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High-res →
Anonyme, George Grosz portant le masque de la mort (George Grosz wearing a death mask), 1919-1920, photographie
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High-res →
Dada! Γιαυτό και γω σε χαιρετώ πουτάνα εξουσία, θα πα να βρω μαγνητισμό, μ’ λεκτρισμό θα δώσω γκάζια τρελά στα πεδία μου, να βρώ την ευτυχία μου.
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The artist of today, if he doesn’t want to evade the issues, or become an empty shell, must choose between technology and service in the class war. Either way, he must give up ‘pure art.’ Either he joins the ranks of architects, engineers and ad men whom the industrial powers employ and the world exploits, or he becomes a depicter and critic who critiques the face of our time, becoming a propagandist and defender of revolutionary ideas and of their supporters in the army of the oppressed, those who struggle for their just share of the world’s resources, and for a meaningful social order."
George Grosz, Art is in Danger! (1925)(Source: spacebaw, via theinvisiblecommission)
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![jahsonic:
Dadaism demands “the introduction of progressive unemployment through comprehensive mechanization of every field of activity. Only by unemployment does it become possible for the individual to achieve certainty as to the truth of life and finally become accustomed to experience.” —”What is Dadaism and what does it want in Germany?” (1919), first published in Der Dada, no 1.
Illustration: Black and white photo of Mechanischer Kopf[1]](http://24.media.tumblr.com/tumblr_lwiaoindCc1qz4yqio1_250.jpg)
Dadaism demands “the introduction of progressive unemployment through comprehensive mechanization of every field of activity. Only by unemployment does it become possible for the individual to achieve certainty as to the truth of life and finally become accustomed to experience.” —”What is Dadaism and what does it want in Germany?” (1919), first published in Der Dada, no 1.
Illustration: Black and white photo of Mechanischer Kopf[1]
(via situationnisme)
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Duchamp was here
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The Crass logo represented an amalgamation of several “icons of authority” including the Christian Cross, the swastika and the Union Flag combined with a two headed snake consuming itself (to symbolise the idea that power will eventually destroy itself). Using such deliberately mixed messages was also part of Crass’ strategy of presenting themselves as a “barrage of contradictions”, which also included using loud, aggressive music to promote a pacifist message, and was in part a reference to their own Dadaist and performance art backgrounds.
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‘The juvenile delinquents – not the pop artists – are the true inheritors of Dada. Instinctively grasping their exclusion from the whole of social life, they have denounced its products, ridiculed, degraded and destroyed them…
The formation of the new lumpen prefigures several features of an all-encompassing subversion. On the one hand, the lumpen is the sphere of complete social breakdown of apathy, negativity and nihilism – but at the same time, in so far as it defines itself by its refusal to work and its attempt to use its clandestine leisure in the invention of new types of free activity, it is fumbling, however clumsily, with the quick of the revolutionary supersession now possible…
Initially, the new lumpen will probably be our most important theatre of operations. We must enter it as a power against it and precipitate its crisis.’
"English Section of the Situationist International, ‘The Revolution of Modern Art and the Modern Art of Revolution’ (1967)
![[1]](http://www.csulb.edu/%7Ekarenk/20thcwebsite/438final/ah438fin-ImageF.00022.jpeg){kind=link}