Dresden Dada group

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The Dresden Dada group was formed in 1919 around Kurt Günther , Otto Griebel , Otto Dix and the Prague composer Erwin Schulhoff and appeared in Dresden with Dadaist activities until 1922 .

history

Erwin Schulhoff appeared as a pianist at the first “Dada Soirée” in Berlin. In 1919 he moved to Dresden with his sister Viola and brought the Dada Manifesto and some issues from the satirical magazine Der bloutige Ernst to Dresden. From 1917 Kurt Günther received treatment in Davos for severe pulmonary tuberculosis in Switzerland . He visited Ernst Ludwig Kirchner and came into contact with the Dadaists in the Cabaret Voltaire in Zurich . Günther also returned to Dresden in 1919 .

 Erwin and Viola Schulhoff, who was friends with Dix for some time and later became Günther's wife, met regularly for discussions about current art and music and for literary evenings in the apartment at Ostbahnstrasse 28. In addition to Otto Griebel and his girlfriend at the time, Elis Franz , who studied together with Vio Schulhoff at the Dresden School of Applied Arts , the painter Kurt Günther, Lasar Segall , Alexander Neroslow and sometimes Otto Dix also took part in these meetings . Dix and Griebel already knew each other from their training time at the arts and crafts school and they met again as soldiers on the Western Front . In the winter of 1919/20 the art academy at Antonsplatz  1 assigned them to neighboring attic rooms as studios. A Dresden Dada group was formed around Günther and his former fellow students Otto Griebel and Otto Dix, as well as the composer Erwin Schulhoff . The poet Theodor Däubler , the art critic Will Grohmann , and Hermann Kutzschbach , Kapellmeister at the Dresden Opera , also frequented this circle .

The current political situation and the writings of Georg Trakl , Yvan Goll , Johannes R. Becher and Karl Kraus were discussed . Erwin Schulhoff interpreted works by Arnold Schönberg and Alexander Scriabin . Dadaist pronouncements that Erwin Schulhoff brought from Berlin to Dresden were also discussed. In 1919 Schulhoff organized a series of “progress concerts” together with Hermann Kutzschbach. Schulhoff dedicated the “Five Picturesques for Piano” (WVZ Bek 51), created in the summer of 1919, “to the painter and Dadaist George Grosz with warmth”. One sentence from it, entitled "In futurum", consisted entirely of pauses. Schulhoff anticipated the silent composition in three movements by John Cage, which was first performed in 1952 .

In 1920 Erwin Schulhoff and Otto Griebel published a portfolio with ten piano pieces (WVZ Bek 50) and ten hand-colored lithographs at Verlag Rudolf Kaemmerer . Music and artistic association should make the perceptual contexts of music, light and color visible outside the usual genre boundaries as colored light music in a synthesis .

On January 19, 1920 , a “Dadaist Soirée” of the Berlin “Central Office of Dadaism” took place in the hall in the house of the Kaufmannschaft at Ostra-Allee 9 in Dresden, as a prelude to the Dada tour by Johannes Baader , Raoul Hausmann and Richard Huelsenbeck . The organizer was the concert directorate R. Schönfelder. There was tumult during the performances. The police closed the event because the hall was overcrowded. The Berlin Dadaists fled through the back door of the hall and found shelter for the night in Kurt Lohse's apartment . "Dadaite pamphlets" were smuggled into the notice boxes of the newspapers with the press releases of the next day.

In 1921 Otto Dix, Otto Griebel and the painter Sergius Winkelmann (1888–1949) published a Dadaist magazine under the title “Moloch”. Dix and Griebel took part in the First International Dada Fair in Berlin in June 1922 and came into contact with George Grosz , John Heartfield and Rudolf Schlichter . At the First International Dada Fair, Dix showed his work "War Cripples".

The Dresden Dadaists took part in socio-politically motivated street happenings. Otto Dix cut some of his Dada canvases directly from Dresden shop awnings . Otto Griebel took part in a "herring battle" around Prager Strasse as a protest against unemployment and out of anger over the spoiled herrings that had been distributed as alms by a fishmonger. Griebel was also involved in the storming of the pension office, in which he threw bundles of files out of the window. This action was ended by the deployment of the military.

The last known Dresden Dada event took place at the end of May 1922 at Whitsun as the “First Open-Air Dada Exhibition” on Herkulesallee in the Great Garden . "Compositions" were made from everyday objects and scrap and distributed around the site together with Dadaist paintings. Von Griebel was u. a. the watercolor "Marzipan war memorial sheet" exhibited. The area was evacuated by the police. Otto Griebel's object “View into Eternity” was destroyed in the process.

See also

literature

  • Sabine Peinelt: “Dadaist grand victory !”? Dresden artist and Dada 1919–1922 . In: Stadtmuseum Dresden (Ed.): Dresdner Geschichtsbuch . tape 15 . Altenburg printing house, 2010, p. 195–222 (extensive reference publication on the subject of the Dresden Dada group).
  • Petra Jacoby: Collectivization of the imagination? : Artist groups in the GDR between appropriation and inventiveness . Transcript, Bielefeld 2007, ISBN 978-3-89942-627-4 , p. 85 ( limited preview in Google Book search).
  • Frank Almai: Expressionism in Dresden: Formation of centers of the literary avant-garde at the beginning of the 20th century in Germany . Thelem bei web, Dresden 2005, ISBN 3-935712-20-0 , p. 230 .
  • Lothar Fischer: Dix and Griebel - via DADA to Verism . In: The Dresden Art Scene 1913–1933 . Galerie Remmert and Barth, Düsseldorf 1987, p. 86-90 .
  • Diether Schmidt: Between “Brücke” and “Roter Gruppe” . In: The Dresden Art Scene 1913–1933 . Galerie Remmert and Barth, Düsseldorf 1987, p. 6-50 .
  • Otto Griebel: I was a man on the street. Memories of a Dresden painter . Mitteldeutscher Verlag, Halle 1986, ISBN 3-354-00081-3 .

Individual evidence

  1. ↑ Lothar Fischer: Dix and Griebel - about DADA to Verism . In: The Dresden Art Scene 1913–1933 . Galerie Remmert and Barth, Düsseldorf 1987, p. 86-90 .
  2. ↑ Diether Schmidt: Between "Bridge" and "Red Group" . In: The Dresden Art Scene 1913–1933 . Galerie Remmert and Barth, Düsseldorf 1987, p. 18 .
  3. ↑ Sabine Peinelt: “Dadaist Grand Victory !”? Dresden artist and Dada 1919–1922 . In: Stadtmuseum Dresden (Ed.): Dresdner Geschichtsbuch . tape 15 . Altenburg printing house, 2010, p. 199 .
  4. ↑ Sabine Peinelt: “Dadaist Grand Victory !”? Dresden artist and Dada 1919–1922 . In: Stadtmuseum Dresden (Ed.): Dresdner Geschichtsbuch . tape 15 . Altenburg printing house, 2010, p. 201 .
  5. ^ The concert directorate R. Schönfelder. Dresdner Lokal-Anzeiger (based on: DADA and the Press). January 24, 1920, accessed June 30, 2015 .
  6. ↑ Sabine Peinelt: “Dadaist Grand Victory !”? Dresden artist and Dada 1919–1922 . In: Stadtmuseum Dresden (Ed.): Dresdner Geschichtsbuch . tape 15 . Altenburg printing house, 2010, p. 205 .
  7. ↑ Sabine Peinelt: “Dadaist Grand Victory !”? Dresden artist and Dada 1919–1922 . In: Stadtmuseum Dresden (Ed.): Dresdner Geschichtsbuch . tape 15 . Altenburg printing house, 2010, p. 205-206 .