Cannibalizing the Canon: Dada Techniques in East-Central Europe

Gábor Dobó , Irina M. Denischenko , Oliver A. I. Botar
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Cannibalizing the Canon: Dada Techniques in East-Central Europe

Gábor Dobó , Irina M. Denischenko , Oliver A. I. Botar
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634 PAGESANGLAIS

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  • Date de publication : Jan 31, 2024
  • Langue : anglais
  • Nombre de pages : 634
  • Éditeur : Brill
  • ISBN : 9789004526730
  • Dimensions : 6.102362204" W x 1.889763779" L x 9.251968503" H
Oliver Botar is a Professor of Art History and Associate Director of the School of Art at the University of Manitoba. His research focuses on early 20th-century Central European Modernism, particularly the work of Moholy-Nagy, with concentrations on art in alternative media, and “Biocentrism” and Modernism in early-to-mid 20th-century art.

Irina Denischenko is an Assistant Professor at Georgetown University. Her research focuses on 20th-century literature and visual art--especially the avant-garde, on critical theory, as well as on women’s contributions to avant-garde and modernist aesthetics in Central and Eastern Europe.

Gábor Dobó is a research fellow at the Kassák Museum in Budapest. He is the principal investigator of a project focusing on the artist couple Lajos Kassák and Jolán Simon. In 2022, he was a Fulbright visiting scholar at Columbia University.

Merse Pál Szeredi is department head at the Kassák Museum. His research focuses on Hungarian avant-garde art and the history of Lajos Kassák’s magazine Ma in Vienna between 1920 and 1925, with special emphasis on its international networks.
Cannibalizing the Canon has the merit of shedding light on under-researched territories and overlooked issues in avant-garde historiography, restoring the contributions of those artists who did not figure in the canonical constructions of Dadaism and incorporating ephemeral art forms. Using new theoretical approaches and methodological frameworks, the volume challenges the singularity of Dadaism and its founding myths. The focus on the connections between local avant-gardes, employing transmedial and transnational perspectives, corrects and nuances some directions from avant-garde histories, contesting the hegemony of the West and a hierarchical system. Thus, the volume brings a significant contribution to the Dada movement and to the research of the avant-garde.

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