dada performance (23 Ergebnisse)

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Book contains highlighter markings. In poor condition, suitable as a reading copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,550grams, ISBN:9780801848452.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,550grams, ISBN:9780801848452.

Illustrated Wrappers. Zustand: Near Fine. Zustand des Schutzumschlags: No Dust Jacket. Black And White Illustrations (illustrator). First Paperback Edition. 165 Pp. First Edition Stated, Softcover Issue. " Dada Is The Unmistakable Precursor Of Performance Art, Punk And New Wave Aesthetics. One Of The Most Controversial And Ironic Of Twentieth-Century Modernisms, Dada Swept Through The Arts After The Shock Of World War I. From Notorious Evenings In Zurich's Cabaret Voltaire To Centers In Berlin, Hanover, And Paris, Painters, Filmmakers, Writers And Performers Joined Forces To Challenge Traditional Ideas Of Art And Politics. Among Them Were Kurt Schwitters, Hugo Ball, Tristan Tzara, Francis Picabia, And Andre Breton, Who Helped Redefine Art For Our Own Time.".

Zustand: Poor. Volume 7. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:0835710815.

Zustand: Poor. Volume 7. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pen & pencil markings. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:0835710815.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Book contains highlighter markings. In poor condition, suitable as a reading copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,300grams, ISBN:9781555540111.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In fair condition, suitable as a study copy. Library sticker on front cover. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,300grams, ISBN:9781555540111.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Book contains pencil markings. In poor condition, suitable as a reading copy. Library sticker on front cover. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,300grams, ISBN:1555540112.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:0835710815.

Zustand: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Zustand: Fair. Volume 7. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:0835710815.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. FIRST. A NEAR FINE FIRST IN DJ.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In fair condition, suitable as a study copy. No dust jacket. Re-bound by library. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:1555540104.

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket. Re-bound by library. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:1555540104.

Broschiert. Zustand: Sehr gut. XVIII, 288 S., m. schw/w Fotogr., 23cm x 16cm farb. ill. brosch. Eb., dieser mit wen. Gebrauchsspuren, Stehkante u. Ecken gering bestoßen, kl. Etikett auf Hinterdeckel unten rechts, innen sauber, ansonsten sehr guter Zustand. Sprache: Englisch Gewicht in Gramm: 450.

Taschenbuch. Zustand: Neu. Neuware - Am 5. Februar 1916 eröffneten Hugo Ball und Emmy Hennings in Zürich das Cabaret Voltaire. Es ist die Geburtsstunde von Dada. Das »Narrenspiel aus dem Nichts« sollte zu einer der wirkungsmächtigsten künstlerischen Bewegungen mit internationaler Ausstrahlung werden. Dada integriert sämtliche Künste, schafft neue Ausdrucksformen, präsentiert sich als autonomes Spiel und steht doch ganz im politischen Kontext des Ersten Weltkriegs.Der Band versammelt aktuelle Positionen der Dada- und Avantgardeforschung. Programmatische Schriften und künstlerische Performances, die Historisierung und Rezeption sowie die Konstruktion des Mythos Dada werden neu beleuchtet.

Buch. Zustand: Neu. Dada | Performance & Programme | Ursula Amrein | Buch | 240 S. | Deutsch | 2017 | Chronos Verlag | EAN 9783034013369 | Verantwortliche Person für die EU: preigu GmbH & Co. KG, Lengericher Landstr. 19, 49078 Osnabrück, mail[at]preigu[dot]de | Anbieter: preigu.

[?ód?], 1983. Three card leaves measuring 29 × 35.5 cm, arranged consecutively to form a single image measuring 29 × 105 cm. Framed. A rare original work by a cult figure of Polish unofficial art, Jacek Kryszkowski (1955?2006), an artist who largely destroyed his own works as part of his deep-seated institutional critique. Kryszkowski was one of the most active animators of Kultura Zrzuty (Pitch in culture) which originated in ?ód? during the Martial Law and operated throughout the 1980s. This work, typical of the irreverent and anarchic tendencies of Kultura Zrzuty, lampoons a nineteenth century popular genre of the Silver Anniversary Album, a hallmark of bourgeois propriety of Wilhelmine Germany. The original image was created by the German painter and printmaker Christian Wilhelm Allers (1857?1915) and depicts the silver wedding anniversary of the Hamburg master tailor F. Heinrich Battelman and his wife Christine. Taking this vintage print as a base, Kryszkowski animates it with caricature drawings that range from bawdy and lewd to macabre, and surreal. The sign for WC dominates the central panel where the husband is preparing to make a speech over a full dinner table. The musician to his left is drawn with his legs wide open resting on the dinner table, with a thought bubble that includes lewd comments. The mood changes in the left panel where a woman seated on the left is depicted as a double amputee, with the guests standing behind her holding daggers. In the right panel, a female guest holds a machine gun, with a thought bubble that reads ?what a joke? Kryszkowski also gives us a glimpse under the table, where the feet of a male and a female guest are absurdly connected with a thread that reads ?telegraph? The hand lettered text at the bottom of the central panel reads: Siedzimy w krokodylu pobieraj? systematyczne piwo 12 iv 1983 (Performance for vodka). W spektaklu wzi?li udzia?: Ela Kacprzak; Jacek Kryszkowski. [We are sitting at the Crocodile, systematically drinking beer on 12.VI.1983. Performance participants were: Ela Kacprzak, Jacek Kryszkowski]. El?bieta Kacprzak was Kryszkowski's wife. This rare surviving work of the artist comes from the personal collection of another artist of the Kultura Zrzuty circle and a member of the ?ód? Kaliska group. Today Kryszkowski is remembered as a vocal critic of the commercialization of unofficial art in Poland and of the commercial creep within Kultura Zrzuty itself. Graduating from the Academy of Fine Arts in Warsaw in 1980, Kryszkowski was named the most promising artist to graduate that year, an honor that did not prevent him from developing an extremely critical approach to art institutions, to art objects as commodities, and to culture itself. His view that ?the production of artworks is only an element in a game of ?gifts? and ?cash? played by the artists, gallery owners, and the public? and that the game is ?empty and meaningless, regardless of the system in which it takes place? led him to destroy his own works (as well as numerous issues of Tango, the signature publication of Kultura Zrzuty). As a result, very few of his works survive. He is best remembered for one of the most scandalous mystifications in the history of Polish art, a ?well documented? fictitious 1985 trip to the grave of Stanis?aw Ignacy Witkiewicz (Witkacy) to retrieve the avant-garde artist?s remains. Kryszkowski claimed to have recovered the remains, ground them to powder, partitioned them into small bags, and distributed them to friends and colleagues, attached to his publication Hola Hoop. Likely designed as a play on the ?fetishistic tendencies of the public,? the action caused a scandal and numerous investigations, thereby proving his point (See Ko?cielniak 2016). Kryszkowski continued to prank and provoke the unofficial art scene with fakes and scandals until his departure from art in the 1990s. Kryszkowski's anti-performances and anti-exhibitions were part of a deep institutional critique. During a joint performance with Kryszkowski in 1980, Janusz Banach greeted the audience with the words: ?You came here to see something interesting, and I am supposed to satisfy this need of yours. I am not going to tell you anything of interest. But I think that you, each one of you, can suggest something interesting to us and try to solve the situation that has arisen. The floor is yours? The following year, Kryszkowski?s exhibition ?Zaproszenie do razmowy? (An invitation to a conversation) at Galeria Krytyków greeted the spectators with empty walls and a catalog text that simply invited the visitors to meet him at the nearby Gallery Repassage. The curators of Galeria Krytyków were forced to shut down the ?exhibition? due to lack of content. Fake invitations to major figures of the art world, and auctions where the participants were invited to bid down on art, and destroy the remainder were further provocations. Other major figures and institutions targeted by Kryszkowski were Tadeusz Kantor, Foksal Gallery, and even Józef Robakowski. A 1985 article by Robakowski in the German magazine Neue Kunst in Europa connected Kultura Zrzuty to the Polish neo-avant-garde and attempted to contextualize the movement in art history. Kryszkowski responded to this claim in Tango, calling out the ?usurpation? by ?Professor Robakowski? and refuting the connection on the grounds that Kultura Zrzuty had nothing to do with culture. Kryszkowski marked his exit from the art world in 1990 with the creation of a life-sized replica of the grave of Russian anarchist Mikhail Bakunin, a symbol of anarchist independence for many Kultura Zrzuty artists. For an exhibition of Polish unofficial art titled ?Bakunin w Dre?nie? (Bakunin in Dresden), Kryszkowski installed the grave at the entrance, forcing all visitors to step over or on the grave in order to enter the exhibition. (Ko?cielniak 2016). Given his destructive tendencies, Kryszkowski?s works are extremely uncommon in the market. Surviving wo.