dada
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“Hugo Balls legendariske roman Fantasten Tenderenda er skrevet i tidsrummet 1914-20. Romanen, som man i mange år kun kendte af omtale, blev endelig udgivet i 1967. Hugo Ball (1886-1927) er en af dadaismens forgrundsfigurer og medstifter af Cabaret Voltaire i Zürich 1916-17. Han var virksom inden for teater og skønlitteratur, men deltog også i den politiske og religiøse debat. Blandt hans værker kan nævnes Die Flucht aus der Zeit og Herman Hesse. Sein Leben und sein Werk (begge: 1927). Fantasten Tenderenda er Hugo Balls dadaistiske hovedværk, en farverig collage af tekster, der på ingen måde lever op til den almindelige forestilling om en roman, med en fremadskridende handling etc., men som bryder med alle vedtagne konventioner. Ikke desto mindre er den fyldt med allusioner til den klassiske litteratur, fra Cervantes og Goethe til Baudelaire og Nietzsche. Bogens forfatter har tydeligvis erfaringer inden for teateret, dens kapitler kan opfattes som små scenerum for fantastiske skuespil, der udspiller sig i forskellige genrer, i digt- eller prosaform. Flere af teksterne uropførte Hugo Ball i Cabaret Voltaire, og et enkelt stykke blev offentliggjort i 1916 i antologien Cabaret Voltaire . I et dagbogsblad fra 15.7. 1920 meddeler han, at han har færdiggjort den ”fantastiske roman”. Fantasten Tenderenda er en af de vigtigste bøger fra tiden omkring Første Verdenskrig (som paradoksalt nok først udkom med et halvt århundredes forsinkelse). Bogens satire og skarpe civilisationskritik er stadig aktuel, og som historisk dokument er den af største vigtighed – på linje med værker af Tristan Tzara og Hans Arp”
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Ball, Hugo. – Tzara, Tristan. – Mehring, Walter. – Picabia, Francis et al. – Huelsenbeck, Richard (ed.): . Dada Almanach / The DADA Almanac. Atlas Press, 1998 (1993). Large squarish 8vo in softcover as issued. 174 pages. Text in English. Illustrated. Fine clean copy, appears unread
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200,00 kr.Emmy Hennings (born Emma Maria Cordsen, 17 January 1885 – 10 August 1948) was a German poet and performing artist, and co-founder of the Dadaist Cabaret Voltaire with her second husband Hugo Ball
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100,00 kr.DUCHAMP, MARCEL. – Parkinson, Gavin: . THE DUCHAMP BOOK. London: Tate Publ., 2008. 8vo in original stiff wrappers (24,5×19 cm.). 1987 pp. Illustrated in colour. Fine
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100,00 kr.Sanouillet, Michel. – Peterson, Elmer (ed.): The Writings Of Marcel Duchamp. Da Capo Press Paperback, 2009. XII, 196 pp. Fine copy.
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Debray, Cécile. – Girardeau, Cécile. – Loth, Valérie et al (ed.): Dada Africa: Sources et influences extra-occidentales HAZAN / Musées D’Orsay et de l’Orangerie , 2017. Tall small 8vo in wraps as issued. 221, (2) pp. Richly illustrated, with text in French. Very good clean copy “The artistic revolt of…
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445,00 kr.
Very well made facsimile edition of Duchamp’s own original Manual for ÉTANT DONNÉS – first thus / Complet de l’introduction d’Anne d’Harnoncourt. Manual of Instructions was prepared by the artist for the disassembly of Étant donnés in his New York studio and its reassembly at the Philadelphia Museum of Art. First published more than twenty years ago, the manual has had far-reaching ramifications for the study of Étant donnés and Duchamp. Illustrated with 116 black-and-white Polaroids taken by the artist and 35 pages of his handwritten notes and sketches, the revised edition includes a new essay by Michael R. Taylor on the pivotal importance of the manual to an understanding of Duchamp’s artistic practice as well as the first English translation of the artist’s text
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200,00 kr.
“expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from them in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp’s biography. Exile–in the artist’s own words, a “spirit of expatriation”–infuses Duchamp’s entire artistic practice. Indeed a profound sense of dislocation–from geographical situation, national identity, and cultural conventions–deeply informs the mobile objects and disjunctive spaces of Duchamp’s readymades and experimental exhibition installations. Duchamp’s readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his “portable museum” (the suggestively named La bo & i te-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France, during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The “portable museum,” a suitcase containing miniature reproductions of Duchamp’s work, for example, represented a complex meditation–both critical and joyful–on modern art’s tendency toward itinerancy, whereas Duchamp’s 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget. Demos connects Duchamp’s condition of exile to forms of displacement within photographic practice and modern museum exhibitions, theorized extensively at the time by Walter Benjamin, Andre Malraux, and Frederick Kiesler. He claims that in the period of fascism’s elevation of the home as the site of national imagination, Duchamp’s antinational identity became a form of resistance, just as his artistic practice represented a complex response to capitalism’s increasing institutionalization and marketing of art. Duchamp’s exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience”
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“Duchamp left a large volume of correspondence, a thousand documents that form a valuable source for our knowledge of the artist’s personality and work. In his letters, Duchamp talks of his plans and works in progress. He discusses important projects, including the ‘ready-made’ — a concept that was radically to change the course of 20th-century art.
A selection of 285 of Duchamp’s most telling and important letters are here transcribed and published for the first time, in a book which will be essential for students and scholars with an interest in the artist. The editor has devoted twenty years to assembling traceable letters, translating and annotating them. Providing a detailed introduction to each correspondent, he also comments on the historical content of each letter. This volume of fundamental importance contains the letters in their original language, together with translations into English.” -
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Duchamp and the Aesthetics of Chance: Art as Experiment. New York: Columbia University Press, 2010. Sewn binding. Cloth over boards w dustjacket (hardcover). XVI, 214 pages. Very good clean copy
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700,00 kr.
“Published to commemorate the fortieth anniversary of the original installation of Étant donnés and to accompany the first major exhibition on the work and its studies, this richly illustrated book presents a wealth of new research and documents that draw upon previously unpublished works of art, photographs, and other materials. Examines the critical and artistic reception of Étant donnés, as evidenced by the subsequent work of Les Levine, Hannah Wilke, Robert Gober, Marcel Dzama, Ray Johnson, and other artists who have engaged with Duchamp’s provocative and challenging tableau-construction.” Étant donnés was Marcel Duchamp’s final work and, per his instructions, installed after his death. The piece was a surprise to the public because it was assumed Duchamp had retired completely from art making after 25 years spent playing competitive chess. A gorgeously produced catalog benefiting from the filter of time through which the meaning, context, and influence of this challenging work of art can be better understood”
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185,00 kr.
DUCHAMP, Marcel. – Girst, Thomas THE DUCHAMP DICTIONARY. Thames & Hudson, 2014. Small hardcover. 225 paghes, illustrated. Fine clean copy With 64 illustrations by Heretic
