticulous observation of the upper class of New York during the two world wars. Florin's decoration and modeling style is always full of female characteristics, which provides another popular choice for contemporary modernist painting. " Stahmel also founded a New York City salon, where she hosted Dada of who was who-including Marcel Duchamp. Florine also often painted Duchamp as androgynous (it was too radical for a woman to write such a work at that time).