Shooting the classical body

in Dada bodies
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The chapter focuses on the Dadaists’ radical critique of the neo-classical revival promoted by the ‘return to order’ of post-war France and Germany. While the post-war doxa sought to naturalise the body as an organic whole through the cult of the artist Ingres as a model for the reconstituted body of France, the Dadaists displayed the body as artifice, as in Francis Picabia’s pastiches of the nineteenth-century artist, and in Man Ray’s photograph Le Violon d’Ingres (1924), thus exposing the official myth-making policies of post-war France. This is followed by a discussion of the cult of the healthy body forged through sport in the promotion of body-building in Germany in the post-war years, and the subsequent parodic remake in images of sportsmen by Ernst, Baargeld and Grosz.

Dada bodies

Between battlefield and fairground

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