156 EAST-CENTRAL EUROPE forese: she wigning tgks-wing politics of oficial Hungary, che lefliberal modeto- iam of the periodical Nyuger (with which Kass sil had sease, br collegial rela- tons), the socially crtieal but also rasionalisic and sometimes anti-Semicc ‘populist writers, and she ideologically ossifying Hungarian Communist Pascy ‘Kasse bravely faced head-on the increasingly conservative and repressive senden~ cies in the Soviet Union of the i950 and ws sherply critical of writers such as ya Ehrenburg, Maxim Gorky, Henti Barbusse, Anna Seghers, and André Gide for their connivance with Stalinist smear-campaigns and falsficarions; he openly defended pariab-fgures such as Leon Trowsky and Victor Serge. One of the most thematic instances of Kasséks unflinching pola! honssty appeared in che ‘Novesnbe 196 issue in which he delivered 2 blistering denunciation ofthe silence of he Feench lefewing writers upon the exccution of sixteen ‘old Bolshevls! on 25 August 1936 in the course of che Moscow Show Tals Contrasting wich chs public address was the singular document of mourning and pessotal gi! of Munk 65, dedicated 0 Kass wife, she performer Jolin Simon, ‘Who committed suicide on 25 September 1938. The issue contained the aributes of fiends and fellow writers 10 Simos, including Kassiks heart-wrenchingly un- adorned expression of pain ‘Halk kis ballads (Pale Little Bllad) as well asa besusi- fil, playfl eaclie verse by Avila J6nsef, who himself had committed suicide ren months belore Simon: ‘Were there a collecsivecrafsmanis bench, Iewould produce her winter shoes, Were there a rue-hearted billygoat, Te-would baa ouc her many virtues.” 1 “eval pares, |e cpio megreema | ha vols geval, |r 8 detects scat Aa Jot Sion on, Mans, 6 58,270. me ROMANIA: ‘WINDOWS TOWARD THE WEST’: NEW FORMS AND THE ‘POETRY OF TRUE LIFE Revista celor Ualti (1908); Insula (ags2); Chemarea (912)s Contimporanul (1922-32); 75 HP (1924); Punct (1924-5); Integral (1925-8); Urmuz (1925); and wns (1928-33) UNA LIVEZEANU rie torte acne iad oss he ane nich peed «hele nib of ede nl See he tiigyn too ace Bone sors lees bel pny ge ‘extent, ia the provinces. Some of these were ephemera, lasting no more chan a Sie hl Jor ers Sone mp te ‘ange! gap iy olc mange urs nlyou Jpopa ae ‘Rlilweatons nh Secon Romanan moe a ond oc he cape aemg each coamangrtnrn pocsn Wun gineds inte santo ofc an he pl sn cual ane bone cums aa fy tnd fea: ens ol cally eae eel soni nd wa capsid by bine of ery empl sre T aplenty a logy a ory aad ache pa weenie de wa ad was of \ "Ree pe cident’ (Windows toward the Wet ithe tide of B, Fudan ace in Ca poran (June 392), ta. Potey of Troe Life (pee a lt adore) is pate ows "Toetia pe case ves so face (The Poy Tt We Wane to Male), Vs need (ema Lif) (93) in Gable Dude (ed), Liezno temnent de avenged Bucharee: Humanitas 197,96. Al tndeions, ules ocherwise sed, ae the autho’ ow :258 EASE-CENTRAL SUROPE Romanian modemist press and in ehe minds of many European avant gardisss more generally. “When Elippo Tomasso Marine visited Romania in 1930, he rode in what he poetically called the suzomobil ofthe Romanian frurst’ (automobilul fargoc oman). The writers and arise of che Romanian zrant-garde who hosced him rook Ihe to ce the out of control fre a che ei felds in Morea, and he fllowed up is visi with an essay anslated into Romanian for the review Contimporanua ‘Incen- dial sondet din Mozeni? (The Moreni Oil Well Fir) —later there was & poem a: swell abou this ste of indusrial modernity. Marinect described che wells ‘spiral beau (Frumusejea spralic#), akin to chat of an impossibly tll ballerina dancing vd, furiously in ‘shower of sparks’ and ‘girating her boling hips (volutele solduilor i ce et)? “According to Steven Mansbach, morghologic similarities between Wester and Escen European modern are styles may be proof of important connections acros she continent, bu he points out thar they have a often masked imporantdisimilari- ties in incetion, Guncton, references, ception, contex, and meanings. Mansbach ‘argues thar What has long, made the magnitude and merit of modern at from Eastern Burope remote is a general ignorance of the historical, political and social condi- tions to which the especeive modern movements were acteative response. “Talce the publication of Mariner's Future Manifest’ in Romania (3s “Mani- fescal Vitorime’) on 20 February 1309. This incendiary text was printed in Roma nia oa the very same dase on which it appeared in the Paris dally Le Figaro. kn face 20 February in Romania, which chen observed the Jusian calendar, came thirteen days lazer than in Paris Thus this insance of seemingly perfect synchronization hides disimilaices in chronology in coneexe and also in meaning. In Romania, the manifesto was fist published in a rather staid formightly entitled Democnapia Revista politica, economietg lterart (Democracy: Political, Economic, and Literary ‘Magazine) printed nor in the capital, bucin the southern city of Craiova “Manes Tnzsil sone in Morn Cosimporana 0395-8 (Ja 1930, 2-3. Quoted from te Remain canslaion igaed by Alsners Mazes publaked in Coninporoa The elon nection to Tncendi) sonde? endans che poem ‘Linceo de sonda hat Marines mas {30g 0 public So 2 Seva Paul Cera Asangard edness i complond prfere (Buch fire Cues rmineze, 2007) 74-6 ® Steven Mansbath, Modern Are Easern sep: Fm the Blt he Balhae So-159 (Canindge Cambridge Unies Pres 997) 5. + Naina asc was hei oun is schroicn: See ‘Ceiovs, para de near 2 ra sacle eatopens peat ronsines® Noi passe: pend ploundeesfaismull to Rominil {Crion: A Posible Gateway forthe European Avane-Ganke ie Reman? New Cefcations aso de Peceeatn of Fram in Romani, per peered at he Soir for Romanian Studi conference Faropeanaio and Glabaliacoo: Romacian in Thee Region and he Wor’ Sibi, Romani 4 Jy 200, * Demacpi, 239 (20 Feb 1965), 3-6 ROMANIA: “WINDOWS TOWARD TEE WEST” us9 ‘The Romanien version of the maniftso, with its dating, violen, high-strung language, was framed by several counterelement that subverted is very inten and ‘meaning. The headline in Demecraia, ‘O noua scoala licerard (A New Literary Schoo!) appeared above the group of eats, 25 wel asin the tble of contents on the reviews coves, where ET. Marineti and M. Driginescu were listed as joint autho Mill Driginesca was a lawyer and the magazine's edior-in-chief® The descrip tive textbook-like ticle did much co dampen the shock of the manifest’ iempers- tives. A portrait of Marinett reproduced from I/poece Marinets sad ac dhe top of page 3. Iewas followed by a brifinroduction of Me. FT. Matinee’, and by anote (princed in italics to suggest writen correspondence} ‘signed’ by Matinee. The Talian foruise politely asked bis correspondent to Sead him his “opinion of and ‘oral or partial adherence’ co Furarism.” The text of che manifesto was thus sand vwiched berween this courteous front mater and Mihail Driginescu’s symmeti- cally police reply, again in the form of collegial ete ‘The correspondence between Marintti and Driginescu may be uadentood as parcof Marines’s campaign w laanch Furuse. A number of Romanian leer and periodicals subscribed to Poesia, che international icerary review that Mariner edited in Milan, Poesia, in tro, feanured the translated vexs of Romanian writers and poets ‘Marines had sent the Manifesto ro Driginescu, and co other Pee subserbess axound che would before ics publication in Pais, thus making possible the coinci- dence of ts appearance on (almost) the sume dare in 3gog a the two ends of Europe. Farurism and Marinett’s manifesto were also objects of discusion in other Roma- sian periodicals in 1909, including the oficial Liberal Party newspaper Viitonl (The Farure—yet another coincidence), where the symbelis poet fon Minulescu (who «ls published a ranslation of the Manifesto laer in 1505) was an editor? Ti his response to Mariner’, Demeerai's editor took issue wich several of che cexeravagant suggestions hurled by che manifesc. Addressing Marineni with the cordial saluction ‘Dear brother’ (scurnpe confrate), which Mariner ed aleo employed, Driginescu nevertheless questioned the ‘rather curious point’ of the “inflammable manifest’, which, he said, prevente! ‘us fom wholly agreeing!" He Cerna, Ananda 86 Y ipreea Daca arvpce Miao Wore’ adesunes Doar onl a pal Demacpia, w39 (20 Fes 909) 3. Acaeing Lass, hi wat = car leer See het “Cin pots dente op. * Emilia Drogen, Silene ae frie len ampon nangede emia Strode ‘peice Pegi, Buchtes Parsee, 3004), 26,203 Aaron Masno, ‘Echos Fourie dan a litaturerounaind, in Ciné rx idraneseidenales Recon (Bachar: Eda ‘Slotted enciopedis 282), 270-4 * Cen, Asengrda, 8-7 To! ind puncte eral de casoase in manifil Visoimel ge cal posi io gece ‘red au poueconceze, nol nu ue patem unin wr ee cwprne fn nce ross taal. Dense, 19 (20 Fab 909), 61160 BAST-CENTRAL EUROPE adesed hitnself particuladiy to the furious verbal arcack Marinectt unleashed on. ourgeos cultural institions ané professionals. We will destroy che museums ovaries, academies of every kind’, irem 10 of the Manifesto read. Ie continued: Fortwo long ha aly been a dealer in secondhand does. We meas co fee hes form che ‘pazberlssinuseurs dat cover her lie «0 many graveyas “Miecrunescemerries!_.Ilentcal, suey, in the sniser promiscuity of 0 masy bodies usknown 79 one another ‘So lor chean come the gay inceniaties with charred fingee! Here che ar!...Come on! secfye uo the Lary shelve! Turn aside the canals co hood che museums! “Take up your pckaxes,your axe and hammers and wreky wreck the venerble cies, piney” Diiginescu chided Marinett for nox appreciating che eulural riches in which Weneoners revelled, and contrasted this plenty with the poverty he saw as home: Youtve become bored with your maay museums, Ubraies and ansiquices, but we Romani- as have mest no sat, almost no library, You have too many profesor coo many ehesiagjes, museum guides and anciquaries. We, alas, have almost none, we a « Poot Jaan counnry. Only yesterday id ofthe Orcorsa an Phanaroc yoke, me ae fin the proc cergt aking shape eday and we have no art of our own aomentous crowgh ro amaze is ‘Tene Wescern counties, Our fe bilianc great men journey your enlightened Westra tunics. because ere they ae cegarded wieh volpar envy andl sincere ‘We dove have museamcemeteries [se] because cere was nothing for us 10 bury (Ojfcouze, underground may lie many ignore, lot, dispersed biscorcal sourers, buried tithe dasknse of tie, which cannot be vised even once a yeat...50 Chat we may ge ‘now out ancestcs and their actions in the culearl, politics and social domain, while you [Menernet| have hed enough becsuse you se them roo mach daily in your museums? 10 the Founding nd Mofo of Fucus, ans. bp RW. Flin and Aathat Copposll IW Fone ted), Mrmr Sled Wiig (New Yrs Pra, Sass snd Gitoes, 1973) 45 tna psc mujines manor ibiocor anchor asso Remit 28 sen agno ilun ru apoape net ibe. Vo ave peau profesor pee ml rhe Se eeteal ance Net val apempe raave nih ul, stem osirant eo or Abi et SES at haga Otome fl Funaoe foi aig ach no ate oar prop cae sk pee TEES depute ue ooze Panel ene! sudo ale arent nr mac Meee piel pn ana woarte octet... ase not sun pv coos feviie st deiuersre Se ee necamicke, gent conan aver ngrop..De sigue sub pal se sone nate lou rion ignorte pt, eed Ingropac de ner wero ndepiate WRT iain odie pean ou po fl vine spe. a anos bine mame atune Tor fx {eeu cus ple sn sock peed void sre pres uve inc tn mezse vos” Bamocai, 135 (0 Feb 909), 6 ROMANIA: WINDOWS TOWARD THE WEST! 6 “The Fururist Manifesto’ appeacance in Pats and Craiova almost simultaneous in 1909 mighe suggest the timely flow of ideas acros the East-Wesr divide, but Dragineseu’s accompanying commentary rebuffed Marinetts call co destruction and cultusal nihilism as inappropriate for a young country thar had still roo lide altace 10 afford iss destruction, Even when agreeing with she Inlian fara, che Romanian editor undermined che Manifesels Samboyance and rouaizng since. While he rejeced sensimentaligy and joined Merinett in praising nationalism, Driginescus notion of nationalism difeed radically ftom he Ilias: “We dant want rears oF pain, we wane enengy and daring... We co0 want action (and] mover ment, he writes, Buc he continnes with an explanation thee corns Mariners aggresion into a swees proclamation of echnic and spleicual siaship: ...in order v0 Follow you, since we oriensal Lasins are of one blood with you western Latins, our origin stems ftom Rome, we love our peogle because we love patiodsm.”® “The Craiova Democrapia cannot be considered a proper modecoise magezinc, despite being an cacy venve for che initial publication of Mariner serinal man- esto, Conversely, some Romanian self-declared modernist publications in the ineerwar years reserved ample space for political analysis and satiical cartoons. “The mas imporeant ofthese was Contimponsnu, also the longes-lived ofthe peri odicals analysed here, Throughout Europe, politics, ort and life were internwined fom the cure of the century until the 19508 (and beyond). Bur in areas of the continene where modernity was peiceived as the opposic poe of loca backoward- news, modernism became associated with a programme of actual modetnization that evane-gede waiters and ardets favoured. The following survey of Romanian modernist and avane-garde magizines arempcs to contextualize thelr appearance in cerms of Roman’ wensedh-century politcal and soil history. “The “Old Kingdom’ becomes "Greater Romania’: islands, symbols, and a call to arms Afics dhe Second Balkan War, in 191), Romania gained southern Nohnidja, a sliver of land west of the Black See and south of the Danube serded by Turks, Tasars Bulgarians, and Romanians, that had beloaged to Bulgaria. With the oucbreak of she Great Was; Romanien politicians poadeced the benefits of neutrality or engage ‘meat, Despite the Kingdom's Hohenzelleen monarch and its traditional German alliance, in 19:6 the Romanian Kingdom joined che Fotente in exchange for secret 1 ona rim de dee rtm enc deiznall.. em nel aane, mia spre 8 sec nin oneal suacem deus sage ca von ccdenel, origina nears pomnesse Alin Roms, bles neal al iubim pts hi62 EAST-CENTRAL EUROPE promises of acl pins adjacent pase ofthe Aswoo-Hungaran Monarchy ald he Alls roa Since hey mon che mar Romania oad he pomied tna of anayhani and Buona: the country alo beefed terior em the Rowan Revlon andthe ed ware het aveaedEaope. In an pet ‘Nhe volonaty ede the Great Power allowed Rowan to cai the prow imofbenanbn whlch bad ben under Rusia cone since 6 but badge Towarinespeang popelon, Thus bowen 93 2nd 938 Romania more shat ule in tne ate population grew by aon af much Ths reo and Movie Voge nd Chases Gow, Felon cage ea ee gin pa ete Say ge ede ct Wa pbc Fe at as pra bes ats en go Pre Wei had ben Sens ip tne ieee Die Bel Te oy be whee Chena tors Sn Done S Chee nd , § Coming 6 Sep 9) an 9 Oe 9) seer Fttar un tte Shura hr cin a a poplin: asvenbonbetshiare pin cu cone afi Mam, dl er soe feet eee Eifpe rac nuste une or sini. Rovira aoa Ines una gra de ver ey itdeag dread eurr” Clonee (Oar) 2 The nee Vint cap ROMANIA: “WINDOWS TOWARD THE VEST” 65 ‘was unfortunately being ‘dried’ by dhe politcal scheming employed in thee sequl- sion, wrote Emest Poli In the second issue Vinee satirized the country’s neutrality and cowardice, and the political calculations involved in choosing sides: ‘And we won't go taro Transylvania now...buc at the end; Transylvania or Bessarabia, according 10 circomstance,—but only at the end” (Si in Ardeal nu vor. intra acum... la sfarsit. In Ardea, sau in Basarabia, dupa imprejurisi—dar numai la urmi)* in another article Theodor Solacolu lampooned the ‘auction of pauiod @) belie? and ‘the noise of nationalse drums and cudgel Cliccaga cedingelor @) patrotice se fine la cite o Hspince de sead, in sgomorul robelor si ciomegilor nayionalsce de toate sunetele i roate cuirile). Tristan Teara contributed the anti-war poer, “Burtuna gl cintecul dezertorula’ (The Store and she Song of the Deserts)” Per- hhapsit-was the storm in this poern that the Valloccon woodcut on the cover had been chosen for. Close wo the ime ofthis publication, in aurumn 135, Tisran Teaca lefe Bucharest for Zarich and met Marcel Iancu, who had gone there to study the year before Tanca and Teara (and lancait two brothess who aso smudied in Zurich) helped pro duce the Cabaret Voltaire happenings and the Dada movernent (see Chapter 33). As thewarroand down, che two friends—by ten estrangre—moved 10 France in lace 1919 10 eatly 1920, and Tara seed in Pazis forthe rest ofhis lif, excepting the war years when he went into hiding in the south. Iancu, howeves, rerurned 10 Romania in 192: and lived in Bucharest for the next two decades he became a pro- [ic and successful architect, and continued asa visual arise and modernist rheoce- tictan, He also pursued rich editorial and curatorial career editing magazines and ‘organizing exhibits ® Principal nyfonalioe roa asc ts, ce nfs de aka conp un eg su 0 ‘mlsigie « Rona cre abt drepe unc Nal Tua cacole de Bucovina 0 ord vist eof Romial.. dedats ve intuoy val mimunan pimincaie acne daranesies de ‘nae se mele penn el ae ell PR wan ds pon ue Leopold Chspia, a high schoo! end of Vines See Coat, Aoegurd 2, 2. Vines, Nove sper, Choma, Oc 198) 18 2 Taroder Sool, presi detarmaro? (lipreion fom dhe Fa) tid 29, » Bid 067 Har Sener, Marcel Jenor: Dasste—Zegerace—snimpericar murgeliadicher Kon rab Panu Ma: Pes Lang, 993) 50 3 Michel lk, Morel Jne: Des Grp Werk Coelegne René (Ludwig 200), pein Far an veriow of Inet many! reer ee Corner Mere ance 18 epsbisl lee entaary 293-975 uckars Muzealrajional de ar al Roma 2996), the aalogue of the ‘nc eonenilehbicon hel in Buches in 991366 EAST-CENTRAL EUROPE Consimporaud and its iscle (On June wos lance end bis old frend lor. Vinca launched Conrimporanul: organ al consirucivomaled romarese (The Concernporary: Organ of Romanian Constrac- sivism). Iancu Snanced the review and was its anistic director and theoreticians, well asthe organizer ofthe group that gathered around the publicarion The more bohernian Ion Vinea served as the review’ oficial editor. Lasting until 1932, Com {imporaru was th longest running of Romania's interwar modernist peiodicals. Io all, 102 issues were published, alehough infact there were fewer, since double and ceiple sues were fiequent in the review’ later years. Contimporsnl was auch more shan a review, however: Ianct and his collaborators organized arcenhibiesand other “syncrei’ events, and a ‘Contimporanul groug’ was a recogoizable if shifing for- imation in Bucharest * Paul Cemnat has nowed three dstince phases inthe life of Contimporamal® Diaing the fist which acted uns July 1923 ieappenred fey puncrually once a week and was ozsinated by politcal and social concerns which were on everyone's mind after the \wandime upheaval and as Romanian sociery embarked on the project of assimilating vast new erties and mulilingual, multreligious populations. This fine period ‘vas followed by 2 histus of nine months afer which Consimponantl e-emerged, In April 1924, asa pesiodical of the antic avant-gacée. Ir then appeared less frequendy ad less regulary In this second phase, politics gave way ro predominandy aesthetic prenccupa- sions. The review’ third pesiod was one of growing eclecticism it began after yet another hiacus—from 1928 vo 1929—and lasted uniil 932. Collaborators known for contibasing alo to periodicals afliaved wich Romanials new right were visible—if never éominant—in the pages of Conrinponaratin this last phase. Conversely, fon ‘Vinea was also writing for Cudnead (The Word) —an independent paper ofthe new generation’ chat after 1934 became a fascist mouthpiece, and he was elected MP fn the National Peasant Pasty lice2” This increased openness ro diverse ideologies, 2% Radu Str, ‘Bockares? (Duchares) in Rad Sten and Ear van Voolen (ds), Ven daa tot meee oda garde neat Raomaon Hen s38beoen Daa 20 Saale: Jeni ‘Beane Gard Arius fas: omani, 110-198 (Amscexdate:JoodsHlsovch Moses, 20143 Set to Tom Sands, Dads Fase The Romanians of Cabaret Vlas (Cambridge, MAL MIT Pies, me) 34 2 Cora, Anogard, 12-2, and Paul Comat, Continporom: inva une ier de angers (Goch Inst Cull Roman, 2067) 29, 65 and Seve, Marl ano: Dada 17513. © Cerna, Coutinprama 5. 2 Cecat idence heroin er « moms pesod (id) bar Connponanal speed co weedy basin gaa and 95, Camas, gad, 69-75. komANta: WINDOWS TOWARD THE WEST’ 167 aesthetic theories end malpstecam politics lid the groundwork fora backlash fom a newer and more radical avane-garde. Contimgoranal rook ic tie ftom a much caer semi-monthly peiodisl of the ‘simi name sponsored by the ig Socialist Club i 1861-01. The founder of Contin ‘oranulin 1922 seem to have made this choice to suggest ideological condioty with soctalism. Ths, the programmacic article printed in tales in che fscssue ofthe p22 smaguine, enced ‘Bun sosit” (Welcome to you!) and signe by Dr N. Lupty an ler polician with tesco the socialist movernen, recalls that earlier publication: ‘My generation and che one before mine owe much of chet pisitual cueate and intlleceual pollsh tthe great socialise magazine char, thre years ago, bore che same name wish my younger companioss and che new magazine [Consimponanul the same success fn cvlcing the Romanian intellect and life ar the baginning ofthis ceanury ad in this new and race hman epoch as ts ‘grandmocher’ [Contemponanall had a the end ofthe late cenagy® “This fuse isue included no illuscrations, and ehe lerering of the tide was conven ional. Contimporanul then looked like 2 ‘normal’ wordy periodical, although ic was ‘very much left of centr. In the very next issue, however all this changeds che tide ‘was now rendered in attractively uneven, hand-drawn all-cap letters; che initial 'C’ ddeawn in such & way as co suggest an upside-down sickle, Soon cover pages began fearuring iuscrations—mosdy political catedns that accompanied sharp political editorials criticizing the National Liberal Party (NLP) then in power, the Britian: family which dominated che parey, Romaniaé foreign celations, che new constieu> tion, censorship, and policies cowards ethnic and religious minorities. Tealian fascism, labour struggles, che TarkishGreek conflict, the oil industry, and the Sovier famine were all gris for journalists at Consimporznul. Cover drawings were areibuted 10 A. Drago, Brutus Hanes, Luc, and inesessingly co Marcel lencu.® 2 The exer psd had used che spelling "Contemporanl’. is subsite wae ‘Seine and Lites Revew. Te ets withed wo nfm reads ‘ner sence sche wor. angio, Pre end vob 346-7. ° “Genera oes crs antesoas,datorye mein cular sue n pelea nec snarl rove socks de pe werur, care pute acum 30 dean aeaiy name, Doce neon meh conn novel seis abi o“cvlioe® ine vir costae, dela cepa acest seco In aes nou rk epoca orale aceig ruse al base lanl veal weet? Coniporena (922 1 * Some cover drawing like the one ence ‘Amini The Armnest) fete to June ae, were seosigneds butte wat very likely Disgoys ais name apgats aio the contr fo: tate See so Mana Ves, Grace fal Marcel lana mesos baju psc de aanganal Marcl Janos Graphic Arc and the Metemonpots ofthe AraneGarde Lengeage in Fine Ar Cote eel lence 65-99 ¢Marcl nen Coa 1875-1995, 34-872168 EAST-CENTRAL BUROPE ig 49.1 CoverefCansiponen 4 (24 June go), deigned by Marcel anc, caption Babes Sutenle anata fe ane iver @ (The Brisa Succes ve Besa, rs And Wile Qu The cover of the 24 June issue, for example, feacured a lancu caricarure of the cree Britianu brothe:s (one, Vintlt, and Dinu} dancing atop piles of money, ban- ‘notes coming our of theic pockets, tte three gesturing with raised arms and hand movements Fg, 494). Ar the rime, Ton I. C. Brvianu served as prime minister, Viawilé as Miniscer of Finance, and Diow sat in parliament. They san the NEP founded by theic fader, Mach aboue che thre figures i the caztoon—the expres sion facial ais che cur of che suit, chei gescarer—is identical. The caption reads "Been Succesele noasr au fost, sunt 4 vor ff’ (The Britianuc: Succeres Have Been, Are, And Will Be Our). The caricarre prefaced” ovo harshly crcl and ironic articles on the inside pages: "Baliul de succese' (The Lua Park of Successes) and ‘Domoii Britianu: o clegie’ (Ihe Bratianu Gentlemen: An Elegy], which accused Jon and Vind of incompetence on several from." ‘Other covers drawn by Tanca in 1922 such as chose captioned ‘Problema pain? (he Bread Problem), "D. Bricianu limiceeci libereatea prese’ (Mr. Brésene Limits the Freedom of the Pres), “Pattal de non-agresuine’ (The Non-Aggression Pact), and ‘Maral grecest! (The Greek Apple), all tackled curtent domestic or intezna- tional problems, in 2 soe linked ro lancls Dadaist days." But Contisponenel’s * Consinponon 4 (24 Jane 92). © Cominponnad 19 (5 Ag. grat (8 Now 923) ea (9 De 392), and ue 6 Des 2, ROMANIA: “WINDOWS TOWARD THE WEST 2169 ‘covers als offered surprises; there were the ‘re-und of the swo Vallorton woodcuts thac had appeared in che 1915 Chemare, as wll as reproductions of works fanaa had creaced for posters i his Srss days. These visual ‘echoes drew aztencion co the editors former lives and tothe World beyond Romania’ frontiers. Jancu and Vinea may alo Kave been playing with ideas for che fatuce while fing on the past ‘Despiae the heavy political orientation ofthe easly Consimporamud, indications of broader cular, intellocrual, and aesthetic canings abounded from the very begis- ning, B.Fundboiasns column Ferese spre Oecident’ (Windows toward the Wert) in {he firs issue compared ‘the ofl continent, ie, post-war Europe, co a decrepit hotel whose ‘doors no longer dosed [propery with all che life inside the roorns spilled as bya phonograph inco che hallwayy’ (Bésrénul concinent triste astirica un hovel cx lxdmida pacred..ca ogi cari mu se mal fnchid cu tout vasa din adi ssp, ca inwun fonogref pe coridoare).* He applauded the new posbilies fr cosmopali- tam intercourse among books and ideas wriren and expressed in diferent languages, and used che occasion to point out that‘a Young Romanian decadent (tn nar deca. dent romas!)—an allusion to Tran Teara—had siceeded in ‘creating forall oF acwr [Burope a strange aesthetic’ (a ibutic si ceeze pentni toat8 Europa non, o efodatk sete) The 24 Jane issue of ConsinporomalSearured the column Note de piccurd (Notes on Painting) probably axributable to Iancu. The author defined ‘absraction- fam’ as ‘the liberation of painting fom life aspects and exterior signs. The polis of culture was also = topos in these carly days ofthe review, as evidenced in Sextzorul bugetivor CThe Budgetivore Write) shout the Sociey of Remantan Whites! mis- taken policy of seeking stae subventions * By the end of 22 Contiporanul had tken a visual turn coward abstraction. Lis «covers were no longer consistently either politcal or cartoonish. "The 4 November issue featured Iancas“Dansul Negilor’ (Negro Dance}, a graphic composition he hhad drawn asa poser forthe Zurich ‘Chant négre (Negro Sox) sole on 31 March 1916; he had used ita second time as publicity fr @ Der Stor exhib in p17" The lasrissue ofty22, on 30 December, feacured an engraving identified simply as Desert sa Seal Cn, Contporama, 9. cok 4 (24 Jose 3923), zane: Magda Teodor, in Timothy 0, Beason and Ens oops ei), Berens Wane: A Soureboh ef Contra! Eerpeon oe gee, 1o-r3o (Candee, MAfLondon: LACMA & MIT Pres, 2003) 5 © Comnporeneh 5 (7 Jane 9s) 2-8 © Cantinporal, 25 (4 Nov. 923). Ta fet the dace printed on the Coninperal cover was 44 Nov. 916 Li. Heseans more than ely she eis appreneypogeighlel err wa neon & Tod of visa joe, since she ver repicded he poster Iona bat made ini. The engraving is “Messiiad os “Inviation& une sade Dads 19:8, in J-M, Palmiee “nicks redacowerte move ‘ment Dada 2/7 Dula2 Zarch nasrance de nowemea®. Acasted elie st shpeabionunblog, fo.oex/sllemoavementdadaa7>. Ie is Montlfed 1 ‘APiche pou le Chant ner, Caste ‘Vota, 6 75% 35 Image spe das ache de aS Astelag (i, Sete or de Albersn70 BAST-CENTRAL EUROPE (Drawing) by Marcel Iancu while the cover of the nexe issue (6 January 1923) pre sented his Cubist e!fporrait. Like che ‘Negro Dance’ poster, and the ‘Drawing’ in ‘the 30 December 1922 issue, lancu’ self poreeae was unrelated vo any specif article in che magazine. Together these covers by Tancu signalied his ineveasngly central role in the production of the magazine and the aesthetic turn that the editors were con= remplating: art for arts sake instead of at inthe service of polit. Beginning with 1 January 1923 Consimoereul bad a whole new look. In large format, each issue consisted of only four pages. The leering of che title lose the tuncven, artsane) quality: Thick, bold, alicap italics—either in sed or in plain black—gave the new Contimporanal ttle a determined and dynamic fel. In che new format cover illustrations amounted ro 2 fir smaller proportion of the page Many of the picrares were identified as original woodcuts by Marcel Iancu with oF ‘without specific dees, Sell, the magazine continued to carry avcles about domes ticand inzernational politics, be ic the new constitution, pogroms ia nordieastern Romania, demonserations by nationals students who were demanding the into duction of mumerus casas in Romanian universities, the question of ethnic minor- ies in Greater Romania, she anniversary of Maris death, and the situation in Soviet Russia among other topics “Appearing again afer a long absence in spring 1924, Consimporanul threw itself ino the politics of aesthetics. ‘Tosenonési de acl (Art Noes) of April 1924 began with the thesis that ‘Beauey in are isa prejudice’. Iancu contested artistic conver- tions of viruosty and technique, and applauded the authenticity intensity, and expressiveness of children ars, fll ar, primitive art, and che are produced by the smenally il-® “Manifescal ativisc cite tinerime’ (Activise Manifesto to the Young) vwrinen by Vinea appeared in the very next issue bearing all che shetorical masks oF high avane-gurdism. Divided into three pars, the maniferio began by insulting conventional art, socien, and polities. Pare two declared in a single syatheric sen- tence what the collecve Wwe “WANT” (VREM?), while parc three starting with “THUS! (DECI) lid our more prosaially an ambitious programme encompassing ar, society, the economy, and industry. The following are excerpes fio rhe thee sections of the manifesco: Down wih Are "cause ic has prosciaced ical eu is nothing bur pres ca wring che xr gland of gil of any ages BLOCH, frie BAUMANN, Mas ERNST, 1yone! FEININGER, Johannes ITTEN, KANDINSKY, ‘ail KLEE, Oscar KOKOSCHKA, Oskar KUBIN, Georg MOCHE, Maria UPDEN) ls Galerie DADA de Zuse, Je 14 sil 997. See Docurents Dade asceiod a: ), ® secoking to Steven Mansbach, Brauner sal Voronca were aempng to ovescome the ‘onal pamper beeen. he via ac ard poet) and to replace with a mechan, ally moder eG 5.A. Masbach, The "Fosganes” of Conical Moder tin Romani Te Art Bale ay Sep 98) 52. 2 Sap Pan, Maca in memort—fle de erator Buchu: Ea Miner, 97317 ROMANIA: ‘WINDOWS TOWARD THE WEST’ 1173 Brauner’ fiom 26 Ocwber 10 15 November. Romanian, French, and soine Tein snd German were used at times in he sume untuly partgraphe. Domestic and foreign subscriptions were available in Romanian [ei and in French francs for regular and delaxe editions ‘A month after 75 HPs explosive appearance, many of che same contiibutors launched the monthly Punct subtitled Revied de literatura si ared consiractivisel (Review of Constructivist Lieeatare and Ar), later Revel de ret conrructviset ‘nsernationalt (Review of international Conseructvist Ar) and then Revit de art connrucsivina Review of Constructivist Ar). Puna’s ‘rector, or edicor-in-chief, was Scala Callimachi but Viewor Brauner and then Stein Roll, in cession wore credited as the actual editors on Puna’ back page unl dhe last few sues. (On the cover of Punet’ Ens isue es readership was entteated to read both 7s H7P and Continporanu On the continuem beoveen. modernism and avanc-gardism Punct was closer to the law than Consimporanul, even i€ some of Pune?s most intransigent contributors, for example, lancu, were closely associated with Caritne- poral. In March 1925 Panct fused with Consimporan. Just before this, Consim= ‘poranud annoumced (in French) that the two publications were ‘the only organs of the Romanian avant-garde’ es seuls organs de 'avanrgarde roumaine’), The merger was noted in Contimporanul no. 55-6 25 an effort eo unite propaganda forces. A similar announcement (in French) appeared prominendy in the last issue of Peet (6 March 1925) Like other interwar avant-garde magazines, Punce published arte cles and poems by local authors in forign languages as well a the work of foreign- language authors such Philippe Soupaule, Héléne Ksa, Kurt Schwices, Herwarc Walden, Theo Van Doesburg, and Pierre Bourgeois in French and German, But alike Consinporansuah Punct did not include reproductions of graphic work by forcign aris such es Hans Ar, L. Kass, Braque, Picasso, or Sidney Hunt, All oF this suggests 2 sustained efore to link wich foreign colleagues and audiences, although cach publication di this in its own wag By the mid-t920s the group around Contimperenal was well established and ie had become somewhat proprietorial about che development of the avantgarde in Romania for which it asumed full credit A someshat paternalistic nase in che Occober 1924 (5:48) issue of Continporanul described 75 HPs praphies as derivative 2 For afl discussion of 75 HP Drogen fare leita 1-203 * amples ine Jon Vines Viele sa ble, ame 2 (30 Now 19) Di Solomon, "Pee de nal, Ba 67 (Jen gash and Mc! fancy, "TSE Dikguc cae le bourse mor. ee fapore dea vie nour’, Fem 2 Jan 19253. So ao Drozoreani, ifort 2p 2-55. Insel deo 2 whole spl se, ra 4 Janel 3927) 0 Rench poy Faring Remon Dassignes, Max eco, Roger Vie, Tacs, Clin Aonaid Paul Derm, Revendy, Pandane, and Seuphoc Foe graotie wodeby Kanik Fuso, Brig, uns and Arp see Consinporann 4) Set 1924) $64 (B92), $67 June 926) 570 Nor 1959) and 7 (Dee 1928),uu74 EAST-CENTRAL EURODE of earlier heroic Dadsiscand Futuris publicaions and while applauding ies courage, ic aso qualified i as juvenile. ‘he Bucharest avanc-garde preseoce was by no means limited to its periodicals publications bur these were che universal vehicle for publicizing their other events and sccvtes, as well as many avant-gue performances and publications ouside Rom- ia, Continporansd and its Kindred periodicals regularly announced and reviewed the books of potty, ficion, and esays published by the unites who contributed t0 these periodicals and whose volumes were mos fea published ae imprints of these same periodicals Similarly as indicaced, Vitor Brauner fst one-man show which opened ac the Fine Ars Syndicate in Oczober 1924, was announced on che back page of 75 HP. This event was followed in 30 Noveraber~3o December ofthe same year by she fist intemacional exhibition organized by Consémporanud. Ic showed works by eweney-four foreign and local aris and Contimporanul (350-1) devoted a double Jssue wo the exhibit catalogue (ig. 493). Tae February 1925 issue carted along article in French ‘CEsposition internationale du “Contimporanul”” (The International Exhibition of Consimporenul listing the pancipats by country The led pacspraph drew ateztion vo the imporeanes ofthe show: This che five modern [alee in which Belgium, Germany Sea, Hungary, Poland Sabi nd Romani all pacipated. Tei demonircen ofthe cel exience of 2 new tuner which..cavenesour epoch ndings om age The phenomenon manifest ‘sexu simultncoul and in ll phen of spc ec... The oew artisan sac archac does no imitare nara except... ay ve of beingal procs of exon Given shat the exibition had already cloted, and cha the anonymous accle was in French, i seems that i was written to remind avantgardists outside Romania of te chow sigoifcance, and, since ic had been organizad by Consimporal, the adonyreflscred on the review. The article idencied che participants ae councice— partcular stares were suid to be represented by this or that arisc—despite the fact chat iesmesed the universality of the modernise syle.” Taking the national poine See Cera on Conimprel’ sumed ele a limite judge af wane ge ae: Aaya 2 Tyosuch ser wee publihed by Feral and anu % ‘Cacia pemib expciion moder la quel arcpen I eligu, Fema, La Side, "elgg a Pologe, a Sebi et Ie Rourmanie. Cen une demonsaon ie Pounce ele dan owen courant, gu..t2vseTépoqie li prt un prope sve. Le noande ft mae Siultanémen pao ex dans tous les domains de acsvn eps... Lace gone ct at shoul al Tite Iara que dans le prose de creston,” Cotimper 459-4 Fee). 2 Sexsbo Pas, Mout 174 Pani ales the fig abies a: Tessa Zartowsrowna and ec ‘ploy Ste fom Poland, L. Kass ftom Hagens Mare Deiat and Lempetear Haut fom gu, foe ees rm Fans, Karel Tege om Coho, Ving ging om Smee aed ‘Kercher Hane Ac, Pal Wee Hans Rises, C. Bol E.R Vognaaes Ath Seg and Mee |. Segal fom Germany. The Remaniane inte lana, Mix, Man's Tesch, Bene, Brana, lia Peay, and Dis Slomon, Pan counts the Romasian bon Aha Sep ho Led ia er sche dng. as Geum, while icing Beta, whole in Pi, wt he Romine, ROMANIA: ‘WINDOWS TOWARD THE WEST’ n7s Tig. 493 Cove of Compara 50-1 (G0 Now-30 Des 192) of view farther, the article also pointed, without false modesty, chat auch aa impor tant iotemational exhibition had taken place in Romania fest, before anywhere ese. Similar efores in reign relarions’ and in necwork building across Europe were on display when Romanian avantgarde publications referred to kindred foreign ones or 1 performances and artshows taking place abroad, or when they noted that a com patciot had eamed foreign distinction—for example the acquisition by a Berlin ‘museum of painting Archur Segal hac entered atthe annual uryfcei show in Besin in 1924." Foreign cchoes of Romanian happenings were also proudly noved: thus sua signalled that Paris Soir had publicized the eshibic of ‘grupul “Arta nowt?” (the Now Arc group) atthe Academy of Decorasve Ar in Bucharest, x itself gave the show a decaled review in the same issue (um, 2513, May’ 1929). Revolt agalnst Consémporanul In the avant-garde landscape char gradually became more complex aad diverse Consinsporam’s voice toned down 10 more moderate artistic and literary decibels calkivating, Cemat suggests, a more tolerant, non-dogzmacic, and ecumenical mod ernism.2* Some bylines now belonged to authors who were aot pare of the avant- garde a all, and of these, some were asociated with che spicicualist right, and were % Cenmat, nengnds, Ca. 9 athe elitons of Rossen: mange sews with othe a Cena, Conger 381176 BAST-CENTRAL EUROPE ig. 49-4 Cover largo 5 uly 395) tae in che 1930, slide cowards hac other radicalism, faci. ® This stylistic and ‘deologial looeeness drew mounting csiques from younger, more milcan act, and wicers, aad such views generated other modernist periodicals such as Fntegral (1925-8), Ure published brilly by Geoege (Geo) Bogza in Cimping, and um gublshed by Sage Pand in Dorohot and later in Buchares.* ‘The monthly Constuccvit magazine Inga (Fig, 49.4) was edited by the ast M. H. May, a dissident tom Contimporanal. negra acempted to synche- steal arene of moderaisn, wo integrate and analyse cially any and all arise cxpetiments. Ie had so differen subsides Revit de sintext moderna’ (Review of, Modecn Syrdess}, and ‘Organ al mizcrt moderne dip ac i siinisate’ (Organ ofthe Modern Mavemenc at Home and Abroad) che rwo usually appeared rogecher on Jnsegra’s covers, which often sported Constructivist linocat compositions by ‘Mang Is manifesto struck both Construcvise and Fanutist notes ‘We defincely live under the sign of the uiban. Flrer—imeligence, sprite, Riytn»—sperd. Sioleancousballe~acmorphers giving oncers—illins of ssxophones, ‘wlegtph nerves from the equazor to he poles—stikes of lghenings che planet with Mags, industrial plants glant seamen; the dance of the machines over bitumen ovations. © Ceenae, Contigo, 34-7. 0 bid 36 ans Alay 24; 20d on Pop, Avngaae fe lean omdné (Bucharest Eaore aera, 190) 105. Ge Mica, Brsioc, Tae and aie Rune Avargrde (Bochum: Mie Bochum, 1997) 54-60. 1 i ROMANIA: WINDOWS TOWARD THE wast" uz A owsroads ofan ent. Clases exe going down, nes economies ae being bulk, The prolesr- fos ae imposing farms. New paycbe-physilogics are growing. Jnsgyal nad oxtposts in Pacis ad in Keay staffed by comuiburors with one foot in Romanis—Benjamin Fondane (Fundoianu’s French pentame), Uarie Voroaca, Hans Manis-Teutch, and Mikail Cosma, Fondane’s arcs in French dealt with international subjects like Pirancellls Sic Characters in Search of an Asshor playing in New York, Paris, Belin, and Rome, or an encounter wich Jean Cocteau. Foo dane signed ‘Fundoian for pieces ne wrore ia Romanian ** Constantin Brancusi and Tistan Tear also contributed from Pai, writing in French, “ike Contimponal before it, Jnegal also involved eself in vencuses beyond the review In its very fist isue for instance Jategraf announced the staging of Andsé Gide play ‘Saul with sets and costumes designed by Many. The next issue carried a long article ‘Regia seenicd—-Decor—Costum’ (Staging—Sets-—Coscumes) writ- tenby Many end dlustrard wich his eet snd costume drawings for'Sau!’. He argued that modern art was exerting a major influence on theatre and wrote mainly about stage experiments in Rassi2 and Germany. "Abo in it inaugural issue io March as cara! edverised dhnee fordbcoming volumes illustrated by Maxy thet were to come out the sare month with its own publishing house. In June and July boxed advertisements again announced cha the books would appear ‘soon’ Fnargral carted ather publicity on a dedicated ‘adver~ tisements page’. Grocery stores here shared space wich aris supply ousecs,ator- rneys, and phoro shops. Avant-garde reviews like Porsckop from the Tiansyivanian Gay of Aad also appeared hete, nd sega! publicized ies own applied arc worke shop tha designed porters, incerior, carpets, Furninure, ceramics, theatre ses, and fostumes, and the exhibicions and courses at the Decorative Arts Academy (Academia Arteloc Decorative) founded and dcected by Moy. “The aging Contimporanul’s moze and more evden electcism, che synthetic wpir- ations of Integrat-—that may have seemed ize another fae of ececicsta—as well as Tutgral’s growing iegulatity” made some izapeient readers of avant-gade peodi- Cal like Saga Pan and bi ‘rend ask themselves: ‘why not bring out out own ragae flow A mmgyrine thar wont make concessions to good tate, ove thar will publish © ugg x (Maz 1925), cans. Monica Vetoulete, in Benson and Forgécs (es), Been Wirkds 54 Sean Coctn fneg 2 (Ape 199), 5 and ""Chacun sa veri” ATA Zig (Ap. 919). For cumple, Proving 5 Mayagn9. 22. Ses ape (June 935) © Neng er 1 Ma 3925) 16 aq (as 199) and + (Fane 929. © The ight ite of legal was ded Nex-Dec, 935, The nes se, 0.9, was dated De. 1926, Sex lus Pops Avongande fe are rong 15,180178 EAST-CENTRAL EUROPE only a few writers, namely chose encouncered inthe pages ofthe avant-garde periodi- cals of chose years whose names were Voroncs, Rol, Calugaru,(and] Bogza.”* “This cherorical question and those posing ie produced the review smu (one) ‘similar impulse may have been responsible for Urnmus, The carers of Urmue and su are closely incerevined. Both began in provincial owns and bath on principle refused 10 publish anything approaching the mainstream in art polities, or leer. re. Boga’ syle has been descsibed as Violen, strident [and] daring in contene aad vocabulary’ (Pagfoileceise de Bogza era... violene, srideote, indriznere in ‘continues in vocabular),” A sample fom the manifest in the icaugural issue of rma ilusweases Bogaa’s extremism: “The sou!’ ase hrobbing outward, liberation and reaching toward Him moaning from the bazd blow of brutal ‘Working in che dazk corner, while we warmed ouselves sti by the light ofa false su, le apened the fear oF col thar now envelapes everyone Tee san until today naked in lof ts useessnes ‘The cold grows insinusingly eeprosehfel of our supereousness, Those with thick sinned couls not acticin this evens consis to worship the old sb, Bure who fel the cold penetrating us sharply ned for reaction. And chen: movement, much movernenc. The birth of conscivism, surealism and the other dynamic ims, ascesary ro our life chrearened by frening?™ Bogza conceived of Urns 2s following in che footsteps of 75 HP But the choive of ‘Urmun’ for the review’ eile is not unimportant. Bogza was invoking Urmuz, the founder of Romanian absurdist literature, and a precursor of the avantgarcie.” °° Coas So scosem solo reve? O rein casa i once bun grt cate publce nape cigs ett anumn pecel pe ae nla In papier de aang ina sai. Voroace Roll, Caluirs, Bog" Pad, Niet 25 7 ead 2 ‘Shearer feral fn af, aberrant oF pute in aves dh hl tae [ceed tn ell abseur, pe chnd nol ne inealenm in a Trina tn oa fl Ha leche robicene Sig care acum cuprinde pe ot | Sorle de pink i gol noua | Biga cepe Insinser music superiuice amasee. Ca eu piles ult gras imesh sent enn continu anche vechal sr | Da oc sii fg pieunsindne ‘Beupeaeiie de sexionare Si atone migae, mull mite. Najera constr p= ‘alum 5 elode ime cinamie, ateste vie aourue ameninyte ct ingheul” "Usmu, Cnt Ri de coagar Ja. 3928), 1 3 Fang Axe 248 nd Pop, Asner rare roméng1o % "Urmua was she pn mane of Dern Demetese-Bura, bom fa 88, ewer 2 Kf lrrgy pernonage who werkt aa judge estar and wrote ew picts published in 05 2000 seth to sow i. So inrodarion go Unt Puchi alte by julien Sema and Senda Aga ln Bepulite Care Joa of Leo and fe se engines 20), 2 enmcnpar oleh velioe_llpoem orm he T ROMANIA: “WINDOWS TOWARD THE wEer’ 79 Buc after jus ive issues, Ure folded for a combination of financial, pragmatic, and programmatic seaons, so a5, according co Sega Pang co bring “ll moderns: forces all hase who rejected compromise, into unt’s orbit (‘Toate forele modem- ise, cop esi care resping compromisul, ebuie sis srtng2 in jurul hl na!).® “The word ‘una’ (one) appeared on the fiont page of the inaugural issue ofthis new magazine that was to have been called Avctigarda lterard (The Literary Avent= Garde). Subsequent issues were to carry the appropriate numerals ‘doi’ (v0) ‘uel’ (three), exc. The editors decided, however, that made more sense ro ans sain continuity, and shus kepe the number wna as tide The manifesto-poem signed by Sage Pand began with a line frst seen in 75 HIP, “reader, de-louse your feparsziteazi-i creieral””)” Quotation marks alerted readers to its being «citation, and one ofits acer ines was "76 HP Other refeences included ‘evion'(aieplane) and ‘radio’ signalling an enchusiasi alliance withthe edgy tech ological modernity already present in 75 HP and in other Romanian avant-garde reviews, from which wru deew several coneributors. Je thus tied ize? ia various says 0 the emerging tradition of Romanias modernist currents and voices. The marifeso also listed some names: ‘matinect, breton, brincus,vinea, argheti,ribe- smone-dessuignes, tara, theo van doesburg (all with no caps), and called forthe “humming of printed marr in libraries’ ace maculscura bibliowecilar)* not unlike the furious calls launched by Mariner back ip 3909. While Archur Segal, ‘Urmuz, Marcel lancu, M. H, Maxy, and others were let out ofthis inital zoster furure issues dedicated articles co some of them 2s leaders of che local avant-garde movement. In the cas of Urmnur, 2 whole issue was devoted to him.” Un thus joined the community of Fucuris, Dadeism, Consteuedivism, and Surrealism and gestured loving'y towards Romanisn-bor and foreign poets and artiste fom 1 broad spectrum of modernisms ‘Una (Fig, 49.) had a surprisingly long carer for an avant-garde review, coming, oat regularly the fst Sunday of every month unc! 1933 des the ediorship ofthe energetic young army physician Pand.® Bora in Bucharest to Jewish parents <3 Alexandru Binder, the name under which he Functioned in hie miliary capacizy, Pani grew up in Dorohoi. He trained in military medicine in Iasi and Bucharest, ‘graduated in 1927, and became an officer in the Rormansan army. He wrote postry and read the modernist press avidly, often while riding the tain to his miisaxy 7 Pant, Nu 236-7, 250,24. (bid 209, > “Man, wu Ape. 15a). Monica Voletesas trends ths same pe i two fret ways: ebug’ and ‘sec, ix Berson and Forgas (es), Berwen Wor 535 and 708 7 Manf,tbid. Tae phrae ee macalacaabiboeeon is eyes abiguous Te ould be canted as both a description —the priced mane of Uhre burning’ ard ara oct "haan he sine mate of bane "Pop, Anungeda a ner rnd, 8, and sem, 50 (Nov. 1936), the Umar "© Rep, Asante Beran rm,i180 EAST-CENTRAL BURODE ig 49.5 Covenant 30 (an. 1930), ply seperrpeston of INU sea uma fc un (One snd One Male Oe) on heal Despre acl’ About Mince) ssxignmens, although his literary aciviey under a pseudonym remained undece ted by his employer. ‘Beeween 1928 and 1933 zmu published fifty isues (plus one, in 1939. ‘special com juga edition on the occasion of Moldov's wedding), Pani financed the review out of his officer’ sipend. In February 1929, having been che bur of many joes duc to ics provincial locale, the review moved is operations to Bucharesc® In autumn 1930 sine expresed disguse with the venerable Continporanal’s growing genllisy in a scathing aricle envied ‘Colivi li Mog Vine (Old Man Vinca’s Coed), writen {bur not signed) by Sapa Pand" Colin’ a riual food made from ground wheat and vrslnum chae is caten traditionally dusing Orthodox burials by everyone ina Romanian (village) community who joins in mourning: it was als a free meal for te village poor. The connotations of ‘colivi-—tradition, mourning, alms—were nothing if noc counte-ideas of modemistsensbiiey: The author described che sad sposade of Consimporansl wallowing in moderation and eclecticism oves the pre- vious five yeas, while eying o balance is ersowhile daring progressive stances by including non-avant-gaede figures. While despising Vinea, os is clear from his tile, Pang held Fancu particulaly responsible for Consimporarul’s ack of back-bone given that he was wel-of and the papers sponsoc™ Youth and enthusiasm were held up © Ban Niet, 227,275 30 © Shed 30,293,248 and Tk, Ronde Angad, 7 Yop, segunda i rae roan, Ba % “Cola fat Mog Vine’, 29 (Spe 1990), cua in Gabel Duda, Lines 78. Nowe hat ‘ida ares the eo Sas Pan while Pop actus Hale Vora. Gable Utica pea againse Contigoranl’s wavering, In the conclusion Pand added taat Constructivism, ‘which Contimporanul kad championed from its beginnings, was alien to uns own evolving views Representing a somewhat younger generation of Romanian-born avant-gardiss, seas taking 2 cum towards Surrealism, lewving Constructivism ro architecs and ‘aiming a stance completely tom from realy (‘ii eevendica 0 conduité cu torul spt le realieate), a creativity that basked in dreams and ‘semitzezie’(hal-slees). ‘Suarealism was already part of the roster of roodern ‘isms’ available to Romanian x5 and artis. Concimporar tad signalled ics arzval, publishing some ely smanifestoes and other texts, and even placing Ianeuis pormai of André Breton on the cover of the May 1926 issu.” Insgraé had acknowledged the new current But did not endorse i Voronca wrote that Surrealism drew on Freudian theories and Dadhise experiments and i did not “espond to the thychm of the cme.” But Bogea’s Unmuz kad lised Susrealsm among the ‘dynamic isms’ that could save the soul roma Freezing and um was now increasingly dra into the Sorealisto2bi acknowledzing Constructivism as 2 stage it had lef behind. Unu also distanced ite from Consimporanal politically. Aware of the curmoil taking place in Surrealist cicles in France, wns editors considered vheic options. “They fele thas they had robe careful in order co avoid suppression, or even arrest. But increasingly theis sympathies wens with Breton’s new review Le Suréalome au service de la rvolsion (Surrealism in the Service of the Revolution, 930-1), which had replaced La Revolution surrdaline (Ihe Sussealst Revolution, 1924-9: see Chapter 20). ‘They decided 10 expres their political views disceedy, through illustrations and the brief notes and reviews under the rubric ‘acvasiun' (acquariunt) on the review’ ast page. Leading che leeward surn was che poet Stefan Rel, bur Pan followed #* In 1930 Contimporand hosted the by chen overly fascist Marineci while wu swas contemplating aligning itself with the materialist wing of che Surtealise move- ment. The wu collaborators refused 10 attend receptions for Mariner, ‘Musso linits academician’ (aeademicianal lui Mussolini’), while Consimporamul feted him and rook im on excursions." Tine, Iancu’ article published in Faelain May 1930, ‘Fururismul nostra’ (Our Own Futurism) soggests his own fairly tepid Pal Cert suppor Se Gabi! ach ‘Lesrrs ai, Rie ltr ly 204) colt semacoicafl>, and Dal Cera, Pui sinew, Ora eee 232 (ul 2000) “np fewrbeenatrouuedre/PuneserdneercdnualineraciD oars dese he. © Dada, Lites, 79 Pop, Avenged a eats rind 277 ase Vores,"Sapraeliy nepali, Iga (Mar spa. 4-5 rane by Jalan Sean and Sanda Agi o Benson ane Forged, Been Worl 9-6 8 Yard Naat, joo. Th eucingaphicl exouneecontrned bythe sere alice Bla on See Sian Tena (ec), uapardeomnai! in arb Sigur Dolio, 200), 232-46 © and, Nao, 364182 EAST-CENTRAL EUROPE acceptance of Marinert, and an independent syle of domestic Barucism that avoided polis and sueer rows Despite ceir difference, im some way the ce smodemist reviews were sil parc ofthe same world. They seem evento have had some discussions about fusing with one another, and they shared a concera for how che Romanian avane-garde was received abroad. Sasa Pand records proudly Jn kis memoirs che Der Star issue in. 1930 dedicared to uu. Der Srurm’ editot, Heermarch Wallen, had anvcipated chat wom would reciprocate, but this never happened since wns by now Surrealis-leaning editors were Not interested in publishing work produced by the Expressonises and Constructivists of Der Sms {sce Chapter 32). ‘Another monthly, Aig: Revs de artt modern (Algae: Review af Modern Ar) made is appezrence in Seprember 1930 edited by Auseliu Bacangs. Seven issues came out—with gaps—unti July 931. The review was printed on colour cardstock, cach nse ina diferent colour (A second series appeared brely in 1933) Accord Ingo Sasa Pand, he and his colleagues ac wn had encouraged this extremely young, group of talented writers and ars, some of whom were sil in high school, to launch their own imeveren Surrealise magazine rather than become an annex of sinu?? This may also have been an effort to nusture a kindred publication justin cave one or the other of them were censored or shut down in the intensely polit- ‘aed atrasephere of the exty 19306. The wo periodical in face entertained mostly warm relations: Baranga and other ‘Agise’—S. Pera, Gherasim Laca, Paul Pius—wvere published in wn, while Age no. 7 appeared privarely on 26 July 1931, to celebraze Saga Pana wedding Jn he iar beoween che two vere of Af, che Algiss published wo singe sue reviews under ocher tiles, The Bist in October 1g3t, enced Plax Revised de pal rodernd: organ universal (Cock: Review of Modern Cocks Universal Organ), came ‘ur ima prine un of thincen. The editors pushed che joke further by annotncing ‘offciously tha thirteen cocks had been brought out (seusos tssprezecepule), Ia te same spirit of adolescent exaberance in February 1932 0 the accasion af Pers- lenis ise pecsonal show, his colleagues prince a review entitled Aut (Sa00) Despite such high jinx Age concibutors were increasingly and very seriously anced 10 communism and wa ise was lu nt way is st year te Roll regular contributor (and fine poet) at wn, also wrote pelea journalism for lef-wing political publications such as Gunn itber (The Free Word) under ‘Faas nour’ (Our Own Poursm), Fel, 398 Wp May 1930), rane by Magda Teor. ‘sey ia Boson nel Fore (ed), Bere Wir 05 Bae, at 5 2 Tk Ronde Avenged, 2-5, © Dank, Nbc 29,55, Aes (2 ly pt), and lk, Rm Asongede 77. Tk, Rundnic Aged, 7, / I | { | ' | | KOMANIA: ‘WINDOWS TOWARD THE WEST” 1183 bis real name of Gheorghe Dina. After wnv’s demise, Geo Bogea published a new seview in December 1933 called Viayaimediac# (Immediate Life). Although i came ‘outenly once, both the tile and its manifeso "Poexia pe care wrem si facemy (The Poe:ry That We Want 10 Make) marked a new direction for many of the avanc- gardists, The article signed collectively by Bogza, Pershim, Laca, and Pun erii- ined the abstract, hermetic, imtllecualized poetry written by people incapable of living lose 1o life,’ barren poetry, which cannot bacher anyone and which passes fiom their hands straight into nothingness (1. poesie stearpi, care nu poate «i supete pe niment si rece din mana lor de-a drepra in gol’). The ‘knights of mod- nism Ceavalech modecnistulu) were gully in cei seribbling ofa king of ego- fam that deserved only scorn, This was also certainly a self-criticism. The poeay these authors said they wanted co make now was poctryof our time’ Co poevie& simpului nostra’) accessible tothe masses. In conclusion, they wrote, Wwe are begin sing to write a poetry of true lif, a poetry that ean be read by one-hundred-thov- sand people’ (Tncepem si scrim 0 porsie a vieiiadevarare 0 poezic care 33 posts Fi ctts de o saci de mii de oarsen’).® By 1933, emerging cbrough 2 kaleidoscope of exuberant, impertinens, Consteue- tise, Sustealist, croc, theoretical, and poliveal reviews, Romanian modernist magazines had come full circle. After Symbolist beginnings, Consimporanal had sarted our by looking back to a milican secalst publication ofthe previous cen- ‘ury beating the same name. Ie was initially fll of political editorials and catica- ‘ures, butit mesamorphosed into an evanc-gariearandlieeratize review: Evencully ic became, for some, unbearably soft and ideological’y diverse, prompting younger colleagues to carry forward dhe torch ofa more intransigent, increasingly inacces sible style of moderaism. With wu and Alge the avane-guzde embraced Sueralism and an incense interest in a world in which drearns and the unconscious were 2s immporant and real as life. or the ‘unists’ and ‘alse’ of early day, literarure and art were intentionally hermetic since only elidst revolutionary techniques could access thar reacy. But for some writers within Surrealist circles these experiments lose their aura. Under the pressure of domestic politics and the influence of literary, artistic, and political struggles clewhere in Europe, the dream mascers became ‘propaganciss. In this urn-about, World War i and the Scalinist regime that soon followed in Romania found former avane-gardiss writing tiererare for the maces and serving as editors of communist magazines. 1 Pop, Anengnds fn livenne rocink. 291 and Pee Rélans, Ghonsin Lace, walucre ds lina lancer de Anioar Bra (gh Junimea 2009) 36-7 Geo Bogs, Paul Pun, Gheasn Loe, S Peron, “Poela ge eve vem si fcen’, Vise ‘eas, (Dee 193) i Dade (2) Litera, 8. Daal, bd 85, 9,THE OXFORD CRITICAL AND CULTURAL HISTORY OF Modernist Magazines Volume Il, Europe 1880-1040 Part IT sDITED BY Peter Brooker, Sascha Bru, Andrew Thacker, AND Christian Weikop OXFORD UNIVERSITY PRESSOXFORD Great Clarendon Steet Of 0x2 SOR ‘Unies Kingda COsford Uiventy Pros a deparmen of the Univesity of vf restos the Unieiny abjoesve of erellene in mace, scholarship spl slueaen by poblshing weddwice, stra a regrored tade mak of ‘Oxon Univeniny Presi the UK and in certain other courses © Oso Unive Pres 2085 “The moa ight ofthe aor hve been aseced it Ein poblahed is 2013 impeesion: 2 AL ght seve No pat af hie pabition muy be produce, stored ia ‘Pecewl soz ov anni any form of by any beans, oa ie price permisson nw of Oxfre Unive Beso as exe peru ‘by Loy licence order tems agree wi he appropiate eprogpiic: rigs exgnizaon Eaguresconrung repose» ode de cope ofthe ‘ove shoul be sent he Right Deparemens Onfod Universi Pes be dso above “You muss not ete this work any othe orm. and pow ms inpovs sss coneion 2 sere ‘Both Library Celoguing in Pubicsion Dara ‘Daa alae Prine ia Grea Bian by CPI Group (UND Le, Cyan, 299 40 ACKNOWLEDGEMENTS Figure 29.1: Thomas Theodor Heine, poster of Simplicisimas (1896), courtesy of Minchner Sradrmuseum, Sammlung Graphil/Plakat!Gemilde © rom Arce Rights Society (ARS), New York/VG Bild-Kunst, Bonn, 2001. Figure 29.2: Thoraas “Theodor Heine: cover of Simplilsinns, 37°49 (5 Mat 1933), "Des Deaschen Feth- lingslied’, courtesy of Art Resource, NY © aoxs Axtiss Rights Society (ARS), New York/VG Bild-Kunst, Bonn, 201 Figure 29: Fidas, ‘Ertlingsodet, Jugend, 5:49 {5 Dec. 1900), 8:5, courtesy of University of Tennessee Libraries, Knowle, Special Collections © aoxs Arist: Rights Society (ARS), New York/VG Bild-Kunst, Boon. Figure 29.4: cover of Jugend, ext (14 Mas, 1896) by Orm Eckman, counesy of Univesiy of Tennessce Libraries, Knoxville Special Collections. Figures 29.2-29.4. courtesy of the Univessicy of Tennessee Exhibit, Performance, and Publication Expense Fund. Figure 50.1 cover of Der Bloue Reiter (1912) © ADAGE, Paris and DACS, zoxe Figure 50.2: Richard Seewald ‘Revelation’, woodeue for cover of Revolution, & 5 Occ. 1913), reproduced with permission of che Seewald Foundation © VG Bild- Kunst, 20m. Figure 30.5: cover of Der Wag (Jan. 1919), by E Schaele, reproduced wih permission of Christoph Schaefer Figure st: cover of Pan, 11 (Apr-May. 189s), illustration by Frans voa Stack, © Universitisbibliochek Heidelberg, Figure 31.4: cover of Das newe Pathos it (Mat. 1915) woodeut by Ludwig Meidner © Ludwig Meidner-Archiv, Tidisches ‘Mascum der Seade Prankfure am Main. Figures 32.1: cover of Der Sturm, 1 (5 Mar. 190), and 32.4: ‘Der Sturm Welrpress- celle (The Sturm World Press Reading Room), 1917, reproduced courtesy of the ‘Staatsibliothek 2u Berlin—Preussscher Kulrurbastz, Srusm Archiv Zsn 19361 R. land Scanm Archiv Hdsehe118:148 unten. Figures 32.2: cover of Die AAtion, x8 (10 ‘Apt. gus and 32.6: cover of Die Alon, 8:45-6 (16 Nov. 1918), unattributed wood- cut, reproduced courtesy of the Berinizche Galerie, Landesmnuseum fir moderne” Kunst, Forogrfie und Archsiks, Bein. Figure 32.3: Oskar Kokoschka, “Mérdes, Hollaung dec Frauen’ (Murderer, Women's Hope), cover ilustrtion for Der Sim, «220 (ag July 191}, reproduced courtesy ofthe StaarbibliothekzuBerlin—Preassscher Kalturbesitz, Srarm Archiv Zsn 1236: R, © 2010 Fondation Oskar Kokoschka/Arc- ists Rights Society (ARS), New York)ProL.ittesis, Zixich, Figuce 32-5: cover of Stuwm- Biiine, 21 4pi8), photo by john Blazsjewski, reproduced courtesy of the MarquandCONTENTS Live of Mucrasions PART VI. GERMANY, AUSTRIA, SWITZERLAND Inerodvetion 29. Realy and Uropia in Muniche Premier Magnzines Simplicius (0896-1544) and Jugend (896-1920) so. “Shere You Have Munich's Der Blane Reiter (u0t2); Relation (2933) and Der Weg (919) JESSICA HORSISY 1 Bewween Arcand Activism: Pen (1835-1900, 1910-15}; Die ween Buéster (915-21); Das newe Paths (913-19); and Marya (927-19) 432, A Ciitical Mass for Modernist in Besin: Der Sturn (910-32), Dic Alcon (2x33); ad Seurm- Bile (938-9) ‘DOUGLAS ERENT MCBRIDE 43. Transitions: Prom Expressionism to Dada: Neve Jugend (54, s9x0~t7)s Di ie See (ipnpit), ad lah Del e918) 4. Berlin Dada and the Carnivalesque:federmann sin eigner Puaall (0919) and Der Dads 3919-20) (CHRISTIAN WETKOP 35. Radical Lele Magiaines in Bestin: Die Pie (i919, 1923-1); Der Gegner (1919-22): Der blutge Eras (isns}s Der Roope! (a929-7): Bdenspiegel (928-30) and AIZIVE tr924-38) 36. ‘Not to Adorn Life Bur wo Oxganize It: Vaioh, Gegensand. Objet: Revue internationale de Vart maderne (i922) and G (925-6) SURPHEN BURY rr 750 ca) rt a6 85 B55,537. “The Magaaine of Enduring Value’: Der Querchnis (1923-36) and che World of Hluscrated Magazines 38. Dresden: ‘Collecsvity is Dead, Long Live Mankind Der Komet (g1-10); Menschen (igr8-ni)s and Neue Blter tr Kant und Dichourg (1918-22) 39. Kiel and Hambuig: Radical 'Bildungsbiirgeruun?: Die Schine arate (91-19); Die Rote Erde (e9:9-23); Der Sturmreter (2919-20); and Kiindung (1928) 49. Cologne: The Magazine as Arristic and Political Imperative: Der Ventilator (1919); Bellesn D (0919) a schammade (1920); Seupid (920); and a bs x (¢929-33) 41 Hanover: ‘True Art and True Dada': Das Hobe Ur (1919~20)s Dee Zueemann (519-20); Der Marsal (:920); and Mere Gs25-32) Donoriies preraices 42. Frankf, Leipzig, and Dessau: neue cypogtaphie—The New Face of a New World: dat neue frankfire (1926-33) and die mene linie (925-43) PATRICK RESSLER 45. Vienna’ “Holy Spring’ and Beyond: Ver Szerum (:898-1923)5 Aimanach der Wiener Werksaite (sous); Hohe Warte{i904-9); and Densch Kens wnd Dekaron (8857-2952) 44, From che Hapsburg Empite co the Holocaust: Die Fackel (0899-1936) and Der Brenner (510-54) 45: The Avant-Garde in Swiss Eile 14-20: Der Misra (1) Sirius (915-16); Cabaret Volaie (196): Dade (3px7-19)s 398 (a0. 8,918); Der Zelowey 1919) ane Almanach der Fein Zecurg (938) Densie wen PART VIL. EAST-CENTRAL EUROPE Incroduction, 868 905 ws ow? 989 992 104 1032 1059) area 46, The View from Prague: Modernt revue 1894-1925); Velnésméry 856-1949); Umdleckj mésinik ion-t4); Revoluint sbornih Devil sgaa)s Zivr (sua), Disk (1925-3); Pome (1924-6); and ReD (s927-3) {NICHOLAS SAWICEE 47. Avant-Garde Periodicals in the Yugoslavian Crucible: Zenit Zagreb 1921-3, Belgrade 1924-8); Zagreb: Dada-jok (1323), Dada-Tank (o922), Dade ax (923): Nov! Sad: Ue Gg22-5); Ljubljana: Svrabree (apauls Réetpiloragna)s and Tank 0927) {AUREL SEELY VOLODER AND TYRUS MILER 48. The Avant-Garde in Budapest and in Eslle in Vienna: A Tie (4915-26); Ma (Budapest 1916-19, Vienna 1920-3); Egg (922-4); Abastots Ember (igna)s 2x2 (i922; Ek (1923-4) bs (924) 365 @525)5 ‘Dokwmencum (:926-7); and Munks (3928-39) 16a FORGKCS AND TYRUS MILLER 4p. Romania: ‘Windows toward the West’: New Forms and the "Poetry of True Life: Reva eelor Fa (1908); insula (i912); Chemarea (9:2); Contimporana (1922-32); 25 HP (so24)s Pun (3524-5) Integral 1925-8); Ura (6925} and wns (1928-39) 50. Cracow and Warsswr: Becoming the Avant-Garde: Ryd (Gs series 12-19), Masi (918-19); Wiad (1919-22); Fortes {Gp15-20); Nowe Sere (921-2); Zuromnica (Exe series 1922-3} and Blok 1924-6) PRZENYSLAW STROZEE st. Pozna and 44d: National Modernism end the International ‘Avant-Garde: Zan (917-22); Vang-Yidis (939); and Telli fo919-20) LIDIA GeweHIOWsr PART VIII. RUSSIA, THE SOVIET UNION, AND UKRAINE, Tnuodvetion 52, 8+ Pererburg/Petrogra/Leningrad: From Aestheres 0 Revolutionaries: Mir ltstva (2898-2908); Apollon (3909-27) Saudiya Impreionitow (910); Sone Melodeci igr2-13); and Iekse0 Kommsar (918-19) (CHRISTINA LODDER WITH PETER HeLLYER 1074, 1099 wat 497 84 208 ngxiv contents 5. Modernism Upheld. Moscow Journals of Arc and Literature: Vay (1904-3); liv (905); Zolooe Rano (1906-8); and. Makes (1522) une news 54. From Farurise Iconoclasm to Socialise Consteuction: Futuriry Peroyi churnal russ fucwrisou ogta)s Lef Levy fro skaseo (0923-3); Nowpt Eef 0927-8); and Incernasional aya Brerasure 0933-45) CHRISTIN LODDER “ARifeom the Lef Front”: Lefag23-3) and Ne postu (1925-3) 56: From under Imperial Byes in Kyiv and Kharkiv Magazines: Uheainsta hata (1909-14); Muzaber 919); Mystenreo (1913}s Kesaf iskessa (1922): Semafor x maibusnie (1922): Homh omankul'a (1924); Nova geneatita 1927-30); and Avangard Alinanith prolessrkh mptsio Novos generat (1930) ‘OLEH 5. BNNETZAO Sebcs Bibligzaphy Index 2276 399 Be ba 1363 a9 LIST OF ILLUSTRATIONS 29.4 Simplicinimas (1898), poser by Thomas Theodor Heine 29.2. Cover of Simplicisinus, 37:49 (5 Mes. 1933), Thomas Taeodor Hein, ‘Des Dentachen Frihlingslied’ (German Spring Song) 29.5 Jugend, 549 (3 De. 1900, 813. Fidus (Hugo HOgpener) "Frihlingrodem! (Breath of Spring) 2.4 Cover of Jugend, 8 (64 Mas. 1896), by Otto Bekmann 301 Cover of Der Blaue Reiter (932), woodeut by Wassily Kandinaly jo.2. Cover of Revolution, x {3 Oct. 193), Revolution’, woodcut by Richard Seewald 30.3 Cover of Der Wg Gan. 1919), woodcut by Frits Schaefer Sur Cover of Pan, 11 (Aps~May v8, illusration by Franz von Stack za, Cover of Pan, 13 (¢ Dee. r9t0) 313. Cover of Die weisen Blister. «4 (Ape 1957) jug Cover of Dar neue Peles, 3 (May 19:5), woodout by Ladi Meidner sis Cover of Mangas, 1 QulyAug. 1927), unaribured iustrasion, jan Gover of Der Sturm x (3 Mat 1910) jan Cover of Die Alton, :8 (0 Apt 390) 525 Cover of Der Sturm, 1:20 (i Jly 1910), 'Mérler, Hoffnung der rauon’ (Morderes, Womens Hope), by Oskar Kokoschia, yng Der Stusm Weltpressestelle (The Sturm World Press Reading Room), 1917, Photographer unknown jas Cover of Sarn-Biibne, 21 (938) 326. Cove: of Die Atsion, 8245-6 (16 Nov. 1918), unatubuced woodcut jay Cover of Der Stare, 0:4 (uly 19:9) ‘Abstraksioa,, by Kurs Sehuicers 434 Cover of Neue Jugend, 2 (June 1917, by John Heasfckd 552 Cover of Chub Dade (118), specialise of Die frie Saf, Reoal Hausmann, woodcut design, ‘Cheb Dada Prospekt 333, Club Dade (938), Raoul Hausmann, woodeu lustration for Franz Jang novel Der Sprang nu der Wal! (The Leap from the World) no m8 me 733 78 7 733 796 803 ho