Difference between revisions of "Congress of the Constructivists and Dadaists"
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'''Congress of the Constructivists and Dadaists''' [Congrès des constructivistes et des dadaïstes à Weimar] was held in [[Weimar]] on 25-26 September [[1922]]. | '''Congress of the Constructivists and Dadaists''' [Congrès des constructivistes et des dadaïstes à Weimar] was held in [[Weimar]] on 25-26 September [[1922]]. | ||
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[[Category:Constructivism]] | [[Category:Constructivism]] | ||
[[Category:Dada]] | [[Category:Dada]] | ||
Revision as of 19:51, 30 August 2014
1st row: Lucia Moholy, Alfréd Kemény, László Moholy-Nagy.
2nd row: Lotte Burchartz, El Lissitzky (with pipe and cap), Cornelis van Eesteren, Bernhard Sturtzkopf.
3rd row: Max Burchartz (with child on his shoulders), Harry Scheibe, Theo van Doesburg (with paper hat), Hans Vogel, Peter Röhl.
4th row: Alexa Röhl (in all black), Nelly van Doesburg, Tristan Tzara, Nini Smit, Hans Arp.
5th row: Werner Graeff and Hans Richter (on ground).
Note: "Nini Smit" close to Hans Arp is Sophie Taeuber (who will marry Arp on the 20 Oct. 1922).
Middle row: Alexa Röhl, El Lissitzky, Nelly and Theo van Doesburg, Sturtzkopf.
Lower row: Werner Graeff, Nini Smit, Harry Scheibe, Cornelis van Eesteren, Hans Richter, Tristan Tzara, Hans Arp.
Congress of the Constructivists and Dadaists [Congrès des constructivistes et des dadaïstes à Weimar] was held in Weimar on 25-26 September 1922.
| Art exhibitions and events | ||
|---|---|---|
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Second Spring Exhibition of OBMOKhU (Moscow, 1920-21), Congress of International Progressive Artists (Düsseldorf, 1922), Congress of the Constructivists and Dadaists (Weimar, 1922), First Russian Art Exhibition (Berlin, 1922), New Art Exhibition (Vilnius, 1923), Zenit Exhibition (Belgrade, 1924), Contimporanul Exhibition (Bucharest, 1924), Machine-Age Exposition (New York, 1927), a.r. International Collection of Modern Art (Łódź, 1931), New Tendencies (Zagreb, 1961-73), The Responsive Eye (New York, 1965), 9 Evenings: Theatre and Engineering (New York, 1966), Cybernetic Serendipity (London, 1968), Live In Your Head: When Attitudes Become Form (Bern, 1969), Information (New York, 1970), Software - Information Technology: Its New Meaning for Art (New York, 1970), Documenta 5 (Kassel, 1972), Pictures (New York, 1977), Biennial of Dissent (Venice, 1977), Les Immatériaux (Paris, 1985), Magiciens de la Terre (Paris, 1989), Hybrid Workspace (Kassel, 1997) | ||
