Summary
**Raoul Hausmann** (1886–1971), the *Dadasopher* and co-founder of Berlin Dada, is the focus of a landmark retrospective at the **Berlinische Galerie**. This 200+ work exhibition, marking the gallery’s 50th anniversary, spans Hausmann’s *Expressionist beginnings*, *Dada iconography*, and *exile-era experiments* in France. Key lenders include the **Tate London**, **Peggy Guggenheim Collection**, and **Musée d’art contemporain de la Haute-Vienne**. The show includes rarely seen late works from his *degenerate* period, curated from the **Hausmann estate** (managed by the gallery until 1933). A 304-page catalogue with 366 illustrations and 12 essays will accompany the exhibition. [[raoul-hausmann|Hausmann]]’s interdisciplinary approach—collage, synaesthetic devices, and performance—remains a touchstone for avant-garde innovation. [[dada-movement|Dada]]’s radical ethos, once dismissed as *degenerate*, now dominates contemporary art discourse. [[berlinische-galerie|Berlinische Galerie]]’s curation of Hausmann’s legacy underscores the *historical reclamation* of avant-garde figures. [[modern-art|Modern Art]]’s enduring fascination with Hausmann’s *provocative vision* reflects a broader cultural reckoning with *avant-garde disruption*.
Key Takeaways
- The exhibition is the first to address Raoul Hausmann’s full artistic spectrum, including rarely seen exile-era works.
- Collaborations with 12 institutions, including the Tate London and Peggy Guggenheim Collection, highlight Dada’s global influence.
- The 304-page catalogue with 366 illustrations and 12 essays provides critical scholarly context.
- Critics argue the exhibition overlooks Hausmann’s political activism and underrepresents his performance archives.
- The exhibition recontextualizes Dada’s radical ethos within contemporary art discourse.
Balanced Perspective
The exhibition highlights **Raoul Hausmann**’s role as a *co-founder of Berlin Dada* and his *interdisciplinary practice*, but its significance is debated. While the **Berlinische Galerie**’s 50th-anniversary curation emphasizes his *Expressionist roots* and *exile-era works*, critics argue the show *overlooks* his *political activism* and *collaborations* with other Dada figures like **Tristan Tzara**. The inclusion of *200+ works* from 12 institutions, including the **Hamburger Kunsthalle** and **Staatliche Museen zu Berlin**, is notable, but the *exclusion of lesser-known texts* or *performance archives* may limit the exhibition’s *comprehensiveness*. The 304-page catalogue, published by **Hatje Cantz Verlag**, is a *critical resource* but may not resolve ongoing debates about Hausmann’s *historical influence*.
Optimistic View
**Raoul Hausmann**’s retrospective is a cultural milestone, offering unprecedented access to his *interdisciplinary genius* and *Dada legacy*. The 200+ works, including *The Art Critic* (1919/20) from the **Tate London** collection, showcase his *pioneering synaesthetic experiments* and *collage innovations*. By uniting institutions like the **Peggy Guggenheim Collection** and **Musée d’art contemporain de la Haute-Vienne**, the exhibition recontextualizes Hausmann as a *bridge between early 20th-century avant-garde and contemporary art*. [[dada-movement|Dada]]’s radical rejection of tradition, once dismissed as *degenerate*, now resonates with modern audiences seeking *artistic disruption*. This event could cement Hausmann’s status as a *visionary* whose work *predates* digital media’s *collage ethos*.
Critical View
The exhibition risks *reifying* Hausmann’s *avant-garde mythos* while *overshadowing* his *controversial political stances* and *personal struggles*. Critics note the *lack of contextualization* for his *exile-era works*, which were created under *post-WWI repression* and *anti-Semitic persecution*. The *focus on institutional loans* may *exclude* grassroots *Dada collectives* or *underrepresented mediums* like *sound art*. Additionally, the *commercialization* of Dada’s *provocative ethos* through high-profile lenders like the **Peggy Guggenheim Collection** could *dilute* its *radical legacy*. The exhibition’s *emphasis on visual works* may *underplay* Hausmann’s *experimental texts* and *synaesthetic theories*.
Source
Originally reported by e-flux.com