από τη Βικιπαίδεια, την ελεύθερη εγκυκλοπαίδεια
Ο Ραούλ Χάουσμαν (Raoul Hausmann, 12 Ιουλίου 1886 - 1 Φεβρουαρίου 1971) ήταν Αυστριακός καλλιτέχνης, γεννημένος στη Βιέννη. Συνδέθηκε με το κίνημα του ντανταϊσμού και αποτέλεσε και ηγετική φυσιογνωμία της ομάδας των ντανταϊστών στο Βερολίνο.Ασχολήθηκε κυρίως με τη ζωγραφική, τη γλυπτική και τη φωτογραφία. Θεωρείται ο εμπνευστής της τεχνικής του φωτομοντάζ, καθώς και του είδους των φωνητικών ποιημάτων που χρησιμοποίησαν ευρέως οι ντανταϊστές. Μετά το 1930 ασχολήθηκε ενεργά με τη φωτογραφία ενώ την περίοδο 1959-1964 αφοσιώθηκε περισσότερο στη ζωγραφική.
Raoul Hausmann (July 12, 1886 – February 1, 1971) was an Austrian artist and writer. One of the key figures in Berlin Dada, his experimental photographic collages, sound poetry and institutional critiques would have a profound influence on the European Avant-Garde in the aftermath of World War I. Raoul Hausmann was born in Vienna but moved to Berlin with his parents at the age of 14, in 1901[1]. His earliest art training was from his father, a professional conservator and painter. He met Johannes Baader, an eccentric architect and another future member of Dada, in 1905. At around the same time he met Elfride Schaeffer, a violinist, who he married in 1908, a year after the birth of their daughter, Vera. That same year Hausmann enrolled at a private Art School in Berlin[2], where he remained until 1911. After seeing expressionist paintings in Herwarth Walden's gallery Der Sturm in 1912, Hausmann started to produce expressionist prints in Erich Heckel's studio, and became a staff writer for Walden's magazine, also called Der Sturm, which provided a platform for his earliest polemical writings against the art establishment. In keeping with his expressionist colleagues, he initially welcomed the war, believing it to be a necessary cleansing of a calcified society, although being an Austrian citizen living in Germany he was spared the draft. Hausmann met Hannah Höch in 1915, and embarked upon an extramarital affair that produced an 'artistically productive but turbulent bond'[3] that would last until 1922. In 1916 Hausmann met two more people who would become important influences on his subsequent career; the psychoanalyst Otto Gross who believed psychoanalysis to be the preparation for revolution, and the anarchist writer Franz Jung. By now his artistic circle had come to include the writer Salomo Friedlaender, Hans Richter, Emmy Hennings and members of Die Aktion magazine, which, along with Der Sturm and the anarchist paper Die Freie Straße[4] published numerous articles by him in this period. 'The notion of destruction as an act of creation was the point of departure for Hausmann's Dadasophy, his theoretical contribution to Berlin Dada.'[5]
Berlin Dada
When Richard Huelsenbeck (a 24 year old medical student, close friend of Hugo Ball and one of the founders of Zurich Dada), returned to Berlin in 1917, Hausmann was one of a group of young disaffected artists that began to form the nucleus of Berlin Dada around him. Huelsenbeck delivered his First Dada Speech in Germany, January 22, 1918 at the fashionable art dealer IB Neumann's gallery, Kurfurstendamm Berlin. Over the course of the next few weeks, Hausmann, Huelsenbeck, George Grosz, John Heartfield, Jung, Höch, Walter Mehring and Baader started the Club Dada. The first event staged was an evening of poetry performances and lectures against the backdrop of a retrospective of paintings by the establishment artist Lovis Corinth at the Berlin Sezession, April 12th, 1918. Amongst the contributors, Huelsenbeck recited the Dada Manifesto, Grosz danced a Sincopation homaging Jazz, whilst Hausmann ended the evening by shouting his manifesto The New Material In Painting at the by-now near riotous audience; "The threat of violence hung in the air. One envisioned Corinth's pictures torn to shreds with chair legs. But in the end it didn't come to that. As Raoul Hausmann shouted his programmatic plans for dadaist painting into the noise of the crowd, the manager of the sezession gallery turned the lights out on him."[6]
Photomontage
The call for new materials in painting bore fruit later the same year when Hausmann and Höch holidayed on the Baltic Sea. The guest room they were staying in had a generic portrait of soldiers, onto which the patron had glued photographic portrait heads of his son five times. "It was like a thunderbolt: one could - I saw it instantaneously - make pictures, assembled entirely from cut-up photographs. Back in Berlin that september, I began to realize this new vision, and I made use of photographs from the press and the cinema." Hausmann, 1958[ The photomontage became the technique most associated with Berlin Dada, used extensively by Hausmann, Höch, Heartfield, Baader and Grosz, and would prove a crucial influence on Kurt Schwitters, El Lissitsky and Russian Constructivism. It should also be pointed out that Grosz, Heartfield & Baader all laid claim to having invented the technique in later memoirs, although no works have surfaced to justify these claims. At the same time, Hausmann started to experiment with sound poems he called "phonemes"[8], and poster poems originally created by the chance lining up of letters by a printer without Hausmann's direct intervention.[9] Later poems used words were reversed, chopped up and strung out, then either typed out using a full range of typographical strategies, or performed with boisterous exuberance. Schwitters' Ursonate was directly influenced by a performance of one of hausmann's poems, fmsbwtazdu at an event in Prague in 1921.[10]
Der Dada: A New Periodical
After Hausmann contributed to the first group show, held at Isaac Neumann's Gallery, April 1919, the first edition of Der Dada appeared in June 1919. Edited by Hausmann and Baader, after receiving permission from Tristan Tzara in Zurich to use the name, the magazine also featured significant contributions from Huelsenbeck. The periodical contained drawings, polemics, poems and satires, all typeset in a multiplicity of opposing fonts and signs. At the beginning of 1920, Baader (President of All The World) Hausmann (the Dadasopher) and the 'World-Dada' Huelsenbeck undertook a six week tour of Eastern Germany and Czechoslovakia, drawing large crowds and bemused reviews.[11] The programme included primitivist verse, simultaneous poetry recitals by Baader and Hausmann, and Hausmann's Dada-Trot (Sixty-One Step) described as 'a truly splendid send-up of the most modern exotic-erotic social dances that have befallen us like a plague...'[12]
The First International Dada Fair, 1920
Organised by Hausmann, Grosz and Heartfield, along with Max Ernst, the fair was to become the most famous of all Berlin Dada's exploits, featuring almost 200 works by artists including Francis Picabia, Hans Arp, Ernst, Otto Dix & Rudolf Schlichter, as well as key works by Grosz, Höch and Hausmann. The work Tatlin At Home, 1920, can be clearly seen in one of the publicity photos taken by a professional photographer; the exhibition, whilst financially unsuccessful, gained prominent exposure in Amsterdam, Milan, Rome and Boston.[13] The exhibition also proved to be one of the main influences on the content and layout of Entartete Kunst, the show of degenerate art put on by the Nazis in 1937, with key slogans such as 'Nehmen Sie DADA Ernst' (Take Dada seriously!) appearing in both exhibitions.
The Mechanical Head
The most famous work by Hausmann, Der Geist Unserer Zeit - Mechanischer Kopf (Mechanical Head [The Spirit of Our Age]), c. 1920, is the only surviving assemblage that Hausmann produced around 1919-20. Constructed from a Hairdresser's wig-making dummy with various measuring devices attached, including a ruler, pocket watch mechanism, typewriter and camera segments and a crocodile wallet.[14]
Friendship With Schwitters
Huelsenbeck finished his training to become a doctor in 1920 and started to practice medicine; By the end of the year he had published the Dada Almanach and The History of Dadaism, two historical records that implied that Dada was at an end; in the aftermath, Hausmann's friendship with Kurt Schwitters deepened, and Hausmann started to take steps toward International Modernism. In September 1921, Hausmann, Höch, Schwitters and his wife Helma undertook an 'anti-dada' tour to Prague. As well as his recitals of sound poems, he also presented a manifesto describing a machine 'capable of converting audio and visual signals interchangeably, that he later called the Optophone'.[16]After many years of experimentation, this device was patented in London in 1935. He also took part in an exhibition of photomontages in Berlin in 1931, organise by César Domela Nieuwenhuis[17]. In the late 1920s, he re-invented himself as a fashionable society photographer, and lived in a ménage à trois with his wife Hedwig and Vera Broido in the fashionable district of Charlottenberg, Berlin. Hannah Höch- by now herself living with a woman, Til Brugmann - left a sketch of Hausmann around 1931; "After I had offered to renew friendly relations and we met frequently (with Til as well). At the time he was living with Heda Mankowicz-Hausmann and Vera Broido in Kaiser-Friedrich-Straße in Charlottenberg. Elfrided Hausmann-Scheffer, Til and I went there often. But I always found it very boring. He was just acting the photographer, and the lover of Vera B, showing off terribly with what he could afford to buy now - the ésprit was all gone." Hannah Höch[18] In later years, Hausmann exhibited his photographs widely, concentrating on nudes, landscapes and portraits. As nazi persecution of avant-garde artists increased, he emigrated to Ibiza, where his photos concentrated on ethnographic motifs of pre-modern Ibizan life. He returned to Czechoslovakia in 1937, but was forced to flee again in 1938 after the German invasion. He moved to Paris, then Peyrat-le-Chateau, near Limoges until 1944 living illegally with his Jewish wife Hedwig in a quiet secluded manner. After the Normandy landings in 1944 the pair finally moved to Limoges. http://www.raoulhausmann.com/
is the anglicized name of the German photomontage artist Helmut Herzfeld. He chose to call himself Heartfield in 1916, to criticize the rabid nationalism and anti-British sentiment prevalent in Germany during World War I. In 1918 Heartfield began at the Berlin Dada scene, and the Communist Party of Germany. He was dismissed from the Reichswehr film service on account of his support for the strike that followed the assassination of Karl Liebknecht and Rosa Luxemburg. With George Grosz, he founded Die Pleite, a satirical magazine. After meeting Bertolt Brecht, who was to have an influence on his art, Heartfield developed photomontage into a form of political and artistic representation. He worked for two communist publications: the daily Die Rote Fahne and the weekly Arbeiter-Illustrierte-Zeitung (AIZ), the latter of which published the works for which Heartfield is best remembered.[1]
In 1933, after the National Socialists came to power in Germany, Heartfield relocated to Czechoslovakia, where he continued his photomontage work for the AIZ (which was published in exile); in 1938, fearing a German takeover of his host country, he left for England living in Hampstead. He settled in East Germany and Berlin after World War II, in 1954, and worked closely with theater directors such as Benno Besson and Wolfgang Langhoff at Berliner Ensemble and Deutsches Theater. In 1967 he visited Britain and began preparing a retrospective exhibition of his work, "photomontages", which was subsequently completed by his widow Gertrude and the Deutsche Akademie der Künste, and shown at the ICA in London in 1969. In 2005, Tate Britain held an exhibition of his photomontage pieces.
His photomontages satirising Adolf Hitler and the Nazis often subverted Nazi symbols such as the swastika in order to undermine their propaganda message.One of his more famous pieces, made in 1935 entitled Hurrah, die Butter ist Alle! (English: Hurray, the butter is gone!) was published on the frontpage of the AIZ in 1935. A parody of the aesthetics of propaganda, the photomontage shows a family at a kitchen table, where a nearby portrait of Hitler hangs and the wallpaper is emblazoned with swastikas. The family — mother, father, old woman, young man, baby, and dog — are attempting to eat pieces of metal, such as chains, bicycle handlebars, and rifles. Below, the title is written in large letters, in addition to a quote by Hermann Göring during food shortage. Translated, the quote reads: "Iron has always made a nation strong, butter and lard have only made the people fat".http://www.towson.edu/heartfield/artarchive.html
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