in Dada bodies
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The radical critique of corporeal representations is embodied in limit-forms of the human figure in Dada. The chapter examines the displacements, objectification or disembodiment of the human figure. This is exemplified in Man Ray’s film Le Retour à la raison (1923), where the human figure is montaged with moving objects and abstract forms. The body as indexical trace is explored in the recurrent image of the handprint. This is followed by a discussion of the performative function of Duchamp’s readymades, which call for the viewer’s bodily response in a tactile engagement. In Max Ernst’s lithographs Fiat modes pereat ars (1919) the theatrical spaces are occupied by surrogate human figures (a tailor’s dummy, featureless automatons, geometrical forms) which seem to merge with the geometrical spaces in which they are placed. Finally, on the path to a final vanishing point, the body as abstraction is considered, as found in a number of Dada portraits by Picabia and others.

Dada bodies

Between battlefield and fairground


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