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Franz Part

Klaus Joachim Keller
Unnatural Selection
Paper Objects



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catalogue Keller



Location: Galerie Hochdruck, Friedmanngasse 12/5, 1160 Wien
Opening: 22 September, 7 p.m.
Period: 22 September to 25 November 2022
Opening Hours: Tue-Fri 11 a.m. - 6 p.m., Mon/Sat by appointment
Phone: +4369911506010

10 Years Galerie Hochdruck

The „Roaring“ Twenties 1918—1933
Printed art between euphoria and disaster


online catalogue

Location: Galerie Hochdruck, Friedmanngasse 12/5, 1160 Wien
Period: 4 May to 9 September
Opening hours: Tue-Fri 11 a.m.-6 p.m., Mon/Sat by appointment
Phone: +4369911506010

4.5. - 9.9.2022

Galerie Hochdruck is celebrating its tenth anniversary with an overview of prints, periodicals and illustrated books from the 1920s. The years from 1918 to 1933 were marked not only by the politically and socially troubled Weimar Republic in Germany, but also by numerous interlinked avant-garde currents throughout Central and Eastern Europe. “The avant-garde,” writes Timothy O. Benson, was “at the apex of its heroic phase” in May 1922 at the congress of the Union of International Progressive Artists in Düsseldorf. It “had become pluralistic, with a number of often ephemeral centers of development, each blending sophisticated tendencies from abroad with regional traditions and priorities.”(1) The November Revolution in Germany in 1918 gave rise to the Novembergruppe, the largest of the numerous, sometimes short-lived artists’ associations of the interwar period. At times it was a gathering of over 120 artists from all over Europe, many of whom also belonged to the circle around Herwarth Walden’s Berlin Sturm Gallery. In 1928, Will Grohmann looked back on the initially low social acceptance of some of the “scandalous” exhibitions: “Expressionist, as all modern artists were commonly called, became as much a swear word as Communist.”(2) While the title pages of the Sturm catalogues up to 1920 simply proclaimed the triumvirate “Expressionists – Futurists – Cubists”, Hans Arp and El Lissitzky named a total of sixteen different art “isms” in their half-serious, half-ironic 1925 book Die Kunst-ismen. In retrospect, Kinetism, the special Viennese form of Futurism, for example, could easily be added to this compilation. At one extreme we find the “anarchist-nihilist” (George Grosz) Dadaism, which originated in Zurich and became politicised in Berlin, and at the other Constructivism, which spread from Russia and also found expression in the Dutch De Stijl and in teaching at the Bauhaus. In between, there is the verism of George Grosz, Otto Dix or Karl Rössing, who poked relentlessly at the sociopolitical wounds of the time. But the Paris of the “années folles” was also “still the most important suburb of art”(3), not least in the field of the rapidly spreading media of film and photography. In addition, many technical innovations that only became possible through the widespread use of electricity (e.g. illuminated signs) had a decisive influence on the art of the 1920s, especially where new territories were entered at the interface of “absolute” and “applied” art, as in (graphic) design. Politically, the situation in Germany came to a drastic head in the late 1920s and early 1930s, as illustrated, for example, by John Heartfield’s photomontages, which ceaselessly criticised the rising Nazism.

(1) Timothy O. Benson, “Exchange and Transformation: The Internationalization of the Avant-Garde(s) in Central Europe”, in central European avant-gardes: exchange and transformation, 1910-1930 (Cambridge MA, 2002), pp. 35, 42.

(2) Will Grohmann, “Zehn Jahre Novembergruppe”, in Konstanze Rudert, Volkmar Billig, eds., Will Grohmann: Texte zur Kunst der Moderne (Munich, 2021), p. 28.

(3) Will Grohmann, “Neue schöpferische Kräfte in der europäischen Malerei der Gegenwart”, in ibid., p. 38.