Fluid bodies, shifting identities
in Dada bodies
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This chapter turns to the rejection of essentialist notions of identity in favour of the Dada self as construct or process, constantly remodelled by chance or the irrational, and as multiple and open. It investigates, consequently, the Dadaists’ subversion of patriarchal law, based on the work of German psychoanalysts such as Otto Grosz, through the figure of the jester in Hans Richter’s film Vormittagsspuk (1928). The fluidity championed by the Dadaists is approached through Dada self-portraits and Hausmann’s Klebebild portraits. Finally, the accompanying breakdown of traditional gender categories surfaces in the analysis of Dada’s dysfunctional couples in the works of Grosz, Hannah Höch and others.

Dada bodies

Between battlefield and fairground


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