| 词条 | Klänge |
| 释义 |
Klänge, expressionism and Zürich dadaWhilst the relationship between expressionism and dada are complex, one critic has compared them to two twins fighting, 'like Tweedledee and Tweedledum',[8] there are numerous links between the two movements. In Berlin, key dadaists such as Raoul Hausmann, George Grosz and Kurt Schwitters all started their careers as Expressionists, whilst in Switzerland, two of the founders of Dada, Hugo Ball and Hans Arp had formulated a number of key concepts embodied by Zürich Dada, such as an affinity to abstract art and a belief in theatre 'bursting forth from the roots of all dramatic life' [9] - in Münich as part of the group centred on Kandinsky at the time that Klänge was published. Both Arp and Ball had been involved with Kandinsky's group Der Blaue Reiter before the First World War;[10] Arp contributed to the first almanac and exhibited work in the second group exhibition, whilst Ball edited a second almanac with Kandinsky - Das Neue Theater (Almanac of New Theatre) - that was only abandoned due to the outbreak of World War I.[10] A number of poems from Klänge were read out during performances at the Zürich Dada nightclub the Cabaret Voltaire, and two of these were included in the magazine of the same name, published 15 May 1916.[10] Hans Arp was so enamoured of his copy, that later in his life he would allow no-one except himself and his wife (Sophie Taeuber-Arp) to read it.[10] "Kandinsky has undertaken the rarest spiritual experiments in his poems. Out of 'pure existence' he has conjured beauties never previously heard in this world. In these poems, sequences of words and sentences surface in a way that has never happened before... Kandinsky (..) confronts the reader with a dying and transforming image, a dying and transforming phrase, a dying and self-transforming dream. In these poems we experience the cycle, the waxing and waning, the transformation of this world. Kandinsky's poems reveal the emptiness of appearances and of reason." Hans Arp on Klänge [11] One of the poemsSeeing
Notes1. ^A Consideration of the Album Sounds, Christopher Short, Tate Online 2. ^Other sources give early 1913 as an alternative publication date 3. ^Modernism-dada-postmodernism By Richard Sheppard, Northwestern University Press. 2000, p411 4. ^4 poems from Klange were included in A Slap in the Face of Public Taste, 1912, by David Burliuk and others 5. ^{{cite web|url=http://www.kirjasto.sci.fi/kandinsk.htm |title=Klänge |website=Books and Writers (kirjasto.sci.fi) |first=Petri |last=Liukkonen |publisher=Kuusankoski Public Library |location=Finland |archiveurl=https://web.archive.org/web/20150226040033/http://www.kirjasto.sci.fi/kandinsk.htm |archivedate=26 February 2015 |dead-url=yes |df= }} 6. ^Kandinsky, Becks-Malorny, Taschen, 1994 p 24 7. ^ci eravamo battuti per la pittura, ma la pittura sola non bastava. Ebbi allora l'idea di un libro sintetico che togliesse di mezzo le vecchie, anguste concezioni, facesse crollare i muri divisori fra le arti.... e dimostrasse infine che il problema dell'arte non è un problema delle forme ma un problema del contenuto spirituale. Quoted in The Book As A Work Of Art, Maffei & Picciau, 2008, p45 8. ^Christopher Middleton, quoted in Modernism-dada-postmodernism, p236 9. ^Der Blaue Reiter, Arnold Schönberg Center 10. ^1 2 3 Modernism-dada-postmodernism By Richard Sheppard, Northwestern University Press. 2000, p236-239 11. ^Kandinsky, Becks-Malorny, Taschen, 1994 p 110 12. ^quoted from Manifesto: a century of isms By Mary Ann Caws, 2001, University of Nebraska Press p271 External links
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