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Introduction to the First International Dada Fair**

Introduction to the First International Dada Fair** Introduction to the First International Dada Fair* WIELAND HERZFELDE Translated and introduced by Brigid Doherty Printed in red-and-black typography over a photolithographic reproduction of John Heartfield’s montage Life and Activity in Universal City at 12:05 in the Afternoon, the newspaper-sized cover page of the catalog to the First International Dada Fair—an “exhibition and sale” of roughly two hundred “Dadaist products” that was held from June 30 to August 25, 1920, in a Berlin art gallery owned by Dr. Otto Burchard, an expert in Song period Chinese ceramics who underwrote the show with an investment of one thousand marks and thereby earned the title “Financedada”—asserts that “the Dada movement leads to the sublation of the art trade.”1 Aufhebung is the Dadaists’ word for what their movement does to the traffic in art, and the cover page evokes the trebled meaning that can be attached to that term: the Dada Fair “maintained” the art trade to the extent that it put Dadaist products on the market; at the same time, and indeed thereby, the exhibition aimed to generate within the walls of a well-situated Berlin art gallery an affront to public taste that would “eradicate” the market into which its http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Introduction to the First International Dada Fair**

Herzfelde, Wieland; Doherty, Brigid
October , Volume Summer 2003 (105) – Jul 1, 2003
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Publisher
MIT Press
Copyright
© 2003 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/016228703769684173
Publisher site
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Abstract

Introduction to the First International Dada Fair* WIELAND HERZFELDE Translated and introduced by Brigid Doherty Printed in red-and-black typography over a photolithographic reproduction of John Heartfield’s montage Life and Activity in Universal City at 12:05 in the Afternoon, the newspaper-sized cover page of the catalog to the First International Dada Fair—an “exhibition and sale” of roughly two hundred “Dadaist products” that was held from June 30 to August 25, 1920, in a Berlin art gallery owned by Dr. Otto Burchard, an expert in Song period Chinese ceramics who underwrote the show with an investment of one thousand marks and thereby earned the title “Financedada”—asserts that “the Dada movement leads to the sublation of the art trade.”1 Aufhebung is the Dadaists’ word for what their movement does to the traffic in art, and the cover page evokes the trebled meaning that can be attached to that term: the Dada Fair “maintained” the art trade to the extent that it put Dadaist products on the market; at the same time, and indeed thereby, the exhibition aimed to generate within the walls of a well-situated Berlin art gallery an affront to public taste that would “eradicate” the market into which its

Journal

October – MIT Press

Published: Jul 1, 2003

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