Hanne Bergius

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Hanne Bergius (* 1947 in Herzberg ) is a German art historian and professor of art history with a focus on art, photography, design and modern architecture.


Hanne Bergius studied art history , classical archeology and psychology at the Free University of Berlin . She did her doctorate in 1984 on the history and concept of Berlin Dadaism under Professor Dr. Tilmann Buddensieg at the Free University of Berlin. In 1990 she received a DFG grant to investigate the relationship between tradition and modernity using the example of New Objectivity . Subsequently, in 1992, she submitted her habilitation on the principle of assembly at the Faculty of History at the Free University of Berlin and thus received the Venia legendi for the subject of modern art history.

In her participation as co- curator on the international exhibitions and catalogs Tendencies of the Twenties. Dada in Europe - Documents and Works (15th European Art Exhibition, Berlin 1977) and Paris-Berlin. Matches and opposites France - Germany 1900–1933 ( Center Pompidou , Paris 1978) she first applied her research results to Classical Modernism . After these exhibitions she continued her scientific studies and at the same time devoted herself to the upbringing of her daughters (born in 1969 and 1973).

As early as 1980, she gained teaching experience through a nine-year teaching position in the architecture department at the Technical University of Dortmund and from 1987 to 1989 at the State Art Academy in Düsseldorf , and in 1990 through her participation in the Funkkolleg Moderne Kunst . After her habilitation, she taught from 1992 to 1994 as a professor of art history at the Münster University of Applied Sciences . From 1994 to 2007 she was professor for art, design and architecture history at the Burg Giebichenstein University of Art in Halle . Her teaching focused on the interdependencies of the arts as well as on aesthetic transfer processes - e.g. B. between Europe and Asia - to make people aware of the scope for interpretation between forms, functions and meanings in their international cultural and social-historical contexts. It was not just about acquiring theoretical knowledge, but also about the way to design and act.

Scientific work

Bergius' research focuses on modernism in the 19th and 20th centuries. In numerous academic publications since 1975, she has been investigating how innovative design and reception processes develop in sociocultural contexts and how they prevail against traditional certainties. In the international Dada movement, especially in Dadaism in Berlin, as one of her main areas of research, the paradigm shifts of the Arts after the cultural collapse of World War I.

The monograph Das Lachen Dadas , published in 1989, is about the experimental grotesque concepts of the Berlin Club Dada and the various projects and performances of the new type of artist, the Da-Dandy , who at the intersection of contemporary events is a radical revision of the arts and At the same time, it demands biting satirical social criticism. In Montage und Metamechanik (2000; extended American version (2003): Dada triumphs. Dada Berlin 1917–1923 ) Bergius analyzes Dada's products - the avant-garde processes of collages, assemblages , especially photomontages and their polar tension to the Works of the metamechanical- constructive phase, which she interprets in the context of Friedrich Nietzsche's complex influence on the concept of Dada. Furthermore, Bergius took part in 1997 with a contribution on the deconstructive architectures by Johannes Baader and Kurt Schwitters to the symposium Nietzsche and An Architecture of Our Minds organized by the Getty Research Institute , of which she headed Nietzsche as a prophet of modernity .

Her studies on artists also included Jefim Golyscheff , George Grosz , Raoul Hausmann , John Heartfield , Wieland Herzfelde , Hannah Höch , Richard Huelsenbeck , Walter Mehring , Rudolf Schlichter and Erwin Blumenfeld , Paul Citroen , Otto Dix , Max Ernst , their contributions were extensively reconstructed for the First International Dada Fair (1920). Feminist art historiography first made her aware of gender studies on Hannah Höch and other Dadaists in 1976 . She also focuses on scientific essays on the metropolitan, industrial and media-based aesthetics of modernity - perceived on the one hand as a laboratory of utopian concepts and technical-media visions of a new person, on the other hand as a drawn metropolitan culture of upheavals and abysses that prompted the reinterpretation of iconographic pictorial traditions - as exemplified by Otto Dix's “Big City Triptych” (1927/28).

In 2011 she examined the early Paris work phase of the filmmaker and artist Ulrike Ottinger and in 2013, on the occasion of the exhibition Weltbilder , showed the proximity of her ethno- and mythopoietic imagery to Aby Warburg's cultural studies research on the changes in image memory. Bergius' interest continues to focus on investigations into the concepts of montage that have developed in the reception of Dada and Surrealism since the 1960s in the areas of Fluxus , Lettrism , Situationist International , Pop Art and contemporary image productions.

Publications (selection)


  • Dada's laugh. The Berlin Dadaists and their actions (= Werkbund archive. Volume 19). Anabas, Giessen 1989, ISBN 3-87038-141-8 .
  • Assembly and metamechanics. Dada Berlin - Artistry of Polarities (= series of publications by Burg Giebichenstein, University of Art and Design Halle. Volume 4). Gebr. Mann, Berlin 2000, ISBN 3-7861-1525-7 .
  • Dada triumphs! Dada Berlin, 1917–1923. Artistry of Polarities. Montages - Metamechanics - Manifestations. (= Crisis and the Arts. The History of Dada. Vol. V). Trans. V. Brigitte Pichon. Thomson / Gale, New Haven, Conn. u. a. 2003, ISBN 0-8161-7355-9 .
  • H. Bergius, Eberhard Roters (Hrsg.): Tendencies of the twenties. Dada in Europe - documents and works. 15th European art exhibition. Vol. 3, Dietrich Reimer Verlag, Berlin 1977, ISBN 3-496-01000-2 .
  • H. Bergius, Karl Riha , Norbert Miller (eds.): Johannes Baader: Oberdada. Writings, manifestos, leaflets, billets, works and deeds , Anabas-Verlag, Giessen 1977, ISBN 3-87038-046-2 .
  • H. Bergius, Karl Riha (Ed.): Dada Berlin. Texts, manifestos, actions (= Reclams Universal Library. No. 9857). Stuttgart 1977 ff., ISBN 3-15-009857-2 .
  • H. Bergius, Françoise Lartillot (ed.): Dada Berlin. Une révolution culturelle? (= Histoire des idées series ). Ed. du Temps, Nantes 2004, ISBN 2-84274-344-X .
  • H. Bergius, Timothy Benson, Ina Blom (eds.): Raoul Hausmann et les Avantgardes. Les presses du réel, Dijon 2014, ISBN 978-2-84066-653-0 .

Scientific essays

  • Hannah Höch - artist in Berlin Dadaism / Hannah Höch - Femme artiste du Dadaisme Berlinois. In: Musée d´Art Moderne de la Ville de Paris / Nationalgalerie Berlin (Ed.): Hannah Höch. Collages, paintings, watercolors, gouaches, drawings. Catalog. Gebr. Mann, Paris / Berlin 1976, ISBN 3-7861-4112-6 , pp. 33-38.
  • Dada à Berlin / Dada in Berlin. De l`esthétique du laid à la beauté révolutionaire / From the aesthetics of the ugly to revolutionary beauty. In: Center National d'Art et de Culture Georges Pompidou (Ed.): Paris-Berlin. Reports et contrastes France-Allemagne 1900-1933. Catalog. Paris 1978, ISBN 2-85850-066-5 . (German: Paris-Berlin. Matches and opposites France-Germany 1900–1933. Prestel, Munich 1979, ISBN 3-7913-0466-6 , pp. 126–141, 164–172, 560–575.)
  • The Ambiguous Aesthetic of Dada: Towards a Definition of its Categories. In: Journal of European Studies. Literature and Ideas from the Renaissance to the Present. Vol. IX, 1979, pp. 26-38 and in: Richard Sheppard (Ed.): Dada. Studies of a Movement. Alpha Academic, Norwich 1980, pp. 28-40, ISSN  0047-2441 .
  • In the laboratory of mechanical fictions (I). On the different evaluation of man and machine around 1920. In: Tilmann Buddensieg, Henning Rogge (Ed.): The useful arts catalog. Quadriga, Berlin 1981, pp. 287-299.
  • In the laboratory of mechanical fictions (II). On the different assessment of the city around 1914/1920. In: Stanislaus von Moos, Chris Smeenk (Ed.): Avant-Garde and Industry. Delft University Press, Delft 1983, ISBN 90-6275-109-1 , pp. 46-61.
  • Berlin - marked metropolis. From the line network to the contour / Berlin - A City Drawn. From the Linear Network to the Contour. In: Peter Nisbet, Carol O. Selle (Hrsg.): German Realist Drawings of the 1920s / German Realistic Drawings of the Twenties Catalog. Harvard University Art Museum, Busch Reisinger Museum 1986, ISBN 0-916724-61-1 , pp. 15–41.
  • Berlin, the Dada Metropolis. In: Jean Clair (Ed.): The 1920's. Age of the Metropolis. Catalog. The Museum of Fine Arts, Montreal 1991, ISBN 2-89192-139-9 , pp. 253-269.
  • Dada and Eros. In: Jula Dech, Ellen Maurer (ed.): Da-da between speeches to Hannah Höch. Orlando Frauenverlag, Berlin 1991, ISBN 3-922166-41-5 , pp. 61-80.
  • Dix - Dionysus in the cold. Traces of myths and old masters in the “Big City Triptych”. In: Wulf Herzogenrath, Johann-Karl Schmidt (Hrsg.): Dix for the 100th birthday 1891-1991 catalog. Gerd Hatje, Stuttgart 1991, ISBN 3-7757-0335-7 , pp. 219-229.
  • Photo montage in comparison - Hannah Höch, Marianne Brandt, Alice Lex-Nerlinger. In: Ute Eskildsen (Ed.): Taking photos meant participating. Photographers of the Weimar Republic catalog. Folkwang series, Essen 1994, ISBN 3-928762-26-5 , pp. 42-50.
  • Kurt Schwitters "Créer du nouveau à partir de débris". In: Serge Lemoine (Ed.): Kurt Schwitters. Center Georges Pompidou, Editions du Center Pompidou, Paris 1994, ISBN 2-85850-799-6 , pp. 38-45.
  • Aesthetic imaginations of the new person. In: Horst Oehlke (Ed.): Virtuality versus Reality. 16th Design Science Colloquium Burg Giebichenstein, University of Art and Design Halle, 1995, pp. 11–21. and in: Bernd Fessner (Hrsg.): Welt im Bild. Reality in the age of virtuality. Rombach, Freiburg i. Breisgau 1997, ISBN 3-7930-9151-1 , pp. 49-71.
  • Architecture as the Dionysian-Apollonian Process of Dada. In: Alexis Kosta, Irving Wolfarth (Ed.): Nietzsche and "An Architecture of our Minds". The Getty Research Institute for The History of Arts and the Humanities, Los Angeles 1999, ISBN 0-89236-485-8 , pp. 115-139.
  • The new visual reality. The photo book of the 20s. In: Art and Exhibition Hall of the Federal Republic of Germany in collaboration with Klaus Honnef, Rolf Sachsse, Karin Thomas (eds.): German photography. Power of a medium 1870–1970 catalog. DuMont, Cologne 1997, ISBN 3-7701-2652-1 , pp. 88-102.
  • Transparencies in Sergej Eisenstein's “Glass House” - Between Enlightenment and Play. In: Friends and Sponsors of Burg Giebichenstein (Hrsg.): Body transparency. (= Publication series of the Burg Giebichenstein University of Art and Design Halle ). Halle 2000, ISBN 3-86019-025-3 , pp. 64–65.
  • The great story and its changes or the parable of the frog. On the concept of Burg Giebichenstein, Burg Giebichenstein - a university in transition / A long and changeful story - or The Parable of the Frog. In: Rudolf Schäfer (Ed.): Burg Giebichenstein. University of Art and Design Halle. (= Series of publications. No. 10). Catalog. Halle 2002, ISBN 3-86019-030-X , pp. 28–90.
  • Ambivalent visions of physical and technical progress in the twenties. In: Hans Körner, Angela Stercken (Ed.): 1926–2002 GeSoLei. (Book accompanying the exhibition in the Stadtmuseum Düsseldorf 2002/03). Gerd Hatje, Stuttgart 2002, ISBN 3-7757-1252-6 , pp. 279-288.
  • Dada grotesque. In: Pamela Kort (Ed.): Grotesk! 130 years of the art of cheek. Prestel, Munich 2003, ISBN 3-7913-2887-5 , pp. 137-148. (English: Dada Grotesque. In: Pamela Kort (ed.): Comic Grotesque. Wit and Mockery in German Art, 1870–1940. Prestel, Munich, New York et al. 2005, ISBN 3-7913-6004-3 , p. 155 –171.)
  • Dada Berlin and its Aesthetic of Effects: Playing the Press. In: Harriet Watts (Ed.): Dada and the Press. Vol. IX: Crisis and the Arts. The History of Dada. Thomson, Gale, et al. a., New Haven, Conn. 2004, pp. 67-92; Dada-Berlin and the Press. In: ibid., Pp. 92-134; Articles about Dada Berlin in Daily Newspapers. Selected Bibliography. In: ibid., ISBN 0-8161-0509-X , pp. 134–152.
  • Photomontage as an avant-garde concept of contradiction. In: Martin Scholz, Ute Helmbold (Ed.): Bildsampling. How many pictures do we need? Deutscher Universitätsverlag, Wiesbaden 2006, ISBN 3-8350-6020-1 , pp. 111–126.
  • Ulrike Ottinger's Peinture Nouvelle. Deciphering everyday myths / Ulrike Ottinger's Peinture Nouvelle. Decoding the Myths of Everyday Life. In: Marius Babias (Ed.): Ulrike Ottinger. (= NBK exhibitions. Volume 11). Verlag der Buchhandlung Walther König, Cologne 2011, ISBN 978-3-86335-075-8 , pp. 14–99.
  • On the way - The Continent Ulrike Ottinger / En Route - The Continent Ulrike Ottinger. In: Kestnergesellschaft (Ed.): Ulrike Ottinger - Weltbilder / World Images. Catalog. Hannover 2013, ISBN 978-3-86984-425-1 , pp. 103-114.
  • Dada Raoul dans les années cinquante - Reconsidérer Dada. In: Timothy Benson, Hanne Bergius, Ina Blom (eds.): Raoul Hausmann et les avant-gardes. Les Presses du Réel, Dijon 2014, ISBN 978-2-84066-653-0 , pp. 34-69.
  • 100 years of DADA . ART conversation with Ralf Schlüter. In: Art. The art magazine. Gruner + Jahr, Hamburg January 2016, pp. 32–43.
  • Navigation in the up-to-date sea. Portrait photo montages by Dada and Bauhaus. In: Nina Wiedemeyer (Ed.): Original Bauhaus. Catalog. Bauhaus Archive / Museum of Design, Munich / London / New York 2019, ISBN 978-3-7913-5903-8 , pp. 153–163.

Web links

Individual evidence

  1. Prof. Dr. phil. habil. Hanne Bergius , burg-halle.de
  2. ^ First international DADA fair (1920). Reconstruction of the fair and the catalog. See extract from the publication DADA Triumphs! (144 pages)
  3. Laudation for Ulrike Ottinger 2011
  4. cf. on 100 years of DADA , in: art - Das Kunstmagazin, Hamburg: Gruner + Jahr, January 2016, pp. 32–43.