Kunst - Fotografie - Primäre Intermedialität (German Edition)

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From this moment in , Dadaglobe was never again mentioned in writing, and was long thought to be a mere hoax; another tongue-in-cheek Dada prank meant to throw ingenuous critics off the scent.

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To my mind, the abrupt end of such a fully developed and enthusiastically greeted project remains the great, unanswered question of this reconstruction project. The works he solicited remained in his possession until they were dispersed at his death, landing mostly in museums in Europe and the United States. Sudhalter describes in precise detail how obstacles to international movement and communication in this moment of heightened bureaucracy shaped the structure and content of the original Dadaglobe.

The administration of national identity was underway, for example, with the development of a standardized passport system that required photographs and signatures in addition to identifying descriptors, and insisted on fastening individuals to a single nation-state. Naturally, many of these threw standards out of the window. Re-editions, special editions and facsimiles are common in the publishing world; whole imprints are devoted to them, and they often take on an object-quality similar to that of Dadaglobe Reconstructed.

But a full-on posthumous conjuring from fragments is rare, rather than expected, and I cannot think of a precedent in art publishing. But then Dadaglobe in its initial conception was an extraordinary project. Previously, this kind of paper exhibition space had been confined to documentary and scientific photography, and this may explain why Man Ray, who was only just learning to handle a camera, was quick to understand and embrace the possibilities of the form. That Max Ernst did, as well, including specific instructions to the printer for reproducing his collage Chinese Nightingale testifies to a widespread readiness for new forms of art that could evade the institutional confines of gallery space.

From this point of view, mounting the project as an exhibition makes little sense, even when it appears in galleries devoted to prints and illustrated books. Every page must explode. With such a clear directive, and with the book itself in the process of materialization, the uninspired installation reads as a stunning missed opportunity.

Museum studies professor Bruce Altshuler has suggested that foregoing visual spectacle in favor of the kind of brainy, discursive approach typical of ephemera-heavy shows may be the onlyway for museums to remain socially relevant. But giving attention to installation design that structurally communicates the main ideas of the works in question should not be mistaken for empty showmanship. Opting for a more dynamic, even claustrophobic installation might have helped communicate some of the contexts that Sudhalter so skillfully evoked in the book.

In this case, the model could have been his own portrait contribution, a photograph in which he is depicted swamped by sliding piles of ephemera. The items seem, at first, too many and too alike to be memorable; but this impression is almost immediately followed by the sense that they are too intensely detailed and distinctive to be absorbed in a single viewing.

Thus the first room, lined with a multitude of small portraits of varying interest this category, as it turns out, drew the greatest response , soon reduces the viewer to skimming for something that catches the eye. This is the best reason to present the Dadaglobe photos and artworks themselves to the public, even if they were never intended for the wall. Likewise, the strong presence of undersung figures such as Ribemont-Dessaignes and Johannes Baargeld will force reassessments of the principal shapers of the movement through the sheer number of their contributions.

While there are startlingly few photographs portraits aside , some familiar ones take on new meaning in this context. For example, the Dadaglobe directive seems to have brought home to Man Ray the confusion of mediums typical of photography, and he here identifies and exploits it as something explicitly Dada. Is his photographic contribution, By Products n. While these inclusions raise productive comparisons between the private intimacy of the page and the public forum implied by the exhibition, foregrounding the ways the institution as a site comes to bear on the objects it encloses, they undercut the significance of Dadaglobe , the artbook as a new space of display, and the landmark status that its reconstruction represents.

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