i’m always home. i’m uncool
Hennings was then working with the Maxim vaudeville troupe in Zürich. In her diary, she described a stint as the Greek mythological figure Arachne who was to offer “Eternal Truth, only 20 centimes” :
Eternal Truth comes from me of course and I find it comical. And that it should come so cheap. As if what we demand were not worth much. A theatre death, a real variety death would be the right thing for me. One would really like to be the truth, not only appear to be it, and if I were to be found entangled in my net I would be the truth. Masked to the very last. […] We believe in the proven truth of illusion.
Photo and quote from : Ruth Hemus, Dada’s Women (Yale University Press - New Haven & London, 2009)](http://24.media.tumblr.com/d074b457e2e741340b7cfd847ec03bfa/tumblr_mjteupNtj21qcl8ymo1_500.jpg)
Emmy Hennings on stage as “truth-speaking” spider, 1915 [+]
(mention: Nachlass Hugo Ball und Emmy Hennings / Robert Walser-Stiftung Zurich)Hennings was then working with the Maxim vaudeville troupe in Zürich. In her diary, she described a stint as the Greek mythological figure Arachne who was to offer “Eternal Truth, only 20 centimes” :
Eternal Truth comes from me of course and I find it comical. And that it should come so cheap. As if what we demand were not worth much. A theatre death, a real variety death would be the right thing for me. One would really like to be the truth, not only appear to be it, and if I were to be found entangled in my net I would be the truth. Masked to the very last. […] We believe in the proven truth of illusion.
Photo and quote from : Ruth Hemus, Dada’s Women (Yale University Press - New Haven & London, 2009)
Duane Michals, Things are queer, 1973
(Source: elguindilla, via kreestal)
![kreestal:
felle:
bohemea:
elvira:shooshee:
This is one of the earliest known photographs of a human. A self portrait taken in 1839, it shows a young Robert Cornelius (1809-1893) standing outside his family’s lamp-making shop in Philadelphia. Cornelius was an American of Dutch descent whose knowledge of metallurgical chemistry was to help in perfecting the process of silver-plating, then employed in the production of daguerreotypes. It had previously been assumed that the time necessary for a photograph to be exposed was simply too long for portaiture to be considered. But, by making this striking image, Cornelius proved the concensus wrong and then went on to develop a chemical means of accelerating the process. […] This photograph was made 171 years ago, and yet Robert Cornelius looks as contemporary and ‘immediate’ as any young man you might happen to pass on the streets today. He might be in a fashion publicity shot, or some moody modern musician. But, the most poignant thing is that what you see is a real man - a man you could reach out and almost touch, a man you could talk to, or even desire. This daguerreotype did not only change the way we see photography now. It works some kind of alchemy. One glance and it drags us back into the past. It is bringing history to life.
Source: virtualvictorian
[ via workman, champagneandlipstick, thanksforstanding, lastchatwithphontaine, samsaramotel ]](http://25.media.tumblr.com/tumblr_kxl5nua50S1qzfbklo1_500.jpg)
This is one of the earliest known photographs of a human. A self portrait taken in 1839, it shows a young Robert Cornelius (1809-1893) standing outside his family’s lamp-making shop in Philadelphia. Cornelius was an American of Dutch descent whose knowledge of metallurgical chemistry was to help in perfecting the process of silver-plating, then employed in the production of daguerreotypes. It had previously been assumed that the time necessary for a photograph to be exposed was simply too long for portaiture to be considered. But, by making this striking image, Cornelius proved the concensus wrong and then went on to develop a chemical means of accelerating the process. […] This photograph was made 171 years ago, and yet Robert Cornelius looks as contemporary and ‘immediate’ as any young man you might happen to pass on the streets today. He might be in a fashion publicity shot, or some moody modern musician. But, the most poignant thing is that what you see is a real man - a man you could reach out and almost touch, a man you could talk to, or even desire. This daguerreotype did not only change the way we see photography now. It works some kind of alchemy. One glance and it drags us back into the past. It is bringing history to life.
Source: virtualvictorian
[ via workman, champagneandlipstick, thanksforstanding, lastchatwithphontaine, samsaramotel ]
![archives-dada:
Marcel Duchamp, Anémic cinéma, 1925 [durée 7’. Assistance technique : Man Ray et Marc Allégret], film 35 mm en noir et blanc silencieux, Paris, musée national d’Art moderne - Centre Georges Pompidou](http://24.media.tumblr.com/6559d9834eae1bb36ce70bd60b571966/tumblr_mj8fw7bKQv1r9j6pro1_500.jpg)
Marcel Duchamp, Anémic cinéma, 1925 [durée 7’. Assistance technique : Man Ray et Marc Allégret], film 35 mm en noir et blanc silencieux, Paris, musée national d’Art moderne - Centre Georges Pompidou
from : Ruth Hemus, Dada’s Women (Yale University Press - New Haven & London, 2009)](http://24.media.tumblr.com/81da62015dadd5a1220c31d9aa4cd945/tumblr_mjtezsEjNC1qcl8ymo1_500.jpg)
Pierre Louÿs, Contre-type d’un portrait de Debussy, 1895 (1940)
Pierre Louÿs: Contre-type d’un portrait de Debussy, 1895 (Portrait déchiré par Debussy et récupéré par sa femme Emma Bardac. L’original est perdu, seul un contre-type existe) Vers 1940.
INTERRUPTION IN SPACE
(WITH ULAY), 1977
PERFORMANCE
46 MIN.
KUNSTAKADEMIE ‘RINKE
KLASSE’, DÜSSELDORFThe given space is divided by a
wall into two equal parts.We walk towards the wall.
We walk towards the wall
touching it with our body.
We run towards the wall hitting it
with our body.
(via redvelvetteacake)
