Elza Adamowicz
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Death and rebirth
Corpse or chrysalis
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The chapter focuses on an analysis of Max Ernst’s early collages and the fatagaga photocollages produced with Hans Arp. It confronts the recycling of war images, arguing that they constitute not only a satire of the militaro-industrial machine of the First World War (the body as site of loss or trauma) but also a narrative of rebirth, informed by alchemical thought. The motif of the chrysalis or the man in flight in Ernst’s works is contrasted with fellow Cologne artist Heinrich Hoerle’s images of the wounded veteran in his series of lithographs, the Cripple Portfolio or Die Krüppelmappe (1919), shaped by a cynical view of the motif of renewal. Hoerle’s ‘unman’ thus confronts Ernst’s New Man.

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Dada bodies

Between battlefield and fairground


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